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Tag: Amazon
The 23 Best Shows on Amazon Prime Right Now (March 2025)
While Netflix is busy pumping out more series than any one person could watch (probably), some of the best shows are on Amazon Prime Video. Trouble is, navigating the service’s labyrinthine menus can make finding the right series a pain. We’re here to help. Below are our favorite Amazon series—all included with your Prime subscription.
For more viewing picks, read WIRED’s guide to the best movies on Amazon Prime, the best movies on HBO’s Max, and the best movies on Netflix.
Invincible
Mark Grayson inherited the incredible powers and abilities of his father, Omni-Man—only to learn dear old dad wasn’t a paragon of justice but the vanguard for an alien invasion. The newly dropped third season of Invincible finds Mark not only still struggling to escape his father’s shadow, guiding his younger brother to use his own burgeoning powers responsibly, but also drowning in a world of murky politics, pushed toward darker, tougher choices to keep Earth safe. A brilliantly animated adaptation of the hit Image comic book by writer Robert Kirkman and artists Cory Walker and Ryan Ottley, Invincible’s more mature take on superheroes allows it to do something Marvel and DC characters rarely do: grow up.
The Man in the High Castle
This adaptation of sci-fi master Philip K. Dick’s novel about a world in which the Nazis won the Second World War was one of Amazon’s first forays into original content. The world-building is stunningly done—a divided, alternate-reality 1960s America never seemed so plausible—but be warned: There might be just a touch too much present-day resonance for some viewers.
The Rig
Back for its second season, sci-fi thriller The Rig finds the surviving crew of isolated North Sea oil rig Kinloch Bravo forcibly relocated to The Stac, an even more remote facility in the Arctic. While most are desperate for answers and a way home, the team’s loyalties are tested as the sinister Pictor corporation seeks to use them to unearth something ancient and powerful from the sea floor. While The Rig doesn’t even aspire to subtlety when it comes to its ecological metaphors (one character even says, “If you keep punching holes in the Earth, eventually the Earth’s going to punch back”), it’s all brilliantly shot to make use of both the claustrophobic settings and the terrifying expanses and underwater pressures of the ocean. With the material elevated by a phenomenal cast of Game of Thrones and Line of Duty veterans, including Iain Glen and Rochenda Sandall—and bolstered further by the addition of the always-watchable Alice Krige in season 2—The Rig is far more than the guilty pleasure it might otherwise be.
Cross
Aldis Hodge steps into the shoes of Washington, DC homicide detective Alex Cross in Prime’s new series based on James Patterson’s long-running series of crime novels. However, unlike the streamer’s other thrillers Bosch and Reacher, Cross doesn’t directly adapt any of Patterson’s books—a risky move, but one that largely pays off, allowing this eight-episode first season to chart an unpredictable journey as Cross faces off against a twisted murderer who models each of his kills on another serial killer. Already renewed for a second season, Cross is a strong addition to Prime’s roster of crime dramas.
Citadel: Diana
Amazon tried to make a splash with its $300 million spy thriller Citadel in 2023, but only half-succeeded. The Richard Madden- and Priyanka Chopra-starring action series was entertaining enough—and rode high on Prime Video’s most-watched lists—but didn’t exactly set the world alight. However, it did establish a sprawling shared universe, with rival organizations Citadel and Manticore engaged in a globe-spanning cold war setting the stage for international spin-offs. Citadel: Diana is the first, an Italian outing focusing on Diana (Matilda De Angelis), a woman out for revenge after her parents are killed, and drawn into the spy-fi underworld with violent results. Gorgeous location shoots, bone-crunching fight choreography, and, most importantly, a tighter focus help Diana improve on its parent series.
The Legend of Vox Machina
Bawdy, gory, and absolutely not for kids, The Legend of Vox Machina follows the eponymous adventurers’ guild—consisting of gunslingers, druids, and the requisite horny bard—as they grow from a motley crew of usually-drunk mercenaries into unexpected heroes for the realm of Exandria. The newly arrived third season continues the team’s battle against the Chroma Conclave, a horrifyingly powerful collective of dragons. It’s a quest that sends them on a small diversion to Hell itself. Adapting the hit Critical Role—the livestreamed Dungeons & Dragons sessions of some of the biggest voice actors in animation and gaming—this exquisitely animated fantasy takes things in unexpected directions that keep things fresh for new or returning viewers alike. A love letter to D&D that’s also unafraid to poke fun at the classic RPG, it’s one of the most original adult animated shows on Prime.
The Lord of the Rings: The Rings of Power
Tapping into The Lord of the Rings creator J. R. R. Tolkien’s sprawling history of Middle-earth, The Rings of Power is set millennia before the events of the core books (or films, which is really where the visual language of this adaptation comes from), detailing the major events of Tolkien’s Second Age. While the first season was a slow burn, dwelling on the fractious politics of the era, the second ratchets up the pace considerably. From Galadriel (Morfydd Clark) trying to prevent the ascension of Dark Lord Sauron (Charlie Vickers) to the long-awaited introduction of fan-favorite character Tom Bombadil (Rory Kinnear), the new season feels far richer and deeper than before. It remains a feast for the eyes too, with the stratospheric budget apparent in every frame, from quiet moments in luxuriant shires to cinematic battles between armies of Orcs and Elves. For sheer high fantasy spectacle, there’s little else to rival this streaming right now.
Batman: Caped Crusader
The first new solo Batman animated series in a decade, Caped Crusader harkens back to Batman: The Animated Series from the 1990s, with showrunner Bruce Timm returning to the Dark Knight and Hamish Linklater voicing Bruce Wayne/Batman in an ode to the late, great Kevin Conroy. Unlike rival ‘90s revival X-Men ’97, though, this isn’t a continuation but rather a wholly distinct take allowing for fresh interpretations of the iconic hero’s rogues’ gallery and allies—look out for drastically different takes on the Penguin and Harley Quinn in particular. Leaning heavily into a 1930s aesthetic that evokes Batman’s earliest comic book origins, this manages to be nostalgic and provocative at once—a fantastic outing that takes DC’s original urban vigilante back to his gritty pulp noir roots.
The Boys
Superheroes are meant to represent hope and optimism—the best of us, given outsize form. In The Boys, adapted from the darkly satirical comic by Garth Ennis and Darick Robertson, they’re a reflection of humanity’s worst—greed and unrestrained power, marketed to a gullible public by vested corporate interests, operating without restraint and leaving a trail of bodies in their wake. Enter Billy Butcher (Karl Urban) and his associates The Boys, gleefully dispatching “Supes” who’ve gone too far, often in extraordinarily violent ways. Unfortunately, the newly dropped fourth season finds the team in disarray, fractured by Butcher’s own lies, right as the world needs them most. Arch-manipulator Victoria Neuman (Claudia Doumit) is close to the Oval Office, while the sadistic, psychotic Homelander (Antony Starr) is planning a superhuman uprising. Probably Amazon’s goriest show, The Boys stands as a pertinent examination of the abuses of power, all wrapped in superhero drag.
Fallout
Maybe the end of the world is the secret sauce to making a great video game adaptation—between The Last of Us and now this spectacular interpretation of Bethesda’s postapocalyptic RPG series, we’re living in an unexpected golden era for the form. Yet unlike HBO’s bleak but beautiful world, Fallout taps into the source material to craft an apocalypse with a very different feel, one dripping in cracked Americana, black comedy, razor-sharp social satire, and just a little bit of camp. Its greatest strength, though, lies in how it doesn’t directly adapt any one of the core Fallout games. Instead, it perfectly channels their tone and feel, focusing on a core trio—naive Lucy (Ella Purnell), born and raised in a subterranean vault; driven Maximus (Aaron Moten), a recruit in an army seeking technology from the old world; and the Ghoul (Walton Goggins), a centuries-old bounty hunter mutated into a nigh-immortal zombie when the bombs fell—to showcase just how brilliantly twisted this nuclear wasteland really is.
Three-Body
No, you’re not on the Netflix list—Prime Video has its own distinct adaptation of Cixin Liu’s The Three-Body Problem. This take, originally released for Chinese audiences back in 2023, faithfully adapts Liu’s award-winning novel of humanity’s first contact with an almost unknowable alien species and the impact that their impending arrival on Earth has on humanity. Hopping between time periods, a galactic mystery unfurls after nanotech specialist Wang Miao (Luyi Zhang) is called in by detective Shi Qiang (Hewei Yu) to investigate a global spate of suicides among scientists, with the ominous phrase “Physics doesn’t exist” being the only link between the deaths. Although Three-Body is a bit softer than Netflix’s 3 Body Problem when dealing with some aspects of the story—notably anything related to China’s Cultural Revolution—a hearty 30-episode run allows for far more space to explore Liu’s complex themes and vast roster of characters. The pacing may take some getting used to for viewers more accustomed to western TV, and it’s subtitled-only, but this C-drama is out of this world.
Mr. and Mrs. Smith
You likely know the concept from the name alone—a married couple operate as undercover agents, blurring the lines between their personal and professional relationship. Unlike the 2005 Brad Pitt/Angelina Jolie movie, though, 2024’s Mr. and Mrs. Smith does far more with the concept. Donald Glover (who cocreated this reboot) and Maya Erskine offer much more developed takes on the mysterious characters of “John” and “Jane” Smith over the course of this eight-episode series, exploring their true identities, why they signed up for their dangerous careers, and whether their growing feelings for each other are just part of the roles they’re playing. It’s all backed up with plenty of Mission: Impossible–style action, of course, but it’s the sparkling chemistry between the show’s leads that will leave you thinking, “Brangelina who?”
Reacher
Amazon has a way with action thrillers focused on military tough guys who answer to “Jack R”—see Jack Ryan, also making this guide—and this sharp adaptation of Lee Child’s Jack Reacher novels continues the trend. Alan Ritchson (Titans, Fast X) stars as Reacher, a former military policeman now drifting from town to town, trying to live a quiet life but unable to avoid conflict. Season one finds him accused of a murder he didn’t commit, while the newly arrived second sees Reacher drawn into a vast conspiracy when someone starts picking off the members of his old army unit of special investigators. It’s pulpy at times, but bombastic action and surprisingly sharp dialog help it punch above its weight.
The Wheel of Time
Based on Robert Jordan’s sprawling novel series—one so vast it makes Game of Thrones look concise—this is one of Amazon’s most ambitious, and expensive, series to date. The eight-episode first season follows Moiraine (Rosamund Pike), a powerful weaver of an ancient form of magic, as she gathers five unassuming young people, one of whom is destined to either save the world—or destroy it. The second season ups the stakes, with ancient evils returning and new terrors rising—right as the only ones who can stop them are scattered around the world. A visually stunning series that blends sumptuous location shoots with cinematic effects work, this is an epic fantasy that’s improving with every episode.
Gen V
Spinning out of Amazon’s hit The Boys, Gen V follows the next generation of supes, training their abilities at the Godolkin University School of Crimefighting. In keeping with its twisted parent show, this educational establishment is less Xavier’s School for Gifted Youngsters and more The Hunger Games with superpowers, as students battle for glory and a chance to join premier super-team The Seven. Lead Jaz Sinclair (Chilling Adventures of Sabrina) impresses as freshman Marie Moreau, a haemokinetic with lofty ambitions who uncovers dark secrets at the college that challenge her entire world view. Factor in all the poor life choices college students are famed for and some extremely creative (if often disgusting) superpowers, then allow for The Boys’ trademark ultraviolence, and one thing’s for sure—the kids of Gen V are most definitely not alright.
Jack Ryan
There’s no shortage of screen adaptations of Tom Clancy’s Jack Ryan books, but John Krasinski’s turn as the CIA desk jockey turned field agent gets far more room to breathe than its predecessors. The prestige political thriller charts Ryan’s rise from analyst to operative—and beyond—over four perfectly crafted seasons. The final season caps Ryan’s career with his biggest challenge yet, investigating the convergence of a drug cartel and a terrorist organization set to create an unstoppable criminal enterprise, all while juggling the CIA’s possible involvement in a political assassination in Nigeria. While the show hasn’t been without controversies—season two attracted condemnation from Venezuela’s government for supposedly condoning a US invasion of the country; big yikes there—its sharp writing, incredible performances, and cinematic action make it compelling viewing.
I’m a Virgo
A surrealist comedy with the sharp political and social edge viewers have come to expect from creator and director Boots Riley (Sorry to Bother You), I’m a Virgo follows Cootie (Jharrel Jerome), a regular 19-year-old who just happens to be 13 feet tall. Raised in secrecy by Aunt Lafrancine (Carmen Ejogo) and Uncle Martisse (Mike Epps), Cootie is thrust into the limelight when his larger-than-life existence is inevitably discovered. Experiencing friendships and the outside world for the first time, gentle giant Cootie has to navigate everything from romance to the public’s reaction to a giant Black man wandering around Oakland. Oh, and did we mention Cootie’s idol, The Hero, a real-life superhero with an authoritarian streak that would put some of the worst offenders on The Boys to shame? Told you this was surreal. Do yourself a favor and watch the behind-the-scenes episodes too, tucked under Prime Video’s “Explore” tab, for Riley’s insight into each episode.
Tales From the Loop
Despite being a couple of years old, Tales From the Loop remains one of the most mesmerizing shows on Prime Video. Loosely based on the work of Swedish artist Simon Stålenhag, the series blurs the line between ongoing narrative and anthology as it follows the residents of Mercer, Ohio, exploring how their intersecting lives are impacted by “the Loop,” an underground facility exploring experimental physics and making the impossible possible. Expect tales of frozen time, traded lives, and parallel worlds, all brought to life by a fantastic cast and directors—including Andrew Stanton and Jodie Foster. But it’s the visuals that really elevate this show, which captures the sublime aesthetic of Stålenhag’s work and juxtaposes neofuturism and rural communities for a world that looks and feels like almost nothing else. At only eight episodes, a visit to Mercer is brief but unforgettable.
The Devil’s Hour
When Peter Capaldi, here playing mysterious criminal Gideon Shepherd, says “my perception of time is better than anyone’s,” it’s clear that The Devil’s Hour creator Tom Moran is having a little fourth-wall-breaking fun with his former Time Lord leading man. That’s about as close as this gritty six-part drama gets to Doctor Who, though. Instead, this is a mix of murder mystery and thriller, topped off with a dash of the supernatural. The focus is on Lucy (Jessica Raine), an over-burdened social worker with an increasingly distant and troubled young son. Lucy wakes at exactly 3:33 am every morning, plagued by horrific visions, and her nightmares draw her into the orbit of police detective Ravi Dhillon’s (Nikesh Patel) investigations of a bloody murder and a child’s abduction. As she tries to figure out how the two are entangled, Lucy comes face to face with Shepherd. Raine is a phenomenally commanding lead throughout, while Capaldi’s sinister performance is one of the most chilling you’ll see on screen.
Them
This horror anthology series, created by Little Marvin and executive-produced by Queen & Slim’s Lena Waithe, sets its first season in 1950s Los Angeles and follows the Emory family as they move into an all-white neighborhood. It all goes about as well as you might expect, with Livia (Deborah Ayorinde) soon penned into their new home by the Stepford-like housewives of the area who make her life a living hell, led by ringleader Betty (Alison Pill). Outside the home, husband Henry (Ashley Thomas) faces physical assaults and harassment at work. Ayorinde and Thomas are phenomenal throughout, brilliantly portraying the mental, physical, and emotional turmoil of living under relentless threat. While the show’s portrayal of the period is tense and horrifying in its own right, the layering of some truly unsettling supernatural threats make this a frequently terrifying watch.
The Underground Railroad
Based on the Pulitzer Prize–winning novel by Colson Whitehead, this limited series from Moonlight director Barry Jenkins sticks pretty closely to the premise of the book. It’s a work of historical fiction that takes the idea of the Underground Railroad—the network of smugglers who helped escaped slaves flee the South—and reimagines it as an actual subway system with trains and secretive station agents.
Fleabag
You’re not supposed to like Fleabag. She’s selfish, self-destructive, and morally bankrupt. Her family is loathsome, her lifestyle is ridiculous, and her job is a joke. Yet after watching this 12-episode series, we defy you not to love her a little. This magnificent sitcom about a Londoner (Phoebe Waller-Bridge) grappling with the death of her best friend has no filter: You’ll hear her thoughts on feminism, familial tension, love, and sodomy. The first time Waller-Bridge interrupts her own dialog to shoot a disarming, conspiratorial glance to the screen, you’re hooked. Season one is a smutty yet wonderful crescendo of self-destruction driven by a cast of characters that includes Fleabag’s intensely awkward sister Claire (Sian Clifford), her selfish and pretentious stepmother (Olivia Colman), and her clueless father (Bill Paterson). The second season cheerfully bounds into blasphemy as she grapples with inappropriate (and reciprocated) feelings for a Catholic priest (Andrew Scott). It’s shocking and immensely watchable—and one of the rare cases when a series truly is as good as people say.
The Marvelous Mrs. Maisel
What is a New York lady to do when she finds out her husband is having an affair with his dim-witted secretary? If Mrs. Maisel is anything to go by, the answer is to head to a dingy watering hole in your nightgown, do a little standup comedy, and get hauled away by the police after flashing the entire audience. Set in the 1950s, this fast-talking fashionista hides her new life as a comedian from her family and ex while battling sexism, bad crowds, and big competition. Rachel Brosnahan stars as Midge Maisel in this subtle nod to Joan Rivers’ career. With four seasons and a host of awards and nominations to its name, The Marvelous Mrs. Maisel is one of Amazon’s sharpest comedies.
Zoox robotaxi hands on: safe, but lagging
I’m standing outside a nondescript corporate office park in Las Vegas next to a box-shaped vehicle with no proper front or back. It’s got a set of sliding doors, no steering wheel, and touchpad controls. It’s bidirectional, meaning it can move in either direction without turning around. And to be completely frank, it looks more like an oversized toaster than an actual car.
This is the second-generation Zoox robotaxi, a purpose-built autonomous shuttle that has been testing in and around Las Vegas for the last year and a half. Zoox, a subsidiary of Amazon, has been working on it for over a decade, and during this year’s CES, it finally let a few journalists take a ride.
So far, the only robotaxis operating on public roads in the US are run by Alphabet’s Waymo. Others have tried but tend to run out of money or get sidelined by traffic mishaps (or, in the case of Cruise, both). Unlike Waymo, Zoox isn’t open to the public. It hasn’t even said when it will be. And as Waymo eyes new cities and new partnerships, Zoox is still stuck in beta mode.
But maybe it’s about to get unstuck. Inviting journalists to go for a ride is certainly a step toward a public launch.
“We’ve just tried to stay really steady, grounded, and focused on our mission, no matter what else is going on,” Zoox cofounder and CTO Jesse Levinson said during the ride. “We can certainly learn from our fellow travelers. We can be inspired when they’re doing well, and we feel like, hey, you know, this is possible. We should catch up here. And then, you know, if they make some missteps, we can learn from that and we do.”
A Zoox autonomous robotaxi in San Francisco, California, US, on Wednesday, Dec. 4, 2024. Amazon owned Zoox Inc. has started testing its electric robotaxis in San Francisco’s SoMa neighborhood. Photographer: David Paul Morris/Bloomberg via Getty Images Bloomberg via Getty ImagesMore than 10 years and a billion dollars in investments later, Zoox is currently only available to employees and their families in San Francisco, Las Vegas, and Seattle, with more locations, including Austin and Miami, coming later this year. While most people still won’t be able to hail a Zoox anytime soon, the company will open an invite-only Zoox “Explorer” program soon, much like what Waymo did with its Early Riders.
But aside from Waymo, the broader robotaxi project seems on the verge of faltering, with companies like Cruise and Argo AI shutting down after funding dried up. China is ramping up its own efforts, alarming legislators and tech workers alike. Tesla’s Elon Musk recently vowed to launch his own robotaxi operation in June, but doubts remain about his approach to safety.
“We should catch up here. And then, you know, if they make some missteps, we can learn from that and we do.”
Zoox still feels like it’s behind the curve. Its business model relies on building completely bespoke autonomous vehicles, which is enormously expensive, labor-intensive, and relatively fraught, thanks to various rules and regulations. There are some questions about the company’s self-certification process for its vehicles. And its test vehicles are under investigation by NHTSA after two motorcyclists were struck last year.
To be sure, Zoox has its own fleet of retrofitted Toyota Highlander hybrids to test its software in places like San Francisco and Las Vegas. About 60 of the Highlander mules sat parked or idling in the nondescript warehouse in Las Vegas, alongside a handful of the company’s first-generation EVs in different states of disassembly.
But the Highlanders are old news. Zoox is betting all its chips on purpose-built AVs. And whether people embrace these funny-looking toasters-on-wheels will depend a lot on how they feel on the road.
The autonomous vehicles I’ve ridden in before have all had traditional controls or familiar steering wheel/brake pedal setups. They also had familiar car shapes and designs. Zoox doesn’t have any of these things.
One of the technicians opens the sliding doors of the low-floored electric vehicle using an iPad. I step inside, along with Levinson and a Zoox PR rep. The interior is spacious, resembling more the interior of a bus or a subway.
The seats are firm and covered in a woven industrial material for easy cleaning should anyone get sick or spill something. Levinson tells me that they recently updated the seats to be more comfortable based on feedback from the employees who’ve been testing them. Because the seats are facing each other, there’s not a ton of visibility out either end of the vehicle. If you easily get carsick, sitting backward may be a bad idea.
The sliding side doors offer a decent view of what’s happening off to the side of the vehicle, though the seats come up above shoulder height, blocking your direct view. There are custom airbags hidden throughout the vehicle in case of a crash, and of course, seatbelts.
Levinson and I sit next to each other while the PR rep sits across, and there’s enough space between us to cross one’s legs without bumping into anyone. We buckle up and start the ride by using one of the tablets near the door. These are the only controls in the vehicle: riders can control the temperature, ask the vehicle to pull over, check the duration of the ride, and control the audio. Presumably some of these functions will also be controllable through the app.
Zoox autonomous robotaxis in San Francisco, California, US, on Wednesday, Dec. 4, 2024. Amazon owned Zoox Inc. has started testing its electric robotaxis in San Francisco’s SoMa neighborhood. Photographer: David Paul Morris/Bloomberg via Getty Images Bloomberg via Getty ImagesThe route we take is a pre-determined 30-minute loop to the very edge of the Las Vegas Strip and back. It’s all local roads, no freeways, with speed limits around 45 mph. As we wind past restaurants and strip malls, we encounter construction zones, pedestrians, and other normalcies.
The first challenge comes when we arrive at a construction site with a closed right lane ahead of an intersection. While the robotaxi navigates it fine, it still feels inorganic and slightly robotic. Instead of merging before coming to the lane closure like a human driver would, the Zoox drives right up to the sign blocking the lane, comes to a full stop, signals, and waits for a relatively large gap in the traffic to merge left. It takes a full minute before traffic lets up enough that the robotaxi feels confident enough to safely move over.
Later, we encounter a pedestrian waiting to cross with the light. No issues here: the Zoox waits patiently while the person crosses, and after the light changes, away we go.
If you easily get carsick, sitting backward may be a bad idea.
Beyond those two real-world challenges, the ride is largely uneventful, with the exception of some random and rather sudden jerky braking at the last minute when it comes to a light or a stop sign. Overall, the experience feels safe but less fully realized than a Waymo ride.
While the company says that it’s made some upgrades to things like suspension, brakes, and the electric drive units, the ride is still a bit rough, and the braking occasionally feels abrupt. With the wheels at the outer corners of the vehicle, and the body so low to the ground, rough roads (like the construction zone) and potholes are felt acutely. And since the seats have minimal padding, those undulations travel directly through your seat and into your body. That could be a problem for folks more attuned to the high-riding comfort of most modern SUVs.
Overall, the robotaxi did well, but it’s important to note that this wasn’t the first time that Zoox had driven the same route — nor was it the second or third time. There had already been at least 10 other journalists who had done the same route, not counting all the times Zoox ran the trip before inviting us aboard. Experts believe that the ability to route dynamically, without any pre-planning, is one of the most important tests of a driverless taxi service. With that in mind, Zoox still has a lot to prove.
And then there are those, for lack of a better term, pucker moments: when you cringe or brace because the autonomous vehicle is about to do something stupid. While there were a few unexpected braking moments along the way, and strangely conservative lane choices, the Zoox robotaxi never behaved in a way that made me feel unsafe.
Zoox is taking the slow and steady route to autonomy, while keeping a handle on its own design and proprietary software. Making the leap from a few test vehicles to wider success in places that aren’t always sunny with clear skies and moderate temperatures year-round is still a long way off for any robotaxi company. But Zoox thinks it has the winning formula.
“This experience that we’re having in this vehicle, there’s nothing like it now,” Levinson contends. “You can’t get that in a retrofitted car. You can’t get that in a Cybercab… We think we’re onto something.”