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The 100 netflix without youtube

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    In 2013, you could count the number of Netflix original series that existed on one hand. Nine years later, that number is, well, a little higher. Over that time, the streaming giant became a huge player in the entertainment world, developing a massive catalog of content spanning all genres, for all audiences, in as many languages as the translators can manage.

    The below list, spotlighting 100 of the best offerings to come from Netflix since those earliest days, does its best to represent how Netflix has provided a home for near-countless series that might never have gotten a greenlight anywhere else, amplifying new takes and new voices just as a new hunger for innovative storytelling on television was being discovered. (For those curious about the rules here, the shows included had to have originated on Netflix, eliminating continuations like Arrested Development and Black Mirror.)

    The entertainment industry was a very different place before Netflix became a purveyor of original content — and more than any other single company, Netflix was responsible for those changes. Debates may wage for decades as to whether or not all of those changes were good ones. But the 100 shows below represent 100 reasons why we’re glad Netflix got in the game.

    Liz Shannon Miller


    100. Emily in Paris

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    What do you get if you mix Sex in the City, the ever-annoying Instagram algorithm, and a Rainbow Unicorn Bang energy drink into a blender? You’d get Emily in Paris, arguably one of Netflix’s most polarizing series of recent memory. Lily Collins’ Emily Cooper is Carrie Bradshaw for millennials and Gen-Zers who live on their For You Page, albeit ditzier and more ignorant as an American in Paris who can’t speak a syllable of French. Some say it’s corny; really, it’s camp. Come for the extravagant outfits, but stay for the soapy, tumultuous, and sex-driven decision making. — Rachael Crouch

    99. Q-Force

    Working from Sean Hayes’s idea for a gay James Bond, showrunner Gabe Liebman’s animated farce features a team of LGBTQI+ secret agents tasked with using their special skills to save the world. With a voice cast featuring Wanda Sykes, Patti Harrison, David Harbour, Laurie Metcalf and more, Q-Force is a treat for anyone who’s ever brunched in West Hollywood and/or can appreciate a reference like “Call me Miss Congeniality, honey, cos I’m a femme top with a gun.” — L.S.M.

    98. Selling Sunset

    When it comes to reality TV, it’s hard to name a show that is juicier than Selling Sunset. This series follows the Oppenheim Group, a Los Angeles real estate firm that sells mega high-priced properties. Of course, because this is a reality show, that isn’t all there is to it: drama and scandal runs rampant in its four seasons.

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    If that isn’t enough to sell you on Selling Sunset, it was also nominated for a Primetime Emmy Award for Unstructured Reality Program, and has two spin-offs courtesy of Netflix: Selling Tampa, (basically Selling Sunset but in Florida), and Selling the OC, which is set on California’s Newport Beach. So if you’re looking to peak behind the curtains at the world of the rich and famous, you’re looking for a healthy dose of drama and catfights, or you just want to look at beautiful houses for a while, Selling Sunset is without a doubt the show for you. — Aurora Amidon

    97. Turn Up Charlie

    No one ever went broke betting on the dramatic and comedic potential of teaming up a precocious small child and a gruff adult disillusioned with the world. Turn Up Charlie, created by Idris Elba and Gary Reich, stars Elba as a struggling D.J. whose new nannying gig might help relaunch his music career — provided he can survive serving as caretaker to the irrepressible Gabrielle. While it received a lukewarm critical reception upon its premiere, Elba’s undeniable charms (and solid EDM tracks, created specifically for the show) make this a pleasant low-key watch. — L.S.M.

    96. Daybreak

    Most shows set during the post-apocalypse can be pretty dour experiences, but there’s a level of pure glee built into this short-lived series about a teenager (Colin Ford) who honestly finds life in the chaotic ruins of Glendale, California to be a lot better than the before times. Just going to say this: There are 99 other shows on this list, but this is the only one where Matthew Broderick plays an actual cannibal. Tune in for the wild genre riffs, stay for one of the post-apocalypse’s greatest innovations: American Ninja Idol. — L.S.M.

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    95. History of Swear Words

    You get six episodes of Nicolas Cage and guests — ranging from pop culture personalities like Sarah Silverman, Nick Offerman, Jim Jefferies, and Isiah Whitlock Jr., to legitimate scholars like Elvis Mitchell and Mireille Miller-Young — discussing the secret history of profanity with playful poise, archival footage, and colorful historical reenactments. What more could you want? — Jordan Blum

    94. Disenchantment

    Lacking the pure irreverence that’s made The Simpsons and Futurama classics, Disenchantment is in some ways Matt Groening’s undervalued stepchild. But that’s not entirely fair. It’s a very different type of show, one that actually seeds an intricate storyline throughout its seasons rather than the general sitcom setup of those other series. In that, it arguably exceeds Groening’s past cartoons, as following Bean, Elfo, and Luci becomes more than just “what wacky thing will these characters do next” and begs for investment in true arcs. Along with Groening’s trademark humor, some wonderfully inventive animation, and a stellar cast (Abbi Jacobson, Eric André, Nat Faxon), it’s a fun, funny fantasy that, given the chance, will wrap you up in its magic. — Ben Kaye

    93. Lost in Space

    The Space Family Robinson got a Martian-level facelift in Netflix’s three-season chronicle of their quest to join the rest of humanity on Alpha Centauri. It suffered from the same pacing and tonal problems as any Netflix show, but made up for it with Parker Posey as a wily, manipulative take on Dr. Smith and

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    90. Too Hot to Handle

    Netflix has cracked the code on what makes good trash television – isolating a group of obnoxious hot people from society and letting them do their thing. Too Hot to Handle is perhaps the trashiest of the streamer’s dating show fare, which is ironic given how its premise hinges on the rule that nobody can be intimate with each other. However, how entertaining can a reality dating show be if all the rules are followed? Sexy and messy times await for anyone who wants to resist temptation for $100,000. — E.B.

    89. A Series of Unfortunate Events

    The second attempt at Lemony Snicket’s macabre children’s novels managed to deliver a quirky (and complete) adaptation that satisfied both its young fans and very-much-adult original audience alike. Though Neil Patrick Harris never delivers he nails the menacing Count Olaf while baby Sonny took a big bite out of our hearts. — Bryan Kress

    88. Brand New Cherry Flavor

    One of the common complaints against Netflix’s original library is that the majority of its titles aren’t particularly risky or unique. Brand New Cherry Flavor is the bizarre, bloody, and downright weird outlier of this belief. With all of its outlandish plot diversions and eyebrow-raising sex, its core tells a powerful and unfortunately relatable story of female creativity at the whims of patriarchal capitalism. Given its divisive reaction upon release and subsequent TikTok infamy, Brand New Cherry Flavor is a uniquely chaotic experience that needs to be seen to be believed. — E.B.

    87. The Floor Is Lava

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    One of the benefits of Netflix’s throw-everything-at-the-wall-and-see-what-sticks approach is a multitude of bizarre game shows that in another time would have just been a Saturday Night Live game show sketch. The best of these is The Floor is Lava, a sort of Double Dare-style obstacle course version of the classic game every bored kid has played on their furniture at home. — Al Shipley

    86. Magic for Humans

    Magician and former Food Network host Justin Willman packages dense topics like fear and fatherhood into digestible episodes with tricks, and the occasional social experiment that might make participants wish they could stay invisible. No matter what, you’ll never hear the name Susan the same again. — B. Kress

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