
The 20 best superhero TV shows of all time
Superheroes might have been a screen staple since the 1950s but capes, tights and masks never go out of style. Indeed, a ceaseless production line of Hollywood blockbusters have made them the dominant genre of the early 21st century. Marvel's latest TV effort is Black Panther/Iron Man spin-off Ironheart, following science student Riri Williams (Dominique Thorne) as she invents an Iron Man-style armoured suit. But what are the best shows ever to pow, zap and fly into our living rooms? Here's our countdown of the all-time TV top 20.
How did we select our 20?
As Spider-Man's Uncle Ben always had it, 'with great power there must also come great responsibility' (although, sorry, Spidey, you haven't made our cut). We've looked at the entirety of the superhero genre on TV, determined not to fall into the cliché of just relying on Marvel and DC staples.
That means, you'll find some more whimsical family favourites nestling between the stern jaws and pumped pecks of some of our line-up. Heartfelt apologies, however, to SuperTed, the 1960s Spider-Man cartoon (of 'does whatever a spider can,' fame) and the Bill Bixby/Lou Ferrigno The Incredible Hulk series; all of which just fell outside our selection. Turns out there's one super-villain that can't be beaten: The capricious TV critic!
20. He-Man & The Masters of the Universe (CBS/ITV, 1983-1985)
'By the power of Grayskull!' The biggest, daftest cartoon of the Eighties was this fantasy romp based on a Mattel toy range. When helmet-haired, muscle-bound Prince Adam held aloft his sword and uttered the magic words, he transformed into the universe's most powerful human and foiled the evil plans of cackling villain Skeletor. It spawned literal sister series, She-Ra: Princess of Power, plus films, reboots and even more toys. Ker-ching.
19. Moon Knight (Disney+, 2022)
If you can overlook leading man Oscar Isaac's creaky Cockney tones, which creep into Dick Van Dyke territory, there is much to enjoy in this tragicomic Marvel miniseries. As a mercenary with dissociative identity disorder, Isaac had a ball giving each alter ego a different personality (and accent) as he unravelled a mystery involving nocturnal warriors and Egyptian gods. Wild, weird and witty. Cor blimey, Mary Poppins.
18. Wonder Woman (ABC/CBS/BBC One, 1975-1979)
'All the world is waiting for you / And the power z you possess / In your satin tights / Fighting for your rights / And the old red, white and blue.' It's since had a Hollywood reboot – hasn't everything? – but the DC Comics adaptation about an Amazonian princess coming to America is a true cult classic. Lynda Carter became a pop culture icon as the feminist heroine, battling crime with her bullet-deflecting bracelets and golden lasso. Huge fun and just camp enough.
17. The Thundermans (Nickelodeon, 2013-2018)
This surprisingly sophisticated teen-com followed the titular superpowered family as they attempted to live a normal existence in the fictional city of Hiddenville. While the parents struggled not to use their powers, their wisecracking children enjoyed exploring theirs – or, in the case of son Max, dreamed of becoming an evil supervillain – complete with a sassy talking rabbit.
16. Daredevil (Netflix, 2015-2018)
British actor Charlie Cox excelled as blind New York lawyer Matt Murdock, who used his heightened senses to lead a double life as a masked vigilante. His nocturnal crusade set him on a collision course with crime lord Wilson Fisk (a skin-crawlingly creepy Vincent D'Onofrio). The bruising combat scenes, memorably a pulverising corridor fight, were widely acclaimed. It was recently resurrected for Disney+ sequel series Daredevil: Born Again.
15. Preacher (AMC/Amazon Prime Video, 2016-2019)
A trio of Britons led this western-style comic book adaptation. Dominic Cooper starred as Texan preacher Jesse Custer, who was infused with a supernatural gift during a crisis of faith. He sets out on a quest to understand his new-found cosmic powers, joined by gun-toting ex-girlfriend Tulip (Ruth Negga) and vagabond Irish vampire Cassidy (Joseph Gilgun). Gleefully gory, it blended horror with humour to hugely entertaining effect.
14. Teenage Mutant Ninja Turtles (CBS/BBC One, 1987-1996)
It was conceived as a superhero parody but soon took on a life of its own. Leonardo, Donatello, Raphael and Michelangelo – a Renaissance-named quartet of anthropomorphic turtle brothers, trained in ninjutsu (still with us?) – became 'heroes in a half-shell' by fighting evil from the sewers of New York City. The cartoon became a playground phenomenon, birthing a turtle-powered franchise of comics, films, games, toys and even breakfast cereal. Cowabunga indeed.
13. Agent Carter (ABC/Fox UK, 2015-2016)
The Marvel universe did period drama – and did it jolly well – in this stylishly rendered series about Captain America's love interest. Our own Hayley Atwell was winningly charismatic as all-action spy Peggy Carter, battling baddies and post-war sexism at the Strategic Scientific Reserve. A perky, pulpy romp with a knowing wink and pleasing Britishisms ('Crikey O'Reilly!' was among her catchphrases).
12. Jessica Jones (Netflix, 2015-2019)
The most noirish of the first wave of Marvel series, this brooding, slow-burn thriller followed a traumatised ex-superhero, superbly played by Breaking Bad's Krysten Ritter. Hard-drinking Jessica Jones fought her demons by working as a private eye in Hell's Kitchen. Our sardonic anti-heroine faced off against a worthy foe in David Tennant's monstrous, mind-controlling Kilgrave.
11. Super Gran (ITV, 1985-1987)
Is there nothing she cannae do? Like a Beano comic strip come to life, this Tyne Tees caper saw a sweet old lady (Gudrun Ure) acquire superpowers when zapped by a magic ray. As she kept the town of Chisleton safe from villainous Scunner Campbell (Iain Cuthbertson), the series was sold worldwide and won an Emmy. A gallery of guest stars included Billy Connolly, George Best and Barbara Windsor. It just edges out SuperTed, Bananaman and Danger Mouse in our 'quintessentially British children's TV parody' slot.
10. Heroes (NBC/BBC Two, 2006-2010)
'Save the cheerleader, save the world.' Creator Tim Kring's pre-Marvel, post-Lost fantasy yarn was impossibly exciting when it first touched down on our screens. As a seemingly ordinary group of civilians slowly became aware of their special abilities, it delivered globe-straddling, comic book-style thrills. Later series got too wrapped up in mystical mumbo-jumbo and its own mythology but for a while back there, Heroes was ambitious, blockbuster television.
9. The Penguin (HBO/Sky Atlantic, 2024-present)
Arguably this dark psycho-drama doesn't quite qualify because its anti-hero is technically a baddie. But the show's sheer quality means we've turned a blind eye. A Sopranos-esque mob saga stars Colin Farrell, near-unrecognisable under heavy prosthetics, as disfigured gangster Oz Cobb on his rise through Gotham City's criminal underworld. Fox drama Gotham – another Batman prequel, this time starring Ben McKenzie as a young Chief Gordon – isn't half bad either.
8. Misfits (E4, 2009-2013)
This very British riff on the genre began with a group of gobby young offenders doing community service. When stuck outdoors during a strange electrical storm, they acquired a supernatural power apiece. Think X-Men with an Asbo. Howard Overman's scripts fizzed with street humour, while the bright young cast – Iwan Rheon, Antonia Thomas, Nathan Stewart-Jarrett, Lauren Socha and scene-stealer Robert Sheehan – would go on to bigger things.
7. WandaVision (Disney+, 2021)
Marvel's first Disney+ series was unexpectedly eccentric and an utter delight. Witchy Wanda (Elizabeth Olsen) and android Vision (Paul Bettany) were the Avengers-turned-homemakers, trying to conceal their true natures while living in a sitcom-style suburban idyll. Each episode paid loving homage to TV history, slowly peeling back the couple's domestic bliss to expose the darker truths beneath. A love story wrapped in a David Lynchian mystery, this was a thoughtful exploration of grief and nostalgia.
6. Lois & Clark: The New Adventures of Superman (ABC/BBC One, 1993-1997)
This sparky screwball-style spin on the Man of Steel made stars out of Dean Cain and Teri Hatcher, who were hugely charming as Daily Planet colleagues Clark Kent and Lois Lane. The pair's will-they-or-won't-they romance provided the backdrop to Clark secretly donning the costume to fight for justice. Airing at Saturday teatimes in the pre-Strictly era, it united the generations. As Superman TV series go, it eclipses teen prequel Smallville, which ran for a few series too long and lost its way.
5. Watchmen (HBO/Sky Atlantic, 2019)
Alan Moore's graphic novel masterpiece is traditionally described as 'unfilmable', so Lost creator Damon Lindelof called his miniseries a 'remix'. Smart, cinematic and endlessly surprising, his wild reimagining dropped the masked vigilantes into present-day Oklahoma. A cast led by Regina King, Don Johnson and Jeremy Irons served up a boiling brew of racial tension and dystopian chaos. Defying expectations of a comic book adaptation, this was bold, bravura TV.
4. Supacell (Netflix, 2024-present)
The newest UK entry on our list transcended superhero tropes to become something truly ingenious. Created by musician and director Rapman, the distinctive drama saw five South Londoners suddenly develop supernatural abilities. Their contrasting reactions to their newfound powers were compelling. Raising awareness of sickle cell disease while acting as a metaphor for black Britishness, this was supa-smart social commentary.
3. The Boys (Amazon Prime Video, 2019-present)
Incongruously, one of Amazon's biggest hits is this near-the-knuckle, anti-capitalist twist on the familiar superhero formula. A welcome antidote to dark origin stories and cinematic pomposity, The Boys is like Marvel's lippy teenage brother, with a taste for ultra-violence and transgressive sex scenes. Pitting the commercialised 'Supes' against a band of black ops vigilantes, it's a nihilistic satire with plenty to say about institutional corruption and corporate America. And it usually says it in luridly vulgar language. In Antony Starr's sociopathic Homelander, it also boasts one of the best villains on TV.
2. Legion (FX/Fox UK, 2017-2019)
Writer Noah Hawley, who masterminded the award-winning Fargo anthology and the upcoming Alien: Earth, is one of the most boundary-busting showrunners on TV. His 'anti-Marvel Marvel series' was built around a stunning star turn from Downton Abbey alumnus Dan Stevens as the schizophrenic son of X-Men leader Charles Xavier. Imprisoned in a psychiatric facility, he tried to control his mutant powers and fight the sinister forces who wished to harness them. Dramatising the inner workings of the human mind, it was visually dazzling and utterly unique.
1. Batman (ABC/ITV, 1966-1968)
Holy top spot, Batman! Nowadays the Caped Crusader is a brooding, traumatised creature of the night. Once upon a time, he was actually fun. Starring Adam West as Batman and Burt Ward as sidekick Robin, this swinging Sixties crime caper followed the Dynamic Duo as they defended Gotham City from a rogue's gallery of camp supervillains. With hammy performances, tongue-in-cheek humour, a killer theme song and shameless cliffhangers, it gleefully embraced its comic book origins, coming to define the genre for the next three decades. Its only rival in the TV Batverse is Nineties modernisation, Batman: The Animated Series. Ker-pow!
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Friends and Spider-Man star dies in his sleep aged 96 after 60-year Hollywood career
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BBC News
an hour ago
- BBC News
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But ultimately, it is Ennis' deep-rooted internalised homophobia that thwarts their potential happiness. The challenges of getting it produced Thinly-veiled homophobia – this time in early-2000s Hollywood – made Brokeback Mountain an immense challenge for Ossana and her fellow producer James Schamus. After she read Proulx's short story in 1997, Ossana and screenwriting partner McMurtry persuaded the author to let them adapt it for the screen. "Annie said, 'I don't see a film there, but have at it,'" Ossana recalls. They completed the screenplay in three months, but it took nearly eight years to get the film into production. "The biggest problem was casting Ennis. Actors would commit and then back out, or they just were too afraid based upon what their representatives were telling them," she explains – because for an aspiring leading man at the time, playing a gay character was widely viewed as "career suicide". 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Betancourt believes Brokeback Mountain was able to provide a watershed moment in LGBTQ+ representation precisely because it was rooted in proven Hollywood tropes. "As a Western and a melodrama, it played within two well-worn genres and infused them both with new vibrancy – mainly due to the fact it's a love story between two men," he says. At the same time, Brokeback Mountain also adheres to another Hollywood trope: what Teeman describes as depicting "queer love as beautiful but doomed", a narrative that plays out in the likes of The Children's Hour (1961) and Philadelphia (1993). The two men's flickering romance is finally extinguished when Jack dies in ambiguous circumstances. Lureen tells Ennis over the phone that Jack was killed by an exploding tyre – though at the same time, we see images of Jack being viciously beaten by a group of men. Ennis is envisioning, all too believably, his lover being killed in a homophobic hate crime. Its debatable legacy Perhaps because it played by the rules while challenging them at the same time, Brokeback Mountain's place in film history is assured. In 2018, it was selected for preservation in the United States National Film Registry, which recognises works that are "culturally, historically, or aesthetically significant". It occupies an equally integral, though more complicated place, in the queer film pantheon. "As a piece of cinema, it remains as ravishing and disarming as ever," Betancourt argues, "but as a pivot point for queer representation, it remains as singular but limiting as it was then." It is, after all, the story of two closeted gay or possibly bisexual men who "pass" as straight in their everyday lives. More like this:• Why Requiem for a Dream still divides• The darkest children's film ever made?• The horror that traumatised millennials Though Brokeback Mountain remains important and influential, it's difficult to quantify its long-term impact on LGBTQ+ representation. Teeman notes that Hollywood gave a green light to several "mainstream queer-themed films" in its wake, notably Milk (2008) and The Kids Are All Right (2010); these were followed in turn by Carol (2014), Moonlight (2016) and Call Me by Your Name (2017). But he also believes "there's little consistency and regularity in the flow of queer-themed stories and lead characters to the screen". For Teeman, "TV and theatre are [still] more radical than film when it comes to queer representation." Brokeback Mountain also retains a unique relevance because of its place in the ongoing debate about whether straight actors should play gay roles. Both Gyllenhaal and Ledger, who died in 2008, are widely presumed to be heterosexual, though Ossana says it was "none of my business" as a producer to ask questions about their sexual orientation. "It's the old chestnut, and Brokeback Mountain is the ultimate exemplar," Teeman says. But even with these caveats, it remains a stunning and heartbreaking piece of cinema that strikes a particular chord with LGBTQ+ viewers. Brokeback Mountain offers a stark reminder that denying your true identity is a tragedy that can derail several lives at once. Brokeback Mountain is being re-released in US cinemas, beginning with special showings on June 22 and 25. -- If you liked this story sign up for The Essential List newsletter, a handpicked selection of features, videos and can't-miss news, delivered to your inbox twice a week. For more Culture stories from the BBC, follow us on Facebook, X, and Instagram.


The Guardian
an hour ago
- The Guardian
Trump's coalition is self-destructing over the Iran war question
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Off-air, he was texting his colleagues a different opinion: 'We are very, very close to being able to ignore Trump most nights,' Carlson wrote in a text sent on 4 January 2021. 'I truly can't wait,' he wrote, adding: 'I hate him passionately.' So there's something fishy about Carlson. We all know it. Even Fox knew it. He was abruptly fired from the network in 2023 and later launched his own streaming service, the Tucker Carlson Network, in December 2023. His 2024 interview of Vladimir Putin has raised questions about judgment. 'I am definitely more sympathetic to Putin than Zelenskyy,' he told NewsNation. Questionable, to say the least. Carlson is also a much under-appreciated actor. He will explode in giddy laughter in one second only to turn accusatory the next. He lures you in with a goofy gaze, but he is extremely quick on his feet. He somehow always looks like he just got back from summer vacation. People call him a pundit. I think of him more as a performance artist. While the interview with Cruz illustrates some of Carlson's abilities, it was also a masterclass in highlighting Cruz's main talent. Over the years, Cruz has honed the marvelous skill of brilliantly showcasing his own limitations (such as the time Cruz ran off to Cancún in the middle of a devastating power outage that occurred during a deep freeze in Texas). The Carlson-Cruz interview centered on a few topics: the influence of the American Israel Public Affairs Committee (Aipac) on American politics, if Aipac should register as a foreign agent (Carlson: Yes. Cruz: No), and who blew up the Nord Stream 2 pipeline, among others. The question of the United States going to war with Iran, however, was at the center of the interview, as it is also at the center of our national politics right now. 'How many people live in Iran, by the way?' Carlson asks Cruz. 'I don't know the population,' Cruz responds. 'You don't know the population of the country you seek to topple?' Carlson asks, incredulously. Cruz shoots back. 'How many people live in Iran?' Carlson quickly responds, '92 million. How could you not know that?' 'I don't sit around memorizing population tables,' Cruz says defensively. 'Well, it's kind of relevant because you're calling for the overthrow of the government,' Carlson says. 'I am not the Tucker Carlson expert on Iran!' 'You're a senator who's calling for the overthrow of their government. You don't know anything about the country!' 'No. You don't know anything about the country!' And so it went. The whole fiasco was at times childish, other moments vindictive, but all over simply wonderful, as the Maga world implodes on its own fissures, ignorance, and contradictions. A case in point. Cruz repeatedly lashes out at the Iranian regime for basing its politics on religion, while he wishes to use his own theology to justify his politics. Carlson is having none of it. It began with Cruz telling Carlson that he was 'taught from the bible that those who bless Israel will be blessed, and those who curse Israel will be cursed. And from my perspective, I want to be on the blessing side of things.' 'Those who bless the government of Israel?' Carlson asks. Cruz responds that 'it doesn't say the government of Israel. It says the nation of Israel. That's in the Bible. As a Christian, I believe that.' Carlson presses Cruz. 'Where is that?' 'I can find it for you. I don't have the scripture off the tip of my, pull out the phone and use Google.' 'It's in Genesis,' Carlson quickly says. 'So you're quoting a Bible phrase that you don't have context for and you don't know where it is, and that's like your theology? I'm confused.' The Maga movement is doomed to self-destruct at some point, full as it of too many contradictory tendencies. We already saw it crack when Elon and Donald took a relationship pause recently. But there are other fractures. Trump ran on a platform that was supposed to end all wars immediately. That clearly hasn't happened. In fact, he may soon bring the United States into another endless war in the Middle East. The prospect is widely disliked, even by his base. Only 19% of those who voted for Trump in 2024 think 'the US military should get involved in the conflict between Israel and Iran'. Maga diehard Marjorie Taylor Greene now calls Fox News 'propaganda', saying the American people have been 'brainwashed into believing that America has to engage in these foreign wars in order for us to survive, and it's absolutely not true.' Steve Bannon, a key influence on Trump, told reporters this week that 'We don't want any more forever wars.' He added: 'We can't do this again. We'll tear the country apart. We can't have another Iraq.' For his part, Trump offered his typically bold leadership by telling reporters 'Nobody knows what I'm going to do.' Presumably that nobody also includes him. The White House later said that Trump will 'make a decision on whether to attack Iran within two weeks'. Bannon further believes that, if Trump does drag the US into war, most of his base will ultimately follow. The Democratic party, unsurprisingly, can't decide what it wants, though only 10% of those who voted for Harris in 2024 favor going to war. In other words, the US entering Israel's war with Iran is massively disliked across the political spectrum. But that doesn't mean it won't happen. Our fractured and hollow politics may actually enable it. If it happens, the Maga movement may not survive, but do they really have to take the rest of us down with them along the way? Moustafa Bayoumi is a Guardian US columnist