10 Best Feel-Good TV Shows Streaming On Netflix

Television can make us feel all sorts of feelings, from fear to excitement to joy to sadness. That is one of the great powers of the medium — its ability to get us so invested in storylines and characters that we feel for and with them. Sometimes, experiencing more difficult emotions — anxiety or heartbreak, for example — within the context of a television show can have a cathartic effect, purging us of these feelings from the safety of our living rooms.

In other instances, we want TV watching to be an altogether easy and pleasant experience, keeping us not on the edge of our seats but comfortably settled into our couches with a nice cozy blanket. This kind of programming, which Netflix has in spades, is often called feel-good TV, which alludes to the fact that these shows tend to be more heartwarming than heartbreaking. Folks also refer to these types of series as “comfort shows,” which we might return to year after year when we’re in need of a warm hug via our television screens. (Or in certain cases, when the seasons change.) We all need shows like these in our lives, and that’s where this list comes in. Keep reading to discover our picks for the 10 best feel-good TV shows streaming on Netflix.

Is there anything cozier and more delightful than “The Great British Baking Show”? The beloved series (called “The Great British Bake Off” in the U.K.) has warmed hearts and made stomachs grumble across the globe for more than a decade. The premise is similar to that of other cooking competition shows. Twelve amateur bakers are chosen from across the United Kingdom to compete in a series of baking challenges, and one contestant is eliminated each week until a winner is crowned.

While other cooking competition shows can be stressful, “The Great British Baking Show” avoids any drama or hotheadedness. Waiting to see if a contestant finished their bake in time can make an audience anxious, but not because we’re worried anyone will get yelled at. Everyone on the show is exceedingly nice, and the series is defined by everyday folks just doing their best. Rarely is there a feeling of serious competition amongst the contestants. Instead, they all truly seem to want each other to succeed, and there is a real sense of disappointment within the group when someone gets eliminated.

Though longtime judge Paul Hollywood can be a bit of a grump (his co-judge Prue Leith is generally more complimentary, as was previous judge Mary Berry), his steely-eyed gaze can’t cut through the good-hearted feelings that permeate the tent. The hosts also do a wonderful job of keeping everyone’s spirits up when kitchen mishaps inevitably occur.

In 2023, 16 years after it went off-air, “Gilmore Girls” ranked in the top 10 of most-streamed television shows. With its remarkable staying power, “Gilmore Girls” — having aired six seasons on The WB and its final season on The CW during the 2000s – is a time-honored comfort show that fans, especially millennial fans, return to with seasonal regularity. Indeed, it’s become a canonical fall and winter show – the data tells us that more viewers watch it during these cooler months.

There are several elements that explain the show’s continued comforting appeal. It’s set in the small town of Stars Hollow, Connecticut, which is as quaint as can be. The town is populated by a quirky cast of characters who add local color without derailing the storylines of our titular protagonists. Though drama exists in the world of “Gilmore Girls,” its mother-daughter story is grounded in unconditional familial love.

Lorelai (Lauren Graham) and Rory (Alexis Bledel) are pop culture obsessives, and “Gilmore Girls” has become the kind of media product they would reference in the show — endlessly quotable and era-defining. The series is so dialogue and reference-heavy that you’re likely to catch things you missed the first time around upon a rewatch, giving both longtime fans and new viewers plenty to chew on. “Gilmore Girls” offers audiences the chance to settle into a picturesque, caffeine-fueled fantasy, which is why it will never grow old.

“Heartstopper” proves that a feel-good show doesn’t have to elide serious, real-life problems. In fact, “Heartstopper” feels so good precisely because it addresses important issues facing young people today. Based on Alice Oseman’s graphic novel series of the same name, the show centers on Charlie (Joe Locke), a gay teenager who’s badly bullied at school. Charlie falls in love with his classmate, Nick (Kit Connor), a popular rugby player who later comes out as bisexual. The show also follows the lives of Charlie’s friends including movie-obsessed Tao (William Gao), Elle (Yasmin Finney) who is trans and recently transferred schools, the bookish Isaac (Tobie Donovan), and Tara (Corinna Brown) and Darcy (Kizzy Edgell) who are dating.

“Heartstopper” tackles numerous meaningful topics over the course of three seasons, including mental illness, eating disorders, homophobia, and transphobia. Despite delving into heavier themes, the show maintains its sense of optimism and brightness. Though there are a few jerks sprinkled throughout the series, most characters in “Heartstopper” are good people trying to do the right thing — both adults and teenagers alike. The characters make mistakes, but they’re always there to support one another, which contributes to the show’s overwhelmingly wholesomeness. Often heralded for its groundbreaking depiction of underrepresented groups, the series has an entirely earnest manner.

“Grace and Frankie” has a lot going for it. It stars two real-life friends, Jane Fonda and Lily Tomlin, as the titular characters. They discover that their husbands, played by screen legends Sam Waterston and Martin Sheen, have been having an affair for 20 years. With the legalization of gay marriage, it’s time for them to finally tie the knot and leave their longtime spouses. Grace (Fonda) and Frankie (Tomlin), who have never been close, move into their husbands’ beach house together and start the process of becoming best friends.

The show’s cast is its most obvious draw, as Fonda and Tomlin are both beloved actresses. This is actually a challenge for the writers, who must work to differentiate the characters from the superstars playing them. The writing becomes more nuanced as the show progresses, and Grace, Frankie, and their entire families reveal themselves to be complicated, eccentric people. But it’s the eponymous women that make the show so heartfelt and comforting. Knowing about Fonda and Tomlin’s IRL friendship indeed makes their on-screen dynamic that much sweeter, but these characters and their unique situation stand on their own. Though “Grace and Frankie” addresses the difficulties of getting older head-on, it’s never dour or melodramatic. There’s always humor to be found in Grace and Frankie’s mishaps, which gives the show a thorough feeling of warmth.

In the early 2000s, reality makeover shows were often mean spirited. There was “What Not to Wear,” in which unsuspecting people were ambushed and told they were terrible dressers. On “America’s Next Top Model,” Tyra Banks would cut off contestants’ hair just for the fun of it. And let’s not forget “The Swan,” in which “ugly ducklings” were given extreme makeovers, including plastic surgery.

Reality TV tends to be nicer these days, as evidenced by one of the era’s best feel-good shows: “Queer Eye.” Itself a reboot of an early 2000s series — Bravo’s “Queer Eye for the Straight Guy,” which had a definite mean streak — “Queer Eye” presents a much more wholesome picture. The new Fab Five includes Jonathan Van Ness, a hair and makeup expert; Antoni Porowski, who manages food and wine; Bobby Berk, who does interior design; Karamo Brown, who manages lifestyle issues; and Tan France, a fashion expert. In each episode, the Fab Five help a nominated individual improve their life, which involves both literal makeovers and lifestyle changes.

Unlike previous iterations of shows like this, “Queer Eye” is all warmth and positivity. The Fab Five work to make participants feel good about themselves and teach them about the importance of self-care, rather than criticizing their choices. Despite potential drama behind the scenes, each episode results in a heartwarming story and major feel-good vibes.

The Channel 4 series “Derry Girls” makes light of a difficult situation the way only teenagers can. Set in the Northern Irish city of Derry, the show follows a group of teenagers attending a Catholic school. “Derry Girls” takes place during the Troubles, but our teenage protagonists are more concerned with their petty shenanigans than political unrest. The ambitious but self-obsessed Erin (Saoirse-Monica Jackson) is the leader of the group. She is joined by her eccentric cousin, Orla (Louisa Harland), friend Clare (Nicola Coughlan), also known as the “wee lesbian,” wild child Michelle (Jamie-Lee O’Donnell), and the regrettably British James (Dylan Llewellyn). They’re overseen by the hilariously austere Sister George Michael (Siobhán McSweeney).

This goofy group of adolescents is immediately lovable, and every single one of them is a delightful weirdo. They’re always getting themselves into unfortunate situations, but the drama remains low stakes. Indeed, their self-absorbed teenagedom insulates them from the surrounding political unrest, and the show’s confined, familiar environment gives it a feeling of coziness. The most-watched show in Northern Ireland’s history, “Derry Girls” hits all the right notes: the ’90s nostalgia comes through loud and clear (another checkmark in the “feel-good” category), the writing is clever and offbeat, and its portrayal of how bizarre it is to be a teenage girl feels timeless. Though it only ran for three seasons, its relative brevity means that “Derry Girls” was able to go out on a high note.

TV show revivals and reboots are everywhere these days, and there’s a certain amount of trepidation that comes with the announcement of a TV show’s rebirth. Will it do justice to the original? Will it bring something new to the table? In 2017, Netflix made the risky decision to reboot the beloved 1975 sitcom “One Day at a Time.” This turned out to be a stroke of genius, as the reboot was an utter delight — before it was unjustly canceled twice.

This version of the show follows a Cuban American family living in Los Angeles. Mom Penelope (Justina Machado) is an Army veteran who works as a nurse. She lives with her mother, the dramatic Lydia (Rita Moreno), son Alex (Marcel Ruiz), and daughter Elena (Isabella Gomez). As a multi-camera sitcom filmed in front of a live audience, “One Day at a Time” delivers plenty of laughs within that familiar format. But the show gets deep, too.

When the characters struggle, the show doesn’t shy away from that. One of the series’ most impactful storylines involves teenager Elena, who comes out to her family in the first season. Though much of her story is heartwarming, it’s also painful at times. The series also delves into mental health, depicting Penelope’s struggles with depression and PTSD. With some truly stellar acting and characters that feel like real people, “One Day at a Time” proves that sitcoms can be the site of great storytelling.

The TV Land series “Younger” pulled off an impressive feat. With its gimmicky premise, it still managed to keep things fresh and interesting for seven satisfying seasons. Broadway star Sutton Foster plays Liza Miller, a 40-year-old woman going through a divorce. Faced with the prospect of re-entering the workforce, Liza realizes she’s dismissed because of her age. With the help of her lesbian artist best friend, Maggie (Debi Mazar), Liza passes herself off as a 26-year-old and gets a job as an assistant at a publishing firm. Her boss, Diana Trout (Miriam Shor), is a ruthless but fair leader, while Liza befriends her coworker Kelsey (Hilary Duff), who is actually 26.

The plot “Younger” sounds like it would be best-suited to a 100-minute rom-com, but showrunner Darren Star, who also created “Sex and the City,” makes it work. The acting plays a huge part in the show’s success. Despite the show’s silly premise, Foster gives Liza depth, imbuing the ruse with an undercurrent of uncertainty. The show accomplishes a balancing act of sorts, keeping things light and breezy — it feels both easygoing and highly bingeable — while making sure the characters are given the space to grow. We won’t spoil the consequences of Liza’s lie, but suffice it to say, she’s forced to change course at a certain point. Like “Sex and the City,” “Younger” is slyly perceptive about the topics it satirizes, even as it maintains a pleasing air of fluffiness.

In the Netflix series “GLOW,” a group of women fight for survival in an arena run by a man who doesn’t understand them. A girl-next-door type introduces us to a cast of marginalized characters imprisoned by a society that wants to put them in boxes. If that sounds a little like “Orange Is the New Black,” that’s not a coincidence. “GLOW” was co-created by “Orange Is the New Black” writer Carly Mensch and executive produced by that show’s creator, Jenji Kohan. If you like “Orange Is the New Black,” you’ll probably enjoy “GLOW,” but that’s not to say the shows are identical.

Alison Brie plays Ruth, an out-of-work actress in 1985. Desperate for a job, she accepts an offer to participate in a new wrestling show called the Gorgeous Ladies of Wrestling (or GLOW). Her fellow wrestlers include a stuntwoman, a she-wolf, and her former best friend-turned nemesis, Debbie (Betty Gilpin). As the women develop their (oftentimes offensive) wrestling personas, they also come to feel a sense of empowerment in their work and through their relationships with one another.

“GLOW” is a hilarious show, and it mines the big-haired culture of the 1980s — as well as the performative world of wrestling — for as many jokes as it can. But the series also functions as a drama, as these characters struggle to survive in a world that wasn’t built for them. This tonal oscillation between ludicrous artifice and emotional sincerity is the show’s beating, neon-tinged heart.

“Midnight Diner” is the ultimate comfort show, but it’s not made to be binged or consumed like a frivolous cotton candy confection. Rather, “Midnight Diner” should be savored like the nourishing snack it is. The Japanese anthology series takes place in a late-night Tokyo diner run by a mysterious man known as Master (Kaoru Kobayashi). We know nothing about him apart from his talent as a chef and the large scar that runs across his face. Master’s menu is limited — it includes only pork and vegetable soup and a few drinks. But he will make any dish a customer requests, as long as they provide the ingredients.

The diner has several dedicated regulars, but each episode focuses on a new patron. These customers request a dish, sometimes relating to their childhood or a happier time in their lives, and we learn about their story. Master patiently listens to their tales as he prepares the dish, offering sage wisdom or observations when the time calls for it. But mostly, he listens, and he cooks. The show explores the silliness of these patrons’ problems while maintaining a pleasant sense of melancholy. Master’s customers long for an imagined past or a sense of home, and Master, who seems to be a loner himself, offers them a moment of connection. “Midnight Diner” is the perfect show to watch late at night or before bed, when you want to disconnect from social media and remember that we’re all pretty much the same.