Tubi is a FAST (free, ad-supported streaming television) service from the Fox Corporation, and has a wide selection of series streaming for free, just with the price of ads. What makes Tubi unique is its seemingly exclusive streaming rights to previously removed Max originals like Lovecraft Country alongside its various other offerings from different channels and networks.
No account is required to start streaming on Tubi, though creating one will allow you to keep track of your watch history, as well as add shows and movies to your watchlist. Tubi’s rolodex of movies is impressive, and while its television slate is slightly less-so, there are still numerous classics and must-see TV shows to watch on the platform. Below, we have broken down the best shows to watch on Tubi (listed in no particular order), all available for totally free.
Beetlejuice
Beetlejuice! Beetlejuice! Bee—nevermind. Instead of summoning the sleazy ghost yourself, just turn on Tubi and immerse yourself in the cult classic animated series, which is now finally available on streaming. Beetlejuice follows the hilarious misadventures of Beetlejuice (Stephen Ouimette, taking over from Michael Keaton) and a 12-year old Lydia (Alyson Court, taking over from Winona Rider) as they attempt to assuage their boredom through bizarre episodic hijinks. This series features a sweetly endearing buddy relationship between Beetlejuice and Lydia, and is a perfect binge to embark on before watching the ghost’s big screen return in Beetlejuice Beetlejuice. —Anna Govert
Big Mood
Channel 4’s Big Mood has made it across the pond thanks to Tubi, where you can now watch all episodes of this hilarious and heartfelt series. Following best friends Maggie (Nicola Coughlan) and Eddie (Lydia West), Big Mood catalogs their journey as they move into their thirties, and begin to question whether or not their 10-year-long friendship is truly serving either of them. An irreverent comedy keen on highlighting that life doesn’t just stop as you exit your twenties, this series is a must-watch for any fan of Coughlan’s previous work on Derry Girls, or anyone just missing the distinctly millenial vibes of The Bold Type or Insecure. —Anna Govert
grown-ish
Even when the process is kept entirely in-house, it’s hard to know what to expect when an established series spins fan-favorite characters off to anchor something new. For the resulting spin-off to not only shift its target demographic, but move to a whole other network, like Yara Shahidi’s college-focused grown-ish did when it landed on Freeform after breaking away from ABC’s black-ish? That was more than unexpected—it was bold. Happily, it also proved to be a savvy play, the spin-off’s charming young cast, sharp writing, and fourth-wall-breaking confessional tone combining to give it real legs. As the black-ish-exported lead, Zoey, Shahidi is of course a blast to watch (even as Zoey makes bad decision after bad decision, as young adults alone at college for the first time are wont to do), but truly no more so than the rest of the ensemble cast, any one of whom could be considered a particular standout, depending on the mood you’re in. For the purposes of this list, Francia Raisa comes to mind, as her character, Ana Torres, is so diametrically opposite of the one she played for years on ABC Family’s The Secret Life of the American Teenager, but pop phenoms Chloe x Halle might be who you’re most drawn to, or Luka Sabbat’s overly chill Luca, or Emily Arlook’s kinda-messy Nomi, whose most recent major arc saw her coming out to herself (and the professor she inadvisably made out with) as bisexual. There’s just so much going on on grown-ish, and while much of it is as awkward and painful as the growing pains of real young adulthood can be (especially in the age of social media), it’s never not a delight. —Alexis Gunderson
Spartacus
One of Starz’s biggest early hits, the oiled-up, testosterone-fueled Spartacus began with Blood and Sand, which focused on the historic gladiator (and a historic amount of male nudity) and his loyal rebellion of freed slaves growing stronger as Roman troops readied themselves to fight back. Tragically, star Andy Whitfield was diagnosed with cancer after filming the first season, and Starz filled in the production gap with the prequel miniseries Spartacus: Gods of the Arena. Whitfield died in 2011, but the series continued on with a new lead, Liam McIntyre, for the follow-ups Vengeance and War of the Damned. Stylized battle sequences defined the series, but it also picked up more heart and substance as it continued. Look for early roles from Manu Bennett, Jai Courtney, Katrina Law, and more. —Allison Keene
Swamp Thing
Premiering on the now-defunct DC Universe app alongside Titans and Harley Quinn, Swamp Thing brought horror to the TV-MA side of DC’s television entries. Starring Teen Wolf alum Crystal Reed as scientist Abby Arcane, Swamp Thing follows Abby as she returns to her hometown in Louisiana to investigate a swamp-born virus. After her tentative bond with disgraced scientist Alec Holland (Andy Bean) is cut short by his tragic death, a mysterious creature—thing—residing in the swamp claims to be him. Defined by its chilling body horror, stand-out performances, and striking atmosphere in the Louisiana swamps, Swamp Thing was canceled far too soon, but what remains is a series absolutely worth watching. —Anna Govert
Astrid and Lilly Save the World
Released into the ether with little fanfare, Astrid and Lilly Save the World is about as obscure as you can get in our current streaming era. The series, which aired for just one season on SYFY, follows the titular Astrid (Jana Morrison) and Lilly (Samantha Aucoin) as they attempt to vanquish a gaggle of ridiculous and frightening monsters that they themselves accidentally summoned into their world. Pointedly starring two plus-size characters, the series examines the horrors of high school, including the brutal bullying that comes along with being outcasts, all as our central characters attempt to deal with their new supernatural problems. It’s charming, it’s silly, it’s heartwarming, and it’s hilarious. —Anna Govert
Gossip Girl
Slick, uber-wealthy and almost unbearably white, Gossip Girl was adroitly dubbed the “hockey fights video of teen romance drama” by the New York Daily News. While I tend to like my TV a little weightier and with a less blinding palette (seriously, you could set your white balance on most of this cast) I was, despite myself, quickly won over by this absurdist look at insanely wealthy New York teenagers. When the reactionary Parents Television Council referred to the show as “mind-blowingly inappropriate,” I was sold. Anything that pisses off a group of backwards tight-asses that much has got to be supported. And you know what? It was inappropriate. But so what? It was like Bugsy Malone with martinis and sex toys. Its tongue was planted firmly in cheek, and the show had wit to spare. And lest you think it was all modern fluff and wastoid teens, the show did have over-arching literary pretensions that often paid off. How else do you explain episode titles like “Pret-a-Poor-J,” “You’ve Got Yale!,” “The Witches of Bushwick” and “The Treasure of Serena Madre”? Sure the “Who was Gossip Girl” reveal makes much of the five years one giant plot hole, but who cares? You know you love her… XOXO, Gossip Girl! —Mark Rabinowitz
Next Level Chef
Gordon Ramsay—or at least his production company—represents a creative font unparalleled in its prodigious output on television these days, as a quick browse through streaming services will attest. It’s barely possible to even nail down how many disparate shows have Ramsay’s face attached to them at this point, and one wonders if even the celebrity chef could name every iron he has in the fire. Few are as flamboyantly silly, though, as Next Level Chef, a cooking competition built around the gimmick of a three-storied kitchen, where chefs on each level have the advantage (or hindrance) of working with progressively better or worse ingredients and equipment. Like the Netflix dystopian film The Platform, those left on the shabby bottom floor, dubbed “the basement,” are left cooking with whatever scraps are left when the show’s moving platform arrives, establishing a simultaneous satire of socioeconomic class and a fantasy of upward mobility, where contestants can “bootstrap” themselves up to a higher level with grit and determination. In truth, though, what we’re watching the show for is the pure sense of unfiltered chaos it radiates, the sight of a contestant blindly grabbing at ingredients for 30 seconds and only then taking a step back to wonder “Is it possible to cook a dish with these things?” TV is full of cooking competitions, but few thrust as much entertaining stress on their competitors. —Jim Vorel
Midsomer Murders
With 23 seasons (and counting) to its name since its debut in 1997, ITV’s Midsomer Murders is the UK’s longest running detective drama. Based on Caroline Graham’s crime-novel series Chief Inspector Barnaby, Midsomer Murders takes place in the affluent Midsomer county, where the eccentricities of its residents lead to compelling cases. While the series began with Detective Chief Inspector Tom Barnaby (John Nettles) at its center, Nettles’ retirement from the show in 2011 resulted in Detective Chief Inspector John Barnaby (Neil Dudgeon) taking the reins from his older cousin. Still as popular as ever, this charming series is a staple of British television, and specifically British crime dramas. —Anna Govert
Pride & Prejudice (1995)
Horse riders make their way through a 16mm-colored countryside, Colin Firth makes his way into a lake, and Austen makes her way onto TV in what remains the definitive adaptation of Austen’s work for the screen (the breathtaking opening three minutes of Joe Wright’s 2005 film adaptation aside). The music bounces from scene to scene with curlicue youthfulness. The acting prods the lines around it with sly good cheer. Through it all, the spirit of the adaptation by Andrew Davies can be found in his describing it so: “Let’s have Elizabeth on a hillside seeing these two tasty blokes galloping along, and something about them makes her skip down the hill.” And, for the implicit back and forth that inspires (let alone what follows), we follow, too. —Evan Fleischer
Stargirl
First things first: Stargirl is brutal. Featuring a peppy teen gymnastics phenom named Courtney Whitmore (Brec Bassinger) who finds a cosmically powered staff that gives her not just Superman-like powers but the overzealous confidence to immediately go out and use them, the DC Universe-turned-CW series doesn’t shy away from showing the visceral trauma inherent to a superpowered world. In the first few episodes alone a psychotic adult with mind-control powers terrorizes his son and nearly kills Courtney, another psychotic adult with ice powers does kill an innocent teen boy, and a third psychotic adult with an underground lair of tortured monsters and an above-ground lair with a mind-controlled trophy wife grooms his nightmare of a daughter into following in his just as murderous footsteps. And that’s not even getting into the regular old domestic abuse, alcoholism, and parental abandonment that all plague Courtney’s new Blue Valley friends (and future superheroic teammates) in their everyday lives.
Still, what Stargirl lacks in psychological (or physical) subtlety, it makes up for in its kitschy All American aesthetic. Ostensibly set in the modern day—as in, everyone has smart phones and working knowledge of the same Top 40 hits as Americans in 2022—Stargirl nevertheless looks like Pleasantville’s superpowered cousin. From Pat’s (Luke Wilson) classic car garage and Barbara’s (Amy Smart) mid-century modern working lady wardrobe to the layered primary colors and overly saturated sunshine palette, Stargirl is ready to give its audience period-piece whiplash. Thankfully, it’s so engaging that not even that will keep you from coming back for more. —Alexis Gunderson
Jojo’s Bizarre Adventure
For some time, Jojo’s Bizarre Adventure has been the anime I turn to when I need some R&R. Not that anything about it, at least at first glance, is particularly chill. It’s an anime full of men built like classical sculptures arguing as loud as they can over psychic battles they’re having, seemingly in molasses-slow time. What feels like hours encapsulates little more than a minute in JJBA’s universe. The anime is so much more than that, though; it’s a journey that spans a century and obliterates the rules of how to tell a traditional adventure story, taking liberal inspiration from Indiana Jones, Versace, classic rock, and any other fleeting interest of mangaka Hirohiko Araki to make an explosive hodgepodge of fast-paced absurdity, a language you’ll pick up on quickly and soon fine cozier than Sailor Moon. There’s a reason JJBA continues to be one of the most influential pieces of media to come out of the anime world. – Austin Jones
Lie to Me
FOX’s Lie to Me, which aired for three seasons from 2009 to 2011, follows Dr. Cal Lightman (Tim Roth), a body language expert who uses microexpressions, vocal tells, and physical movements and stature to determine when a person is lying. Both him and his collegues at The Lightman Group frequently consult with both local and federal law enforcement teams to solve their toughest cases through their relatively unconventional means. Like Bones, Lie to Me is loosely based on the real-life work of Paul Ekman, a body language expert, professor, and frequent consultant for the police. This series is smart and engaging, offering an interesting look into a type of methodology that is too seldomly employed in the procedural genre. —Anna Govert
Scandal
When so much of a show’s plot is made up of infuriatingly dramatic cliffhangers, it can be deeply satisfying to experience a series, like Scandal, as a binge. If you haven’t jumped on the bandwagon yet, have no clue what a Gladiator in a suit is, and don’t know whether you’re Team Jake or Team Fitz, there’s no time like the present. Kerry Washington plays Olivia Pope, a lawyer and crisis management expert who represents high-profile politicians and other clientele in Washington D.C. AKA the people running this great nation, who always seem to find themselves in the midst of a scandal.
Based on real-life D.C. fixer Judy Smith (the former Bush Administration aide who has represented folks like Monica Lewinsky, Kobe Bryant, and former Senator Larry Craig), Pope is a formidable character, often as much of a scandalous megalomaniac as her clientele. Sure, Rhimes (also the Created by of Grey’s Anatomy and Private Practice) draws on many-a-cliche for this series—endless love triangles, characters killed off at a moment’s notice, etc. But Scandal is, simultaneously, a refreshing and forward-thinking experience, with a black woman at the head of a very bizarre Scooby gang (brought to us by Weeds actor Guillermo Díaz, along with Darby Stanchfield, Katie Lowes, and Columbus Short), one of the first gay villains on television, and a stark quality that seeks to peel the mask off of American politics. Funny, sexy, downright frightening at times, and complete with an amazing ‘70s soundtrack for every episode, Scandal is the stuff binge-watching dreams made of. —Shannon M. Houston
Degrassi: The Next Generation
Technically a spinoff because it features existing characters, but also technically a reboot, Degrassi: The Next Generation is a product of the long-running Degrassi franchise, which launched in 1979 in Canada. This series, which debuted in 2001 and ran for 14 seasons, is perhaps the best example of what makesDegrassi special: it takes the very real challenges teens face and confronts them head-on with a perfect mix of educational lessons, melodrama, and self-aware humor to make must-see TV. Even as characters came and went over the years (such is the nature of a show set in high school), The Next Generation never lost its ability to reach young, impressionable audiences and tell important stories while tackling timely topics, such as teen pregnancy, drug abuse, abortion, and gang violence, just to name a few. So there’s a reason the Degrassi franchise has existed for as long as it has, but The Next Generation is the reason it’s as popular and well loved as it is. —Kaitlin Thomas
Scooby Doo, Where Are You!
In our popular culture, there might not be another group of characters as timeless as Scooby Doo and his band of meddling kids. In their first appearance on the now-iconic Scooby Doo, Where Are You!, jock Fred (Frank Welker), original “it girl” Daphne (Stefanianna Christopherson), brainiac Velma (Nicole Jaffe), hippie Shaggy (Casey Casum), and their dog Scooby Doo (Don Messick) travel around in their blue and green Mystery Machine van, solving seemingly supernatural mysteries. Scooby Doo, Where Are You!’s formulaic episodic structure and archetypal characters may have made the series memorable, but it also had a pattern that simply could not be replicated—though not for a lack of trying from Scooby Doo-studio Hanna-Barbera. Jabberjaw, Clue Club, Goober and the Ghost Chasers, Speed Buggy, and many more “4 kids and a pet—or sentient car—solving mysteries” cartoons were made by the studio in an attempt to replicate the runaway success of Scooby Doo, but lighting only struck once. Now with countless films and shows having been produced around the Scooby Gang, Scooby Doo, Where Are You! laid the groundwork for what would become a pop-culture empire. (And if you’re looking for more Scooby to watch, Tubi also has numerous other series featuring Scooby and the gang). —Anna Govert
Merlin
A lot of fantasy is based on existing myths, legends, and folklore, and although you might think you know the story of the famous King Arthur and Merlin, you’ve never seen it told quite like this before. The fan-favorite Merlin, which aired on the BBC from 2008 until 2012, is set in a version of Camelot in which magic has been outlawed. The story begins when Arthur Pendragon (Bradley James) and the wizard known as Merlin (Colin Morgan) are young men who cannot stand each other, but after the latter becomes the former’s personal servant, they put their issues aside and become fast friends. And this is a good thing for both men, since Merlin has to often use his gifts in secret to save Arthur—often without him knowing—so the latter can one day fulfill his destiny as the man who will restore magic to the kingdom. If you’re looking for a lighter fantasy show than some of the others on this list, this is a really good, quite fun option with plenty of bromance. —Kaitlin Thomas
Versailles
The wonderfully opulent and soapy drama Versailles focuses on the reign of France’s King Louis XIV, also known as the Sun King. The expansion of France, and the increased taxation that lead towards revolution, plays out against the building of the magnificent Versailles, as the series leans into the courtly drama and scandals that defined the era. Blagden is fantastic as a monarch who truly believes he was chosen by God (which leaves him both bold and conflicted), and is matched in confidence by Vlahos as Louis’ brother Philippe, the Duke of Orleans, who often wore women’s clothing and had a long-running affair with the Chevalier of Lorraine. There are mistresses and sexual romps to spare in the series, but also mysteries, double-crossings, and witchcraft. This is not a stuffy historical drama, but a modern-feeling escapade with a minimal glance towards accuracy. We wouldn’t want it any other way. —Allison Keene
The Fall
Let it be known that before he was Christian Grey, Jamie Dornan proved his acting chops and charisma as a disturbingly un-disturbable murderer in this superb psychological thriller. Dornan’s mild-mannered husband, father and grief counselor (!) is among the most terrifying onscreen serial killers in recent memory. Paul Spector is a stalker, as exacting and methodical as his eventual pursuer. Enter Gillian Anderson’s Stella Gibson, a British detective superintendent called to Belfast to look into a spate of gruesome murders. As the cat-and-mouse game intensifies, Anderson’s characterization is its own triumph: analytical, uncompromising, reserved, but brazenly sexual on her own terms, entirely unfazed by the politicking and dick-swinging of her male colleagues. That we know the identity of the killer from the show’s first frames, and yet can’t take our eyes off the screen is a testament to the stealth creep with which The Fall operates. —Amanda Schurr
Lovecraft Country
Lovecraft Country, an adaptation of Matt Ruff’s book of the same name, belongs more in a series of Weird Tales issues than in the current understanding of H.P. Lovecraft’s tentacle-ridden boogiemen, non-Euclidean geometry, and otherwise unknowable Old Ones. It’s a true pulp story, collected by showrunner Misha Green straight from the mill and bound with an exciting cast and setting to enrich its adventure. Savvy and sensational, you’ve never seen Lovecraft like this.
Ranging from Chicago’s South Side to the eerie East Coast where Lovecraft’s tales haunted their hapless sailors and professors, Lovecraft Country tracks the cruel magicks of legacy while pointing out at every turn that its genre’s legacy is steeped in racism. Just because Lovecraft was a racist dickhead on a cosmic scale doesn’t mean Atticus Freeman (Jonathan Majors) doesn’t love his brand of fiction. Tic and his Uncle George (Courtney B. Vance) kick off the series on a Jim Crow-defying quest to find Atticus’ missing father (Michael K. Williams)—who’s off in search of their family’s secretive and spooky “birthright”—accompanied by Tic’s childhood friend Letitia (Jurnee Smollet).
While Lovecraft Country’s plot moves fast, fast, fast—with head-spinningly quick consequences seemingly abandoned, only to manifest as high concept plots themselves—there’s so much good to hold onto that its pages turn themselves. Thanks to its perspective, the exploration of wild dreams and strange justifications of an unjust society, as well as the magical bounties residing in its oppressed corners, shines. Turns out lots of genre tropes become more interesting when the lead looks like someone other than Logan Lerman. Lovecraft Country does the work, whether through its in-universe interrogation of patriarchal systems inside of inherently racist structures, confrontation of closeted shame and the drag scene, or through utterly bomb needledrops. Each episode’s conceit is fascinating enough to deserve its own thinkpiece; each episode’s twist a shocking and gruesome delight. —Jacob Oller
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