Big Little Lies changed everything. When it first hit HBO back in 2017, it wasn't just about the ocean views or the $5 million kitchens in Monterey. It was about the secrets. The kind of secrets that rot from the inside out while everyone pretends to be fine at a school fundraiser. Reese Witherspoon and Nicole Kidman basically set the blueprint for the "glamorous trauma" subgenre. Honestly, since that show ended, we’ve all been chasing that same high—that specific mix of high-end real estate, female friendship, and a murder mystery that actually feels earned.
Finding tv shows like Big Little Lies isn't just about finding another show with a dead body in the first episode. It's about finding shows that understand how friendship can be both a lifeline and a weapon. You want the atmosphere. You want the tension. You want to see people who have everything on paper but are absolutely falling apart behind closed doors.
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There's a specific psychology behind why we love these shows. It’s not just "rich people behaving badly," though that’s definitely part of the fun. Dr. Pamela Rutledge, a media psychologist, often points out that these narratives allow us to explore heavy themes like domestic abuse or social isolation within a safe, beautiful aesthetic. It’s "aspirational angst."
We like the contrast. Seeing a brutal act of violence occur against the backdrop of a pristine California sunset creates a cognitive dissonance that keeps us hooked. It’s why The Undoing worked so well initially, and why The White Lotus became a cultural phenomenon. We are looking for the cracks in the porcelain.
The Sharp Objects connection
If you haven't seen Sharp Objects, stop what you're doing. It’s the closest sibling to Big Little Lies because it shares the same director, Jean-Marc Vallée. His style is unmistakable. He uses memory like a physical object, cutting in quick, jagged flashes that mimic how actual trauma feels.
Amy Adams plays Camille Preaker, a journalist who returns to her Missouri hometown to cover the murder of two young girls. It’s sweatier and grittier than Monterey. Instead of crisp linens, you get humid afternoons and cheap vodka in water bottles. But the core is the same: the damage women do to each other across generations. Patricia Clarkson plays the mother, Adora, and her performance is genuinely chilling. It’s not a "fun" watch, but if you want that visceral, emotional weight that Big Little Lies had, this is the gold standard.
The White Lotus: Satire meets suspense
People often forget that The White Lotus is technically an anthology, but it hits all the same notes as our favorite Monterey moms. Mike White created something special here. It’s funny. It’s mean. It’s deeply uncomfortable.
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Season one takes us to Hawaii, while season two heads to Sicily. Both seasons start with a body being loaded into a plane or boat, then flash back to show us how we got there. It’s a masterclass in tension. While Big Little Lies focuses on the bond between women, The White Lotus focuses on the gap between the "haves" and the "have-nots." Jennifer Coolidge’s portrayal of Tanya McQuoid is legendary, but the real meat of the show is in the smaller interactions—the way a wealthy guest treats a resort staff member, or the way two couples compete over who is more "enlightened." It’s a different flavor of tv shows like Big Little Lies, but the DNA is there.
Bad Sisters is the dark comedy you're missing
If you want the "group of women hiding a secret" vibe but with a heavy dose of Irish wit, Bad Sisters on Apple TV+ is essential. It follows the Garvey sisters. They are close. Maybe too close.
The plot revolves around their brother-in-law, John Paul, who is—to put it lightly—a complete monster. He’s emotionally abusive, manipulative, and just generally awful. The sisters decide the only way to save their sister Grace is to kill him. The show jumps between the "past" where they are planning the murder and the "present" where life insurance agents are trying to prove foul play.
What makes this one of the best tv shows like Big Little Lies is the chemistry. You actually believe these women are sisters. They fight, they scream, they drink too much, and they would die for each other. It balances the darkness with genuine laugh-out-loud moments, which is a tough tightrope to walk.
The messiness of Dead to Me
Don’t let the half-hour format fool you. Dead to Me is dark. Christina Applegate and Linda Cardellini are a powerhouse duo. It starts with a hit-and-run and spirals into a web of lies that makes Madeline Martha Mackenzie look like a saint.
The show handles grief in a way that feels incredibly honest. Applegate’s character, Jen, is angry. She’s not "sad" in the traditional cinematic way; she’s furious at the world. Then she meets Judy, who is a ray of sunshine with a devastating secret. The twists in this show are relentless. Every time you think you know where it's going, the rug gets pulled out. It’s faster-paced than the slow-burn dramas of HBO, but it’s perfect for a weekend binge.
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Little Fires Everywhere: The suburban powder keg
Based on Celeste Ng’s novel, this show feels like a direct response to the "perfect suburban life" trope. Set in Shaker Heights, Ohio, during the 1990s, it pits Reese Witherspoon (again playing a high-strung mother) against Kerry Washington.
It tackles race, class, and motherhood with a sledgehammer. While Big Little Lies touched on these things, Little Fires Everywhere puts them front and center. The tension between Elena Richardson and Mia Warren is palpable. You can practically feel the heat coming off the screen. It’s a limited series, so it has a definitive ending, which is refreshing in an era of shows that overstay their welcome.
- Location matters: Shaker Heights is its own character, much like Monterey.
- The inciting incident: We know from the first scene that Elena’s house burns down. The whole show is a "how did we get here?"
- Motherhood: It explores the different ways women mother and the judgments that come with those choices.
Anatomy of a Scandal and the British influence
Sometimes you want that same vibe but with British accents and wood-paneled courtrooms. Anatomy of a Scandal on Netflix fits the bill. It stars Sienna Miller as the wife of a high-ranking politician accused of a terrible crime.
It’s sleek. It’s polished. It’s very "London elite." The show deals heavily with the idea of privilege and "the old boys' club." While it might not have the same emotional depth as Sharp Objects, it’s a gripping legal thriller that keeps you guessing. The way it uses camera angles to show the characters' shifting perspectives is very reminiscent of the editing in Big Little Lies.
Why we need these stories
Critics sometimes dismiss these shows as "soap operas for people with HBO subscriptions." That’s a mistake. These stories matter because they center female experiences that are often pushed to the margins. They talk about domestic violence, the crushing pressure of perfectionism, and the complexities of female friendship.
They also prove that women-led ensembles are massive draws. Before Big Little Lies, there was a weird myth in Hollywood that you couldn't have that many A-list actresses in one project without "clashing." Reese Witherspoon and Nicole Kidman proved everyone wrong by producing it themselves and creating a massive hit.
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The "Coastal Grandmother" Aesthetic vs. The "Monterey Noir"
There is a visual language to tv shows like Big Little Lies that helps define the genre. It's often called "Monterey Noir." Think:
- Oversized knit sweaters.
- Large glasses of white wine (usually a Chardonnay).
- Dramatic coastlines with crashing waves.
- Modernist houses with too much glass.
- A soundtrack that costs more than most indie films.
When you see these elements, you know you're in for a specific kind of ride. It's a world where the stakes feel life-or-death even if the conflict is about a birthday party theme. That’s the magic. It treats the interior lives of women with the seriousness of a political thriller.
Practical ways to find your next obsession
If you've exhausted this list, you have to look at the producers. Look for names like Bruna Papandrea or David E. Kelley. They have a knack for finding books that translate into this specific brand of television.
Check out The Undoing if you want more Nicole Kidman being distressed in expensive coats. It’s set in New York instead of California, but it has that same "is my husband a murderer?" energy. Or, for something a bit more international, look at the Australian series The Secrets She Keeps. It’s a lower budget but high-intensity thriller about two pregnant women whose lives intersect in terrifying ways.
The best way to enjoy these shows is to lean into the melodrama. Don't worry if it feels a bit "extra." That’s the point. We’re watching for the explosion. We’re watching to see what happens when the mask finally slips.
To get the most out of your next binge, start with Sharp Objects for the atmosphere, then move to Bad Sisters for the camaraderie, and finish with The White Lotus for the social commentary. Pay attention to the music and the editing; usually, the songs used in the background provide more clues to the plot than the dialogue itself. Keep an eye on the houses too—the more beautiful the home, the darker the secret inside usually is.