50 Best TV Shows of 2025

The TV landscape of today may be smaller than a few years ago, but its ability to captivate audiences and shape the culture remains intact.

Netflix’s celebrated limited series “Adolescence” brought the gruesome realities of youth being influenced by the internet toward violence, while revolutionizing one-take storytelling in television.

New streaming shows like HBO Max’s “The Pitt” and Apple TV’s “The Studio” captured critical attention, won Emmys and drove viewership to their respective platforms.

Classic broadcast shows like ABC’s “Dancing With the Stars” reached new viewership highs catering to younger, online audiences, while “Matlock” on CBS proved network TV can still capture attention.

Audiences, of course, bid farewell to beloved series like Disney+’s “Andor” and Netflix’s “Stranger Things” on creative highs, while new shows like HBO’s “The Chair Company” and FX’s “The Lowdown” brought new creative excellence to the surface.

Check out TheWrap’s staff picks for the best TV shows of 2025 below:

“Adolescence” (Netflix)

It’s fitting that “Adolescence” came out of nowhere and blindsided the entire TV industry, because that’s what it feels like to watch Jack Thorne and Stephen Graham’s masterpiece. “Adolescence” starts with 13-year-old Jamie (Owen Cooper) being interrogated by the police over the murder of one of his classmates. Initially, the accusation seems unthinkable as the audience watches Jamie panic on the verge of tears as his father (Graham) rushes to his defense. But as the show continues, the horrifying truth becomes apparent as the camera pans through the proceedings, led by Philip Barantini’s brilliant directorial work. The four-episode Netflix original stands as a deeply disturbing examination of an unthinkable yet all-too-common crime and the effects unregulated internet access can have on young, impressionable minds. — Kayla Cobb

“Alien: Earth” (FX)

Giving the reins of the “Alien” franchise to the mastermind behind FX hits like “Fargo” and “Legion” seemed like a recipe for success — and turns out, it was. The network spared no expense once it finally committed to Noah Hawley’s vision for what an “Alien” TV series could look like. The show has plenty of close-quartered brutalizing of soldiers from a number of xenomorphs, but also stepped back to look at the role synthetics and the newly-minted “hybrids” play in the world. Corporate greed, dubious science, steam-filled corridors hiding monsters, the show checks all the franchise boxes while always making sure Hawley’s strength for humanizing both the best and worst characters in his stories is at the forefront. — Jacob Bryant

“All Her Fault” (Peacock)

While the limited thriller series based on Andrea Mara’s book of the same name features plenty of twists and turns in the kidnapping saga of Marissa Irvine (Sarah Snook)’s son Milo, what has drawn audiences in since its November release sometimes even more than its twisty plot is the show’s investigation of the invisible labor placed on women in any heterosexual marriage or family structure. It’s a fate even a high-achieving businesswoman like Marissa can’t escape, and only exasperated after Milo goes missing and she must hold what’s left of her family together in spite of her husband’s aloofness. As Marissa makes shocking discoveries about her husband (Jake Lacy) and others close to her, bringing her to a heightened emotional state played beautifully by Snook, “All Her Fault” lets the actress fall back on her blossoming friendship with Jenny (Dakota Fanning). — Loree Seitz

“Andor” (Disney+)

“Andor” might well be the story of our time. The second and final season of the Disney+ Star Wars series pits Cassian Andor, Luthen Rael, Bix Caleen, Mon Mothma and more against the growing power and influence of the Galactic Empire. Across 12 episodes chronicling four years of the growing rebellion, the characters make one devastating sacrifice after the next in the pursuit of fighting for something greater than themselves. If the parallels to fighting an encroaching presence of facism and authoritarianism are stark, it only serves to make the series hit all the harder. Watching “Andor” Season 2 in 2025 can be a scary prospect but also a hopeful one — and doing so at this time can serve as a reminder that many of us have “friends everywhere.” — JB

“The Beast in Me” (Netflix)

TV veterans Claire Danes and Matthew Rhys stretch their abilities to the extremes in “The Beast in Me,” as they investigate the complex relationship that forms between recluse author Aggie Wiggs (Danes) and real estate mogul Nile Jarvis (Rhys) when the latter moves in next door. With any attraction or romance off the table given Aggie’s sexuality, the pair skips over niceties and dives into the meat of what most would leave unsaid in the early stages of meeting someone: their traumas, regrets and deepest desires. It’s refreshing, though both Aggie and the audience must balance their intrigue with suspicion, given Nile had been rumored to have killed his wife. The stakes heighten quickly, leading up to a heart-stopping reveal that will leave you reeling. — LS

“Black Rabbit” (Netflix)

“Black Rabbit” should have been talked about more. But the fact that it wasn’t means that it will be something people discover for years to come. And that idea is delightful. The show, from the husband-and-wife team of Zach Baylin and Kate Susman, follows Vince (Jason Bateman), a world-class screw-up after he crash-lands back into the life of his more put-together (seemingly) brother Jake (Jude Law), who owns the titular bar and restaurant. And, sure, the setup for “Black Rabbit” might sound familiar, the central push-and-pull soon becomes elaborate and thrilling, with sublots involving Jake’s best friend and business partner (Sope Dirisu) and his adorable girlfriend (Cleopatra Coleman); a villainous loan shark who is after Vince (played by Troy Kotsur) and a jewel heist that is hinted at in the very first episode and pays off much later. Occasionally, “Black Rabbit” can feel like an episodic version of something like “Uncut Gems” — a panic attack happening in real-time. But that is also what makes it so special. With episodes directed by Jason Bateman, Laura Linney and Australian auteur Justin Kurzel, “Black Rabbit” starts off as a familial crime saga before eventually blossoming into an operatic American tragedy. Great stuff. — Drew Taylor

“The Chair Company” (HBO)

“I Think You Should Leave” fans were blessed with multiple doses of Tim Robinson this year between the film “Friendship” and the comic thriller series “The Chair Company.” This show sees another one of Robinson’s bumbling men try to become the protagonist of his own “Parallax View”-style investigation, trying to get to the bottom of a deep conspiracy after embarrassing himself in a public arena. Throughout the season, Robinson’s Ron Trosper finds himself getting deeper and deeper into the rabbit hole, with the finale leaving far more questions than answers. The show (created by Robinson and collaborator Zach Kanin, and directed by Andrew DeYoung and Aaron Schimberg) is expectedly hilarious, surprisingly thoughtful and always interesting. Season 2 can’t come soon enough. — Casey Loving

“Common Side Effects” (Adult Swim)

Joe Bennett and Steve Hely’s Adult Swim series defies expectations at every turn. Its animation may look like “King of the Hill,” but “Commons Side Effects” is more akin to “Fargo” — a twisting, philosophical action adventure with notes of dark comedy. When fungi expert Marshall (voiced by Dave King) finds a mushroom capable of curing any illness, he immediately wants to share his discovery with the world. But in short order, Marshall finds himself the target of a pharmaceutical company, the DEA and several other high ranking forces. Together with his old high school crush turned corporate stooge Frances (voiced by Emily Pendergast), they’ll have to find a way to save humanity despite the best efforts of the health and wellness industry. “Common Side Effects” stands as a searingly insightful dive into how profitable disease can be. — KC

“Dancing With the Stars” (ABC)

The ballroom dancing competition captivated both lifelong fans and new Gen Z viewers with its 34th season this fall. Merging legacy talent like Andy Richter and Elaine Hendrix with social media stars like Alix Earle and Robert Irwin, “Dancing With the Stars” broke voting records and scored its biggest finale ratings in nine years with over 9 million viewers. The dance reality series brought the heart and vulnerability out of the season’s talent, giving audiences an intimate glimpse into their favorite athletes and personalities. By inspiring TikTok trends while still appealing to its dedicated older audience, the show has emerged as a ratings hit, even earning its own annual holiday special. — Tess Patton

“Death by Lightning” (Netflix)

For people yearning for an aspirational version of politics a lá “The West Wing,” you’re in luck because Netflix’s “Death By Lightning” is waiting to be binged. The limited series chronicles oft-forgotten President James Garfield’s rise to office and the troubled man who would assassinate him shortly after the election. Michael Shannon, Betty Gilpin, Nick Offerman and “West Wing” alum Bradley Whitford are all stellar in the four-episode series, but it’s Matthew Macfadyen as Garfield assassin Charles Guiteau who steals the show. After his showing as Tom in “Succession,” his role in “Death By Lightning” solidifies that nobody plays an absolute f–king loser better than Macfadyen. — JB

“The Diplomat” (Netflix)

While “The Diplomat” already found its groove in exploring the messy dynamic between Rufus Sewell’s Hal and Keri Russell’s Kate, the plot thickened for Season 3 as the Netflix series made way for a “West Wing” reunion between Allison Janney and Bradley Whitford, who joined as the first gentleman, bringing another complex and sometimes resentful couple to the mix. The foursome shines in Episode 6, titled “Amagansett,” when Kate and Hal pay an impromptu visit to the couple — there’s little that compares to watching Kate and Hal talk around the oysters that Whitford’s Todd bled on while shucking. With Hal and Janney’s Grace Penn cementing a new partnership, we’re eager to see what thrilling dynamic the couples get into next season. — LS

“Dying for Sex” (FX)

Only Liz Meriwether could craft a series that simultaneously embraces humor and sex with the rawness of tragedy, terminal illness and grief. With “Dying For Sex,” you’ll get several shows in one: one about discovering sexuality at a later point in life, one about turning away from a relationship that doesn’t serve you and leaning friends along the way, and one about the terrifying, yet peaceful period near the end of life, and how that impacts both its victims and their loved ones. Michelle Williams perfectly embodies the timid, yet curious protagonist whose voice grows with each sexual encounter and hospital visit while Jenny Slate guides the audience through every laugh, cry and feeling of bewilderment. Plus, you’re in for masterful performances from Sissy Spacek and Paula Pell. — LS

“Forever” (Netflix)

There are plenty of romance shows and there are plenty of teen dramas, but nothing plucked our heartstrings this year like Netflix’s “Forever.” And as soon as we saw Mara Brock Akil’s name attached, we knew it’d be an instant hit. The series follows the fiery first love story of two Black teens, Justin (Owen Cooper Jr.) and Keisha (Lovie Simone). As they sort through their unique social backgrounds and ideas of what a relationship looks like, while juggling the real-life challenges Black people face daily, their love takes viewers on an emotional journey and leaves you on the edge of your seat by the show’s end. “Forever,” based on Judy Blume’s beloved teen romance novel of the same name, marked the “Girlfriends” creator and mega-producer’s debut at Netflix after establishing her Story27 production banner with the streamer and signing a multi-year agreement to write and produce scripted content and other creative projects. — Raquel Calhoun

“The Gilded Age” (HBO)

Julian Fellowes’ take on the rise of the American aristocracy during the Industrial Revolution flew mostly under the radar in its first two seasons, but Season 3 grew into a bona fide hit this year. Centered around the battle of old versus new money in New York society and headlined by “White Lotus” star Carrie Coon, the period drama from Fellowes and co-writer Sonja Warfield sparked buzz aplenty with soapy storylines, a dramatic wedding episode and a glossy social media campaign powered by HBO’s marketing efforts. The ensemble drama ended with series-high viewership and big cliffhanger, leaving audiences old and new begging for new episodes. Thankfully, they’ll get their wish sometime in 2026. — Jose Alejandro Bastidas

“Hacks” (HBO Max)

The Season 3 finale of “Hacks” promised a war between Deborah (Jean Smart) and Ava (Hannah Einbinder), and Season 4 delivered on that decree. It’s always a joy to see these two powerhouses try to outjoke and outmaneuver each other, especially when creators Lucia Aniello, Paul W. Downs and Jen Statsky gave us so many previous episodes of the pair getting along. But the real standouts of “Hacks” Season 4 were its side characters. Julianne Nicholson brought a level of emotional range to the seemingly wholesome Dance Mom that led to one of the best TV twists of the year. This season also introduced mainstream audiences to Robby Hoffman, an indie comic darling known for her mile-a-minute wit, nervous demeanor and empathetic view of the world. — KC

“Hal & Harper” (Mubi)

In a TV landscape full of action and genre-focused shows, there’s a case to be made for slower, more emotive shows. Cooper Raiff makes that case with “Hal & Harper,” an indie coming-of-age dramedy centered on codependent siblings played by himself and Lili Reinhart. With Hal in college while Harper navigates her mid-20s, the siblings are touchstones for periods of messiness, spiraling and uncertainty on the road to adulthood, with Reinhart beautifully portraying the beginning of an end of a long-term relationship. Raiff and Reinhart get to flex their acting chops as they embody the school-aged versions of their children, building out what their family dynamic looked like in the wake of tragedy and how it’s developed since then. Joining the duo is Mark Ruffalo as their father, who captures his character’s lingering grief as he attempts to start the next chapter of his life with his new girlfriend (Betty Gilpin). — LS

“The Handmaid’s Tale” (Hulu)

All good things must come to an end, even if it means some of your beloved TV characters die in a plane explosion. After a nearly three-year hiatus, “The Handmaid’s Tale” returned for the conclusion of June Osborne’s tale of vengeance, compassion and freedom. The series wrapped with some sweet character returns, tender farewells and a final scene that serves as a PSA that June will stay at the forefront of the resistance trying to take down Gilead. — RC

“Heated Rivalry” (Crave, HBO Max)

If anyone had predicted that a Canadian gay hockey romance would become one of the year’s biggest global hits, they would have surprised even the executives behind it. “Heated Rivalry,” produced by Canada’s Bell Media for Crave and streaming on HBO Max in the U.S., adapts Rachel Reid’s “Game Changers” romance series into an intimate portrayal of the love between two closeted professional hockey players played by newcomers Connor Storrie and Hudson Williams, who happen to be the captains of rivaling teams. Fans of the book series helped build buzz for weeks, with momentum building all the way up to its November premiere and securing distribution in the U.S., Australia and more countries. The show lured new fans with its graphic sex scenes and attractive leads, before delving into the raw emotion and romance that made the source material resonate with the genre’s biggest advocates — with Episode 5 landing one of the most romantic climaxes (no pun intended) on TV in a decade. Buzz only grew as the six-episode series released new episodes weekly, securing it a Season 2 renewal after just three weeks. Time for everyone to join the “Heated Rivalry” fandom, because it’s not going away! — JAB

“The Hunting Wives” (Netflix)

“The Hunting Wives” splashed onto the scene this summer, moving to Netflix from Starz just six weeks before its release. Brittany Snow’s Sophie moves from Boston to East Texas and is met with a provocative, gun-slinging group of girlfriends led by Malin Ackerman’s Margo Banks. The newcomer finds herself in the middle of a murder mystery plot after a night of drunken debauchery. What made the series a viral sensation, though, was its campy tone and salacious plotlines — ranging from a full strip tease in the women’s bathroom to two grown women cheating on their husbands with high schoolers. “The Hunting Wives” has been picked up for a second season, now as a full-fledged Netflix original. — TP

“It: Welcome to Derry” (HBO)

Stephen King’s “It” is such a gargantuan project to adapt that plenty of it ended up on the cutting room floor, even after Andy Muschietti spread the story across two films. Lucky for HBO, and King’s Constant Readers, the hunger for more stories in Derry was almost as vast as Pennywise’s hunger for kids. “It: Welcome to Derry” examined the town in an earlier cycle of cosmic killer’s hunting and haunting. The HBO series continues the solid jump scares and storytelling the films flaunted and Bill Skarsgård remains deeply captivating as Pennywise the Dancing Clown. If you’re looking for solid horror on the small screen then “Welcome to Derry” represented some of the best in 2025. — JB

“Invincible” (Prime Video)

Now we’re getting to the good stuff. “Invincible” Season 3 took on some of the greatest storylines from Robert Kirkman’s long-running comic book series about a young superhero rising above his father’s dark legacy. Short arcs like the Invincible War and Conquest’s arrival were rendered brilliantly in the action-packed third season of the Image Comics adaptation. Lead actors like Steven Yeun and Gillian Jacobs are only getting better in their roles with time, while Jason Mantzoukas gives one of the best performances of his career in his voice over role. As a book reader, trust me — Season 4 will be a good one. — CL

“King of the Hill” (Hulu)

We’ll tell you what: A 15-year hiatus in real life and a corresponding eight-year time jump for the beloved people of Arlen, Texas, just worked. Getting to see Hank and Peggy Hill grapple with the absurdities that have plagued recent history provided plenty of laughter, keen observations and heartwarming moments. Any TV fan would be lucky to have their favorite show return with as much care as was clearly put into “King of the Hill” Season 14. Plus, it’s already been renewed for two additional seasons, so Hulu clearly sees something here, too. — JD Knapp

“Landman” (Paramount+)

Arguably Taylor Sheridan’s best, most compelling work outside of the ever-expanding “Yellowstone” universe, “Landman” returned just a year after its initial season became a sensation. If you didn’t like that first season, which chronicled the chaotic life of an oil company fixer (played, flawlessly, by Billy Bob Thornton) and the typhoon of complications, both personal and professional, that beset him at every turn, you probably won’t get much out of Season 2. But those of us who were riveted by the first season were certainly rewarded in its sophomore outing — not only is Thornton’s Tommy Norris now dealing with Demi Moore, now the head of the oil company after her husband (Jon Hamm) died, he’s also now dealing with his father (Sam Elliott) moving into the family and his son (Jacob Lofland) making entrées into the family business. Add to that Andy Garcia, as a villain introduced in the Season 1 finale, taking a more prominent role, and you’ve got all the makings of thoughtful, pulse-quickening television. As remarkable as anything on the show is the fact that Sheridan was able to write every episode of season 2 while overseeing his vast empire. He’s certainly struck oil. — DT

“Long Story Short” (Netflix)

The follow-up series from “BoJack Horseman” creator Raphael Bob-Waksberg, “Long Story Short” didn’t cause much of a stir when it debuted over the summer, but it’s a lovely, melancholic piece of television that shouldn’t be lost in the relentless drumbeat of Netflix’s new releases. The animated series follows a Jewish family through the years, offering at once a big-picture portrait of the Schwoopers’ lives while zooming in on intimate moments that recontextualize it all from episode to episode. Equal parts funny and sad, “Long Story Short” is also achingly tender in contrast to “Bojack’s” signature acrid tang, and that surprise of a soft heart is what gives the series its biggest strengths. — Haleigh Foutch

“Love Island USA” (Peacock)

Coming off of a stellar Season 6 that brought widespread visibility to the Peacock reality dating show, there was undeniably pressure for “Love Island USA” to repeat that magic for Season 7. Luckily, one key component was already a sure fire way to maintain the audience: “Vanderpump Rules” star Ariana Madix at the helm as host. While Season 6 set a high bar with casting, the new season’s cast brought just as much drama and shocking moments to the table. Where “Love Island USA” excelled however, was using its existing audience to keep building upon the show, including when Megan Thee Stallion, a genuine fan of the reality franchise, came to the Fiji villa to promote her swimwear and host a twerking competition. — LS

“The Lowdown” (FX)

One of the year’s most beguiling surprises was “The Lowdown,” from “Reservation Dogs” creator Sterlin Harjo. The series stars Ethan Hawke as Lee Raybon, a self-styled “truthstorian” (basically a shaggy dog journalist who also owns a dumpy used book store) who, after authoring an expose on a local Tulsa family, is drawn into a mystery after one of subjects supposedly offs himself (a terrific Tim Blake Nelson, appearing mostly in flashbacks). From there, this gonzo neo-noir goes down some very dark avenues, some involving Tulsa’s checkered past and some involving where it’s headed in the future. Harjo and his team of creative partners, which includes everyone from “Halloween Kills” writer Scott Teems to legendary novelist Walter Mosley, conjure a modern mystery brimming with life and character. Hawke is unparalleled as a pseudo-detective whose righteous indignation might just be a cover for feeding his own bruised ego. And he’s surrounded by maybe the best supporting cast of the year, with Keith David, Kyle MacLachlan, Tracy Letts, Macon Blair, Paul Sparks, Dale Dickey, Jeanne Tripplehorn and Ryan Kiera Armstrong (soon to be very famous in the new “Buffy the Vampire Slayer” show) all putting in outstanding, deeply layered performances. If you haven’t seen “The Lowdown,” which might be the case given Hulu’s iffy marketing campaign and that seriously anonymous title, it’s time to correct that mistake. It’s one of the most entertaining, soulful shows that arrived this year. Pray for a second season. — DT

“Matlock” (CBS)

While “Matlock’s” first season centered on the budding friendship between Kathy Bates’ Matty Matlock and Skye P. Marshall’s Olympia, Season 2 zeroed in on the process of rebuilding trust after Olympia learned Matty was hiding a secret life, family and agenda to take down the law firm Jacobson Moore. For much of the season, the power is in Olympia’s hands, as she grapples with morality and what’s best for her family, knowing that the recovered Wellbrexa study implicates the father of her kids, Julian (Jason Ritter), as well as her ex-father-in-law and boss, Senior (Beau Bridges). Marshall embodies Olympia’s moral shifts impeccably, standing her own ground across the prolific Bates. The season has also thrown some curveballs for both Julian and Leah Lewis’ Sarah, giving them a chance to stretch from their perfect facade and laying the groundwork for some payoff when the show returns this spring. — LS

“Only Murders in the Building” (Hulu)

Whenever a series in the streaming era makes it for more than two seasons, it’s always a difficult challenge to keep audiences engaged. Make it a murder mystery, and it’s even harder not to fall into the same patterns. But the chemistry of the core trio of “Only Murders in the Building” — Steve Martin, Selena Gomez and Martin Short — continues to make the Hulu comedy a worthy binge just on its own. While Season 5 didn’t have the bigger stakes of Season 3’s Broadway show or Season 4’s Hollywood film, the Hulu comedy showcased yet another strong lineup of celebrity guest stars, from returning vets like Meryl Streep and Nathan Lane to newcomers Keegan Michael-Key, Christoph Waltz, Renee Zellweger and Logan Lerman. Its mystery also tugged at the heart strings with the loss of beloved Arconia doorman Lester, portrayed by Teddy Coluca. And with Season 6 headed to London — and featuring Tina Fey’s Cinda Canning as its latest victim — it’s sure to be the show’s most exciting and biggest swing yet. — Lucas Manfredi

“Outlander: Blood of My Blood” (Starz)

Arguably one of the best romances on TV right now is “Outlander: Blood of my Blood,” the Starz’ prequel series keeping the beloved franchise alive as “Outlander” winds down with its upcoming eighth and final season next year. As “Blood of my Blood” traces the love story of both Jamie and Claire’s parents, the prequel is both a delightful payoff for loyal fans of the original series as well as an unburdened introduction to the “Outlander” world for those who might not have watched the original series. It’s a credit to the magnetism of the new cast members, Harriet Slater and Jamie Roy, who play Jamie’s parents, Brian and Ellen; as well as Jeremy Irvine and Hermione Corfield, who play Claire’s parents, Julia and Henry. The new cast threads in just enough of Jamie’s bravery and Claire’s clever intellect to draw in “Outlander” fans, but it’s their compelling and sweeping romance that will keep them watching. — LS

“Overcompensating” (Prime Video)

Benito Skinner’s semi-autobiographical college trip down memory lane earned its place in the best shows of 2025. The Prime Video series followed Benny, played by Skinner, as he came into his own at Yates University, discovering more about himself along the way. The closeted high school football star is in for a rude awakening in college, met with awkward hookups, a pep talk from Megan Fox and a near threesome with a gay couple played by Matt Rogers and Bowen Yang. The coming-of-age comedy is filled with laughs and a lot of heart. The ensemble cast features breakout Wally Baram, Mary Beth Barone, Adam Dimarco, Lukas Gage and Owen Thiele, among others. The series was renewed for Season 2 at the streamer, so there’s still time to catch up as the rest of us wait for the cliffhanger of the season finale to be resolved. — TP

“Paradise” (Hulu)

One of the first genuine surprises of 2025, though maybe it shouldn’t have been. Sterling K. Brown and James Marsden lead Hulu’s horrific what-if scenario series from Dan Fogelman. “Paradise” is a propulsive watch from a twisty start to shocking finish. It burst onto my watchlist after a few episodes dropped and demanded full attention until its Season 1 story was told. While everyone can always use a good mystery series worthy of some theory-crafting, it’s Brown’s lead performance that grounds the series — and Marsden is equally captivating in the stellar seventh episode “One Day,” which might be worth checking out on its own even if the show is a pass. — JB

“The Pitt” (HBO Max)

One of 2025’s biggest TV success stories, “The Pitt” proved that the medium’s way forward might be going back to the basics. Starring “ER” alum Noah Wyle and boasting industry veterans R. Scott Gemmill and John Wells among its executive producers, “The Pitt” follows the doctors, nurses and healthcare professionals at a Pittsburgh emergency room through a 15-hour shift in real time. The 15-episode first season was praised for its authentic portrayal of the medical profession after the COVID pandemic, and as proof that streaming viewers are clamoring for shows that more closely resemble the classic days of broadcast dramas with longer episode orders and procedural storytelling that can be produced at lower costs and air yearly. And it wasn’t just viewers who celebrated “The Pitt” as an achievement. The show earned five Emmy wins in 2025, including for best drama series and best actor for first-time winner Wyle. Season 2 will premiere Jan. 8 with a chaotic new shift. Long live “The Pitt”! — JAB

“Pluribus” (Apple TV)

Any new show from “Breaking Bad” creator Vince Gilligan was going to be noteworthy. But few could have predicted the splash that his new Apple TV sci-fi dramedy “Pluribus” would make this year. Gilligan’s wry, cockeyed riff on the alien invasion genre features a career-best (and hopefully star-making) turn from “Better Call Saul” star Rhea Seehorn as the only unhappy person left on an Earth where almost every surviving human has been made pleasant, happy and docile by an extraterrestrial hive mind. What emerges from that simple, tongue-in-cheek premise is just as much oddball hilarity as you would expect, as well as more thrilling set pieces, twisty mysteries and profound ruminations on man’s existence than you could see coming. Here is a series that can be whatever it wants. In one episode, “Pluribus” can spend 60 minutes slowly setting up and then executing an entire alien invasion on screen. In another, it can turn a simple, dialogue-free moment between two characters sharing a meal together into one of the best scenes you could see on TV this year. If there are any limits to what Gilligan can do with “Pluribus,” they have not revealed themselves yet. — Alex Welch

“The Rehearsal” (HBO)

Nobody makes TV quite like Nathan Fielder. In the second season of “The Rehearsal,” the deadpan prankster ups the ante in nearly every way, expanding the central concept of “What if you could rehearse life’s biggest moments in a simulated environment” to the biggest scale imaginable — this season, focusing entirely on helping pilots overcome barriers that lead to airplane crashes. Over the years, Fielder has gotten more and more interrogative (and self-reflective) in this work, and this comes to the forefront in this season. While the new episodes of “The Rehearsal” certainly have some of the funniest moments of 2025, they also manage to deliver some of the most profound. — CL

“The Residence” (Netflix)

Whodunnits are a tried and true entertainment genre for a reason, but Netflix and Shondaland’s “The Residence” took things to a whole new level of prestige. Created by Paul William Davies, the series centered around the murder of the White House chief usher during a state dinner for Australian luminaries, with everyone upstairs and downstairs among the suspects. Led by detective Cordelia Cupp (Uzo Aduba), the eight-episode saga examined the dynamics of White House staff at all levels with an irreverent tone and an intellectual flare rarely seen in today’s streaming offerings. The series brings its central mystery to a satisfying conclusion, and earned Aduba a best actress in a comedy series Emmy nomination for her performance. Sadly, Netflix opted not to move forward with future seasons centered around Cordelia, but we’ll always have this smart murder mystery to celebrate nonetheless. — JAB

“The Righteous Gemstones” (HBO)

It’s hard to think of a funnier show in 2025 than “The Righteous Gemstones.” Not one minute was wasted in the pursuit of a laugh — whether it was Judy tossing out another jaw-dropping descriptor, Jesse and Kelvin going at each other or Baby Billy’s latest scheme, the Gemstone family had a dysfunctional synergy to them. The fact that the series was not heaped with Emmy love by the conclusion of its four-season run should keep voters tossing and turning for years. Goodbye “Righteous Gemstones,” you were too good for us. — JB

“SNL50” (NBC)

No season of “Saturday Night Live” is perfect, and that is certainly true for its 50th run. Nonetheless, maybe it was the season’s landmark nature, or maybe it was just the quality of the episodes themselves, but the highs of “SNL” Season 50 just seemed a bit, well, higher than those reached by other, recent seasons of the NBC sketch comedy series. It was the season that gave us “Domingo,” yes, but also Melissa McCarthy’s road-rage-fueled pedestrian menace in “Parking Lot Altercation.” On top of that, “SNL” Season 50 actually managed to land the plane. The show’s 50-year anniversary special in February was as star-studded and cameo-filled as viewers expected. Even more impressively, it came across as an actual, worthwhile celebration of the series, its history and its place within American popular culture. What could have felt merely self-congratulatory ended up feeling triumphant instead. — AW

“Severance” (Apple TV)

The first season of “Severance” was such a distinct masterpiece it seemed that even trying to continue the story of Mark S. (Adam Scott) would be a doomed endeavor. Yet Dan Erickson and Ben Stiller pulled it off, delivering a season as unexpected, unsettling, bizarrely funny and maddeningly confusing as that first installment. We even got a second — and more extravagant — dance number from Trammell Tillman’s Mr. Milchick, as well as one of the most inspired acting performances of Scott’s career. Whether you watch “Severance” because you’re invested in the lives of characters like Helly R. (Britt Lower) and Dylan G. (Zach Cherry) or because you’re dying to know what Lumon actually does, “Severance” delivered another middle finger to corporate America that hooked the world. — KC

“Slow Horses” (Apple TV)

All the “Slow Horses” fans out there who have been going to bat year in and year out for the Apple TV thriller’s place on lists like this were vindicated in 2025. The series’ fifth season, based on author Mick Herron’s “London Rules” novel, did not deviate from the show’s proven formula so much as it perfected it. This time, “Slow Horses” leaned harder into the humor and the violence. Occasionally, in the case of one unforgettable set piece, it did so at the same time, without ever making a false step or missing a beat. Departing showrunner Will Smith found new ways to make viewers gasp and laugh, all before delivering the best “Slow Horses” season finale to date. That episode, aptly titled “Scars,” makes the most of every moment, including its climactic chess-match confrontation and final shot, the latter of which pulls off the rare feat (pun intended) of being both a total surprise and a satisfying pay-off to an earlier, bittersweet punchline. There is just no other show on TV right now that does it quite like “Slow Horses.” — AW

“South Park” (Comedy Central)

“South Park” isn’t the only adult animated comedy that’s been around for literal decades. But it is the only show of its ilk that still manages to pack a cultural punch every time it returns. That was especially true this year as Matt Stone and Trey Parker delivered 10 episodes that ruthlessly and immaturely mocked the Trump administration, basking in storylines like Trump impregnating Satan, Kristi Noem shooting every dog she sees on sight, Trump having an affair with JD Vance and FCC Chair Brendan Carr being literally silenced. Though it was an overtly political season — a direction that’s been more common in recent years — in some ways “South Park” returned to its roots, doubling down on the grossest, most vulgar jokes no one else would dare to make as a way to mock hypocrisy. The Trump administration may have hated it this year, but Stone and Parker proved why they’re worth $1.5 billion. — KC

“Squid Game” (Netflix)

Were the second and third seasons of “Squid Game” better than Hwang Dong-hyuk’s shocking and air-tight first installment? No. But the final two installments of the Netflix original were a certified pop culture moment largely thanks to Director Hwang’s brilliant decision to replace the original’s morbid tone with absolute chaos. The players in these final two installments were younger, wilder and far more bloodthirsty than anyone who appeared in Season 1. Underneath the horror of this competition was a lesson about how crypto scams have ruined so many people’s lives in the past few years. Yes, the ending was a bit insane, but this year of the “Squid Game” brought us Thanos (Choi Seung-hyun) clicking his heels during Red Light, Green Light and a face-off between Gi-hun (Lee Jung-jae) and In-ho (Lee Byung-hun) that tested the wits, instincts and moral limits of these two men. What more could you want? — KC

“Stranger Things” (Netflix)

The first season of “Stranger Things” popped up on Netflix back in 2016. Now, nearly ten years later, the series is ending with its fifth season. A sense of finality definitely permeates the final ten episodes, with creators the Duffer Brothers maneuvering dozens of characters and individual plot threads, braiding them together for a satisfying conclusion. Picking up shortly after the events of Season 4, “Stranger Things 5” sees the citizens of Hawkins dealing with the fallout from the earth splitting opening and revealing the Upside Down. The military has gone into the Upside Down and set up shop, with Eleven (Millie Bobby Brown), Hopper (David Harbour) and the gang initiating “creeps” to try and uncover where Vecna (Jamie Campbell Bower), the supernaturally-powered baddie introduced in the last season, is hiding. Plus Robin (Maya Hawke) is working at a radio station, which is cute. While the episodes this season were occasionally ungainly and overlong, they were also muscular and emotional, particularly the two installments directed by “The Shawshank Redemption” filmmaker Frank Darabont. These last handful of episodes, rich in detail and lore, really make you remember what you love so much about the show — and why you’ll be so sad when it’s over. Bye Hawkins. We’ll miss you. — DT

“The Studio” (Apple TV)

Hollywood loves to poke fun at itself, but “The Studio” took things to a creatively astounding level. The Apple TV comedy, created by Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez, follows the shenanigans of the whimsical head of a film studio and his team of executives, publicists and assistants. The first season felt like a who’s-who of power cameos, many of which earned guest performer Emmy nominations, including Martin Scorsese, while also making a smart satire about the problems plaguing the entertainment industry today. After securing 13 Emmy wins and a renewal for Season 2, everyone in Los Angeles and beyond is going to want to be the next star in “The Studio.” — JAB

“The Summer I Turned Pretty” (Prime Video)

Another show this year that managed to dominate the cultural conversation and encourage midnight viewing parties, so as to not get spoiled on social media, was the third and final season of Jenny Han’s “The Summer I Turned Pretty.” While the YA series has always drawn out a loyal audience made up of Han’s biggest fans, “The Summer I Turned Pretty” drew a staggering amount of viewers as the love triangle between Belly, Conrad and Jeremiah finally came to a close. Much of the anticipation was carefully crafted by Han, who strayed from her book trilogy to bring Belly on a Parisian adventure that fans couldn’t be sure would conclude with the book’s endgame. Han also deserves a special shoutout for her directorial debut in the Conrad-narrated Episode 5, which gave fans the most dreamy POV to their love story, as beautifully seen in that peach scene. — LS

“Task” (HBO)

Brad Ingelsby hit his follow-up to “Mare of Easttown” out of the park with “Task,” which settles further into the outskirts of Philadelphia where two men —Mark Ruffalo’s Tom Brandis and Tom Pelphrey’s Robbie Prendergrast — find themselves at opposite ends of an FBI investigation. While there’s plenty of action-packed fight sequences and confrontations, where “Task” shines is in its quiet character study of most all its cast, from priest-turned-FBI agent Tom, whose grief leaves him contemplating his family’s next steps, to also grieving Robbie, who is overtaken by his desire for revenge, to Robbie’s niece, Maeve (Emilia Jones), who has been thrown a life as a mother at just 21, to FBI agent Grasso (Fabien Frankel), who holds his secrets close to his chest. Despite the tragedy and loss faced by nearly every character, “Task” is a beacon of hope that there’s always room to do the right thing, whatever that might mean. — LS

“The Traitors” (Peacock)

In a world of reality television that has had 25 years to master the craft, Peacock’s “The Traitors” has already cemented itself as a staple of the genre in just three. From the elimination format and the casting to the wardrobe and the editing, the Alan Cumming-hosted murder mystery competition is just plain fun to watch. Season 3’s twists were twisted without being game-breaking and had audiences begging for more episode-to-episode, with plot lines that traversed the shows from which it pulls its stars as well as newcomers who have become icons of their own in the months since. Whether you are a fan of strategy or drama, it would be a crime not to partake in this killer good time — and “The Traitors” has back-to-back Outstanding Reality Competition Program Emmy wins to back it up. — JK

“Wednesday” (Netflix)

While “Wednesday” Season 2 stumbled over some structural hurdles thanks to a two-part release that trapped it in an uncomfortable rhythm between episode-of-the-week antics and half-season mysteries, it also delivered the kind of lush, lavish, tactile TV escapism that’s increasingly rare in the era of the volume (and now AI slop). Huge, intricate and transportive sets, a catalogue of costumes from Tim Burton go-to Coleen Atwood, ooey-gooey monster effects (including a fabulously executed reverse zombie) — the season is an embarrassment of riches for those who love practical production. — HF

“The Wheel of Time” (Prime Video)

“The Wheel of Time” is a rare show that improved every season across its three-season run on Prime Video. While the first was rocky for both fans of Robert Jordan’s sprawling book series and TV viewers looking for the next “Game of Thrones,” the third — and unfortunately final — season found its footing and stands as one of the best shows of 2025. Adapting the fourth book in the series — “The Shadow Rising,” considered by many the high point of Jordan’s epic — “The Wheel of Time” Season 3 managed to finally find the balance of ramping up for big action set pieces and slowing down to give the individual characters quieter moments to grow within. After two seasons of heavy world-building and plot placing, the Prime Video series found a groove in Season 3 that fantasy TV hadn’t struck since peak “Thrones.” — JB

“The White Lotus” (HBO)

If one thing is certain about Mike White’s “The White Lotus,” it’s that the HBO series will propel itself into pop culture in a way other TV writers could only hope for, and Season 3 was no exception. From welcoming back fan-favorite Natasha Rothwell along with greats like Walton Goggins, Carrie Coon and Parker Posey, and newer talents like Aimee Lou Wood, Sarah Catherine Hook and Lisa, White crafted an all-star group for his first exploration of the East as he brought “The White Lotus” to Thailand. Though White explored themes of spirituality, life and death, he never failed to bring the quintessential “White Lotus” chaos that dominated the cultural conversation this spring. We’re still thinking about Parker Posey’s line reading of “Piper, no!” and those spiked piña coladas. — LS

“Win or Lose” (Disney+)

​​“Win or Lose,” Pixar’s first (and, likely, only) longform television series, is one of the best things that the beloved animation studio has ever produced. Created by story artists Carrie Hobson and Michael Yates, “Win or Lose” is centered around a middle school softball team, the Pickles, with every episode told from a different character’s point-of-view — whether that’s one of the players, the insecure coach (voiced by Will Forte), or the single mother of one of the kids (Rosa Salazar) who is just trying to get it all done. But the series’ relatively simple premise betrays its startling complexity, both in terms of the storytelling, which shifts and changes each episode, to the animation style, which also adapts appropriately. It’s extremely bold and always exciting, with each 30-minute installment offering a buffet of visual delights and unexpected emotional depth. Even some last-minute tinkering by the larger Disney company, which forced Pixar to water down a trans storyline, couldn’t rob “Win or Lose” of its heart-tugging power. (They left just enough in so you’d know what the original intent was, thankfully.) If you didn’t watch it when it streamed in early 2026, time to correct that mistake. It’ll be your new favorite Pixar thing and it’ll make you wonder why Disney isn’t selling Pickles merchandise in Disneyland. — DT

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