The Best TV Shows of 2025

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It’s time for Vulture to reveal its best shows of 2025! Our critics – Roxana Hadadi, Jackson McHenry, Nicholas Quah, and Kathryn VanArendonk – have compiled their annual Top 10 lists, and here are the results.

Roxana Hadadi’s Top 10 Shows

2023 and 2024 were turbulent years for television. Strikes by writers and actors, combined with California wildfires, halted production and led to job losses. Financial struggles at companies like Warner Bros. Discovery, Paramount, and Disney (with the planned elimination of standalone Hulu) created a lot of anxiety about the industry’s future. Despite all this, some shows proved that TV still has incredible potential. The best series of the year felt deeply connected to the real world, prompting viewers to really see what’s happening around them. One show even featured Malin Åkerman finding creative ways to use a particularly strong word – a testament to the power and freedom of the medium.

10.
The Narrow Road to the Deep North (Prime Video)

Director Justin Kurzel is fascinated by troubled figures – outlaws, violent criminals, and those who’ve fallen from grace, like Macbeth. But he doesn’t simply celebrate or condemn them; he and his writing partner, Shaun Grant, explore the vulnerabilities and past hurts that lead to their aggression. Their first television series, based on Richard Flanagan’s award-winning novel The Narrow Road to the Deep North, follows surgeon Dorrigo Evans (played by Jacob Elordi and Ciarán Hinds) as a prisoner of war in Japan during World War II. He’s forced to care for fellow soldiers while they suffer and die building the Burma Railway. The series is harsh, graphic, and deeply unsettling – it doesn’t glamorize war, and it’s not an easy watch. The Narrow Road to the Deep North implies that its characters are driven more by instinct than reason, and it relies heavily on the actors’ physical performances – how they move and react to each other – to tell the story, rather than excessive dialogue.

9.
Death by Lightning (Netflix)

The new series, Death by Lightning, focuses on the short and tragic presidency of James Garfield (played by Michael Shannon). It opens with Garfield jokingly comparing his chances of being assassinated to being struck by lightning – a grim irony, as he died just six months into his term after being shot by a disgruntled former supporter, Charles Guiteau (Matthew Macfadyen). Adapted from Candice Millard’s book and directed by Matt Ross, the four-part series is powerfully acted, especially by Shannon’s portrayal of quiet dignity and Macfadyen’s surprisingly nuanced take on a foolish character. The show places Garfield’s assassination within the context of the highly divisive politics of the 1880s, and explores a fundamental question about American identity: What values should the country represent? It highlights how difficult it is to build a nation when everyone has a different vision for it. Death by Lightning suggests that even though America still hasn’t fully defined itself, striving for a common purpose remains essential.

➼ Read our recaps, interview with director Matt Ross, and essay on Matthew MacFadyen’s performance.

8.
The Righteous Gemstones season four (HBO)

I was a huge fan of The Righteous Gemstones and I’m really sad it’s over. For four seasons, HBO just let Danny McBride and his team run with their vision, and thank goodness they did! McBride has a knack for finding the weirdness in different parts of American life, and this show, about a family of famous televangelists, really tried to get at why so many people are drawn to American Christianity. Even when the Gemstones were doing the most ridiculous things, the show always gave them a chance to redeem themselves – and it let actors like Edi Patterson, Walton Goggins, and McBride himself really shine. While it wasn’t quite as sharp or biting as that incredible first season, it was consistently laugh-out-loud funny and just plain silly. I’m definitely going to miss watching the Gemstones get into trouble!

I just finished reading a fantastic review of the finale, and it was so interesting! They even included interviews with the stars – Danny McBride, Edi Patterson, Adam DeVine, and Seann William Scott. If you’re as obsessed with The Righteous Gemstones as I am, you absolutely have to check out all the great in-depth articles Vulture has put together.

7.
The Hunting Wives season one (Netflix)

As a total TV junkie, one of my favorite things is when a show knows what it is, and honestly, “The Hunting Wives” absolutely nails that. It’s pure, over-the-top soapy fun, and it leans into the craziness with such confidence – it’s incredibly charming, even when the plot gets totally bonkers. And believe me, it gets bonkers! It felt like watching a really extended improv session where everyone just kept saying ‘yes, and…’ – you’ve got this liberal woman moving to Texas and getting mixed up in a messy affair with the town’s queen bee. The show kept upping the ante with its relationships, political drama, and even the violence! Luckily, Netflix picked it up after it originally aired on Starz, and the binge-worthy release, combined with all the cliffhangers, just created this word-of-mouth buzz that spread like crazy. Honestly, there weren’t many shows this year that felt like everyone was talking about them, and “The Hunting Wives” definitely takes the crown in that department.

➼ Read our essay on the finale of The Hunting Wives and interview with Malin Åkerman.

6.
Black Rabbit (Netflix)

Imagine the intense family drama of The Bear combined with the fast-paced energy of Martin Scorsese’s After Hours – it’s not for everyone. Black Rabbit is full of shouting, running, gambling, and a plot that unfolds over a single, wild night. But if you’re up for the ride, joining Jake and Vince Friedkin as they rush between their restaurant, poker games, and a bookie Vince owes money to, you’re in for a treat. Beautifully filmed and set to a killer soundtrack of 90s and early 2000s alternative rock, the show perfectly captures the frantic pace of New York City. Black Rabbit is a rare gem – its stylish visuals are matched by a genuinely moving story, and features brilliant performances from Jude Law and Jason Bateman.

➼ Read our review and recaps.

5.
Mussolini: Son of the Century (Mubi)

Let me tell you, this year delivered some incredible series, but few were as powerful – and disturbing – as this one. It’s a brutal look at where unchecked political power ultimately leads. Luca Marinelli is Benito Mussolini – all swagger, threats, and that familiar ‘Make Italy Great Again’ rhetoric. It’s a truly captivating, yet deeply unsettling performance, making the series a tough watch, though a rewarding one if you stick with it. Honestly, I’ll never hear Elvis Presley’s “Can’t Help Falling in Love” the same way again – its use in a particularly harrowing montage was just devastating. Director Joe Wright really took some risks with this one, and it absolutely paid off.

➼ Read our review and interview with director Joe Wright.

4.
The Pitt  (HBO Max)

You can rely on John Wells – he’s a TV veteran who’s consistently delivered groundbreaking shows like ER, The West Wing, Shameless, and Animal Kingdom. He’s known for taking common ideas and presenting them in fresh, innovative ways, and for trusting his audience. For his new medical drama, The Pitt, creator R. Scott Gemmill brought in Wells and Noah Wyle, both former ER colleagues. Together, they’ve created a show that realistically portrays the intense technical challenges, constant stress, and emotional highs and lows of a single shift in an emergency room. While many shows feature intelligent characters, The Pitt stands out by carefully revealing details about its characters and their complex lives, and by showing how the demanding nature of emergency medicine can become all-consuming. Noah Wyle delivers a particularly strong performance as Dr. Robby, bringing both compassion for his patients and frustration with anything that hinders their care. And the fact that a second season is coming so soon after the first is a welcome surprise!

Check out our review and profile of Noah Wyle, plus interviews with Emmy winner Katherine LaNasa and the show’s creator, R. Scott Gemmill. We also break down the series’ Emmy wins and offer a complete look at Vulture’s coverage of The Pitt.

3.
Mr. Scorsese (Apple TV)

This three-part documentary is a must-watch. Director Rebecca Miller expertly connects Martin Scorsese’s life story to the religious and ethical ideas found in his films, showcasing his filmmaking style with creative visuals. Insightful interviews with frequent collaborators like editor Thelma Schoonmaker, writer Jay Cocks, and actor Robert De Niro provide a deeper look into Scorsese’s work. Plus, the series includes Scorsese’s fascinating account of Harvey Weinstein’s frustrating misinterpretation of Gangs of New York—and his endless nitpicking about the movie’s hats—along with a charming glimpse of Scorsese’s expressive hand gestures when he’s passionately explaining something.

2.
Common Side Effects (Adult Swim)

The new animated series, Common Side Effects, starts with a wild premise: a glowing blue mushroom that can cure anything, even death. But beyond the visually stunning, psychedelic world it creates, the show tackles big questions about American healthcare, the wellness craze, and the power of pharmaceutical companies. Created by Joe Bennett and Steve Hely, the series follows characters on a quest for this miracle mushroom, revealing their reasons for seeking it – whether it’s to help others, make money, or gain control. It also asks what happens after someone is healed, and what the consequences are when we prioritize our own health over the health of others and the planet. Common Side Effects‘ thoughtful exploration of these issues makes it one of Cartoon Network’s strongest shows in years.

Check out our essay about the emotional fallout depicted in the “Common Side Effects” blue mushroom, and read our conversation with the show’s creators, Joe Bennett and Steve Hely.

1.
Andor season two (Disney+)

It’s hard to imagine another series quite like Andor. It wasn’t just the massive budget or the fact that Star Wars shows are becoming rarer; prequels are always a challenge, especially when the main character’s fate is already known. Andor simply exceeded all expectations. Showrunner Tony Gilroy, along with his team and star Diego Luna, took the resources and constraints and created something truly special. The show felt relevant to today’s world while also staying true to the political and historical heart of Star Wars. Over 24 episodes, it seamlessly blended sci-fi, action, and thriller elements, delivering a powerful message about the work it takes to build a community and fight for change, all while still offering the classic Star Wars action fans love. While some might find lines like “Remember this: Try” a little cheesy, their use at in-universe rallies highlights how both timely and enduring the show’s questions about personal sacrifice felt. Another show might eventually tackle similar themes, but it’s unlikely to reach the same level of quality as Andor.

Check out our review of season two, along with a profile of Diego Luna. We also have interviews with Genevieve O’Reilly and Tony Gilroy, and an essay discussing the season finale. Find more of Vulture’s detailed coverage of Andor here.

Jackson McHenry’s Top 10 Shows

The days of television trying to imitate movies are over. That pursuit of “prestige television” was always misguided, as TV and film are different art forms. Now that the initial hype has died down, the best shows are embracing what makes television unique. We’ve seen this with shows like Andor, which cleverly blends political thriller elements with the immersive world of Star Wars, and The Pitt, a medical drama that fully leans into the genre’s conventions while offering a fresh, visceral experience. This isn’t a step backward – it’s a return to TV’s roots, with shows reimagining classic formats in innovative ways. It’s exciting to see television simply being television again, and finding new creativity in that space.

10.
Étoile (Prime Video)

The series Étoile, a charming show created for a smaller audience, came from Amy Sherman-Palladino, the creator of the hit Marvelous Mrs. Maisel. It followed ballet companies in New York and Paris as they exchanged dancers, with a captivating connection between stars Luke Kirby and Charlotte Gainsbourg. Étoile featured Sherman-Palladino’s signature fast-paced dialogue and detailed cultural insights, all centered around a genuine passion for dance and the dedication it requires. Sadly, after just one season, Amazon cancelled the show—a financially understandable, but deeply disappointing, decision for those involved. It raises the question: if artists can’t rely on funding to fully realize their creative visions, what’s the purpose?

➼ Read our review, interview with Lou de Laâge, and recaps.

9.
The Morning Show season four (Apple TV)

Despite not being particularly well-made, The Morning Show is surprisingly compelling television. It’s a wildly ambitious drama, boasting a huge cast and a clearly artificial New York City setting filmed in Los Angeles. The show features bizarre storylines – Reese Witherspoon investigating a cover-up in Belarus, Jennifer Aniston facing an attack during a protest, and Marion Cotillard attempting a network takeover with a touch of French flair. While set in the recent past, referencing events like the Paris Olympics, it uniquely captures the chaotic energy of what 2025 feels like. It’s delightfully over-the-top!

➼ Read our review, recaps, and essays about the season’s Iran storyline and Marion Cotillard’s character. 

8.
The Gilded Age season three (HBO)

The biggest surprise of The Gilded Age‘s third season was how much it improved. While the show, inspired by Downton Abbey and set in America, was always enjoyable thanks to its talented cast and dramatic storylines, it really hit its stride this season. Key storylines included the complicated marriage of the Russell’s daughter, Gladys, to a British duke, Cynthia Nixon’s character Ada finding her voice, and Denée Benton’s Peggy receiving a more developed storyline within Newport’s Black community. With higher stakes than just successful parties, the actors had richer material to work with. The show also became more insightful about American society and politics, while thankfully maintaining its delightfully over-the-top moments. New Yorkers, be careful of those horse-drawn carriages!

Check out our review of season three, plus an essay analyzing the finale, “Backstories,” focusing on Gladys’s wedding and the two balls featured in it. You can also read our profile of Ben Ahlers. For more, explore Vulture’s complete coverage of The Gilded Age.

7.
Elsbeth (CBS)

Look, as someone who cares about both good TV and the New York theater scene, I’m really hoping Elsbeth gets renewed. It literally employs so many actors here! But beyond that, I’m constantly amazed by how creatively the show uses its cast. This latest season is wild – they’ve managed to build mysteries around everything from a late-night TV show with Stephen Colbert playing the victim, to a suburban Halloween contest featuring Annaleigh Ashford, and even a doll shop that feels straight out of an American Girl catalog with David Cross losing it as a dad. Honestly, Elsbeth feels like a real love letter to the weird, wonderful side of New York, and it’s packed with people who genuinely make this city special.

➼ Read our recaps.

6.
Adults (FX)

It felt like every streaming service released a show about young people trying to figure things out this year – Amazon had Overcompensating, HBO tried I Love LA, and Netflix gave us Too Much. But honestly, for sheer joke-to-joke quality, FX’s Adults really stood out. It reminded me a lot of New Girl in the best way. It definitely follows the familiar path of shows about young city dwellers, but it quickly got wonderfully weird – seriously, an episode with Julia Fox at a dinner party! – and the cast just clicked. I was so relieved when it got renewed for a second season. I could happily watch these characters bumble their way through life in Queens for years to come.

➼ Read our essay on the series’ tone and a taxonomy of this year’s zillennial comedies.

5.
Death by Lightning (Netflix)

Without a doubt, Death by Lightning is the most bizarrely fascinating show on television this year. It’s strangely compelling to watch a battle between unkempt men arguing about 19th-century American politics, and the show cleverly highlights how relevant those old conflicts still are today. Matthew Macfadyen is captivating as the presidential assassin Charles Guiteau, Michael Shannon perfectly embodies the grumpy James Garfield, and Betty Gilpin is fantastic as the president’s frustrated and strong-willed wife, who wishes she wasn’t caught up in the drama.

4.
Pluribus (Apple TV)

Vince Gilligan’s new show, Pluribus, presents a strangely cheerful, yet unsettling, world – it’s hard to say if it’s a perfect society or something far from it. Whatever it is, it’s a compelling watch. The show skillfully blends thought-provoking questions about society and freedom with entertaining, smaller storylines. I especially enjoy the moments when Rhea Seehorn’s character is desperately trying to solve a problem on her own, even as she’s reluctantly pulled into a larger group effort. Pluribus feels like a classic network drama, but with the high production quality you only get from a streaming service like Apple TV. I wish there were more episodes each season!

➼ Read our nonspoilery and spoilery reviews, interviews with Miriam Shor and Karolina Wydra, and recaps.

3.
The Pitt (HBO Max)

It’s refreshing to see Hollywood deliver a compelling medical drama again. Thanks to the team behind the original ER – R. Scott Gemmill, John Wells, and Noah Wyle – The Pitt offers a realistic and gripping look inside a busy Pittsburgh emergency room. The show expertly captures the exhaustion and pressure of a single shift, drawing you into the characters’ world with its authentic dialogue and immersive atmosphere. It’s like settling into something familiar and comfortable, but The Pitt doesn’t shy away from the harsh realities of working in a hospital that lacks funding, and a quiet anger simmers beneath the surface of its polished production.

2.
Andor (Disney+)

It’s refreshing to see a franchise break the cycle of relying solely on nostalgia. The second season of Andor continued its sharp critique of growing fascism, blending science fiction elements with intense political drama, thrilling action, and echoes of the French Resistance. Beyond its impressive writing and creative visuals (the planet Gohr was particularly memorable), the season featured some of the best acting on television – performances that deserved more awards recognition but were perhaps overlooked because the show is categorized as genre fiction. It’s a real loss, because Diego Luna and the cast delivered truly exceptional work you won’t find anywhere else.

1.
The Rehearsal season two (HBO)

Nathan Fielder’s projects often begin as quirky experiments, but they gradually reveal deeply personal themes. The second season of The Rehearsal starts with a seemingly random question: how can airlines improve flight safety? Fielder then explores his usual unconventional methods – like having pilots participate in singing contests and improv – before unexpectedly turning the show inward, towards a kind of self-reflection. While playing a character, Fielder subtly reveals his own desire to become a pilot, hampered by personal insecurities. Throughout the season, it’s unclear whether the show is a genuine confession or an elaborate performance, but the series playfully resolves this ambiguity: Fielder actually convinced HBO to let him pilot a 737.

Check out our review of episode three, “Pilot’s Code,” our conversation with Nathan Fielder about the season two finale, and full episode summaries.

Nicholas Quah’s Top 10 Shows

I’m still pondering Alien: Earth. While Noah Hawley’s ambitious take on the Alien series prioritized grand concepts over a truly satisfying story, you have to admire his boldness. Many believe 2024 marked the end of the ‘prestige TV’ era, and the current shift towards franchise-based shows has resulted in a lot of disappointments (It: Welcome to Derry, Chad Powers). However, Alien: Earth shows how to approach existing properties thoughtfully, even if it doesn’t fully succeed. When it does work, the result is something like Andor. Tony Gilroy’s Star Wars series is my pick for the best show of the year – a rare example of a clear vision executed perfectly within a large franchise. The year’s best shows all came from creators who were given the freedom to pursue their unique ideas, whether it was comedy from Tim Robinson and Nathan Fielder, niche storytelling from Rachel Sennott and Jared Keeso, or the work of experienced showrunners like Vince Gilligan and Sterlin Harjo. The future of television remains uncertain, but as long as there’s room for original voices, there’s hope.

10.
I Love LA (HBO)

The energy of youth – ambitious, restless, and a little chaotic – is universal, but the experience of it always depends on the current moment. Several new comedies try to capture that feeling for Gen Z and millennials (like FX’s Adults, which uses a classic group-of-friends setup), but I Love LA really nails the specifics of being young in Los Angeles today. It shows the uncertain chase for online fame and even the ridiculous lines for… matcha lattes. The show boasts a great cast, including Odessa A’zion, Jordan Firstman, True Whitaker, and a surprisingly grounded performance from Josh Hutcherson. However, Rachel Sennott, who also created the series, is its true center. Her portrayal of the focused, driven Maia keeps the whole unpredictable group grounded.

➼ Read our review, profile of True Whitaker, and recaps.

9.
 The Eastern Gate (HBO Max)

I’m still obsessed with the French spy drama Le Bureau des Légendes, which ended in 2016. It was a realistic, intense show about a country navigating the world’s power struggles (the American remake, The Agency, was decent, but it lacked the same feel). Thankfully, The Eastern Gate, a Polish series, arrived earlier this year and delivered everything I was hoping for. Lena Góra is fantastic as a spy who’s reluctantly brought back into action when her partner vanishes, coinciding with rising tensions with Russia. Like all great spy shows, it’s intelligent and keeps you guessing, with enough technical detail that you might feel lost—perhaps because international politics are complex, or because it’s in Polish! But it all eventually comes together in a satisfying way. Thanks to HBO Max for making this series available to American audiences—I can’t wait for the next season.

8.
The Chair Company (HBO)

It’s surprising, but Tim Robinson has emerged as a natural successor to David Lynch. In The Chair Company, Robinson and his frequent collaborator, Zach Kanin, expand on familiar themes from their previous work—like dull office settings, awkward social interactions, yelling, and overbearing personalities—transforming them into a surreal and unsettling horror story hidden within everyday life. The show’s main character, Ron Trosper, is a boisterous, Midwestern businessman who struggles with social graces, much like Robinson’s typical characters. However, spending time with Ron leads to deeper, more unusual questions about his motivations, meaning, and place in the world. The Chair Company is uniquely Robinson—a captivating, though sometimes frustrating, display of personal artistry that couldn’t have come from anyone else.

➼ Read our review and recaps.

7.
The Lowdown (FX)

What makes ‘The Lowdown’ special is letting go of the need to predict the plot and simply enjoying the journey. Following up his work on ‘Reservation Dogs,’ Sterlin Harjo delivers a quirky, atmospheric noir set in a vibrant and dangerous Tulsa. Ethan Hawke plays Lee Raybon, a flawed but determined local journalist and book collector, who guides us through the story. Harjo clearly loves Tulsa and its people – you can almost smell the coffee and pancakes from Sweet Emily’s – while also honestly portraying the city’s darker side. The central mystery ultimately leads to a heartfelt message about the power of community. Shows this relaxed and self-assured are rare, and ‘The Lowdown’ is a gem worth discovering.

➼ Read our review, interview with Ethan Hawke, essay on the finale, and recaps.

6.
The Gilded Age season three (HBO)

Somehow, the third season of The Gilded Age completely turned things around. It went from being a fun but flawed show to genuinely great television. While Julian Fellowes’s lavish drama about New York’s wealthy families still feels a bit messy and doesn’t always make sense when it comes to class differences, this season’s conflicts between characters are much more compelling. (Though Marian Brook still isn’t the most exciting character.) The season finale was so good it left me eagerly wanting more, not just satisfied. It’s the best the show has ever been – just try not to think too much about the fact that supporting the Russells is a bit like rooting for a family like Mark Zuckerberg and Priscilla Chan.

5.
Pluribus (Apple TV)

Vince Gilligan’s new show after Breaking Bad truly revolves around Rhea Seehorn’s performance as Carol Sturka, a cynical and reclusive romance novelist. The show feels off-balance when the focus isn’t on her. By the end, you feel like you know every nuance of her expression, and rightfully so – Seehorn is captivating in every scene, whether she’s waiting for a message, having a drink alone, or traveling to an unknown destination. Like all good science fiction, Pluribus isn’t just about one person; it explores bigger questions about what it means to be human and what we truly desire, all through the wild story of Carol being one of the last people on Earth. Gilligan is clearly making the most of his creative freedom and resources.

4.
The Rehearsal season two (HBO)

Nathan Fielder comes across as genuinely kind and eager to help others. In the second season of his unique show, where he playfully experiments with life, he focuses on preventing plane crashes by addressing issues with how pilots communicate and interact. While communication remains a key theme, this season feels more personal for Fielder. Underneath a fascinating look at the world of pilots – complete with his signature quirky moments, like a parody of American Idol, a fictionalized biopic about a famous pilot, an unexpected use of an Evanescence song, and the surprising fact that Fielder actually got his pilot’s license – lies a deeper exploration of anxiety, the need for control, and the desire to be respected. The final scene, showing Fielder flying over beautiful landscapes, hints at a moment of profound freedom and beauty. While it’s not always clear exactly what Fielder is trying to achieve with his elaborate setups, it’s clear he’s searching for something meaningful.

3.
Shoresy season four (Hulu)

It’s strange to admit, but Shoresy is a really endearing show. As a spin-off of the Canadian comedy Letterkenny, it centers on an older, semi-professional hockey player (played by creator Jared Keeso) who’s determined to keep playing, and the funny characters he meets in a small Ontario town. It’s incredibly silly, often crude, and very much a “boys will be boys” kind of show – I often feel embarrassed watching it with others. But despite all that, Shoresy is surprisingly heartwarming. Beneath all the jokes and locker-room talk, there’s a touching story about older athletes grappling with aging and change. The show has a unique rhythm, even in its use of profanity, and its long musical sequences are surprisingly emotional. It also quietly celebrates a diverse and authentically Canadian cast. Here’s hoping this team keeps winning!

➼ Read our list of essential episodes.

2.
King of the Hill

After a 15-year hiatus, King of the Hill is back, and it feels fantastic. The new showrunner, Saladin K. Patterson, has skillfully continued the work of the original creators, Mike Judge and Greg Daniels, delivering a revival that honors the show’s classic feel while updating it for today’s world. Hank has retired from propane, but he’s still adorably behind the times; Peggy remains fiercely competitive, even with a few more wrinkles; and Bobby has grown into a kind, open-minded man running a unique fusion restaurant. The town of Arlen has changed with the times, embracing modern issues like the gig economy and online communities. But the show’s heartwarming and gentle humor remains, offering a sweet look at everyday people striving to do the right thing. It’s the King of the Hill we remember and love – a perfect blend of silliness and genuine emotion that feels both familiar and surprisingly relevant.

➼ Read our review, essay on Bobby’s character development, and recaps.

1.
 Andor season two (Disney+)

It might seem strange to be so impressed by the political depth of a Star Wars show, but that’s exactly what Tony Gilroy and Diego Luna have achieved. They’ve taken a huge, often debated, and incredibly popular franchise—one that Disney has become hesitant to take risks with—and used it to tell a nuanced story about how revolutions begin and what they feel like. The first season was excellent, but the second season elevated the series to something truly remarkable, cleverly flipping Cassian’s initial journey of self-discovery and showing him as just one piece of a much larger fight. This is a show I know I’ll watch again and again for years to come.

Kathryn VanArendonk’s Top 10 Shows

The best TV shows of 2025 feel surprisingly comfortable and familiar. While shows like Pluribus and The Rehearsal stand out as unique, many of the year’s best series deliberately stick to proven formulas. Death by Lightning, for example, is a simply excellent historical drama with a strong cast – and that’s all it needs to be! Similarly, The Hunting Wives and The Lowdown successfully utilize familiar tropes: a thrilling story about women, and a classic noir detective story, respectively. These shows comfortably fit into established genres. Andor is a Star Wars series, The Gilded Age is another period drama from Julian Fellowes, and The Pitt is a straightforward medical drama – and there’s nothing wrong with that.

What’s consistently delightful about these shows is their ability to take familiar stories and styles and transform them into something fresh and exciting. For example, Andor uses the Star Wars universe to deliver a bold and optimistic story of rebellion, unlike anything seen before in that galaxy. The Hunting Wives immediately embraces open discussion of sexuality, right from the start. Devil in the Family offers a thoughtful and responsible approach to documenting the lives of children in the public eye, a welcome change in a crowded field. And The Pitt proves that even the most classic TV formats can feel completely new when reimagined with modern resources and creative freedom.

10.
The Hunting Wives (Netflix)

Many TV shows try to capture the feel of The Hunting Wives, falling into the category of suspenseful ‘mom thrillers’ like Sirens, The Girlfriend, and The Better Sister. These shows often feature over-the-top elements – strange wigs, unrealistic dialogue, and hints of hidden relationships – alongside murder mysteries and unexpected plot twists. However, The Hunting Wives stands out as the best of the bunch, thanks to its sharp writing and commitment to its story. It maintains a strong pace throughout, develops its plot through believable characters, and doesn’t rely on cheap thrills. It’s a rare series that quickly gets to the heart of the story because it has plenty of compelling content to offer right up to the very end.

9.
Devil in the Family: The Fall of Ruby Franke (Hulu)

The documentary series Devil in the Family tells the disturbing story of Ruby Franke, a family vlogger who committed horrific child abuse as her grip on reality weakened. What sets this series apart is its careful approach to sensitive subjects, avoiding the very exploitation it aims to expose. It features interviews with the victims only after they reached adulthood, and protects the identities of any children who weren’t able to consent. The series is well-researched, presenting new evidence instead of simply repeating what’s already known. Ultimately, Devil in the Family effectively balances the shocking nature of the story, ensuring the blame rests with the abusers, not with the filmmakers trying to reveal their crimes.

8.
Death by Lightning (Netflix)

Michael Shannon and Matthew Macfadyen deliver outstanding performances as President James Garfield and his unstable assassin, Charles Guiteau, respectively, and rightfully receive much of the praise for Death by Lightning. Macfadyen is particularly impressive as Guiteau, portraying him as unsettling and unlikeable without making him a simple, monstrous villain. However, Betty Gilpin as Lucretia Garfield is the true standout. While the men around her are lost in their own worlds, Gilpin provides a grounding force, offering practicality, understanding, and genuine emotion. Her nuanced performance – ranging from anger and calm to grief and calculation – is the only real link between Guiteau and his victim, and the final scene between them transforms what could have been a random act of history into something resembling justice.

7.
The Gilded Age season three (HBO)

Honestly, watching The Gilded Age can be a little frustrating. It often feels disjointed, like key events happen *offscreen and we’re just told about them. Storylines don’t really resolve in a satisfying way – you think a marriage is falling apart, but then everything’s fine, and characters end up right back where they started, wealthy as ever. But despite all that, it’s incredibly entertaining! There’s nothing quite like seeing Carrie Coon as Bertha Russell storm into a room, absolutely determined to get revenge for even the smallest offense. Or watching Phylicia Rashad and Audra McDonald go head-to-head over social etiquette – brilliant! And let’s not forget the shock value – who knew a sweet, unassuming guy in a top hat could meet such a dramatic end? It’s a wild ride, even if it doesn’t always make sense.

6.
Dying for Sex (Hulu)

Michelle Williams delivers a touching performance as Molly, a woman facing a terminal breast cancer diagnosis and trying to make the most of her remaining time, and she’s the heart of this FX limited series. However, the show truly shines thanks to its incredible supporting cast. Jenny Slate, as Molly’s best friend Nikki, perfectly complements Williams’s more subdued performance with vibrant energy, and their friendship offers some of the show’s most insightful moments. Performances from Rob Delaney, Robby Hoffman, Esco Jouléy, Paula Pell, and David Rasche bring Molly’s world to life, preventing what could have been a depressing story from becoming something surprisingly joyful and uplifting.

Check out our in-depth feature with Michelle Williams, plus an interview with Jenny Slate, a breakdown of Slate’s acting, and episode recaps.

5.
The Rehearsal season two (HBO)

It’s hard to think of anyone who commits to a comedic bit more fully than Nathan Fielder. The second season of The Rehearsal builds on the strengths of the first, especially in its exploration of themes. Fielder seems more willing to acknowledge that the show is largely about himself, which makes it even stranger and more creatively free. But the real power of The Rehearsal lies in Fielder’s relentless dedication to taking things further than anyone would expect – or even consider reasonable. By the end of the season, he’s done incredibly bizarre things, like pretending to nurse from a giant puppet of Sully Sullenberger’s mother, cloning dogs, creating an entire fake reality singing competition, and even secretly working as a 737 pilot. There’s truly nothing else on television like The Rehearsal, and frankly, there shouldn’t be.

4.
Pluribus (Apple TV)

It’s easy for a show that tries to cover too much ground to end up saying very little. That’s what makes Pluribus so remarkable. The show’s story – a world controlled by a single alien intelligence, leaving one woman isolated – can be understood in many ways: as a story about grief, depression, artificial intelligence, social media, the loss of individuality in a highly automated world, or the way mass culture becomes increasingly fragmented. These interpretations don’t contradict each other; instead, they echo each other, all reflecting similar anxieties and frustrations. Rhea Seehorn’s powerful performance as Carol highlights a simple truth at the heart of it all: she’s lonely and sad, but also believes that these feelings are what make her, her. Pluribus‘s strange and adaptable premise solidifies its place as a defining work of 2025.

3.
The Lowdown (FX)

With a rough and confident style, The Lowdown is a classic Oklahoma noir that delivers everything you’d expect from the genre. The story centers on a land-corruption mystery, a common noir theme, but told from the unique viewpoint of Indigenous Americans – a connection to creator Sterlin Harjo’s previous show, Reservation Dogs. Ethan Hawke plays Lee Raybon, a detective-journalist who’s a bit like the laid-back Dude from The Big Lebowski, while Kyle MacLachlan, Paul Sparks, and Tracy Letts play suitably menacing villains. Keith David provides a compelling sidekick, balancing humor and seriousness. While the central mystery drives the plot, the show is most interested in exploring its main character, revealing Lee Raybon’s flaws and his idealistic search for the truth. The Lowdown takes familiar noir elements and reimagines them with fresh settings and perspectives, making it feel both timeless and modern.

2.
Andor season two (Disney+)

Despite facing major challenges – being weighed down by decades of established Star Wars history and lore – Andor has become a standout achievement. It takes the familiar themes of good versus evil and transforms them into a deeply human exploration of morality, bravery, and the costs of conflict. What’s remarkable is how vast the show feels, even though it centers on Cassian Andor’s seemingly small mission to help one person. Andor brilliantly illustrates that revolutions aren’t born from grand gestures, but from countless individual decisions. It’s a unique Star Wars story – a bold experiment fueled by significant investment and exceptional creativity – that likely won’t be repeated, focusing on a deeply personal and politically charged narrative.

1.
The Pitt (HBO Max)

Instead of trying to create something entirely new, why not perfect something already proven? That’s what The Pitt does. With its 15 episodes, straightforward story, relatable characters, and weekly releases, the show sets a new standard for quality television in the age of streaming. Even without its biggest strength – Noah Wyle’s compelling performance as Dr. Robby, a stressed-out ER doctor – The Pitt would be exceptional. Wyle’s expressions – a mix of sadness, anger, kindness, and exhaustion – perfectly capture the feeling of the past year.

Other TV Highlights From This Year

By Jen Chaney, Roxana Hadadi, Jackson McHenry, Nicholas Quah, and Kathryn VanArendonk

Here are some other shows that critics enjoyed this year, even though they didn’t make it into the top ten.

English Teacher, season two (FX on Hulu)

Okay, so watching English Teacher is… complicated right now, given the serious allegations against its creator, Brian Jordan Alvarez. It’s especially noticeable when the show’s lightheartedness veers into moments that feel a bit insensitive. But honestly? The writing is phenomenal. It’s genuinely the funniest thing on television. Capturing what it feels like to live online, that constant, slightly unhinged headspace, while also making you laugh out loud is a real accomplishment. And this show nails it. It throws Alvarez’s character, Evan, and his colleagues into these crazy situations – students reimagining Angels in America as a COVID story, a high-tech trash can showing up at school, college applications turning into a draft day – and then takes unexpected turns. Season two really builds on what works, too. The supporting cast gets more fleshed out, and we even get a fantastic episode focused on Enrico Colantoni’s principal. It’s a really sharp, funny show, but it’s hard to ignore the context surrounding it.

➼ Read Kathryn VanArendonk’s review of English Teacher season two.

The Case Against Adnan Syed: Part Five (HBO)

Six years after the hugely popular first season of the podcast Serial, the HBO series The Case Against Adnan Syed continued to question whether Adnan Syed was truly responsible for the murder of his ex-girlfriend, Hae Min Lee. The series built on the doubts Serial first raised, highlighting flaws in the Baltimore Police Department’s investigation. Director Amy J. Berg had extensive access to Syed and his family, and the four-part documentary deeply examined the details of the case while also powerfully illustrating the devastating impact it had on Syed’s family—his father became isolated, his mother developed leukemia, and the family faced rejection and loneliness. While acknowledging the immense pain experienced by Lee’s family, The Case Against Adnan Syed focused on the Islamophobia and poor police work that surrounded the case, relentlessly seeking to understand why Syed was convicted and what the future might hold. Now, with Part Five: The Tree Grew, we have some answers.

This episode covers the Adnan Syed case from 2021 to May 2025, focusing on the legal strategies of his lawyer, Erica J. Suter, who believes a different person may have been responsible for the death. It also details the efforts of Baltimore State’s Attorney Marilyn Mosby to re-examine the case before she left office in 2023. Those familiar with the case, particularly in Maryland, will likely already know much of this information from local news coverage. However, the episode’s true power comes from the strong connection the filmmaker has with Adnan and his family, who share their deepest fears and struggles. Moments with Adnan are especially poignant, showing his initial acceptance of a life sentence after two decades in prison, and then his surprising reaction to being freed. A scene where he’s amazed by how much the trees in his neighborhood have grown is incredibly moving, and his tearful admission in his childhood bedroom—that he misses the simple routine and camaraderie of prison life—is unforgettable.

Platonic, season two (Apple TV)

It’s hard to find a more relaxing backdrop than the world of affluent Angelenos, and that’s just one of the things that makes Platonic so enjoyable. Rose Byrne and Seth Rogen, who previously played a bickering couple in Neighbors, reunite here as old college friends reconnecting during their midlife crises. The first season was funny and relatable, though it got bogged down in typical romantic tension. The second season breaks free from that, allowing the show to truly shine as a charming and easy-going comedy that subtly explores the anxieties of getting older. Byrne delivers a fantastic performance, and Rogen’s character sports hilariously over-the-top outfits. But everything about Platonic feels carefully considered and intentionally crafted, making it a show that’s hard not to love. — N.Q.

 ➼ Read Nicholas Quah’s review of Platonic season two .

Chief of War (Apple TV)

Let’s be honest, the first thing everyone will notice about Chief of War is Jason Momoa…often without pants. But beyond that, this series is something truly special. It feels like a blend of Game of Thrones and Shōgun – a sweeping, action-packed epic, but one that importantly reclaims Hawaiian history, told from the perspective of the people who actually lived it. Whatever gets you interested, run with it! I found Chief of War to be a fascinating showcase for Momoa, who not only stars as Kaʻiana – a general grappling with the inevitable arrival of Western influence – but co-created, wrote, and directed it alongside Thomas Paʻa Sibbett. Set in the late 1700s, the show depicts the conflicts between Hawaiian tribes as they try to unite against colonization. It’s a bloody, brutal, and surprisingly emotional ride, culminating in a completely wild final battle with an erupting volcano as the backdrop. Sure, the dialogue can get a little cheesy and the plot wanders a bit, but Chief of War is a remarkably ambitious project. It challenges everything you think you know about Hawaiian culture and forces you to consider whether outside influence was truly a good thing. And honestly, Cliff Curtis is a revelation – a scene-stealer who deserves all the praise. Seriously, my captain, my king!

 ➼ Read Roxana Hadadi’s review of Chief of War.

Dexter: Resurrection (Showtime)

Michael C. Hall continues to deliver an outstanding performance as Dexter Morgan, even when the show’s storylines have wandered. He’s fully committed to the complex character, effortlessly shifting between intense and vulnerable, and grounding even the most outlandish plots after nearly two decades in the role. The new season, Dexter: Resurrection, finally provides writing worthy of his talent. Picking up after previous installments, it brings Dexter back to life and moves him to New York City, where he attempts to rebuild his relationship with his son, Harrison, and gets involved with a dangerous group of wealthy killers. The cast is phenomenal, featuring Uma Thurman, Krysten Ritter, and David Dastmalchian, and the season smartly focuses on delivering the thrilling, violent action fans expect. The reunion between Dexter and his former friend Angel Batista adds significant emotional weight. Hopefully, we’ll get a second season soon! — R.H.

It’s Always Sunny in Philadelphia, season 17 (FXX/Hulu)

After many seasons, It’s Always Sunny in Philadelphia could have lost its spark, and some recent seasons have felt repetitive. However, the show is surprisingly fresh this season, and it’s using its long history to its advantage. The recent crossover episodes with Abbott Elementary were a clever way to highlight the characters’ outrageous behavior, and the parodies of shows like The Bear, Succession, Is It Cake?, and The Rehearsal demonstrate how easily the gang can adapt to different types of comedy. The episode where the gang goes to a dog track is particularly disturbing—the most upsetting in years—and the crossover with The Golden Bachelor is a perfect showcase for Danny DeVito. The show was renewed for an 18th season back in 2020, and hopefully it will maintain this creative energy. (One minor complaint: the unnecessary name change for Rob McElhenney’s character in the credits is a bit of a buzzkill.) — R.H

I just read about how that amazing crossover between It’s Always Sunny and Abbott Elementary happened! I also got to read Roxana Hadadi’s interview with Glenn Howerton, which was really interesting. And if you’re looking for a good starting point, Rachel Simon put together a list of essential episodes you absolutely have to see.

The Bear, season four (FX on Hulu)

While not quite as strong as its first two seasons, the fourth season of The Bear is a noticeable step up from last year. The season begins with a less-than-stellar review from the Chicago Tribune, putting pressure on Carmy and the team to improve quickly before they run out of funding. However, this isn’t a typical comeback story; instead, the season takes unexpected turns as the characters grapple with their identities and goals. It still features the show’s signature style – intense energy, great music, and guest appearances – but also includes some exceptional episodes, like a particularly moving one focused on Sydney, written by Ayo Edebiri and Lionel Boyce and directed by Janicza Bravo, where she processes her feelings about the restaurant while on an unexpected babysitting job. The Bear has its ups and downs, but fans of the show will find plenty to enjoy in this latest season. —N.Q.

Check out Kathryn VanArendonk’s review, Nicholas Quah’s thoughts on the finale, Marah Eakin’s season recaps, and Eakin’s ranking of all the episodes.

Couples Therapy, season four (Showtime)

It almost feels predictable to call Couples Therapy one of the best shows on television, but it remains true: very few documentary series are as well-made, and even fewer attempt this kind of insightful storytelling. Season four continues to focus on what the show does best – featuring compelling couples and showcasing the incredible Dr. Orna Guralnik. However, the real magic of Couples Therapy lies in its editing, which skillfully shapes complex stories from hours of footage without oversimplifying them. —K.V.A.

Sirens (Netflix)

The Sirens series (about a group of wealthy people in a secluded, enigmatic community led by a captivating woman) features a lot of different storylines, and many of them include Meghann Fahy. However, when an episode is genuinely enjoyable, strange, and well-acted, it really shines. That’s what’s happening with Sirens – it’s often confusing and feels overstuffed, but the strong connection between the main actors (Fahy, Milly Alcock, and Julianne Moore stepping into a role originally intended for Nicole Kidman) elevates it beyond typical expectations. Kevin Bacon also makes appearances.

➼ Roxana Hadadi’s review of Sirens and Caroline Framke’s recaps of the series.

#1 Happy Family USA (Prime Video)

Ramy Youssef and Pam Brady’s animated series follows the Hussein family, Egyptian Muslims living in New Jersey, and explores how their lives and identities are impacted by the rise of prejudice after 9/11. While dealing with a serious topic – increased racism from neighbors, the media, and politicians – 1 Happy Family USA uses humor, original songs (including a memorable tune about “Spies in the Mosque”), and wonderfully over-the-top voice acting to keep things engaging. Youssef himself voices both the father, Hussein Hussein, and his teenage son, Rumi. The show cleverly expresses frustration with how quickly America embraced a climate of fear and aggression. Though it sometimes feels fast-paced and packed with ideas, 1 Happy Family USA is fearlessly creative – it even portrays figures like George W. Bush and the FBI in wildly absurd ways, along with a hilariously bizarre dentist. The show’s animation allows it to handle these provocative and insightful concepts, culminating in a cliffhanger ending that will completely reshape your understanding of “spy kids.” With another season already confirmed, there’s no reason to miss out.

 ➼ Read Roxana Hadadi’s review of #1 Happy Family USA.

North of North (Netflix)

Like a comforting bowl of soup on a cold day, the series North of North delivers both laughs and a genuine sense of warmth. Set in Iqaluit, Canada, which stands in for the fictional town of Ice Cove, the first season follows Siaja (played with delightful charm by Anna Lambe), a woman in her twenties navigating life after leaving her controlling and emotionally abusive husband, Ting (Kelly William). However, the townspeople adore Ting, and Siaja quickly faces their disapproval for ending the marriage. The show explores Siaja’s ambitions—both at her new job at the community center and in supporting a visiting polar research team—and her personal journey of self-discovery, all while trying to avoid being drawn back into Ting’s influence. The supporting cast is wonderfully funny, and a touching subplot involving Siaja’s mother, Neevee (Maika Harper), and a past love (Jay Ryan) adds emotional depth. A particularly hilarious episode centered around a baseball rivalry hints that North of North has the potential to become a long-running hit like Parks and Recreation, if Netflix decides to renew it. — R.H.

➼ Read Roxana Hadadi’s review of North of North.

The Studio (Apple TV)

Seth Rogen stars in and directs this funny Apple TV+ comedy about a new studio boss trying to make meaningful films in a Hollywood obsessed with established brands and franchises. Rogen also co-wrote and produced every episode with his longtime partner, Evan Goldberg. The show is a hilarious critique of the movie industry, but also a genuine celebration of its appeal. Visually stunning and packed with celebrity cameos – including Martin Scorsese, Charlize Theron, Ron Howard, Olivia Wilde, Anthony Mackie, and even Netflix CEO Ted Sarandos – it’s a surprisingly delightful watch. —N.Q.

 ➼ Read Nicholas Quah’s review of The Studio and Keith Phipp’s recaps of the season.

Adolescence (Netflix)

The British series Adolescence is remarkable not just for being technically impressive—each of its four episodes is filmed in a single, unbroken take—but for how that technique deepens its emotional impact. The show explores the aftermath of a preteen, Jamie, being arrested for murder, and the constant, flowing camera work emphasizes the shock and uncertainty felt by Jamie and his family as they grapple with the possibility that he committed the crime. Director Philip Barantini, along with creators Jack Thorne and Stephen Graham, frequently uses close-up shots, mirroring Jamie’s limited perspective and creating a sense of unease for the viewer. This allows for powerful performances, especially from Owen Cooper as Jamie, who is volatile and troubled, and Stephen Graham as his devastated father, Eddie. In the final episode, the series confronts the difficult question of how Eddie and his wife, Manda (Christine Tremarco, who is also excellent), may have inadvertently contributed to their son’s worldview, and it does so with unflinching honesty, refusing to offer easy answers or let the audience look away. — Jen Chaney

Check out coverage of Adolescence by Marah Eakin, an essay by Shannon Keating about the show’s limited focus on Katie’s point of view, Nicholas Quah’s detailed analysis of the finale, Fran Hoepfner’s piece on the show’s unique single-take shots, and Roxana Hadadi’s interview with star and co-creator Stephen Graham.

A Thousand Blows (Hulu)

Sometimes you just want to see a good fight, and this series delivers. If you enjoyed Steven Knight’s Peaky Blinders, you’ll likely love A Thousand Blows, which shares its intense energy, driving music, and focus on gritty gangsters. Set in 1880s London, the show follows three compelling characters in the criminal underworld. There’s Mary Carr (Erin Doherty), the leader of an all-female gang who decides to target a very ambitious heist. Then there’s bare-knuckle boxing champion Henry “Sugar” Goodson (a physically imposing Stephen Graham), a man who relies on violence and is constantly battling his inner demons. Caught between them is Hezekiah Moscow (Malachi Kirby), an immigrant from Jamaica who arrives in London seeking a new life, only to face exploitation and turn to boxing. Hezekiah’s success in the ring and connection with Mary draw the jealous and volatile Sugar’s attention. The series boasts fantastic performances from its leads, elevating even some of the show’s weaker lines and making their quick connection believable. The fights are raw and impactful, the plots are smart, the six-episode season is fast-paced, and the cliffhanger ending leaves you wanting more. If you were disappointed by The Nevers, this show is worth checking out.

Severance, season two (Apple TV)

The first season of Severance ended with a shocking cliffhanger that left viewers breathless. Unfortunately, fans then had to wait three long years for the next season. Now that season two of this complex and unsettling workplace thriller has arrived on Apple TV, it delivers on the high expectations, and often surpasses them, with these ten new episodes.

As a huge fan, I can tell you that the team behind Severance – Dan Erickson, Ben Stiller who directed half the episodes, and everyone else – have created something truly special. It’s a bizarre, beautifully made show that really gets into the strange world of Lumon Industries, this company where employees have completely separated work and personal lives. We follow Mark, Helly, Irving, and Dylan as they try to figure out what’s really happening there, and Adam Scott gives the performance of his career! Honestly, everything about this show, from the unique sets to the way it’s filmed, is just top-notch. While it’s definitely dramatic, it’s also surprisingly funny – the kind of dark humor we all need right now. If you didn’t laugh during that memorial service where everyone had to take nine seconds to remember a coworker, well, maybe this show isn’t for you. It’s a brilliant, unsettling look at corporate control, and I can’t recommend it enough!

For more on Severance, check out Kathryn VanArendonk’s review and season recaps, her detailed analysis of the conversation between Mark’s two selves, Devon Ivie’s interview with Britt Lower, and Roxana Hadadi’s interview with Tramell Tillman.

American Primeval (Netflix)

While not flawless, Peter Berg and Mark L. Smith’s series American Primeval offers a stark and unflinching look at the American West. It occasionally echoes The Revenant, and Betty Gilpin’s character could have been more developed, but the show is refreshingly committed to challenging romanticized versions of American history. In a cultural landscape often fixated on glorifying pioneers, American Primeval stands out by exploring difficult aspects of Mormon history and refusing to justify violence committed in the pursuit of power. Taylor Kitsch delivers a nuanced performance, Shea Whigham clearly enjoys his scenes with Kim Coates, and the series notably provides a detailed and respectful depiction of the Shoshone people. Though the scenery is beautiful, the show consistently reminds viewers of the bloodshed that stained these lands. —R.H.

➼ Read Roxana Hadadi’s full review of American Primeval and Keith Phipps’s recaps of the series.

Asura (Netflix)

Netflix has quietly released another exceptional miniseries from acclaimed director Hirokazu Kore-eda, and it’s a must-watch. Following 2023’s The Makanai: Cooking for the Maiko House, Asura—based on a 1979 TV series and novel—explores the bonds of sisterhood and family. The seven-episode series centers on four sisters who suspect their father is having an affair and may have another child. Their reactions to this possibility deeply affect their relationships with each other and their partners, and their feelings evolve as they share meals, secrets, and anxieties. The series cleverly asks if we can truly know anyone, and the cast, guided by Kore-eda, answers with humor and sensitivity. Fans of The Makanai will appreciate the many scenes featuring food and connection. The ending is a refreshing reminder that love isn’t guaranteed—it’s a daily choice. It’s a thoughtful and well-crafted series, and one of the year’s best. — R.H.

The Traitors, season three (Peacock)

Let’s be real, the costumes on The Traitors – especially Lala’s tutus – are amazing and could make the show a year-end favorite. But beyond the fashion, the show is becoming increasingly captivating as a social experiment, particularly now that it focuses on reality TV stars. It’s fascinating to watch how these celebrities present themselves, embrace their reputations, and form alliances based on their shared backgrounds. Reality competitions are always about judging people and choosing sides, but it’s even more interesting when we think we already know these contestants from other shows. And this season has been wonderfully chaotic, from the Traitors constantly turning on each other to Tom Sandoval unexpectedly winning us over with his antics. It’s just really fun to watch!

➼ Read Tom Smyth’s recaps of the season.

Abbott Elementary, season four (ABC, Hulu)

After a season focused on the blossoming romance between Janine and Gregory and a lot of celebrity appearances, Quinta Brunson’s sitcom Abbott Elementary returned to its roots in its fourth season. With Janine and Gregory officially a couple and fewer guest stars (aside from a fun crossover with It’s Always Sunny in Philadelphia), the show did what it does best: tackle important issues like gentrification and low teacher pay with funny, relatable stories. Abbott Elementary remains one of the most consistently hilarious shows on television, thanks to a cast who truly understand their characters, making them feel like old friends. Even the child actors shined this season – someone should definitely give an Emmy to the young actress who played Margaret, the student who dressed up as Barbara to celebrate the 100th day of school, believing Mrs. Howard was a centenarian! (“You’re even older than Ms. Teagues, and she’s, like, 50.”) — J.C.

Check out Ile-Ife Okantah’s season summaries, Roxana Hadadi’s explanation of the story behind the Always Sunny in Philadelphia episode, and Devon Ivie’s conversation with Janelle James.

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2025-12-01 20:17