In 2025, even a challenged television landscape was rife with transportive stories. From streamers to broadcast networks, these narratives immersed viewers in different time periods, alternative universes and even forced us to look at our everyday lives. While some series offer mystery (what’s the deal with the small town in “Paradise”?), fantasy (what if you could time travel to meet your true love?) and escapism (will Gladys Russell really marry a duke?) to take us out of our day-to-day grind, others speak to where we are as a collective society. (Nowhere close to living down the sins of our past, if “The Righteous Gemstones” is any judge.) Whether you’ve had a great year in which you’ve thrived or have simply pushed through, television has been there to take the edge off or serve as a well-deserved reward.
From this vast array of options, Variety TV critics Aramide Tinubu and Alison Herman have each selected their 10 favorite shows from 2025, with an eclectic range of selections and two delightful crossovers. These picks span animated and live action series; true crime and talk shows; hospital emergency rooms and galaxies far, far away. What unites these disparate works is an eye for character, narrative and above all, quality. Whether romance or horror, comedy or high drama, each show has succeeded in standing out from a crowded field to be remembered as one of the best of the year. Read on for more on what made the cut and why. (Click here to jump to Alison Herman’s list.)
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Aramide Tinubu’s Top 10
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10. “Murdaugh: Death in the Family” (Hulu)
Image Credit: Courtesy of Disney
There have been few recent true crime stories more captivating than the Murdaugh family murders. With its fictionalized miniseries, “Murdaugh: Death in the Family,” Hulu offers an engaging portrait of greed, cruelty and arrogance that begins well before Maggie Murdaugh (Patricia Arquette) and her son Paul (Johnny Berchtold) were found slaughtered on their family property. Dialing back several years before the 2021 deaths, and peeking into the Murdaughs’ from generations past, “Murdaugh: Death in the Family” highlights a privileged family rife with addiction, intense coddling and complete dysfunction. Arquette and Jason Clarke, who portrays patriarch Alex Murdaugh, anchor the series that unpacks a group of people so deeply indoctrinated in their own lore that they engulf themselves in it -
9. “The Gilded Age” (HBO)
Image Credit: Courtesy of HBO
Created by Julian Fellowes, HBO’s “The Gilded Age” has been transporting viewers to the high society of late-19th-century New York for years. However, Season 3 delivered a fresh, sharp perspective that had been missing. The power dynamic between sisters Agnes van Rhijn (Christine Baranski) and Ada (Cynthia Nixon) shifted drastically after Agnes lost her fortune and Ada came into her own amid her late husband’s passing. Across 61st Street, the Russells are also a tipping point, with Gladys’ (Taissa Farmiga) marriage to the Duke of Buckingham (Ben Lamb) and the resulting fracture in George (Morgan Spector) and Bertha’s (Carrie Coon) marriage, which will likely shift the landscape of high society forever. The third season also offered much richer storytelling for the series’ Black characters, introducing Phylicia Rashad as Peggy’s (Denée Benton) potential new mother-in-law, and highlighting the nuances of Northern Black life, including education and colorism.
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8. “Untamed” (Netflix)
Image Credit: Courtesy of Netflix
Written by Mark L. Smith and Elle Smith, Netflix’s mystery-thriller “Untamed” is an absorbing ride of secrets and long-festering wounds. Set in Yosemite National Park (though filmed in British Columbia), the stunningly shot series follows Kyle Turner (an exceptional Eric Bana), a special agent for the National Park Service Investigative Services Branch (ISB). When a body is discovered in the park, Kyle comes in to investigate. However, as he tries to solve the crime, his personal traumas begin to surface, continually clouding his judgment and putting him on edge. Crafting a unique investigative drama in an over-littered landscape is challenging, but “Untamed” proves that by showing complex human relationships and being unafraid to highlight our worst impulses, it can be done.
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7. “A Thousand Blows” (Hulu)
Image Credit: Courtesy of Hulu
From “Peaky Blinders” creator Steven Knight, “A Thousand Blows” is a thrilling story about a group of outsiders determined to make their mark on an unforgiving world. Set in East London in 1880, the show features Hezekiah Moscow (Malachi Kirby) and Alec Munroe (Francis Lovehall), who arrive in London from Jamaica in search of new opportunities. What they find instead is unrelenting racism and the city’s seedy underbelly of criminality. With boxing as his only source of income, Hezekiah finds himself the subject of desire for female gangster Mary Carr (Erin Doherty, who won an Emmy for “Adolescence”), which earns him ire from Sugar Goodson (“Adolescence” star and co-creator Stephen Graham), the vicious gangster who runs the East End. A gripping, engrossing tale of sexism, racism, loyalty and revenge, the brutal crime drama is one of the year’s best.
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6. “Outlander: Blood of My Blood” (Starz)
Image Credit: Courtesy of Starz
Expanding the beloved “Outlander” franchise, Starz’s new prequel series “Outlander: Blood of My Blood” follows two new love stories, one which starts on the battlefields of the Western Front during World War I and the other in the meadows of Scotland in the early 18th century. Showcasing the romances between Claire Randall (Caitríona Balfe) and Jamie Fraser’s (Sam Heughan) parents, “Blood of My Blood” opens in Scotland in 1714, and follows the forbidden romance between Ellen MacKenzie (Harriet Slater) and Brian Fraser (Jamie Roy), who are Jamie’s parents. Centuries away amid the horrors of the First World War, Lt. Henry Beauchamp (Jeremy Irvine) and Julia Moriston (Hermione Corfield), Claire’s parents, begin corresponding via mail. As with the original series, the timelines shockingly fold into one another. So often, prequels and sequels are poorly written and unnecessary. However, “Blood of My Blood” stands on its own as a rare, endearing and addictive gem.
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5. “It: Welcome to Derry” (HBO)
Image Credit: Courtesy of HBO
A truly terrifying Pennywise (portrayed by Bill Skarsgård, as in the movies) origin story, “It: Welcome to Derry” is deeply complex and emotional. Set in Derry, Maine, in 1962, the series begins with the shocking disappearance of a young boy. From there, the audience is introduced to several students at the boys’ school, determined to find out what exactly happened to him (the original Loser’s Club). However, this is much more than just a surface-level horror story. “It: Welcome to Derry” ties in the paranoia of the Cold War, the horrors of racism, abuse and psychological trauma, all with a taut ribbon of fear laced throughout the entire series. More than a horror drama about the terrifying clown, the show turns a lens on how cruel we can be.
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4. “Paradise” (Hulu)
Image Credit: Courtesy of Disney
A twisted political thriller, “Paradise” creator Dan Fogelman proves after “This Is Us” how agile he is in bending time, space and secrets into scripts. The series follows Xavier Collins (Sterling K. Brown), a Secret Service agent who finds himself in the middle of a horrifying conspiracy when President Cal Bradford (James Marsden) is killed on his watch. But “Paradise” is much more than an assassination at the White House; this entire world is unlike anything we’ve ever experienced, adding another haunting layer to an already tantalizing murder mystery. Episode 7 is the true standout here, allowing Brown and Marsden to shine while offering a world of treachery that may not be too far off from our own.
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3. “Forever” (Netflix)
Image Credit: Courtesy of Netflix
Inspired by Judy Blume’s groundbreaking novel, Mara Brock Akil’s spectacular teen love story is a series for the ages. Set in Los Angeles in 2018, the Netflix series follows Keisha Clark (Lovie Simone) and Justin Edwards (Michael Cooper Jr.), a track star and basketball player from opposite worlds. The series chronicles their burgeoning romance as they navigate their intense feelings for one another and their final years of high school and adolescence. Immensely touching and nuanced, Brock Akil offers a glorious tapestry of young Black love never seen on television. Magical and majestic, the series tenderly holds viewers’ hands through euphoric love, gutting pain, and all those vulnerable, glittering first times.
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2. “The Pitt” (HBO Max)
Image Credit: Courtesy of HBO Max
There is no shortage of hospital dramas on television, but there is nothing quite like HBO Max’s Emmy-winning freshman series, “The Pitt.” Set in modern-day Pittsburgh, the 15-episode first season follows the overworked emergency staff at Pittsburgh Trauma Medical Center. Over the course of one 15-hour shift, the show introduces the traumatized yet highly talented attending physician, Dr. Michael “Robby” Robinavitch (Noah Wyle), and his team as they navigate bloody, grueling cases that put everyone on edge. Removing all of the glitz, glam and unrealistic plot points that have bogged down other medical dramas, “The Pitt” highlights the horrors and hope of America’s broken healthcare system.
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1. “Adolescence”(Netflix)
Image Credit: Courtesy of Netflix
Created by Jack Thorne and Stephen Graham, Netflix’s limited series “Adolescence” is my top pick of 2025, not simply because of the subject matter — which highlights present-day incel culture, and the pitfalls of social media and connectivity — but because of its groundbreaking format. Set in an unnamed English town, the four-episode series begins with the arrest of 13-year-old Jamie (Owen Cooper), who is accused of murdering his female classmate. From there, through the lens of director Philip Barantini’s signature one-shot style, the audience follows Jamie’s arrest, the evidence against him and the fallout which ripples through his classmates, friends and family members. In Episode 3, viewers see Jamie in a session with his court-appointed child therapist (Erin Doherty), which reveals an aspect of the young teen’s psyche that hadn’t been seen before. Haunting and horrific, “Adolescence” reveals how grotesque we’ve become as a society, how violent redpill culture is and what we can expect if we don’t begin to eradicate it.Honorable mentions: “Boots”; “Ballard”; “Power Book III: Raising Kanan”; “Your Friends & Neighbors”; “Long Bright River”
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Alison Herman’s Top 10
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10. “The Studio” (Apple TV)
Image Credit: Courtesy of Apple TV
Lots of Hollywood satires are vicious. Few lead with the palpable affection for movies and mythmaking that “The Studio” wears on its sleeve — which only makes the many ways Seth Rogen’s hapless executive mangles and mishandles his film slate all the more cutting. Continental Studios head Matt Remick could only dream of the creative freedom Rogen, his longtime creative partner Evan Goldberg and their collaborators seemingly enjoyed in crafting their star-studded, long-take-driven spoof, which tempers deep cuts like a character based on ousted Sony chief Amy Pascal with more accessible gags like pratfalls. But it’s the deep sincerity of this Emmy favorite that really undergirds “The Studio,” and explains its popularity with its targets. We already know that a career in show business eats away at the soul. “The Studio” brings the original dream, and all the ways it’s tarnished by tech intruders and IP fever, back to the center.
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9. “Pluribus” (Apple TV)
Image Credit: Courtesy of Apple TV
After creating two all-time classics back-to-back — “Breaking Bad” and “Better Call Saul,” which you may or may not consider one unified masterwork — Vince Gilligan could’ve done whatever he wanted for his next project. “Pluribus” is both a great departure for the showrunner and, in a strange way, completely in line with his prior CV. Gilligan is still based in Albuquerque, taking advantage of the American Southwest’s dramatic scenescapes and wide-open skies; he’s still working with muse Rhea Seehorn, the moral center and steadfast heroine of “Better Call Saul.” But instead of watching Seehorn’s character untangle a legal conundrum, we’re now watching her apply the same dogged commitment to saving the world. Or at least that’s what author Carol Sturka thinks she’s doing when the rest of humanity is suddenly transformed into one singular hive mind. But what if the world is better off this way, and it’s Carol who’s the problem? That’s the provocative question asked by a deliberately paced season balancing a globe-spanning premise with an intense focus on one individual. There’s nothing else like “Pluribus,” even as it bears the unmistakable mark of a Gilligan project.
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8. “The Gilded Age” (HBO)
Image Credit: Courtesy of HBO
Year-end lists like the one you’re reading tend to reward the novelty of new series or the closure of final seasons. (Guilty!) Let us correct that impulse, then, to honor an established show like “The Gilded Age” hitting its stride a full three seasons into its run on HBO. Julian Fellowes and co-writer Sonja Warfield’s period drama still has all the surface-level pleasures of its first two iterations: gorgeous scenery, soothingly low stakes and more Tony awards per capita than seems possible for a single cast. But Season 3 recalibrated to make “The Gilded Age” more substantial, consistent and resonant. Peggy (Denée Benton), a young Black journalist previously siloed into eat-your-vegetables subplots about social progress, got to fall in love and dress up just like her more privileged peers; Gladys (Taissa Farmiga), the daughter of two social climbers previously unified in their ambition, married an English duke and placed a strain on her parents’ union. “The Gilded Age” still keeps it light, yet Season 3 seemed to hone in on the best possible version of a show about excess and inequality that still deeply loves its characters.
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7. “The Lowdown” (FX)
Image Credit: Courtesy of FX
“The Lowdown” has the same indelible sense of place as “Reservation Dogs,” the coming-of-age comedy that marked creator Sterlin Harjo’s first collaboration with FX. But with this quasi-detective mystery, the place in question is not a Native community in rural Oklahoma — it’s the urban tapestry of Tulsa. Ethan Hawke’s “truthstorian” Lee Raybon is our Virgil through the city’s dense patchwork, encompassing Black strip club owners, white supremacists, illicit caviar farms and long-form magazines. By investigating the apparent suicide of Dale Washburn (Tim Blake Nelson), the black sheep of a local land-owning dynasty, Lee seeks to right historical wrongs even as present predicaments, like his relationship with his tweenage daughter Francis (Ryan Kiera Armstrong), require more attention. “The Lowdown” captures the feeling of paging through one of the hard-boiled paperbacks at the bookstore Lee operates as one of his many hustles, with Hawke leading a stellar cast of singular characters.
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6. “Everybody’s Live with John Mulaney” (Netflix)
Image Credit: Courtesy of Netflix
It’s disappointing that Netflix has yet to confirm any additional episodes of this fever dream of a talk-show-shaped carnival, but also apt. “Everybody’s Live,” an evolution of Mulaney’s six-episode “Everybody’s in L.A.” concept that had aired the previous spring, felt destined from the start to be a cult classic — and cult classics, by definition, don’t earn the instant mass appeal that guarantees a quick renewal. Veteran stand-up Mulaney cast himself as a modern Dick Cavett, convening celebrities and expert guests for anarchic, often awkward panels that anchored episodes filled out with musical performances, oddball sketches and call-in segments. Character actor Richard Kind has never been better used than as Mulaney’s voluble sidekick, but “Everybody’s Live” was unabashedly the expression of its host’s wide-ranging, vintage-skewing interests. If all we get of “Everybody’s Live” is 12 episodes of “Hellraiser” gags, fighting 14-year-olds and Natasha Lyonne complaining about bike lanes, then dayenu.
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5. “The Righteous Gemstones” (HBO)
Image Credit: Courtesy of HBO
Danny McBride’s televangelist family epic did not go quietly into that good night, opening its final season with an episode-length Civil War flashback starring Bradley Cooper as the first Gemstone preacher. But it wouldn’t be like the Gemstones — obnoxious, entitled Jesse (McBride); flamboyant, closeted Kelvin (Adam Devine) and confident, horny Judy (Edi Patterson) — to comport themselves with modesty. “The Righteous Gemstones” was the most ambitious execution yet of McBride’s established MO, a loving taxonomy of the American South writ large and a particular species of blowhard in specific. Everything from the action filmmaking to the over-the-top costumes was as excessive as the Gemstones’ wealth, which strayed increasingly far from the humble teachings of their Christian faith. “The Righteous Gemstones” never mocked religion nor regional flair per se; the show just used its knowledge of both to skewer its characters’ hypocrisy, and make us all laugh in the process. Say a prayer for the dearly departed.
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4. “Dying for Sex” (FX)
Image Credit: Courtesy of FX
Terminal cancer is neither sexy nor funny, yet this FX limited series — adopted from a memoiristic podcast of the same name — about one woman’s final days is both. Michelle Williams stars as Molly, whose diagnosis prompts her to leave her husband and embark on an erotic odyssey. Molly’s experimentation with kink, including a dalliance with Rob Delaney’s handsome, unnamed neighbor, understandably grabs our attention. But the back half of the series dives deeper into the codependence of Molly and her best friend Nikki (Jenny Slate), who shoulders the burden of caregiving as Molly gets closer to the end. Creators Liz Meriwether and Kim Rosenstock give that platonic bond as much weight as any of Molly’s sexual connections, which allow her to exert agency even as her body holds her hostage. “Dying for Sex” contains many of life’s most universal experiences, from loss to connection, yet crafts something singular in the process.
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3. “The Pitt” (HBO Max)
Image Credit: Courtesy of HBO Max
The victory of this real-time medical series at the Emmys — where “The Pitt” took home three trophies, including outstanding drama — reads like an embrace of old-school TV. The upheavals of the past decade have prompted an influx of movie stars and tech monopolies to the humble small screen, resulting in shorter seasons, longer waits between installments and higher production values. Yet “The Pitt” is a straightforward procedural, shot in unsexy fluorescent lighting (and in Los Angeles!) with a cast of largely unknowns, save “ER” veteran Noah Wyle as the beleaguered emergency physician Dr. Robby. The show is what TV used to look like, give or take some degloved limbs. And it excels in the very aspects that are TV’s inherent strengths: characters we come to love; stories that gain their cumulative weight over many hours; consistency, with 15 episodes released over several months and another season kicking off this January. To say TV could stand to learn from “The Pitt” is to say TV could stand to embrace its own history. As well it should!
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2. “Long Story Short” (Netflix)
Image Credit: Courtesy of Netflix
Even though it opens with the Schwartz-Cooper family en route to a funeral, this nonlinear animated sitcom is slow to reveal itself as a show about grief. In the first scene, Naomi Schwartz (Lisa Edelstein) is grieving her own mother; in the present, which we hopscotch forward to and back from over the course of the season, Naomi’s husband and children are grieving her. “BoJack Horseman” creator Raphael Bob-Waksberg and art director Lisa Hanawalt swap talking animals in Hollywood for a human, Jewish family in the Bay Area, but keep their signature blend of pun-laden silliness and incisive emotional intelligence. Over the last two years, Judaism could feel more dominated by political debates than religious belief or individual experience. “Long Story Short” foregrounds faith and a finely drawn (in both the literal and metaphorical sense) family; it’s a balm, but also a creative way to illustrate the past’s lingering hold on all of our psyches, regardless of identity.
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1. “Andor” (Disney+)
Image Credit: Courtesy of Disney+
The second and final chapter of Tony Gilroy’s extraordinary prequel to the 2016 film “Rogue One: A Star Wars Story” compressed four planned seasons of television into a quartet of three-episode arcs, all leading up to Rebel pilot Cassian Andor’s (Diego Luna) eventual self-sacrifice to obtain plans for the Death Star. Gilroy extrapolated this footnote of “Star Wars” lore — a prologue to a prologue — into an extended study of revolutionaries, authoritarianism and political violence, all incredibly on Disney’s dime. “Andor” was all about the ordinary people who make political movements work and won’t be remembered by history. To that end, the title character was just the tip of the iceberg: Insurgent spymaster Luthen Rael (Stellan Skarsgard), zealous fascist Dedra Meero (Denise Gough) and conflicted politician Mon Monthma (Genevieve O’Reilly) all drive the action just as much as Cassian’s conversion from amoral smuggler to committed crusader. “Andor” made these fictional people so complete in such a short period of time, and within a framework as historically constricting as a blockbuster franchise, that it deserves to be remembered as the show of the year, if not the decade so far.
Honorable Mentions: “The Chair Company”; “The Rehearsal”; “Sirens”; “Slow Horses”; “Too Much”
