A noticeable number of television critics have in recent weeks started their Top Shows of 2025 columns by lamenting that it has been "a bad year for TV." But how could the word "bad" fit into a critique of a medium that started the year with Netflix's Adolescence and HBO Max's The Pitt and ended with the premiere of HBO Max's Heated Rivalry, Apple TV's Pluribus and the series finale of Netflix's Stranger Things -- while giving us the likes of Apple TV's The Studio, FX's Alien: Earth, a new Ken Burns documentary and the wildest-ever season of Comedy Central's South Park along the way?
My first pass at this annual exercise (featuring 25 top shows) included more than 40 programs. I could have gone higher, but I chose to stay with tradition. When I began eliminating so many shows from that first list, I found myself keeping programs that I relaxed with and enjoyed at the expense of some which, even if they were top quality, began to drag during a binge.
To put this another way, the world is such a horrifying mess these days that I have endeavored to prioritize those shows that prioritized entertainment. Hence the inclusion of so many shows you likely won't find on any other year-end lists … such as the consistently funny CBS comedies Ghosts and Elsbeth, the still-engrossing dramas 9-1-1 (on ABC) and Matlock (on CBS) and the flashy competition shows Dancing with the Stars (on ABC) and America's Got Talent(on NBC).
Wait! That's six broadcast shows right there! And there are more! I'm really asking to be kicked out of the club, aren't I?
What follows are my Top 25 Programs of 2025, followed by a few noteworthy runners-up.
SNL 50: The Homecoming Concert (Peacock) / Saturday Night Live 50th Anniversary Special (NBC) -- How can any of us look back over the previous twelve months and not celebrate these celebrations of a half-century of a television series unlike anything that came before, or since, and has launched more careers than I can readily recall? I thought the live concert, on Peacock, was a better watch than the live anniversary special on NBC. Taken together, though, they were a nostalgic marvel.
Adolescence (Netflix) -- The scripted program of the year was a fascinating, terrifying and shockingly sensational deep dive into the current mental health crisis among young men, which seemingly starts in adolescence, if not childhood. The acting in this ensemble was unparalleled, not to mention the state-of-the-art technology (those episode-long single takes!). At only four unforgettable hours, Adolescence proved that streaming dramas need not be painfully padded to eight or ten to tell their stories.
The Pitt (HBO Max) -- Thirty-one years ago ER revitalized the popular but somewhat tired medical drama genre with its groundbreaking kinetic storytelling. This year, The Pitt punched it up all over again. At its center: Career-best work from ER veteran Noah Wyle and a large cast of uncommonly talented unknowns who won't be categorized as such for long.
Alien: Earth (FX) -- I still haven't figured out how to best express how impressed I am with Noah Hawley's television addition to the Alien film franchise, which began in 1979. Alien: Earth, a prequel to the first movie, simultaneously explores the state of humanity at that time (which alone would make for a fascinating series) as well as the crises that follow after a space vessel filled with otherworldly monsters crashes on earth. Come for the xenomorph, stay for the rest … but don't watch before bed.
The Diplomat (Netflix) -- The most addictive serialized drama on television became even more essential with the expansion of Allison Janney's role as President of the United States. Season three was this irresistible series' breakout year, setting the stage for even bigger blasts to come. Also, is anyone having more fun playing a TV character than Keri Russell right now?
South Park (Comedy Central) -- Speaking of explosive shows featuring the President of the United States … how this one hasn't gotten the Colbert treatment is beyond me. The picture at the top just scratches the surface. Thank goodness it's still with us.
Matlock (CBS) -- My favorite new show of 2024 has wisely in 2025 focused on the uniquely unpredictable relationship between Kathy Bates' shrewd attorney Madeline Kingston Matlock and her formidable boss, Skye P. Marshall's Olympia Lawrence. Their dynamic is wholly organic and never less than irresistible.
Elsbeth (CBS) -- Cheers to Carrie Preston, who has delighted us with her portrayal of the eccentric but invaluable crime solver Elsbeth Tascioni for over 20 years, first on The Good Wife, and then The Good Fight, and now in a series that is Elsbeth's own. The addition in a recurring capacity this year of Sarah Steele as Melissa Gold (also from The Good Wife and The Good Fight) has only heightened the fun.
Ghosts (CBS) -- Five seasons in and this CBS sitcom remains the most creatively inventive comedy on television. What could have been a gimmicky, one-joke series that quickly grew tiresome has instead continued to develop as a fresh, funny and insightful comedy about what it means to be alive as it continues to explore the afterlives of the deceased.
Emily in Paris (Netflix) -- Netflix's delightful rom-com had its best season yet, as the title character and her friends moved from Paris to Rome, then back to Paris, and then on to Venice, and then back to Paris again. Emily is far from the finest show on television, but as light escapist fare goes, it's tops.
Dancing with the Stars (ABC) -- Dancing remained American television's best variety show, with its singular mix of production numbers, great music, dazzling camerawork, moments of great emotion and sustained competitive joy. Ten years after his sister Bindi Irwin took home the coveted Mirror Ball trophy, her brother Robert joined the Stars winners circle while becoming one of the most popular personalities of the fall television season. And look at those ratings! Maybe guest (and former host) Tom Bergeron was onto something when he suggested -- live on air -- that ABC bring back the Dancing results show.
America's Got Talent (NBC) -- Still America's best talent competition show, and still the best reason to watch broadcast television during the summer months.
Heated Rivalry (HBO Max) -- HBO Max's Heated Rivalry is nothing less than a blazing fireball that at year's end came out of nowhere (actually, Canada) and became one of the most talked about series of 2025. No way this sexually supercharged drama about gay pro hockey players won't remain a hot topic in the year ahead.
Pluribus (Apple TV) -- Here's the other late-year starter that exploded on impact, this one seemingly foolproof. It's the latest gripping original from Vince Gilligan, who chose to follow Breaking Bad and Better Call Saul with a return to science fiction, a genre he knows quite well from his years as a writer, producer and director for the classic The X-Files. Gilligan, surely the smartest person in almost every room, was wise enough to cast the remarkable Rhea Seehorn of Saul as the lead in Pluribus, about a woman immune to an alien virus infestation that connects all but a handful of human beings as one, and renders them all kind and compassionate. She knows something is radically wrong with this hive mind … and knowing Gilligan, she's right.
The Studio (Apple TV) -- I'm still not convinced that this comedy about a well-meaning Hollywood studio chief attempting to navigate the withering demands of self-important executives of questionable talent is as popular outside the entertainment industry as it is within the media echo chamber. But it's off to a strong start, and it has given Catherine O'Hara yet another priceless comedic role, so I'm in.
Landman (Paramount+) -- This serialized drama about big oil feels like the 2020s companion to Dallas and Dynasty of the 1980s. Where they focused largely on the wealthy and powerful people who ran oil empires (Ewing Oil! Denver Carrington! ColbyCo!), reflecting the largesse of their decade, Landman steers more toward the working-class folks who keep that black gold flowing. They aren't exactly poor, but they are working hard to make other people fantastically rich. Sound familiar?
All Her Fault (Peacock) -- When it comes to engrossing mysteries, one or two shocking twists throughout the story are usually enough to keep me hooked. But All Her Fault, one of two terrific limited series this year on Peacock (the other one follows), had at least one or two twists in each of its eight episodes. Sarah Snook's TV follow-up to her acclaimed work on Succession should add more awards to her shelf.
Devil in Disguise: John Wayne Gacy (Peacock) -- Fact-based stories about serial killers have been all the rage on TV of late, but this one -- much like Netflix's DAHMER: Monster -- The Jeffrey Dahmer Story -- stood out by focusing on the victims and their families, colleagues and friends, as well as the detectives assigned to stop the madness. The period detail deserves praise of its own.
The Late Show with Stephen Colbert (CBS) / Jimmy Kimmel Live! (ABC) --Late night talk and entertainment shows came under attack this year (you know the story), and as a result Colbert's show will end in May. It briefly looked as though Kimmel's show would be killed off, too, but his banishment was only temporary. Following these shocking developments, Colbert and Kimmel gave powerful monologues about freedom of speech and the state of the union that should be preserved in public archives. In one of the coolest late-night stunts ever, they also appeared on each other's show on the same night. (Kimmel was filming in New York City that week.)
Hacks (HBO Max) -- Speaking of late-night turmoil, Hacks sped through the long-awaited story of Deborah Vance's late-night triumph as if its' writing team couldn't wait to get on to the next thing. Surely there was another season or two of material there? No matter. This season added layers of drama to the fascinating comedic mess that is the relationship between Deborah (Jean Smart) and Ava (Hannah Einbinder), TV's most combustive coupling.
Andor(Disney+) -- With apologies, Star Wars began and ended for me with A New Hope (1977), The Empire Strikes Back (1980) and Return of the Jedi (1983). I enjoyed each one several times in movie theaters, where they once belonged. Nothing else in the burgeoning Star Wars franchise has come close to the collective thrill ride of those three. But I respect the success of Andorand the talent of leading man Diego Luna enough to include it here.
9-1-1 (ABC) -- Nine seasons in and this action series remains singularly satisfying for its blend of powerful character drama and near-cinematic storytelling. (Seriously, some episodes still play like genuine big-budget disaster movies.) The cast (led by the formidable Angela Bassett) is terrific as is, but I wish they would make room for recurring appearances by characters from the show's much-missed first spin-off, 9-1-1: Lone Star. (The two shows did a crossover once. Why not expand the 9-1-1 universe again?)
Finding Mr. Christmas (Hallmark Channel) -- Simple, straightforward entertainment is often overlooked by critics who are interested only in championing the next big thing. But this charming competition series is a perfect fit for Hallmark, one of the few networks on broadcast or cable that continues to solidify its brand while growing a loyal audience. Each season ten young actors compete to land a role in a Hallmark Christmas movie. Frankly, I think several guys from season two would do quite well in Hallmark movies, but that might be too much like handing out participation trophies.
Severance (Apple TV) -- Two things can be true at once. Take the narrative of this science-fiction workplace thriller, which I often find to be simultaneously compelling and confusing. I still believe that Severance (with its wild premise and first-class cast) could have been produced as a movie that might have become an all-time sci-fi classic. But after two seasons there is no turning away.
American Revolution (PBS) -- The collective contribution of thousands of PBS programs to American culture and education cannot be overstated. Topping the list are the many unforgettable documentary series by Ken Burns and his remarkable team. With PBS (and so much else) in peril, the timing of Burns' latest achievement could not have been better.
And here are ten honorable mentions:
Paradise(Hulu)--Worth the watch for Sterling K. Brown, James Marsden and Julianne Nicholson. It started off great, but the final episode of season one was a letdown.
Only Murders in the Building(Hulu)--Fun (yet forgettable) as always.
Chad Powers(Hulu)--This one could have been a disaster. ButGlen Powell gave it his all and scored.
Note: There is no truth to the rumor that I relocated these three fine Hulu series to the Honorable Mention list because Hulu removed The Mary Tyler Moore Show from its schedule a couple months ago and I am seeking revenge.
Wednesday(Netflix)--Season two sagged but star Jenna Ortega as the title character remained a marvel throughout, thanks in part to her droll delivery of some of the most consistently funny dialogue given to any actor this year.
The Gilded Age(HBO)--Gilded Age is still not in league with Downton Abbey, but the storytelling is brisk and the cast of New York theater actors is a collective delight. Any series that keeps Christine Baranski on my screens is a winner in my book.
Dying for Sex(FX)--Michelle Williams was triumphant (as always) in her portrayal of a terminally ill woman determined to enjoy the perfect orgasm before her life is over. I wish I could say the same for the show itself.
The Last of Us(HBO)--I truly did not know that Pedro Pascal's Joel Miller was going to meet so brutal and drawn-out an end so early in the second season. Unwittingly witnessing his ultra-violent demise in the episode that debuted on Easter evening didn't help. Like many other people, I lost interest on the spot.
Task (HBO) -- Another HBO drama that was just too violent and depressing for me. But the powerful performances by Mark Ruffalo and Tom Pelphrey demand recognition.
Nobody Wants This(Netflix)--I was under the impression that nobody wanted a second season. But it wasn't bad. Like Only Murders, it was fun but forgettable.
Abbott Elementary (ABC) -- In 2022 I wrote the following, and it still holds. "The television industry would have us all believe that broadcast TV is increasingly outdated and will soon be obsolete. But, out of the hundreds of new and returning scripted programs that appeared this year across the linear, cable and streaming landscape, the most talked about show of them all is this charming contemporary network comedy about teachers at an inner-city school holding it together as best they can for the benefit of their kids. I mean, who doesn't love Abbott Elementary? And who thinks it would have made the same wide-ranging splash on a streamer that it is enjoying on ABC?" It may have lost a bit of that buzz, but it still gets an A+ from me.
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