20 Best TV Shows Of 2025 (So Far)

The weather's getting colder, the days are getting shorter and we're starting to think about all the resolutions we won't keep in 2026: Must be time for TVLine's annual list of the best TV shows of the year!

As part of our ongoing Year in Review, we've gathered the 20 series we think exemplify the best of what television had to offer over the past 10 months. Our staff watches a lot of shows — no, seriously, a lot — and therefore we're able to confidently say that the entries on the list below are worthy of your time and attention. A mind-bending prestige drama, a raucous reality series, a quietly excellent broadcast drama: They're all here, plus lots more.

Before we proceed, a friendly warning: While the list entries below aren't meant to spoil you, they might anyway. So if there's a show that's on your To Be Watched list and you haven't gotten around to it yet? Maybe scroll past that one, bookmark this page and come back when you're good to go.

As always, please remember that all lists of this sort are subjective. So if you don't agree with our choices, great! Hit the comments and lobby passionately for the picks you think should've made the cut this year.

Read on for TVLine's 20 Best TV Shows of 2025 (so far), then hit the comments and tell us what you think.

The four-part crime drama stood out for its daring single-take approach. Each episode of the UK series — centered on a 13-year-old boy named Jamie, accused of murder — was filmed in one continuous shot. But even more impressive than the technical feat were the performances by its principal cast, including 15-year-old newcomer Owen Cooper, who won the Emmy for Supporting Actor in a Limited Series; his Episode 3 scene partner Erin Doherty, who took home Supporting Actress; and co-creator Stephen Graham, who earned three trophies for acting, writing, and producing. It was Graham, particularly in the closing hour of "Adolescence," who floored us with his portrayal of a parent in total agony, forced to reckon with the darkness that drove his son to commit a horrific crime. — Ryan Schwartz

FX's sci-fi series had a lot to live up to, continuing the esteemed legacy of the "Alien" movie franchise, but they picked the right man to do it in Noah Hawley, who previously expanded the Coen brothers classic "Fargo" into its own TV universe. The gambit worked this time, too: Hawley nimbly translated "Alien's" cinematic thrills for the small screen while also spinning a fresh story that made us question what it truly means to be human. Sydney Chandler was a revelation as Wendy, a superpowered robot with the mind of a child, capably filling the Ripley role as a dynamic action heroine. Plus, Hawley gave us plenty of xenomorph gore while upping the ick factor by introducing a host of new alien species to make us squirm. Hawley is clearly a fan of the "Alien" movies, and that fandom shines through in "Alien: Earth," making it a more than worthy addition to the franchise. — Dave Nemetz

Frankly, we never knew a "Star Wars" project could hit as hard or go as deep as "Andor" did in its second and (sadly) final season. Showrunner Tony Gilroy outdid an already great Season 1 by plunging into a bloody rebellion that felt chillingly timely while infusing his characters with a stirring humanity. His cast met the challenge, too, with Genevieve O'Reilly, Kyle Soller, Denise Gough and Stellan Skarsgård all giving top-notch performances. (Not that Emmy voters noticed.) Season 2 still delivered heart-pounding action and welcome flashes of humor, but it was the wonderfully dense characterization and bold storytelling — in Mon Mothma's gradual enlightenment, in Bix's haunting recovery from trauma, in Syril's endless quest for justice — that kept us glued to our seats. We know this story had to end for "Rogue One" to begin... but we still wish we didn't have to say goodbye to a show just as it was hitting its creative peak. — D.N.

After a disappointing third season, Season 4 of Hulu's culinary dramedy went back to a recipe that worked, breaking out of its slump and rediscovering the flavors that made us fans in the first place. The pace picked up as Carmy and his staff raced against time to make their restaurant a success before the money dried up, giving Season 4 a propulsive momentum that the previous season sorely lacked. But the season still left plenty of time for people to get into their feelings, with Carmy finally addressing his fractured relationship with Claire, and Sydney giving us a peek at her life outside the kitchen in a fantastic standalone episode. Throw in a gloriously overstuffed ensemble episode with Tiff's chaotic wedding reception (complete with another big star cameo) and an emotionally raw finale that saw Carmy, Sydney and Richie bare their souls to each other, and we can't wait to reserve a table for another meal. — D.N.

Charlie Brooker's Netflix anthology has been hit-or-miss for the past few seasons — the less said about that Miley Cyrus episode, the better — but Season 7 was its strongest effort in years, giving us the high-tech chills and stunning twists we've come to expect from the series along with a host of stellar performances. "Common People," with Rashida Jones and Chris O'Dowd as a couple forced to make hard financial decisions after a medical crisis, was terrifyingly prescient in classic "Black Mirror" fashion. (It was a little too real, to be honest.) The "USS Callister" sequel was a fun follow-up to one of the greatest "Mirror" episodes ever. Best of all, though, was "Eulogy," with Paul Giamatti delivering an absolutely heart-crushing performance as a man wracked with regret after the death of his ex-girlfriend. As seen through Brooker's eyes, the world may be a scary place, but it's also a better place when "Black Mirror" is back on its game like it was this year. — D.N.

Don't get us wrong, "The Gilded Age" has always been a good time. Christine Baranski and Cynthia Nixon trading barbs in 19th-century bustles? This is what dreams are made of. But while the show has never lacked pearl-clutching moments, the dramatic stakes (beyond a revoked luncheon invite) never really mattered... until the most recent season. John Adams' cart crash? George's shooting? The long-foreshadowed destruction of the Russells' marriage? Something woke up in "The Gilded Age" this season, and we hope it never goes back to sleep. And who knew that Gladys would be responsible for bringing so much of what we loved about the season? From her royal(ish) wedding to her "Downton Abbey"-esque side quest overseas, Taissa Farmiga's underestimated character is definitely in the running for Season 3 MVP. — Andy Swift

"Hacks" is one of those rare shows that somehow gets better with every season, maturing like one half of its central pair, aging-but-still-fierce comedian Deborah Vance (played by Jean Smart). Over the course of the first three seasons, we watched as she evolved and finally embraced a bit of vulnerability in her act, encouraged by her new writing partner, the upstart Ava Daniels (Hannah Einbinder). Together the two are comedic genius, and they finally managed to secure Deborah's lifelong dream of hosting her own late-night show. Most series following someone chasing a singular dream tend to fizzle a bit when that dream is finally achieved, but "Hacks" managed to make it into the show's best season yet. We could watch Ava and Deborah fight, create, and kick the patriarchy's butt for decades, honestly. — Danielle Ryan

"Love on the Spectrum" has managed to do what "The Bachelor" and "Love Is Blind" could never: deliver a genuinely heartwarming and touching dating series that has us rooting for the success of each and every cast member. The Netflix reality show has introduced us to plenty of memorable characters, all of whom are on the autism spectrum, as they search for love. As we watch the trials and errors of our singles, the series manages to incorporate humor, vulnerability and authenticity all without feeling exploitative.Season 3 was full of high points that make it a clear best of the year: Connor finally found the "demigoddess" he's been looking for; Abby celebrated her longtime boyfriend David with an original song; and Tanner continued to embark on dates with positivity and optimism. All in all, the show has made us laugh, cry and feel more hopeful about love than ever before! — Claire Franken

The romantic comedy — which we also singled out as one of the year's funniest shows — went even deeper in Season 2, exploring faith, identity, and compromise without losing the spark that made Noah and Joanne such a compelling pair in Season 1. What began as a smart opposites-attract story evolved into an intimate look at what it takes to sustain love once the honeymoon phase ends. And that effort extended beyond Noah and Joanne, as the series mined laughs (and heartbreak) out of Sasha and Esther's valiant effort to save their marriage.

Kristen Bell and Adam Brody continued to anchor the show with relaxed chemistry and understated performances, while Justine Lupe was perhaps this season's MVP, as Morgan attempted to justify to herself (and to the world) that her relationship with her former therapist (!) shouldn't give anyone "the ick." The series was still hilarious — but also surprisingly moving. — Ryan Schwartz

With no proper source material aside from a few lines of dialogue in the original "Outlander" series and books, the time-travel tale's first spinoff could've ended up a tartan-wrapped triviality. But to our delight, the first season of the Starz prequel turned out to be a beautiful, engaging, and surprising exploration of Jamie's and Claire's parents' love stories. (And, in "Outlander" fashion, it was also really quite hot.) The premiere's big twist — that Henry and Julia Beauchamp didn't die in a car accident, as Claire always believed, but instead were hurled into the past — brilliantly consolidated the action so that the show's four leads could interact in the same time period. And those leads! Yes, they bear uncanny resemblances to "Outlander" stars Caitríona Balfe and Sam Heughan. But the talented core four of "Blood of My Blood" (Harriet Slater, Jamie Roy, Hermione Corfield and Jeremy Irvine) are a skilled group of actors who made us care deeply about people whose names we'd previously only heard in passing. So consider this us formally raising our targes and shouting a Highlander war cry: Onward to Season 2! — Kimberly Roots

"Overcompensating" knows how to commit to the bit. From Hailee's fingernail puffs and Trent constantly announcing he needs a bathroom, to the sheer volume of "no homos" and "yees," the series mastered the art of maximalist comedy. But for as funny as the show is, it's equally as relatable and vulnerable. Through all the outlandish chaos, Benito Skinner and Wally Baram — who play Benny and Carmen, two college freshmen building a budding friendship — masterfully puncture the show's absurd veneer with coming-of-age realness at just the right times.Over the course of its freshman run, the series delivered two instantly iconic episodes — Episode 5 (when Carmen pieces together that Benny's gay) and Episode 7 (featuring a moving karaoke rendition of "Welcome to the Black Parade") — solidifying its spot among the best shows of the year. Plus, we can't help but celebrate the slew of surprising guest stars who visited Yates University, from Matt Rogers and Bowen Yang to James Van Der Beek.— C.F.

When James Gunn's "Peacemaker" first hit HBO Max in 2022, it was a riotous shock to the DC Comics status quo, featuring John Cena as the titular Peacemaker. Over the first season, audiences watched him find himself and challenge his upbringing to try and be a better man. Season 2 spread the wealth, with several of Peacemaker's crew, the 11th Street Kids, getting their own chances at change. Seeking real redemption, Peacemaker headed into an alternate universe with a result that was both hilarious and politically pointed — and which earned it a spot on our list of the year's biggest plot twists.  

The season also tied in neatly to Gunn's big-screen "Superman" and set things up for the upcoming "Man of Tomorrow," all while staying true to the vulgar, glam metal vibe of "Peacemaker." Plus, an even better opening dance sequence than Season 1 and a soundtrack that heavily features Cincinnati rock group Foxy Shazam? Season 2 of "Peacemaker" simply rocks! — D.R.

During its first season in 2022, "The Rehearsal" became a deeply uncomfortable watch — not in the funny-uncomfortable way that star Nathan Fielder's work usually achieves, but in a truly hard-to-witness way, as we all watched a child actor become too attached to Fielder and truly believe Fielder was his dad. (If you haven't seen it: long story.) This year's sophomore run, though, more deftly toed the line between completely absurd and genuinely compelling, as Fielder attempted to improve communication between airline pilots in an effort to reduce the likelihood of plane crashes. A niche topic, yes, but with all the resources at Fielder's disposal — what kind of budget does HBO give him for this, anyway? — he approached the issue in ways both wacky and thought-provoking. The finale reveal that Fielder had in fact been training to become a real pilot over the course of two years, and was now poised to fly an actual Boeing 737 from California to Nevada, capped the season with more edge-of-your-seat tension than many scripted series are able to produce. — Rebecca Luther

"ER" was the gold standard... that was, until that show's Noah Wyle, R. Scott Gemmill and John Wells reunited to deliver TV's most accurate depiction of emergency medicine ever. While the HBO Max drama's attention to detail may compel you to watch certain scenes through the cracks of your fingers, the effort must be commended, as should the series' commitment to elegant world-building.

There's a reason "The Pitt" won the Emmy for Outstanding Drama Series: While the show takes place almost entirely in the bowels of a severely underfunded hospital, it still manages to deliver compelling characters and interpersonal dynamics — buoyed not only by Wyle's award-winning performance, but by the work of its entire ensemble. Katherine LaNasa and Shawn Hatosy might've earned the only other acting accolades, but there's not a weak link in the bunch — and we can't wait to scrub back in alongside Robby, Dana, Abbot, Langdon, McKay, Mohan, Santos, Whitaker and Javadi in Season 2. — R.S.

"Salt Lake City" isn't just the crown jewel of the "Real Housewives" franchise, it's one of the best shows on TV, period. The ladies kicked off 2025 with one of the darkest party games you could ever imagine, sharing the meanest text messages they've sent about one another, and they're ending the year with some of the most explosive confrontations we've seen yet. The entire "Below Deck" crossover deserves Emmy consideration, frankly, though we'd settle for that picture of Lisa Barlow crying on the docks to be hung in the Smithsonian. But don't just take our word for it. Here's what insightful "Last Week Tonight" host John Oliver had to say about "The Real Housewives of Salt Lake City" during an impassioned "Late Show" visit: "It is a masterpiece. It is prestige television. Think of a show that you like in your head right now. It's better than that show." — Andy Swift

The work was still mysterious, but slightly less important — at least until the tail end of the Apple TV epic's long-awaited second season, which was more concerned with offering a granular look inside the minds of Lumon's lab rats — err, dedicated employees. Britt Lower took home the Emmy this year for what ultimately became a dual role, as Helena ventured onto the severed floor as her innie, Helly R., deceiving her colleagues — and much of the audience — for nearly half the season. That, in turn, gave way for a career-best performance by John Turturro, as Irving confronted Helena ("Helly was never cruel!") during a memorable retreat to the snowy wilderness.

Adam Scott also delivered in a big way in the Season 2 finale, which ended on yet another all-time great cliffhanger, as Mark S. was forced to choose between his real wife (a newly freed Gemma) and his work wife (Helly). Everything that preceded it was just as powerful, including a sequence where Scott acted opposite himself — his innie and outie carrying out a conversation over a camcorder. — R.S.

Seth Rogen's showbiz satire broke the record for most Emmys collected by a freshman comedy — and for good reason. Beyond the laughs, the show delivered a superb character study about creative insecurity and ego management in the streaming age. As neurotic studio head Matt Remick, Rogen played a man trying to balance art and commerce, relevance and reinvention — a Larry David–esque figure who couldn't get out of his own way.

With sharp writing and go-for-broke performances from Kathryn Hahn, Ike Barinholtz and Bryan Cranston, the Apple TV series captured the comedy and chaos of collaboration. It managed to be one of the funniest shows of the year while also holding up a mirror to an industry that rarely laughs at itself this honestly. — R.S.

After giving us Kate Winslet as a hard-nosed detective in "Mare of Easttown," creator Brad Ingelsby went back to the "wooter ice" well once again for another HBO crime drama set in the backwoods of eastern Pennsylvania. He didn't miss, either: "Task" was a thrilling, richly emotional saga that equally fleshed out both sides of the law and was packed with dynamite performances. Mark Ruffalo starred as FBI agent Tom, hot on the trail of Tom Pelphrey's low-level thief Robbie after a string of violent robberies and an inadvertent kidnapping. The ensuing chase was full of nail-biting tension, but what really pulled us in was Ingelsby's keen observational eye and deeply humane characterization of both cops and robbers. (When their paths finally crossed, Tom and Robbie had a long confessional talk on a car ride that ranks as one of the year's best TV scenes.) Ruffalo and Pelphrey both shone, and they were backed up by strong supporting turns from Alison Oliver, Emilia Jones and more. We were hoping for another season of "Mare," but "Task" proved that Ingelsby has plenty of other great stories to tell. — D.N.

Mike White has a knack for finding the perfect cast to populate his luxurious HBO dramedy, and he struck gold again in Season 3, serving up a sumptuous buffet of entitled travelers at a posh Thailand resort. No, he didn't have Jennifer Coolidge this time, but Parker Posey effortlessly stepped in as this season's MVP, giving us quotable one-liners for days as pampered Southern wife Victoria. (Who among us hasn't yelled out "Piper! No!" at some point this year?) The rest of the cast sparkled, too, from breakout Aimee Lou Wood as starry-eyed girlfriend Chelsea to Sam Rockwell as reformed wild man Frank, who delivered the year's best TV monologue, hands down. White's brand of satire is so sharp, it stings, and Season 3 dug into heady topics like wealth and spirituality in fascinating ways. Three seasons in, "The White Lotus" can feel a little formulaic at times — put annoying rich people at a resort and watch them embarrass themselves; rinse and repeat — but with its balance of belly laughs and emotional nuance, Season 3 was still well worth the trip. — D.N.

The ABC crime drama has seen its audience grow with each passing season — and it's no wonder why: "Will Trent" has one of the finest ensembles broadcast TV has to offer, anchored by a riveting performance by leading man/executive producer Ramón Rodríguez, whose titular Special Agent is unlike any TV detective we've seen before.

In Season 3, Will and Angie navigated their newfound normal, post-breakup, as well as new relationships and the comings and goings of estranged parents. Rodríguez was particularly great as Will reckoned with the accidental shooting of an innocent bystander, while Erika Christensen floored us when Angie confronted her ex about blowing up their shared life — and any chance at a happily-ever-after. Iantha Richardson, Sonja Sohn and secret comedy weapon Jake McLaughlin, plus recurring players Scott Foley, Kevin Daniels (newly promoted!), Cora Lu Tran and Bluebell (aka Betty), are no slouches either, elevating already stellar writing to make "Will Trent" a must-see hour of TV. — R.S.