Steven Prusakowski
Today we present the official Awards Radar list of the Best of Television 2025. It is probably the final and definitive list as we are almost two weeks into 2026. Please excuse the delay. It comes from a few personal challenges to overcome but more so the desire to put out something special that will convey the passion of the shows and performances that left a lasting impact. Grab your reading glasses, because a hasty write up was not in the cards. There was a lot to love this year so why not share it. In addition to the best shows you will find we highlight some of the best performances.
The biggest surprise of television in 2025 was not one single series but the surprisingly strong offering across the medium especially with the reduced output. There were some standouts that would make best of lists in just about any other year. Whether it was a previous favorite returning to form and then some, the new kid on the block leaving us in stitches, or a genius showrunner proving again that breaking only made him better, television remains the medium to escape to even as the industry sits at the precipice of the unknown with the Warner Bros. deal actively in the works, shrinking budgets, and the continued shift to new mediums which do not embrace long form or intelligence. Essentially the dumbing down of humanity. No big deal.
In addition to my selections you will find selections from our talented team of television writers who are passionate about their entertainment. The lists vary showing how TV has something for everyone. After reading please be sure to check out some of our hundreds of interviews where we speak with the people that bring to life the shows that make us laugh, cry, cheer, and shudder.
INDEX:
The Best TV Show of 2025
The Rest of the Best TV Series of 2025
Honorable Mentions
Performances of the Year Awards
Team Picks for Best Series/Performance
The Best TV Show of 2025
Pluribus (Apple TV)
Vince Gilligan is a genius. Breaking Bad firmly planted him on my radar and quickly everybody else’s. You cannot have a conversation about the best of TV without someone bringing it up. My response is always, you’re right to mention it, but did you watch Better Call Saul? It was a series I did not want, but now not only love, it is on my Mount Rushmore of TV, as discussed frequently on my TV Topics podcast, ahead of Breaking Bad. The reasons are plentiful, ultimately coming down to Gilligan’s ability to expand and enhance the already beloved universe of BB, while making Saul Goodman (Bob Odenkirk) a lesser character often used for comic relief into a layered, complex, tragic character shaped by his moral compromises. I rarely say this, but it is an absolute masterpiece. (For naysayers, push through seasons one and two; they are crucial to Saul’s story, and once you do, the show finds its groove and becomes much more accessible for people coming over from BB.)
I am sure you are saying, WTF does this have to do with Pluribus? The answer is simple: Gilligan’s involvement and the casting of Rhea Seehorn was all I needed to know to commit to watching; no trailers, no descriptions, no arm-twisting needed – I was in 100%. Seehorn, who to many was an unknown when watching Pluribus, had proven herself endlessly on Saul as Kim Wexler, Saul Goodman’s partner-in-crime. By the end of the series, not only is she so much more than his “sidekick,” she is as layered as Saul/Jimmy – the secret weapon hiding in plain sight. In Rhea and Vince I trust.
So, going into Pluribus completely blind was not a leap of faith; it was a decision, and it only elevated the experience. For that reason I will not share many of the details of where the series goes, keeping it relatively vague. (In other words, just go watch it.) The sci-fi series revolves around Carol (Seehorn), a romance author who is a pretty miserable person. She would rather disappear into the crowd than deal with others. Soon she is surrounded by a world filled with happy, like-minded thinkers aiming to please her, and she must make a stand for herself and all of humanity. Like Gilligan’s other work, details are revealed deliberately and patiently, leaving viewers with a lot to talk about and few answers, putting us in Carol’s shoes. Even though a good percentage of the series is spent with Carol and a few other characters in isolation, there is not a dull moment.
As always, Gilligan’s writing, where developing characters who you can dissect and analyze with precision and will still find more to talk about, is complemented by his astute and crafty camera and visual style. There’s often much more storytelling presented without a word being spoken than pages of dialogue could convey.
Fans analyze every brushstroke on the Pluribus canvas, piecing together the mysteries behind the intrigue. But, like other Gilligan series, this is not about the mystery; it is about the characters, and he patiently develops some of the most nuanced characters on television. While I cannot wait to learn more, I more so want to spend more time with Carol, Zosia (a spectacular Karolina Wydra), and Manousos (Carlos Manuel Vesga) to see what humans do when humanity isn’t quite what it was. It is kind of like the Un-Real World: “This is the bizarre story…of two strangers…picked to live on the planet…and have their lives put under a microscope…to find out what happens when humanity starts being polite and stops being human.” Brilliant.
THE REST OF THE BEST OF TV
(In Alphabetical Order)
Andor (Disney+)
To be completely transparent, my interest in Star Wars has been dwindling as I grow older. I still love the classics and even some of the newer films and series, but in general, the franchise hasn’t grown along with me. Political commentary has always been part of the universe, though rarely at a level that gives you something substantial to really chew on… until now.
Andor is not only some of the best Star Wars ever made; it’s also one of the smartest, sharpest political dramas out there, an enthralling how-to guide on fighting fascism. While other Star Wars stories lean into clear good-vs-evil battles, Andor deliberately blurs the lines. The enemy is obvious, but the people caught in between are often pawns in a game of “the greater good” manipulated by misinformation.
Diego Luna delivers a quietly powerful lead as Cassian Andor. But the true standout is Stellan Skarsgård the rebel architect whose chilling monologue about sacrifice and what it costs to fight tyranny is one of the most timely, haunting, and unforgettable moments in the franchise.
Andor isn’t just entertainment, it’s a reminder that freedom isn’t won with weapons alone, it is won in the courage to stand against oppression before it’s too late. With Andor, Star Wars reestablishes itself as a galaxy I need to continue visiting.
Death By Lightning – (Netflix)
Death By Lightning snuck up on me. The series is anchored in a trio of incredible performances by Michael Shannon, Matthew Macfadyen, and Betty Gilpin. Add to that an ensemble of some of the best character actors working today, Nick Offerman, Bradley Whitford, and Shea Whigham and this stranger-than-fiction true story of the assassination of President James Garfield sounds like a surefire hit.
If you are like me, you are probably thinking, “Garfield was assassinated?” The fact that few know the details, or even that the tragedy happened, makes the miniseries all the more intriguing right up to his dying moments. With only four episodes, it moves at a good pace for those who get flashbacks to high school social studies whenever they even think of a historical drama.
It helps that the series does not hold back on detail with top-notch production values fitting of the cast, taking us back in time to a world usually only seen in pictures. Plus, its sharp writing, tinged with touches of dark humor as well as timely issues without preaching, makes for a bigger crowd-pleaser than expected. Living in these political times, the series may make you nostalgic for the days of a more civil political environment. Death by Lightning turns a forgotten chapter of American history into a gripping, eerily more relevant story than expected.
Devil in Disguise: John Wayne Gacy (Peacock)
Peacock’s limited series Devil in Disguise: John Wayne Gacy rises above the genre’s usual trappings with restraint and real emotional depth; this is not a case of “murder porn.” Rather than chasing shock value or leaning on the infamous “Killer Clown” gimmick, showrunner Patrick Macmanus purposely paints portraits of the victims and others who are often ignored in stories like this. It delivers a sober, meticulously crafted look at the case through an authentic period atmosphere and a focus on the human stories behind the headlines. At the same time, it remains incredibly intense, shocking, and grimly transfixing.
Much of the credit goes to Michael Chernus, who is outstanding as Gacy, bringing chilling nuance to the unsettling contrast between the charming suburban facade and the cold detachment beneath. The production’s muted visuals, careful attention to 1970s detail, and measured tension create an eerie, immersive experience that lingers. Gabriel Luna is another standout as the determined detective whose pursuit exposes the systemic failures and quiet horrors at the heart of the investigation. I did not plan to watch the series (true crime is not my thing) but I kept going back for more after seeing how dignified, surprisingly affecting, and haunting the story could be told.
The Lowdown (FX)
No other show or performance has made me feel like I was hanging out with an old friend the way The Lowdown does. Lee Raybon may look a little disheveled, often bruised and battered, he is a truthstorian, a scrappy, self-styled crusader who tumbles through Tulsa’s underbelly in pursuit of justice, rolling with the punches, crowbars, and gunshots along the way. His approach to life may be a bit unorthodox, yet his heart is always in the right place. You can almost see the next misstep coming but you do not want him to avoid it, the fun comes from seeing how he deals with it.
Show creator Sterlin Harjo (the genius behind Reservation Dogs) sets the series in Oklahoma, using Tulsa as the canvas he fills with an array of colors and textures, making the city an inseparable part of the story. Like Dogs, Harjo slowly populates that canvas with characters and moments that bring it to life, making viewers feel like they could step right in and walk around the world he built.
The ensemble is stacked, featuring Kyle MacLachlan, Jeanne Tripplehorn, Michael Hitchcock, Tim Blake Nelson, and more. Add to that an easy Emmy nominee for guest star of the year: Peter Dinklage’s spectacularly funny and touching work in the “This Land?” episode.
This neo-noir is part western, part mystery, part family drama, and part comedy, a unique blend that makes it a standout. I look forward to hanging out with Lee and the folks of Tulsa for another adventure.
(Over the course of writing this piece, the series has been renewed for Season 2. I was going to ask you to make some noise on social media, to write to your senator, to plan a march across the country with burnt marshmallow torches… we need more of The Lowdown and now we got it)
Pee-Wee As Himself (HBO)
The two-part HBO docu-series is so full of life and joy at times it is easy to forget that Pee-wee is no longer with us. It strips away the facade to deliver an emotional, insightful look at a comic genius, Paul Reubens, from his early days, diving deep into Pee-wee Herman, right up to his dying day. It captures the spirit and the sadness of a man who just wanted to entertain. A must-watch for fans of Pee-wee as well as creativity as a whole. It does not pull punches and puts on display some of the ego and control issues that damaged friendships as well as the controversies that haunted him as he went from a pop culture hero to a punchline to a pariah
The doc, which feels very intimate as Reubens himself narrates much of his story directly to the camera. He had a way of telling a story and it quickly became evident that was much more than Pee-wee (though Pee-wee is amazing). You realize that, until now, we only knew a small part of who the man really was, hidden behind a beloved character. The closing moments shattered me. It is difficult enough to process the idea of a life cut short by death, but also heartbreaking to watch an artist cheated of the opportunity to use his limited time doing what he wanted most: to entertain and bring glee and creativity to everyone. RIP, Paul.
The Pitt (HBO)
The Pitt is not my cup of tea—or so I thought. Back in the day I enjoyed St. Elsewhere, but typically, medical dramas could not keep my interest, often becoming lost in an emergency room full of melodrama. This is why what they pulled off on The Pitt is so impressive. The chaotic day in the life of an emergency room is told in “realtime” with each episode covering one hour of the 12-hour shift. It is both entertaining and anxiety-inducing as it captures a realistic glimpse of the challenges faced in emergency medicine. The Pitt tells relatable human stories that expose the fragility of life and the people who try saving them.
These are not superheroes; they are people with problems of their own in addition to those thrown at them endlessly on the job.This is the first time I can remember where the energy and intensity of the ER trumped the fabricated drama. This is not a romance series hidden behind scrubs; it is an unfiltered slice of life we don’t have access to, connecting the hurt and the healers. Some patient stories extend across the whole season while others conclude within the timeframe of an episode. It is heart-pounding and at times heartbreaking.
Episode 8’s swimming pool incident storyline is almost too much for me to type about, just a few seconds during a rewatch with my wife had me holding back tears. Noah Wyle gives one of the best performances of the year and deserves the accolades he is receiving, but this ER is packed with talent. In a genre drowning in soapy clichés, The Pitt rises above delivering raw, unflinching humanity and proving that sometimes the most powerful drama is the one that feels real.
Severance (Apple TV)
Severance season 1’s jaw-dropping cliffhanger that had the innies breaching the outside world left fans desperate for nearly three years to pass before it finally returned with some answers in 2025. The series grew weirder, darker, and more existentially brutal. It shifted away from quirky satire to further explore the savage toll of severance. It got even more ambitious with wildly inventive set pieces like the unforgettable marching band procession and corporate propaganda claymation sequence featuring stop-motion figures of Mark (Adam Scott), Helly (Britt Lower), Dylan (Zach Cherry), Irving (John Turturro), and a living Lumon building as narrator.
The cast pushed the characters to new levels, especially Adam Scott and Britt Lower’s dual performances as Tramell Tillman takes Mr. Milchick to the next level of menacing. The intensity ramps up relentlessly, leaving you unsettled long after the credits roll. Grim, surreal, and addictive – well worth the wait. The finale’s gut-punch choice left me staring at the screen in stunned silence, already counting down to whatever chaos Season 3 unleashes.
The Studio (Apple TV)
There are so many ways to enjoy this series, and no one way is the right way. Fans of the business side of Hollywood get razor-sharp satire that pulls no punches. You can watch it as a see-what-happens-next sitcom, but what really sets it apart is the incredible variety with each episode covering a fresh, chaotic Hollywood scenario: from a tense notes session on a director’s cut, to an impossible one-take shoot, to a full-blown awards-show frenzy, to a missing-reel noir mystery, delivering some of the funniest, most unpredictable moments on TV this year.
Seth Rogen and Evan Goldberg not only write great Hollywood stories; they fill them with unforgettable characters and jaw-dropping cameos. So much so that every viewer seems to have a favorite episode or character, like an ice cream parlor packed with unique, star-studded flavors all under one roof. Each installment gets its time to shine, blending brilliant character work, physical comedy, and the perfect guest-star surprises.
Where else can you see Martin Scorsese cry over a Kool-Aid pitch, Ron Howard in brutal fisticuffs over his film’s endless ending, Zoë Kravitz trippin’ on shrooms like Alice in Hollywoodland, or a parade of A-listers (Charlize Theron, Steve Buscemi, Olivia Wilde, Sarah Polly) playing against type or leaning into it to extremes.
The stellar cast is led by Rogen as the frazzled Matt Remick, Ike Barinholtz as his loyal and erratic best friend Sal, Catherine O’Hara as mentor-turned-rival Patty, Kathryn Hahn as the outspoken marketing head Maya, Chase Sui Wonders as ambitious junior exec Quinn, and Bryan Cranston stealing scenes in the physical comedy performance of the year as over-the-top CEO Griffin Mill.
It’s clever, bold, and a real treat. The funniest show of the year.
Task (HBO)
As I started watching Task, it took me a bit to grasp the type of show it wanted to be. The crime drama miniseries created by Brad Ingelsby (Mare of Easttown) centers on Tom Brandis (Mark Ruffalo), an FBI agent still grappling with his wife’s loss as he leads the investigation into violent robberies. It also tells the story from the perspective of Robbie, Tom Pelphrey’s garbageman-turned-robber, who faces his own personal losses. Life is messy and this series captures that, helping us connect with people we typically would not interact with and finding a way to make them relatable. This accessibility exposed the mirrored parallels between Robbie and Tom, making you root for both characters, even though they are on opposite sides of the law.
While the crime plot is gripping enough to carry the series, it’s the raw exploration of these damaged people chasing better lives and redemption that truly engrosses. The cast is solid top to bottom, with Emilia Jones as Robbie’s fierce niece Maeve, whose quiet strength and vulnerability make her the emotional core of a show full of guarded characters. It’s a slow-burn standout with the kind of nuanced performances that stick with you long afterward because of the depth and precision of the writing. What sets it apart is how this often very bleak story never fully extinguishes the flames of hope—no matter how small or fragile they become.
Yellowjackets (Showtime)
Yellowjackets had me from minute one. It is dark, gripping, twisted, savage and intense. But I have to admit that after season two which had some incredible moments I was worried the writers were lost worse than the girls in the wilderness. Season three started well then quickly started giving off similar vibes still enjoyable to watch especially with all the great performances but my fear that it would never be a rewarding experience had me bracing for disappointment.
If you stuck it out until the end of episode 6 “Thanksgiving” this insanity meter quickly swung to peak. A beloved character’s head was on a platter while the feral girls were dancing in a ceremony of cannibalistic madness. Then out of the darkness figures appeared and I will not spoil it but those who watch know exactly what I’m talking about. That moment served as the point of redemption for the series that is so entwined in darkness it is stingy with redemption arcs. With 3 little words “WTF” I was completely under the Yellowjackets spell again. Each episode that followed was better and better moving the story mythology and characters forward in a fashion that made me realize we were in good hands again. The cast deliver some of their best work of the series as the team descends into primal chaos and division – we also get a great new addition in Hilary Swank.
The momentum builds relentlessly delivering the savage unpredictable energy that made the early seasons so addictive. I cheered quickly, shifting from just happy the show was on to desperately waiting for the next episode. The final five episodes were a return to demented form and some of the best of the series. If you walked away, run back into the wilderness ASAP. Next season is its last and I’ve got a real taste for what’s coming – cannot wait to eat it up. If this convinces you to return to the series or makes you a first time viewer, Bon Appétit!
HONORABLE MENTIONS
(Loaded with more outstanding shows, in alphabetical order)
Abbott Elementary (ABC), Adolescence (Netflix), Alien: Earth (FX), American Revolution (PBS), Apple Cider Vinegar (Netflix), The Bear S4 (FX), Black Rabbit (Netflix), The Chair Factory (HBO), Dying for Sex (FX), Elsbeth (CBS), Gen V (Prime Video), Hacks (HBO), High Potential (ABC), The Last of Us (HBO), Matlock (CBS), The Paper (Peacock), Peacemaker (HBO), The Rehearsal (HBO), Resident Alien S4 (Syfy/Peacock), Robin Hood (MGM+), School Spirits (Paramount+), Slow Horses (Apple TV), Stranger Things S5 (Netflix), Survivor S48 (CBS), The White Lotus S3 (HBO)
PERFORMANCES OF THE YEAR
It is very challenging to choose favorites because many performances are like my children and I love them for what they bring to life and how they affect me. It is not a competition, but rather a celebration. One great performance does not negate the other, they sit on a shelf like cherished books. So instead of one, I will share several that need your attention.
Favorite Performance of the Year
RHEA SEEHORN
(Pluribus, Apple TV)
For everything I mentioned in the Pluribus Best Series write-up (above) and so much more, Seehorn’s performance quickly became a standout of the year. Some of her best work is in the quietest moments. Like her masterclass in acting during Better Call Saul’s penultimate episode, “Waterworks,” Seehorn turns silence into a subtle exploration of Carol’s psyche and soul. There are scenes I have watched several times only to discover more layers within.
This is especially true in the last 15 minutes of episode six where (ignoring the blaring music and fireworks), if you observe the subtleties, so much is said without speaking a word, the fragility of humanity on full display under the guise of boredom and self-destruction. Add to that her comedic, brazen, and often abrasive scenes with partners like Karolina Wydra, Vesga, Samba Schutte, and Jeff Hiller, and Carol has far more to offer than the miserable self she projects. I cannot wait to see more.
Favorite Performance Runner-up +
The Ultimate Hang Performance
ETHAN HAWKE
(The Lowdown, FX)
When discussing Lee Raybon on my TV Topics podcast, the character that Ethan Hawke brings to life in FX’s under-appreciated gem, The Lowdown, the description we came up with together was rather unique: a burnt marshmallow, rough and beaten up on the outside while still sweet and warm on the inside – taken a step further, this marshmallow is in the sticky hands of a raccoon stretching and gnawing at it, unable to let go – a touch of the disarray that always seems to follow Lee.
Hawke makes this unique character feel so familiar with his missteps, roughed-up swagger, and relentless search for redemption that takes unorthodox paths to uncover the truth. While much we witness is persistence and chaos, there’s a poignancy to his devotion as a father—even while his irresponsibility may make you wonder who the parent is. He is not a role model or in any way a perfect person, but I’d certainly share a six-pack with him to see what comes next. Thankful FX just renewed the series, so the hang will continue.
The Diamond in the Rough Performance
EMILIA JONES
(Task / HBO)
One character I connected with more this year than any other was one I have very little in common with. If you haven’t seen HBO’s Task yet, Emilia Jones’ performance as Maeve is a standout among some excellent work. People focus on her physical transformation and nailing the perfect Delco accent. While impressive, that’s just where the character begins – what she hides behind consists of multiple subtle layers and nuance; the tough, hardened-by-life exterior shields her pain and vulnerability, and you’ll want to give her a hug. She’s a kid prematurely forced to be an adult, one who hasn’t yet had a chance to learn about herself as she takes on the weight of her world, all while desperately protecting the flickering flame of hope she carries deep inside. Absolutely beautiful and heartbreaking work.
(Afterward, play this game: If you have yet to see the Academy Award-winning Best Picture CODA yet, watch it after Task and try to spot Emilia. As a testament to her work in Task, it’s not as easy as you’d expect. Jones completely disappears into Maeve, from her body language and accent to the way she carries herself, right down to the last snip of her bangs. Both CODA and Task showcase Jones’ incredible work.)
Comedic Performance of the Year
IKE BARINHOLTZ
(The Studio / Apple TV)
Originally, I was going to present this to the cast of The Studio and doing so would have been easy to justify. Ultimately, I decided on Ike Barinholtz for what he brings to Sal Saperstein, delivering a unique blend of sleazy charm, raw desperation, and razor-sharp comedic timing that turns every scene he’s in into something hilarious. Barinholtz breathes a soul in Saperstein allowing us to root for a character who in lesser hands could become a one-note jerk, or worse a caricature.
Yet Sal does not exist in a vacuum. The entire ensemble is packed with laughs and has no weak spots, and it’s his interactions with others that truly make him shine (hence the asterisk). Barinholtz highlights the chemistry, playing off each costar with perfection, mining huge laughs while making us feel for Sal more than we ever expected. His epic showdown in “The War” sees him exchanging blows with Chase Sui Wonders in an escalating prank war that showcases the full range of his comedic skills, including physical comedy that made me laugh harder with each viewing.
The magic of the performance is that Ike makes Sal more than just a scheming, ambitious studio exec with midlife-crisis vibes. He is a well-meaning dad, a loyal friend, and a flawed human being you genuinely want to succeed. Sal is one of the best characters on television this year, hilariously unforgettable, as we hang on every moment anticipating what he will do or say next.
Thank you, Sal Saperstein.
Most Haunting Performance
MICHAEL CHERNUS
(Devil In Disguise: John Wayne Gace / Peacock)
If you have seen Michael Chernus in series like Severance or Orange Is the New Black, he tends to play likable guys, the ones you would think could not hurt a fly. As he plays infamous serial killer John Wayne Gacy, he lets off a very similar vibe, which is part of the reason why he is absolutely terrifying. The aw-shucks Midwest charm, the goofy neighborly smile and jokes, and the easy handshake that draw people in, turns everyday affability into something deeply unsettling and predatory.
What makes his performance so haunting is how he avoids caricature, instead peeling back the mask slowly to reveal the emotional void and casual indifference beneath, making Gacy’s ability to deceive and operate unchecked feel all too real. Is he aware he’s a suburban Jekyll and Hyde, or not? Both scenarios are terrifying in their own way. It’s a masterclass in quiet horror: the monster isn’t a snarling villain, he’s the helpful contractor next door. Chilling, unforgettable work.
(Chillin’ Like a) Villain Performance
JAMIE CAMPBELL BOWER
(Stranger Things Season 5 / Netflix)
The opposite of Michael Chernus’ performance (discussed above) is what Jamie Campbell Bower brings to Vecna/Henry in the final season of Stranger Things. Chernus’ Gacy hid the monster inside, Bower hid the human inside the monster. Much of Bower’s performance is done covered head to toe in prosthetics, but his humanity cannot be contained, as it pushes to the surface.
Bower shifts between Henry, Mr. Whatsit, and Vecna forms like the unholy trinity, three performances in one, one in the three. We watch in fear of a literal monster set on destruction, murder, and evil and yet, somehow, we walk away feeling sorry for him. To avoid spoilers I will not dive into the details too much, instead I will say that Bower made Vecna a welcome, unexpectedly emotional part of a finale with no shortage of moving moments.
Awards Radar Team Best of TV Lists
The Awards Radar TV team shares the television that connected most with them and the one performance that they appreciated most. Each writer chose their favorite show and then nine others, which are listed in alphabetical order.
Niki Cruz
THE PITT (HBO)
From the first two minutes of the pilot it was obvious to see that The Pitt wasn’t a run-of-the-mill medical drama. It elevates the once tired genre, showcasing a high-stakes medical show that often runs at a frenetic pace. The Pitt is made up of a spectacular ensemble cast of mostly unknowns, who all get their moments to shine. The mix of the frenetic locomotive pacing, gripping patient stories, and doctors who you want to root for and sometimes shake, makes this one of the best shows on television to date.
Adolescence
Beast in Me
Dying For Sex
Paradise
Pee-wee as Himself
Severance
Task
The Better Sister
The Studio
Performance of the Year:
Jenny Slate:
“For this year’s season of television, I would like to highlight an ordinarily unsung part, but one that gained attention during this year’s FYC season, and that’s Jenny Slate in her break-out-of-the-box performance as Nikki in FX’s Dying For Sex. Her performance not only shined a light on the challenges caregivers face, but I got the impression that Slate was able to go to the edge of her ability as an actress and beyond. Slate not only swings big, but her work here is just as vulnerable and understated.”
Jeff Heller
THE STUDIO (Apple TV)
AppleTV+’sThe Studio is a razor-sharp Hollywood satire that pulls back the curtain on the entertainment industry. Smartly written by Seth Rogen and Evan Goldberg, the series skewers Hollywood egos and backdoor power moves while still celebrating the magic of movie making. With an abundance of kinetic energy and cringe humor that would make Larry David proud, The Studio is a much watch for cinephiles and casual film viewers alike.
Andor
Black Rabbit
Daredevil: Born Again
King of the Hill
Pee-wee as Himself
Pluribus
Star Trek: Strange New Worlds
The Four Seasons
Upload
Favorite Performance of the Year: Sarah Sherman, Saturday Night Live (NBC)
Despite her very alt-comedy roots, Sarah Sherman has maneuvered into one of SNL’s most versatile players in recent years. With the recent departures of heavy hitters like Heidi Gardner and Ego Nwodim, Sherman has stepped up to fill the void.
Danny Jarabek
THE REHEARSAL (HBO)
The Rehearsal accomplishes something entirely singular within the TV landscape of 2025, capitalizing on the ambiguity of Nathan Fielder’s comedically meticulous simulations in pursuit of his greatest mission yet. Toying with the same idea of past seasons that he can control the outcome of a social scenario through meticulous planning and preparation, he pushes the boundaries of his pseudo-docu-reality premise to absurdly new heights. This season reveals that one of TV’s most unique minds is capable of evolving his own tricks into a genuine investigation of the human mind and its implications in real-world scenarios.
Adolescence
Blossoms Shanghai
Deli Boys
Hal & Harper
Paradise
Pluribus
Task
The Studio
The Traitors
Favorite Performance of the Year: Owen Cooper (Adolescence)
Gabriel Lapalombella
THE PITT (HBO)
No show in 2025 proved quite a thrill as The Pitt. From the series’s realistic portrayal of the medical field to engaging performances, there simply wasn’t another show like it. Each performance came with its own drama that felt genuine. That was especially true of Noah Wyle’s terrific central performance. Its balance of brains and heart makes it my favorite television show of the year.
The Studio
Task
Andor S2
Mobland
The Bear S4
Black Rabbit
Daredevil: Born Again
Adults
Favorite Performance of the Year: Noah Wyle (The Pitt)
Noah Wyle’s work in The Pitt absolutely floored me. Yes, it is obviously a realistic portrayal of senior attending physician Dr. Michael “Robby” Robinavitch in the emergency room at Pittsburgh Trauma Medical Center. While that realism is engaging, it’s the character’s inner drama that makes the stakes feel higher. We care about this man and the emotional pressure he faces. The results deliver the most moving and compelling television performance of 2025
Adam Patla
THE PITT (HBO)
The Pitt proves how television can be timely, topical, and entertaining. Revitalizing the medical drama with an exhilarating format, the hit series shines a much needed light on healthcare workers in a post-COVID landscape. This is bolstered by dynamic and complex characters delivered by one of the best ensembles currently on television.
Abbott Elementary
Deli Boys
Dying for Sex
Hacks
Overcompensating
Percy Jackson & the Olympians
Pluribus
Severance
The Studio
Favorite Performance of the Year: Tramell Tillman – Severance
A terrific exercise in subtlety as he tries to hold on to his position in a system that is not designed with him in mind.
Johnathan Sim
THE STUDIO (Apple TV)
I really loved The Studio because it feels like it was made by people who are obsessed with movies in the same way I am. The meta commentary on the film industry is sharp without feeling cynical, and every character is genuinely funny. Seth Rogen is fantastic, and the show is consistently smart, chaotic, and laugh-out-loud hilarious in a way that really clicked with me.
The Copenhagen Test
Dope Thief
Ironheart
The Last of Us
Peacemaker
Star Wars: Skeleton Crew\
Your Friendly Neighborhood Spider-Man
Favorite Performance of the Year: Seth Rogen, The Studio
Sophia Soto
ALL HER FAULT(Peacock)
All Her Fault does an excellent job in showing just how unfairly our society treats and views women, specifically mothers, which made it stand out as my favorite of the year. The series portrays the topic in a way that all females, younger or older, can relate to thanks to the work of Sarah Snook, Sophia Lillis, Dakota Fanning, and Abby Elliott. I also greatly appreciated how the mystery kept me guessing until the very end, making it an engaging watch that you didn’t want to turn off.
Adolescence
My Life with the Walter Boys S2
Percy Jackson and the Olympians S2
Ransom Canyon
Ripple
Stranger Things S5
The Summer I Turned Pretty S3
YOU S5
9-1-1
Favorite Performance of the Year: Owen Cooper, Adolescence (Netflix)
Cory Stillman
TV Show of the Year: Adolescence
It only took 3 episodes to cement Adolescence as the most transformative piece of television I saw not only in 2025, but over the last several years. This unfeeling writer does not often cry while watching TV, but Adolescence provoked tears at least once per powerful episode. It is rare that we get a show so urgent and immersive, but I also am grateful that 2025 marked a return to form for stalwarts of the medium like South Park and Survivor, and even reinvigorated the medical drama with The Pitt, whose immediate return in early 2026 will be welcomed with open arms by fans of TV that is character-driven, watchable, and – most importantly (and rarely) of all – consistently made.
The Chair Company
Hacks
Overcompensating
The Pitt
The Rehearsal
Severance
South Park
Survivor (S48)
The White Lotus
Favorite Performance of the Year: Stephen Graham in Adolescence
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