By Tim Lowery, Danette Chavez, William Hughes, Saloni Gajjar, Drew Gillis, Mary Kate Carr, Emma Keates, and Matt Schimkowitz. Clockwise from bottom left: Common Side Effects (Image: Adult Swim), The Righteous Gemstones (Photo: HBO), Dark Winds (Photo: Michael Moriatis/AMC), Severance (Photo: Apple TV+)
It feels ever-so-slightly odd presenting The A.V. Club‘s favorite shows of the year so far when the highly anticipated new seasons of The Bear and Squid Game drop later this very week. (Stay tuned for plenty of coverage of both of those series.) But that’s not to suggest that a lot of exciting shows haven’t graced our screens in 2025. Over the last six months, we’ve been treated to some fantastic final bows thanks to Andor and The Righteous Gemstones, conversation-starting newbies like Adolescence, and delightful surprises such as the endearing sitcom North Of North and Adult Swim’s timely genre-mashup Common Side Effects, among other highlights. Here, in alphabetical order, are the best series of the year to date.
Director Chris Smith recently told The A.V. Club that the HBO docuseries’ latest season was his favorite, saying that he thinks “it’s the best in its growth and its nuance and complexity—but also visually.” And it’s hard to argue with him: Each season of the show, which centers on big-wave surfer Garrett McNamara, is hypnotic, a blend of stunning footage, stirring Philip Glass compositions, and personal stories and feats that will give you heavy doses of the feels. But season three is both wider in scope—it heads far beyond the show’s initial HQ of Nazaré, Portugal, follows more surfers, and tackles a fatal tragedy—and more intimate, reflecting on life and balance in and outside of the water. [Tim Lowery]
Adolescence
Jack Thorne and Stephen Graham’s Netflix drama feels at once up-close and small scale—it’s the tale of one specific family dealing with the fallout of one specific murder and is told over four episodes, with each unfolding over a single, uninterrupted shot—and very expansive, with big emotions for its actors to tap into and bigger ideas about the misogyny of angry young men that has sparked conversations at Downing Street and in homes throughout the world. The show’s play-like third hour, in which Jamie (breakout Owen Cooper) faces off against a psychologist (played, equally excellently, by Erin Doherty) is indeed arresting and worthy of all of the essays that have been written about it. But there are little moments that stick with you, too, like the brief respite of joy Jamie’s father (Graham, fantastic as always) has while dadsplaining “Take On Me” before his inevitable breakdown. [Tim Lowery]
The Agency
“I believe there’s one type of agent: the insane,” explains the CIA operative known as Martian (Michael Fassbender) to a psychologist (played warmly by Harriet Sansom Harris) in this smart spy series that wrapped up its first season in January, tidily summing up the conflict that fuels this adaptation of the beloved French series The Bureau: The heart wants what it wants (in this case, Jodie Turner-Smith’s anthropology professor, who Martian fell for while undercover for six years in Sudan), strict protocols be damned. With an enviable and (presumedly) quite pricey cast—Jeffrey Wright, Katherine Waterston, Past Lives‘ John Magaro, and a very good Richard Gere as the London office’s no-bullshit chief—bloody twists in Ukraine, and some choice needle drops of ’70s African nuggets by the likes of Ofege and Witch, it’s the sort of stylish show that’s easy to get swept up in even as its plotting becomes increasingly knotty. [Tim Lowery]
Andor
Andor’s power is rooted not in timeliness but in its commitment to putting a human face to both rebellion and tyranny. For two seasons, Tony Gilroy‘s series took great care to honor those whose sacrifices are often forgotten or glossed over in favor of the more palatable representatives of a social movement. Just as important, Andor surveyed the many hands that make light work of oppression: the strivers who realize too late they’re just pawns, the craven press that launders an empire’s lies, and the elected officials who look the other way when confronted with mass atrocities. Balancing the light with the dark has always been part of the Star Wars ethos, but no other property has managed to do so with such style, pathos, and urgency. [Danette Chavez]
Common Side Effects
One part absurdist Adult Swim comedy, one part Philip K. Dick hallucinogen thriller, Joseph Bennett and Steve Hely’s Common Side Effectsis a hybrid strain of unexpected potency. Centered on a renegade mycologist who thinks he’s stumbled onto a panacea for humanity, and the high school crush who might be exploiting him, the series is often uproariously funny—especially when Mike Judge and Martha Kelly are in the voice booth. (Judge, notably, is doing amazing work as a far more morally bankrupt take on his classic Hank Hill voice.) But Common Side Effects also has deeper, often stranger aims in mind. Illustrated by many of the artists who worked on Bennett’s groundbreaking Scavengers Reign, the show shares the earlier work’s obsessions with bizarre and unsettling biological imagery, all while serving up pointed commentary on the military-pharmaceutical complex. [William Hughes]
Dark Winds
Zahn McClarnon has always been the linchpin of this taut neo-noir, and his career-best performance arrives in the show’s third season as Joe Leaphorn emotionally spirals. The police lieutenant, still feeling the fallout of his vengeful actions and the implosion of his marriage, also copes with manic cult members, the case of a missing child, and intense scrutiny from an FBI agent who has moved into town. As always, the ’70s-set AMC drama is gorgeously shot, with the Navajo Nation’s arid, sunny desert coming alive on the screen. And this time around, Dark Winds feels notably timely thanks to Bernadette (scene-stealer Jessica Matten), who deals with corruption at the Border Patrol. [Saloni Gajjar]
Dying For Sex
A very funny miniseries about a very unfunny topic, Dying For Sex (based on the podcast of the same name) follows Molly (Michelle Williams, giving a big-hearted performance that ranges from rom-com awkwardness to real vulnerability and desperation) as she grapples with her terminal-cancer diagnosis and goes on a quest to finally achieve an orgasm with another person. Guided by her messy best friend (played by Jenny Slate) and Esco Jouléy’s positive palliative-care specialist, she dips her toes into random hookups, sex parties, kink, and domination (the latter often with Rob Delaney’s weird neighbor). The show sustains its tricky balancing act of a tone throughout, ending with a finale that features both a tear-jerking goodbye and a detached penis flying around a hospital room. [Tim Lowery]
Hacks
Hacks always sends stand-up legend Deborah (Jean Smart) and her young writer Ava (Hannah Einbinder) on a roller-coaster ride: The two get along, then they don’t, then they share a laugh, then they get mad at each other…and on and on it goes. In season four, Deborah and Ava are put through the wringer professionally after finally securing a late-night talk show. Their striking verbal duels and takedowns build to a very heartfelt beach reunion, and co-creators Paul W. Downs, Lucia Aniello, and Jen Statsky have at last put the duo in their best place to date: together and ready to fight. [Saloni Gajjar]
The Last Of Us
Joel Miller’s (Pedro Pascal) brutal death was always going to be a hard pill to swallow. Thankfully, The Last Of Us—ahem—delivers the blow in an unforgettable episode that lays the groundwork for a new version of the HBO drama. After his murder, TLOU charts how Ellie’s (Bella Ramsay) desire for revenge intrinsically changes her as a young woman. And her coming-of-age, traumatic as it may be here, is still peppered with moments of beauty in her sweet romance with Isabela Merced’s Dina and a flashback hour that gets the show’s original pair (and their repartee) back together again. [Saloni Gajjar]
Mo
Mo‘s second season is hard to shake off even five months after its release, primarily because series co-creators Mo Amer and Ramy Youssef tackle harsh modern realities in a way that’s rare on TV. The gone-too-soon Netflix comedy deftly addresses Gaza and details the painfully long process of paperwork for undocumented immigrants (along with the psychological toll it takes). None of this sounds particularly funny, yet Mo‘s strength lies in weaving in plenty of wry humor and laugh-out-loud quips. But season two’s real focus is on familial bonds, which is underlined in a beautiful, bittersweet finale set in the West Bank. [Saloni Gajjar]
North Of North
Its protagonist may be in the midst of an identity crisis, but North Of North arrived fully formed on Canadian and U.S. TV this year. The effervescent sitcom from Stacey Aglok MacDonald and Alethea Arnaquq-Baril has a strong sense of place, one that’s rarely been featured on television but is made instantly recognizable by its tight-knit community of eccentrics led by Siaja (an endearing Anna Lambe), who’s trying to find her way in this world post-divorce. In many ways, Ice Cove is like a live-action Springfield, with its incompetent leadership, rivalry with a neighboring town, preachy locals, and a junkyard fire that just won’t go out. Lambe holds it all together in a star-making performance, which we’ll get to see more of when North Of North returns for season two. [Danette Chavez]
Paradise
With Paradise, series creator Dan Fogelman pulls off This Is Us levels of sentimentality, heartache, and hope in the most absurd circumstance: the end of the world. The Hulu series feels like a regular political thriller at first, when Sterling K. Brown’s secret-service agent is arrested for the murder of his boss, the former POTUS. Quickly, though, Paradise throws in a riveting espionage twist that somehow clicks very well with Fogelman’s trademark emotional, almost saccharine dialogue and character dynamics. It’s not flawless, but Paradise boasts a thought-provoking, timely story and a stellar ensemble that brings it to life. [Saloni Gajjar]
Pee-wee As Himself
About halfway throughMatt Wolf’s Pee-wee As Himself, the character’s creator, Paul Reubens, recounts a horrible realization: Pee-wee’s Big Adventure has become an unexpected hit, and director Tim Burton is getting all of the praise. Reubens can’t hide his bitterness that he isn’t soaking up the acclaim he feels he deserves. This bit is emblematic of the tension Wolf unpacks in this two-part HBO documentary: It was the fictional manchild who became beloved, while the brains behind him turned, unfairly, into a cruel punchline. And along the way, the director and the late actor paint a full portrait of a flawed, brilliant, singular performer. [Drew Gillis]
The Pitt
A weekly release schedule and longer episode order than its fellow streaming series allowed Max’s The Pitt to build natural, word-of-mouth momentum over the course of its first season, with audiences responding to a show that felt both fresh and familiar by combining prestige-TV shine with tried-and-true procedural beats. It helped that the series had a stellar cast led by ER alum Noah Wyle, who joined the writers’ room to help depict the true challenges facing healthcare workers today. The Pitt is, rightfully, the most talked-about medical drama in years and solid counter-programming to the high-concept dramas it will no doubt compete against this awards season. [Mary Kate Carr]
Poker Face
Charlie Cale’s(Natasha Lyonne) ability to call bullshit and solve murders isas entertaining as ever in Poker Face. Except in season two, she isn’t on the run from a mob boss and can go wherever she wants. What does a fresh start for someone with no roots look like? Rian Johnson’s modern spin on Columbo wisely builds on Charlie’s interiority, as seen in her exchanges with love interests, a couple of new friends, and workmates. As she drives from city to city, this ongoing season also untangles how all of these crimes are starting to grind her down, adding extra weight to a very fun set of episodes. [Saloni Gajjar]
The Rehearsal
In season two of The Reharsal, Nathan Fielder resurrects Canadian Idol and suggests that Captain Sully pulled off the Miracle on the Hudson to the tones of Evanescence’s “Bring Me To Life.” And those aren’t even close to the two most jaw-dropping events over these six episodes. Fielder’s project (part self-help show, part Synecdoche, New York) finds the comedian and fledgling airline-safety advocate taking his theory of improved cockpit communication—and the concept of The Rehearsal itself—to often literal new heights, all with the help of HBO’s seemingly endless budget. The whole thing builds to a stirring conclusion that, despite its high-flying stunt, feels emotionally grounded. [Emma Keates]
The Righteous Gemstones
Over four seasons, The Righteous Gemstonesbecame a megachurch of divine satire. Always viewed as HBO’s other succession story, creator-star Danny McBride & co. turned this Southern-fried comedy about millionaire morons into an epic of action-movie set pieces, unpredictable dance numbers, and thrilling horror sequences that was anchored by aggressive comedic dialogue. For years, we saw Jesse, Kelvin, Judy, Eli, and sweet old Uncle Baby Billy take advantage of the people around them to stay on top. And in this final outing, each character reckons with the person they’ve been and finds solace in accepting who they are. Following a stage-setting Civil War flashback, a microcosmic parable for season writ-large, the family members work through personal tragedies, hard-to-accept new beginnings, and ongoing insecurities that cause them to lash out. With this last season and amid some of television’s most poetic obscenities, McBride showed us how deep this Gemstone mine went. [Matt Schimkowitz]
Severance
Severance felt like lightning in a bottle in its first season: a high-concept mystery set in a drab workplace environment that, back in 2022, captured a sense of anxiety about returning to the office (and launched “innie” and “outie” into lexicon). Three long years later, the Apple TV+ series continued to push the boundaries of its genre and filmmaking. Severance‘s second season delivers answers aplenty, only to set up bigger questions about Lumon’s agenda and the beginning of team MDR’s thrilling-to-witness uprising. While its complicated suspense demands attention, the show strikes a more distinct chord with its attention to character dynamics, which are gloriously brought to life by Adam Scott, Britt Lower, and Tramell Tillman. [Saloni Gajjar]
The Studio
Did the world need another project in which celebrities play bad versions of themselves and we’re all reminded of how clueless and petty some very important people in the film industry are? No. Yet The Studio, which is packed with and essentially runs on both of those well-trodden ingredients, works quite nicely as it tells the tale of Matt Remick (Seth Rogen, the show’s co-creator and -director), a dude who gets his dream job only to make just about every situation he faces worse (and fall down a lot). While references to The Playerand Chinatown abound,the show feels much more like an enjoyable, problem-of-the-week comedy in the vein of Curb Your Enthusiasm—and one with a pretty (pretty, pretty, pretty) great turn by Kathryn Hahn to boot. [Tim Lowery]
Taskmaster
The quality of any given season—sorry, series—of Alex Horne’s brilliantly stupid game show Taskmaster typically comes down to the chemistry between its cast members. The currently running nineteenth series, in that sense, is one of the best the show has offered up in years, with Fatiha El-Ghorri, Matthew Baynton, Stevie Martin, Rosie Ramsey, and invasive species Jason Mantzoukas bouncing off of each other with massive energy as they complete their often fiendishly dopey assignments. Mantzoukas is the marquee name for his fellow Americans, obviously, and his dedication to chaos is everything that fans might have hoped for. (His bloody-minded commitment to not just failing but failing spectacularly has been a consistent series highlight.) But Baynton, Martin, Ramsey, and especially El-Ghorri are matching him beat for energetic beat. [William Hughes]
