10 of the best TV shows of 2025 so far

From the new season of the dystopian workplace drama to the UK miniseries that got the world talking and an HBO medical show, we pick the year’s greatest programmes to stream right now.

Hollywood is an easy target, but this satire is so sharp, astute and sometimes absurd that it may be the funniest show of the year. Seth Rogen, who co-created the show, plays Matt Remick, the newly appointed head of Continental Studios, a lover of high-art films with a mandate to make commercial hits based on IP including Kool-Aid. A flood of actors and directors – including Ron Howard, Olivia Wilde and Zoe Kravitz – make cameo appearances, gleefully spoofing their own images, none funnier than Martin Scorsese in the hilarious opening episode. The series regulars are ideally cast, with Ike Barniholtz as Sal Saperstein, Matt’s second-in-command, Catherine O’Hara as the previous studio head and Kathryn Hahn as the loud, wackily-dressed head of publicity. Taking us into the Golden Globes and marketing meetings, The Studio suggests that everyone is just bumbling along at a moment when the entire movie industry is in crisis. The industry might not know where it’s going, but this behind-the-scenes comedy is a pure delight. (CJ)

Available on Apple TV+ internationally

One thing’s for sure: if Mike White’s first-world-problems satire about rich holidaymakers was admired by many for its first two seasons, it broke out to become a true cultural phenomenon in its third, with a huge ratings boost. This time round, it sent its dysfunctional groupings – a corrupt financier and his family, three clashing female friends, a vengeful man and his younger girlfriend – to a Thai wellness retreat, and every week, you could not move online (metaphorically) for the discourse it generated and debate it stirred. Some complained that this season was too slow and lacked suitable plot momentum, while others pointed out, sagely, that the problem was that it was a character-led drama that was never meant to be dissected like Game of Thrones, but for its unexpected blockbuster popularity. Personally? I enjoyed it as both the darkest and most reflective series so far, but one which again thrived off a magisterially cast ensemble, in which Parker Posey, Carrie Coon, Aimee Lou Wood and Patrick Schwarzenegger were standouts, but no one was a weak link. (HM)

Available on Max in the US and Now in the UK 

It’s no wonder that this uncompromising British series about a 13-year-old boy accused of murdering a girl in his school has become a cultural flashpoint, praised by UK Prime Minister Sir Keir Starmer, made available to be shown in schools and sparking conversations about young men and the toxic influence of social media. The social issue is wrapped in a drama brilliantly personalized and brought to life by the actors. Stephen Graham, who created the show with Jack Thorne, plays the boy’s father and conveys the shock and grief of a parent forced to consider the unthinkable possibility that his son might be a killer. Owen Cooper gives a remarkably sophisticated performance as the accused boy, who seems guileless until he explodes in anger. And Ashley Waters plays a detective who struggles to understand his own teenage son, expanding the theme beyond one family. Each episode was shot in a single, real-time take, which sounds like a gimmick, but director Philip Barantini handles that approach so smoothly that it fades into the background, even while adding intensity to a piercing drama that offers no comfortable resolution. (CJ)

Available on Netflix internationally

Fairly or not, Apple TV+ has become a streamer known for ploughing huge resources (

over $20bn, reportedly

) into a range of starry shows that not very many people watch – but with the second series of this dystopian workplace drama, it became clear it had a genuine watercooler hit on its hands. Which is even more surprising, when you consider just how strange Severance is. Its compelling high-concept premise – in which employees of the sinister Lumon corporation have their consciousness separated into office selves, or “innies”, and home selves, or “outies” – is one thing, but beyond that, it is constantly taking the story down surreal rabbit holes, involving for example, mysterious “macrodata refinement” work or a herd of goats. In truth, as this series progressed through its second half, it felt a little too meandering for its own good, and its climactic payoff couldn’t match that from the first season. But it’s still an exquisite work in all areas, from the clever dual-identity acting (especially from shining star Britt Lower) to the stark visuals. Bring on season three, and perhaps a few more solid answers as to what’s

really

going on at Lumon. (HM)

Available on Apple TV+ internationally 

It might sound like just another medical drama, but this show about a trauma centre in Pittsburgh revitalises the genre with its attention to the psychological stress on caregivers. Noah Wyle gives a shattering performance as the department head, the dedicated, harried, emotionally wracked Dr Robbie, still traumatised after failing to save his mentor during the Covid-19 pandemic. He is surrounded by other doctors and a group of students and interns, each adding a different dimension, from Supriya Ganesh as a brilliant medical prodigy to Isa Briones as an abrasive intern and Taylor Dearden as the caring Dr Mel, whose neurodivergence makes her especially empathetic with her patients. Unlike most medical shows, The Pitt never lets their personal melodrama overwhelm the focus on their work. Each absorbing, fast-paced episode takes place in real time during one 15-hour-long shift, and each veers between the devastation of losing patients and the relief of saving them. You’d think a series so blunt about death would be depressing, but instead The Pitt is exhilarating in its focus on people for whom life and death are everyday events. (CJ)

Available on Max in the US

It’s difficult to discuss the power of this show without giving away the key twist that comes at the end of episode one. But safe to say, it turns what starts as a relatively conventional political thriller on its head. Sterling K Brown is the head of the US president’s security detail, who finds himself accused of murder of his boss – but above and beyond the killing itself, not everything seems quite right with the world. Created by Dan Fogelman, the man behind the equally rug-pulling TV weepie This is Us, this is solid entertainment in the very best sense, with sharp plotting matched by some strong performances, from Brown’s tortured hero to Julianne Nicholson as a sinister tech billionaire. Plus, later on in the series, one particular episode which deals with truly monumental matters is simply breathtaking – but again, that’s all that can be said without spoiling things for those yet to watch. The good news for those that have is that it’s already been recommissioned. (HM)

Available on Hulu in the US and Disney+ internationally 

The sumptuous conclusion to this adaptation of Hilary Mantel’s Wolf Hall trilogy blends a beautifully shot escape into the luxurious past of Henry VIII’s court with an evergreen depiction of the high personal cost of manoeuvring for power and influence. Mark Rylance is poignant as the king’s advisor, Thomas Cromwell, who questions his own decisions, while the mercurial Henry is losing confidence in him. And Damian Lewis’s fresh interpretation of Henry is dazzling, his voice and manner chillingly subdued even as he issues the most ruthless commands. Henry’s wives come and go, but the unravelling bond between these men, and their opposite trajectories – Cromwell’s self-doubts and decline and Henry’s iron will that eliminates anyone in his way – shape the story. Written by Peter Straughn, a recent Oscar winner for his screenplay of Conclave, The Mirror and the Light is more resonant today than the original Mantel book was when it was published in 2020. It feels entirely relevant in a world where creeping authoritarianism is a global concern. (CJ)

Available on PBS in the US and BBC iPlayer in the UK

Since breaking out in HBO teen drama Euphoria, rising star Jacob Elordi has chosen his roles well – but perhaps nothing has served him better so far than returning to his home country of Australia to play the protagonist in this searing war drama. An adaptation of Richard Flanagan’s Booker Prize-winning novel, it explores the life of World War Two army surgeon Dorrigo Evans across three time periods: his stint stationed in Adelaide for military training, his hellish experiences as a prisoner of war in the Thai jungle, and then his existence as a professionally successful but emotionally deeply troubled veteran (now played by Ciarán Hinds), still unable to truly process the events of decades ago. Brought to impactful visual life by Justin Kurzel, known for his visceral studies of male violence on the big screen like Snowtown and The Order, it is simply one of the best evocations of the horrors of conflict that has been committed to screen. But at the same time, it takes as much care in its exploration of passion as violence, with the chemistry between Elordi’s young Dorrigo and his uncle’s wife Amy (a superb Odessa Young) burning up the screen. Given some of the scenes of sadistic brutality, it is of course a difficult watch, as it should be, but also one whose sheer artistry offers a kind of transcendence. (HM) 

Available on Prime Video in the US, Australia, New Zealand, and Canada

Jon Hamm has never been better, expertly mixing comedy and drama in this series about a hedge-fund manager called Coop, who loses his job. He schemes to keep up appearances in his wealthy community, only to discover a new sense of himself. The show has a broad comic element, as Coop turns cat burglar, solving his financial problems by stealing luxury items from his neighbours. But the series is best in its bold take on what he calls in one of his mordant voiceovers, “the quiet desperation of rich middle-aged men”, and in its depiction of his complicated relationships. He is still emotionally attached to his ex-wife (Amanda Peet), who left him for one of his friends, and struggles to connect with his two teenage children. He has a tender, supportive bond with his emotionally fragile sister (Lena Hall, a standout in the cast). Hamm hasn’t had a role this rich since Don Draper in Mad Men, another flawed but sympathetic charmer who makes some wildly bad decisions, and defines the character so perfectly that it’s hard to imagine anyone else at the centre of this sleek but penetrating series. (CJ)

Available on AppleTV+ internationally

It might have created a little less noise than Adolescence, but here is another British show about masculinity that really deserves to be seen. Jack Rooke’s semi-autobiographical show about two university students who form an odd-couple friendship – nerdy gay man Jack and straight jack-the-lad Dan – has been an incredibly deft mix of laugh-out-loud humour, complete with delightfully niche pop culture references, and poignant drama – covering sexual awakening, depression, dementia and more besides – since it started in 2022. But this third and final series was undoubtedly its most powerful, kicking off with a hilarious episode on a package holiday in Greece but getting more serious as it continued, and handling Danny’s spiralling mental health problems with particular skill. And boy, does Rooke know how to shatter audience hearts – the final episode is an emotional masterclass, including a significant cameo from the man himself. Here’s hoping that it launches its extremely talented creator into the big time. (HM)

Available on Hulu in the US and Channel 4 in the UK