Crandi

The Best Tv Shows Of 2025 Los Angeles Times

Leo Migdal
-
the best tv shows of 2025 los angeles times

This is read by an automated voice. Please report any issues or inconsistencies here. After the eye strain, the greatest occupational hazard of being a TV critic is people asking what’s good on television. It’s a question I typically find impossible to answer on the spur of the moment, as a show will run out of my head as soon as a review is filed in order to... (I buy time by responding, “What do you like?”) It is only at this reflective season of the year that I can stop, look back and list them. Our picks for this year’s best in arts and entertainment.

Every year, television has its ups and downs, its ebb and flow, depending on a host of reasons I will only ever vaguely understand. I will take this opportunity to say that there are way too many psychological thrillers on way too many platforms nowadays, but there are always more than enough shows to praise — and as... Some are here because they deliver real surprises — not just plot twists and sudden revelations, but new directions and original formats. Others are here by dint of good old-fashioned storytelling, memorable characters and terrific performances — or just because they made me laugh. Writer-director Cooper Raiff’s delicate drama looks at a brother and a sister — played by Raiff and Lili Reinhart both as adults and children, with no sacrifice of reality — made close by the... The sale of their old house and the prospect of a new sibling — Dad’s girlfriend (Betty Gilpin, going from strength to strength) — sets things in motion.

The dialogue avoids exposition, the silences say much. (Read the review.) In cultural criticism, every year ends the same way—with a deluge of top 10 lists for every imaginable art form, as though music and literature and film and TV and theater and dance all... It’s a benign fiction, one that gives critics an excuse to issue a final endorsement for the art that has stuck with us over many months and readers help prioritizing their various queues as... Still, some years do feel more resistant to culling and ranking than others. This one, for example.

Television certainly felt more abundant in 2025 than it has in a while, now that the industry has mostly moved past the delays caused by the major writers’ and actors’ strikes a couple years... Top creators, from Vince Gilligan and Sterlin Harjo to Liz Meriwether and Mara Brock Akil, were back on our screens with exciting new projects. Movie stars like Seth Rogen, Ethan Hawke, and Michelle Williams came to TV with the kinds of smart, character-driven stories big studios rarely put in theaters anymore; Noah Wyle revived the doctor show. Returning series such as Severance and Mo proved worth the years-long wait. At the same time, as political and financial tides pushed Hollywood towards conservative decision-making—never an optimal environment for creativity—it felt as though fewer new and outsider voices were breaking through. Quality shows came to U.S.

platforms from everywhere in the world, though the ongoing consolidation of multinational media giants increasingly limited their variety. It speaks volumes that the best international series I watched this year, Italy’s Mussolini: Son of the Century, was only available stateside on the arthouse streaming service Mubi; the globally renowned Hong Kong auteur... The result, for me, was a schedule packed with shows I very much enjoyed—why yes, that is a 20-item honorable mention list, featuring many titles that would’ve made the top 10 on a different... There was no I May Destroy You, no Underground Railroad, no Succession, no Twin Peaks: The Return (remember Showtime?). That doesn’t necessarily qualify as an emergency. Every year is, after all, different.

The next paradigm-shifting series could be just a month or two or 12 away. If it isn’t, though? Then it might be time to worry. The old-school, network-style drama is so back. That was the consensus when The Pitt—conceived by and starring ER alums, with a real-time premise like 24 and a weekly rollout—became both a critical favorite and a bona fide hit. But if nostalgia drew viewers to Noah Wyle’s hospital homecoming, what kept us riveted were storylines and characters that resonated in the present.

There is no equalizer like an emergency room (at least until the bill arrives), where plagues ranging from gun violence to misogyny to an austerity-starved safety net catalyze life-threatening crises. To the extent that this series constitutes comfort viewing, one reason is because it indulges the timely fantasy that, no matter how broken our society gets, competent, caring people will always work through their... Robert Lloyd: Best TV Shows of 2025, as published by The Los Angeles Times, in no special order [see also 2024 • 2023 • 2022 • 2021 • 2020 • 2019 • 2018] Year-end lists are fingerprints; aggregate statistics are smudges. Therefore, I make no tallies.

Fourteen years ago, Emily Nussbaum, one of my esteemed predecessors in the TV-critic chair, notoriously titled her Top Ten list “I Hate Top Ten Lists.” I’ve seldom felt the same. I’m not much of a holiday person, but, for most of the time that I’ve been a working critic, I’ve loved the end-of-year ritual of sorting the so-so from the superb and the overhyped... I’ve always taken seriously—probably too seriously—the privilege of giving hidden gems another chance to shine. New Yorker writers reflect on the year’s highs and lows. But, in 2025, I can’t say that curating such a roundup was much fun. This year, as executives backed away from the kind of risky, ambitious programming that marked the last golden age of television, the industry’s decline was evident from its output.

TV felt smaller. There were few epics like “The Last of Us” and “Alien: Earth,” which, while entertaining, were ultimately constrained by their source material. Several of the year’s most prominent prestige series—“Severance,” “Andor,” “Adolescence,” “The Bear,” “The White Lotus,” and “The Studio”—were, to my mind, ponderous, shallow, or both. I was especially disheartened by the dearth of straightforward sitcoms, as the comedy ecosystem continues to migrate online and becomes increasingly, sometimes incomprehensibly, niche. In the past, keeping tabs on all the boundary-pushing shows could be a lonely affair; there were always series that I felt sure were only being watched by other TV critics. But, in such an uninspired year, I found my yardstick for what constitutes great television shifting.

Though the traditional standards of excellence—innovation, ambition, execution, distinctiveness, and relevance—still apply, I was more inclined to highlight projects that I wanted to discuss (and debate) with other people. The water cooler may never be reinstalled, but these shows made me crave its return. In 1881, a man named Charles Guiteau assassinated President James Garfield in a bid to be remembered in the history books; instead, he consigned both himself and his victim to the footnotes. This lively excavation of the entwined fates of Guiteau (Matthew Macfadyen) and Garfield (Michael Shannon) makes for a twisty, political period drama, as well as a haunting parable for our violent times. The killer’s obsession with achieving glory isn’t the only element that feels startlingly modern, with anachronistic touches lending the series an unusual brio. A focus on Garfield’s sense of duty and grand agenda underscores what was lost with his death—and invites the question of what he might have achieved had he lived.

In real life, 2025 has been a chaotic year. We've navigated the beginning of a divisive presidential term, the longest government shutdown in U.S. history, witnessed a pope from Chicago get elected, a pop star in space, natural disasters and history-making events almost daily. In the fictional worlds that fill our TV screens when we look for just a little distraction at the end of our days, things haven't been particularly calm, either. But in a good way. We're talking about Emmy- and hearts-and-minds-winning "The Pitt" on HBO Max.

We're talking about a tiny British drama on Netflix that took off with viewership and cultural conversation. And we're also talking about a couple of shows you've probably never heard of at all. While TV this year has been full of viral hate-watches (like Hulu's disastrous-but-renewed "All's Fair") and some of the biggest shows of all time (like the final seasons of Netflix's "Squid Game" and "Stranger... As the year winds to a close, we hope you'll give these 10 absolutely superb TV shows a watch. You might be surprised by what you find. To see our longer list of the top 20 picks for the best TV shows of the year, scroll through the gallery below.

Just when you thought the post-Peak TV glacier of shows had melted into a puddle of mediocre algorithm-feeders, the medium snapped back to form in 2025. We may not be in the midst of a new golden age — streamers and cable networks alike are muddling their way through a very uncertain media landscape (see Netflix’s acquisition of Warner Bros. Discovery just this morning!) — but this year delivered a handful of truly original shows that did more than throw A-list stars at a paper-thin plot and try to pass it off as prestige. The series that stood out were daring, stylish, and had something to say about the world we live in today. Oh, and they were damn entertaining, too. Whether dissecting Hollywood or the health care industry, exploring history or an alternate universe, making us laugh or making us cry (and sometimes both), these 15 shows, presented here in alphabetical order, proved that...

This four-part British limited series, about a kid accused of murdering a classmate, hit Netflix on a Friday with little to no advance fanfare; by the end of the weekend, it was the most... A labor of love from director Philip Barantini and co-writer and star Stephen Graham, Adolescence starts with cops bursting into the home of an average suburban family and arresting 13-year-old Jamie Miller (newcomer Owen... Each episode then focuses on the aftermath via a different perspective, from Jamie’s fellow students to his family members; Episode Three, a standoff between Cooper’s incarcerated teen and a psychologist played by Erin Doherty,... And as with Barantini and Graham’s previous collaboration, the proto-Bear chef drama Boiling Point, everything is shot in a single extended take. There’s a reason this import dominated the 2025 Emmys, but even if it hadn’t walked away with armfuls of statues, it would still leave you feeling like you’ve been gut-punched. —David Fear

The sophomore (and final) season of Tony Gilroy’s Star Wars prequel series doubled down on the revolutionary spirit, delivering an even deeper sausage-factory view of how the Rebellion was made while still giving fans... The fact that Diego Luna’s Cassian and his fellow freedom fighters were fighting a fascist empire a long time ago in a galaxy far, far away almost feels incidental; few works of mass entertainment... These 10 episodes had their share of thrills and chills, first-class villains (especially Denise Gough’s imperial apparatchik), highly memeable moments — dance like no one’s watching, Mon Mothma! — and a sequence inside an enemy hospital that played like a stand-alone heist movie. But the season also offered a chilling look at how authoritarian governments use misinformation and manipulate certain populations into enemies. The I.P.

will be with us, always, but Gilroy’s contribution to the canon will be missed. It was even more invaluable the second time around. —D.F. Writer Mike Makowsky, best known for his zippy 2019 HBO film Bad Education, took one of the oddest side plots in American history and made it one of the most riveting shows of the... Based on Candice Millard’s book Destiny of the Republic, Death By Lighting chronicles, over a tight yet expansive-feeling four episodes, the 1881 assassination of President James A. Garfield (played with stoicism by Michael Shannon) by an unstable fan turned hater named Charles Guiteau (Matthew Macfadyen, better than ever).

It’s an original story of standom gone wrong that tackles the scourge of American violence. It’s also deeply amusing, featuring basically every character actor you know and love (lookin’ at you, Nick Offerman, Bradley Whitford, and Shea Whigham) in a big bushy beard, absolutely killing it. —Esther Zuckerman One of the year’s most delightful surprises was this sleeper hit in the vein of Slow Horses — it centers on a group of misfit cops in Scotland — but with a bit more... Matthew Goode, who’s bounced around in rom-coms and period pieces and legal dramas, absolutely melts into the lead role of Carl Morck, a prickly and misanthropic detective returning to work after an on-the-job shooting... Banished to a basement office and saddled with a bunch of dead-end cold cases, he becomes the leader of a motley crew of crimefighting wannabes.

People Also Search

This Is Read By An Automated Voice. Please Report Any

This is read by an automated voice. Please report any issues or inconsistencies here. After the eye strain, the greatest occupational hazard of being a TV critic is people asking what’s good on television. It’s a question I typically find impossible to answer on the spur of the moment, as a show will run out of my head as soon as a review is filed in order to... (I buy time by responding, “What do...

Every Year, Television Has Its Ups And Downs, Its Ebb

Every year, television has its ups and downs, its ebb and flow, depending on a host of reasons I will only ever vaguely understand. I will take this opportunity to say that there are way too many psychological thrillers on way too many platforms nowadays, but there are always more than enough shows to praise — and as... Some are here because they deliver real surprises — not just plot twists and s...

The Dialogue Avoids Exposition, The Silences Say Much. (Read The

The dialogue avoids exposition, the silences say much. (Read the review.) In cultural criticism, every year ends the same way—with a deluge of top 10 lists for every imaginable art form, as though music and literature and film and TV and theater and dance all... It’s a benign fiction, one that gives critics an excuse to issue a final endorsement for the art that has stuck with us over many months ...

Television Certainly Felt More Abundant In 2025 Than It Has

Television certainly felt more abundant in 2025 than it has in a while, now that the industry has mostly moved past the delays caused by the major writers’ and actors’ strikes a couple years... Top creators, from Vince Gilligan and Sterlin Harjo to Liz Meriwether and Mara Brock Akil, were back on our screens with exciting new projects. Movie stars like Seth Rogen, Ethan Hawke, and Michelle William...

Platforms From Everywhere In The World, Though The Ongoing Consolidation

platforms from everywhere in the world, though the ongoing consolidation of multinational media giants increasingly limited their variety. It speaks volumes that the best international series I watched this year, Italy’s Mussolini: Son of the Century, was only available stateside on the arthouse streaming service Mubi; the globally renowned Hong Kong auteur... The result, for me, was a schedule pa...