NPR85%
A top-10 list can't contain all the great TV of 202593%
By David Bianculli0%
12/23/2025, 5:16:24 PM
BS Summary: This article contains 19 faulty reasoning types, including Confirmation Bias, Appeal to Authority, and Anecdotal, with Halo Effect as the most egregious example at 39.4% saturation with 313 hits. Analysis detected 1,857 faulty-reasoning hits from 795 analyzed words, generating a BS Score of 88.9% and a BS Rank of 93% (1,236 of 16,813 articles). This article is worse (more manipulative) than 92.70% of the article peer group.
Of everything I saw on TV in 2025, the one show I thought was the very best, and has haunted me ever since, was the four-part Netflix drama Adolescence.
It's the story of a young teen accused of murdering a classmate, and it's told in such a way, emotionally and technically, that I can't and won't forget it.
It's the show I recommend most highly, but with a major caveat.
It's grim.
And it's almost unbearably intense.
Intensity, it turns out, is a common factor among many of my very favorite shows from this year.
HBO Max's The Pitt was a medical show with an impressively credible tension factor.
So was Netflix's The Diplomat, with its unpredictable, high-stakes plot twists.
And so was FX's The Bear, even though it wasn't about life or death, just appetizers and entrees.
The Bear even calls itself a comedy, but it's not.
Much, much too dramatic for that.
A couple of my other favorite TV dramas, almost equally intense, featured ragtag, mismatched investigative teams thrown together to solve specific crimes.
One, HBO's Task, was headed by a brooding, intelligent guy with lots of emotional baggage, played by Mark Ruffalo.
Another, Netflix's Dept. Q, was headed by a brooding, intelligent guy with even more emotional baggage, played by Matthew Goode.
And maybe it's just me, but this year I definitely gravitated to dramatic shows that made me uneasy.
It was another great season for Netflix's Black Mirror, and the end-of-year final episode of another dark Netflix fantasy series, Stranger Things, is eagerly awaited by many.
Including me, because I've seen all the new episodes leading up to it, but the finale is being kept under wraps.
Stranger Things has been around since 2016 — almost a decade — but other terrific genre productions were new takes on old ideas.
Guillermo del Toro's Frankenstein, on Netflix, was an excellent and very different adaptation.
And what Noah Hawley did by reinventing the Alien movie franchise, for the FX TV series Alien: Earth, was thrilling — and, at times, truly scary.
And still churning out weekly episodes, brilliant ones, is Pluribus, the new, indescribably original Apple TV sci-fi series from Vince Gilligan.
The comedies I liked best this year?
Some were set behind-the-scenes of show biz — like the new Apple TV series The Studio, starring Seth Rogen as a bumbling but well-meaning studio head, and the returning HBO Max series Hacks, starring Jean Smart as a female comic landing a job as a TV talk-show host.
The other comedies were lighthearted mysteries benefiting greatly from their veteran cast members: Hulu's Only Murders in the Building and Netflix's A Man on the Inside.
Both of those shows made me feel good — which is a lot to ask of any TV show these days.
Nonfiction TV also offered many excellent options this year.
Artistic profiles to seek out from 2025 include Apple TV's Mr. Scorsese, about film director Martin Scorsese, and HBO's Pee-wee as Himself, about actor Paul Reubens.
Most recently, there's the short but powerful Netflix documentary All the Empty Rooms, about a TV feature reporter and photographer who visit the families of children killed during school shootings, to memorialize the children's empty, but still intact, bedrooms.
It's as tough to watch as Adolescence — and, oddly, touches on a similar subject.
Other great documentaries this year included Sunday Best, a new Netflix program about Ed Sullivan's contributions to popularizing Black entertainers; PBS's The American Revolution, the latest and perhaps greatest epic history lesson from Ken Burns and company; and the new installment of The Beatles Anthology, presented by Disney+.
On talk shows, I loved the feisty, topical spirit invoked by Stephen Colbert, Jimmy Kimmel, Jon Stewart, Seth Meyers and John Oliver — and especially the well-aimed irreverence of the current season of Comedy Central's South Park.
Wow.
Many of these shows were attacked or censored by their corporate owners, in well-publicized clashes that exposed, and fought against, the interference.
The CBS Late Show franchise is being retired from the schedule — but most of the time this year, the comics and their programs persevered.
Finally, my favorite TV moment of 2025 came courtesy of CNN.
Not for a news bulletin, but for televising, live from Broadway, a production of Good Night, and Good Luck, starring George Clooney as veteran CBS newsman Edward R. Murrow.
At the end of the play, Clooney recites Murrow's actual speech to news and TV executives from 1958, urging them to use TV wisely.
In the year 2025, the best of television — from The American Revolution to Adolescence — is living up to Ed Murrow's inspirational ideals.
We all just have to find the best that's out there … then find the time to watch it.
Analysis
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