ADVERTISEMENTWe’re past the halfway mark of 2025 and it’s time to give you our final Best Of… So Far: the TV shows which have already made our year.
Unlike our favourite album and movie rankings, TV is a tougher ask, as there are so many shows out there to keep up with, leading to a feeling of cultural overwhelm at times. So don’t be surprised – or worse, upset – if your favourite show of 2025 hasn’t made the cut.
Without further ado, from libido-driven journeys of self-discovery to gripping shows about the pervasive threat of online radicalization, here’s our countdown to the best TV show of the year so far.
10) The Last Of Us – Season 2 (HBO)
Viewers of The Last Of Us Season 2 will never look at golf clubs the same way again… The HBO hit, based on the acclaimed Naughty Dog video game series, returns for a second season packed with brutal shocks, emotional gut punches, and plenty of high-octane, fungus-fuelled chaos. Civilisation remains in tatters, the infected are groaning, gnashing and up to no good, and at the heart of it all are Bella Ramsey and Pedro Pascal, delivering once again as Ellie and Joel with performances that should absolutely be in the awards conversation. The season also introduces viewers to Abby (Kaitlyn Dever) – a physically formidable and emotionally complex new antagonist – whose storyline triggers one of the most shocking and talked-about television moments of the year. That said, it’s not all perfect. There are noticeable pacing hiccups, tonal shifts that don’t always land, and a slightly rushed finale that doesn’t quite stick the landing. Still, when it hits its stride, The Last Of Us remains one of the most gripping and visually arresting dramas on television. TF
9) Dept. Q (Netflix)
If you’re a fan of procedural dramas that take place in dimly-lit basements, Netflix’s Dept. Q is not to be missed. Based on a Danish book series by Jussi Adler-Olsen (from which six film adaptations have also been made), this version transfers its brooding Nordic noir ambience to the perfectly suited gothic charm of Edinburgh. Carl Morck (Matthew Goode), your typically troubled and tart-tongued DCI that drives a kooky car, has been assigned to lead a new cold case unit after recovering from a traumatic shooting incident. While investigating the mysterious disappearance of prosecutor Merritt Lingard (Chloe Pirrie), increasingly sinister systemic secrets come to light. Co-created by Hollywood script doctor extraordinaire Scott Frank (The Queen’s Gambit), the character developments are strong and intriguing (if at times a little cartoonish) and the mood seductively murky and mysterious. Plus, anything starring Kelly Macdonald, Shirley Henderson and Kate Dickie is worth watching by default! AB
8) Andor – Season 2 (Disney+)
The second season of Andor was always going to be its last, as Tony Gilroy’s Star Wars prequel series needed the action to slip into the events leading up to 2016’s Rogue One. It’s almost a shame, as this two-season drama proves what can happen when you get decent writers around the table and craft a Star Wars show that doesn’t feel like it’s cynically milking the IP dry. We’re looking at you The Book of Boba Fett, Ahsoka and The Acolyte. It’s almost a shame, as there’s every reason to be content with the closing act of Andor, a thrilling and surprisingly nuanced show led by rebel intelligence operative Cassian Andor (Diego Luna). Throughout, we get a thoughtful study of fascism that phases out the more supernatural aspects of the space opera, replacing them with grounded environments and musings on brittle morality. More adult themes aside, special mentions go to: Genevieve O’Reilly as Mon Mothma; the scene-stealing K-2SO (Alan Tudyk); and that pitch-perfect two-episode climax which rounds up the best thing Disney has done with Star Wars since it bought it from George Lucas. DM
7) What It Feels Like For A Girl (BBC Three)
“Relax, and just say, ‘I’ve got very beautiful lips.’” A quote from Abigail’s Party, it’s also one of Byron’s (Ellis Howard) favourite scenes to watch on repeat – the teenage protagonist in What It Feels Like For A Girl. Much like Mike Leigh’s 70s TV play, this BBC’s drama deals in the absurdities of classism and keeping up appearances, explored through the lens of a working-class, trans teen growing up in early 2000’s Britain. Based on British author and activist Paris Lees’ 2021 memoir of the same title, it’s raw, daring and at times disturbing storytelling that captures the complexities of an inner-world; one swollen with the sharp edges and surrealist dreamery of adolescent memories. Released not long after the Supreme Court’s controversial ruling that women are legally defined by biological sex, it’s also a powerful reminder of the uniquely layered human experiences that exist beyond contentious, one-dimensional headlines. AB
6) Hacks (HBO Max)
Frenemies Deborah Vance (Jean Smart) and Ava Daniels (Hannah Einbinder) came back to the screen this year in season 4 of Hacks – and with them more satirical takes on Hollywood and caustic observations on what it takes to make it in the cutthroat world of comedy. The new season picks up after Ava blackmails her way to head writer and how this powerplay further deepens the tensions between the young comedy writer and the legendary stand-up comedian. Sassy, cutting and featuring vinegar-tongued line deliveries that would have made Ab Fab’s Patsy and Edina blush (“Aren’t you and Mary Magdalene neck and neck for the title of World’s Oldest Whore?”), Hacks continues to be one of the best sitcoms around. Everything from the writing to the direction and acting are perfectly in synch; each season gets better and better; and considering it has been renewed for a fifth season, we can’t wait to see one of TV’s best toxic love stories continue. DM
5) Love On The Spectrum – Season 3 (Netflix)
The third season of Love on the Spectrum is its strongest yet – life-affirming, funny, and quietly groundbreaking. Combining returning fan favourites with new faces, the hit reality show continues its thoughtful exploration of dating through the lens of the autistic community. What sets this season apart is its approach to topics like sex, intimacy, and boundaries – subjects that are rarely presented in mainstream media, let alone with this much care and integrity. There’s a genuine sense of growth throughout this season: you get to see the cast becoming more confident as they learn about love and form deeper connections. From Abby’s original song for David (“My Prince Charming doesn’t bring me flowers, he knows I’d rather have gummy bears any day”), to Connor’s adorable first kiss with Georgia, the season is packed with so many joyful and moving moments. While the show has sparked important conversations about about neurodiverse representation, its overall impact is undeniably positive, and it continues to challenge stereotypes and celebrate love in all its forms. TF
4) The Pitt (HBO Max)
What initially looks like an ER reboot – a comparison only nourished by Noah Wyle starring and exec producing – The Pitt is anything but. The show does away with all the typical ensemble-led hospital-show tropes to better document a single 15-hour shift in a Pittsburgh emergency room. Each episode in this medical procedural represents one real-time hour – featuring mass shootings, accidents, staff shortages and insufficient resources. It feels accurate and seeks realism at every turn, making this first season a riveting and frequently exhausting show that is not only a reminder of the crucial work done by first-responders, but also a testament to their skill and compassion in the face of everyday horrors. DM
3) Severance – Season 2 (Apple TV+)
After an excruciating three-year wait, Dan Erickson’s Severance returns stranger, bleaker, and more ambitious than ever. The dystopian office-set series dives deeper into Lumon’s eerie world, where employees are split into “severed” and “unsevered” selves by a brain chip, all in the name of achieving the perfect work-life balance. Season two ups the ante with more death, deeper mysteries – and yes, a baffling abundance of unexplained goats. Adam Scott delivers a career-best turn as Mark, whose obsessive quest to uncover the truth about his wife and Lumon’s sinister secrets blurs the line between personal grief and corporate control. His performance is backed by an equally brilliant supporting cast, some mind-blowingly meticulous cinematography and a hauntingly minimalist score by Theodore Shapiro. While the pacing meanders in the latter half and some characters feel unfairly sidelined, episodes like the snowy ORTBO field trip and the breathtaking season finale prove Severance remains electrifying, unmissable television. TF
2) Dying For Sex (Disney+)
If you knew you were about to die, what kind of life would you choose to live? For 42-year-old Molly Kochan (Michelle Williams), it’s one filled with sex. Lots and lots of sweaty, sticky, kinky sex. Based on the 2020 podcast of the same name, Dying For Sex tells the story of the real-life Kochan, who, after being diagnosed with terminal breast cancer in 2015, left her long-term marriage to pursue a libido-driven journey of self-discovery. While often dark, it’s an overwhelmingly joyful and radical series that’s vulnerable, open, and powered by the chaotic warmth of Kochan’s friendship with Nikki (Jenny Slate). As the two navigate Kochan’s treatments (and quest for an orgasm) together, confrontations with death and desire give way to tender revelations about the magical ephemerality of connection – in every form. From the doctor awkwardly placing his hand on Kochan’s, to the stranger dressed as a dog that dreams of golden showers, every interaction becomes a reflection of the micro-intimacies that make our lives feel meaningful. Like watching the embers of a fire, it’s a show that emanates a comforting glow, stoked by the heartache and horniness of human existence. AB
1) Adolescence (Netflix)
It’s the four-episode series that took the world by storm this year, a cultural slap which became a necessary social and political wake-up call. For the few who haven’t seen it yet, Adolescence follows how a 13-year-old boy, Jamie (Owen Cooper), is accused of murdering a girl in his class. Created and written by Jack Thorne and Stephen Graham (who also stars), Adolescence is a superbly acted drama and a technical marvel, as director Philip Barantini uses his signature one-shot / continuous take, previously seen in Boiling Point (also starring Graham), to better heighten the tension and denying the audience any relief. This offers an unflinching look at grief and blame, as well as different perspectives on a crime – the show-stealer being the two-hander between Cooper and Erin Doherty, who plays the court-appointed psychologist sent to assess the young man. More than that, the show comes together as a haunting examination of the ills of the manosphere, the toxic impact that ubiquitous red-pill propaganda can have on the minds of impressionable young men, and the devasting effect of not exposing the ills of society. This powerful and necessary show has set the bar for 2025. DM
There we have it.
Make sure to check out our Best Albums of 2025 So Far and Best Movies of 2025 So Far lists, and stay tuned to Euronews Culture to see how many halfway mark TV titles make it to our end of year Best TV Shows of 2025.
Happy streaming!
