Andor | No other show met the moment like Star Wars’ mature exploration of its original themes. The final season of Rogue One’s prequel series, Disney+’s most expensive show, depicted how something like a Project 2025 is meticulously manufactured. The dehumanization of a people. The state-sanctioned control of news media. The choreographed violence to validate more violence. The difficulty in raising a banner of dissent; and yet, they did it anyway. It wasn’t impossible. It isn’t impossible. FIGHT THE EMPIRE.

The Pitt | Despite it starring Noah Wyle and Michael Crichton’s estate saying otherwise, HBO Max’s The Pitt is not a spiritual successor to ER. But, the Emmy-winning drama does encapsulate everything folks have missed about television— golden era TV to be exact. The continual narrative across plus-10 episodes. Rich, diverse characters who grow and change over time. And most importantly, the efficient return within a year. Simple, but complete in every way.

Adolescence | While the topic of this four-episode limited series wasn’t anything a Dick Wolf production hadn’t explored since 1999, it uniquely highlighted today’s iteration. Patriarchy has always been at play, but youth struggle to resist its influence with the rise of social media. A tool that unleashes playground dramatics to anyone’s palmed device. The powerful dramatization captured the honest helplessness parents experience when all the right things still lead to the wrong thing. It solidified Stephen Graham as a powerful storyteller, and introduced the world to a young Owen Cooper.

Severance | After year-long complaints for its lack of marketing, Apple TV splurged on the promo for the second season of Severance. The money was well spent as the show catapulted from under-appreciated rare find to critical and commercial darling. Scoring Emmy gold for Britt Lower (Best Actress) and Tramell Tillman (Best Supporting Actor), the show delved deeper into Lumon lore with powerful performances from its main cast. Frankly, the show boasts some of the best acting on TV — period — as the four leads (Adam Scott, Lower, John Tuturro and Zach Cherry) all turn dual roles. Scott, in particular, dueling with himself for half an episode, was extraordinary. And the cinematography in later episodes upended what could be done on a TV screen. The series itself has made the platform a frontrunner in the new streaming era.

The Diplomat | The third season of Netflix’s The Diplomat managed to up the ante as Kate Wyler (Keri Russell) not only had to contend with her ex-husband’s (Rufus Sewell) volatile persona, but mend fences with the Vice President (Allison Janney) and her first husband (Bradley Whitford) post-POTUS’ sudden death. Things get even stickier when love mixes with national security, and a formidable alliance rises, challenging the smartest woman in the room to rethink everything for another season. The series remains just as tight and driven as the first, raising the stakes with dexterity and finesse. The show balances Scandal-esque soap with strong and realistic political play for a spectacular dramatic experience.

Dark Winds | In its third outing, AMC’s underrated adaptation of Tony Hillerman’s crime noir novels explored the justice oppressed communities must seek when the systems work against their favor. In a stellar lead performance, Zahn McClarnon returned as a broken Joe Leaphorn, trying to re-piece his moral compass as he investigates the heinous murder of a Navajo boy. Produced by George R. R. Martin and the late Robert Redford, Dark Winds has consistently been one of the best TV series you’ve probably never heard of. Season four wrapped in April with a fifth on the horizon.

Chief of War | I missed the hidden gem that was See, Jason Momoa’s first foray onto the Apple streaming platform. And while lightning usually doesn’t strike in the same place twice, I was pleasantly surprised by his next project: a personal retelling of Hawai’i’s civil war and inevitable fall to outsiders. Momoa leads a spectacular cast, capturing the islands’ history from their perspective. The authenticity culminates in a grand finale episode, directed by his namesake. If you liked Shogun, you will love Chief of War.

Pluribus | Apple TV’s most-watched show, not called Severance, is Vince Gilligan’s return with Rhea Seehorn as a queer author having the worst summer of her life. When an alien virus conjures the majority of the world’s population into a hive mind, Seehorn’s Carol must examine her own definitions of autonomy and community if she wants to survive. The series is a melding of sci-fi, comedy and earnest life drama.

Your Friendly Neighborhood Spider-Man | Marvel’s best project this year was a fresh take on everyone’s favorite teen superhero. The animated fare wasn’t afraid to take liberties within the canon, modernizing Peter’s world for an authentic depiction of NYC in 2025; a must-watch for comic and casual fans alike. Season two is slated for a 2026 release.

The Bear | After a very divisive third season and the consensus that it isn’t a comedy, FX on Hulu’s The Bear returned to peak trauma-filled comedic stress. Regardless of its defined genre, what pierces through are the delicately written characters and their therapeutic journey through adulthood.