The fateful end-of-year question returns: What was 2025 like for our much-loved serial medium? Honestly, we can’t find any other adjectives if not excellent. Of course, there have been serious slip-ups that due to their laziness (Black Rabbitwe’re looking at you) or a superhuman ability to completely miss the target (Terrace Sentimento still inhabits our nightmares) make us question such a verdict, but they stand out precisely because they are a clear minority. It was a year full of comebacks (from Daredevil a Split passing through Dexter even twice), of surprises, of confirmations, of lots of entertainment.
And, moreover, 2025 was extremely varied in terms of genres, an aspect that we never tend to underestimate (under penalty of flattening the entire market). So, when it’s almost time to uncork the first sparkling wine of 2026, What were the best TV series of the past year?
Alien: Planet Earth
That a historic franchise can rediscover verve and creativity by throwing itself into the fray of seriality is nothing new. Do it, however, with Alien and with the quality of Alien: Planet Earth (here you can catch up on our review of Alien: Planet Earth) was quite unthinkable.
After LegionNoah Hawley strikes again forging a well-rounded sci-fi epic worthy (almost) of a Blade Runner, but with an extra Xenomorph.
The Fiancee
There’s a bit of everything in Prime Video’s thriller (here you can catch up on our review of The Girlfriend): class clash, sumptuous performances, oppressive atmospheres, explorations of our most intimate psyche.
But above all there is a screenplay that knows perfectly well not to take sides, to show the various points of view without “rooting” for someone or sending pedantic messages, an essential element for a genre that is unfortunately becoming increasingly rare.
The Baracchino
But how beautiful are the bold experimentsthe mixes that no one expects to work on paper and which instead succeed. So why not, why not mix stand-up comedy and existentialismdesire for revenge and revenge, all bottled in a varied and technically flawless as well as virtuous animated style.
Praise be The Baracchino (here we refer you to our review of Il Baracchino), in the hope that it is not a simple point of arrival.
Overcompensating
Here you have to have a little patience, because Overcompensating (here you can rediscover our review of Overcompensating) asks you to go beyond the playful and provocative facade.
And it’s worth it, paradoxically there’s something behind it profound and bitter reflection on social masks, on pressure, on fragility, on doubts and on the hypocrisy of an entire generation. To remind us that comedies can also delve into our souls, as well as making us laugh.
Creature Commandos
The true beginning of the DCU, both in terms of timeline and release period. Creature Commandos (don’t miss our review of Creature Commandos) is pure madness by James Gunn encapsulated in small sessions of around 25 minutes, in his classic and inimitable style of taking characters bordering on nonsense and giving them a humanity (in addition to delicious trash) that has few equals.
The animated style won’t be the best, but it remains absolutely unmissable.
Andor 2
We could limit ourselves to saying only this: Andor (here we refer you to our review of Andor 2), with its second and final season, it is not only one of the best expressions of Star Wars, but it has established itself as one of the most successful science fiction productions in history.
A true political thriller with messages that are both universal and current, amazing characters, goosebumps moments that we sincerely hope will set a precedent (and not just at Disney).
Last Samurai Standing
You liked it Squid Game? Do you want to see it again with the samurai? We jokingly imagine the pitch to Netflix like this. The perfect ending to the joke?
Last Samurai Standing (you can revisit our review of Last Samurai Standing here) is wonderful, a deadly game with breathtaking action sequences and a bitterly morbid reflection and generational on the role of the samurai in an era that no longer seems to need it.
To many
The latest addition to this list, but let’s be honest: Does anyone in 2025 really still doubt Vince Gilligan? To many it is his umpteenth masterpiece, an apparently simple story that hides a number of embarrassing stratifications (for the competitors, of course).
And as usual character writing studied down to the smallest detail and the ability to continually turn the tables with astonishing episodes.
The Eternaut
It was not trivial to adapt it historic HGO comic (which, precisely because it is historical and seminal, is today a bit “outdated”, pass the term).
And instead the Netflix series (here you can find our review of L’Eternauta) succeeded very well, aware of having to pay homage and justice on the one hand to a fundamental work e on the other, modernize itespecially when it comes to set pieces and dynamics between the characters. Chapeau, Netflix.
Adolescence
Perhaps the most impressive surprise of the year (don’t forget our review of Adolescence), from every point of view. On the technical side? A marvel shot practically in a single take. Acting? Sensational, both for already well-known actors and for the very young (and debutant) Owen Cooper.
Topics? Current, profound, disturbing, capable of describing the fears that accompany everyone with an unexpected clarity (but especially parents).
Reacher 3
It will also be the One-Punch Man of TV series (now a somewhat archaic definition, come on), but Reacher continues to make us enjoy (here you can find our review of Reacher 3).
And the strong point always remains the same: the ability and maturity to never take oneself too seriously. Maybe it’s the biting humour, Alan Ritchson’s on-the-nose interpretation, the mysteries that still manage to entertain, the result remains constant and is of a high standard.
The Monster
The story of the Monster of Florence is in some ways immortalwill continue to capture the attention and imagination of the public (not just our own).
E The Monster (here you can rediscover our review of Il Mostro) by Stefano Sollima it is only the latest demonstration of it: an unusual structure, an immortal charm and the terrible “everyday” and coldness of the murders have confirmed its success, both with critics and the public. To have productions like this.
Split 2
Yes, Split remains one of the best contemporary serieswithout a shadow of a doubt. And it is too because it literally has no equivalent on the marketboth for its terrifying ability to spy into a possible future of technological advancement, and for its essential mix of genres and continuous inspirations measured to the millimetre.
A rabbit hole of which there is no end in sight and with each revelation the darkness becomes more and more oppressive.
Don’t Stand Watching
Sometimes we try not to fall into the tired stereotype of the series being “important” for its themes, but with Don’t Stand Watching (here you can rediscover our review of Non Stare a Guarda) is impossible.
It is an important series almost by definition, which however is not limited to its message carries forward with an unshakable determination even the infinite consequences of a justifiable, perhaps necessary, but nevertheless crazy gesture.
Slow Horses 5
We try to repeat it at every corner: look at Slow Horses, it’s one of the best series currently on the market. And he seems to improve every season, with an already remarkable debut.
The fifth is a further devastating, exhilarating test of strengththe perfect embodiment of a group of disadvantaged people forced to work together and who inexplicably find themselves having to save the situation. A joy, an immaculate pearl of entertainment.
Nobody Wants This 2
Consider it the comfort show of this varied selection: It’s a harmless romantic comedy in the end, packaged in an affable manner and peppered with delightful performances.
Nobody Wants This (here we refer you to our review of Nobody Wants This 2), however, it is also an intelligent series, which knows how to grow and carry on its “simple” relationship and, above all, to do so without ever resorting to questionable shortcuts or vulgar stereotypes. And that’s no small thing at all.
The Bear 4
Despite having such a stringent (and perhaps, in some ways, limiting) concept, the ability to The Bear (here you can relive our review of The Bear 4) to reinvent yourself.
A transformation that is never just thematic, but at the same time formal: the rhythms change, the dialogues change, the shots change, everything changes. Only the nerve center remains, the personal odyssey of the protagonists and Carmy, that shocks us every year.
M – The Son of the Century
Remember, last January is also part of 2025 and therefore should not be discriminated against. Here’s why M – The Son of the Century (here we invite you to retrieve the review of M – Il Figlio del Secolo) could in no way miss this appointment.
It’s quite possibly the best satirical/black comedy series of the yearculminating in an irreproachable condemnation of a past that can in no way be reiterated.
Ten New Years Eve
Rodrigo Sorogoyen is a certainty e Ten New Years Eve (here you can rediscover our review of Dieci Capodanni) has proven it again.
The idea is almost silly in its obviousness: follow the birth and evolution of a relationship through New Year’s Day alone. The result? One of the most sincere, painful, romantic and disenchanted portraits of modern relationships that we have seen in the last decade. And we thank RaiPlay for focusing on us.
Hyper Knife
Faced with such impressive lists, we always enjoy the idea of closing with a gem, an unpredictable surprise: Hyper Knife is a masterpiece, for its madness.
At its core it is an extremely human story in typical Korean style, but the directions it takes, the plot twists it sows and especially the foolish idea of completely changing gender every 2 episodes or so and still managing to tell a harmonious story truly made us fall in love.
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