Dept. Q to Dying for Sex: 18 of the best TV shows of 2025 so far

From a compelling Netflix police procedural to a powerful miniseries about sex and death and the new season of Severance, we pick the year’s greatest programmes to stream right now.

1. Dept. Q

A brilliant, cranky detective traumatised by a previous case may be a cliché, but Matthew Goode brings such depth and mordant wit to his role of Carl Morck, now relegated to cold cases and a basement office, that it gives the concept new life. The series’ creators, Scott Frank (The Queen’s Gambit and the underrated Monsieur Spade) and Chandni Lakhani, know that the characters are more important than the years-old cases in Edinburgh that Morck is handed, and they have surrounded him with sharply drawn colleagues who are more than their labels as misfits. The standout, and a sign of the show’s boldness, is the enigmatic Akram Salim (Alexej Manvelov), who joins Morck’s department as an IT expert and proves to have exceptional detecting skills of his own, as well as a mysterious past in Syria. Was he on the side of the good guys or the bad guys back home, Morck asks him – a pretty good question given Salim’s rough tactics. The series is sometimes creepy – because we see the captive woman whom Morck’s team hasn’t yet discovered – but it is always smart and absorbing. (CJ)

Available on Netflix internationally

2. Dying for Sex

Based on the podcast of the same name, this eight-part miniseries tells an extraordinary story – that of the late Molly Kochan, who received a stage IV breast cancer diagnosis, and decided to leave her husband and embark on a sexual odyssey to find physical fulfilment before it was too late. Yet the brilliance of the adaptation lies in just how understated it is. You can imagine this tale being told in ways that were both mawkish and self-consciously provocative, but instead creators Liz Meriwether and Kim Rosenstock, and their typically excellent star Michelle Williams, give Molly’s journey a matter-of-factness that ultimately make it both more authentic and more affecting. What Molly enjoys in her final stretch is not some grand epiphany, but instead simply a finer appreciation of the variety of human connections that can really enrich existence – from her ride-or-die friendship with the chaotic Nikki (played wonderfully by Jenny Slate) to her kinky encounters with a neighbour (Rob Delaney) who wants to be kicked in the genitalia. And then, at a point where it feels like she is only just getting started on her new life journey, the end comes suddenly, in a finale which offers one of the most intimate portraits of death ever committed to the screen. Yes, there may be tears – and they are very well earned. (HM)

Available on Hulu in the US and Disney+ internationally

3. Mr Loverman

Few series are grounded in as stirring, complex and distinctive a character as this drama, with Lennie James as the always dapper Barrington Loverman. Now in his 70s, Barry is a husband, father and grandfather, and has secretly been in a loving relationship with Morris (Ariyon Bakare) since the two men were adolescents. In his rich, Bafta-winning performance, James thoroughly inhabits his character, revealing how deeply Barry loves Morris, how difficult his choices have been, and how much he was shaped by what his generation considered respectable. Sharon D Clarke is equally moving and sympathetic as Barry’s wife, Carmel, who learns her husband’s secret and is outraged at the dishonesty that has shaped her 50-year marriage. There are no villains in this series, based on Bernardine Evaristo’s novel. As Barry comes to a turning point in his life, the series is clear-sighted about the compromises in long-term relationships and deeply humane in its refusal to demonize anyone. (CJ)

4. Too Much

It’s been nearly a decade since Lena Dunham’s era-defining comedy drama Girls ended, and while she’s kept busy with subsequent projects – including making a couple of films, and directing the pilot of Industry – they’ve flown relatively under the radar. So it’s great to have her back creating conversation again with this well-pitched Netflix rom-com, which is loosely inspired by her own move to the UK. Megan Stalter (best known for Hacks) plays Jessica, a burnt-out advertising executive who decides to cross the Atlantic after a bad break-up – but her first mistake is assuming her new digs in an “estate” will be in a countryside manor, not an urban tower block. Thankfully, though, such obvious fish-out-of-water japes aren’t really the focus here, but rather the dissection of her burgeoning relationship with a struggling musician, played by White Lotus star Will Sharpe. What’s great about their romance, written with nuance and compassion by Dunham, is that there’s very little time spent on “will they won’t they?” – they’re essentially a couple by the end of the second episode – and much more on whether they can really make a long-term relationship work, given the emotional scars they both bear. In the lead roles, Stalter is too broad and sitcom-ish at first, but she settles into the role, and Sharpe is exquisitely naturalistic and charming from the off. A host of guest stars, including Richard E Grant, Naomi Watts and Andrew Scott, add some comic sparkle. It’s certainly a flawed work, with some weaker episodes than others – but then again, as the story proves, there’s beauty in imperfection. (HM)

Available on Netflix internationally

5. Code of Silence

This drama makes the bracing point that a bright young woman who happens to be deaf shouldn’t be underestimated, but smoothly wraps that message in a crime thriller with a captivating heroine. Rose Ayling-Ellis brings fierce but understated energy to the role of Alison Brooks, who works in the cafeteria of a police station, and is recruited to help detectives because she can lip-read the video of a criminal gang they have been surveilling. As she watches the video, text appears in partial form on the television screen, offering a visual sense of how challenging Alison’s life is without the ability to hear. Her deafness is crucial to the series, but instead of delivering a heavy-handed theme, the skilfully executed plot draws us in as Alison goes undercover; she puts herself in situations more dangerous than the actual detectives (sharply played by Andrew Buchan and Charlotte Ritchie) expect, and finds herself attracted to one of the men they are tracking down. Through it all, Ayling-Ellis let us see that Alison is determined to be part of the investigation to prove just how capable she is. (CJ)

Available on BritBox in the US and ITVX in the UK

6. The Rehearsal

The first series of this show from cerebral comedian Nathan Fielder, in which he helped people “rehearse” future life situations, complete with teams of actors and ever-more layers of reality intruding, was a remarkable achievement – truly unlike anything else on TV. But the question with a second series was always going to be: when you’ve created something so singular, how can you hope to retain its creative freshness? Well, lo and behold, Fielder has managed to do that with this follow-up, which applies his equally absurd and awe-inspiring simulation techniques to one particular problem: the miscommunication that can occur between pilots in the cockpit which, Fielder posits, is a key cause behind many commercial aviation accidents. In order to analyse this theory, Fielder again pushes the boundaries of the form in spectacular style, creating a replica of a Houston airport terminal and devising a special singing contest called Wings of Voice, among other things. With detours galore through the six episodes – including a deeply uncomfortable revelation about Paramount+’s alleged censoring of his old show Nathan for You – it’s another dizzying, surreal study of human behaviour. It climaxes with Fielder himself taking to the skies, a true coup-de-theatre which is also truly, unexpectedly moving. (HM)

Available on HBO Max in the US and Now in the UK

7. Étoile

This isn’t the first ballet-themed series from Amy Sherman-Palladino to be foolishly cancelled after one season. That would be Bunheads (2012), which has since found cult success. Étoile deserves a similarly long afterlife, as it immerses us in the starry glamour and behind-the-scenes rivalries of New York and Paris ballet companies who trade their best dancers for a season. It is an enchanting confection, combining the heightened unreality of Sherman-Palladino’s witty dialogue with snippets of performances by professional dancers. The cast is as virtuosic as the dancers. Leaning into their archetypes, Charlotte Gainsbourg is the essence of Parisian chic and sophistication as the head of the French ensemble and Luke Kirby is the hyper, neurotic head of the New York company. Lou de Laâge plays a famous, shambolic dancer who heads to New York and Simon Callow is the rich, manipulative arts patron. Shot in New York and Paris, and capturing those cities at their most glittering, the series is delightful escapism. (CJ)

Available on Prime Video internationally

8. Such Brave Girls

Few series are indeed as brave as this brutally honest British sitcom, which centres on two adult sisters and their mother living together as they battle with each other, their own plentiful neuroses, and looming penury. If you were to analyse its DNA, you might say it mixed the cringe farce of Jesse Armstrong and Sam Bain’s Peep Show with the camp viciousness and hateful barbs of British comedy pioneer Julia Davis’s Nighty Night: writer-star Kat Sadler, who plays older sibling Josie, deals with subjects from mental illness to abortion with absolutely no holds barred. This second series is even better than the first, beginning with a classically chaotic wedding episode, in which mum Deb forces Josie to marry her dull-as-ditchwater boyfriend Seb, despite the fact that she is a lesbian. Meanwhile, younger sister Billie, desperate for male validation, embarks on a misbegotten affair with a much older married man, on the basis that he’s “so grateful to be with me, he’s like a competition winner”, and Deb desperately hopes her own exceedingly banal other half, Dev, will pop the question so that she can finally settle into a life of suburban affluence. All in all, it’s a breathtakingly savage portrait of inherited dysfunction, beautifully performed by its central trio, which, alongside Sadler, includes her real-life sister Lizzie Davidson and Sherlock star Louise Brealey. (HM)

9. The Studio 

Hollywood is an easy target, but this satire is so sharp, astute and sometimes absurd that it may be the funniest show of the year. Seth Rogen, who co-created the show, plays Matt Remick, the newly appointed head of Continental Studios, a lover of high-art films with a mandate to make commercial hits based on IP including Kool-Aid. A flood of actors and directors – including Ron Howard, Olivia Wilde and Zoe Kravitz – make cameo appearances, gleefully spoofing their own images, none funnier than Martin Scorsese in the hilarious opening episode. The series regulars are ideally cast, with Ike Barniholtz as Sal Saperstein, Matt’s second-in-command, Catherine O’Hara as the previous studio head and Kathryn Hahn as the loud, wackily-dressed head of publicity. Taking us into the Golden Globes and marketing meetings, The Studio suggests that everyone is just bumbling along at a moment when the entire movie industry is in crisis. The industry might not know where it’s going, but this behind-the-scenes comedy is a pure delight. (CJ)

Available on Apple TV+ internationally

10. The White Lotus

One thing’s for sure: if Mike White’s first-world-problems satire about rich holidaymakers was admired by many for its first two seasons, it broke out to become a true cultural phenomenon in its third, with a huge ratings boost. This time round, it sent its dysfunctional groupings – a corrupt financier and his family, three clashing female friends, a vengeful man and his younger girlfriend – to a Thai wellness retreat, and every week, you could not move online (metaphorically) for the discourse it generated and debate it stirred. Some complained that this season was too slow and lacked suitable plot momentum, while others pointed out, sagely, that the problem was that it was a character-led drama that was never meant to be dissected like Game of Thrones, but for its unexpected blockbuster popularity. Personally? I enjoyed it as both the darkest and most reflective series so far, but one which again thrived off a magisterially cast ensemble, in which Parker Posey, Carrie Coon, Aimee Lou Wood and Patrick Schwarzenegger were standouts, but no one was a weak link. (HM)

Available on HBO Max in the US and Now in the UK

11. Adolescence

It’s no wonder that this uncompromising British series about a 13-year-old boy accused of murdering a girl in his school has become a cultural flashpoint, praised by UK Prime Minister Sir Keir Starmer, made available to be shown in schools and sparking conversations about young men and the toxic influence of social media. The social issue is wrapped in a drama brilliantly personalized and brought to life by the actors. Stephen Graham, who created the show with Jack Thorne, plays the boy’s father and conveys the shock and grief of a parent forced to consider the unthinkable possibility that his son might be a killer. Owen Cooper gives a remarkably sophisticated performance as the accused boy, who seems guileless until he explodes in anger. And Ashley Waters plays a detective who struggles to understand his own teenage son, expanding the theme beyond one family. Each episode was shot in a single, real-time take, which sounds like a gimmick, but director Philip Barantini handles that approach so smoothly that it fades into the background, even while adding intensity to a piercing drama that offers no comfortable resolution. (CJ)

Available on Netflix internationally

12. Severance 

Fairly or not, Apple TV+ has become a streamer known for ploughing huge resources (over $20bn, reportedly) into a range of starry shows that not very many people watch – but with the second series of this dystopian workplace drama, it became clear it had a genuine watercooler hit on its hands. Which is even more surprising, when you consider just how strange Severance is. Its compelling high-concept premise – in which employees of the sinister Lumon corporation have their consciousness separated into office selves, or “innies”, and home selves, or “outies” – is one thing, but beyond that, it is constantly taking the story down surreal rabbit holes, involving for example, mysterious “macrodata refinement” work or a herd of goats. In truth, as this series progressed through its second half, it felt a little too meandering for its own good, and its climactic payoff couldn’t match that from the first season. But it’s still an exquisite work in all areas, from the clever dual-identity acting (especially from shining star Britt Lower) to the stark visuals. Bring on season three, and perhaps a few more solid answers as to what’s really going on at Lumon. (HM)

Available on Apple TV+ internationally

13. The Pitt

It might sound like just another medical drama, but this show about a trauma centre in Pittsburgh revitalises the genre with its attention to the psychological stress on caregivers. Noah Wyle gives a shattering performance as the department head, the dedicated, harried, emotionally wracked Dr Robbie, still traumatised after failing to save his mentor during the Covid-19 pandemic. He is surrounded by other doctors and a group of students and interns, each adding a different dimension, from Supriya Ganesh as a brilliant medical prodigy to Isa Briones as an abrasive intern and Taylor Dearden as the caring Dr Mel, whose neurodivergence makes her especially empathetic with her patients. Unlike most medical shows, The Pitt never lets their personal melodrama overwhelm the focus on their work. Each absorbing, fast-paced episode takes place in real time during one 15-hour-long shift, and each veers between the devastation of losing patients and the relief of saving them. You’d think a series so blunt about death would be depressing, but instead The Pitt is exhilarating in its focus on people for whom life and death are everyday events. (CJ)

Available on HBO Max in the US

14. Paradise

It’s difficult to discuss the power of this show without giving away the key twist that comes at the end of episode one. But safe to say, it turns what starts as a relatively conventional political thriller on its head. Sterling K Brown is the head of the US president’s security detail, who finds himself accused of murder of his boss – but above and beyond the killing itself, not everything seems quite right with the world. Created by Dan Fogelman, the man behind the equally rug-pulling TV weepie This is Us, this is solid entertainment in the very best sense, with sharp plotting matched by some strong performances, from Brown’s tortured hero to Julianne Nicholson as a sinister tech billionaire. Plus, later on in the series, one particular episode which deals with truly monumental matters is simply breathtaking – but again, that’s all that can be said without spoiling things for those yet to watch. The good news for those that have is that it’s already been recommissioned. (HM)

Available on Hulu in the US and Disney+ internationally

15. Wolf Hall: The Mirror and the Light 

The sumptuous conclusion to this adaptation of Hilary Mantel’s Wolf Hall trilogy blends a beautifully shot escape into the luxurious past of Henry VIII’s court with an evergreen depiction of the high personal cost of manoeuvring for power and influence. Mark Rylance is poignant as the king’s advisor, Thomas Cromwell, who questions his own decisions, while the mercurial Henry is losing confidence in him. And Damian Lewis’s fresh interpretation of Henry is dazzling, his voice and manner chillingly subdued even as he issues the most ruthless commands. Henry’s wives come and go, but the unravelling bond between these men, and their opposite trajectories – Cromwell’s self-doubts and decline and Henry’s iron will that eliminates anyone in his way – shape the story. Written by Peter Straughn, a recent Oscar winner for his screenplay of Conclave, The Mirror and the Light is more resonant today than the original Mantel book was when it was published in 2020. It feels entirely relevant in a world where creeping authoritarianism is a global concern. (CJ)

Available on PBS in the US and BBC iPlayer in the UK

16. The Narrow Road to the Deep North

Since breaking out in HBO teen drama Euphoria, rising star Jacob Elordi has chosen his roles well – but perhaps nothing has served him better so far than returning to his home country of Australia to play the protagonist in this searing war drama. An adaptation of Richard Flanagan’s Booker Prize-winning novel, it explores the life of World War Two army surgeon Dorrigo Evans across three time periods: his stint stationed in Adelaide for military training, his hellish experiences as a prisoner of war in the Thai jungle, and then his existence as a professionally successful but emotionally deeply troubled veteran (now played by Ciarán Hinds), still unable to truly process the events of decades ago. Brought to impactful visual life by Justin Kurzel, known for his visceral studies of male violence on the big screen like Snowtown and The Order, it is simply one of the best evocations of the horrors of conflict that has been committed to screen. But at the same time, it takes as much care in its exploration of passion as violence, with the chemistry between Elordi’s young Dorrigo and his uncle’s wife Amy (a superb Odessa Young) burning up the screen. Given some of the scenes of sadistic brutality, it is of course a difficult watch, as it should be, but also one whose sheer artistry offers a kind of transcendence. (HM)

Available on Prime Video in the US, Australia, New Zealand, and Canada and BBC iPlayer in the UK

17. Your Friends and Neighbors

Jon Hamm has never been better, expertly mixing comedy and drama in this series about a hedge-fund manager called Coop, who loses his job. He schemes to keep up appearances in his wealthy community, only to discover a new sense of himself. The show has a broad comic element, as Coop turns cat burglar, solving his financial problems by stealing luxury items from his neighbours. But the series is best in its bold take on what he calls in one of his mordant voiceovers, “the quiet desperation of rich middle-aged men”, and in its depiction of his complicated relationships. He is still emotionally attached to his ex-wife (Amanda Peet), who left him for one of his friends, and struggles to connect with his two teenage children. He has a tender, supportive bond with his emotionally fragile sister (Lena Hall, a standout in the cast). Hamm hasn’t had a role this rich since Don Draper in Mad Men, another flawed but sympathetic charmer who makes some wildly bad decisions, and defines the character so perfectly that it’s hard to imagine anyone else at the centre of this sleek but penetrating series. (CJ)

Available on AppleTV+ internationally

18. Big Boys

It might have created a little less noise than Adolescence, but here is another British show about masculinity that really deserves to be seen. Jack Rooke’s semi-autobiographical show about two university students who form an odd-couple friendship – nerdy gay man Jack and straight jack-the-lad Dan – has been an incredibly deft mix of laugh-out-loud humour, complete with delightfully niche pop culture references, and poignant drama – covering sexual awakening, depression, dementia and more besides – since it started in 2022. But this third and final series was undoubtedly its most powerful, kicking off with a hilarious episode on a package holiday in Greece but getting more serious as it continued, and handling Danny’s spiralling mental health problems with particular skill. And boy, does Rooke know how to shatter audience hearts – the final episode is an emotional masterclass, including a significant cameo from the man himself. Here’s hoping that it launches its extremely talented creator into the big time. (HM)

Available on Hulu in the US and Channel 4 in the UK