Riz Ahmed’s maverick Prime series oscillates from boldness to hilarity — sometimes in the same instance — throughout all six of its under-25-minute episodes. It’s that potent balance that makes it one of the smartest and best streaming shows you’ll watch this year.

Remarkable for its even-handed but “let’s-ask-the-tough questions” approach, “Wanted” unfolds like an unbelievable, pulpy financial thriller filled with decadent lifestyles, global corporate in-fighting, daring escape plans, shady financial moves and intriguing characters. .... Brilliant docuseries.

“Shōgun” is a stirring and meaty historical series that matches its spectacle and scale with its emotion and intelligence as it ponders deep philosophical discussions about life, sacrifice, valor and death. It’s epic, in the very best way.

“The Sympathizer” walks a tightrope but is fearless about tackling uncomfortable subject matter. It’s smart and mesmerizing.

This season takes risks galore and comes up a winner every time.

The creepy production values are top-notch and the scares are not only frightening but disturbing. .... One of the best series Netflix has ever produced.

The first episode alone is a grabber, defying our every expectation. Can’t say how. Throughout, the storytelling and world-building maintain the highest standards. And that final episode promises there’s even more yet to come. If you love “Dune,” this is a gimme.

A return to form for “True Detective” in a season that’s as bold and original as the first one with Woody Harrelson and Matthew McConaughey.

It’s one of the most effective and affecting series I’ve experienced in some time, and is a creative triumph for all involved.

It is Hawley’s astute attention to detail and desire to construct an intricate story that distinguish and make “Alien: Earth” a big step up in quality for the “Alien” series overall. It’s certainly one of the best series I’ve seen this year, and better than the majority of studio blockbusters this summer in theaters.

I gobbled down six of the eight episodes available for review, and will say – without even the slightest reservations – that “Lotus” regulars should check in for this third season. You won’t be disappointed. Just be prepared to get your jaw dropped and your raised eyebrows torched right off.

An example of multifaceted worldbuilding that stresses the importance of complex character arcs and terrific writing. It’s layered with intrigue and full of intricate rebellious acts and is relevant to today’s turmoil and troubling times.

“Half Man,” as you probably can guess, is a bit of an endurance test. But it has a storytelling mightiness and an acting fury you can’t deny or ignore. It wrings you out, and leaves you in awe of all involved.

Series TV doesn’t get much better than this.

True to the show’s high standards, each episode contains some of the sharpest writing and the best acting (Edebiri’s panic attack almost gave me one) in a regular series.

“Beef Season 2” will invariably be compared to Season 1, and while it’s not quite there it’s in the same neighborhood.

Apple TV+’s ingenious mind-blower of a series returns and it’s just as brilliant as in its first season.

“Daredevil: Born Again” is easily one of the best series the Disney+ has offered and is also one of the best shows of 2025. It journeys into dark spaces with its contemporary power struggle and grazes, but doesn’t surrender to, the morally blurry lines set forth in “The Joker” and “The Batman.

Everything about “Bargain” is skillfully unhinged, with developments unfolding like new video game levels. Director/writer Jeon Woo-Sung’s expansion on a short film delivers on numerous counts, packing in more nonstop action and plot surprises than anything I’ve seen this year.

Explosive series, which successfully juggles numerous storylines and fills in the juicy and meaty details while constantly entertaining us.

If Netflix’s “Tiger King” made your jaw drop, get ready for it to fall to the ground while watching Lance Oppenheim’s wild three-part HBO series. It addictively covers the house-of-cards succession plans being hashed out for the Texas Renaissance Festival. Oppenheim melds documentary vérité for a fascinating depiction of 86-year-old King George’s (George Coulam) pursuit to pick a “suitable” successor.

Dee Rees directs the first episode of this thoughtful series that says so much more than you’d expect. In pivotal roles as resort workers, Jayden Elijah and Josh Bonzie deliver the best performances — two you won’t forget.

You’ll get sucked in from the start, and will continually waffle over Rusty’s innocence and the list of potential suspects. “Presumed Innocent” makes a strong case that Kelley needs to stick to making legal thrillers. It’s what he excels at.

You’ll gobble down all six episodes and crave even more.

Nesbø realizes the importance of showing all the shading of a character he obviously feels strongly for, and that comes through in the poignant scenes between Harry and his lover’s (Pia Tjelta) son Oleg (Maxime Baune Bochud) who feels a strong connection to Harry. It is those decisions that elevate this series above traditional mystery fare and makes us hope that this team will reunite to adapt more of Nesbø’s addictive novels.

“Win or Lose” notches another Pixar win and proves yet again how the studio remains an animated champ.

Undeniably a great detective series and is just as sharp and engrossing as “Slow Horses.

From its novel storytelling to its engaged cast, including Helen Hunt as Miles’ mom, this is fearless and above all relevant entertainment. My only complaint? I wish there were more than eight episodes.

Knockout. ... A shocking opening sequence establishes an unsettling tone that grabs you from the start, pushing you to gobble up future episodes as if they were leftover salt-and-vinegar potato chips. Christoph Waltz is the show’s ace up its sleeve. He gives his all to create one of the most distinctive villains to grace any series.

Another bold brushstroke of originality that is also set in Oakland and shakes it head at out-of-control greed.

The half-hour musical comedy has been favorably compared to “Schitt’s Creek” and “Glee.” Those are apt comparisons for this warm-hearted confection.

Sometimes it goes a little overboard with its aesthetics. So be it. Director Marc Munden’s hour-long episodes do become more disturbing (just like the book) and he draws impressive performances from a young cast.

Author Patrick Radden Keefe’s award-winning dive into the nefarious activities of a handful of IRA rebels as well as the abduction of a 38-year-old Northern Ireland mom from her home in 1972 gets turned into a top-notch, tragic nine-episode FX series.

“Disclaimer” is tremendously acted and directed and designed with painstaking detail.

She [showrunner/executive producer Haley Z. Boston] makes the anxiety-ridden upcoming nuptials of the doubting Rachel (Camila Morrone) and the devoted Nicky (Adam DiMarco) one of the most malevolent and surreal events of the streaming season.

While “Masters of the Air” will get compared to HBO’s “Band of Brothers” and “The Pacific,” it stands on its own, even if it doesn’t as often reach the same dramatic heights. Regardless, it’s a polished and well-crafted epic that earns its wings as well as your respect, and undoubtedly will leave you with a big lump in your throat.

Yes, it threatens to go overboard, and sometimes does, but keeping it afloat are its two terrific leads. They anchor this warts-and-all romance.

Unlike other series, “Sexy Beast” never feels like it’s overstaying its welcome, even at eight episodes, as it feeds in backstory and psychological details that we all but gulp down in voyeuristic fascination. It’s one of the biggest surprises of this new year.

We can say that director Albert Hughes (the first and last episodes) and Charlotte Brandstorm (the second one) keep the action and storyline lean and mean, and the body count high, allowing us to soak up every second of these 90ish-minute episodes. Wick devotees will walk away satisfied.

What makes season 2 stand out is that showrunner Dario Scardapane’s hard-boiled superhero thriller refuses to pluck at the same dramatics notes strummed in season 1. Instead it arrives, to a story destination that challenges and upends expectations while showing how revenge can have its limits.

“The Perfect Couple” does walk down a crime-solving aisle many mysteries have traveled before, but this one does it with so much class and sass you just won’t care.

Season 4 maintains the high quality of previous seasons.

“Daisy Jones” features exceptional performances throughout, but there are a few standouts — a never-been-better Claflin, a mercurial Keough and an entrancing Morrone. It all makes for one Amazon Prime’s best series yet. But heed these words of advice: Episode 10 will wreck you when it drops that mic.

It’s awfully tempting to sum up this addictive, funny and scary Irish six-episode series as “Scream” set on a cruise liner. But that sells it short. ... The plot and the execution make you want to sail right through all episodes.

This is a cerebral thriller of the highest order, and that’s reflected in the writing, acting — Danes, Rhys and Snow are all deserving of accolades — and the direction.

Rest assured, your expectations will get met in Season 2. So just let it unfold naturally and savor how it stands out from the pack of dystopian fiction by so depicting how actions have moral consequences and have the power to change us forever.

It’s Aniston and Witherspoon who really anchor the series. Both actors are on top of their game and not for one second lose sight of who their characters are and how they should react in dicey, unexplored situations.

It’s fun. It’s smart. And it has something potent to say.

Mythology, feminism and three terrific female performances intertwine to defy predictability and expectations.

Without giving too much away, this “Bridgerton” chapter mines richer, riskier material, a direction that series creator Shonda Rimes navigates with skill, particularly her writing on the final episode.

The “Swingers” star [Vince Vaughn] is a perfect match to play former Miami detective Andrew Yancy. .... “Bad Monkey” is indeed bananas, in the best ways possible.

“Renegade Nell” gallops ahead of other Disney+ offerings by telling a new story tremendously well, and giving us a young woman who defies the ruling class to gain not only justice but freedom.

Dickens’ rich gallery of rogues, rascals and near innocents come ever so deliciously to vibrant life thanks to an impeccable cast.

It’s an exceptional documentary, even if the second half can’t quite keep up with the first.

The writing, casting and acting add up to a show that is so good you’ll be inclined to give it multiple viewings. There’s no word yet on Netflix ordering a follow-up season; let’s hope that happens.

As terrific they [Rose Byrne and Seth Rogen] are, the script and the direction match their talents and challenge them. Just be prepared to binge all three episodes and be eagerly await more to come.

The snappy screenplay, acute observations on what it is like to be an Asian American teen in a mostly white school and martial arts action — Berkeley’s Daniel Wu has a great time as the Monkey King — contribute in making this a fast-paced, addictive show.

While some might be put off by “Ripley’s” measured tempo and its detached icicle of a protagonist, noir fans won’t be and will admire how effectively it revives an often overworked genre. Simply put, “Ripley” nails it.

It’s a spellbinding horror story about our fascination with celebrities and the loneliness and isolation many feel when they are stuck on the outside of a star’s inner circle. ... Expect Fishback to be collecting awards for her take-no-prisoners performance.

“Apple Cider Vinegar” doubles as both a searing and entertaining — albeit shocking — character study of an out-of-control narcissist (portrayed with sociopathic guile by a stellar Kaitlyn Dever) and as an example of the profusion of so-called wellness experts flooding social media channels.

Showrunner Marco Ramirez’s setup bites off a lot to chew on in six episodes, but even when “La Máquina” doesn’t connect, it bobs and weaves with style and fire whenever Luna and Bernal take center stage together.

“Monsieur Spade” is rich in period details and is really the equivalent of a jigsaw puzzle, one with numerous pieces that might seem all but impossible to connect before Spade sweeps in and fits them into place with just the right amount of aplomb and snark. Get ready to give those brain cells a workout and witness Alfre Woodard steal the show in its final episode.

More than a meticulous procedural as it exposes a legacy of layered coverups while exploring the emotional frailties of these two unlike but smart characters. Both Jumbo and Capaldi give extraordinary performances in a series that digs deep into the complicated home lives of both. “Criminal Record” deserves to become a hit and here’s hoping for a second season.

Creator/writer Catherine Moulton takes her time in unfurling the action, which opens the door for Ayling-Ellis and Moore to add depth and dimension to their beautifully written parts. It’s their electric performances that elevate this from being your average crime thriller. And the last two episodes are outright nail-biters.

Miller is an expert interviewer and has given cinephiles a real gift as a candid Scorsese talks about his battles with drugs and his connection to faith.

Centering it is Stanfield, who gives maybe one of the most nuanced and gut-wrenching performances you’ll ever see in a horror series or film. Few actors can make you feel the pain and anguish inside of a character with the ferocity that he can. He is the one driving this series over the finish line.

There are many other developments in the lives of secondary characters’ in a transcendent series that so precisely evokes two different eras and illustrates the painful decisions and sacrifices that loved ones make that can haunt them through life. It remains one of the most meticulously crafted series running.

With impressive special effects and some sharp storytelling instincts, “Last of Us” ups the playing field for not only streaming services but movie blockbusters.

Henry and Moura play off each other well with Henry’s multi-layered performance — he stays true to the survivor spirit inherent in his character throughout — worthy of awards consideration. He and Moura nail the details in a production that nails gritty visual details about what the hard edges of Philly and a few of its tattered by the opioid crisis ‘burbs look and feel like.

It by no means sugarcoats how bloody that war got, and though it isn’t as narratively daring as “Shogun,” it is on the same playing field as that Emmy winner when it comes to the pure spectacle of it all and the level of exacting attention it pays to cultural detail.

It’s been compared to “Game of Thrones,” and while it’s an apt comparison, “Dune: Prophecy” exists in its own universe, and is a strategizing sci-fi headtrip with outstanding effects and production values. I’m certainly hooked.

“The Studio” breezes along through 20-minute-plus episodes but isn’t an empty-headed lark and does make some zinging points about an industry in dire crisis.

Season 3 maintains the same high standards from before and presents a twisty mystery and goes to darker moral places. It’s creepier too.

“Heartstopper” is a gem, and remains perhaps the most uplifting, refreshingly optimistic and utterly charming series currently running on TV or streaming platforms.

“Ludwing” never loses its pip nor its charm and a large reason why it works rests on Mitchell’s tensed-up shoulders and the show’s creators. He’s no cookie-cutter ace detective; rather he is a welcome addition to the pantheon of fictional detectives.

This is a grand adventure and cracking good mystery awash with gaslighting, brawls, murders, red herrings and a secret society. Better yet, it provides a better understanding of how the past and Sherlock’s dysfunctional parents (played by Natasha McElhone and Joseph Fiennes — Hero’s actual uncle) and his ardently disappointed brother Mycroft (Max Irons) ushered in Sherlock’s anxiety and neuroses.

Aan absorbing, eerie brain twister that delivers a shocking denouement. (I’m sworn to secrecy). For mystery lovers, it doesn’t get much better than this.

Macmanus expertly weaves in how Gacy was brought to justice and highlights both the dogged determination of those involved with the law — detective Rafael Tover (Gabriel Luna) and prosecutor Bill Kunkle (Chris Sullivan) — as well as how the system failed to stop Gacy before. It adds depth and context, but it is the overwhelming sadness over how Gacy robbed these boys and young men of their futures that hits the hardest.

There’s much more in play here than simple entertainment as “Murderbot” explores the value of free will and our inherent need to roam and explore so we can enrich our soul.

The violent series once again is breathlessly plotted, and the production details all but make you smell the stench of the mangy streets.

Every character in “Shrinking” is worth getting to know. The biggest surprise is how great Ford is at just letting loose in a comedy. (Trust me, he’s hilarious). “Shrinking” deserves to become a huge hit.

Benny is overcompensating so much that he’s denying who he truly is, and he’s not alone. And that’s the beauty of a series that reminds you of one of Oscar Wilde’s best sayings: “Be yourself; everyone else is already taken.”

Terrific. .... “Get Millie Black” devotes time to all of its characters’ stories, which heightens its portrayal of why Black is so determined to bring bad people to justice at all costs.

All of these encounters are funny, raw and real, in line with the series itself. But what makes “Dying for Sex” more than just a collections of scenes involving sex is the foundational friendship between Molly and Nikki. It’s compassionate and believable.

Like “Mare,” it’s a polished act — from the directing and writing to the career-high performances from a perfectly selected cast.

Even though it is overstuffed, it consistently and intelligently weighs in on hot-button issues and avoids traditional black-and-white commenting or resolutions. .... Overall the show bristles with sharp writing and acting; Aniston anchors the entire production and gives a career-high performance this season.

This superior Nordic noir is intense, sexy, well-acted and unnerving.

“Death By Lightning” rousingly entertains and enlightens in equal measures while giving a talented cast some colorful real-life figures to portray while handing them extra-tart dialogue to chew on. It’s one of Netflix’s better series this year.

This turns out to be even better than Season 1, with stronger animation, storytelling risks, dollops of humor and another dynamite soundtrack.

Award-winning series creator Abi Morgan (“The Split”) and director Lucy Forbes (“This Is Going to Hurt”) bring their knack for authentic, ambidextrous storytelling to the table. The period details couldn’t be better, and the final episode weaves the many elements together with effortless poignancy.

True to Knight’s style, it boasts tremendous production values, and is energetic, racy and above all else irresistible.

“Carême” is the hottest thing to hit streaming services in a long time, and it’s sinfully fun even as it gets more and more preposterous. Seconds, please!

One of Apple TV’s best series of the year.

It’s a lot to stuff into one series and sometimes “The Audacity” does suffer from trying to do too much. But what it does accomplish is to deliver a solid right hook to the tech world and that hit proves to be acerbic, relevant and unbelievably on target, as are the performances from Magnussen and Goldberg.

Created by George Kay (“Lupin”), the tightly wound seven-episode series doesn’t waste a moment. It’s a shot of pure adrenaline.

Showrunner Jordon Nardino’s chipper but not just skin-deep show gives singer/YouTube sensation Miss Benny and Cattrall juicy roles to sink their teeth into, but all the characters are written and played well.

Filled with huge tentacled beasts in the sea and monster-sized land creatures on the infamous home of King Kong, “Skull Island” makes you feel like a kid who just discovered the best comic book ever.

Berg throws dirty, cold water onto any romantic notion about the Wild West and that might put some off. If you’re one of them, stick with “Yellowstone” instead. But if you were a fan of “The Revenant” (Smith wrote it), this addictive series needs to make it way into your queue.