Our editors’ favourite TV series of 2025

Luca Fontana

19/12/2025

Translation: Megan Cornish

Exasperation, passion, excess – 2025’s TV series had it all. Our editorial office was home to passionate arguments, laughter and sometimes despair. In the end, a few clear favourites won out. Here they are.

I don’t know what was worse in 2025: the overabundance of TV series or my watch list – which has now exceeded my brain’s storage capacity. Our Editorial Team’s no better. Everyone keeps telling me about series I «absolutely have to watch!»

Now we have a list as diverse as our caffeine consumption during office hours. Here are the series that most captivated us, surprised us or robbed us of sleep in 2025.

Luca: Andor, Season 2

Andor isn’t just the best Star Wars series; it’s one of the best series of recent years. Full stop. Season 2 takes this claim to an uncompromising extreme. Five years before the destruction of the first Death Star, the Rebellion isn’t yet a movement; it’s a fragile web of fractious – sometimes radicalised – groups. There are no Jedi here, no heroic tales with a moral safety net and there’s no fan service. Instead, showrunner Tony Gilroy shows us with surgical precision what resistance truly costs – humanly, politically and morally.

Gilroy portrays an empire that isn’t a caricature of evil, but functions as a cold-blooded bureaucracy of annihilation. He also depicts a rebellion willing to sacrifice its own integrity just to have a chance. The dialogues and monologues are unforgettable, with tension arising from decisions rather than action. And with a cinematic budget, Andor isn’t only grand, dense and relentless in terms of visuals and narrative; it really stands out. And, for me, it’s the best series of the year.

Available on: Disney+

Kim: A Life’s Worth

For me, A Life’s Worth is the outstanding drama series of the year because it portrays the reality of the 1993 Bosnian War with a rare blend of authenticity, emotional depth and documentary precision. The series follows four young Swedish soldiers – Forss, Babic, Strand and Kilpinen – and their commander, Andreasson, who – as part of Sweden’s first UN battalion – are caught in a conflict that tests every concept of neutrality. The series is a powerful illustration of how difficult it is to maintain humanity when the rules of a peacekeeping mission and the moral imperatives of the moment seem incompatible.

What particularly impressed me was the credibility with which A Life’s Worth addresses war and morality. Based on the memoirs and literary source material of Magnus Ernström, the series portrays the soldiers’ inner turmoil remarkably soberly. Commander Andreasson exemplifies this inner conflict: the urge to intervene and protect and the duty to obey orders, even when they contradict all human intuition. The precise direction and powerful performances of the ensemble – especially Toni Prince and Erik Enge – give the characters a depth that makes the historical subject matter immediately palpable.

Available on: Arte

Martin: The Diplomat

When choosing a series, I always face the challenge that my wife doesn’t like violence, whether physical or psychological. Understandable. But that rules out series such as Blacklist, dystopian shows including Silo and similar options.

The Diplomat, on the other hand, fits the bill perfectly. The story of diplomat Kate Wyler (played by Keri Russell), who suddenly becomes the US ambassador to the UK, is incredibly gripping. The dialogue’s intense, and humour continually shines through. The Diplomat takes you behind the scenes of power, revealing intrigue and moral dilemmas, the battle of good versus evil and even foolishness. The characters – especially Kate’s husband Hal Wyler (Rufus Sewell) – have depth and personality. You can feel the influence of Deborah Cahn, who proved her talent for suspense as a writer and producer on Homeland.

The eight episodes of the third season unfortunately ended far too quickly. Luckily, it was already clear that Netflix would be renewing The Diplomat. There’ll be a fourth and even a fifth season. You can read our film and TV guru Luca’s detailed review of The Diplomat here.

Available on: Netflix

Laura: The Studio

Oh boy, you need nerves of steel for this show! What Seth Rogen does in the ten episodes of satirical comedy series The Studio – as both creator and lead – is chaotic, stressful and the epitome of cringe.

As Matt Remick, newly appointed boss of the Hollywood film studio Continental, he tries (desperately) to reconcile his deeply nerdy passion for big-screen cinema with the immense pressure to produce commercially successful blockbusters. Alongside his team of deliciously exaggerated characters, such as unfiltered, hot-headed marketing director Maya Mason (Kathryn Hahn) and neurotic, yes-man deputy Sal Saperstein (Ike Barinholtz), he gets himself entangled in more lies, controversies and disasters than you could count on two hands.

It’s worth enduring the second-hand embarrassment until the very end. If only for the countless high-profile guest appearances from Charlize Theron to Martin Scorsese – and the final two episodes, where all the chaos culminates in an involuntary drug-fuelled fever dream in Las Vegas.

Available on: Apple TV

Simon: Adolescence

Adolescence is a special case in many ways: a miniseries of only four episodes, each episode a single take, no heroes or heroines and certainly no happy ending. And yet, it was the most-watched series on Netflix in the week it was released.

The story of 13-year-old Jamie, suspected of murdering his classmate Katie, is deeply moving. Creator and actor Stephen Graham doesn’t just point the finger at problematic corners of the internet. It’d be easy to blame the incel world and the manosphere – where influencers such as Andrew Tate and Jordan Peterson preach a misogynistic worldview and attract droves of insecure youngsters.

Beyond this, Adolescence also seeks explanations for something that’s difficult to explain. Overwhelmed teachers, overwhelmed parents, cyberbullying and a lack of media literacy are powerfully addressed in the series. This social critique is so sharp that it’s sparked a debate about misogyny in the UK. This is unusual for Netflix, which is often accused of churning out shallow series following the same formula.

Available on: Netflix

Kevin: Common Side Effects

Animated pharmaceutical thriller Common Side Effects is as rare as the miracle mushroom at its heart. Protagonist Marshall discovers a type of mushroom in the jungle that seems to have the power to cure anything. His mission? To make the cure accessible to everyone, regardless of their financial means. But Marshall hasn’t reckoned with the DEA, the FBI and Big Pharma. When things spiral out of control, he contacts his old school friend Frances. The problem is that she works for pharmaceutical giant Reutical. While Frances battles her own demons and an ill mother, she has to decide whether to help chaotic Marshall or trust the corporate machine.

In a rare achievement, intelligence, humour and style blend seamlessly into a harmonious whole. TA particular strength is the series’ portrayal of power structures. When Frances’ boss Rick leads her to the helipad and paternally declares, «You’re with us now, the helicopter people. We don’t worry about the down-there problems,» it sends a chill down your spine. Common Side Effects is anything but dry. The series boasts visual abundance. Skilfully balancing cute and grotesque, the animation is trippy and meticulously detailed – for example, when a killer’s reflection appears in the corrugated metal of a food truck. Anyone looking for a series that challenges both the mind and the eye will find exactly what they’re looking for here.

Available on: Sky Show

Debbie: Black Mirror

I actually love technological advances, but Black Mirror’s been proving me wrong for years. With its different short stories from episode to episode, the series dramatically explores the consequences of developments such as AI, robotics, virtual reality, quantum mechanics, social media and much more on both humans and society. It repeatedly pushes my optimistic brain to the limit and brings tears to my eyes.

Some episodes are more like futuristic fiction, but some technological developments don’t seem so far-fetched. And the thought experiment in the series rarely ends well. This usually isn’t due to the technology itself, but to the people who control it.

The seventh series, released in 2025, kicks off with a bang in episode one. Imagine your wife can only survive thanks to a paid subscription. And the provider keeps downgrading the service to push you into upgrading to a higher tier. They can get away with this because the subscriber’s life literally depends on it. How far would you go to keep your wife alive? I’ll definitely be even more suspicious of subscriptions from now on.

Available on: Netflix

Lorenz: Absentia

It took three attempts for Absentia to become a global success. The American-Israeli series premiered on the pay-TV channel AXN in 2017 – on a few European affiliates, not worldwide. AXN commissioned two more seasons, then the thriller series languished in the Prime Video archives for years. This autumn, Netflix finally added all three series to its catalogue – and they quickly landed at the top of the series charts. Rightly so, in my opinion.

The series is very conventionally structured, but the protagonists’ inner turmoil’s what makes it special and exciting. The focus is on FBI agent Emily Byrne, who suddenly reappears six years after going missing. She not only investigates her own case, she also battles inner demons and personal problems.

Stana Katic delivers a compelling performance – you might recognise her from her role as Detective Kate Beckett in crime series Castle alongside Nathan Fillion. Katic also produced the series, which perhaps explains its cohesive feel. The FBI cases aren’t the series’ only gripping aspect – the characters also have a certain depth.

Available on: Netflix

Richie: American Primeval

Rarely has a series captivated me from the very first minute like American Primeval. It’s raw, brutal, powerful, and not for everyone. For once, this is a Western that has nothing to do with the usual Wild West romanticism.

The story takes place in 1857 in the Utah Territory, where the conflict between the US Army and the Mormon Nauvoo Legion’s escalating. Right at the beginning, a Mormon militia attacks a column of settlers. The camera stays close to the characters, capturing every wound, every cloud of dust, every breath. Some scenes are so in-your-face and intense that they’re almost unbearable. The attack demonstrates how deeply religious fanaticism and the pursuit of political power define life in this harsh world. Amidst this chaos, the indigenous tribes also struggle to protect their land and find themselves caught in the crossfire.

The story centres on people shaped by violence, displacement and the will to survive. A veteran seeking peace. A mother seeking shelter for her child. A boy forced to grow up too soon. Their paths intersect in an America that’s just emerging, and swallowing everything in its path.

For me, it’s the most intense Western drama of the year – historically grounded, uncompromisingly portrayed and so dark you can almost smell the gun smoke.

Available on: Netflix

Patrick: Paradise

Let me say this now: the less you know about Paradise beforehand, the better. If anything, stick to the trailer above – which thankfully doesn’t reveal much – and this plot summary: US President Cal Bradford (James Marsden) is found dead in his bedroom one morning. He was murdered, but by whom? Secret Service agent Xavier Collins quickly becomes a suspect, as the person who discovered the president’s body.

That’s all I’ll say. Instead, prepare yourself to be caught off guard time and time again. In Paradise, nothing and nobody’s as they seem. Down is up, up is down – and if you ever think you’ve figured it out…forget it! What you can count on, however, is non-stop suspense and top-notch TV.

The exquisite cast is a huge part of this, led by Sterling K. Brown, who delivers an absolutely brilliant performance as the internally conflicted Xavier Collins. But James Marsden (Dead to Me) and Julianne Nicholson (Mare of Easttown) are just as impressive. As he did in This Is Us (also starring Sterling K. Brown), showrunner Dan Fogelman showcases his remarkable sense of timing: in Paradise, no information is revealed too early and no secret too late. Even Phil Collins’ intense and atmospheric cover of Another Day in Paradise plays at the perfect moment. I’m getting goosebumps again!

Is it a political thriller? A classic whodunit? Something else entirely? Or all of the above? Paradise is what it is: a truly magnificent series, which – by the way – returns for its second season on 23 February 2026 (I’m deliberately not linking the trailer to avoid spoilers). So go ahead, don’t put off watching my 2025 TV highlight and check out Paradise!

Available on: Disney+

Domagoj: Pluribus

Pluribus is unlike anything I’ve ever experienced in a TV series. In a sea of streaming productions optimised for mass appeal and algorithms, this feels refreshingly different. Breaking Bad and Better Call Saul mastermind Vince Gilligan’s new show takes its time. It trusts its audience to think for itself. It focuses on complex characters, nuances and mysteries instead of cheap plot twists, soulless action and annoying cliffhangers.

What’s Pluribus about? That’s a tricky one without dropping any spoilers. So I’ll keep things as vague as possible. The entire human race is infected with a mysterious virus. But don’t worry, it’s not a zombie apocalypse – quite the opposite. All those infected find peace and become happy – hence the series’ official tagline: «Happiness is contagious». Only the series’ protagonist, author Carol Sturka, is immune to the virus. She stays as unhappy as before and has to navigate a world full of smiling and increasingly strange people.

Of course, there’s more to everything than meets the eye. The mystery of the happiness virus is gradually revealed. The series is a curious mix of drama, character study, mystery and philosophy lesson. It’s a slow burn that rewards you if you stick with it and follow the thread. And the best part? Even after six episodes, I have no idea where the series will take me next.

Available on: Apple TV

We also discussed our favourite series and films extensively in our Digitec podcast A Tech Affair (in Swiss German):

Luca Fontana

Senior Editor

Luca.Fontana@digitecgalaxus.ch

I write about technology as if it were cinema, and about films as if they were real life. Between bits and blockbusters, I’m after stories that move people, not just generate clicks. And yes – sometimes I listen to film scores louder than I probably should.

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Opinion

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