The 2025 TV Superlatives

We’ve covered the best and the worst of last year, but before we lay 2025 to rest, I wanted to take some time and give out a few special mentions. These superlatives took some time and thought, mainly because there were a lot of options. In the end, I settled on what stuck with me the most. Feel free to share your own superlatives in the comments along with any suggestions for categories that you want to see next year.

Best Performance: Rhea Seehorn, Pluribus

Photo: Apple TV+

There were tons of options here, from Noah Wyle to Ethan Hawke to the entire cast of Adolescence. Ultimately, Seehorn became the obvious pick. Pluribus hinges on her performance as Carol Sturka. Large portions of the first season are basically a one-woman show, and Seehorn never lets the material falter. Carol’s misanthropic streak often makes her unlikable, but it never stops her from being watchable. She’s experiencing a potentially humanity-ending event while also going through the trauma of losing a loved one. A little lashing out from time-to-time makes sense. In short, she’s human in a way we rarely see on television. By season’s end, Seehorn convinces you that Carol might just be humanity’s best chance at survival.

Best Episode: “Who Are You?”, Andor

Photo: Disney+

Andor’s second season provided a wealth of options, but I ultimately chose this installment for how carefully it ratchets up the tension. The season spent considerable time laying the groundwork for the Empire’s plan to strip-mine Gorman of its resources and doom the population. Despite all that, it’s still so shocking when the riot breaks out and the killings start. Putting viewers on the ground of the Gorman Massacre is one of many deft moves, showcasing the horror and violence of the Empire in a way Star Wars fans have never seen before. Add in a thrilling confrontation between Andor and Syril Karn that the show had been building to from the beginning, and you have the year’s single best episode.

Best Opening Sequence: Common Side Effects

Adult Swim’s animated conspiracy thriller/comedy was a welcome surprise and this opening title sequence clues you in on why it works so well. Quality opening titles are hard to come by these days, but the animators behind Common Side Effects never miss an opportunity to show off. The brief sequence perfectly captures the show’s tone. There’s a sense of paranoia mixed with transcendence as the world of Big Pharma shifts to images of nature, ending on the blue mushroom that fuels the story. It’s telling that outside of silhouettes you don’t see a single character. You’ll get to know them in a minute, for now, bask in the vibes and prepare yourself for a wild ride.

Best Ensemble: The Pitt

Some shows thrive on their ability to juggle multiple character arcs at one time. The Pitt does this while also dealing with multiple ongoing patient cases and keeping its focus on the action in the emergency room. This method leads to occasionally clunky bits of exposition, but works so well because it allows our characters to show their personality through their ability to save lives. Noah Wyle aside, the cast of The Pitt is full of unknowns who help add to your immersion. That the assembled cast all get the chance to shine is part of what made this show the surprise crossover hit of the year.

Best Visual Style: Pluribus

Photo: Apple TV+

I originally titled this “Best Directing,” but there’s more to the visuals that end up on our screen than just the director. There were a lot of shows that wowed me with their presentation. Unfortunately for all of them, Vince Gilligan dropped a new series this year. Gilligan and his team, including many Breaking Bad and Better Call Saul alums, continue to up their game with Pluribus. Each episode features a bevy of gorgeous scenes and unique shots. Scenes that sparkle with logistical precision, like a horde of workers quickly and efficiently restocking a Sprouts supermarket. The way a shot seems designed to catch your attention, from a drone stuck on a lamppost to something as simple as the distance between two characters as they speak. There’s nothing like it on television.

Wrestling Match of the Year: “Hangman” Adam Page vs Will Ospreay, AEW Double or Nothing

Photo: AEW

I don’t find a lot of time to discuss my love of pro wrestling on the blog, but I figured there was no better way to close out this article than sharing my favorite match from 2025. The most common storytelling element in wrestling is that a feud involves someone good (the face) and someone bad (the heel). Every now and again, the fates align to pit two faces against one another. This was the case in the finals of the Owen Hart Cup tournament, as two of AEW’s best faced off for the chance to battle the AEW World Champion Jon Moxley, a villain constantly brutalizing those who got in his way.

For the cowboy known as Hangman, this is a chance at redemption after a heel turn that saw him retire one of his mentors and burn down a man’s house (a story for another time). For Ospreay, one of the most thrilling wrestlers on the planet, it is a chance to crown himself the champion of the world and prove his doubters wrong. What follows is a match full of perseverance and determination as both men unload all they have to prove themselves. In short, it’s pro wrestling at its absolute best. A story perfectly told in the ring with a clear outcome that leaves you wanting more.

Ponies adds some 70s fun to the spy thriller

Photo: Peacock

It seems Peacock is going all in on spy thrillers. It makes sense: like the ever-popular murder mystery genre, spy thrillers rely on a plot full of twists where every character is a suspect. Throw together some name actors and let them do their best with the material. When it fails, you move on to another one. When it works, you get something like Ponies.

Set in the late 70s, Ponies follows two secretaries for the American embassy in Moscow who become CIA operatives after the mysterious deaths of their spy husbands. Bea (Emilia Clarke) and Twila (Haley Lu Richardson) are considered “Persons of No Interest” (Ponies, for short) by the KGB. This makes them perfect for clandestine operations while also allowing them to discover what their spouses were up to. What follows is a mix of spy thriller, buddy comedy, and character drama.

Part of what makes Ponies work so well is that blend and how well the writers establish these characters. What starts as the typical buddy cop premise of the straight-laced operative and chaotic rule-breaker quickly morphs into a story of the two discovering themselves and their previously hidden talents. There’s more to both Bea and Twila than even their superiors expect. That helps make the story one worth investing in, even without the car chases and plot twists. Some of those twists do lean into predictable patterns, but it works thanks to the prior investment in the characters. The show might not always nail the thriller aspects of its genre, but it succeeds in large part thanks to a game cast.

Clarke gets a role worthy of her talents with Bea. You can see the facade of her buttoned-up nature unravel as the season progresses. Unlike Twila, she is fluent in Russian, which makes her immediately suited for undercover missions. Twila, the wild card, soon takes up the role of playing defense. She spends many a mission protecting Bea from outside forces and using her gift of gab to get her way. Together, the pair make a surprisingly great spy. The bond they develop, along with Clarke and Richardson’s incredible chemistry, holds the show together.

Adrian Lester makes a supporting turn here as the Moscow station chief Dane Walter. His role as our duo’s superior makes him an interesting foil while also giving him the chance to mentor these new spies. We also get a substantial subplot from fellow low-level embassy workers Cheryl (Vic Michaelis) and Ray (Nicholas Podany) regarding their possibly doomed marriage. While they mostly add to the comedic elements of the series, both actors offer just enough to suggest something deeper. Michaelis, in particular, gets to showcase her many facets as the season goes on.

The fusion of laughs, thrills, and in-depth character work proves to be effective for Ponies. There’s also a lot of style here, but it isn’t without reason. It captures a moment of peak Cold War paranoia while also being a great work of spy fiction in its own right. Buoyed by brilliant performances, this is a show that I hope we get more of. At the very least, maybe it can inspire more shows to put this much thought into their writing.

Ponies is currently streaming on Peacock.

Final Verdict: Tune In

The 5 worst TV shows of 2025

Last week, we looked at the best shows of the last year. It’s only fair that we take some time and look at the worst. These five shows (and one dishonorable mention) offer a wide range of awful. If you’ve had the displeasure of watching any of them, I hope this list provides you with comfort. You are not alone. If you liked any of the shows on this list, I don’t need to know about it. I’m happy for you, or whatever you need me to say to stop you from commenting.

Dishonorable Mention: All’s Fair

Photo: Hulu

It takes considerable skill to assemble a murder’s row of actresses (and Kim Kardashian) and give them material this horrendous. By now there’s been plenty of discussion on whether Ryan Murphy’s law drama is a contender for worst show of all time or a classic example of camp style. Make no mistake, this is a campy show, but it’s also one with so few redeemable qualities that it becomes hard to stomach. That the likes of Glenn Close, Sarah Paulson, and Naomi Watts are used to prop up the wooden acting of Kim K is its greatest offense. The only reason it’s relegated to a mention is that I never reviewed it. Truthfully, I never made it past the first episode. Do yourself a favor and just look up the clip of Paulson calling someone a “discarded cumrag.” You’ll be better off.

5. Shifting Gears

Photo: ABC

Few people get to enjoy the rich reward of starring in multiple TV shows. For Tim Allen, he gets to do it while regurgitating the material that made him famous. The world has changed, but Allen remains the same. Shifting Gears almost has enough self-awareness to make his character, a gruff widower who owns an auto shop, alone because of his own actions. This is a show for those same boomers, watching it while wondering why their kids never call, so he gets let off the hook. What follows is a collection of sitcom plots that were past due 30 years ago. The series’ greatest sin is the misuse of Kat Dennings, forcing her to find comedic chemistry with Allen. There’s nothing funny here, despite what the omnipresent laugh track seems to think.

4. Chad Powers

Photo: Hulu

For the creators of Chad Powers, there is nothing funnier than a guy in some ridiculous prosthetics. Glen Powell stars as that guy, forced to wear the persona of Chad Powers after ruining his reputation. Powell tries and fails to stretch his comedy muscles, thanks to a series that relies solely on tired tropes. It doesn’t help that the guy under the makeup, Russ Holiday, is as irredeemable as they come. You’re basically waiting for everyone to figure it out. A comedy for the Barstool Sports crowd, Powers is the worst kind of show, one that inspires neither laughs nor jeers, just disinterest.

3. Pulse

Photo: Netflix

Netflix takes a stab at the modern medical drama with a series that aims to add every plotline you could think of into one 10-episode season. Natural disasters, family drama, and an ill-advised sexual harassment storyline are all part of this look into the staff at a Miami trauma center. The constant use of flashbacks only adds to the chaos. Sprinkle in a trove of unlikable characters, and you have a recipe for one of the worst of the year. That this series premiered right as The Pitt was wrapping up its first season further showcased the gulf between them. This Grey’s Anatomy knockoff couldn’t hope to compete.

2. Good American Family

Photo: Hulu

To give this show the faintest of praise, there is a decent idea lodged in the center of this real-life drama. The series, based on Natalia Grace’s adoption and subsequent abandonment, spends its first half telling the story from the perspective of the Barnetts. The husband and wife are eager to adopt, but things seem to go south when they become convinced that Natalia is not who she says she is. Just one minor problem, that’s not what happened. In the second half, the audience learns of the actual events and abuse Natalia suffered from the family. This choice adds an extreme tastelessness to a show already full of melodramatic acting and awful writing. Maybe starting with the abuser’s perspective wasn’t the most sound of choices.

1. Zero Day

Photo: Netflix

After an unprecedented cyberattack, the United States trusts only one man to find the culprits responsible and bring them to justice. The man is former president George Mullen, a popular figure who reads like every centrist’s wet dream. He’s tough but sensible. He’s smart, but able to speak to the common man. His politics are so vague that he seems to stand for both everything and nothing at the same time. Played by Robert De Niro, Mullen is just one of the many inert characters with a big name actor attached. Zero Day is desperate to say something about our current times, but comes up short. It yearns for a time when an impressive speech could unite us and forgets that only ever happened on The West Wing.

Star Trek: Starfleet Academy has the right pieces but needs time to grow

Photo: Paramount

As the Star Trek franchise enters its 60th year and approaches a decade of what fans dub “new Trek,” there’s understandable concern about what’s next. While the streaming era has seen a return to regular TV production, the reception has been mixed. The fan service has noticeably increased, but that doesn’t mean the franchise can’t try out a few new things. After a foray into adult animation, there was some success targeting a younger audience. There is a certain sense, then, in this latest move: going for that precious YA market.

Starfleet Academy takes the traditional Star Trek mold and adds some youth-focused energy. Taking place in the far-future 32nd century, the series follows the first batch of recruits to the newly reopened Starfleet Academy, led by the peculiar Nahla Ake (Holly Hunter). There’s the rebellious human Caleb (Sandro Rosta), pacifist Klingon Jay-Den (Karim Diané), the first hologram student Sam (Kerrice Brooks), the wealthy jackass Darem (George Hawkins), and admiral’s daughter Genesis (Bella Shepard). That’s just covering the cadets! There’s a whole slew of teachers, rivals, and computer programs to keep these kids busy. It’s enough to make one worry about the show’s ability to develop these characters.

A large cast and a short episode order are nothing new for modern Star Trek. Thankfully, the setting adds some necessary creative license. First introduced in the later seasons of Discovery, the 32nd century finds Starfleet and the United Federation of Planets recovering from a cataclysmic event called “The Burn.” It’s a harsher setting than we’re used to, while also providing a fresh canvas for the writers. This allows the writing to reiterate the ideals of the franchise while showing people who have grown disillusioned with them. It’s a shame that the mundane tropes found throughout much of recent Trek remain present.

The dark and sterile sets are still here, for one. The biggest challenge is the increased number of melodramatic character arcs. This is an expected part of any show attempting to play with the trappings of a teen drama. The problem is that it often overshadows the more enjoyable science fiction elements. For example, an episode that focuses on the campus rivalry between the Academy and the War College. The concept takes the standard rival school idea and adds a nice Trek twist to it. In execution, the episode gets bogged down by focusing on Darem’s parent issues. A genre fusion like this requires a delicate balance to pull off, and Starfleet Academy hasn’t found it.

Still, there are plenty of performances here that sell you on the show’s potential. Holly Hunter does fantastic work as Captain/Chancellor Ake. She balances playfulness and seriousness effectively, honoring the old Starfleet tradition. The first episode goes deep into the history between her and Caleb. It establishes them as the relationship the series centers on. There’s also Gina Yashere as the part Klingon, part Jem’Hadar first officer Lura Thok and the return of Robert Picardo as The Doctor (no, not that one). The two offer support to Hunter as figures for the cadets to look up to. The debut episode also introduces us to Paul Giamatti’s deliciously sleazy Nus Braka. Giamatti clearly loves chewing the scenery, rounding out a cast of veteran actors who can help guide the youngsters.

Starfleet Academy has a lot to say about potential. The young cadets all have the skills necessary to make it, but they need the right guidance. The same is true of the show. As odd as the genre mash-up seems at first, it can work with the right focus. Unfortunately, in the episodes available so far, the potential remains unrealized. Your mileage will almost certainly vary, but if you were already weary of this idea, the series won’t do much to change your mind.

Star Trek: Starfleet Academy is currently streaming on Paramount+. New episodes air on Thursdays.

Final Verdict: Tune Out

Television Turmoil: Shasta McNasty is all shock with no value

Television Turmoil is a look at the worst and weirdest series to make their way onto the small screen.

The 90s were a period of enormous growth for television. The rise of cable caused an explosion of channels attempting to cater to specific interests and age groups. It wasn’t just cable networks attempting to expand into the market. With Fox successfully established as the “fourth network” in the world of broadcast television, The WB and UPN came into being in an attempt to capture some of that same magic. Of the two upstarts, UPN is something of a black sheep in discussions about this period. When looking at a show like Shasta McNasty it isn’t hard to understand why.

Created by Jeff Eastin, the program attempted to cater to the male demographic (specifically “11 and up” according to UPN’s then-COO) as it followed the exploits of three friends who are part of the titular rap rock band. If you didn’t know this was produced in 1999, that last line certainly gave it away. The trio features Dennis (Jake Busey, son of Gary) the “wild one,” Scott (Carmine Giovinazzo) the “straight man” and Randy (Dale Godboldo) the “guy who gets all the other jokes.” Don’t you worry, there is also a female character. Diana (Mary Lynn Rajskub in the pilot, Jolie Jenkins for the rest of the series) who shares a kitchen with the trio and occasionally gets to have a plot of her own. Also, because this is the late 90s, Verne Troyer is here.

The pilot of Shasta McNasty aired immediately following an episode of WWF Smackdown in a rare moment of synergy for UPN. It is perhaps one of the worst things I have ever forced myself to watch. Chock full of rampant sexism, abuse, and constant sex jokes, it feels like someone took the most detestable aspects of 90s shock culture, put them in a blender and removed anything resembling satire. After all, we’re supposed to side with these characters. The show makes that clear by all but cheering on their actions. The only saving grace is that no one had the idea to include a laugh track full of Married… With Children-style whoops and hollers.

Most of the pilot revolves around our trio of misfits spying on a woman across the street change with the help of an elaborate camera system, only to discover that her boyfriend is cheating on her. Disgusted by this, they resolve to break the couple up and lead her into the arms of one of them. With such a thin plot, there is plenty of time for Zach Morris-like fourth wall breaks, a musical interlude that is neither particularly funny nor musical, and an extended sequence of Scott fighting a parrot puppet. With all that, it isn’t hard to understand why 11-year-olds were specifically called out as a potential audience.

While the show attempted to keep up that “in your face” edgy style that has aged as well as a 1-800-COLLECT commercial, the network had other ideas and retooled the program after a few episodes. The new version, simply titled Shasta, sanded down a lot of the edges to the show. It became less about shock value and more about standard sitcom fare. Plots no longer revolved around scoring with women, instead focusing on paying rent or the relationship between Scott and Diana.

As you might expect, this failed to attract an audience or improve the show’s quality. Beneath all the juvenile antics and pandering to the lowest common denominator there was nothing left. The characters were nothing more than thin caricatures, and any of them developing into someone likable would be a step too far. Writing hackneyed sitcom scripts and anticipating the inevitable cancellation was all that remained.

After lasting a full season, mostly because of UPN having nothing else to air, Shasta McNasty was cancelled in the summer, airing a final episode that jumped ahead to 2010 for a Behind the Music parody that followed the band after they found success. The closest thing to an original idea the show had. Another in a long line of shows cancelled by UPN after a single season.

Perhaps I’m being a little rough on this show, but in my eyes there is just nothing redeeming about this. It’s a snapshot of the worst aspects of the late 90s, all edge and rage with nothing to say. A series in such desperate need of an identity that it attempted to find one by appealing to the South Park crowd with none of the humor. In many ways, that search for an identity is also key to UPN’s struggles as a network.

Like Shasta, UPN struggled constantly throughout its run to find an identity as a network. The WB found its niche as a destination for teens and young adults, a focus carried over into The CW. UPN could never find that singular focus, attempting to latch on to popular trends and hoping that one would lead to success. It isn’t hard to see the parallels. Even if it feels wrong to compare the entire network to this one show. In the year 1999, though, UPN and Shasta McNasty were on similar wavelengths. Both desperate to attract an audience but unaware that to garner attention you need more than what you can find at the bottom of a barrel.

Next Time: We take a breather and focus on something goofy, the much lampooned police procedural musical, Cop Rock.