Top 12 Shows of the First Half of 2025

1. Resident Alien (Syfy) – Long one of my favorite series on the airwaves, the increased entanglement of characters in the alien storyline has the potential to improve the sprawling ensemble piece into a tighter catharsis. It's only four episodes, but the infrastructure is really coming together.

2. The White Lotus (HBO) – The first three episodes were too slow of a burn for an eight-episode season. There were minor character tics that didn't quite land: The power lady trio never got hooky enough, the Scott Glenn character's actions made no sense, Sam Rockwell's relationship to his sexual and drug wagon were too tangential, and a White Lotus Parker Posey was more over-the-top than even a Christopher Guest Parker Posey. Still, this is by far, the best thing on TV and has so much ambition and craftsmanship at every step.

3. The Four Seasons (Netflix) – Unfairly compared to the original film by the critical sphere. Steve Carell, restless from his marriage (to Kerri Kinney), experiences a mid-life crisis and subsequent May-December romance that threatens to throw off the long-standing equilibrium of the friendship between three couples. The show's format of rotating over four vacations is clever. The show is largely populated with comedic actors, but it's oh so sweet, and the automatic reaction by the gang to the May-December romance is surprisingly salient.

4. Deli Boys (Hulu) – The show operates at that dark comedy level around Good Girls or the TV version of Fargo, but I'm not sure if I've seen a dark comedy that's so funny despite the WIDE proliferation of this genre. Poorna Jagannathan as the aunt steals every scene, and it's a blast seeing Brian George take on something new (speaking of something new, the Pakistani member of Queer Eye debuts as an Indian mobster). Aasif Ali and Saagar Shaikh handle every turn with this unique comic energy as if they've just boarded a roller coaster that they didn't know was going to be so intense.

5. Poker Face (Peacock)-Leans on the same three tropes every episode -- accidental murderer, detective in the right place at the right time, and deus-ex-machina to get the hero kicked out of her home every -- BUT Riann Johnson imbues every episode with movie-level quality. That's a pretty high level of consistency for a show that switches settings every episode

6. Ghosts (CBS) – My iTunes bill can confirm that I can't get enough of this show even when I think I've quit it. It's a rare sitcom that harkens back to the whimsical comedy of the mid-2000s as laugh tracks were getting left behind. It keeps expanding its world without losing charm: The show is the most evenly balanced and strongest ensemble.

7. Grosse Pointe Garden Society (NBC) – Even with a flat murder twist, the show delivers a compelling take on adulthood adrift and the intersecting plots are doubly rich. Two actors that have been begging for meatier work --Melissa Fumero and Josh Radnor -- turn in career-high work here.

8. America’s #1 Family (Amazon Prime Video) – Ramy Youssef pivots fully into comedy, shedding introspection for a breezier, punchier sitcom approach. It's an animated family sitcom and it fully uses the capacity of animation to make characters visually funny.

9. Black Mirror (Netflix) – Three episodes this season—Hotel Reverie, Bête Noire, and USS Callister: Into Infinity—were fully realized, while one episode (Eulogy) came close but ended up more of a downer than a provocative episode. Still, going four for six at this level of ambition this late into an anthology show's run is highly impressive.

10. Running Point (Netflix) – A sports-family sitcom powered by inspired casting—Kate Hudson, Drew Tarver, Justin Theroux, and Scott MacArthur—as siblings who inherit a basketball team. It moves fast, cleverly segments certain episodes to tangential stand-alone shots, and features a great array of guest stars.

11. Going Dutch (Fox) – Military culture gets a sharp satire here. The humor is a little broad at the dialogue level, but the basic premise-- a military support base that's exclusively designed for bowling, laundry, and cheese-making -- is pretty hilarious. The chemistry is so great between Taylor Misiak and Dennis Leary as a headstrong father and daughter working out their baggage years after childhood has ended, I'm here for it. Catherine Tate is miles better as a foil than she was on The Office.

12. Krapopolis (Fox) – Animated show set in a city adjacent to the glory of Athens. The show gets endless mileage out of reality-bending plots and mythology gags. There's plenty of amusing in-fighting within this clan, but it's more along the lines of a family sitcom, making it a kinder and gentler cousin to the nihilistic-leaning Rick and Morty and Solar Opposites.

For Your Consideration review

Christopher Guest and company return to the big screen with a haphazard film that will be just enough to appease the die-hard fans of their unique comedy style but will be unlikely to gain any new converts.

Guest, formerly of Saturday Night Live and Rob Reiner’s cult hit This is Spinal Tap (which he cowrote) , has made a small yet exciting ripple in comedy in the last decade with a new breed of improvisational mockumentary-style comedy. With a recurring stock of actors that includes Eugene Levy, Fred Willard, Bob Balaban, Catherine O’Hara, Michael McKean, Parker Posey and the like, his films work as astute parodies of such obscure subjects as community theater (1997’s Waiting for Guffman), dog shows (2000’s Best in Show) and folk music (2003’s A Mighty Wind).
In contrast, the film’s target of parody, Oscar hype, doesn’t work as well because it’s blaringly obvious to everyone how silly the Oscar process is. While praise should be given to Guest for willingness to experiment with a winning formula, the movie suffers a little for these changes. The movie foregoes the mocumentary-style and because the characters’ internal monologue doesn’t get expressed on-screen as much, the movie doesn’t convince us as much that it’s in its own jokes. The jokes from these characters are so wonderfully subtle that you need to be hit on the head with them, and the fake interviews take care of that function.

Lastly, the movie at only 86 minutes, does not give itself enough time for its characters to develop. With such limited screentime, some characters have their moments: Newcomers Richard Kind and Sandrah Oh had an entertaining scene and Bob Balaban and Fred McKean work nicely as a pair of screenwriters, but it was hard to get to know anyone’s idiosyncracies, which is usually where the humor lies in these films. If Fred Willard was any different from his announcer personality in Best in Show, there certainly wasn’t enough time to find out. Perhaps the deleted scenes in the DVD extras will show us what Fred Willard and the rest of the cast were really all about, but until then the version in the theater feels like an incomplete draft.