It’s that time of year again when I look back at my personal TV highs and lows and shout out a few favourites that might have slipped under the radar. It’s been a surprisingly strong year, with plenty of series giving films a proper run for their money. I’m sure I’ve missed many of your top picks, but here goes anyway.

THE GOOD ONES

Adolescence

Netflix’s psychological crime drama and, honestly, the standout show of the year for me. A 13-year-old boy is charged with killing his schoolmate, and his family unravels in the aftermath. Gripping, uncomfortable, and deeply human. It doesn’t just tell a story it forces you to sit with all the messy questions society avoids. I couldn’t stop thinking about this one.

Life and Death Row

Season four of this BBC documentary series continues to hit hard. It’s unflinching but never exploitative, giving space to inmates, victims’ families, and those caught in the machinery of the justice system. It’s moving, infuriating, and sad in that quiet way that stays with you. A reminder that “closure” is often a myth.

Miss Austen

A lovely, gentle look at Jane Austen’s life through the lens of her bond with her sister Cassandra. What won me over was how emotionally grounded it felt not a stuffy period piece, but a story about loyalty, grief and sisterhood. Warm, beautifully acted, and genuinely heartfelt.

We Are Liars

A privileged teen on a private island, a traumatic accident, and a summer full of secrets. Yes, it’s twisty. Yes, you’ll guess a few things early. But the emotional beats land, and it’s addictive in that “just one more episode” way. Amazon Prime did well with this one.

XO, Kitty

This Netflix romcom-drama is pure comfort viewing. Kitty heads to Seoul to chase love and ends up discovering more about herself instead because of course she does. It’s cute, colourful, messy, and honestly just fun. I’m fully on board for Season 3.

PLEASE AVOID!

Secrets We Keep

A rare Netflix misfire. A Danish thriller that moves at the pace of a damp sponge. The plot a woman investigating her neighbour’s missing au pair had promise, but it’s all padding, no tension, and not a single character worth caring about. I wanted to fast-forward, and that says it all.

Running Point

Clichés on clichés. A wild-child party girl suddenly in charge of her family’s basketball team should be chaotic fun, but instead it’s predictable and a little embarrassing. Even Kate Hudson can’t rescue this. Honestly feels like something that should’ve gone straight to a bargain DVD bin in 2009.

Ransom Canyon

A low-budget imitation of Yellowstone with none of the grit or emotional weight. The characters feel paper-thin, the storylines seem like they were generated by AI on a bad day, and the “romance” chemistry is basically imaginary. Unfortunately, Season 2 is coming so do yourself a favour and give this whole thing a very wide berth. Let others take that hit for you.

Nobody Wants This — Season 2

Season 1 somehow managed to pull off the unlikely romance between a rabbi and a sex podcaster, but Season 2 completely loses the magic. The charm is gone, the writing feels stretched thin, and the awkwardness crosses from endearing into just plain uncomfortable. It tries to be bold but instead feels repetitive and unfocused. A real disappointment after such a strong start this season, sadly, lives up to its title.

DON’T LET THESE PASS YOU BY

Dept Q

A cold case unit made up of misfits and a detective with more trauma than sleep yes, it sounds familiar, but this one actually delivers. Tense, clever, and full of emotional punch. The characters are flawed in a way that feels real, and I binged it far quicker than I meant to.

Forever

A soft, sunlit Netflix drama about first love in LA. It starts quietly, almost deceptively simple, but by the middle you’re rooting for these kids like your life depends on it. It hits that sweet spot between tender and painfully honest. A bit of a slow burner, but absolutely worth it.

Missing: Dead or Alive

A true-crime docuseries that avoids the usual cop-hero nonsense. The South Carolina sheriff’s department handles missing-person cases with compassion and realism, and there’s a constant tension between hope and dread. It’s thoughtful, not sensationalist — and stronger for it.

John Candy: I Like Me

A warm, moving documentary about the late, great John Candy. It mixes laughter with heartbreak, and the insights from people like Tom Hanks, Bill Murray and Macaulay Culkin are lovely. It reminds you why Candy was so special and why his loss still feels unfairly early. Expect tears, but the good kind.

So there you have it. TV is absolutely out-performing movies right now not just in popularity, but in ambition, emotional depth, and willingness to tackle difficult themes. Long-form storytelling really lets characters breathe and grow, and we’re all better off for it.

Roll on 2026 I’m ready for more.