2025 has been a notable year for television, showcasing both exceptional programs and considerable disappointments. Shows like The Celebrity Traitors, The Studio, and Severance have gained acclaim, while others have faced harsh criticism. The following accounts succinctly summarize some of the year’s most challenging offerings, reports BritPanorama.
For those tasked with reviewing such content, this year presented numerous challenges and unconvincing narratives. Several productions redefined “difficult viewing,” leading to reflections on quality and audience expectations.
All’s fair
Disney+
This legal drama from Ryan Murphy featured an ensemble including Glenn Close and Naomi Watts, centred around the premise of women in law. Unfortunately, the show failed to engage, lacking coherent storytelling or effective scripts. Instead, it appeared to thrive on shock value, prompting viewers to question its purpose rather than enjoy the content.
With a tone that oscillated between absurdity and frustration, the inaugural episode encapsulated the series’ shortcomings, culminating in a phenomenon more concerned with drawing commentary than producing true entertainment. Despite the negative reception, a second season has been confirmed.
Hostage
Netflix
This drama series commenced with the kidnapping of a prime minister’s spouse in French Guiana and swiftly spiralled through various topical issues, including nationalism, espionage, and political crises, all within just five episodes. Despite its chaotic plot, it managed to engage some audiences, largely attributed to Suranne Jones’s strong performance.
However, the show’s portrayal of British politics proved problematic, with viewers citing inaccuracies and snappy cultural references that could offend international audiences. The series inadvertently captured viewer interest during a lack of competing content but fell short in its thematic execution.
Nobody wants this
Netflix
The anticipated second season of this romantic comedy did not deliver meaningful plot progress and saw a regression in character development. Viewers were left questioning the direction and chemistry of the main leads, Kristen Bell and Adam Brody, who appeared diminished by unclear narratives and weak writing.
The Genius Game
ITV
ITV’s attempt to recreate a successful game-show formula fell flat. The competition relied on contestants with impressive credentials to solve puzzles and form alliances, yet it failed to engage its audience. The overall execution appeared outdated, leading to a loss of viewer interest almost immediately.
Monster: The Ed Gein Story
Netflix
This dramatization ventured into controversial territory, encountering criticism for its treatment of sensitive subject matter surrounding historical criminality. The graphic depictions within the narrative raised ethical questions, suggesting a need for greater sensitivity in the portrayal of real-life tragedies.
Victoria Beckham
Netflix
This documentary did not capture the engaging essence expected of a nostalgic exploration of 1990s pop culture or genuine reflections on fame. Instead, it devolved into an extensive account of Victoria Beckham’s diligence and aspirations within the fashion industry, failing to engage its audience meaningfully.
The Paper
NOW
This mockumentary, fashioned after The US Office, did not meet expectations. It failed to deliver comedic relief, relying instead on recycled humour that felt uninspired. The overall production echoed a sense of redundancy, lacking the spark intended to engage audiences.
As the year unfolds, scrutiny over the television landscape remains crucial, with viewers seeking genuine storytelling and authentic content. The prevailing sentiment suggests room for improvement within the industry to meet evolving expectations and standards.
