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“If you want to see art, you have to watch television. Have you seen? The bear?” advises one of the main characters The studythe standout comedy of 2025, winner of thirteen Emmys and a brand new nominee for three Golden Globes. Set in a Hollywood film studio, the fiction – which follows in the footsteps of Matt Remick (Seth Rogen), an executive torn between his love of cinema and the demands of the current industry – is not only one of the best series to be released in 2025, A great portrait of the audiovisual industry and the complicated challenges it has faced this year.
The announcement that Netflix plans to acquire Warner Studios, which also includes the film companies HBO and HBO Max, triggered a veritable seismic movement in traditional Hollywood. And the fact that the takeover has entered its most scandalous phase after Paramount’s hostile takeover attempt promises a bumpy 2026 for streaming services and television productions. Uncertainty is not usually the best guide to creative excellence, and in that sense there have been some notable examples in the year that has ended. From endogamy The study to the almost avant-garde Severance pay And Pluribus – everything from Apple TV, the platform that takes the most risks in terms of content and formats – to the Solid The Pitt (HBO Max) and the expected The Eternaut (Netflix), The 2025 model series captured the world’s attention, eager to find their new favorites.
What will happen in the near future, whether Netflix will finally manage to digitize the moves of HBO, its original inspiration, and thereby wipe out competition with HBO Max worth more than $80 billion in one fell swoop, remains to be seen. Along with the biggest unknown of all: Will the Warner-Netflix merger succeed in stopping the advance of YouTube, the streaming platform’s biggest threat? The answer is far from known, but the data for the year that is ending shows something particularly worrying data for the big N: According to measurements from viewer consultancy Nielsen, in May 2025, 12.5 percent of television viewers in the US consumed content via YouTube, followed by 7.5 percent via Netflix. Two years ago, the difference between the two was only half a point in favor of YouTube.
At the moment that is the truth The past twelve months were probably the last of their kind in the global streaming universe. We didn’t know what we had until we were about to lose it.
Putting aside the turbulent present and the uncertain immediate future of the platforms’ series production amid open competition, until a few days ago one of the most notable points in the balance sheet of model television fiction for 2025 was the successes of some local bill cycles. After years of watching how the stories from Spain, South Korea and Scandinavia managed to influence audiences around the world with unprecedented power, it has finally succeeded The Eternaut Argentine fiction has found the key to global success.
The adaptation of the graphic novel by Héctor Germán Oesterheld and Francisco Lozano López has managed to transform a specifically Argentine story into a universal passion. A phenomenon that is in contrast to the beginnings of The money heistfor example, started at home and expanded beyond, even appearing on lists of the best series of the year in prestigious media outlets such as the New York Times.
Of course, Netflix’s local success wasn’t the only one that showcased the creative prowess of Argentine series: they also did so in their own way. Menem (Prime Video), black widows (Flow/HBO Max) and the final season of envious. Given the adverse environment in which national audiovisual production finds itself, the good results in fiction for platforms allow us to see some light at the end of the tunnel.
Almost like some film fans wait for the next film by Martin Scorsese or Quentin Tarantino, “series fans” were excited for the return of Vince Gilligan, the creator of breaking Bad and its predecessor You better call Saul. And almost at the end of the year, his patience was rewarded with the premiere of Pluribus (Apple TV), the series created by Gilligan and starring the excellent Rhea Seehorn, a veteran of his production facility.
To confirm the TV writers’ return to the small screen, David Chase, the father of, confirmed a few months ago The sopranosconfirmed that he is working on the scripts for a miniseries for HBO. But this celebration is postponed until next year. For now, 2025 has a number of surprises in store, such as the brilliant third and fourth seasons of The diplomat And Hacksor the reunification of viewers with classic and unfairly outdated TV formats that have been rehabilitated The Pittinfluenced by two flagship series of the last three decades: HE And 24. With the theme of the first – Michael Crichton’s heirs claim that it is plagiarized – and the format of the second, the medical drama starring Noah Wyle is not only a great series, but also an irrefutable confirmation that television stories retain their magic and appeal even when they no longer reach the audience linearly, but are packaged for on-demand consumption.
*Natalia Trzenko, Paula Vázquez Prieto, Pablo De Vita, Hernán Ferreirós, Guillermo Courau, Fernanda Mugica, Alejandro Lingenti, Martín Fernández Cruz and Pablo Planovsky voted.
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