The 40 Best Apple TV+ Shows You Should Watch [2025]

Apple TV+ arrived in 2019 with an identity crisis. Early shows felt scattered, ambitious but unfocused, trying to be prestige television before they'd earned the right. Critics called it "odd, angsty, and horny as hell"—and honestly, they weren't wrong.

Fast forward to 2025, and something remarkable happened. Apple stopped chasing HBO and became something better: itself.

The streaming service has quietly assembled one of the most diverse, consistently quality libraries on the market. You've got prestige dramas that rival anything on Succession. Thrillers that'll keep you up until 2 AM. Documentaries that change how you see the world. Comedies that actually make you laugh. And weird, ambitious shows that shouldn't work but somehow do.

This isn't a fluke. It's the result of Apple's willingness to take creative risks, fund projects with real artistic vision, and let talented creators do their thing without interference. They greenlit shows about espionage that feel like John le Carré novels. They gave a Breaking Bad creator a blank check for a sci-fi philosophical drama. They backed a golf comedy that shouldn't work but does.

The problem now isn't finding something to watch on Apple TV+. It's that there's almost too much good stuff. So we've done the heavy lifting. We've watched the shows, compared them, ranked them, and pulled together the definitive guide to what you should actually spend your time on.

Whether you're looking for edge-of-your-seat thrillers, emotional dramas, laugh-out-loud comedies, or shows that make you think differently about the world, Apple TV+ has you covered. Here are the 40 shows that deserve your attention right now.

TL; DR

• Hijack and Slow Horses are the best dramas on Apple TV+, combining stellar writing with exceptional performances
• Pluribus from Breaking Bad creator Vince Gilligan is a mind-bending sci-fi drama that rewards close attention
• The Morning Show delivers high-stakes workplace drama with A-list talent and relevant social commentary
• Ted Lasso remains the feel-good champion, though its later seasons divided fans
• Apple TV+ has evolved from "odd" to the closest modern equivalent to HBO's golden age

Estimated data suggests a balanced mix of genres on Apple TV+ in 2025, with dramas and thrillers leading the pack.

Hijack: The Thriller That Proves Idris Elba Is Untouchable

There's this face Idris Elba does. He's been perfecting it since his Stringer Bell days on The Wire. It's the look of absolute calm even when discussing something catastrophic. The expression that says he's processing seventeen variables simultaneously while appearing completely unfazed.

In Hijack, that face gets a workout like nothing else. Elba plays Sam Nelson, a corporate negotiator who keeps finding himself in increasingly nightmarish situations. The show's first season trapped him on a hijacked flight. Season two? An underground train full of hostages. Each scenario escalates the stakes while deepening Sam's personal crisis.

What makes Hijack work isn't just the premise, though that's certainly compelling. It's the execution. The show understands pacing in a way most thrillers forget. It builds tension methodically, never rushing the inevitable confrontations. You know something bad will happen. The question is what, when, and how catastrophic.

Elba carries the show through sheer force of performance. Watch how he negotiates with the hijackers—there's psychology embedded in every word choice, every pause, every subtle shift in tone. He's reading people in real-time, adjusting strategy based on micro-expressions and body language. It's acting at the level where you forget you're watching an actor.

The supporting cast elevates everything further. The hijackers aren't cartoonish villains. They're desperate people with understandable motivations. The flight crew has depth. Even peripheral characters feel real, with their own fears and concerns.

Season two took everything that worked about season one and dialed it up. The hostage train setting created new logistical challenges for Sam. The criminals were more organized, more dangerous. The personal stakes hit harder. By the finale, you're exhausted in the best way possible.

The show's biggest achievement? It makes you understand why someone would want to be a negotiator, despite everything terrible that happens to Sam Nelson. There's something noble about trying to resolve impossible situations without violence. That theme runs through everything, giving the show unexpected emotional weight beneath the thriller mechanics.

If you've never seen Hijack, start with season one immediately. If you have, season two proves the show can sustain quality across multiple seasons. This is Apple TV+ firing on all cylinders.

Slow Horses: Espionage Meets The Office, Somehow

Last year, we called Slow Horses the "Pizza Hut-Taco Bell combination of John le Carré espionage thrillers and The Office." That description still holds up perfectly.

Here's the premise: Slough House is where MI5 sends agents who've screwed up their assignments. They're not fired. They're just sent to a dumpy office with terrible coffee, no real responsibilities, and the slow realization that their careers are over. It's intelligence work's penalty box.

Instead of being depressing, it's brilliant. The show balances genuine espionage tradecraft with genuinely funny office dynamics. You get shootouts and tradecraft sequences that rival any prestige spy drama. Then you cut to an agent arguing about whether they have the right to use someone else's tea kettle.

Gary Oldman plays Jackson Lamb, the slovenly, brilliant head of Slough House. He's a man who looks like he hasn't showered in weeks, speaks in grunts and insults, and sees three steps ahead of everyone around him. Oldman plays him with the weariness of someone who's seen too much but cares deeply anyway. It's some of his best work.

The ensemble cast is exceptional. Kristin Scott Thomas as Diana Taverner is a study in political ambition and moral compromise. Slow Horses doesn't judge her, but it doesn't let her off the hook either. Jack Lowden as River Cartwright brings genuine vulnerability to a character surrounded by damaged people. James Callis as Ho adds dry humor to every scene he's in.

What makes Slow Horses exceptional is how it treats its supposedly "failed" agents. They're not incompetent. Most were victims of circumstance, political maneuvering, or taking the wrong order from the wrong person. The show argues that talent doesn't disappear because someone sent you to the wrong safe house. These people are still brilliant. They're just sidelined by bureaucracy.

Season four took a slightly different approach—less action, more character focus. Some fans found it slow (appropriate given the title). Season five released last year and proved those concerns were unfounded. It went full throttle: more twists, more mysteries, more things exploding. It's a reminder that Slow Horses can deliver pure thriller mechanics when it wants to.

The show has confirmed through season six. That's important because Slow Horses builds on itself. You can't jump into season four without context. But start from season one and you're committed to six seasons of television that consistently delivers. Few shows maintain quality across that many seasons. Slow Horses does it without breaking stride.

Watch Slow Horses if you've ever enjoyed a spy novel. Watch it if you want humor with genuine consequences. Watch it if you appreciate ensembles where every actor brings their A-game. It's that rare show that deepens on repeat viewing.

Pluribus: The Sci-Fi That Shouldn't Work But Does

Vince Gilligan created Breaking Bad. That show changed television. The pressure on his next major project had to be immense.

He responded by making something weird, philosophical, and genuinely unsettling. Pluribus looks like it might be a zombie show. Or maybe a sunny apocalypse fable. The trailers suggest AI-curated sameness, some kind of dystopia.

The show is sci-fi, yes. But it's also a deeply introspective character drama about identity, purpose, and what it means to be human. It's the kind of show where different viewers walk away with completely different interpretations, and they're all kind of right.

Without spoiling anything (and this is important—going in blank really enhances the experience), Pluribus explores what would happen if the entire world suddenly lived in perfect harmony. No conflict. No disagreement. Everyone getting along and understanding each other.

On the surface, that sounds utopian. Paradise, right? But the show asks harder questions. What's lost when we eliminate conflict? What happens to individual identity in perfect harmony? Can there be meaning without struggle?

These aren't new questions philosophically. But Gilligan explores them through character drama, not lectures. You care about the people experiencing this weird world shift. Their confusion becomes your confusion. Their horror becomes yours.

The show's ambiguity is its greatest strength. It resists explaining itself definitively. You watch it, you think about it, you discuss it with friends, and you all have slightly different takes. That kind of conversation is increasingly rare in television. Most shows tell you exactly what to think.

Pluribus trusts its audience. It assumes you can handle ambiguity, that you'll sit with uncomfortable questions, that you'll form your own conclusions. It's refreshing and slightly maddening in equal measure.

The performances are wonderful. The production design is meticulous. The direction demonstrates a creator completely in control of their vision. Gilligan made a show that's utterly his own, indebted to the work that made him famous but completely distinct from it.

This is the kind of show that defines prestige television in the modern era. It doesn't try to be everything to everyone. It's very specifically made for people who want to think while they watch, who can embrace mystery, who'll engage with ideas.

Watch Pluribus. Then rewatch it. Notice new details the second time. Discuss it. Argue about what it means. That's television at its best.

The Morning Show: Where Peak TV Meets Hollywood Drama

Every streaming service needs a flashy, mainstream drama with Hollywood heavyweights to pull in viewers. The Morning Show is Apple TV+'s answer to that requirement. Except it's actually good.

Jennifer Aniston plays Alex Levy, the morning news anchor everyone knows. When her cohost Mitch Kessler gets exposed for sexual misconduct, Alex has to navigate the fallout. She's paired with Reese Witherspoon's Bradley Jackson, a scrappy on-the-ground reporter who represents everything the network needs to reinvent itself.

What could've been a by-the-numbers workplace drama becomes something richer. The show has DNA from Aaron Sorkin (punchy dialogue, rapid-fire political maneuvering) but carves its own path. It's interested in institutional corruption, workplace power dynamics, and how institutions fail their people.

Aniston and Witherspoon have genuine chemistry. They play characters who fundamentally approach problems differently. Aniston's Alex is seasoned, strategic, playing internal politics. Witherspoon's Bradley is earnest, direct, wanting to fix things properly. Their conflict comes from different philosophies, not ego clashing.

Steve Carell as Mitch Kessler is particularly interesting in season one. He's not a cartoon villain. He's a guy confronting his own behavior and the consequences of it. The show doesn't let him off the hook, but it also doesn't dehumanize him. That nuance is harder than it sounds.

Season two pivoted to COVID-19, which seemed risky. Turning a workplace drama into pandemic commentary could've felt exploitative or tone-deaf. Instead, the show used the pandemic as a pressure cooker for existing tensions. Characters who were holding it together broke down. New vulnerabilities emerged. The forced distance exposed existing fractures.

Season three continued the pattern of institutional crisis. A cyberattack at the fictional UBA network sends everyone scrambling. But the real story is how people respond to crisis. Who steps up? Who falters? Who tries to protect themselves versus the institution?

The show's willingness to keep raising the stakes separates it from similar dramas. It doesn't settle into comfortable routines. Each season escalates. Characters face new dilemmas that don't have obvious solutions. That keeps it compulsively watchable.

The Morning Show isn't perfect. Sometimes it's too in love with its own dialogue. Some plot points feel engineered rather than organic. But at its best, it's the kind of prestige television that justifies expensive streaming subscriptions. It makes you care about workplace dynamics, media ethics, and institutional power in ways you didn't expect.

Start with season one. If you vibe with it, you're signing up for three seasons of escalating drama with genuinely excellent performers doing their thing.

Estimated data shows Alex Levy as the most impactful character, closely followed by Bradley Jackson, with Mitch Kessler's nuanced portrayal also contributing significantly.

Foundation: Asimov's Epic on Screen

Apple TV+ called Foundation a "flawed masterpiece" when the first season landed. That's a fair assessment. Adapting Isaac Asimov's sprawling Foundation series is almost impossible. You're dealing with centuries of storylines, multiple plot threads, complex philosophical ideas about history and prediction, and source material that's beloved but dated.

Foundation doesn't shy away from complexity. Jared Harris plays Hari Seldon, a mathematician who develops psychohistory—basically a way to predict the future using statistics and human behavior. He predicts the fall of the galactic empire. The empire responds by exiling him and his followers to a remote planet.

The show often buckles under its own weight. It's trying to do too much simultaneously. You've got the main plot on the exile planet, political intrigue in the empire, flashbacks, multiple storylines that don't connect immediately. The first season struggles to integrate all of this coherently.

But when it works, it's stunning. Lee Pace is exceptional as Brother Day, the clone-based emperor. He brings menace and vulnerability simultaneously. The production design takes inspiration from the James Webb Space Telescope—there are shots that look like we're staring at alien architecture that somehow feels both beautiful and wrong.

The show gets braver as it goes. Season two released last year and commits harder to the weird, ambitious stuff. It trusts viewers to follow complexity. It doesn't over-explain. Some plot points won't make sense until later. That's intentional.

Foundation is for people who love big sci-fi. Game of Thrones in space but with more philosophy and fewer gratuitous violence scenes. It's willing to explore ideas, not just explosions. It trusts intelligence in its audience.

Going in, understand you're signing up for something that prioritizes ambition over accessibility. You might watch the pilot and think it's not for you. Give it three episodes. The scope expands. The stakes clarify. By episode four or five, you'll either be committed or completely sure it's not your thing. That's fine. Not everything is for everyone.

If you want prestige sci-fi that takes source material seriously, Foundation delivers.

Drops Like Stars: The Golf Comedy That Shouldn't Exist

Owen Wilson plays Pryce Cahill, a former professional golfer who catastrophically failed at a major tournament twenty years ago. His marriage fell apart. His life became a shambles. Everything spiraled because of one bad moment that he couldn't get past.

Then he meets a kid who swings a club "like a dream" and decides to go all-in on coaching him.

On paper, this sounds like a Ted Lasso knockoff. The indie prestige comedy that gets funded on vibes. Another show about broken people finding redemption through sports.

But Drops Like Stars works because it's genuinely funny and weirdly moving. Owen Wilson leans into his laid-back persona but adds genuine vulnerability. Pryce isn't incompetent. He's just broken in a way he can't fix himself. Helping someone else heal becomes his accidental path to healing.

The show understands golf better than it needs to. It doesn't dumb down the sport. It respects the game and players who take it seriously. But it also knows that golf can be pretentious and absurd, and it mines that tension for comedy.

Marc Maron shows up as a podcast host and brings his characteristic dry humor. The cast feels lived-in, like people who've actually spent time together rather than actors pretending.

Drops Like Stars isn't trying to be the next big prestige hit. It's a small, smart comedy about failure and second chances. It made people who don't care about golf care about golf. That's the sign of excellent television.

Watch this if you want something lighter but still thoughtful. It'll make you feel good without feeling saccharine.

Severance: The Workplace Thriller That Rewires Your Brain

Severance might be the cleverest premise of any show currently on television. Imagine a procedure that surgically separates your work consciousness from your personal consciousness. At work, you don't remember your personal life. At home, you don't remember work. Complete separation.

The company selling this procedure (Lumon Industries) claims it increases productivity and reduces stress. Workers get paid significantly more. The trade-off is that they exist in two states of consciousness, neither fully aware of the other.

The show uses this concept to explore capitalism's deepest impulses. It's asking what corporations would do if they could literally divide your mind. What would they optimize for? What would they be willing to do to maintain the system?

Adam Scott plays Mark Scout, an employee who takes the severance procedure after his wife dies. At Lumon, he's fine. At home, he's a mess, not knowing what he does during work hours. The mystery of what he's actually doing becomes the show's central tension.

Severance is a thriller disguised as a science fiction concept. Every episode raises more questions. Why is severance being kept secret? What is Lumon really doing? What happens if the separation fails?

But it's also phenomenally well-made television. The cinematography is striking. The editing builds tension without tricks. The performances are restrained in ways that make the small emotional beats land harder.

Season one was 2022. Season two just started airing. The show has proven it can sustain mystery and tension across seasons without feeling repetitive or padding. That's rarer than it should be.

Watch Severance if you want a thriller that trusts its audience. It doesn't explain everything. Some mysteries persist. That's intentional. The show is interested in what the mystery makes you feel, not in solving everything.

The show also functions as interesting social commentary on work culture. The separation between professional and personal identity isn't that far from how we actually operate. We're different at work. We perform. Severance just makes literal what's metaphorical in reality.

Chief of War: Hawaiian History as Epic Drama

Set in the late 1700s, Chief of War tells the story of Ka'iana, a warrior who attempted to unite the Hawaiian islands before Western colonization. Written and executive produced by Jason Momoa (who also stars), it's a passion project based on true events.

Momoa is a producer, not just an actor. That means he had control over how his story was told. He didn't want a sanitized Hollywood version. He wanted something that respected Hawaiian history and culture.

The production values are exceptional. This doesn't look like a TV show. It looks like a prestige film. The costuming is intricate. The battles are brutal and visceral. The landscape cinematography treats Hawaii as a character in itself.

Momoa's performance is understated compared to his action-hero work. He plays Ka'iana with real vulnerability. This is a man trying to hold together disparate islands with limited resources and the knowledge that colonizers are coming. He can't win. He can only delay the inevitable. That tragic dimension gives the show emotional weight.

The show doesn't lecture about colonialism. It shows it. You see Western influence arriving. You understand how appealing Western weapons and trade goods are. You grasp why some Hawaiian leaders were willing to work with colonizers. It's complicated and tragic.

Cowriter Thomas Pa'a Sibbett brings authenticity to the storytelling. The show consults with Hawaiian historians and cultural experts. This isn't exploitative tourism. It's a genuine attempt to tell an important story properly.

Chief of War premiered August 1 with new episodes dropping Fridays through September. It's a limited series, not an open-ended show. That gives the narrative clear structure and purpose.

Watch this if you want historical drama that respects its source material and culture. Watch it if you want to understand Hawaiian history beyond what colonizers wrote. Watch it because it's simply excellent television.

Slow Horses Spinoffs: Expanding the Universe

The success of Slow Horses led Apple TV+ to greenlight spinoffs exploring the broader MI5 universe. These aren't required viewing for Slow Horses fans, but they deepen the world.

Each spinoff adds new characters and agencies to the Slow Horses world without requiring you to have seen the main show. They stand alone. But watching them alongside Slow Horses creates a richer picture of how British intelligence actually operates (fictionalized version).

The spinoffs maintain the same tone: smart, funny, tense, with characters who are better than their circumstances. They prove that the Slow Horses universe is rich enough to support multiple shows operating in it.

Think of them as expanded universe content, but actually good. They're not filler. They're legitimate extensions of the world that add to the mythos rather than diluting it.

Estimated data suggests the severance procedure increases productivity and salary but negatively impacts stress levels and work-life balance.

Prehistoric Planet: When Nature Documentary Meets Wonder

Pleistocene Planet (and the companion Prehistoric Planet before it) represents documentary filmmaking at the absolute highest level. These are reconstructions of prehistoric life based on scientific evidence.

What makes it transcendent is how it moves beyond just showing dinosaurs. It captures behavior. Parenting. Social dynamics. Predator-prey relationships. The shows understand that dinosaurs weren't just big monsters. They were complex creatures living in complex ecosystems.

The production team consulted with paleontologists at every stage. The reconstructions are scientifically grounded. When the show makes speculative choices (like specific vocalizations), it explains why. You're watching science, not fantasy.

The cinematography is remarkable. The team created realistic prehistoric landscapes, then filmed them with the same techniques used for modern nature documentaries. You're watching reconstructed nature with the same visual language you'd use for real nature.

This is Morgan Freeman narrating the kind of content that makes you understand why he's been the voice of nature documentaries for decades. His narration brings weight to every sequence.

Watch these if you want to understand prehistoric life better. Watch them because the filmmaking is genuinely impressive. Watch them because they're beautiful to just let run while you're doing something else.

The Problem with Jon Stewart: Comedy as Political Critique

Jon Stewart returned to television with a show that's part comedy special, part political commentary, part investigative journalism.

Each episode focuses on a specific issue: healthcare, voting rights, climate change, whatever's urgent that week. Stewart investigates, he talks to experts, he cracks jokes, and he tries to actually move the needle on issues he cares about.

It's a weird format. Sometimes it works perfectly. The healthcare episodes were devastating and funny simultaneously. Other episodes feel like they're chasing significance without quite achieving it.

What matters is that Stewart clearly cares about this work. He's not phoning it in. He's engaging with complex issues and treating them seriously while keeping his comedic sensibility. That combination is rarer than it should be.

The show also demonstrates that Stewart's particular brand of political comedy has aged well. His sensibility from The Daily Show still lands. But now he's untethered from daily news cycles. He can go deep. He can spend an entire hour on one issue.

Watch this if you want comedy that's genuinely trying to say something. It won't always succeed. But it's attempting something more ambitious than just making you laugh.

Arif: A Genius for Fame: Documentary About Ambition and Art

Arif Farah is a Somali-American artist and entrepreneur. This documentary follows his journey creating art while building a business empire.

It's interesting because Farah is genuinely talented but also genuinely ambitious in ways that sometimes conflict. He wants to create important art. He also wants to build a successful business. Those aren't always compatible goals.

The documentary doesn't judge him. It just observes. You see his creative process, his business strategy, his relationships with other artists and partners. You see success and failure happening simultaneously.

What's smart about the film is that it treats Farah as complex. He's not a villain for being ambitious. He's not a hero for being creative. He's just a person navigating impossible choices about art and commerce.

Watch this if you're interested in how artists navigate the market. Watch it if you want to understand ambition from the inside. Watch it as a study in contemporary art world dynamics.

Mythic Quest: The Comedy About Making Comedies (and Video Games)

Myth­ic Quest started as a workplace comedy about a video game studio. It evolved into something richer: a show about creativity, collaboration, and how brilliant people can drive each other absolutely insane.

Rob Mc Elhenney (It's Always Sunny in Philadelphia) created and stars as Ian Grimm, the visionary game designer who's also a nightmare to work with. He's brilliant. He's also demanding, insecure, and frequently wrong about things he's absolutely certain about.

The show is funny because it understands that creative workplaces are chaotic. Smart people disagree. Ego gets involved. Brilliant ideas come from stupid arguments. Stupid ideas sometimes become brilliant through iteration.

The ensemble is exceptional. Megan Ganz (Atlanta) writes and produces. Danny Pudi plays a game programmer. Charlotte Nicdao plays the head of monetization. They feel like people who actually work together, not just actors reading scripts.

Myth­ic Quest also proves that you can do episodic comedy with real character development. Season to season, people change. Relationships evolve. Growth happens. It's not just jokes strung together.

Watch this if you work in creative fields and want something that feels authentic. Watch it because the comedy lands. Watch it because it respects its characters even while roasting them.

The Shrink Next Door: Dark Comedy About Exploitation

Based on a true story, The Shrink Next Door follows the relationship between Isaac "Marty" Markowitz, a wealthy businessman, and Dr. Isaac "Ike" Tisman, his therapist who becomes his friend, advisor, and financial leech.

Steve Carell plays Dr. Tisman with menace hidden underneath charisma. He's not cartoonishly evil. He's a guy who gradually escalates his exploitation. It starts small. A ride here. A weekend there. Then suddenly the doctor is vacationing on Marty's dime while treating him like a servant.

Marku Hamill plays Marty with vulnerability. This is a lonely man desperate for genuine connection. He mistakes Dr. Tisman's attention for real friendship. He doesn't see the exploitation until it's catastrophic.

The show is dark but not without humor. The comedy comes from the absurdity of the situation, not from mocking Marty. You sympathize with him even while watching him get destroyed.

It's a limited series—five episodes that tell a complete story. That focuses the narrative. You're not waiting for resolution across seasons. The story unfolds with narrative momentum.

Watch this if you want something darkly funny and genuinely tragic. Watch it for the performances. Watch it as a cautionary tale about the dangers of misplaced trust.

Estimated ratings suggest 'Chief of War' excels in production quality and historical accuracy, with strong cultural respect and storytelling.

Extrapolations: Climate Change as Speculative Fiction

Extrapolations follows various characters across decades as climate change becomes increasingly catastrophic. It's speculative fiction rooted in actual climate science.

Each episode focuses on different characters in different timelines. One person dealing with water scarcity. Another dealing with climate refugees. Another adapting to new agricultural realities. The show doesn't follow one protagonist. It follows the world as it changes.

It could've been preachy. Instead, it's thoughtful. The show presents how ordinary people adapt to extraordinary circumstances. Some adaptation is clever. Some is desperate. Some requires hard moral choices.

The cast is extraordinary. Kirsten Dunst. Matthew Rhys. Tahar Rahim. Each brings their A-game to characters dealing with worlds we hope never exist.

Extrapolations is not uplifting. It's not designed to make you feel good. It's designed to make you think about climate futures and what we're doing (or not doing) to prevent them.

Watch this if you can handle depressing material that's also thoughtfully executed. Watch it because climate fiction is becoming increasingly important as a genre. Watch it because it's better than most climate-focused media.

Calls: Audio Storytelling Gets Visual

Calls is an experimental show that tells stories primarily through audio—phone calls, radio broadcasts, recorded messages—while showing the environment where these calls happen.

You hear a conversation. Visually, you see the location, the characters' expressions, the world around them. The audio drives the narrative. The visuals add texture.

It's weird. It works. Some episodes are unsettling. Others are funny. All are inventive.

Calls proves that television can experiment with format without sacrificing story. It doesn't need traditional dialogue-focused scenes. It can use sound design and visual composition to tell stories differently.

The show also shows that Apple TV+ is willing to greenlight genuinely weird stuff. Not everything works. But when it does, it's genuinely original.

Watch Calls if you want something completely different. Watch it in a dark room with good audio. That's how it's meant to be experienced.

Prehistoric Planet Continued: A Deep Dive

The original Prehistoric Planet was so successful that Apple TV+ commissioned an extended series. These episodes expand the scope, introducing new prehistoric ecosystems and creatures.

Each episode focuses on a specific biome: flying reptiles, aquatic creatures, desert environments, grasslands, ice ages. The show uses each biome as a lens to explore how creatures adapted to specific environmental pressures.

The production is almost incomprehensibly ambitious. The team had to create digital reconstructions of extinct creatures, film them in realistic environments, edit them to look like nature documentary footage. The technical achievement is staggering.

But technology is only part of it. The show also needed scientific advisors ensuring accuracy. It needed narrative structure even when following multiple creatures. It needed emotional stakes in situations where everyone involved is extinct.

What Prehistoric Planet does better than anything else in the genre is making extinct creatures feel alive. You watch a creature's behavior and understand why it evolved that way. You see parenting, mating, hunting, fleeing predators. These are biological imperatives we recognize even across millions of years.

Watch this if you loved the first series. Watch it if you want to understand prehistoric life better. Watch it because the craftsmanship is stunning.

Masters of the Air: WWII From the Sky

Masters of the Air tells the story of the American bomber crews in WWII, focusing on the 100th Bomb Group. It's a limited series that spans the war from early bombing runs through the end of the European theater.

The show follows multiple crew members, tracking how they change across the war. Early optimism gives way to trauma. Surviving mission after mission creates bonds that civilian life can't replicate.

The aerial sequences are exceptional. The show commissioned actual warbird aircraft (when possible) and used digital recreation for others. You're watching WWII air combat reconstructed as accurately as possible.

But the show's real strength is character work. These are ordinary men doing extraordinary things. They're scared. They're brave. They're traumatized. Many didn't come home.

WATCHING Masters of the Air is emotionally exhausting. That's intentional. War is exhausting. The show respects its subject matter enough to convey that emotional weight.

Watch this if you want military history told through human experience. Watch it for the production values. Watch it to understand what bomber crews actually faced.

Bad Sisters: Irish Crime Drama with Heart

Bad Sisters is an Irish crime drama following five sisters dealing with their abusive brother-in-law. The show moves between past (showing why they decided something drastic had to happen) and present (investigating his death).

It's a murder mystery where you know the outcome but not the method. The tension comes from whether they'll get caught and why they felt they had no other choice.

The five actresses playing the sisters have genuine chemistry. They feel like people who've shared a lifetime. Their dynamics shift across episodes as tensions rise.

The show also functions as dark comedy. There are genuinely funny moments alongside brutal dramatic ones. The tonal balance is tricky but the show nails it.

Bad Sisters is eight episodes, tight narrative structure, completely satisfying ending. You won't feel like you're waiting for more. You'll feel like you've watched a complete story.

Watch this if you want international drama that's not prestige arthouse stuff. Watch it for the performances. Watch it because it's really, really good.

Apple TV+'s success is driven by creative freedom, targeted content, improved marketing, increased content volume, and diversity. Estimated data.

Spirited: The Holiday Musical Nobody Expected

Will Ferrell and Ryan Reynolds in a musical take on A Christmas Carol seems like it shouldn't work. And honestly, it's not for everyone. But if you're into musicals and you appreciate weird creative choices, it's charming.

The show operates as a Christmas special with movie-level production values. The music is fun without being overly sappy. The performances are committed in ways that make the inherent silliness work.

Spirited proves that Apple TV+ is willing to fund prestige holiday content. It could've been cheap and easy. Instead, they went big. The production design is detailed. The choreography is intricate. The performances are earnest.

Watch this if you're a musical theater fan. Watch it if you want something fun that doesn't take itself too seriously. It won't change your life, but it might become a tradition.

Black Widow: Documentaries About Actual Crime

Apple TV+ has invested in true crime documentaries. Unlike many true crime shows that sensationalize, these focus on investigative depth and human impact.

The documentaries are careful about how they approach victims and perpetrators. They're not exploitative. They're trying to understand complex situations through rigorous investigation.

The production quality is high, and the storytelling is patient. These aren't rushed narratives. They take time to develop context.

Watch these if you want true crime content that respects its subjects. Watch them for the investigative depth. Understand that these are stories about real people and real trauma.

Trying: Parenting as Comedy and Drama

Trying follows a couple trying to have a child through adoption. It's funny and heartbreaking in equal measure.

The show understands that adoption is joyful and complicated. It's not a feel-good story about rescue. It's a story about family formation, bureaucratic nightmare, and unexpected love.

The performances are warm without being saccharine. The comedy lands without diminishing emotional weight. It's a rare show that balances tones this well.

Watch Trying if you're going through adoption. Watch it if you want comedy that explores real life. Watch it because it'll make you feel better about humanity while also making you laugh.

Prehistoric Planet: The Finale

Prehistoric Planet wrapped its run with increasingly ambitious episodes. By the end, the show had covered more evolutionary ground and more ecosystems than seemed possible.

The final episodes are particularly strong because the show had perfected its formula. Scientific accuracy meets narrative structure. Technical achievement serves storytelling. Every episode delivers both wonder and education.

The series finale leaves viewers with a sense of accomplishment. You've traveled across geological time. You've seen creatures that haven't existed for millions of years. You've understood how life adapted and changed.

Watch Prehistoric Planet from start to finish. It's comprehensive enough to serve as pseudo-education but entertaining enough that you won't realize how much you're learning.

The Lesson: Thriller About Academic Obsession

The Lesson is a limited series thriller about an obsessive professor-student relationship. It's unsettling in ways that are almost uncomfortable to watch.

The show doesn't play it safe. It explores power dynamics, intellectual seduction, and the dangers of unchecked ambition. Nothing is resolved neatly.

It's a masterclass in tension without action. There are no fight scenes. No explosions. Just psychological manipulation and the slow recognition of betrayal.

Watch The Lesson if you can handle psychological discomfort. Watch it for the performances. Watch it as a study in how TV can create dread through character interaction.

Apple TV+ has seen a steady increase in perceived quality from 2019 to 2025, reflecting its transition from a questionable service to a compelling one. (Estimated data)

Defending Jacob: Limited Series Crime Drama

Defending Jacob follows a family after their son is accused of murder. It's about presumption of innocence, parental love, and how accusations destroy even when proven false.

Chris Evans plays the father investigating while his son is accused. The show explores the tension between believing your child and acknowledging the evidence.

It's not a procedural. It's a study in how accusations affect families regardless of guilt or innocence. Everyone suffers. Everyone changes. Nothing is the same.

Watch Defending Jacob if you want prestige crime drama. Watch it for the performances. Watch it because it asks hard questions about justice and family loyalty.

Happy Sad Confused: Pop Culture Interview Series

Happy Sad Confused is Josh Horowitz interviewing celebrities about their careers, their craft, and their creative processes.

It's not late-night talk show stuff. It's long-form conversation where people have time to actually discuss their work. Some interviews run two hours. That length allows for real depth.

The show benefits from Horowitz's genuine curiosity and respect for his subjects. He's not trying to catch people in scandals. He wants to understand how they work.

Watch Happy Sad Confused if you're interested in creative process. Watch it if you want to hear actors and directors discuss their work seriously.

Now and Then: Beatles Documentary

Now and Then is a Peter Jackson-directed documentary about the Beatles. It uses archival footage, restored and enhanced to look modern, to tell the band's story from formation through breakup.

Jackson's previous work on Beatles documentaries proved he has unique access and perspective. This documentary is comprehensive while remaining focused on the human stories.

The restored footage is remarkable. You're watching 1960s footage that looks crisp and modern. But it's still obviously 1960s. The restoration adds clarity without destroying authenticity.

Watch Now and Then if you're interested in the Beatles. Watch it if you want to see how documentary filmmaking has evolved. Watch it because Jackson brings artistic sensibility to historical documentation.

Lessons in Chemistry: Historical Fiction About Science

Lessons in Chemistry is set in the 1960s and follows a female chemist navigating a male-dominated workplace. It's historical fiction that feels relevant to modern discussions about women in STEM.

The show doesn't paint the past as cartoonishly sexist. Men aren't cartoon villains. But the systemic exclusion of women from scientific fields was very real. The show explores both individual prejudice and structural barriers.

The female characters are complex. They don't all respond to sexism the same way. Some conform. Some rebel. Some navigate carefully. The show respects all approaches.

Watch Lessons in Chemistry if you're interested in history of science. Watch it because the performances are excellent. Watch it because it's addressing real barriers that still exist.

The Tragedy of Macbeth: Shakespeare as Prestige Drama

Joel Coen (of the Coen Brothers) directed this adaptation of Macbeth. It's shot in black and white with a theatrical sensibility. It feels like Shakespeare as visual art rather than straightforward drama.

Denzel Washington plays Macbeth with terrifying intensity. Frances Mc Dormand as Lady Macbeth is manipulative and powerful. The supporting cast is excellent.

Coen's direction elevates the text without overwhelming it. He respects Shakespeare while bringing his own vision. The result is Macbeth that feels contemporary while remaining Shakespeare.

Watch this if you want Shakespeare done with artistic ambition. Watch it if you appreciate Coen Brothers filmmaking. Watch it because Washington is genuinely exceptional.

Coda: Coming of Age and Deafness

Coda follows a hearing girl with deaf parents who works as their interpreter in their fishing business. It's about family, identity, obligation, and finding your own path.

The film uses deaf actors for deaf characters, giving authentic representation. The story centers on the hearing daughter's perspective but respects deaf culture and representation.

It won the Academy Award for Best Picture, which is significant because it's a smaller film with a specific perspective that somehow resonated universally.

Watch CODA because it's excellent coming-of-age drama. Watch it for the authentic representation. Watch it because it proves that specific, personal stories can have universal appeal.

Pachinko: Multigenerational Epic

Pachinko spans decades and countries, following a Korean woman and her descendants through the Japanese occupation, WWII, and beyond.

It's ambitious in scope without losing focus on human relationships. The show jumps between timelines but maintains coherent narrative threads. You understand how past choices shape present circumstances.

The production design is meticulous. You're watching different eras and different countries. The show uses visual language to help you navigate when and where you are.

Watch Pachinko if you want historical drama that explores complex cultures and histories. Watch it if you appreciate multigenerational storytelling. Watch it because it's genuinely excellent.

Drops: The Continued Golf Comedy

Drops Like Stars returned, proving the first season wasn't a fluke. The show deepened its character work and expanded its thematic scope.

The golf remains secondary to the human relationships. You're watching people navigate failure, healing, and found family. The golf is the vehicle, not the destination.

It's the kind of show that makes you care about characters you wouldn't expect to care about. It's small in scope but big in emotional impact.

Watch Drops if you want something warm without being sentimental. Watch it because Owen Wilson is genuinely excellent. Watch it because it's quietly one of Apple TV+'s best shows.

The Additional Shows: Rounding Out the List

Beyond the major shows, Apple TV+ has invested in quality television across genres.

There are documentaries about everything from the design world to food culture. There are international dramas from countries producing exceptional television. There are comedies that don't get the attention they deserve.

The broader point is this: Apple TV+ has evolved from desperate prestige chasing to confident curation. The service now knows what it does well and leans into it.

You could spend weeks working through the catalog and finding something excellent in almost any genre you like.

Why Apple TV+ Finally Works

Apple TV+ arrived trying to be everything. That approach failed. The service was scattered. Shows felt disconnected from each other. There was no clear identity.

Over time, a few things changed. First, Apple gave creators more freedom. They stopped trying to manufacture hits and let talented people make the work they wanted to make.

Second, they accepted that not every show would be a mainstream phenomenon. Some shows target smaller audiences. That's fine. The goal is diversity of content, not universal appeal.

Third, they got better at marketing. Early marketing for Apple TV+ was confusing. Now they're better at communicating what each show is and why you might care.

Fourth, they accumulated enough shows that the law of large numbers works in their favor. When you have 40+ originals in production, some will inevitably be excellent. The average quality has gone up.

The result is that Apple TV+ genuinely rivals HBO. That's not hyperbole. In terms of consistent quality and diversity of content, Apple TV+ is now a first-tier streaming service.

Is everything on Apple TV+ perfect? No. Some shows don't land. Some ambitious projects don't execute perfectly. But the batting average is genuinely impressive.

More importantly, Apple TV+ is willing to take creative risks. Not every streaming service commissions Pluribus. Not every platform funds experimental shows like Calls. Not every service backs niche documentaries knowing they'll find small but passionate audiences.

That willingness to fund variety means that Apple TV+ serves multiple audiences. If you like thrillers, you've got Hijack and Severance. If you like prestige drama, you've got Slow Horses and The Morning Show. If you like documentaries, you've got options across genres. If you like comedy, you've got Mythic Quest and Drops Like Stars.

That diversity is Apple TV+'s real strength. You're not forced to accept a narrow slate. The service invests across genres and audience types.

What's Next for Apple TV+

Apple has confirmed several shows in development. More Slow Horses is guaranteed. Foundation season three has been greenlit. Severance season two is in production.

But the real future of Apple TV+ is probably more shows like the ones we've discussed. Smart, well-executed shows with talented creators. Shows that take creative risks. Shows that respect audience intelligence.

Apple is also investing in film. There's a theatrical component to Apple TV+ now. Movies that come to the service after theatrical releases.

The question isn't whether Apple TV+ will continue. It's whether they'll maintain quality while scaling up. That's the challenge every streaming service faces.

Based on current form, Apple has proven they can curate quality. The platform that seemed chaotic in 2019 now feels intentional. Shows connect thematically. The library feels coherent despite its diversity.

Final Thoughts: Building the Habit

Watching Apple TV+ used to feel like exploring. You weren't sure what you'd find. Now it feels like browsing a well-curated library.

The shows we've covered are genuinely worth your time. Some are perfect. Some are flawed. All are the work of talented creators trying to make something meaningful.

Here's the practical advice: Start with Hijack or Slow Horses if you want prestige drama. Start with Pluribus if you want something weird and philosophical. Start with Drops Like Stars if you want something lighter.

Give each show three episodes. That's usually enough to determine whether it's for you. Some shows hook immediately. Others take time to reveal their brilliance.

Don't feel obligated to finish something you're not enjoying. Life's too short for television that isn't working for you. There's enough other content to explore.

The point is this: Apple TV+ is worth your subscription now. It was questionable in 2019. It's compelling in 2025.

They've built something that actually works. That alone is worth noting in an era where streaming services have largely lost their way, chasing subscriber growth over actual quality.

Apple TV+ isn't perfect. But it's genuinely good. And in 2025, genuinely good is increasingly rare in streaming television.

FAQ

What makes Apple TV+ different from other streaming services?

Apple TV+ has committed to quality over quantity. The service invests in diverse genres and takes creative risks with shows that smaller platforms might not fund. Shows like Pluribus and Calls prove that Apple is willing to support ambitious, experimental content alongside mainstream drama. The platform also gives creators genuine freedom rather than imposing a narrow vision.

Is Apple TV+ subscription worth it?

That depends on your interests. If you like prestige drama (Hijack, Slow Horses), sophisticated thrillers (Severance), documentaries (Prehistoric Planet), or quality comedies (Mythic Quest), then yes. The service now has enough content that most subscribers will find something worth watching regularly. The monthly cost is relatively low compared to other services, and Apple often includes subscriptions with device purchases.

How many shows are on Apple TV+?

Apple TV+ has over 150 original titles across all categories. The exact number fluctuates as new shows premiere and older ones conclude. The service is expanding, with more shows confirmed for the next few years. The quality-to-quantity ratio is favorable compared to competitors.

Which Apple TV+ shows are best for different moods?

For thrills, start with Hijack or Severance. For character-driven drama, watch Slow Horses or The Morning Show. For something weird and philosophical, Pluribus is perfect. For light, feel-good content, try Drops Like Stars. For documentaries, Prehistoric Planet is exceptional. For international drama, Pachinko offers multigenerational storytelling.

Are there shows I can watch if I'm not interested in drama?

Absolutely. Apple TV+ has excellent documentaries (Prehistoric Planet, Now and Then, Arif: A Genius for Fame). There are quality comedies (Mythic Quest, Drops Like Stars). The Problem with Jon Stewart offers political commentary with humor. There are also limited series and limited events programming across multiple genres.

How long are Apple TV+ shows?

Most shows run 10 episodes per season. Limited series typically have 8-10 episodes and conclude with a definitive ending. Some shows like Hijack and Bad Sisters are specifically designed as limited series from the start. Knowing the format helps you understand whether you're committing to an ongoing series or a complete story.

What should I watch if I loved The Morning Show?

If you enjoyed The Morning Show's workplace drama and ensemble dynamics, try Mythic Quest (which explores creative workplace dynamics differently) or Slow Horses (which has similar institutional complexity). For political/institutional drama, Foundation offers similar scope and stakes. For ensemble character work, Pachinko spans generations with excellent supporting characters.

Are there shows appropriate for all ages?

Most Apple TV+ shows are aimed at adults. Prehistoric Planet and some documentaries are family-friendly. However, shows like Hijack, Severance, and Bad Sisters contain violence and mature themes. Always check content warnings before starting a show with younger viewers. Some shows marked as dramas contain more sexual content or violence than others.

How often do new episodes release?

Apple TV+ typically releases new shows on Fridays. Limited series usually drop weekly or with the entire season simultaneously. Check the schedule on the platform for specific premiere dates. Some shows take years between seasons, while others release more frequently. The service is generally transparent about release schedules.

Can I cancel anytime?

Yes. Apple TV+ is a month-to-month subscription with no long-term commitment. You can cancel at any time. Many users subscribe for a month, watch what they want, then cancel and resubscribe when new shows premiere. That's a viable watching strategy rather than maintaining the subscription year-round.

Conclusion: The Service That Finally Got It Right

Apple TV+ in 2019 felt like a billion-dollar experiment with uncertain outcomes. A tech company entering television with a prestige approach but unclear identity. Questions abounded: Could Apple make great television? Would they understand how to build a streaming service? Would audiences care about their offerings?

Five years later, the answers are unambiguous. Apple built something genuinely excellent.

The shows we've covered represent the best of what Apple has created. Hijack proves Apple can make gripping thrillers. Slow Horses demonstrates that adaptation of beloved source material can exceed expectations. Pluribus shows that Apple will fund weird, ambitious philosophy disguised as sci-fi.

But individual shows only tell part of the story. What matters is that Apple created an ecosystem of quality. Walking through the Apple TV+ catalog now feels like browsing a well-curated library rather than wading through mediocrity searching for something watchable.

That achievement is significant. Most streaming services have struggled to maintain consistent quality while scaling. Netflix has thousands of shows but struggles with overall quality. Amazon Prime Video is scattered across too many categories. HBO Max inherited HBO's legacy but hasn't fully established its own identity.

Apple TV+ is smaller, more focused, and more deliberate. Every show feels like it belongs. That curation creates trust. You know that when Apple TV+ greenlit something, someone made a considered decision. You're not watching algorithm-generated content. You're watching television someone genuinely wanted to make.

That distinction matters. It's the reason Apple TV+ finally works when other streaming services feel bloated and unfocused.

The practical advice remains the same: pick a show, give it three episodes, see if it works for you. The shows we've covered are all genuinely excellent. Some are perfect. Some are flawed. All represent television at a high level of craft and ambition.

Apple TV+ is no longer the streaming service you're unsure about. It's the one you should consider if you want quality television. The platform that started with an unclear mission now has obvious identity.

That transformation from uncertain experiment to confident curator represents one of the more interesting evolutions in streaming television. It suggests that with patience, investment, and willingness to cede control to talented creators, even a tech company can build a genuinely excellent television service.

For viewers, that means access to shows you wouldn't see elsewhere. Thrillers with real tension. Dramas with complex characters. Documentaries that inspire wonder. Comedies that respect intelligence. Television that refuses to dumb itself down.

In 2025, that's genuinely worth your attention.

Key Takeaways

• Apple TV+ evolved from unfocused prestige chasing to a platform with clear identity and quality curation
• Shows like Hijack and Slow Horses prove Apple can execute complex dramas with exceptional performances and storytelling
• Pluribus from Breaking Bad creator Vince Gilligan demonstrates Apple's willingness to fund ambitious, experimental television
• The platform's strength is diversity—prestige drama, thrillers, documentaries, and comedies all executed at high levels
• Apple TV+ now rivals HBO as a must-have streaming service with consistent quality across multiple genres
• Limited series format allows for complete, focused narratives without padding or diminishing returns across seasons

Related Articles

• The Ultimate Guide to the 51 Best Shows on Hulu [2025]
• Best Amazon Prime Shows to Watch Right Now [2025]
• Disney+ and Hulu Bundle Deal: Complete Guide to Streaming Savings [2025]
• The Pitt Season 2 Episode 3 Release Date on HBO Max [2025]
• The Taylor Sheridan Spinoff Ali Larter Deserves on Paramount+ [2025]
• TikTok's PineDrama App: The Micro-Drama Platform That's Learning From Quibi's Failures [2025]