“Commanding Grace: Navigating the Art of Butler Etiquette”

Here are a few of the notable programs that will capture my glazed-but-happy TV-columnist attention in 2025.

Squid Game (Netflix, later in 2025)

The second season of Squid Game debuted at the end of 2024. The third season is set to be released later this year. The storyline follows a group of indebted wage earners who are compelled to partake in a series of deadly children’s games for the amusement of the idle affluent. It is oddly relatable. Crafted by Hwang Dong-hyuk as a commentary on modern capitalism, it was distributed with the assistance of Netflix, which I believe is a workers’ collective structured around anarcho-syndicalist ideals. The fact that this intensely provocative narrative has evolved into a lucrative franchise, complete with a literal quiz-show spinoff and an impending English-language version directed by David Fincher, illustrates what the late political theorist Mark Fisher grimly referred to as “capitalist realism.” In essence, if the revolution is broadcast, I’d likely opt to stay in and watch it.

Severance (Apple TV+, tomorrow!)

Severance presents another criticism of capitalism, this time from Apple TV+ – or, as it is commonly known, Apple TV+ Militant Tendency. Who knew Apple was so concerned about the working individual? Dan Erickson’s Severance stars Adam Scott, Britt Lower, John Turturro, and Christopher Walken as employees whose work identities have been “severed” from their private lives, resulting in dystopian consequences. The season one finale was one of the most exceptional hours of television in 2022. The series is simultaneously poignant, thought-provoking, and terrifying, and it returns to our screens tomorrow. It’s possible that Apple’s corporate leaders remain unaware that Severance portrays something unsettling and dystopian, and merely intend this as a promotion for some actual technology they plan to unveil in Q4 of 2025. If that’s the case, I will both view the series and yield to the inevitable.

Andor (Disney+, April)

But what about the space labor force? Tony Gilroy’s Andor marks the first Star Wars spinoff that made me realize that, while I like to envision myself instigating revolution with the radical space hippies, I would undoubtedly be more inclined to serve the Empire for the benefits and holiday compensation. Gilroy’s malevolent space regime focuses more on well-documented oppressive bureaucracy than on space sword battles. I absolutely adore that element.

White Lotus (Sky/Now, February)

As mentioned, the plight of the televised worker in late capitalism is far from favorable. Mike White’s White Lotus argues that the “bosses” aren’t faring too well either. White Lotus is a rare examination of affluence that effectively portrays the strained, status-seeking lives of the wealthy as genuinely uncomfortable. (Only Succession truly rivals it for this.) Set across a series of “White Lotus” resorts, each season introduces a new ensemble of upper-class guests and working-class hospitality staff, along with an unidentified corpse. Each season thus far has been hilariously and darkly engaging concerning issues of power, class, and entitlement. The upcoming White Lotus season is situated in Thailand and features the delightfully named Parker Posey and Walton Goggins, among others. This subtly political series is equally likely to yield a real chain of White Lotus hotels (for those willing to pay for crass opulence and demise) as to inspire genuine political change. I would estimate the probabilities of either at 50:50.

With Love, Meghan (Netflix, ?)

This lifestyle program fronted by Meghan Markle has, unfortunately, been postponed. (It was scheduled to premiere on Netflix this week.) Marie Antoinette used to don the apparel of a shepherdess and tend to sheep, but Meghan and Harry, royalty displaced, prefer to dress as lifestyle mentors and share relatable life strategies with the everyday people of Tellyland. This type of content, if all goes well: “One must be firm with one’s butler.” “Here’s my risotto recipe: ‘Hey, you, prepare me risotto.’” “Ensure your Fabergé eggs are not stored in the same area as your thoroughbred wildebeests!”

[ Harry and Meghan: The union of two illustrious families, the Windsors and the Celebrities, is now completeOpens in new window ]

The Studio (Apple TV+, March)

The concept of this forthcoming Apple TV+ series implies that tech moguls are now engaging in cyberbullying and mocking Hollywood executives. It chronicles the struggles of a studio executive (Seth Rogan) as he copes with the rise of streaming platforms. “Hyuk-hyuk,” I imagine the executives at Apple exclaimed when they approved it. I will view this series even though it is likely to contain Hollywood personalities portraying “themselves.” (“Themselves” is the role Hollywood actors excel the least at portraying.)

Poker Face (Sky/Now, spring)

Since the beginning of time, philosophers have posed a singular inquiry: What if the tough, witty Natasha Lyonne were the new Columbo? This question is now addressed by the tale of a lie-detecting, murder-investigating nomad who appears blissfully untraumatized by the weekly crime scenes that define her existence. Simple episodic narratives are refreshing after years of overly intricate prestige television. At times, I prefer not to have to recall anything.

Stranger Things (Netflix, later in 2025)

A group of talented young actors is doomed to perpetually relive the nostalgic daydreams of Gen X, thanks to the referentially inclined, 1980s-centric creators, the Duffer brothers. This I vow: young individuals will have to wrest pop culture from my generation’s cold, lifeless hands before they win it for themselves. That is the true horror of Stranger Things.

[ Patrick Freyne: I appreciate the setting of Stranger Things in the 1980s, reminiscent of Ireland during the 1990sOpens in new window ]

Black Mirror (Netflix, later in 2025)

“Step right up, step right up and witness the spectacular gadgets and trends of contemporary society! Behold a horseless carriage! Behold a moving image that drains the soul! Behold survivable infectious diseases! It’s sorcery, I tell you!” That’s my carnival-barking pitch for Black Mirror 1890, a fresh installment of the series that I propose to alleviate the pressure on that show to remain ahead of the curve. Black Mirror, Charlie Brooker’s anthology of dystopian technophobic narratives, initially gained a leap on the cultural zeitgeist when it first appeared on Channel 4 in 2011. But that’s when the smartphone (the titular “black mirror”) was only just embedding itself into our collective consciousness.

consciousness and individuals still perceived tech entrepreneurs as enlightened humanitarians rather than peculiar authoritarian infants. The terrors of the modern era were still astonishing at that time. By the moment Black Mirror transitioned to Netflix, in 2016, our affiliation with technology had deteriorated significantly, and Black Mirror’s ominous dread appeared somewhat less impactful. Nonetheless, the essence of the anthology style will always be a bit hit or miss. There are consistently captivating episodes.

[ Charlie Brooker on resetting in Black MirrorOpens in new window ]

Yellowjackets (Paramount+, February)

A group of adolescent girls survives a plane crash in the mountains, participates in ritualistic cannibalism, forms cult-like attachments, and then performs impressively in their examinations. If I understand Irish Times readers, half of you are already contacting the school in Yellowjackets to discuss their educational ideology and enroll your offspring. Set across two different time periods, Yellowjackets is eerie, gripping entertainment with highly enjoyable performances from the 1990s teen stars turned adult performers Christina Ricci, Juliette Lewis, and Melanie Lynskey.

Daredevil: Born Again (Disney+, March)

There’s a slight possibility that Charlie Cox may maintain the respectable Dublin accent he employed for the RTÉ drama Kin while portraying Daredevil: Born Again. That’s the primary reason I’ve included this here. The concept for this Disney/Marvel revival of an earlier Netflix show is, essentially: a man dons rubber and engages in brawls. Incorporate a Dublin accent into this and I’m fairly certain I recognize this individual.

[ “Are you really a hit man?” the Kinsellas would inquire, and I’d confess I haven’t eliminated even one insignificant personOpens in new window ]