15 Best Miniseries Of The 2020s (So Far)

Miniseries are definitely having a moment in the zeitgeist right now. They offer a middle ground between a long-form TV series that can span multiple seasons and a single film. In fact, one could argue that a major issue with modern miniseries is that they tend to play like 10-hour-long movies as opposed to an episodic series. Still, some manage to get it right, and there are many outstanding miniseries throughout the 2020s.

To be clear, a miniseries offers a complete story arc in a predetermined number of episodes. They don’t go on for years, which can sometimes be a good thing for attracting talent. Big names like Kate Winslet, Colin Farrell, and Elizabeth Olsen have starred in acclaimed miniseries, even though they’re big movie stars. A miniseries means they can act in those for a little bit and get back to whatever other projects they want.

And it takes genuine commitment to stick with a miniseries plan. “Shōgun” could’ve easily functioned as a one-and-done series, but it got renewed for another season after the immense success of the first. As it stands, these are the best miniseries of the 2020s we have so far that have stuck to being limited runs. 

“The Queen’s Gambit” manages to be one of the best miniseries of the 2020s in addition to one of the best TV shows ever based on a book. It’s about a young chess prodigy, Beth Harmon (Anya Taylor-Joy), who battles sexism and substance abuse to rise to the top of her field. A series about chess may not sound like the most riveting of television, but each episode is masterfully crafted. 

The cinematography makes every chess match dynamic, and Taylor-Joy does some astounding acting using only her eyes and subtle facial movements to allow us to understand her inner machinations. Beth doesn’t say much, but she doesn’t need to when we can tell how she’s feeling based on how she moves various chess pieces. “The Queen’s Gambit” is lovely to look at, too; it takes place throughout the 1950s and ’60s, and everything from the cars to clothing looks immaculate. There are only seven episodes, but once you start, it’s impossible to stop. 

Elizabeth Holmes’ real-life story is fascinating. She was a woman in a mostly male-dominated field who promised to revolutionize healthcare with her company, Theranos. However, everything she promised was built on a lie, and “The Dropout,” which sees Amanda Seyfried embody the controversial figure, depicts her rise and fall. It’s a modern-day take on Icarus that manages to hold Holmes accountable while showing why she took things as far as she did. 

This is a show largely built on the back of Seyfried’s performance, and she nails it. Through this lens, we understand how Holmes was seen as an outsider in the realm of Silicon Valley and needed to make herself seen as more serious, which she accomplishes by deepening her voice. But that merely leads to greater and more depraved cruelty as she tosses aside anyone who doesn’t adhere to her vision. It may be a miniseries about Holmes, but it offers commentary on any number of tech insiders and venture capitalists who are willing to scam investors based on a lie. 

With the rise of stan culture and fandoms becoming more rabid than ever before, thanks to online spaces fostering such communities, it makes sense for a limited series to capitalize on the moment. “Swarm” is a dark comedy and horror series wrapped into one, with Dre (Dominique Fishback) at the center. She’s an obsessed fan of pop star Ni’Jah (Nirine S. Brown) and would do anything for a chance to meet her or even just defend her honor, descending as far as killing people who insult Ni’jah online. 

Fishback was named TVLine’s Performer of the Week for the finale, which sees her completely flip the script of what we thought was possible with Dre initially. It’s a captivating performance, with Fishback trying to contain her rage and passion, but we all know how this has to end. It’s a surrealist series that doesn’t always have a cohesive plot, but that’s to be expected with a show co-created by Donald Glover, post-“Atlanta.” “Swarm” takes some big swings that may not land with everyone, but it’s so refreshing to see a TV series being bold in an increasingly homogenous landscape.  

Apparently, there are “quiet conversations” for “The Penguin” Season 2. But given how long it’s taking to get a sequel to “The Batman,” we’ll believe it when we see it. As it stands, “The Penguin” is a riveting crime drama wrapped up in a superhero property, as Oz Cobb, aka the Penguin (Colin Farrell), works to expand his criminal empire in Gotham. And while the Caped Crusader himself doesn’t make an appearance, Oz has plenty of trouble dealing with Sofia Falcone (Cristin Milioti, who honestly steals the show from its titular character).

Of course, Farrell deserves his kudos, too. It’s a transformative role, both literally and figuratively. There’s a tendency in modern media to try to make villains sympathetic, to find some way to explain why they are the way they are. But the further you get into “The Penguin,” the more you realize Oz is a deeply evil soul, through and through. Somehow, he manages to one-up himself in awfulness in every episode — and that includes the show’s final moments.

Just when you think you’ve seen everything miniseries have to offer, along comes something like “Adolescence.” The Netflix series, spanning four episodes, tells the story of 13-year-old Jamie Miller (Owen Cooper), who’s been accused of killing a classmate, and how the ensuing tragedy affects the school, Jamie, and his family. Cooper rightfully won an Emmy for his work, with his talents on full display in Episode 3 when he meets with forensic psychologist Briony Ariston (Erin Doherty). As the viewer, you go back and forth, feeling bad for a young kid getting wrapped up in all of this, but then see the far more sinister side underneath the facade that has manifested from online manosphere-like content. 

As if great performances weren’t enough, “Adolescence” stands apart by having each episode filmed in one continuous take. With each episode being roughly an hour in length, that’s a full hour of a camera moving through various rooms and scenarios. It’s remarkable how seamlessly everything fits together, particularly one outstanding shot at the end of Episode 2, where the camera goes from handheld on the ground to up in the sky without missing a beat. 

You know a TV miniseries is good when people are praising the accent work. “Mare of Easttown” sees actors embracing (and nailing) the rare Delco accent that’s commonly found just southwest of Philadelphia, Pennsylvania. It’s incredibly specific, but it’s on full display here. And it’s a testament to the care put into the show as a whole that such attention to detail went toward something most audiences probably wouldn’t have noticed or cared about.

It’s a classic detective series, this time centered on Mare Sheehan (Kate Winslet) investigating the mysterious death of teenager Erin (Cailee Spaeny). While the central mystery serves as the hook, the show also explores the personal traumas of various characters. Everyone has something to hide or something that warped them into the broken person you see. Winslet is phenomenal as always, but the whole cast deserves praise for helping to flesh out these characters into believable archetypes. 

“Maid” might have a claim to being one of the most heart-wrenching, difficult-to-watch miniseries of the 2020s. Alex (Margaret Qualley) leaves her abusive boyfriend, taking her young daughter with her. To get back on her feet, she has to stay in a domestic violence shelter and take a job as a maid to earn some cash. The show takes an unflinching look at the cycle of abuse, both how tough it is to leave such a situation, especially with a child in the mix, and how many women will eventually return to their abusers.

Many of the shows on this list you should watch because they’re good, which is the case with “Maid.” But you should want to watch “Maid” as it provides a realistic look at the cycle of poverty so many find themselves in. It’s easy to think that one should simply leave such a scenario, but society has placed so many obstacles in the way that it’s tough to break out. And you’ll root for Alex every step to find some peace.

If you or someone you know is dealing with domestic abuse, you can call the National Domestic Violence Hotline at 1−800−799−7233. You can also find more information, resources, and support at their website.

Many miniseries are based on true events. However, “Baby Reindeer” takes things to a whole other level with Richard Gadd portraying a fictionalized version of himself reenacting things that happened to him. The show follows his character, Donny, a struggling stand-up comedian dealing with a stalker, Martha (Jessica Gunning). He catches on quickly to what’s happening between the two, yet it takes him a long time to begin doing anything about it. It’s a show that deals with flawed people not always doing the thing you would expect someone to do, but therein lies the brilliance of “Baby Reindeer.” 

Gadd and Gunning bring genuine nuance to their roles. It would be easy to see Martha as nothing but a simple villain, but there’s a layer of mental illness to explore that almost lends itself to sympathy. Likewise, Gadd is a victim of conceptions related to toxic masculinity and doesn’t necessarily want to admit to being a victim. It’ll undoubtedly make you uncomfortable, but that’s what the truth can do. 

Like many other series presented here, “I May Destroy You” isn’t an easy watch. Arabella (Michaela Coel) is a social media star-turned-novelist whose life is going just swimmingly despite still being in her 20s. However, the pilot episode ends with her getting sexually assaulted, and the rest of the series follows her trying to pick up the pieces from the traumatic event. 

Despite such a heavy throughline, “I May Destroy You” ranked No. 1 on TVLine’s list of the best comedies of 2020. There’s ample dark humor to be found, but none of that ever detracts from the very serious messaging. Sexual assault is just one of many pertinent themes the show tackles, in addition to homophobia and people’s relationship with social media. “I May Destroy You” has everything you could want out of a miniseries, making you laugh one minute and cry the next, and hopefully opening the doors to some very important conversations with your loved ones.

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN’s National Helpline at 1-800-656-HOPE (4673).

Paul Mescal and Daisy Edgar-Jones have become some of the most exciting actors working today, even appearing in blockbusters like “Gladiator 2” and “Twisters.” However, if you want to see far more grounded performances from the pair, then “Normal People” is the place to start. The two play classmates at secondary school who start a relationship, and over the course of 12 episodes, we see how it ebbs and flows over the ensuing years, going from romantic to platonic to back to romantic.

“Normal People” isn’t a straightforward romantic comedy or even a romantic drama. An idealized romance isn’t presented here with a clear-cut happily ever after. Both people are flawed, getting better in some areas and worse in others as time goes on. It’s a compelling coming-of-age miniseries that shows how stupid mistakes made when you’re younger can have reverberating effects, and the chemistry between Mescal and Edgar-Jones will have you wanting to believe in love again. 

“Carol & the End of the World” isn’t like other apocalypse shows. There’s no epic fight for survival, as the show presents Earth on a collision course with another planet. Most of humanity decides to spend its final days in utter hedonism, but then there’s Carol (voiced by Martha Kelly). She doesn’t have much of anything she wants to accomplish before doomsday, instead finding comfort in a bizarre office where people can perform busy work, leaning into the monotonous instead of the extraordinary. 

It’s a wonderful love letter to the beauty of life’s smaller moments. People might have a tendency to view life as a road to some grand destination, a singular goal you must attain before the end. But Carol finds comfort in the everyday routine, even making friends within this office doing nothing. With a sardonic humor streak, “Carol & the End of the World” is an existential animated series that flew under the radar but is very much worth your time. 

This keenly observed slice of life from the upper crust of New York City wears its literary origins on its sleeve: Taffy Brodesser-Akner adapted her own acclaimed novel into an eight-episode series for Hulu, with Jesse Eisenberg starring as doctor Toby Fleishman, who is reentering the dating pool after his recent divorce. Claire Danes co-stars as his ex-wife Rachel, who suddenly disappears without a trace, with Lizzy Caplan and Adam Brody popping in as Toby’s friends Libby and Seth.

“Fleishman” is the sort of caustically funny portrait of neurotic Manhattanites that Woody Allen used to reliably crank out once a year, but Brodesser-Akner takes the extra time a miniseries allows to widen her scope and dig deep into her characters’ unique flaws and failings. The actors rise to the occasion, too, with Eisenberg, Caplan and Brody all delivering memorable turns. But the show’s MVP is Danes, who shines when Episode 7 switches the focus from Toby to Rachel to show us what led to her disappearance. It’s an inspired choice to take the time to tell Rachel’s side of the story, and it’s part of what makes watching “Fleishman” feel like curling up with a good book.   

Few miniseries are as important to the 2020s as “Dopesick.” It spans eight episodes to tell a cohesive narrative about how the United States wound up in the opioid crisis it currently finds itself in. Audiences can see how Purdue Pharma aggressively pushed out OxyContin to as many patients as possible could take it, but there are also composite characters meant to represent large swaths of the American public. That includes Dr. Samuel Finnix (Michael Keaton) as a doctor hesitant to prescribe the new medication, as well as Betsy Mallum (Kaitlyn Dever), a coal miner who takes it for back pain.

TVLine spoke with Dever about the responsibility of portraying a character who was a stand-in for so many. “I had to pull everything that I possibly could into this role because the people behind the show put their trust in me,” she said. “I felt so grateful to even be sent a project like this.” “Dopesick” is the kind of show that should make you angry at how so many systems failed and ruined countless lives. 

Numerous Marvel series have been released on Disney+, and the benchmark for all of them remains the very first. “WandaVision” was the first in a grand experiment to tell smaller-scale stories focusing on characters introduced in the Marvel Cinematic Universe movies. Following the events of “Avengers: Endgame,” Wanda (Elizabeth Olsen) lives a simple, suburban life in the style of classic sitcoms with her husband Vision (Paul Bettany), who’s miraculously alive after his death in “Avengers: Infinity War.”

“WandaVision” isn’t just another action-adventure series. It’s true to form with its sitcom influences to where the first episode pretty much plays as a straightforward comedy except for some minor hints that something sinister is lurking. Fans tuned in week to week to get more information, and it was incredibly exciting to watch in the moment as numerous fan theories emerged. Other Marvel Disney+ shows may have faltered, but “WandaVision” laid a template for how these shows could tell very different stories from the movies. 

Mike Flanagan has made a bunch of truly stellar horror limited series for Netflix, but for our money, the best of the bunch remains “Midnight Mass.” There’s an atmospheric dread throughout much of the season, as an impoverished town begins seeing things turn around once Father Paul (Hamish Linklater) arrives, seemingly bringing a supernatural presence with him. However, this presence is far more malevolent than anyone could’ve imagined, and while the series initially focuses on an overarching malice, it soon descends into pure terror as the beast makes itself known. 

Even if you wouldn’t consider yourself super into the horror genre, “Midnight Mass” still has a lot to offer. The show masters the art of the monologue, with many characters ruminating on ideas surrounding faith, or lack thereof. The show expertly maneuvers around conversations about how there’s nothing wrong with religion in and of itself, but it can quickly devolve into blind fanaticism if a charismatic figure makes themselves known to take advantage of people’s desire to believe in something greater.