10 Best Limited Series on Apple TV+ to Watch

Based on true events, Black Bird follows James Keene (Taron Egerton), a narcotics dealer sentenced to ten years in jail. He makes a deal with the authorities to reduce his sentence, but in return, James has to befriend their deadliest convict—a child murderer played by the excellently terrifying Paul Walter Hauser—and extract a confession out of him before it’s too late.

If you’re a fan of gripping crime thrillers, anti-heroes, star-studded shows, and watching British actors do a perfect American accent, then Black Bird is right up your alley. The miniseries is also an excellent showcase of topnotch performances; Egerton and Hauser bring the house down in their excellently staged two-handers, Greg Kinnear is reliably sturdy as the determined detective, and Ray Liotta in one of his final roles is devastating as an ailing father. 

Five Days at Memorial recalls the real and horrifying events that went on at a New Orleans hospital during the aftermath of Hurricane Katrina. Over the course of five days, the caregivers in charge try their best to evacuate thousands of people from the building, but heavy floods, power outages, intense heat, and a sorry lack of planning result in some heartbreaking decisions about the fate of their patients.

The ongoing series is a gut-wrenching and at times excruciating watch, adeptly directed by John Ridley (American Crime) and absorbingly moored by a cast that includes Vera Farmiga (Conjuring)—by now an expert at exhibiting pure horror—and Cherry Jones (Succession).

It’s hard not to be swept away by the epicness of Masters of the Air. Produced by Steven Spielberg and Tom Hanks, with the first four episodes directed by Cary Joji Fukunaga (No Time to Die, True Detective), it’s made sure to flex its massive $250-million budget. Everything is accounted for here, from the sweeping and historically accurate production design to the stacked cast of rising male stars (Oscar nominees Austin Butler and Barry Keoghan easily steal the show). Even the rousing score and sound design, while bordering on melodrama at times, build up tension and add a premium air to it. It’s a visual and sonic feast bolstered by upstanding performances and an endearing show of brotherhood. Whenever it risks being propagandistic or misguidedly patriotic, it’s the believable relationship between the boys and their grave understanding of war that ground it and give it heart. And of course, the air combats are edge-of-your-seat thrilling. Like Band of Brothers and The Pacific before it, it’s a visceral entry in the genre of World War II must-sees.

There are only 20 seats in Formula 1 each year, meaning that drivers are not only racing to win but to be kept on the roster. With the big stars, Ferrari and Mercedes, habitually shrouded in secrecy, Formula 1: Drive to Survive focuses more on the back of the grid. Lewis Hamilton, the five-time world champion, is rarely seen, for example, giving more room for other stories to unfold, including that of Günther Steiner, the Italian team principal of the Haas Formula One Team. That is not to say there are no big reveals. Even if you think Formula 1 is a decadent, testosterone-driven sports for rich Europeans, Drive to Survive might be welcome crash course into what makes this sport so appealing for many and might also have the potential to change your mind. If not, it is still a very well-made, slick, and engaging docuseries that will have enthusiasts and newcomers thoroughly entertained.

While the show won’t teach you chemistry (or at least not enough for non-chemists to understand certain dialogue), Lessons in Chemistry is an enjoyable adaptation of the bestselling novel. Taking what makes the novel great, the period mini-series, like many period shows, highlights the historical inequality, but does so in a way that’s organic. Protagonist Elizabeth Zott, like Brie Larson, is just simply ahead of her time, while misogyny misinterprets her words and actions. The series also expands on other characters, but still manages to keep a steady pace, through clever rearrangement and reinterpretation of the novel’s plot points. Adding in the lovely costumes, and a stronger love story to start, Lessons in Chemistry might be Apple TV+’s answer to The Queen’s Gambit, albeit set a decade earlier.

Led by Brian Tyree Henry (Atlanta, The Fire Inside, Bullet Train), Dope Thief is a thrilling if uneven crime comedy following two grifters (the other played by Wagner Moura) who get into deep trouble after a fake drug bust goes wrong. With cartel men and the feds chasing them, Henry and Moura’s characters must find a way to protect themselves and their loved ones, all while they process some unresolved grief and trauma. Moura is reliably great, but Henry juggles plenty of hats here—he is the emotional core, as well as often the funniest guy in the room. It gets uneven midway, but nothing some impressive and enjoyable performances can’t fix.

Starring the Cate Blanchett and directed by Alfonso Cuaron, Disclaimer is every bit as cinematic and enjoyable as you’d imagine it to be. It’s juicy and well-performed (Hoyeon’s unnatural acting notwithstanding), filled with enough twists and turns to keep you seated despite the occasionally melodramatic plot. It’s designed to make you crave more: more rich acting, more pulpy mystery, more explosive secrets, and more emotional breakdowns, which Blanchett has certainly mastered. It’s not as deep as it thinks itself to be, and the script can be overwrought at times (do we really need every single movement narrated?) but the fun twists, great performances, and beautiful cinematography more than makes up for them.

Shining Girls is painful to watch. How could it not be, when it follows the serial and brutal murders of female victims? Even when the series is told through the lens of sole survivor Kirby (played by the excellent Elisabeth Moss), we witness the indelible effects of assault and trauma. Kirby’s sense of reality shifts; time is circular and memories are provisional. She’s an unreliable source in her own story. 

And yet Shining Girls is also necessary to watch. It’s one of those stories where pain is the point, and it brings you close enough to the scene of the crime that it feels wrong to pull away too soon–not until you pull through the ending. 

As always, Moss is unrelentingly intense as she takes us through the deepest corners of the victim she portrays, but a strong supporting cast also rounds off the performances. Jamie Bell is particularly haunting as the yet-to-be-discovered killer. 

At just six episodes, Defending Jacob can feel surprisingly long. The dramatic pauses are drawn out and the dialogues tend to get melodramatic. But the core mystery remains compelling, as do the trio of performances that lead it. Chris Evans, Michelle Dockery, and Jaden Martell are devastating to watch as they descend into uncertainty and chaos—Martell in particular, though the youngest, brings more heart to the table. Is he the psychopath everyone claims him to be, or is he just a boy struggling to come of age? It can stand to cut a few scenes and plot lines, but these three actors, the questions they raise about trust and loyalty, and the whodunnit mystery ultimately make it a gripping series.

I’ve seen my fair share of true crime documentaries, and a major complaint I have is about how directors tend to overdramatize the story, so much so that it achieves the opposite effect for me. I feel desensitized and irate when the music swells to usher in yet another cliffhanger. So it’s refreshing to see almost none of that in Cowboy Cartel, which is well-edited and gripping enough to keep you hooked till its finale. Of course, the downside to stripping a crime story of sensationalism is that it can get boring in its straightforwardness. This happens more than a few times in Cowboy Cartel, and it doesn’t help that its main interviewee, FBI Agent Scott Lawson, recounts events in a sleepy and monotonous tone. Still, it’s tightly edited, well-researched, and intriguing case. The documentary itself may not always match its energy, but when it does, it’s a show that’s very hard to put down.