The 50 Best Miniseries on Netflix Right Now

The Fall of the House of Usher isn’t an exact one-to-one television adaptation of the titular short story. Instead, the original story from Edgar Allan Poe is used as a frame to introduce a whole Succession-like miniseries, with names and subplots coming from other stories from Poe. Because of this, fans of the author might feel disappointed at the lack of old gothic flair, as the story is set a whole century and a half after, and the tone shifts as the show shifts from character to character. However, Mike Flanagan’s whole ensemble still proves to be entertaining as the Usher family deals with sci-fi mishaps, internal sabotage, and a possible supernatural element haunting the whole brood.

With a film version that didn’t live up to the hype of the original novel, Netflix’s adaptation of One Day released just in time to wreck the fans’ hearts all over again, but this time, it’s a good thing. The expanded runtime allowed Netflix to delve more into the moments in the novel, with each episode dedicated to a day in the year in Emma’s and Dexter’s lives, contrasting their respective worlds and opportunities available to them as different members of London society. And the couple is played beautifully by Leo Woodall and Ambika Mod, with a believable chemistry that isn’t formed in a single spark, but made in multiple moments. If you’re needing a good cry just right before Valentine’s Day, One Day is a superb slow burn romance to let those tears out.

This eight-part horror anthology is curated by the titular director, renowned as a trusted authority in telling tales of the Gothic and in creating wondrous practical creatures. So just like his work for films like Pan’s Labyrinth, The Shape of Water, and Hellboy, Cabinet of Curiosities is also filled with frightful beings ranging from reanimated corpses to bloodthirsty aliens—and should make for a staple Halloween binge. Aside from a star-studded cast, the series is also co-helmed by some noteworthy directors, including Jennifer Kent (The Babadook), Catherine Hardwicke (Twilight), and Ana Lily Amirpour (A Girl Walks Home Alone at Night).

Toxic Town tells the true story of how toxic waste in the steel-making town of Corby, England led a group of affected mothers to pursue justice. Helping them out is pro-bono lawyer Des Collins (Rory Kinnear), while on the other end of the case is Corby’s local government, who (unsurprisingly) are in cahoots with the steel mill responsible for the poisoning. The show’s beats are familiar; it’s a classic legal drama with streaks of political corruption and conspiracy, while also being an underdog story about victims rising to the powers that be. But its familiarity is easily forgiven thanks to the heartwarming performances of Jodie Whittaker and Aimee Lou Wood, who play two of the mothers with disabled children. The show, though short at just four episodes, gives them ample space to grieve, celebrate, and essentially be human–as opposed to just angry women serving as plot points to a drama. Their humanization and compassion for one another, as well as the thrilling pace and intelligent back-and-forths, are what make the show worth watching.

From Mike Flanagan, creator of The Haunting anthology, comes Midnight Mass, a miniseries that is just as gory, unsettling, and supernaturally twisted as any Flanagan horror flick. The series follows an ex-convict who returns to his small town just upon the arrival of a mysterious but alluring priest. As inexplicable events start to happen, the townsfolk hang onto the churchman’s words, seeking reassurance where they can.

With lots to say about religious fanaticism and perpetual grief, Midnight Mass is part of a new wave of layered and thoughtful scary stories currently dominating the genre. While its stately and meditative pace can be overbearing sometimes, it never runs out of things to shock and unnerve the soul.

Once you get past its kiddy dialogue and somewhat overenthusiastic voice performances, Maya and the Three delivers one of the most thrilling action spectacles for children’s television. Taking its cue from Mesoamerican folklore, this nine-episode miniseries is draped from head to toe in lavish, intricate visuals and is directed with a surplus of stylistic choices, with characters frequently breaking out of the frame itself. And once the action starts, it almost never lets up. It never becomes too frightening for kids, and it’s mounted on a seriously impressive scale that any adult should appreciate. The fights are dynamic, intense, and beautifully constructed almost like dances—giving kids and kids-at-heart lots to marvel at together.

With the success of Narcos, Netflix has created multiple shows about drugs in Latin America to the point that the genre is a tad oversaturated, but with Sofia Vergara heading the miniseries on the real-life cocaine queenpin, Griselda is one that you have to watch. Unlike other depictions of Blanco, Vergara’s series puts her front and center, focusing on the initial struggles it took for her to be taken seriously and the darkness that emerged once she got her way. And of course, Vergara is fantastic, sliding into the drama with an ease that makes us want to see more. While the show isn’t fully accurate, and six episodes are too short to tackle her decades-long rule, Griselda nonetheless is compelling television.

Mike Atlas is a former police detective now living on the streets as he reopens a supposedly solved murder case with a rookie prosecutor living in her mother’s shadow. As they dig deeper, they uncover a sinister conspiracy that reaches deep into the core of the police and justice system. The series is well-acted, with Max Riemelt giving an outstanding performance of a troubled detective suffering from trauma, guilt, and regret. Now homeless, with gaps in his memories, Atlas uses his dormant detective skills to discover the truth from eight months ago and protect his now-estranged family. There’s never a dull moment as mysteries unfold from multiple angles and pieces fall into place as theories fall apart. Sleeping Dog is an addictive guessing game until the end.

Releasing a documentary and a mini-series on the same case on the same day, Netflix understands how compelling Rosa Peral’s story is. Burning Body dramatizes the case’s events, but it does so in a way that questions the police as an institution. With the case, it’s clear that the ones assigned to protect citizens from crimes are trained enough to hide their own. However, the series also underscores the blatant sexism in their ranks, from higher ups taking advantage of new recruits, to spreading revenge porn on their fellow colleagues. With Money Heist’s Úrsula Corberó on the helm, Burning Body paints a double sided look of a multifaceted woman.

The real-life Tapie may be more or less interesting than the Tapie Laurent Lafitte brings to life in Class Act, but that doesn’t really matter. The series introduces the French tycoon as if he were a completely new character, which is helpful to those of us going in the series blind. There is drama, there is scandal, and since Tapie is so tied to French life, there is also history. But more than anything else, there is business. Tapie is by no means perfect, but he is a smart businessman, and Class Act’s sharp and strong writing brilliantly conveys the addictive highs and soul-crushing lows of commerce. Narrative cliches are inevitable, but that doesn’t make this well-crafted series any less enjoyable.