Najlepsza limitowana seria, jaką możesz teraz obejrzeć

cyberfeed.pl 1 tydzień temu

It can be good to have a tv show in your rotation that you know isn’t ending any time soon. But sometimes, you want something with an end point in head from its creators. Freed from the pressures of renewal and cancellation, limited series can give us any of the best storytelling the average of tv has to offer.

That’s been on full display recently, with a strong run of limited series in 2024 alone. The best tv of the year includes multiple “one and done” shows: The Regime, Baby Reindeer, Masters of the Air, and the excellent Shōgun, 1 of the best American tv shows in fresh memory. And more are on their way: Park Chan-wook’s The Sympathizer is moving through its period on HBO, The Veil and Under the Bridge just started on FX on Hulu, and even Knuckles is getting in on limited series action.

All the strong one-season shows on offer this year had the Polygon staff wondering: What are the best limited series always that you can watch at home right now? Anthology series and shows that got cancelled after a period don’t number — we’re looking only at shows that were planned as one-and-done entities.

Band of Brothers

Image: Warner Bros. Entertainment

Where to watch: Max and Netflix

A lot has changed about prestige tv in the 23 years since Band of Brothers first premiered on HBO. But no substance what trends have come and gone since then, 1 thing that hasn’t changed is the absolute excellence of Steven Spielberg and Tom Hanks’ planet War II series.

Band of Brothers follows a regiment of soldiers, nicknamed Easy Company, from paratrooper training through their experiences in the Second planet War’s European theater. The show’s depiction of war is downright hellish: a muddy, bloody, and terrifying image of conflict that manages to capture both the moment-to-moment imperative of survival, and the often-futile feeling of individual weapon fights and victories.

All this is given incredible life by the series’ awesome filmmaking as well as its parade of recognizable faces and future movie stars. Damian Lewis, Ron Livingston, Michael Fassbender, David Schwimmer, Tom Hardy, Simon Pegg, Colin Hanks, Dominic Cooper, James McAvoy, and more all show up at 1 point or another.

Each episode starts with a real-life interview from a associate of Easy Company, on which the characters and events of the series are based. It’s a jarring choice to this day, but 1 that helps underscore the true-to-life horrors of the show and serves both creatively and practically as a profound memorial to the soldiers themselves. The interviews besides give the series a stately feel that both makes it feel right at home with prestige TV, and oddly out-of-step and unique from everything that’s come before or after. —Austen Goslin

Devs

Where to watch: Hulu

Can a limited series last on vibes alone? Devs supposes that perhaps, with adequate sumptuous techno-religious set plan and otherworldly electro-drones, you can. Luckily, the remainder of Alex Garland’s 8-episode silicon valley espionage thriller also delivers. Nick Offerman effortlessly puts his dry, understated transportation to sinister effect as mysterious tech CEO Forest, a man who talks like a guru but besides orders a execution the second his quantum device is threatened. And what a device it is: the cubic, shimmering gold set is nearly as iconic as the erstwhile Parks and Rec star.

What exactly this device does is at the heart of the show’s mystery, as is the aforementioned execution Sonoya Mizuno’s Lily is trying to solve. Her raw, heart-wrenching performance takes many twists and turns, keeping the full thing emotionally grounded. Though the show luxuriates in poesy readings and languid establishing shots, it’s inactive more than just cerebrally intense viewing thanks in peculiar to Zach Grenier’s menacing turn as Forest’s head of safety Kenton. fewer shows can so effortlessly shift from gripping hand to hand combat to ruminations on the nature of free will and back again. —Clayton Ashley

I, Claudius

Where to watch: Acorn TV, free on Hoopla with a library card, digital acquisition on Amazon/Apple

There are respective reasons you should watch I, Claudius, the classical 1976 BBC miniseries, not least of which is: Have you always wanted to see Patrick Stewart in the most bizarre Roman legionnaire wig you’ve always seen?

Thankfully, I, Claudius’ legacy is greater than anything that curly hair could invoke in us. The series, tracing the early Roman Empire’s past through the eyes of eventual emperor Claudius (Derek Jacobi), boasts a cast longer than any British miniseries you’ve always seen, and there’s not a dud in the bunch. The tangled, intricate web of deception, backstabbing, and politicking is the blueprint and inspiration for shows like Game of Thrones and The Sopranos. Its production — both visually and in its sometimes clunky updating — is totally of its time. It’s a relic and a legend, a historical evidence that gave us the tv of today. —Zosha Millman

The small Drummer Girl

Where to watch: Digital acquisition on Amazon/Apple

Legendary manager Park Chan-wook (Oldboy, Decision to Leave) has a fresh buzzy mini-series out in The Sympathizer. But it isn’t his first foray into the format.

In 2018, Park’s adaptation of 1 of John le Carré’s best spy novels paired 2 burgeoning movie stars (Florence Pugh and Alexander Skarsgård) with the director’s impeccable attention to detail, creating 1 of the most underrated shows of the century.

A young actor (Pugh) meets a handsome alien (Skarsgård) while on vacation. What appears at first to be a summertime fling shortly comes into focus as a recruitment operation — the alien works for Israeli intelligence, and he brings the young female into the dangerous planet of espionage.

The small Drummer Girl is a pitch-perfect match of talent and origin material. Le Carré’s espionage stories are intricate and nuanced, never inclined to take the easy way out, which makes Park the perfect manager to tackle his stories. —Pete Volk

Midnight Mass

Where to watch: Netflix

While another Mike Flanagan Netflix miniseries might be more advanced profile, nothing stands out like Midnight Mass. At the time he released it he called the show his “most personal” work, gestating for years as he built up the clout and skill to make it.

Midnight Mass tells the communicative of a small, dying town abruptly inundated with miracles and weird events after a charismatic priest moves in. Flanagan imbues the communicative with quite a few heart, and an equal amount of pointed horror. The consequence is bold and clear: An ambitious part that’s at erstwhile punching widely and landing specifically, a wonderfully imperfect and profoundly individual masterpiece. —ZM

Mildred Pierce

Where to watch: Max

In any ways, this 2011 HBO adaptation of the classical 1940s James M. Cain fresh is the classical archetype of a prestige miniseries. It’s organized around 1 show-stopping performance from a massive star — Kate Winslet, always riveting as Mildred. It’s a period piece, with sumptuous, glossy production values – lots of warm light and good clothes — that are cinematic without abandoning the comforting, close-up frame of TV. But due to the fact that it’s directed by Todd Haynes, it’s besides mildly subversive, reframing Cain’s key noir text about an average L.A. housewife driven to desperation as something little heated and more patient — a post-modern, queer-coded, feminist melodrama. —Oli Welsh

Over the Garden Wall

Where to watch: Hulu

Many of the entries on this list make large watches, and let for rewarding rewatches. But for my money, this is the only 1 that demands an yearly rewatch. Over the Garden Wall and all its many, lyrical charms are best consumed at the onset to fall, the perfect fresh England Gothic to parallel the freshly crunchy leaves.

The communicative follows 2 brothers, Wirt (Elijah Wood) and Greg (Collin Dean) as they effort to make their way out of a supernatural forest and find their way home. Along the way they meet a host of colorful characters — a talking bluebird and a haunted woodsman, to name only just a couple — and encounter situations both goofy and spooky. It’s perfect for autumn, or just whenever you have a free afternoon. —ZM

The Prisoner

Where to watch: For free with ads on Crackle, Plex, Pluto TV, The Roku Channel, Tubi

One of the most influential tv shows always made, The Prisoner is a fantastic 17-episode series from 1967 about a British spy held captive in a unusual coastal village after attempting to quit his job. Created by star Patrick McGoohan, The Prisoner comes by its reputation honestly — it’s thrilling spy-fi with a large central mystery, a strong leading performances, and an iconic line of dialog that has lived on in pop culture history: “I am not a number! I am a free man.”

Unlike any of the another shows on this list, The Prisoner had a beautiful open-ended finale — garnering any controversy — but it is well worth the watch. —PV

Shōgun

Where to watch: Hulu

TV is frequently compared to movies in an effort to elevate it; it turns out, the only thing people allegedly want more than a movie is something that’s “actually more like a 10-hour movie.” FX’s Shōgun is easy to draw the comparison with, sharing DNA with quite a few war movies as much as it does smart miniseries.

But yet the show stands tall as precisely what it is: television, and damn good tv at that. Across its 10 episodes, Shōgun builds its communicative methodically and exquisitely. Watching it is like tracing down a fuse only to find it’s already been lit, all glorious fireworks you couldn’t damper if you tried. Its strength comes from its elegant diffuseness, its trust of the audience, and constant awareness of how to build a story. That’s TV, baby, and damn good tv at that. —ZM

Small Axe

Where to watch: Prime Video

It’s debatable whether Steve McQueen’s one-off anthology series about Black life in Britain in the 1970s and ’80s is truly a miniseries at all, but what else would you call it? Well, a masterpiece, for 1 — most likely the director’s best work, which is saying something. The centerpiece is the gripping feature-length courtroom drama Mangrove, but even that superb movie is exceeded by Lovers Rock, a soulful slice-of-life ode to the Brixton reggae home organization scene, and a profoundly moving tribute to the power and resilience of community (with large tunes). There are outstanding performances across the series, besides — peculiarly from Shaun Parkes and Letitia Wright in Mangrove, and John Boyega, struggling with the duality of being both Black and a police officer in Red, White, and Blue. —OW

Station Eleven

Where to watch: Max

Max’s beautiful miniseries adaptation of Emily St. John Mandel’s fresh Station Eleven came at an opportune time — close adequate to the onset of the COVID-19 pandemic for its communicative about a pandemic apocalypse to feel applicable and narratively important, but not so close that it felt “too soon.” (Beating The Last of Us to air didn’t hurt either, given the shows’ very broad communicative similarities.)

Showrunner Patrick Somerville tweaked the communicative and its structure, but the thrust remains the same — as the communicative jumps back and distant from pandemic onset to what life is like for the survivors 20 years later, a communicative emerges about community and creativity, how people make sense of trauma and crisis through art, and keep a sense of connection and commonality by passing that art down. It’s a beautifully shot and beautifully acted limited series that isn’t about empty feel-good uplift or wallowing in apocalyptic doom — like The Leftovers, which Somerville worked on as a writer, it feels almost surreal and strangely practical at the same time as it lays out its many separate threads about characters uncovering intent after a immense and unexpected upheaval. —Tasha Robinson

Tinker Tailor Soldier Spy

Where to watch: YouTube

This BBC adaptation of John Le Carré’s celebrated spy fresh from 1979 effortlessly outclasses the 2011 movie — even though that’s a beautiful good, classy film. partially that’s because, over 7 50-minute episodes, it has more area to untangle Le Carré’s devious game about a mole hunt in the dog days of the Cold War, and to soak in the melancholy of the characters. partially that’s due to the fact that it’s no period piece, and it was able to capture the atmosphere of wounded, jaded patriotism at the time, on gorgeously faded 16mm film, in gorgeously faded locations. mostly it’s due to the fact that Alec Guinness’ George Smiley is 1 of the most perfect bits of casting in tv history: a patient, lugubrious, sad genius of spycraft whose unblinking gaze penetrates all shroud. Even Gary Oldman could never match it. —OW

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