Five 2025 miniseries to watch this summer

Undoubtedly one of the most high-impact series so far this year. This big hit from Netflix has caught everyone off guard. The miniseries Adolescence, created by the British team Jack Thorne and Stephen Graham (who is also part of the main cast), and directed by Philip Barantini, has dazzled audiences thanks to the hard-hitting plot, the staggering performances by the whole cast and its technical virtuosity.  

Four chapters each shot in one continuous take develop a starting point as surprising as it is heartbreaking: a thirteen-year-old teenager is suspected of having murdered a classmate in cold blood.  

In his first professional role, very young actor Owen Cooper has left everyone speechless with his performance as the teenage Jamie, especially with the much-discussed third episode, working with an incredible Erin Doherty, who plays psychologist Briony.  

Addressing issues such as gender-based violence, fatherhood, the influence of social media and particularly the manosphere on the worldview of young men, this Netflix miniseries is one of the most important titles of 2025. 
 

Seth Rogen and Evan Goldberg's caustic worldview is back on television bringing us The Studio, a new satire about the world of filmmaking, the behind-the-scenes ins and outs, and the dust that is swept under the carpet. Available on AppleTV+ (which for some years now has been noted for the high standards of its series, such as the wonderful series Severance), The Studio brings back the (sadly forgotten) sitcom format, with ten episodes of approximately half an hour each presenting a range of laugh-out-loud situations. 

Throughout the series, we follow the steps of the incoming director of a new big film production company, Continental Films, and his attempts to foster a romantic and kind worldview in film, rather than aiming for box-office hits and big corporate profits. We will delve into the everyday life of an industry that is as toxic as it is wonderful, with guest appearances by Ron Howard, Anthony Mackie, Zac Efron, Olivia Wilde, Martin Scorsese, Steve Buscemi and Greta Lee. 

This series draws on its creators' own experiences and reveals the contradictions between art and business in the film industry, with a unique approach and language. Although it retains elements of traditional comedies (which is nice to see), it also innovates and takes risks to reflect the nuances of a world that its creators both love and hate. 

A vast, unknown, landscape, the roughness of survival in an unstable world, the barren land beyond the horizon of freedom, the origin of something that has yet to be defined. American Primeval takes us back to the wild origins of the United States, the long march west of the white man and the trail of blood they left along the way to conquer the unknown. 

Netflix brings us a new western that defies the conventions of a genre as rich and vast as the wild landscapes it recreates. The tininess of an individual facing the world and the terrifying violence to which he or she is subjected to -or perpetrates- in order to survive. 

This is a visually very elaborate production where the texture of earth, filth and blood splash and smear everywhere, following a trenchant, tense and ambiguous script. A new production that joins Netflix's western catalogue alongside the unmissable Godless, from 2017. 

The creator of the well-known series This Is Us, Dan Fogelman, presents his new production on Disney+, Paradise, a dystopian thriller with elements reminiscent of Black Mirror or Lost. Although the series begins with a plot more typical of a political thriller, revolving around the assassination of the president, it gradually adds elements of dystopian and catastrophic science fiction. 

The powerful performances of the lead actors, Sterling K. Brown, James Madsen and Julianne Nicholson, are all impressive, enhancing a story that, even though it has been explored in the past, never ceases to surprise and keep you on the edge of your seat, given the shocking cliffhangers and dramatic intensity. 

Nonetheless, this series is capable of surprising and standing out, with an unexpected premise that is best not revealed and that, even though it may not always work, it definitely dares to take risks. 

The Spanish series production industry is much more prone than its Anglo-Saxon counterpart to opting for miniseries, rather than carrying on season after season. For several years now, Movistar+ has bet on single-season high-quality products, working with genres such as thrillers, drama and comedy, with very good results. 

After the high-adrenaline police thriller Antidisturbios (Riot Police), director Rodrigo Sorogoyen, author of a number of great Spanish films in recent decades, such as Que Dios Nos Perdone (May God Save Us), As Bestas (The Beasts) and El Reino (The Realm), returns to the series format with Los Años Nuevos (The New Years). The life and death of a love affair over the course of ten years is presented here through the portrayal of ten Christmas Eves, with a mise-en-scène that changes in step with the relationship being depicted. 

The performance of the leading duo, Iria del Río and Francesco Carril, hyper-realistic and with a lot of improvisation, is the keystone of an intimate and naturalistic script that delves into emotions and psychology as only Sorogoyen could.