Outstanding Performance by a Female Actor in a Limited Series

DANIELLE BROOKS ON “ROBIN ROBERTS PRESENTS: MAHALIA”

FYC: Female Actor in a Television Movie or Limited Series

WE’VE SAID IT BEFORE AND WE’LL SAY IT AGAIN:

Limited and anthology series are where you can find today’s most exciting television—and TV acting. That’s particularly true of the women who captivated us enough during their short run of episodes that we find ourselves begging for a second season. Here are 2021’s buzziest and best female performers in miniseries or TV movies.

Connie Britton

“The White Lotus”

Study Britton’s line readings on “The White Lotus,” and you’ll realize she’s a bottomless well of subtext. On the surface, her Nicole Mossbacher is a shallow, spoiled lady-boss, too self-obsessed to relate to her husband (Steve Zahn) or children (Sydney Sweeney and Fred Hechinger). But Britton digs beneath that outer layer to unearth cowardice, empowerment, and loneliness exactly when this twisted satire needs them.

Danielle Brooks

“Robin Roberts Presents: Mahalia”

Anyone who’s still unaware of Brooks’ onscreen brilliance hasn’t been paying attention. Her charisma levels are higher than ever when she’s breathing life into another gifted performer: gospel goddess and civil rights trailblazer Mahalia Jackson. Brooks maneuvers the curves of a typical biopic, and her embodiment of Jackson’s joyful triumphs are made all the sweeter after she’s guided us through her crushing adversity.

Jessica Chastain

“Scenes From a Marriage”

This mostly two-hander starring Chastain and Oscar Isaac never shies away from heavy emotions, trusting its stars to plunge us into the depths of a fraying marriage. In as different a mode as possible from her title role in this year’s “The Eyes of Tammy Faye,” Chastain reminds us of her ability to convey raw vulnerability, infusing her Mira with outrage, joy, and heartbreak.

Jennifer Coolidge

“The White Lotus”

Coolidge has harnessed her gifts in countless projects. Still, this Mike White series gives us a gratifying opportunity to see an actor embody a role crafted precisely for her. Tanya is a vapid, spoiled snob—someone whom Coolidge invites us to ridicule. Yet she’s also—“at the core of the onion,” as she proclaims in the show’s best speech—a woman adrift, grieving the loss of her mother and daring us not to empathize.

Cynthia Erivo

“Genius: Aretha”

First a scientist, then a painter, and now a singer-songwriter: National Geographic’s “Genius” series shines its most illuminating spotlight yet on Aretha Franklin, a woman worthy of the label. Exhibiting genius-level on-camera instincts herself is Erivo, inhabiting Franklin’s regal presence, fabulous outfits, and soulful vocals. As is obvious by this point in her meteoric career, Erivo can always be counted on to deliver.

Beanie Feldstein

“Impeachment: American Crime Story”

“Impeachment” is often unbearable to watch, because both so much and so little has changed about how women are viewed in the public eye. Feldstein makes it even more so as she captures just how young and vulnerable Monica Lewinsky was during the Clinton scandal, and how little she deserved the distinction of most reviled woman in the world. Between this, the film adaptation of “The Humans,” and Broadway’s upcoming “Funny Girl,” we can rejoice: The era of Feldstein supremacy is upon us.

Kathryn Hahn

“The Shrink Next Door”

Following “WandaVision,” the Hahnaissance continues with Michael Showalter’s adaptation of Joe Nocera’s true-story podcast about a therapist crossing the line. As Phyllis Markowitz, who first encourages and then recoils at her brother’s (Will Ferrell) efforts to turn his life around, Hahn once again walks the line between comedy and heartfelt drama. Every word comes from deep within her soul—but emanates from a shoulder-padded, frizzy-haired delight of a character. She’s simply marvelous.

Nicole Kidman

“Nine Perfect Strangers”

Kidman is nothing if not dedicated. It’s a joy to see her rip Masha Dmitrichenko straight from the pages of Liane Moriarty’s blockbuster novel. The Russian businesswoman and luxury self-help retreat maestro may have questionable means of enlightening her desperate clientele (hallucinogenic smoothies are indeed on the menu), but there’s no question about the power of Kidman’s bone-deep portrayal.

THUSO MBEDU ON “THE UNDERGROUND RAILROAD” JESSICA CHASTAIN ON “SCENES FROM A MARRIAGE”

Andie MacDowell

“Maid”

Casting former “it” girl and Hollywood veteran MacDowell as the onscreen mother from hell— opposite her real-life daughter, Margaret Qualley—was a stroke of genius. “Maid” isn’t an easy watch, but the performances will keep you riveted and rooting for its central hero. MacDowell’s embodiment of bipolar disorder and damning narcissism as Paula bring the performer to some of the darkest places we’ve ever seen her go.

Thuso Mbedu

“The Underground Railroad”

Training her eyes on the camera as it slowly zooms in, Mbedu’s performance evokes a million heartbreaks and a bottomless well of sadness. The rising star is in her element on Barry Jenkins’ stunning, sweeping saga of American slavery. She sinks so deeply into Cora that character and actor feel inseparable.

JULIANNE MOORE ON “LISEY’S STORY” JULIANNE NICHOLSON ON “MARE OF EASTTOWN”

How I Got My SAG Card:

Rose Byrne

“It was on a job called ‘The Dead Girl’; it was my second job. Gary Lucchesi and Tom Rosenberg were producers, and a woman named Karen Moncrieff was the director. They got me the job, and then they got me my SAG card, which was very cool. I still remember the thrill. I mean, I got dental! It was a huge deal.”

Melissa McCarthy

“Nine Perfect Strangers”

Great acting comes down to coherence: the ability to establish a clear arc through a story’s twists and compelling chemistry with co-stars. McCarthy’s performance as frustrated novelist Frances Welty, who’s reluctantly seeking personal transformation at a mysterious wellness resort, reminds us of those qualities. At this point in her fascinating, varied career, it’s safe to say there’s little McCarthy can’t do onscreen.

Julianne Moore

“Lisey’s Story”

We shouldn’t take for granted what Moore can serve us onscreen, whether it’s grief, internal intrigue, or organic reactions to events big and small. She does all of the above on this miniseries adaptation of Stephen King’s supernatural tale of mourning and treasure hunting. It doesn’t matter how extreme her emotions are or how unlikely the twists become—we believe Moore every step of the way.

Julianne Nicholson

“Mare of Easttown”

“My Ryan! My Ryan!” Spoiler alert: If you watched “Mare of Easttown,” you know that Nicholson’s Emmywinning Lori Ross ultimately shouldered much of the series’ emotional impact; it required the actor to mine unimaginable, devastating depths. It’s no wonder that Nicholson was specifically selected by executive producer–star Kate Winslet for the role. We’ll be thinking about that car scene many TV seasons from now.

Sarah Paulson

“Impeachment: American Crime Story”

At this point, it’s trite to say that Ryan Murphy’s No. 1 muse can make any onscreen material work. But Paulson delivers her take on Linda Tripp—with all the devilish scheming, professional heartache, and loneliness it entails—with surety. It’s a rare moment when you can no longer see even a glimpse of the actor—only the person she has become.

Margaret Qualley

“Maid”

“Maid” very well could be Qualley’s star-is-born moment. She already has an impressive résumé of leading performances and scene-stealing supporting turns, but Qualley’s likability and open-wound emotionality are more reserved here. Strong-willed, steely, and desperate to find stable ground for her daughter after fleeing an abusive marriage, her Alex demands our attention—and our tears.

NATASHA ROTHWELL ON “THE WHITE LOTUS”

CHINASA OGBUAGU AND KATE WINSLET ON “MARE OF EASTTOWN”

Natasha Rothwell

“The White Lotus”

Rothwell is among the many revelations in the “White Lotus” cast. She’s best known for her goofy comedy on “Insecure,” but here, she operates on a more nuanced level. As resort spa manager Belinda, she’s all pleasant smiles and dedication to others’ needs. But when those smiles veer into winces—in particular, when her face crumples during a humiliating exchange with Coolidge’s Tanya—Rothwell earns her dramatic bona fides.

Jean Smart

“Mare of Easttown”

“I’m sorry I’m not more maimed for you,” Smart’s Helen Fahey says to her daughter as she’s wheeled into an ambulance. When asked if she’d like to be accompanied to the hospital, the sincerity in Helen’s assent exemplifies the magic of her “Mare of Easttown” performance: a one-two punch of hilarious, heart-rending messiness that defines a family.

Ruth Wilson

“Oslo”

Diplomacy has never been sexier. Not that J. T. Rogers’ Tony-winning tale of the 1993 Oslo Accords feels erotic; it has more to do with its translation to the screen, and the casting of Wilson and Andrew Scott as the husband-and-wife team who forever changed relations between Israel and Palestine. It’s startlingly real, populated by living, breathing beings. Wilson, one of today’s brainiest, most sensual stars, gives Mona Juul both a head and a heart.

Kate Winslet

“Mare of Easttown”

There is plenty of evidence that Winslet’s turn on “Mare of Easttown” is one of the greatest TV performances ever. But let’s boil it down to a single noise: As we learn who really murdered Erin McMenamin (Cailee Spaeny), Mare’s pain escapes her body as an involuntary yelp. That sound may be the most real acting moment on a limited series full of them.