10 Best Finales From 2010s TV Shows, Ranked

Not only the best series finale of the decade, but arguably the greatest final hour of a show’s run in television history, “Felina” brings Breaking Bad to a close with a resounding sense of finality that leaves audiences in a stunned state while ending the story in the perfect fashion. After five seasons exploring Walter White’s (Bryan Cranston) evolution from being a meek science teacher cooking methamphetamine to provide for his family to a ruthless, callous, and evil drug lord obsessed with power, Breaking Bad ends with a poignant reflection on White’s journey and a grand conclusion to his criminal empire.

It masters its conclusion by reveling in the consequences of Walter’s actions, showcasing the devastating fallout the revelation of his crimes has had on his family and the shattered relationships he has ruined through his downward spiral into wickedness, greed, and complete moral corruption. With “Felina” standing as one of the greatest episodes of any series ever released, period, Breaking Bad ends on a triumphant high, a rewarding gem of enrapturing drama and powerful conviction that presents the best ending television has ever seen.

Presenting a spellbinding depiction of the social upheaval of the 1960s that plants its focus firmly on the complicated and nuanced figure of Don Draper (Jon Hamm), Mad Men is one of the defining series of television’s golden era. Following the enigmatic creative director of an advertising firm in New York City, the AMC drama delves deep into the moral corruption and eccentricity of the marketing industry, where every human emotion is something that can be sold and every magical moment something to be exploited.

The finale hits hard on this point, positing that Draper has finally found a sense of equilibrium and joyous peace in his life before cutting to Coca-Cola’s famous “I’d Like to Buy the World a Coke” commercial from the 1970s. Does this imply that Draper’s newfound sense of euphoria was merely another feeling he worked into advertising, or does the ending suggest the pained protagonist finally achieved the balance of work and happiness that always eluded him? The ambiguity is entrancing, as is Mad Men’s ability to bring rewarding conclusions to every major character, bringing a sense of closure to their arcs while signaling how they would progress in the years to come. It’s a note-perfect finale that epitomizes the razor-sharp brilliance and character-focused depth of the series with immaculate precision and impact.

Everybody dreads an anticlimax in television, but, in a peculiar way, BoJack Horseman purposefully delivers one to illustrate its central themes of regret, toxicity, and the inability to grow and develop without making stern efforts to do so. The hit animated series follows the titular BoJack Horseman (Will Arnett), a washed-up television star still coasting on his '90s sitcom success whose desire to rekindle his career and assert himself as an actor of talent and depth is constantly thwarted by his own self-destructive, self-loathing, alcohol-fueled misadventures.

The series expertly juggles BoJack’s selfishness and yearning for admiration, bringing him to the precipice of redemption and self-discovery plenty of times, only for him to come to pessimistic conclusions and backslide into binge-drinking and drug abuse. The finale feels like it should be an ultimatum; BoJack either finally recognizes his issues and changes his ways or falls off the deep end entirely. Instead, it presents an ending of quiet truthfulness, an acknowledgment that BoJack may never change, and the damage he has caused won’t simply be forgotten. It’s profound, daring, and sublimely powerful, ending one of the decade’s most captivating and complex comedies with a pointed realism.

One of the best and most underappreciated series of the decade, The Leftovers shines as an absorbing exploration of a dystopian world rife with tragedy and loss that contemplates humanity’s resolve to persevere while analyzing religion, faith, and morality. Set three years after a perplexing event where 2% of the population mysteriously vanished, it follows the journey of the Garvey family as Kevin (Justin Theroux) tries to uphold a sense of normality while raising his children and coming to terms with his wife’s departure to join a nihilistic cult. Over its three seasons, its narrative scope expands to different cities, analyzing how different people have been impacted and jaded by the Sudden Departure.

Its finale is a triumph of technically perfect, thematically concise writing, one that is comfortable leaving mysteries lingering to be deliberated on by viewers so that it can emphasize the central idea of moving forward and overcoming emotional hardships with complete conviction and craft. As such, The Leftovers comes to an emotionally powerful and richly rewarding ending buoyed by the brilliance of Theroux and Carrie Coon.

With 20 of its 39 episodes airing prior to 2020, Succession qualifies as a 2010s series by the barest of margins. With its basis on William Shakespeare’s ‘King Lear,’ the HBO series excels as a skewering satire of media power and corporate greed that thrives on the back of its ingenious writing and flawless performances. Following the Roy family as the aging patriarch contemplates retirement, it focuses on the squabbling and scheming of three adult siblings as they vie to position themselves as the successor to their father’s news and media empire.

Its conclusion feels both shocking and inevitable, with its finale a masterpiece of tension that sees desperation simmer and the main characters’ grand plans capitulate around them. Through its focus on wealth and influence, Succession contemplates the nature of greed and the lingering effects of toxicity and deceit in a family environment, themes which become prominent in “With Open Eyes” as each of the siblings succumbs to their own desire and sacrifices their bonds with each other in the process. It’s a flattening phenomenon of modern television, a mighty and fiercely intelligent conclusion that leaves viewers with a profound sense of emptiness and isolation.

Life is often ugly, a series of unpleasant and taxing episodes that tend to be endured with tearful heartbreak and absurd hilarity in equal measure. Few series have illustrated this with the emotional resonance or inspired brilliance of Fleabag. Created by and starring Phoebe Waller-Bridge, who based the series on her own one-woman stage show, Fleabag is a melancholic, grounded, and often hysterical exploration of human existence as it follows Fleabag, a woman grieving the recent death of her best friend while navigating the rigmarole of life in London.

With just two seasons and twelve episodes, the romantic dramedy became an icon of modern television, and its faultless finale played a monumental role in solidifying its status as such. Subverting the typical formula of romantic stories, Fleabag ends on a note that prioritizes self-acceptance and character development over happily-ever-after, a touching ode to individuality and growth more so than a gooey realization of true love. It’s mature, tender, and painfully realistic while still being profoundly hopeful, making it one of the best finales the genre has ever seen.

Serving as a spin-off, prequel, and, in parts, a sequel to Breaking Bad, Better Call Saul excels as a compelling exploration of Jimmy McGill’s, aka Saul Goodman (Bob Odenkirk), evolution from a con artist and small-time lawyer to a pivotal legal aid working in the drug trade. As it starts, it is a fun character study that runs with an air of gleeful duplicity and conniving delight as it depicts McGill’s questionable morality in pursuit of noble causes. As it progresses, however, it becomes increasingly bleak as a drama of lost values and corruption.

The finale is the embodiment of this downward spiral, one that illustrates just how far McGill has fallen, yet clings on to that sense of hidden decency lurking beneath the complicit surface that always made him such a lovable and intriguing character. Accentuated by a beautiful scene between McGill and his romantic interest Kim Wexler (Rhea Seehorn), Better Call Saul’s finale is a fantastic feat of bittersweet poignancy, redemption, and accountability that reminds everyone why Jimmy McGill is one of the most likable anti-heroes television has ever seen.

Following two KGB agents stationed in Washington D.C. as sleeper agents, even posing as a married couple with their two children who are oblivious to the true allegiance of the parents in the Cold War, The Americans thrives as both a pulsating dose of espionage suspense and a poignant drama on national barriers and humanity. This allure of international spycraft and rich family dynamics runs powerfully throughout the entire series, coming to a profound and devastating climax in Season 6’s sensational swan song, “START.”

Executing the perfect balance between delivering closure and finalizing loose narrative threads while still leaving some elements unresolved, The Americans' heart-pounding finale is a poignant and piercing exploration of the agonizing moral gulf that separates one’s duty to their country from their love for their family. Charged by character emotions and tremendous urgency, “START” sees the series close with grounded intensity and resonant ambiguity, leaving viewers stunned as the Jennings achieve one of their major goals at the expense of another.

Excelling as an intricate thriller of cybersecurity and anarchism, Mr. Robot imposes itself on audiences with its winding narrative as it follows Elliot (Rami Malek), a cybersecurity engineer and experienced hacker suffering from social anxiety, clinical depression, and DID, as he is recruited by an insurrectionist known as Mr. Robot (Christian Slater) to attack E Corp. As Elliot wrestles with his own mental wellbeing and the significance of fsociety’s major objective—to erase all debt records and dismantle global capitalist corruption—plenty of unexpected twists emerge.

The series saved its best and most devastating twist for the series finale, completely re-structuring the basis of the story while bringing new depths to Elliot and his overarching goal, while re-framing the story of hacktivism as a rich thematic observation of such themes as trauma, self-acceptance, and human connection. The fact that “Hello, Elliot” was able to achieve this while still offering an emotionally satisfying finale is an astonishing triumph, a marvelous feat of writing that finds tremendous weight in Malek’s central performance and the execution of its brilliant narrative turn.

Daring, dashing, and often disturbing, Dark is the embodiment of modern television’s audacious narrative might and the sophisticated intrigue of today’s audiences. The German series is a rich mosaic of crime mystery intrigue, time-traveling sci-fi, and apocalyptic angst as it unfurls in the aftermath of a series of missing children cases, emphasizing the dark secrets of the community and its past, and the arduous journey four families embark on through time to be reunited with their loved ones.

Given the story’s winding, elaborate, and ever-expanding nature, “Das Paradies” (translation: “The Paradise”) faced the imposing task of delivering a rewarding and cohesive finale that offered closure without toning down the narrative complexity. It passes with flying colors, conjuring a conclusion of high drama, sacrificial heroism, and bittersweet perfection that closes the story of paradoxes and parallel existences with an ending that comes full circle. Through this meticulously crafted resolution, Dark stamped itself as one of the defining series of the past decade, a mind-bending and mystifying sci-fi thriller that is a treat to rewatch, dissecting every single plot detail with the assurance that it all comes to a rewarding consummation.