The HBO miniseries about John Adams is pretty good, generally. I've learned a lot despite some critical narrative omissions (the death of Ben Franklin, the Articles of the Confederation [thanks to Matt for pointing these out]).
BUT! One thing that simultaneously captivates and frustrates me is the cinematography of the thing. Tom Hooper, the director of other notable miniseries such as Prime Suspect 6: The Last Witness (ExxonMobil Masterpiece Theatre) and Byker Grove, is a virtuoso in the overuse of extremely raked angles and dramatic wide-angle shots. It's interesting as hell to watch, because you wonder what arresting moment in our political history is about to be distorted next...but I've begun to wonder how it serves the story to have a camera jammed up Paul Giamatti's nose, or to saw out the floorboards (a la Orson Welles) to get an angled establishing shot so dramatic that you think somebody kicked the rig over by accident.
Mr. Hoops: innovate in your miniseriesographies, by all means, but please do a better job of convincing me that it's worth the distraction.