Parks and Recreation: series 7
In its final 13 episodes, this consistently smart, funny and almost criminally engaging show visited the near future (these episodes were set in 2017) to wrap everything up on a variety of notes that were witty and moving. Simply one of the best sitcoms ever made, it'll be sorely missed. At least we know we haven't seen the last of the fabulous Amy Poehler, Adam Scott, Chris Pratt, Aubrey Plaza, Aziz Ansari, et al.
Looking: series 2
Andrew Haigh's loosely constructed series exploring the lives of three gay men in San Francisco continues to make its plot turns realistically random, as the characters find love and friendship in unexpected places. Intriguingly, there's a nagging feeling that all of them are going to end up unhappy, even as lovely things happen in their romantic lives. But that cleverly reflects life in a subculture that's been told for a generation that they're incapable of having that happy ever after. Pointed and thoughtful stuff. Perhaps too complex, which is why it's sadly not been renewed for a third series.
SEE ALSO: my interview with Frankie J Alvarez >
The BBC's prestigious period drama traced the arc of Anne Boleyn (Clare Foy) in six episodes through the eyes of Thomas Cromwell (the awesome Mark Rylance). It's dark and brooding, quiet and utterly fierce, packed with creepy surprises and beautifully underplayed characters. The cast is simply amazing, including a terrific performance from Damien Lewis as a watchful, intensely insecure Henry VIII. Sometimes rather dense and murky, but the story's big moments are beautifully rendered. Utterly riveting.
House of Cards: series 3
Much of the tension seemed to be absent from the show this year, mainly because there's nowhere left for Kevin Spacey's Frank Underwood to go now that he's the US President. His manoeuvring toward re-election wasn't nearly as compelling, nor was the shadowy rebirth of his henchman Doug (Michael Kelly). On the other hand, Spacey and Robin Wright are both utterly mesmerising on-screen, especially as they traversed the gyrations of their freaky marriage. All of the actors are superb; most notable in the supporting cast were Molly Shannon and Elizabeth Marvel.
You're the Worst
This biting, acerbic rom-com was so much fun that it felt like it ended far too soon - after just 10 brisk half-hour episodes. Chris Geere and Aya Cash are terrific as the self-destructive leads, people who know better than to start a relationship but do anyway. Their struggle to both adhere to and break the rules is complex and very funny, although the scripts sometimes get oddly preachy for such a free-spirited romp. It's as if the writers want to be radical but are still bound by traditional rules themselves, which adds a layer of meta-meaning that's compulsive to watch. Bring on series 2.
This new HBO series benefits from strong performances from the leading cast members Mark Duplass, Melanie Lynskey, Amanda Peet and Steve Zissis as four people grappling with their interrelationships. Each character's actions are rather annoying - this is one of those shows during which we're constantly screaming at the screen - as they jeopardise their connections with each other by doing things that are desperate or downright stupid. But the actors manage to bring out the undercurrents very nicely. And the cliffhanger ending bodes well for a messy Series 2.
Channel 4's experiment in interlinked programming was intriguing enough to hold the interest, although I gave up on the on-demand mini-doc Tofu after one episode. I very nearly gave up on Cucumber too, since its central characters were so irritatingly written and played as cartoon figures rather than real people. The only one who worked was Freddie Fox's bitter queen, a loathsome young man with deep insecurities. He made the show watchable. Banana was considerably better, one-off dramas that peeled away (!) from Cucumber to touch on big issues with some genuinely resonant emotion.
Frankly, I'd watch anything that Eugene Levy and Catherine O'Hara were in. So even if this far too high-concept sitcom strains to be wacky, it's packed with a constant flow of sardonic, understated humour. It's not immediately clear how the writers will be able to stretch this one joke into a second season, but as long as Levy and O'Hara find ways to play with their terrific on-screen charisma, I'll be watching. And aside from a too-broad turn from Chris Elliott, the supporting cast really grows on you.
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Shameless: series 5
This American remake of the long-running British show contains some of the best writing and acting on TV at the moment. It's a rare show that dares to push its characters into unapologetically horrific situations but plays it honesty, drawing out laughter and brittle emotion instead of sensationalism or preachiness. It's extremely full-on, but the actors ground their characters remarkably, making them likeable even though they all do rather terrible things in an attempt to just get on with their lives. Unpredictable and often exhilarating.
Modern Family: series 6
A consistently high quality of writing sets this sitcom apart, developing characters who grow along with the actors playing them. This season the children are beginning to take over the show, and it's about time, because all of them are terrific actors and their characters are hilarious. The adults are amusing in their own right (even if they drift into caricature now and then), but have little to do but laugh at and worry about the kids, which is of course both sharply realistic and very funny.
Girls: series 4
Lena Dunham's meandering, whiny comedy took a couple of odd turns this season, including Hannah's impulsive, spoiled-brat decision to drop out of her prestigious writing course. But then all of these people are hard to like, even if their self-involvement is eerily truthful. The show is a lot more fun when these complex characters are bantering with each other than when they're off having their own dramas or clearly doomed romances.
The Walking Dead: series 5
This is one of those shows I think I'll stop watching for good after each episode. And yet I keep at it, because they're continually throwing a wrench in the works. I had finally become fed up with this season's repetitive bleakness when our intrepid, depleted heroes stumbled on an idyllic community. Obviously everything will have to go horribly wrong, but I'll hold on until then.
In its first season, this gleefully trashy soap recalled the heyday of Dynasty with its premise involving a bigoted and unwell patriarch (Terrence Howard), his bickering children and the arrival of his larger-than-life ex-wife (Taraji P Henson, just give her the Emmy now). The cast is so good that it's able to hold the absurd scripts together, especially as characters grapple with everything from ALS to bipolar disorder via closeted sexuality, violent crime and sinister counterplots. The best guilty pleasure in years.
Scandal: series 4
In what is clearly a pattern for this show, the even-numbered seasons try the patience by attempting to add serious plotting rather than the much more entertaining trashiness that makes us want to tune in. This season is especially frustrating because the show's writers seem intent on turning it into a feeble cross between Homeland and House of Cards. The superb actors and tangled plots are still more than enough reason to stay tuned, but please bring back the sudsy fun!
Arrow: series 3
Honestly, this is the most inane show I watch - lazy writing and appallingly choreographed action. But it's also a lot of fun, packed with actors who are hugely watchable (and some tension too because the writers aren't afraid to kill off favourite characters). So even if the whole thing feels undercooked, and more than a little impressed with its own seriousness, it still manages to be thoroughly entertaining and oddly gripping, mainly because it's impossible to predict where it might go. But one thing's for sure: every time the writers push the characters into another impossible corner, there'll be something miraculous to get them through.
Glee: series 6
In its final season, this show slipped further into a parody of itself (which is saying something), but I hung on to the bitter end. Gone were the relevant themes and unexpected plot turns, and in their place were heightened cartoon versions of the characters, fewer songs and indulgent storylines that contrived to bring back the old cast members while ignoring fresher faces. And while Matthew Morrison and Lea Michele became even more insufferable, at least Jane Lynch was still around to make her increasingly insane Sue Sylvester the show's highlight. Although the surge of sentiment in the final episodes was uncharacteristic, and undeserved.