Stage: We're all perfectly safe

Jonah Non Grata
written and performed by Simon Kane
Soho Theatre, London • 21.Jun.25 ★★★★

It's been nearly a decade since Simon Kane last performed his show Jonah Non Grata, but be brought it to Soho Theatre for one night on midsummer as a preview before its run at this year's Edinburgh Fringe. There's a reason why this show has such a following: it's a near-perfect display of surrealist comedy, brain-bending and utterly hilarious in ways that feel downright biblical.

That's of course intentional, as the title suggests, as does a scattering of fish on the floor of the theatre. The topic here is extremism, but it is presented in such an original way that it sneaks up on us, kind of like Kane first appears from inside a shopping bag then continues to produce random props from his pockets. His presentation has a disarming puppy-dog charm to it, so we hang on his every earnest word, even when he begins to evoke the tone of British folk horror movies with his religious pronouncements. This includes leading the audience in the singing of the hymn O Spanky Axe.

There's a lot of audience interaction along the way, which gives the show an improvisational kick and adds to Kane's conversational tone. One audience member reads out passages from a choose-your-own-adventure novel, as Kane urges all of us to be unanimous in our decisions about what to do next. Or at least to try. Yes, this is an exploration of the choices people make, changing destinies and more in the process. And while there seems to be some sort of linear path to the narrative, the absurdity of it all keeps us on our toes.

Kane's clownish physicality makes superbly inventive use of old and new technology. He continually tries to put on a blindfold, but can't bear it. He draws X's on pieces of paper and encourages us to see something else. And he continually alludes to an outside force that is pushing him. This leads to a segment in which he mimes travelling on a plane before being swallowed by a whale. All of this is very funny, simply because Kane plays it with such conviction. It's a skilful performance that brings out hauntingly deep, dark ideas about humanity in unimaginably amusing style.

For info: LONDON CLOWN FESTIVAL > 

21.Jun.25

Raindance: Take your shot

The 33rd Raindance Film Festival kicked off on Wednesday with the world premiere of the British drama Heavyweight and a properly epic afterparty at with special honours were presented to screen icons Celia Imrie and Jason Isaacs. The festival runs over the next 10 days with a flurry of independent films. I'm trying to limit how many I watch, aiming for one per day. So here are the first two...

Heavyweight
dir-scr Christopher M Anthony; with Jordan Bolger, Nicholas Pinnock 25/UK ****
Unfolding in real time and largely in a single room, like a stage play, this British boxing drama has a propulsive pace as it traces the run-up to a championship bout. Writer-director Christopher Anthony keeps the tension high with edgy dialog, beefy performances, prowling camerawork and a churning underscore. The sheer machismo on display is perhaps a bit exhausting, but it's balanced by a terrific sense of underlying emotion.

A Cell Phone Movie
dir-scr Will Sterling; with Will Sterling, Tessa Glanville 25/US ****
As the title indicates, this meta-comedy was shot on a mobile phone. It looks great, skilfully filmed in wide-screen and sharply well-edited too. Actor-filmmaker Will Sterling is a charming lead, and the comedy is warm and off-the-cuff, with a continual stream of witty gags about trying to make a no-budget movie. Even more engaging are the thoughtfully serious sequences that dig deeper into the characters and situations.

Full reviews of festival films will be linked here in due course: SHADOWS @ RAINDANCE >

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C R I T I C A L  W E E K

BEST OUT THIS WEEK:
Red Path • 28 Years Later
Love & Rage: Munroe Bergdorf
ALL REVIEWS >

This week I got to attend the glamorous world premiere of Jurassic World: Rebirth, with the full cast and crew in attendance, including Scarlett Johansson, Jonathan Bailey and Mahershala Ali. And the film is great fun. The new Pixar animation Elio is an enjoyable if familiar space romp, but it's packed with dazzling touches. Danny Boyle and Alex Garland are back with 28 Years Later, a superbly ripping addition to the franchise. John Travolta stars in the wobbly but watchable caper comedy High Rollers. Harry Melling and Caleb Landry Jones lead the cast of Scottish period weirdness Harvest, which struggles to make its point. Writer-director Eva Victor stars with Naomi Ackie in the beautifully written and directed Sorry, Baby, putting a truthful spin on a big event. Leonie Benesch is excellent as an overworked nurse in the expertly shot Swiss drama Late Shift. And the properly stunning Tunisian drama Red Path tells a riveting true story with power and emotion. I also attended the opening night cabaret for this year's London Clown Festival

This coming week there are many more films at Raindance, plus Brad Pitt in F1, Dylan O'Brien in Ponyboi, the indie comedy Rent Free, the French comedy Colours of Time and the Colombian drama Salt Water, plus the premiere for Lena Dunham's TV series Too Much and three live performances: Quadrophenia at Sadler's Wells, Jonah Non Grata at Soho Theatre and Botis Seva's Until We Sleep at Sadler's Wells East.

Stage: Send in the clowns

London Clown Festival 2025
hosts Dan Lees and Neil Frost, aka The Establishment
with Sarah Woolfenden, Tom Penn, Julie Nesher, Josh Glanc, Lil Wenker, Rob Duncan, Paulina Lenoir, Patricia Langa
Soho Theatre, Jackson's Lane and other venues • 16.Jun-4.Jul.25 ★★★

This year's London Clown Festival, an annual event that previews shows that will be playing the Edinburgh Fringe, kicked off with a rather uneven two-hour cabaret that unfolded in typically riotous style at Soho Theatre's Upstairs space. The evening was hosted by the Establishment (Dan Lees and Neil Frost), adept goofballs who continually ask the audience if we think the show has started yet. Their rolling improv is properly nutty, as they decide on songs to sing, impersonations to perform, news headlines to read, games to play and audience members to play with.

The first act is Sarah Woolfenden, painted and dressed in white as she surreally wanders around the stage urging the audience to embrace the clown within. She then takes her place in the house band, alongside Lees, Tom Penn and Julie Nesher. Their music has a wonderfully bouncy rhythm to it, and Sarah provides all manner of noises, whistles and horns. They accompany most of the acts that follow, including Josh Glanc, who charges through his hilariously awkward material, singing a series of very similar songs while taking on audience members who challenge him. This makes his set feel somewhat tense, as if it is spiralling out of control, but his scrappy charm keeps us on his side.

Up next is the baddest man in Texas (Lil Wenker), a strutting Wild West drag king with a Groucho moustache and cigar, plus spoons on their ankles. With a flirtatious and very silly attitude, he uses his growly voice to get audience members to repeat key phrases that then play out in an epic story. It's utterly ridiculous, and very funny. And now it's Rob Duncan, who triumphantly introduces himself as having been crowned Printer of the Year, then launches into an absurd demonstration of performance printing. This involves two portable printers that spew out pages that feed into his punchlines, just like magic! Indeed, he even prints a rabbit from his hat.

Emerging on his own, the band's bassist Penn takes the stage dressed as a chef wearing a set of red curtains (complete with the rod), singing and dancing, before his manager-wife Nesher emerges perched on his back to take over the show. Their goofy act is packed with riotous sight gags as they dive into one random joke after another. 

And finally we have Conchita and Lola, or Conchola, freaky flamenco-style black widows played by Paulina Lenoir and Patricia Langa. They speak in eerie unison, perhaps the least improvisational act of the night, as they recount the epic saga of their witchy lives and deaths. Their hyper-dramatic performance is hugely amusing, as they stare down the audience and perform their nutty choreography.

All of these acts and many more are performing in the festival. For info, see LONDON CLOWN FESTIVAL >

See also: notes from the 2024 CABARET > 

Soho Theatre, 16.Jun.25

Critical Week: Always say yes

After wrapping up the first SXSW London festival over the weekend, I had a flurry of screenings to keep me busy this week. This included the action comedy Deep Cover, with Bryce Dallas Howard, Orlando Bloom and Nick Mohammed as improv comics on police business in the London underworld. It's ridiculous but a lot of fun. Even more absurd was the silly action romp Shadow Force, rescued by the sheer charm of Kerry Washington and Omar Sy as parents with secret black ops skills, pulled back into the mayhem. The tired premise nearly sinks it, but the actors make it watchable, including a villainous Mark Strong.

BEST OUT THIS WEEK:
Tornado
Love & Rage: Munroe Bergdorf
ALL REVIEWS >

The week's other big screening was the live-action remake of How to Train Your Dragon, which looked amazing on a huge Imax screen. While not strictly necessary, the film is still rousing enough to be worth a look. Karan Soni and Jonathan Groff star in the romantic comedy A Nice Indian Boy, which is funny, engaging and delightfully pointed. The French romcom Jane Austen Wrecked My Life takes a low-key approach to its engagingly astute story of a blocked writer. Shakespeare's classic is reimagined as a lavishly produced pop musical for Juliet & Romeo, simplifying things in the process, but remaining entertaining too. And the clearly low-budget independent drama Franklin centres on two aspiring actors in Los Angeles as they navigate career and love-life issues.

I also attended the premiere of the third season of Squid Game, which included a terrific on-stage Q&A with stars Lee Jung-Jae, Lee Byung-hun and Park Gyuyoung, plus creator Hwang Dong-hyuk. And the dance show Inside Giovanni's Room, based on the landmark James Baldwin novel, was simply gorgeous at Sadler's Wells East.

This coming week will be rather busy with the Pixar animation Elio, Scarlett Johansson in Jurassic World Rebirth, John Travolta in High Rollers, Harry Melling in Harvest, Naomi Ackie in Sorry Baby, Leonie Benesch in Late Shift and the Tunisian drama Red Path, plus the first week of movies at the 33rd Raindance Film Festival and the annual opening night cabaret for the London Clown Festival.

Dance: Body and soul

Phoenix Dance Theatre
Inside Giovanni’s Room
choreography Marcus Jarrell Willis
with Teige Bisnought, Dylan Springer, Dorna Ashory, Aaron Chaplin, Tony Polo, Phikolwethu Luke, Yasmina Patel, Hannah McGlashon, Graciela Mariqueo-Smith, Jess Yeo, Maddie Irwin
dramaturgy Tonderai Munyebvu
music Marc Strobel • set Jacob Hughes
lighting Luke Haywood • costumes Melissa Parry
Sadler's Wells East, Stratford • 11-14.Jun.25 ★★★★★

James Baldwin's landmark 1956 novel Giovanni's Room is the inspiration for this beautifully staged production, which like the book explores issues of identity, sexuality and self-acceptance in a powerfully emotive way. While the story is set in 1950s Paris, its themes resonate in a timeless way, expressed by gifted dancers here through strikingly inventive and very physical choreography. And while it helps to know the plot in advance, the internal feelings are so vividly expressed that they connect in an intense way.

An American in Paris, David (Teige Bisnought) falls for Hella (Dorna Ashory) even as he's secretly keeping an eye on the men around him. When Hella goes travelling, he meets Giovanni (Dylan Springer) in a dance club, and they zero in on each other amid distractions. As they become inseparable, they keep their relationship hidden in Giovanni's rented room. But Hella's return throws things off balance, and further events push these three people in unexpected directions.

The story opens with a prologue that sets out the story through David's swirling memories, and there are also flashbacks to scenes with his father (Phikolwethu Luke) and aunt (Yasmina Patel) back home. Transitions cleverly create cinematic style editing, using lighting and shadows to shift the viewer's eye around the stage, which is dominated by the cube of Giovanni's room. Performances emerge in solos, duets and eye-catching group numbers, and all of these are infused with enormous passion by the dancers. Bisnought, Springer and Ashory are particularly strong, throwing themselves into demanding roles that require extended stretches, full-bodied shivers and connections that shift from aching desire to warm affection.

While the movement is visceral and propulsive, the dancers remain light on their feet. The gravitational pull between them is beautifully rendered, especially as David and Giovanni lift each other in spiralling turns. Their moments of intimacy are both elegant and sweat-inducingly hot. This is accompanied by creative lighting that comes from the sides and above, making each figure glow while casting shadows on the walls. And the room itself undulates in a red wash. Marc Strobel's music often feels more like an eloquent soundscape, with whooshes and beats that resolve into the dance numbers. And then there's Ashory's stunning, completely silent solo.

Throughout all of this, there's an unusually strong sense that each of these complex characters is daring to dream something that might be impossible, going against society's expectations. So when the narrative takes a few very dark turns, the impact is fierce, leading to a climax that is properly wrenching. This is a gorgeous interpretation of a literary classic, and it reminds us that feelings of identity and belonging are universally human. And even if the barriers and obstacles have shifted over the past 70 years, these feelings drive society in ways that have remained eerily unchanged.

For details, PHOENIX DANCE THEATRE >

photos by Drew Forsyth • 11.Jun.25

SXSW London: Free your mind

The inaugural SXSW London festival as been fascinating to explore, with so many spaces around Shoreditch being used for exhibitions, music gigs, conferences and films. Being the first year, there were the usual teething problems with crowds, confusing queuing systems, ticketing issues, transport problems and so on. But the sheer quantity of arts on display will leave people looking forward to more. The festival wrapped up tonight with the UK premiere of The Life of Chuck, based on the Stephen King story. And another King novel, The Institute, is the basis for a new TV series that held its world premiere at the festival this year. It was fun to attend that, and to get a chance to chat at the afterparty with actors Ben Barnes, Mary-Louise Parker, Joe Freeman (above), Fionn Laird and Simone Miller, plus director Joe Bender (Lost). The show is creepy and cleverly put together to pull the audience in tightly. Meanwhile, I've also been watching more movies...

The Life of Chuck

dir-scr Mike Flanagan; with Tom Hiddleston, Jacob Tremblay 24/US ***.

Based on Stephen King's novella, this ambitious drama takes its inspiration from Walt Whitman's line "I am large, I contain multitudes" as it explores identity and mortality. Writer-director Mike Flanagan amps up the sentiment, aided by a proscriptive Newton Brothers score. And deliberately artificial elements undermine the inventive storytelling. Even so, the film is packed with powerfully involving moments and terrific characters sharply played by a solid cast... FULL REVIEW >

Plainclothes
dir-scr Carmen Emmi; with Tom Blyth, Russell Tovey 25/US ****
Inventively shot and edited to give the viewer an internalised perspective, this intense but also warmly observational film explores a pivotal moment in a young man's life. Mixing romance, family drama and a coming out story, writer-director Carmen Emmi uses extreme closeups, kaleidoscopic editing and various film and video formats to add a tactile kick to an already pungent narrative. So it's both involving and very sexy.

The Old Woman With the Knife
dir Min Kyu-dong; with Lee Hye-yeong, Kim Sung-cheol 25/Kor ***
A messy swirl of revenge and regret, this Korean action thriller is packed with vivid characters and superb set-pieces. But the plot is a bit loose on connective tissue, leaving many questions unanswered. As a result, character motivation begins to feel somewhat blurry, which makes it tricky to fully invest in the story. That said, it's sharply well-directed by Min Kyu-dong and played with plenty of emotional spark.

Love & Rage: Munroe Bergdorf
dir Olivia Cappuccini; with Munroe Bergdorf, Reece King 25/UK ****
In recounting the life of the British model, author and activist, much of this documentary feels like the fairly standard journey of a trans woman. But Munroe Bergdorf's story has taken several unexpected turns. In this empowering film, she honestly speaks about her notoriously confrontational relationship with the media. While tracing dark situations unflinchingly, director Olivia Cappuccini adeptly captures this smart, articulate, fierce woman and her passion for justice.

Toro
dir-scr Rocco Di Mento; with Rocco Di Mento, Angelo Caruso 25/Ger ****
With this funny and warmly insightful autobiographical documentary, Italian filmmaker Rocco Di Mento takes a voyage of self-discovery relating to the picture of masculinity instilled in him as a child. The result is a complex, thought-provoking journey into manliness, unearthing some deeply personal issues that make the film universally resonant. Most intriguing is a depiction of machismo as something far more textured than we usually see on screen.

Full reviews are coming, and will be linked to Shadows' SXSW LONDON PAGE >

Dance: The right to exist

Gary Clarke Company
Detention
choreography Gary Clarke
narrator Lewey Hellewell
dancers Alexandra Bierlaire, Gavin Coward, Alex Gosmore, Mayowa Ogunnaike, Imogen Wright
community Jonathan Blake, Anna Brown, Bruce Currie, SuMay Hwang, Mike Jackson
music & sound Torben Sylvest
set & costumes Ryan Dawson Laight
The Place, London • 3-7.Jun.25 + national tour ★★★

Taking on a pivotal moment in UK queer history, this show carries an important kick as it traces events from the 1980s that are still being felt today. It's beautifully choreographed and danced, cleverly incorporating both professional performers and members of the local LGBT+ community, along with skilfully filmed sequences and terrific stagecraft. The dancing is also expressive and impressive, although the literal approach to storytelling weighs things down, oddly watering down several sequences due to the excessive words.

This is the story of Section 28, a 1988 British law that prohibited local authorities from "promoting homosexuality", specifically in schools. Brought in under Margaret Thatcher's government in an effort to crush the gay rights movement, it silenced people at a time when discourse was badly needed due to the Aids epidemic. The show depicts this beautifully, as five dancers and five members of the community create a variety of scenes on-stage, while narrator Lewey Hellewell adopts a range of attitudes to propel the action forward, sometimes sassy and sometimes sinister.

The central tone is one of a group of silenced people standing strong, clinging together amid the storm. Repeating iconography features protest banners, the Aids quilt and most notably the LGBT+ switchboard, one of the only lifelines for queer people during these years. Dazzling performances include gorgeously muscly duets and a number of impassioned solos, plus larger group numbers that ring loudly with ideas from both sides of the issue. One bawdy sequence creates the feeling of a raucous night in a boozy pub. And the most intensely powerful piece depicts an astonishing cycle of school bullying.

Section 28 was finally repealed in 2003, and the show goes on to note how its damage is still being felt throughout society, especially with recent surges in violence and outspoken bigotry. This is an urgent, powerful depiction of this history, and it's vital to remember the truth of these events. So it perhaps doesn't matter that the script here feels overly pointed and descriptive; saying so much limits the audience's ability to engage. Much more important are the staggering moments in this show that express how these events made people feel at the time, while also vividly revealing the emotions that continue to resonate.

For info: DETENTION TOUR > 

portraits by Joe Armitage • 4.Jun.25

SXSW London: Lose yourself

The first SXSW London festival kicked off on Monday night with the world premiere of the Eminem fan doc Stans, and it runs through the week until Saturday with a rather blinding range of music gigs, panel discussions, talks, events and, yes, films. They've packed rather a lot into these six days, using venues scattered across East London, with Shoreditch as the epicentre. I also attended a panel this week, hosted by the Golden Globes, exploring the global nature of storytelling. Participants came from Britain, Turkey and Ukraine, and there was a strong interaction with the audience in attendance, talking about what kinds of stories resonate beyond cultural barriers. I'll also be attending a TV series premiere this week, and several more movies. Here are three film highlights so far...

Stans 
dir-scr Steven Leckart; with Eminem, Dr Dre 25/US ****
Rather than tracing the artist's career or personal life, this documentary explores the interaction between Eminem and his most earnest fans, noting that the term "stan" was coined from his eponymous 2000 hit. This approach makes the film unusually intimate, highlighting how music connects into deeper issues. And because Eminem's music is so soul-baring, it has an unusual resonance that can silence critics who don't quite get it.

Cactus Pears
dir-scr Rohan Parashuram Kanawade; with Bhushaan Manoj, Suraaj Suman 25/Ind ****.

Hushed and observational, this beautifully shot Indian drama focusses on a 30-year-old gay man who has escaped his home culture but is now is forced to make peace with it. Packed with local traditions and interpersonal details, the film is powerfully involving as writer-director Rohan Parashuram Kanawade continually finds unexpected layers of resonance. And in a skilfully low-key way, the film offers a strong sense of hope.

Cielo
dir-scr Alberto Sciamma; with Fernanda Gutierrez Aranda, Fernando Arze Echalar 25/Bol ****

Gorgeously shot in spectacular mountain landscapes populated by lively characters, this Bolivian drama opens with a beautiful but darkly disturbing sequence that opens with a young girl swallowing a fish. With vibrant colours, writer-director Alberto Sciamma infuses this fable with offbeat magical realism, pulling us into an odyssey that is packed with moments that are touching, provocative and wonderfully funny.

Full reviews are coming, and will be linked to Shadows' SXSW LONDON PAGE >

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C R I T I C A L  W E E K

BEST OUT THIS WEEK:
The Life of Chuck 
Dangerous Animals • Mountainhead
ALL REVIEWS >

Alongside the festival, I also watched Ana de Armas in the John Wick spinoff Ballerina. It's slickly well-made and entertaining, but oddly unsurprising. Natalie Portman and John Krasinski make an engaging duo in the comical adventure Fountain of Youth. It's a lot of fun, but there's not much to it. Nick Kroll and Andrew Rannells star in the black comedy I Don't Understand You, which is enjoyable but never quite bridges the gap between silliness and nastiness.

This coming week I'll be watching the live-action(ish) remake of How to Train Your Dragon, Kerry Washington in Shadow Force, Jonathan Groff in A Nice Indian Boy, the reimagined pop musical Juliet & Romeo and the drama Franklin. I'll also attend the premiere of the third season of Squid Game and the dance show Inside Giovanni's Room.

Critical Week: All for one

I've spent the past three weeks in California with my parents, and moviegoing wasn't at the top of the list for things to do. Now back in London, I need to do rather a lot of catching up. This is especially true for TV series, as ballots are due in about 10 days for the Dorian TV Awards. And time is complicated by the arrival of a new film festival in London next week, as SXSW takes over the slot was previously occupied by Sundance London for the past 11 years. As for this past week, I basically got off the plane, took a power nap and then headed to a press screening of Karate Kid: Legends, an enjoyable bit of formulaic entertainment that teams up Jackie Chan and Ralph Macchio with newcomer Ben Wang (above).

BEST OUT THIS WEEK:
Tornado • The Salt Path
The Phoenician Scheme
The Astronaut Lovers
ALL REVIEWS >

The only film I watched in the US was the big one, Mission: Impossible - The Final Reckoning, in which Tom Cruise once again impresses us with his stunt skills (plus some acting too) in a story that's a bit heavy on exposition. But it's still a must-see on a large screen. Disney's live-action remake of the animated classic Lilo & Stitch is enjoyably energetic but less anarchic than before. 

Wes Anderson is back with another stylised comedy, the star-packed The Phoenician Scheme, which is a lot of fun even if the plot begins to feel a bit dense. Jesse Armstrong's pointed comedy Mountainhead stars Steve Carell, Jason Schwartzman, Cory Michael Smith and Ramy Youssef as tech billionaires. It's talky and rather uneven, but also entertaining and astute. And from Australia, Dangerous Animals is an enjoyably nasty twist on the shark-attack thriller, with Jai Courtney as a deranged killer who uses his victims as bait. Genre fans will love it.

This coming week I'll be watching Ana de Armas in the John Wick spinoff Ballerina and Andrew Rannells in I Don't Understand You, catching up with Natalie Portman and John Krasinski in Fountain of Youth, and attending the first SXSW London film festival.

On the Road: Comfort movies

One of the hazards of being a film critic is the airline entertainment system: scrolling through the hundreds of movies that are on offer looking for something that (1) I haven't seen before and (2) want to watch. Occasionally something that fits this criteria pops up but, on my recent flight to California to spend some time with my family, there wasn't anything. In these cases I tend to turn to favourite comedies or musicals that will amiably pass the time. On this flight, the 1999 classic Galaxy Quest did just the trick. I hadn't seen it in years, and I'd forgotten how great the cast is: including Sigourney Weaver, Alan Rickman, Tim Allen, Sam Rockwell, Tony Shalhoub and Daryl Mitchell (above). This isn't a film you ever get tired of revisiting. I also revisited the 2005 musical Rent, a film that isn't quite as potent as the stage version but still boasts excellent performances. And I watched all eight episodes of The Franchise (it's a long flight!), an amusing comedy series about the cast and crew of a superhero movie. It's likeable and sometimes very funny, but feels a bit random.

Before leaving London I also watched two very small American dramas: Midnight in Phoenix is a micro-budget thriller about two guys who go on the run after witnessing a violent robbery. It's a bit uneven, but has strong emotions and solid characters. Things Like This is a snappy New York romantic comedy that's a little awkward but features nicely complex characters and connections.

While I'm out here, I am hoping to catch Tom Cruise in Mission: Impossible - The Final Reckoning, and possible also Disney's live-action remake of Lilo & Stitch. But my emphasis is on spending time with my family, and it's nice to have movies take the back seat for a couple of weeks.

BEST NEW FILMS: The Wedding Banquet (9th May cover with Lily Gladstone and Kelly Marie Tran) • Motel Destino • The Extraordinary Miss Flower • Good One (16th May cover with Lily Collias) ALL REVIEWS >

Screen: May TV Roundup

There's been some very high-profile television over the past few months, including shows that have made global headlines, like Adolescence and the third season of The White Lotus. There have also been a few new series that are happy to simply keep us smiling, like The Four Seasons and The Studio. We need more of these at the moment! This roundup starts with four shows that came back for another season...

The White Lotus: series 3
Writer-director Mike White continues to take on major themes in unusually subtle ways, this time at a resort Thailand that's so beautiful we will all start saving up now. And the guests and staff are a terrific collection of people who are dealing with a range of issues that relate to morality and spirituality. It's so skilfully written and played that each scene worms its way into our subconscious. Standouts in the exceptional ensemble include Jason Isaacs, Parker Posey, Carrie Coon, Aimee Lou Wood, Patrick Schwarzenegger and Sam Nivola, plus a blazing Sam Rockwell. There are some loose threads that feel a bit messy, but this is top-tier TV. (Max)

Hacks: series 4
With a much darker tone, this season kicks off as war rages between the imperious Deborah (Jean Smart) and the feisty Ava (Hanna Einbinder). And things get very nasty indeed in these sharply well-written and performed episodes, with various subplots helpfully providing comic relief, most notably the ongoing antics of agents Jimmy and Kayla (Paul W Downs and Megan Salter). The depiction of the world of late night television is astute, including a properly pointed look at network TV politics. But as always, it's the rollercoaster relationship between Deborah and Ava that keeps us hooked, and it's a fantastic ride this time around. (Max)

The Conners:
series 7
There are only six episodes in this show's final season, capping a span of 37 years in the life of this working class family. The writers set out to both maintain the timely, salt-of-the-earth sensibilities while providing strong arcs for each of the central characters, and they manage to do this with clever plotting and their usual hilariously barbed dialog. The focus is on the veteran cast members, who continued to deepen their roles from episode to episode. So we'll miss John Goodman, Laurie Metcalf, Sara Gilbert and Lecy Goranson, and it's a little frustrating that Michael Fishman (as DJ) wasn't back for the emotional goodbye. (ABC)

Wolf Hall: The Mirror and the Light
Based on Hilary Mantel's historical novel, Wolf Hall gripped the nation in 2015, and it's taken a decade to get Part 2. The story picks up immediately, following Thomas Cromwell (Mark Rylance) as he tries to navigate backchannel politics in the court of Henry VIII (Damien Lewis) and Jane Seymour (Kate Phillips). Beautifully written by Peter Straughan, and skilfully played by an excellent ensemble, this is a gorgeously made series that lives in its quieter moments. While the pacing is slow and delicate, the dialog is packed with subterfuge, as relationships are twisted by gossip and ambition. History is rarely recounted with so much introspection. (BBC)

S O M E T H I N G   N E W

Adolescence
This feels like landmark television, with four utterly unmissable episodes. It's written, directed and performed with staggering skill to tell a story that feels almost terrifyingly urgent. On the surface it's about a detective (Ashley Walters) investigating the murder of a teen girl by a 13-year-old boy (Owen Cooper), whose father (Stephen Graham) can't comprehend the situation. But the show is actually a deep dive into the impact of toxic masculinity on society, touching on a range of jaw-dropping aspects. Philip Barantini directs each episode in a single long take that ramps up the intensity and provides powerful gut punches. (Netflix)

The Studio
While this comedy is somewhat goofy, it's also so much fun that we never want it to end. Seth Rogen leads the cast (and creative team) to take us behind the chaotic scenes, playing a Hollywood studio boss who's in over his head. Each episode works as a meta-joke exploring various aspects of moviemaking with humour that's both jaggedly smart and profoundly silly. And amid the broad jokes are some knowing observations about Hollywood. The quality slips in the final few episodes, which begin to feel somewhat repetitive, but the terrific cast includes the great Catherine O'Hara, and more A-list cameos per episode than seems humanly possible. (Apple)

The Four Seasons
Loosely based on the 1981 film, this eight-part series created by Tina Fey centres on three couples who take four holidays together over the course of a year. As their relationships shift, there's plenty of sharp comedy and strong emotion thanks to first-rate actors Fey, Steve Carell, Colman Domingo, Will Forte, Kerri Kenney and Marco Calvani. Most enjoyable is the way the show is unafraid to indulge in some very silly antics alongside the much more serious storylines. So even if it all feels a bit too smart to be believable, the terrific actors find strongly grounded moments along the way. All of which makes it hugely entertaining. (Netflix)

Mid-Century Modern
Almost painfully broad, this is an old-school sitcom with a queer twist, essentially remaking The Golden Girls with three gay men in Palm Springs. Nathan Lane is the sardonic leader of the pack, Matt Bomer is the brainless himbo and Nathan Lee Graham is the wry socialite, with the great Linda Lavin as the resident house mother. This could work a treat, but the writing is almost painfully simplistic, falling back on obvious jokes and a string of starry cameos. Thankfully, the actors are excellent at providing the textures needed to make the characters likeable. But without much of interest going on, it's not easy to care if they return for more. (Disney)

Étoile
This has promise, an ensemble comedy centred around an exchange between premiere ballet companies in New York and Paris, but it's assembled in a bewilderingly uneven way. Everything is infused with slapstick, creating deliberately wacky characters who are both unsympathetic and frankly implausible. This almost works for quirky artistes like Tobias Glick's obsessively awkward choreographer, but it rings badly false with the administrators who take up the vast majority of the screen time. It seems like a crime to saddle actors like Charlotte Gainsbourg and Luke Kirby with such one-note roles. Still, it's just about watchable. (Amazon)

Mr Loverman
This is a beautifully written and directed series, based on the Bernardine Evaristo novel about a lively Afro-Caribbean family man in London (a stunningly complex role for Lennie James) who is secretly in love with his best friend Morris (Ariyon Bakare), but is still unable to come out of the closet. The show flickers back to previous times and places in their decades together, punctuated by both everyday encounters and momentous events. Most intriguing is how this sensitive, observant show traces how gay rights evolved around these two men, and their very different reactions to that. And the final episodes are powerfully moving. (BBC)

Carême
Loosely based on real historical figures, this French series centres around the very first celebrity chef Antonin Careme (Benjamin Voisin) in the early 19th century, and throws him into the middle of soapy romance and lots of political intrigue under Napoleon's turbulent rule. The food on display is fabulous, of course. And there's some fun to be had in Careme's sexual shenanigans, even if the plot badly bogs down in the more thriller-style elements that leave it little more than a quest for revenge. At least it plays out with some nice twists, and strong performances from the seductive Voisin, Lyna Khoudri, Jeremie Renier and others. (Apple)

GUILTY PLEASURES: Britain's Got Talent, Fool Us, The Traitors (Australia), Drag Race (17/Down Under), Million Dollar Secret.

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COMING SOON: MurderBot, Adults, Stick, Long Way Home, And Just Like That 2, Fubar 2, Squid Game 3.

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