Stage: We own this city

The Resistible Rise of Arturo Ui
by Bertolt Brecht
translated by Stephen Sharkey
director Seán Linnen
with Mark Gatiss, Mawaan Rizwan, LJ Parkinson, Kadiff Kirwan, Christopher Godwin, Joe Alessi, Janie Dee, Amanda Wilkin, Cameron Johnson, Mahesh Parmar,  Rebekah Hinds, Santino Smith, Amanda Wilkin, Valerie Antwi, Mark Hammersley, Samuel Nunes de Souza
music Placebo • sound Johnny Edwards
sets & costumes Georgia Lowe
lighting Robbie Butler • movement Jennifer Jackson
RSC Swan, Stratford-upon-Avon • 11.Apr-30.May.26 ★★★★★

Written by Bertolt Brecht in 1941 but first staged in 1958, after his death, The Resistible Rise of Arturo Ui is a bone-chilling parody that uses Chicago gangsters to explore how the Nazi party came to power in early 1930s Germany. Working from a razor-sharp new translation by Stephen Sharkey, this staging at the Royal Shakespeare Company's Swan Theatre reveals the relevance of Brecht's words using inventive staging, a fearless cast and Placebo's electrifying music. This shattering production wraps around us until we can't breathe, then delivers a killer punch.

Presented as a circus-like "gangster spectacle", the play becomes a carnival in which the audience is complicit in the shenanigans. Director Seán Linnen sets this out like a big top show in the round, augmented by Georgia Lowe's inventively shifting sets and jaunty period costumes. Music, lights and fierce choreography punctuate the story. And throughout the script, Brecht steps aside to list direct parallels with events tracing Hitler's consolidation of control. Of course, more present-day echoes are never far from our thoughts. "The city's sick. You need me," Arturo appeals to the working class. "And don't worry, I'll look out for you." Demanding loyalty and flattery, his methods are murder, extortion and embezzlement, all of which accelerate into a wildly rambunctious courtroom farce.

LJ Parkinson

It's fascinating to watch Arturo (Mark Gatiss) first appear as a gaunt, oily loser surrounded by people even more sketchy than himself. They strong-arm their way into the underworld, taking on Chicago's cauliflower mob at their own game, spreading lies to create confusion and mistrust before sweeping into power. Then Arturo turns his attention to neighbouring town Cicero, even while betraying his most loyal allies. As he grows in influence, his appearance becomes more refined. He works with a hammy Shakespearean actor (Christopher Godwin) to build a more masterful public persona. And his eyes become increasingly hollowed until he emerges triumphantly in blood-red military garb. Gatiss vanishes into the role, so watching Arturo's transformation from a scrappy chancer into a mesmerising rabble-rouser is riveting. His smiling villainy is often heart-stoppingly bleak, only broken in the short, sharp jab of an epilogue in which he addresses the audience out of character, leaving us shaking in our seats. 

The surrounding ensemble is packed with scene-stealers. Stand-outs are the three goons that circle around Arturo: Mahesh Parmar (stepping up as understudy for the absent Mawaan Rizwan) sets the show's cheeky, hyperactive tone as Giri, an unpredictable yes-man who collects souvenirs from his hits (echoing Göring). LJ Parkinson has an astonishingly magnetic physicality as Givola, whose colourful front as a florist conceals cruelty (see Goebbels). And Kadiff Kirwan finds surprising textures as the beefy enforcer Roma (aka Röhm). The others play multiple roles that bristle with power, rage and wrenching vulnerability.

Kirwan

While there are contemporary references scattered throughout this production (including a riotous Monty Python flourish), a more obvious connection is to Charlie Chaplin's 1940 masterpiece The Great Dictator, another Nazi pastiche with a heart-stopping sting in its tale. There's also a freak-out moment that owes a debt to Dickens. And while other recent productions have nodded more directly at current political figures (ahem!), this show minimises those for a more universal, evocative kick. This is a tale about the dangers of populist politicians who deliberately blur the truth to manipulate and control the masses. It's not actually about a specific villain; it's about human nature.

For information, ROYAL SHAKESPEARE COMPANY >

photos by Marc Brenner • 29.Apr.26

Screen: November TV Roundup

In the run-up to voting deadlines for the Golden Globes, I've been watching rather a lot of TV (including stand-up specials and, this year, podcasts). For me, television is always a nice break from the more diligent focussed attention needed when watching movies. So I seek out comedies and mindless shows where possible. There have been quite a few good series this autumn, and some duds as well. I'm starting this roundup with some brand new shows...

Boots
This lively boot camp comedy-drama centres around 18-year-old Cameron (Miles Heizer) who gets fed up with being bullied, so he joins the Marines with his best friend Ray (Liam Oh). The hitch is that Cameron is gay, which is forbidden in the military in 1990. Because it's based on a memoir, the show is packed with knowing details that bring the characters and situations to vivid life. So Cameron and Ray, and several of their fellow recruits and drill sergeants become unusually complex as they grapple with their own issues. The standout is Max Parker as Sgt Sullivan, who is struggling to confront his own sexuality while trying to teach his young trainees to find the truth inside them. And Vera Farmiga has a wonderfully offbeat role as Cameron's mother. (Netflix)

Chad Powers
Because it hinges on a silly gimmick, it's difficult to see how this comedy will sustain itself over multiple seasons. The premise is that a disgraced professional American football player (Glen Powell) uses a movie-makeup disguise to join a university team under an assumed identity, and no one recognises him. These episodes fizz with big personalities and a solid mix of humour and tension. Powell is superbly unapologetic as the idiotic jerk Russ, as well as the even dopier Chad. And Steve Zahn is on peak form as his flustered coach, whose daughter (a solid Perry Mattfeld) provides both simmering attraction and edgy bickering fireworks. The great Toby Huss is also on hand as Russ' estranged makeup artist dad. By the end, the premise is strained to the limit, so we wonder where it can go from here. (Hulu)

MobLand
First, I must confess that I avoid crime-based series, simply because murder and carnage aren't my idea of entertainment. But the cast of this show intrigued me, with Helen Mirren and Pierce Brosnan as leaders of a thuggish Irish family in England, alongside the talented likes of Tom Hardy, Paddy Considine, Joanna Froggatt and Joanna Pulver (plus some spicy guest stars). Guy Ritchie directed the first two episodes, setting a snappy tone that plays up the pitch-black comedy. The overarching narrative becomes increasingly grisly, both sidestepping questions of morality and blurring lines around loyalty. But this is riveting television, and it's very difficult to look away from actors who are almost supernaturally gifted when it comes to this kind of wonderful scene-chomping dialog. (Paramount)

House of Guinness
Writer Steven Knight ramps everything up in this loosely fact-based account of the Irish stout family in the 1860s, creating soap opera style plot threads that are infused with big attitude and lots of violence. The cast is terrific at bringing out the subtle character details amid the more bombastic production style, with Anthony Boyle, Louis Partridge and an underused Fionn O'Shea as brothers tasked with carrying on their stern father's empire. There are also strong female roles for Emily Fairn, Naimh McCormack and Ann Skelly, plus another slippery turn from Jack Gleeson. So it's frustrating that the plot lines move so erratically to a frustratingly open-ended finale. If there's no season 2, then this first series was pointless. (Netflix)

Alien: Earth
Imagined on a staggering scale, this prequel series features a detailed mythology and epic effects, exploring a 22nd century in which Earth is ruled by three competing corporations. That alone makes it worth a look, but it's also a prequel to Ridley Scott's landmark 1979 space horror Alien, inventively matching the aesthetic and tone. The plot opens as alien species escape from a crashed research vessel, creating chaos while rival company bosses claim these creatures for their own nefarious reasons. The depiction of business/political overreach is eerily recognisable. And there are seriously complex roles for the excellent Sydney Chandler and Alex Lawther, playing siblings with a fascinating sci-fi twist. Plus great support from Essie Davis, Adarsh Gourav, Babou Ceesay, Timothy Olyphant and more. (FX)

Wayward
An involving idea adds a kick to this mystery thriller series, set in a creepy town dominated by a reform school run by the cheerfully sinister Evelyn (Toni Collette). Plot threads are seen through the eyes of new student Abbie (Sydney Topliffe) and her troublemaking best pal Leila (Alyvia Alyn Lind), as well as newly arrived cop Alex (series creator Mae Martin) and his wife Laura (Sarah Gadon), who went to Evelyn's school. While it's perhaps not as nuanced as it might be, the show is hugely entertaining largely because of what is not said. And the psychological ideas worm their way into our thoughts, especially as characters speak about the nature of parent-child connections. There is also a terrific blend of new age mumbo jumbo and hippie heal-the-world messaging, plus rather a lot of murder. (Netflix)

T H E   S A G A   C O N T I N U E S

Only Murders in the Building: series 5

Steve Martin, Martin Short and Selena Gomez are back for more hilariously silly sleuthing, this time with a mystery centred around their murdered doorman. The action and comedy both kick off quickly, as our heroes dive into another whodunit that increasingly ties itself in knots, sending the trio through a nutty series of twists and turns. The case this season is a bit too messy to hold the interest, especially as it sets up events that contrive to evict the colourful residents from their beloved Arcona apartment building, which is now manned by a robotic doorman who knows too much. But it definitely helps to have big names popping up everywhere, including Dianne Wiest, Renee Zellweger, Christoph Waltz, Logan Lerman and Bobby Cannavale. We may not care who the killer is, but we're still having fun. (Hulu)

Peacemaker:
series 2 

Even more propulsive than the first season, this anarchic show takes off at high speed and provides all the energy, originality and unpredictability that we expect from James Gunn. The events directly connect to Gunn's recent Superman movie, but are both much more fun and far more character-based, with a wonderful group of messy characters led by John Cena's hapless but likeable Chris. Even side roles are livened up with spicy dialog and outrageous motivations, which gives the entire show a jolt of electrical charm. So Danielle Brooks, Freddie Stroma, Jennifer Holland get much more do to this time around. And while using the tired parallel dimension gimmick in a way that actually means something, there's also more of Robert Patrick as Chris' riotously bullheaded dad. (Max)

The Morning Show: series 4 

Each season of this newsroom drama gets more soapy than the last, as contrived personal relationships increasingly interfere with more intriguing journalistic issues that made this a must-see from the start. And even the newsroom stuff is beginning to feel silly this time around, pushed to corny extremes as the plot dives into the events of 2024 with a gimmicky AI subplot. But it's still compelling, even with Jennifer Aniston's increasingly immobile face. She's terrific as broadcaster/executive Alex, whose life is messy and rather improbable. Reese Witherspoon is also solid as the plucky journalist whose nose sees her locked away for most of this season. The supporting cast is packed with bright lights (Greta Lee, Jon Hamm, Jeremy Irons, Lindsay Duncan), while other characters never gain traction. (Apple)

Juice: series 2

Writer-director Mawaan Rizwan is back with a new series of this outrageously charming comedy, which this time takes some darkly surreal turns that dig very deeply under the surface. Rizwan's energetic lead character Jamma sees his clown-like behaviour take a twist, going to various extremes to rekindle his relationship with Guy (the always terrific Russell Tovey). Rizwan's brother Nabhaan and mother Shanaz are back on board as his hilarious fictional family, along with Jeff Mirza as his goofy dad and Emily Lloyd-Saini as his snappy best friend. The colourfully hand-made sets and landscapes add to the sense that this is actually an internal journey, and the narrative trajectory continually catches us off guard with its insight, taking on powerfully resonant issues. (BBC)

Palm Royale:
series 2 

Carol Burnett and Allison Janney are two of my very favourite performers, so I'd watch anything they do. But this show finally lost me, because the writers push the story even further into annoying absurdity. As the goings-on in Palm Beach society get increasingly ridiculous, it's still a major problem that Kristen Wiig's lead character is the least engaging person on-screen. It certainly doesn't help that the most intriguing side characters (played by Ricky Martin and Laura Dern) have been oddly sidelined. And the writing is so silly that it has begun to grate, playing up the most obvious gags while entirely missing any chance to comment on privilege and wealth. I endured three episodes before giving up. Although I may go back and watch the rest, just for Carol and Allison. (Apple)

Star Trek - Strange New Worlds:
series 3

This prequel series dives straight into a tense conclusion to last season's cliffhanger. What follows is entertaining despite the soapy shenanigans, simply because the characters are so engaging. This allows actors like Anson Mount, Rebecca Romijn, Carol Kane and especially Ethan Peck to find terrific textures. And thankfully, the overarching plot felt much less oppressive this time. There are also a few entertainingly inventive gimmicky episodes (one blends The Last Frontier pastiche with a nutty whodunit), nodding to the franchise's history in a variety of ways. That said, the writers are a little preoccupied with these references, especially as they set up the characters for the original 1960s series. Two more seasons are planned for this crew, so there's a lot more fun to come. (Paramount)

Open to It: series 2

Just as messy as the first season, these six episodes (plus a Pride special) continue the West Hollywood adventures of Princeton (Jason Caceres) and the couple Cam and Greg (Tim Wardell and the show's creator Frank Arthur Smith), who once tried to live as a threesome but are now pining for each other as they run around with a variety of other men and women. The writing is more ambitious and superbly thought-provoking, but the directing and editing are just as choppy, so key plot points get lost and side characters never quite become fully formed. But there's plenty of fun to be had with our central trio as they try to avoid running into each other at various raucous parties. And there are also some more drag queen antics and a finale that involves a riotously racy puppet show. (OutTV)

P L A Y I N G   C A T C H -  U P

English Teacher: series 1-2
After a couple of recommendations, I checked out the first season of this comedy before the second arrived. This is a bracingly entertaining comedy with unusually lively characters and intriguing social textures. Set in Austin, the comedy circles around English teacher Evan (series creator Brian Jordan Alvarez), whose identity as a gay man in Texas leads him into all manner of nonsense. Each of the side characters are hilarious, with especially strong roles for ace performers Jordan Firstman (as his enthusiastic on-off boyfriend) and Enrico Colantoni (as the school's exhausted principal). The second season is even more confident, taking on big issues with superbly unsettling nuance even as things get hilariously silly. So it's a real shame that there won't be a third series. (Hulu)

Nobody Wants This: series 1-2
Adam Brody and Kristen Bell are terrific in this show about a rabbi who falls for a woman who makes the eponymous sex-based podcast, ably supported by Timothy Simons and Justine Lupe as their ridiculous siblings. I watched both seasons back-to-back, and it was intriguing to see how the writers push things along, although there's also a sense that none of this is terribly realistic. The story centres around Judaism and Jewishness, and while it's refreshing to see a show that at least addresses religion and ethnicity in such a knowing way, it never gets particularly deep. More troublesome is the way the characters become less likeable the more we get to know them, making it a bit difficult to believe their relationship. But the actors are strong enough to keep us watching. (Netflix)

GUILTY PLEASURES: The Celebrity Traitors, Last Week Tonight, The Late Show, The Great British Bake Off, Strictly Come Dancing, Race Around the World, Selling Sunset, Drag Race UK, South Park.

NOW WATCHING: I Love LA, Gen V 2, Loot 3, The Witcher 4, Stranger Things 5.

COMING SOON: A Man on the Inside 2, Fallout 2, Death by Lightning, Industry 4, The Night Manager 2, Ponies, Star Trek: Starfleet Academy.

Previous roundup: SEPTEMBER 2025 >

Screen: October TV Roundup

I've watched quite a lot of TV over the summer, episode by episode in between the movies. I look for more escapist fare, although sometimes something serious can work perfectly. I certainly avoid police or medical procedural dramas. And finding a good comedy has been tricky lately...

T H I S   I S   T H E   E N D

Sex Education: series 4
Firing on all cylinders, this show powers into its final season by knowingly shifting the action to a touchy-feely politically correct school where our heroes' shenanigans aren't nearly as revolutionary. Even if plotlines sometimes hiccup, each of the central characters takes their own pointed journey through this new reality, and they bring complexity and engaging nuance to their interaction. Asa Butterfield, Ncuti Gatwa, Emma Mackey, Connor Swindells and Amy Lou Wood have deservedly boosted their stardom over these four seasons. And Gillian Anderson channels Margaret Thatcher from The Crown into her sexologist. There are also several sparky new characters who hint that this show shouldn't stop here. (Netflix)

Physical: series 3
Things continue to ramp up for Sheila (Rose Byrne) as she becomes a minor TV celebrity with her weekly workout segments, expanding her empire. Yet despite doing some work on herself, she has a new inner demon to contend with in the form of arch-rival Zooey Deschanel, whose actual character is miles away from Sheila's imagined version of her. This kind of writing seems a bit uneven, reusing old ideas rather than finding a fresh new direction, and her big revelation and ultimate grounding isn't particularly convincing. But Byrne is terrific in the central role, a complex character whose messiness makes her sympathetic. Her journey is still compelling to watch, even if we care less and less about the people who are in her orbit. (Apple)

A L L   N E W

Juice
Written by and starring bright young spark Mawaan Rizwan, this riotous comedy is made to a very high production standard, with often outrageously colourful sets and costumes and cleverly inventive transitions between scenes. It follows the antics of Jamma (Rizwan), who is described by his boyfriend (Russell Tovey) as a tornado of energy. Indeed, the show is sometimes so chaotic that it's a little exhausting, but it's infused with a huge amount of heart thanks to the endearing performances and writing that digs beneath the hyperactive surface. Terrific costars include Jeff Mirza (as Jamma's surly dad) and Rizwan's mother Shahnaz and brother Nabhaan as gloriously heightened versions of themselves. (BBC)

Ahsoka
When this series recaptures that sense of kinetic energy and snappy camaraderie that made the Star Wars universe hum to begin with, it's remarkably involving. But like other recent series, there's a tendency to turn ponderous and very dark (both thematically and visually) for no real reason other than to heighten the drama about the Jedi and Sith fighting over control of the galaxy. And there's now a second galaxy to worry about. Alongside Rosario Dawson, the solid cast brings scenes to life, especially the late Ray Stevenson and the voice of David Tenant. The show is very well-made, with lovely offhanded moments scattered all the way through, but the mythology is so dense and intrusive that it's difficult to care. (Disney)

Single, Out
From Australia, this comedy-drama traces the coming-of-age of young artist Adam (Will Hutchins), who has his first sexual experience with cute rugby-playing Josh (Adam Mountain), best friend of his brother Clayton (Steven Christou). So Adam decides to come out, then has to navigate this new reality. This includes going to bars, dating and working out who he is and what he wants. There are the usual sitcom elements, such as Adam's witty interaction with his boss and colleagues, and the show definitely has sex on its mind, but shoots anything sexy with a awkward prudishness (it's not about what's shown, but how). That said, the side roles are enjoyably sparky and the humour is wonderfully dry, and there are sharply pointed issues woven through each 20-minute episode. (Cinephobia)

B A C K   F O R   M O R E

Only Murders in the Building: series 3
Things ramp up once again, as our trio of sleuths (Steve Martin, Martin Short, Selena Gomez) investigate the messy murder of an actor (Paul Rudd) by someone in the company of his Broadway show, which includes a hilariously gung-ho Meryl Streep. The stakes feel higher this time around, perhaps because the murder happened (twice!) right within their midst, and all of the suspects are good friends and colleagues. This gives a charge of energy to the show, which is further heightened by fabulous guest stars like Andrea Martin and Matthew Broderick.  Where the plot goes is enjoyably twisty, packed with witty in-jokes about both the mystery genre and theatre culture. And some great songs too. (Hulu)

Star Trek - Strange New Worlds: series 2 
Maybe it's just me, but despite the solid cast and high production values, and writers willing to take on big topics, this show is struggling to hold my interest. This season seems designed to merely hit the usual action beats while making references to the original series, rather than allowing thoughtful drama to drive the episodes forward. And the ever-expanding cast means that no one gets enough screen time to become fully engaging. Even in their relatively short scenes, Anson Mount, Rebecca Romijn, Ethan Peck, Christina Chong, et al are riveting. The Lower Decks crossover episode is fabulous, striking the witty tone the whole series needs. And the musical episode was certainly ambitious. (Paramount)

And Just Like That: series 2 
More focussed than the first season, this sequel show carries on both reinventing its characters and refusing to allow them to grow in any meaningful way. It's an odd concoction in which Sarah Jessica Parker tries to play Carrie as if she's still 35, rather than almost 60, which might add a more meaningful kick to everything. Parker, Cynthia Nixon and Kristin Davis don't get a lot to do here, and most of the side roles remain oddly thankless. Cameos from the original series continue to pop up from episode to episode, adding enjoyable colours. So it's always watchable, even if it never quite feels like anything interesting is happening. And like the original series, it never feels remotely believable. (Sky) 

Lupin: part 3
Even more tightly written and directed than the first season, this heist thriller series gleefully plays with the narrative, flickering around in time to conceal plot secrets and then reveal them at just the right time to keep the audience on board.  Although the villain's motive remains obscure for far too long. The central plotline about Assanne being blackmailed into stealing things is a little tedious, but it plays out with pizzazz. This is hugely entertaining to watch, with a steady stream of satisfying payoffs. Omar Sy is terrific as the charming super-thief at the centre, with his bright smile and lanky swagger. And the supporting cast have had their roles deepened and textured to add even more interest. (Netflix)

Minx: series 2 
Leaning more intently into female power dynamics with the arrival of moneybags boss Elizabeth Perkins, this show continues the now-rising fortunes of a magazine editor (Ophelia Lovibond) who finds success with her publication centred around naked men. As before, the show is a mix of business struggles, personal challenges and flashy shenanigans. And most of the trouble is caused by scruffy publishing genius Doug (Jake Johnson), while more interesting characters played by Oscar Montoya, Jessica Lowe and Idara Victor take pointed side journeys of their own. Snappy pop culture references and an overall sense of narrative momentum keep us watching, even if characters and plotlines are somewhat underwhelming. (Starz)

The Afterparty: series 2 
And we're back with another murder that takes place during an afterparty, this time a wedding. Tiffany Haddish returns to the scene as the no-nonsense detective, and each partygoer's account of the fateful event is rendered in another genre style, including romcom, period drama, noir mystery and a Wes Anderson film. It's also just as messy and pointless as it was the first time around, with the frantic pace and scattershot approach making it difficult to care much about whodunit. That said, it's skilfully well-made, and the cast is always watchable, including returnees Sam Richardson and Zoe Chao, plus Elizabeth Perkins, Jon Cho, Jack Whitehall and Paul Walter Hauser. (Apple)

Good Omens: series 2
Even more bonkers than the first season, this show is infused with a hilariously quirky sense of humour as our best pal outcasts, angel Aziraphale (Michael Sheen) and demon Crowley (David Tenant), find themselves in the middle of a supernatural battle when the amnesiac archangel Gabriel (Jon Hamm) turns up. Wacky antics ensue, augmented by an amusing collection of nutty flashbacks scattered throughout eternity. Plus the tremendous chemistry Sheen and Tenant have developed here and elsewhere (see Staged). So even if it all feels faintly pointless, it's a lot of fun to watch inept angels and demons trying to force order into the universe, while Sheen and Tenant remain outside the fray. (BBC)

The Wheel of Time: series 2
Making most of the worst mistakes of fantasy TV series (and movies), the dialog in this show has far too much mythology in it, including endless people, place and thing names that are impossible to understand or remember if you haven't read the books. But the production quality is much stronger this season, including more eye-catching special effects, even if many action sequences take place murkily in the night. It remains watchable because the ensemble cast members deliver nicely offhanded performances, let by the reliable Rosamund Pike. So when the show concentrates on their interrelationships, we can get involved in the story and ignore the gibberish. (Prime)

What We Do in the Shadows: series 5 
Twisting the story further, these endearingly ridiculous characters enter a new dynamic when Guillermo (Harvey Guillen) breaks the rules to realise his dream of becoming a vampire. This adds an intriguing new mix of tension and emotion to the usual silliness. The storylines are expertly crafted to build amusingly on threads from previous seasons as Guillermo's secret spirals increasingly out of control, although where it ends up feels like a cop-out. Still, these characters seem to have no end of hilarity built into them, as they continually misunderstand even the most basic things while assuming their centuries of existence make them the smartest people in the room. (FX) 

P L A Y I N G   C A T C H - U P

Starstruck: series 1-3
Rose Matafeo created and stars in this comedy as Jessie, a seriously disastrous 30-ish woman trying to make sense of her aimless life in London when she falls in love with famous movie star Tom (Nikesh Patel). Their on-off relationship is the spine of this series, and they spend most of the episodes at an awkward distance, grappling with lingering feelings that make it difficult to move on. Jessie is such a relentless self-saboteur that she's not easy to like, but then she only has one proper friend (the fabulous Emma Sidi). She continually stirs up drama and wrecks her connections with friends, then blames them for it, which is exaggerated and not remotely funny. But the dialog crackles with wit and honest emotion. (BBC) 

Young Royals:
series 1-2
Essentially a more grounded Swedish variation on the sexy Spanish teen soap Elite, this show is also set at a posh private school. Here, 16-year-old Crown Prince Wilhelm (Edvin Ryding) causes all kinds of drama simply by being present. These spotty teens are realistically messy in their romantic entanglements, and there's meaningful commentary about race, class, politics and economics along the way. But of course the most engaging thing here is the romance between Wilhelm and townie Simon (Omar Rudberg), a cutie with the voice of an angel. And Malte Gardinger is particularly good as conflicted villainous senior August. The question is whether they can keep this going as the actors begin to look 30. (Netflix)

Glow: series 1-3
I'm not sure why I missed this show, but the presence of Betty Gilpin and Alison Brie made me want to take a look, plus a starry lineup of directors. Strong characters kept me watching over the 30 episodes, even with some rather annoying plot lines (such as the unlikely romance between Brie and her boss Marc Maron). And there's a sense that after the sparky opening set-up season, the writers attempted to drastically slow things down, moving from the creation of a ladies wrestling TV show to a Vegas extravaganza that isn't nearly as interesting. There actually could have been more wrestling on-screen, as it's hilariously choreographed and staged. Getting back to basics might have saved this show. (Netflix)

I   G I V E   U P

One Piece
While this has been a big hit, it's difficult to know who it's made for. The humour seems aimed at an audience around the same age as the teen protagonists. But it's also relentlessly dark and violent. This might have worked with half-hour episodes, but at an hour this is simply too much, especially since everything is so hammy. I only made it through two episodes. (Netflix)

The Full Monty 
Catching up with the characters from the 1997 movie 25 years later, this show isn't easy to get into. It feels like the first season of a Sheffield-set soap opera about people struggling to survive due to societal issues and bad decisions. The cast is good, but their connections feel contrived, which gives the show no sense of direction. I stuck it out for four episodes. (Hulu)

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GUILTY PLEASURES: Drag Race (UK/Down Under), The Great British Bake Off, Strictly Come Dancing, Selling the OC.

NOW WATCHING: The Continental, Still Up, Gen V, Our Flag Means Death (2), The Morning Show (3), Black Mirror (6).

COMING SOON: Frasier, Lessons in Chemistry, All the Light We Cannot See, Loki (2), Invincible (2), Upload (3), Elite (7).

Previous roundup AUGUST 2023 >