Screen: July TV Roundup

While several high-profile shows are back with new seasons, it's been the new series that have captured the buzz over the past couple of months. It's always fun to discover something new, whether it's a limited series or something that is likely to go on for a few more seasons at least. Not that anyone is willing to let a hit simply pass into memory without milking at least one more collection of episodes. I've had time to catch up with a few things, starting here with new shows...

Too Much
Lena Dunham is back as writer-director (and occasional costar) of this sparky London-set comedy starring the awesome Megan Stalter and Will Sharpe. As with Girls, the show explores ambition, friendship and romance in ways most TV series would never dare, remaining honest and jaggedly funny while never shying away from the way real people interact both professionally and personally. Over the course of 10 episodes, Dunham crafts a perfect romcom that breaks every rule in the book. She also pokes fun at the American-in-London trope. And she peppers scenes with top-tier support from Richard E Grant, Naomi Watts, Andrew Scott, Andrew Rannells, Adele Exarchopolous, Rita Wilson, Rhea Perlman and many more. (Netflix)

Your Friends & Neighbors
Jon Hamm stars in this darkly comical series about a bigwig Wall Street trader whose wife (Amanda Peet) leaves him for his best friend (Mark Tallman). Then he's sacked by a greedy boss. So he decides to burgle his wealthy neighbours' homes to keep his head above water, as you do. It's all rather implausible and smug, only pretending to lampoon the lifestyles of the wildly wealthy while secretly revelling in them. And the overall story arc feels extremely constructed, with little air for real-life honesty to interfere. But Hamm is hugely watchable as always in an unusual role that combines comedy and drama, and the ensemble cast around him have strong moments of their own. The question is whether we'd watch a second season. (Apple) 

Sirens
This limited series is like a mashup of The White Lotus, Nine Perfect Strangers and The Perfect Couple, set at a New England island retreat run by the imperious Michaela (Julianne Moore). The action centres around her over-efficient assistant Simone (Milly Alcock), who is not happy that her distinctly working-class sister Devon (Meghann Fahy) has dropped in unannounced to ask for help in caring for their dad (Bill Camp). Wrinkles abound in relationships and connections, as secrets and mysteries emerge from the shadows to engulf everyone. And where it goes is refreshingly unexpected. Moore is hilarious as the earnest Michaela, like Gwyneth Paltrow with cult-leader vibes. Terrific costars include Kevin Bacon and the ubiquitous Josh Segarra. (Netflix)

Overcompensating
With its lively writing and likeably chaotic characters, this half-hour comedy is entertaining even if it's one of those shows that spins its wheels and never quite gets anywhere. The premise is clever: university freshman Benny (played by the show's creator Benny Skinner) has always exceeded expectations as an athlete and student, and is suddenly challenged to be his true gay self for the first time. But old habits die hard, and the closet isn't easy to escape. Characters are well-written and vividly played by a fresh cast, and the writing has hilariously knowing insight into the power of expectations and peer pressure, especially with the frat house antics. But over eight episodes, the story only takes baby steps, ending just as things begin moving. (Amazon)

Murderbot
Alexander Skarsgard is terrific in this comical sci-fi thriller series, which packs a lot of humour, suspense and barbed interaction into each of its half-hour episodes. He plays a sentient security robot who hacks the programme that limits his actions, which triggers an odyssey in which he explores who he is and what he means in the face of humanity. His opinions about people are hilariously astute, and it's a lot of fun to see how he awkwardly bonds with his oddball crew (including the terrific Noma Dumezweni and David Dastmalchian). This offers a terrific look at the nature of emotional interaction, while also lampooning the genre with amusing scenes from shows within the show. (Apple)

B A C K   F O R   M O R E

The Bear: series 4

Still not a comedy, despite winning all the awards, this bracing show boasts some of the best acting and writing on television. So while the never-ending miserable chaos sometimes feels exhausting, there's plenty of depth to it. The seriously first-class actors grow more riveting each series as talented people trying to keep a top tier restaurant from failing. Jeremy Allen White and Ayo Edebiri should win every prize going. And the supporting cast too, for that matter. Although showrunner Christopher Storer does love achingly cool montages (sometimes entire episodes are assembled this way). This season was packed with memorable elements, with a constant flurry of surprises. And that wedding episode. (FX)

The Last of Us: series 2 

Jumping ahead five years, this season kicks off with riveting episodes that set up powerful storylines and complex interactions. With shocking twists, the show feels far more propulsive than the first series, adding a proper sense of urgency that drives the action forward on a larger scale. As Ellie, Bella Ramsay continues to be a force of nature on the screen, one of the most complicated young people on television. Ellie's rippingly intentional character drives the action alongside Isabela Merced, Young Mazino and Gabriel Luna. Kaitlyn Dever has terrific presence as this season's villainous figure, alongside a taut Jeffrey Wright. And Catherine O'Hara takes no prisoners. But the departure of Pedro Pascal's thoughtful Joel was hard to watch. (HBO) 

Nine Perfect Strangers: series 2 

Now in an Alpine spa in Switzerland, Nicole Kidman's Masha assembles another group of mysteriously connected people for more psychedelic treatment that's just beyond what might be considered ethical. The ensemble cast is once again excellent, superbly playing people with dark secrets who are pushed into exploring their own minds. Standouts here include Annie Murphy, Murray Bartlett, Dolly De Leon, Henry Golding, Mark Strong, Lucas Englander and the great Christine Baranski. The snowy setting and offbeat old/new architecture offer very cool visuals for this season, but the best thing is the increasingly twisty internalised drama grows between these not-exactly strangers. It's not rocket science, but it's insinuating fun. (Hulu) 

And Just Like That: series 3 

The Sex and the City gang is back for more meandering New York comedy, settling into their new routines with the usual foibles about dating and relationships. Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Sarita Choudhury, Nicole Ari Parker and friends are as effortlessly charming as always, so even if the plotting feels as lazy as ever the dialog crackles with witty life and also finds some emotional resonance along the way. Plus a few enjoyably silly plot turns. It may be difficult to identify with the troubles of these almost ludicrously privileged people, but there are enjoyable moments along the way that keep us watching, largely because we've now invested nearly three decades into these characters. (Max) 

Fubar: series 2 

More nonsense ensues with Arnold Schwarzenegger and Monica Barbaro as father-daughter CIA operatives. This action comedy is packed with silly gags and utterly ridiculous plotting, accompanied by surprisingly grisly violence. This season digs a bit deeper into back-stories of the various teammates, pitching Schwarzenegger's Luke against his villainous ex Greta (a raucously camp Carrie-Anne Moss) while Barbaro's no-nonsense Emma is hilariously wooed by her British nemesis Chips (Guy Burnett). The growing ensemble has a lot of fun diving into the increasingly nutty mayhem. So it's entertaining to go along for the ride, in a switch-off-your-brain sort of way. But honestly, these should be half-hour episodes. (Netflix) 

T H A T ' S   A L L ,   F O L K S

Andor: series 2 

While the first season left me cold with its emphasis on people dryly discussing political plots in static rooms, this keeps that far more contained. These episodes have a superb driving kick that balances the over-intense discussions with proper dramatic tension and rather a lot of thrilling action and suspense. As the timeline counts down to the events of Rogue One (and of course the original Star Wars), the story wraps itself tightly around the audience, meaningfully grappling with big ideas about heroism, courage and political idealism in an unjust system. The real-world parallels are often chilling, especially because they feel so unintentional. And the cast is first rate, including Diego Luna, Genevieve O'Reilly, Stellan Skarsgard and Denise Gough. (Disney)

Squid Game:
series 3 

Picking up in the middle of the scene that cut out at the end of the second season, this final series continues to follow the messy attempts by those who escaped to get back in and stop these sadistic games. And the games are even nastier this time, starting with a particularly brutal round of Hide and Seek. As before, there's a tendency to over-egg the emotional moments, and the monstrous wealthy patrons are even more cartoonish this time. But the tension between our terrified-but-determined hero Gi-hin (Lee Jung-jae) and game's conflicted leader In-ho (Lee Byung-hun) has a terrific simmer to it. Enjoyably, the ghastly pay-off will divide audiences, as will the A-list cameo that leads into David Fincher's forthcoming American spin-off. (Netflix)

The Handmaid's Tale: series 6 

Elisabeth Moss is back as the fiery June, watchable as ever especially when she squares off against Yvonne Strahovski's glacial Serena. The extended narrative has become rather unwieldy over the past few seasons, with a lot of back and forth between peril and safety, and this season is no exception, adding big twists on several fronts. There's also a shameless overuse of Moss' now-iconic death stare (and others get to glower as well). As the overarching story evolves in some pointed directions, there are smaller details that niggle simply because they feel both unnecessary and unsatisfying. But it's held together by the determined drive of these embattled women to reclaim the just society that was so horrifically turned upside down by religious zealots. (Hulu)

GUILTY PLEASURES: The Traitors NZ, I Kissed a Boy

NOW WATCHING: The Sandman 2, Single Out 3, Stick, Adults, Olympo, Long Way Home, The Wild Ones

COMING SOON: Chief of War, The Tuesday Murder Club, Dexter: Resurrection, Peacemaker 2, Star Trek: Strange New Worlds 3, Acapulco 4.

Previous roundup, MAY 2025 >

Screen: August TV Roundup

Long gone are the days when TV series premiered their new seasons in the autumn. Many high-profile shows have new episodes this summer, which gives me something enjoyable to watch in between the movies and stage shows. Some of the best programmes of the year are now sent out in the summertime, right during the TV awards show season. The question is what next year's shows will look like, as the delays from the writers and actors strike begin to shift release schedules. Well, it's started already, as the Emmys have postponed their awards ceremony from September to January. In the meantime, there's plenty to watch...

T H E   S A G A   C O N T I N U E S

The Bear: series 2 
There's a different energy this season, as the characters rally around a sense of purpose, looking to the future rather than simply trying to stay afloat. But the hope is tinged with a real sense of fear that makes each of the characters powerfully sympathetic. This allows the still-naturalistic performances to feel more relaxed and introspective, with stellar work once again from Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bacharach. Generously, each member of the ensemble (plus astonishing guest stars) is given the chance to shine brightly in a nuanced, specific journey as part of the larger effort to reinvent and relaunch the restaurant in an insanely short period of time. Where this goes is funny, thrilling and unusually bittersweet, as the gifted cast and crew refuse to dodge the difficult stuff. (Hulu)

Heartstopper: series 2 
This unspeakably warm and involving series picks up right where it left off, following a group of 16-year-olds who feel like they don't quite belong for one reason or another. The romantic storylines continue to add textures this season, most notably as Nick and Charlie (Kit Connor and Joe Locke) face some very big issues as they grow closer. And Elle and Tao (Yasmin Finney and William Gao) finally confront the unspoken feelings they have. Terrific adult roles remind us that these questions aren't limited to adolescence. The range of serious topics this series deals with is impressive, offering layers of hope to viewers without ever pushing a point. It's also played to perfection by a seriously gifted cast who play teens with all their messiness in tact. Plus the fabulous Olivia Colman. Unmissable. (Netflix)

The Witcher:
series 3 
The amusing tone of the first season is an increasingly distant memory as everything turns almost ludicrously serious, the mythology becomes woefully dense, the plot splinters all over the place and everyone begins to speak in raspy whispers rather than their actual voice. This dialog is also packed with more wacky names than any mere mortal can keep track of. The central plot is still involving, despite the sideroads, layers of villainy and hyper-violent, over-staged battles. Oddly, the romance between Henry Cavill's Geralt and Anya Chalotra's Yennifer is a nonstarter; more involving is the complex link between Jaskier (Joey Batey) and Radovid (Hugh Skinner). While it's rarer now, the offhanded banter still holds the interest because it highlights engaging relationships over dully uninteresting lore. (Netflix)

I Think You Should Leave: series 3 
It's another bone-dry dose of pointed humour from Tim Robinson, taking aim at pop culture with lacerating satire about a range of worthy targets, from dating shows to pharmaceutical adverts, with a special emphasis on squirm-worthy office politics. These are short, sharp sketches with often absurd flourishes, and they're produced impeccably. The way they interweave, reference each other and sometimes overlap is both hilarious and often unnerving. It's the kind of show that provokes nervous giggles rather than hearty laughter. We can see ourselves in these exaggerated characters, which is both amusing and terrifying. (Netflix)

T H A T ’ S   A L L   F O L K S

The Other Two: series 3 
Increasingly wacky, this show has been written and performed from the first episode with lightning-sharp wit. The jokes seem to get broader with each episode, heading in sometimes ridiculous or even surreal directions as the writers ramp up their satirical take on the authentically insane world of celebrity and fame. Helene York and Drew Tarver are excellent as the desperate siblings who are unlikably ambitious but still sympathetic. Molly Shannon continues to steal the show as their now uber-famous mother. And a collection of hilarious side characters (including many A-list cameos) livens up scenes with astute gags and exaggerated absurdities. This show often begins to feel like it will spin out of control at any moment, which makes it unmissable. (Max)

Never Have I Ever: series 4 
For its fourth and final season, this series follows the bright but impulsive Devi (Maitreyi Ramakrishnan) through her fourth and final year of high school, continuing to trace the trail of carnage she generates in both in her friendships and romantically. And it's still inexplicably narrated by a wryly hilarious John McEnroe. The whole point of this series is to watch Devi growing up and forming increasingly serious relationships, and its her connection with her single mother (Poorna Jagannathan) that becomes the strong focal point here. A range of sometimes wildly nutty side characters maintain their own enjoyable trajectories while interacting with Devi's, and there are superbly dramatic, romantic and sexy moments scattered through these episodes, plus a lot of very witty writing. (Netflix)

F R E S H   &   N E W

The Crowded Room 
While series creator Akiva Goldsman works far too hard to obscure the story with a fragmented narrative, this show is involving thanks to lead performances from Tom Holland and Amanda Seyfried as a criminal suspect and the psychiatrist trying to work out how his mind ticks. The plot's big secret is obvious very early on, and it's a mistake to wait until the sixth episode to confront it. If you stay with it, the show gets much better as it begins grappling with bigger themes about childhood abuse and mental trauma, which makes the second half of the series properly resonant and powerful. Holland and Seyfried play their complex roles beautifully, and the production is packed with clever visual touches that add to the internalised impact. (Apple)

Glamorous 
Kim Cattrall gets a superb starring role as the founder of a high-end cosmetics brand who is trying to reconnect with her loyal customers. Her friendship with perky overachiever Marco (Miss Benny) is refreshingly offbeat and uneven, nicely refusing to progress as expected. Scattered through 10 sparky episodes are plenty of nice surprises in the interaction, narrative and relationships. The show plays out like an updated variation on Ugly Betty, and it feels perhaps a bit pointed in its gender politics, but the underlying ideas are important. This adds a hint of depth to a show that's otherwise unashamedly cartoonish. These are characters who are able to grow and change, so by the end most have taken a proper journey. Bring on season 2. (Netflix)

Secret Invasion
Yet another Marvel product that can't decide whether to focus on big action set pieces or character drama, so it isn't satisfying on either front and it ends up feeling like a plot transition between other movies and series. When the people are at the centre of the scene, this is riveting, played to perfection by the likes of Samuel L Jackson, Olivia Colman, Ben Mendelsohn, Don Cheadle, Emilia Clarke and Kingsley Ben Adir. But each episode seems to require a bombastic action set-piece that's efficient enough but also painfully uninteresting (super-powered people bashing each other is so boring!). And the overall plot, about an alien race warring with itself over whether to annihilate humans to take over Earth, carries absolutely no tension in a Marvelised universe. (Disney)

Fubar 
There's a dopey charm to this silly action comedy starring Arnold Schwarzenegger as a CIA spy who is sent on one last mission before he retires, during which he discovers that his daughter (Monica Barbaro) is also an ace operative. The banter is sharp and goofy between protective father, independent daughter, oblivious family, goofy colleagues and absurdly handsome villainous mastermind (Gabriel Luna). It's one of those shows in which no other spies seem to exist in the agency, so both spycraft and romances are limited within this ensemble. Amid some rather oddly nasty violence, there's plenty of comic relief (mainly from sidekicks Fortune Feimster and Travis Van Winkle). All of which leaves this show as a bit of mindless fun. (Netflix)

Based on a True Story 
Kaley Cuoco, Chris Messina and Tom Bateman are a solid enough central trio to overcome this crime comedy's outrageously contrived story points. The idea is so absurd (struggling couple launches a true crime podcast with a real serial killer) that it's impossible to take anything that happens remotely seriously. Which is fine for a comedy, but becomes a problem when events take some properly serious turns. All of this is assembled and performed with such a chirpy blast of energy that it's easy to simply sit back and enjoy each ridiculous predicament these people get themselves into. The red-herring fantasy sequences are so overdone that they undermine any attempt to get into the groove of the story. But the actors sell it. (Peacock)

C A T C H I N G   U P   W I T H . . .

Somebody Somewhere: series 1-2
I arrived late to this series and found it to be my kind of vibe. The writing and performances are delightfully unforced, creating characters who bring the audience into each scene so we can laugh with them at the absurdities of their lives. Bridget Everett shines as Sam, whose sardonic wit is a survival mechanism in rural Kansas. Her connections are the heart of the show, played out in mini-adventures that bristle with humour and emotion. Sam's interaction with sister Tricia (Mary Catherine Garrison) is played with unusual complexity and texture. And Jeff Hiller is wonderfully bemused as her new best pal Joel. This is a gorgeous show that could run and run. (HBO)

The Last of Us
Having lost my interest in zombies a few seasons into The Walking Dead, I avoided this show when it first came out. Then it was nominated across the board in the Dorian Awards, so I decided to take a look before casting my vote. The first two episodes were as tedious as I thought they'd be, and then episode three came along, deepening the dawning connection between the fabulous Pedro Pascal and Bella Ramsey while tracing a gorgeous decades-spanning subplot featuring the great Nick Offerman and Murray Bartlett. The banter between Pascal and Ramsey is what kept me watching the series, plus some terrific guest stars (who knew Melanie Lynskey could be so gleefully vile?). This is far more involving than the action nonsense that consumes far too much screen time. (HBO)

GUILTY PLEASURES: Drag Race All Stars, Too Hot to Handle, Love Island.

NOW WATCHING: Star Trek: Strange New Worlds (2), Minx (2), Good Omens (2), And Just Like That (2), The Afterparty (2), What We Do in the Shadows (5), Black Mirror (6).

COMING SOON: The Continental, Ashoka, Only Murders in the Building (3), The Morning Show (3), Physical (3), Sex Education (4).

Previous roundup: JUNE 2023 > 

Critical Week: When the night falls

It's been a very quiet week, so I've spent some time catching up on movies and television shows (I am still far behind on the small screen!). One film I saw in a cinema was I Wanna Dance With Somebody, the Whitney Houston biopic that's rather straightforward but livened up by a terrific performance by Naomi Ackie. Lena Dunham's Catherine Called Birdy is a delightful modern-minded comedy set in medieval England, starring the wonderful Bella Ramsey. And Toni Collette lends some badly needed earthiness to the goofy black comedy The Estate, about cousins circling around their dying wealthy aunt (an up-for-it Kathleen Turner). 

BEST OUT THIS WEEK:
Wildcat • Corsage
Peter Von Kant
ALL REVIEWS >

A bit further afield, All Quiet on the Western Front is a staggeringly well-made German drama about World War I. It may have the usual war-is-horrific message, but its perspective and first-rate production values make it worth a look. From Japan, Inu-oh is an extremely offbeat historical drama that's worth a look for its originality and dazzling animation, even if the storytelling is messy. And there were three docs: the absolutely gorgeous Moonage Daydream recounts the life and work of David Bowie using a swirling collection of archival footage; the deeply engaging Wildcat follows a damaged young man to the Peruvian Amazon to find a sense of purpose; and the chilling Navalny exposes the Russian government's ruthless attempt to murder an opposition politician.

This coming week I still have quite a few awards-worthy films to catch up with at home, plus some things I've been putting off like the sequel Disenchanted and the Disney animation Strange World. Actual press screenings won't be back until 9th January. I'm also still way behind on my television viewing - I've only just begun this last season of The Crown, and I haven't yet started the last season of A Handmaid's Tale or indeed House of the Dragon.