Screen: June TV Roundup

This is the time of year when we vote in TV awards, and I'm still making my own shortlists before submitting my nominations for the Dorian Awards. This has meant catching up with various shows, and there will be more to watch once the nominations are announced. But I always enjoy watching an episode or two between movies. And the past two months have featured several terrific new shows, a lot of returning series and three high-profile final seasons...

A L L   T H I N G S   M U S T   E N D

Ted Lasso: series 3 
This season of the almost painfully loveable show feels rather darker and more intense than usual, sending Ted and his cohorts on a rollercoaster journey. Few shows have stronger story arcs for each of their central characters, and several of these episodes are simply sublime (the Amsterdam one is a masterpiece). While some side roles feel a bit cursory, at least they allow the scripts to touch on big themes without too much preaching. And the way Jason Sudeikis, Hannah Waddingham, Brett Goldstein and the whole ensemble brought their characters full-circle was lovely to watch. (Apple)

Succession:
series 4  
Jesse Armstrong's riotously hard-edged series reaches its operatic climax with the long-promised death of imperious patriarch Logan Roy (Brian Cox), which escalates the scramble for, yes, succession. These episodes have densely entangled grief with desperate power-grabbing on so many levels that it's almost overwhelming to watch. Kieran Culkin, Sarah Snook and Matthew Macfadyen are the most powerful players of this season, with staggeringly layered characters who are painful to watch as they squirm. But it's also impossible to look away. The interrelationships are brilliantly played. (HBO)

The Marvelous Mrs Maisel: series 5
More rapid-fire than ever, this furiously busy comedy feels more focussed in on Midge (Rachel Brosnahan) for this final season, thankfully leaving plotlines for the side characters to gurgle in the margins. And Midge is funnier than ever. Along with the revelatory flash-forwards, this season has a remarkable sense of momentum, catching the passage of time in scenes that sometimes get a bit too goofy. Each character takes his or her own journey along the way, with particularly lovely textures between Midge and Susie (Alex Borstein), a relationship that becomes the core through-line for the entire series. (Amazon)

T H E Y ’ R E   B A C K

Dave: series 3 
Somehow still under the radar, this show gets deeper and more powerful with each season, intelligently exploring meaning in life through the lens of offbeat musician Dave Burd. These shows hinge on his search for true love, and the scripts tackle enormous issues with insight, creating an unflinching discussion that grapples with everything from sex to religion. Burd's performance feels effortless, but is packed with nuance. There's a delightful range of A-list guest stars riffing on their own experiences with celebrity. And Burd's witty songs become more knowingly pointed with each episode. (FX)

Schmigadoon: series 2
To energise to their childless marriage, Josh and Melissa (Keegan-Michael Key and Cecily Strong) try to return to the magical musical land, but instead end up in Schmicago, which draws inspiration from gloomier 1960s and 1970s musicals. The returning cast includes Kristen Chenoweth, Alan Cumming, Ariana DeBose and Aaron Tveit in new roles, plus the fabulous Titus Burgess as the narrator. While the producers seriously miss a trick by using a Patti LuPone impersonator instead of the real thing, these six episodes again feature wonderful pastiche Broadway numbers and a thin but likeable storyline. (Apple)

Shadow and Bone: series 2
The fantasy premise put me off initially, but friends encouraged me to catch up for the second season, and I'm glad I did. Less dense than Game of Thrones but equally well-realised, this show is populated by sparky rogue characters who are easy to identify with. They're also played with humour and quirky energy by a largely unknown cast. The plotlines are the usual mix of action chaos, sinister machinations and romantic yearning, but they're also surprisingly complex for a show like this. And the production design is also first-rate, with above-average effects. Looking forward to more. (Netflix)

S O M E T H I N G   N E W

Jury Duty
This exhilaratingly clever reality series is a jaw-dropping experiment on human nature, as one normal guy (Ronald Gladden) is surrounded by actors in a fake courtroom trial, constantly pushed into moral dilemmas to see if he will emerge as a hero. It's a stroke of genius to have James Marsden play a riotously heightened version of himself. The cast and crew are terrific at improvising around Gladden, the only person who doesn't know that there's a script. Rather a lot of footage has been edited into eight brisk, entertaining episodes. And what it reveals makes it a must-see. (Prime)

Queen Charlotte:
A Bridgerton Story
Shamelessly entertaining, this lavishly produced spin-off takes real elements from the life of Charlotte and George III and adds plenty of fiction. The cast is excellent at bridging the gap between the two, cleverly blending present-day sensibilities in a 18th century setting, plus flash-forwards to Bridgerton's Lady Whistledown era. Most intriguing is how Shonda Rhimes weaves a gentle exploration of mental illness into the plot, taking a new look at King George's legendary "madness". This adds some proper emotional resonance, as well as some challenging themes amid the watchable romance. (Netflix)

Bupkis 
While mixing in some thinly veiled fiction, Pete Davidson dramatises his own life in this sometimes astonishingly honest comedy-drama. With Edie Falco as his mother and Joe Pesci as his grandfather, plus a continual parade of A-list costars, everything here feels exaggerated for comical but pointed effect. But there's also the sense that some things have been toned down, perhaps for legal reasons. It's a superbly assembled show, eager to unsettle the audience in all kinds of provocative ways. And Davidson's performance is almost startlingly raw, offering an unusually clear-eyed view of celebrity. (Peacock)

White House Plumbers 
Based on the astonishing true story behind the Watergate break-in, pretty much everything in this series feels stranger than fiction. Events are recounted with a freewheeling slapstick sensibility, as swaggering ex-CIA operative Howard Hunt (Woody Harrelson) teams up with trigger-happy ex-FBI nutcase Gordon Liddy (Justin Theroux) to orchestrate a series of "dirty tricks" to guarantee Richard Nixon's re-election in 1972. The things they do are shocking, revealing deep-seated bigotries and a callous disregard for democracy. Playing this for laughs sometimes feels horrific, but it's hugely entertaining. (HBO)

Mrs Davis 
A bonkers premise and wildly ridiculous visual panache keeps this action-comedy enjoyably unpredictable. It centres around nun Simone (Betty Gilpin), who is avoiding contact with Mrs Davis, the pervasive artificial intelligence that has achieved world peace. And now Mrs Davis wants Simone to take her down by, well, finding and destroying the Holy Grail. It's utterly nuts, but has an eerie resonance in the characters' quirky spiritual yearnings. Performances from the entire ensemble are terrific, including Jake McDorman, Elizabeth Marvel, Ben Chaplin and the great Margot Martindale. (Peacock)

The Big Door Prize 
For some reason, the title of this comedy-drama never reveals itself. This is a warmly engaging comedy about a small town populated by eccentrics who are thrown off balance by an arcade game that presents you with your true life purpose. The solid ensemble cast, led by Chris O'Dowd, creates charmingly offbeat characters who are amusingly entangled with each other. And the way everyone begins to change is fascinating, because the machine's pronouncements are cleverly enigmatic. But the show builds the mystery without answering anything in 10 episodes, leaving it hanging for a potential season 2. (Apple)

Citadel 
Clearly designed to launch a franchise, this globe-hopping adventure is mindless fun that patches together spy movie elements with little connective logic. Richard Madden, Priyanka Chopra Jonas, Stanley Tucci and Lesley Manville are on peak form in a tale of amnesia, double-crossing, world-domination, and so forth. It's flatly ridiculous but plays out with a straight face, so you either have to give up or go with it. International locations add textures, and seductive actors make it worth the ride, most notably Tucci and Manville in rare intense roles, plus the dashing Madden auditioning for Bond. (Amazon)

GUILTY PLEASURES: Queer Eye, Britain's Got Talent, Selling Sunset, RuPaul's Drag Race All Stars, I Kissed a Boy.

NOW WATCHING: Fubar, The Other Two (3), I Think You Should Leave (3), Never Have I Ever (4).

COMING SOON: The Crowded Room, Based on a True Story, Star Trek: Strange New Worlds (2), And Just Like That (2), The Bear (2), Black Mirror (6).

Previous roundup: APRIL 2023 >

Screen: June TV Roundup

There seems to have been rather a lot more television series released over the past few months than usual, as streaming services wage war with each other. Many are high-profile shows with A-list casts, and it's simply impossible to watch everything. Especially when you have a day job that requires watching films and stage shows! Anyway, here's what I've managed to catch since the last TV roundup in April, starting with seven new shows, then four series that wrapped up their runs, then nine more that have been back with new seasons...

Heartstopper
This British romance is one of the most joyous TV series in recent memory, following a group of teens navigating relationships, with added complexities as they are still discovering who they are and whom they're attracted to. The characters are so bracingly realistic that it's easy to identify with all of them, as the writing, direction and acting are packed with knowing details. Young leads Joe Locke and Kit Connor deserve to become stars, and it will be very cool to watch them grow up over the next two seasons. But then everyone on-screen is excellent, including a terrific side role for Olivia Colman. (Netflix)

Moon Knight
Oscar Isaac is the main reason to watch this rather nutty action series about a man with multiple personalities who is the superpowered human avatar to a tetchy Egyptian god. This allows Isaac to have a lot of fun with his multi-faceted role in a show that's deliberately bonkers. The plot is enjoyably freewheeling, with some big stylistic flourishes that add visual panache to a range of adventures as our hero stumbles from one outrageous situation to another, simply trying to survive (and perhaps save humanity) amid the bickering deities. Ethan Hawke is also terrific as his nemesis, as is the superb May Calamawy in a complex leading role. (Disney)

Severance
An inventive premise gives this show an instant kick of intrigue, as does its bonkers 1970s aesthetic, with endless corridors and advanced-but-archaic tech. Adam Scott is solid in a rare serious role as a man whose ordered life, in which his personal and professional consciousnesses have been severed, begins to unravel. All of this is perhaps a bit gimmicky, hinging on something intriguing that never quite makes sense. But the show's internal logic is compelling, as are startling characters played by the fabulous likes of John Turturro, Christopher Walken and Patricia Arquette. (Apple)

Big Boys
Complex and introspective, this show is presented as a comedy but features a strong kick of emotional drama along the way. Based on a memoir, it centres on young Jack (Derry Girls' Dylan Llewellyn), who defers his university studies to keep his mother (Camille Coduri) company after his father's death, then struggles to come to terms with his homosexuality. On campus, he befriends Danny (Jon Pointing), who opens up his world in increasingly unexpected ways. It's a rare show that depicts an close friendship between a gay and straight man who need each other to make sense of the world around them. (C4)

Our Flag Means Death 
Based on the true story of a man who abandoned his family to become a pirate, this show's pilot is directed by Taika Waititi, who then pops up as the fearsome Blackbeard in this wildly amusing comedy set on a pirate ship in 1717. Rhys Darby manages to make the effete gentleman captain Bonnet strongly endearing, and his hilarious ragtag crew includes the likes of Joel Fry, Vico Ortiz, Samson Kayo, Ewen Bremner and Mathew Maher. It's utterly ridiculous, but manages to poke witty holes into the masculinity of its posturing characters. And while everything is very silly, there's a deeper point here about the mentality that drives men to war. (HBO)

Ten Percent
A remake of the hilarious French comedy Call My Agent, this London variation holds closely to the original for the first few episodes, then begins to spread its wings in some uniquely British ways. Led by Jack Davenport, the offbeat cast is solid, and each episode contains starry cameos that are more knowing than jaw-dropping. It's a superb skewering of the insanity of a talent agency, amped up by the arrival of a couple of Americans who add fake Hollywood smiles to every nasty thing they do. The bland direction and slack pacing may leave it feeling a little undercooked, but by the end of this season the show finds its stride and leaves us looking forward to more. (Prime)

The Pentaverate 
Mike Myers plays at least half of the roles in this wildly inventive comedy adventure centred around a secret society that runs the world. The difference is that this one is nice. Only a Canadian would have come up with this premise, and Myers packs the show with terrific characters, laugh-out-loud gags and witty pop culture references, including many that lampoon his own career. Starry guests (Rob Lowe, Keegan-Michael Key, Ken Jeong) and massive effects sequences add to the freewheeling, escalating plot. And while it is very gimmicky, it's far more effective and involving than expected. (Netflix)

T H A T ’ S   A   W R A P

Derry Girls: series 3
Three years later, this great sitcom storms back at full force with indelible characters in riotously funny situations. There isn't a dull moment in these episodes, which are stunningly well-crafted to bring out amusing details in each character while propelling five teens into early adulthood. The 1990s setting adds political subtext that takes on increasing resonance, especially in the final episode, which beautifully sticks the landing. The five young leads are so good that we never want them off-screen. The surrounding adults add knowing textures in even the silliest situations. And Siobhan McSweeney still walks off with the whole show as the bitingly sardonic Sister Michael. (C4)

Killing Eve: series 4 
Carrying on with that snarky glint in the eye, this show continued pushing its characters into awkward corners, now as a three-sided drama featuring killers Eve, Villanelle and Carolyn (the frankly awesome Sandra Oh, Jodie Comer and Fiona Shaw). Because the situations are both terrifying and absurd, each actor can add a range of textures that hold the interest. So while the variations in tone are uneven, the show has a driving energy that carries us right to the end. After the previous three seasons, the series' final moments feel a little unsatisfying, going out with a bang rather than something more textured and transgressive. (BBC) 

Ozark: series 4b 
Iit was nerve-wracking to hit play on these final episodes, knowing that the writers have no qualms about getting very dark, and then darker still. It seemed impossible that there could ever be someone nastier than Darlene (Lisa Emery), and then Javi (Alfonso Herrera) turned up. And now his mother Camila (Veronica Falcon) takes the crown. Meanwhile as the Byrdes, Jason Bateman, Laura Linney, Sofia Hublitz and Skylar Gaertner continue deepening characters who are pushed into various corners. And Julia Garner still shines brightest as the fearsome Ruth. Of course some of the conclusions are frustrating, but it's difficult to recall another TV series this intense. (Netflix)

Grace & Frankie: series 7b 
Jane Fonda and Lily Tomlin have been so flat-out fabulous in these seven seasons that it's difficult to say goodbye to their characters. These last episodes don't scrimp on the tangled messiness, as the show continues to grapple with geriatric issues with openness and humour. This has been a rare show that has embraced sex, inebriation, honesty and power for people of all ages. There are times when things get more than a little cartoonish, but the sheer charisma of the entire cast makes each scene shine. And each actor unflinchingly embraces the more difficult aspects of their characters, which only makes all of them that much more loveable. (Netflix)

B A C K   F O R    M O R E

Bridgerton: series 2 
Shifting to the next Bridgerton sibling, this second season maintains the Austen-esque approach, introducing its prickly leads (the superb Jonathan Bailey and Simone Ashley) as romantic foils right at the start. The wrinkles and obstacles they face are enjoyably messy, and scenes are packed with sparky supporting characters, including fabulous divas Queen Charlotte (Golda Rosheuvel) and Lady Danbury (Adjoa Andoh). Putting modern-day vibes in an 19th century setting makes the show fizzy, thoroughly entertaining and sometimes moving too. So the eight episodes go by far too quickly. The show needs to keep expanding its diversity; we all know where it needs to go now. (Netflix)

Young Rock:
series 2 
Dwayne Johnson continues to unpick his childhood, shifting between various periods to explore his lively relationship with his parents, sport and politics. This second season follows on seamlessly from the first, as the young Rocks (Adrian Groulx, Bradley Constant and Uli Latukefu) are allowed to grow up on screen alongside the terrific Joseph Lee Anderson and Stacey Leilua as his feisty parents. There's also more Randall Park goofiness in the amusingly cynical framing scenes with Johnson, plus added Sean Astin as a nemesis this year, although his subplot gets a bit lost along the way. (NBC)

Star Trek - Picard: series 2 
While this second season succumbs to the Star Trek universe's odd affinity for wacky sciency anomalies and multiverse messiness, it also takes a swerve into something more existential with the return of both the Borg and the mischievous Q (John de Lancie). Also, much of the action is set in 2024 Los Angeles, which adds a present-day kick. Of course, the primary joy is seeing Patrick Stewart back in action, accompanied by a superb ensemble of costars. And there are cool cameos from several others from his The Next Generation days. Ultimately, what sets this show apart is its deeper themes and internalised storylines. So it's worth a look even for non-fans. (Paramount) 

Euphoria: series 2 
Kicking off with that same bleak, dark tone that made the first season a bit hard going, this new set of shows thankfully begins to dig a bit deeper fairly early on. It's still very heavy, and often rather preachy in a wallowing-in-the-muck sort of way. But it's made watchable by its willingness to delve intensely into things most shows gingerly step around. And this allows the cast to create often shockingly vivid characters. Zendaya is particularly superb as Rue, although her self-destructive behaviour is exhausting. Others are more nuanced, even if the writers continually push the casual drugs and violence way over the top. (HBO)

The Flight Attendant: series 2
Kicking off at the same frantic, out-of-control pace as the first season, these episodes immediately feel more tightly written. Even as the plot spirals out in several cleverly insane directions, the ongoing craziness surrounding Cassie (Kaley Cuoco) is entertaining and involving, including the way she consults with the various aspects of her personality. The central mystery is so bonkers that it's impossible to imagine where it's heading, especially as each clue seems to be downright impossible. Everyone in this show is hyper-distracted, and the things Cassie does are frankly idiotic. But it's fun to just hang on for the ride. (HBO)

Upload: series 2 
This second season feels truncated at seven episodes, and apparently a third series is coming. It's a show that allows you relax and stop thinking, brought to life by the criminally likeable Robbie Amell as a guy whose consciousness was uploaded to a virtual resort when he died. He continues to pine for his "angel" assistant Nora (Andy Allo) while his overbearing girlfriend Ingrid (Allegra Edwards) pays his bills keeps a much too-close eye on him. The rich/poor divide is more integral in this season, complete with the addition of a group of anti-upload activists who want to bring down the entire system. But it's still mercifully predictable and funny. (Prime) 

Space Force:
series 2
An unusually strong cast makes this comedy entertaining, anchored by Steve Carell and John Malkovich immaculately underplaying absurdly ridiculous characters. Plus adept supporting cast members like Ben Schwartz, Diana Silvers, Tawny Newsome and Jimmy O Yang. The premise might be corny, and much of the humour feels underpowered, especially running gags about the lack of funding in this new US military branch. But above-average writing gives the actors something to chew on even in the most absurd scenes. It also helps to have guest stars like Jane Lynch, Lisa Kudrow and Patton Oswalt popping in. (Netflix)

Girls5Eva: series 2 
Fast and breezy, this rapid-fire comedy sends this riotously ridiculous girl group on another wildly outrageous journey, this time as they try to get their barely revived career back up and running with a new album and tour. As before, the songs are absolutely hilarious, while the four central characters played perfectly by Sara Bareilles, Busy Phillips, Renee Elise Goldsberry and Paula Pell manage to stretch their stereotypes in all sorts of intriguing directions. And the show continually finds ways to explore the music business with striking insight, even as it indulges in the silliest jokes imaginable. (Peacock)

Elite: series 5  
Mindlessly trashy, this new season once again kicks off with a murder, then cycles back to build up to it as the teen characters throw a wildly sex-fuelled, drunken party seemingly every night. Stakes are upped by continuing last year's mystery while indulging in new red herring shenanigans. As always, it's a lot of escapist fun to watch these fabulously wealthy, ludicrously hot people squirm in a veritable hurricane of soapy calamities. As the show continues, its point of view is increasingly fragmented, so there's no longer a central figure to root for. But then, nobody in this show is very likeable, so it's easy to just sit back and watch the mayhem. (Netflix)

NOW WATCHING: Obi-Wan Kenobi, Becoming Elizabeth, Star Trek: Strange New Worlds, Ms Marvel, Pistol, Physical (2), The Boys (3), Stranger Things (4).
COMING SOON: House of the Dragon, Only Murders in the Building (2), Love Victor (3).

Screen: January TV Roundup

I'm not watching quite as much TV as usual, because it's awards screening season with films. But I've still managed to see quite a few series in between the movies over the past few months...

The Mandalorian: series 2 
One of the finest series in production at the moment, creator Jon Favreau continues to tap into that childhood Star Wars vibe to create a mini-epic in each half-hour-ish episode. Cleverly, each plot is a misdirection, as Pedro Pascal's title character and his increasingly cheeky tiny sidekick are continually distracted by side adventures as they proceed on their epic quest. This means revisiting old characters, meeting new ones and dropping a steady stream of franchise references and witty discoveries into each scene. Every moment is simply gorgeous. (Disney)

His Dark Materials: series 2 
Things get darker as this series continues, now heading into Phillip Pulman's second novel The Subtle Knife. The superb Dafne Keen is flexing her acting chops in the central role: Lyra is becoming a force to reckon with even as she digs deep inside herself. And joining her now, Amir Wilson makes a terrific partner/foil on this journey. The effects are still a bit overly digital, but they bring the fantastical elements to life in vivid ways. And the depth of character across the board makes it riveting, including a seriously complex villain in Ruth Wilson. (BBC)

Star Trek - Discovery: series 3
It's rare for a series to improve so enormously from season to season, but this show seems to revel in reinvention. This season's episodes were bracingly engaging, packed with epic action and full of big ideas. With inventive plotting and a flat-out terrific ensemble, it constantly surprises with its clever approaches to the themes that have made this franchise stand out since 1966. This season sent the crew ahead into a distant fragile future, where they're forced to confront their identities in some superbly well-imagined and played situations that have enormous ramifications. Where to next? (Netflix)

Fargo: series 4 
It's not easy to get into this fourth season, which is set amid duelling gangs in 1950 Kansas City. The racial issues are complex, and of course the production design and eclectic casting is a lot of fun, led by the excellent Chris Rock and Jessie Buckley, both miscast. But it feels oddly indulgent, especially with its churningly violent overtones. While the fatalistic touches are still everywhere, the offhanded small-town charm of the first three seasons (and the Coens' film) is sorely missed. Creator Noah Hawley's approach is ambitious and intriguing, but this season is never engaging. (FX)

SOMETHING NEW

Bridgerton 
Sharply well written and played, and produced with a modern Jane Austen vibe, this juicy Regency soap is ludicrously entertaining. It centres on two families on the London social scene, each with different fortunes during the matchmaking season. At the centre is the tangled romcom-like journey of Daphne and Simon (Phoebe Dynevor and Rege-Jean Page), who overcome toxicity with forgiveness and an open heart (at least until season 2). And the other vivid characters have entertaining journeys of their own, amid fabulous sets and costumes that never overwhelm them. The dialog bristles with wit, and it's a rare show that's genuinely sexy too. (Netflix)

The Serpent
A riveting true story, beautifully produced with a great cast, this series traces the nasty story of Charles Sobhraj (Tahar Rahim), who robbed, drugged and killed travellers across Southeast Asia in the mid-70s, and Dutch diplomat Herman Knippenberg (Billy Howle), who went far beyond his job to catch him. The period and atmosphere are so beautifully evoked that we can forgive the obvious directorial touches and jarringly choppy editing (two weeks later, three years earlier, seven months later, huh?). And the actors are so strong that we're pulled right into each incredible twist and turn in the tale. (BBC)

The Undoing 
There's a fairly straightforward mystery at the centre of this stylish series, but it's elevated by the astonishing casting of Nicole Kidman, Hugh Grant and Donald Sutherland, each of whom plays someone who's slippery and suspicious, but probably not the killer. Add the always excellent Noah Jupe as the teen in the middle, a great role that should have been even bigger. It's all so twisty and vicious, with so many bombshells that it's hard to wait for the next episode. And it's so juicy that we really don't mind where it might end up. The journey is the thing. (HBO)

The Flight Attendant
There's a trashy energy to this series that makes it watchable, even though the storytelling isn't particularly strong. The main problem is that the central character (played full-on by Kaley Cuoco) is relentlessly unlikeable: not only is she a raging alcoholic, but she has serious impulse-control issues. This makes everything that happens feel both implausible and annoying. The actors are solid, creating intriguing characters, most notably Michel Huisman, who makes what could have been a thankless role into someone genuinely fascinating. But all the whizzy, slick production values in the world can't make up for the essentially flimsy plot. (HBO)

Next 
John Slattery is terrific as a scrappy tech billionaire in this slick, convoluted thriller about an AI programme that runs amok and starts murdering and manipulating. This allows for a series of set-pieces that play out with witty and very nasty details. And it's just believable enough to be darkly chilling as things get increasingly freaky, carefully layering in the possible future with the realistic present. The relentless violence is perhaps more human than machine, but it plays nicely into the audience's fear of too-smart technology. And the ramifications the story raises will keep our minds spinning. (Fox)

Black Narcissus
There's a wonderfully leery tone to this melodramatic series, based on the 1939 novel (previously adapted into a 1947 Powell & Pressburger film). Gemma Arterton is superb as Sister Clodagh, the young nun sent to the high Himalayas to start a convent with four colleagues. Her innuendo-fuelled clashes with the roguish Mr Dean (Alessandro Nivola) add some subdued spice, as do her clashes with mentally unstable Sister Ruth (Aisling Franciosi). It's all rather overwrought and ridiculous, which is of course what makes it compelling and entertaining, especially when things get vaguely sexy and hauntingly freaky. (BBC) 

Death to 2020
This mock-doc looking back at the last 12 months really should have been a lot more original than this with Charlie Brooker's name attached. But it's a rather simplistic rehash of the year's various nightmares, peppered with lazy jokes and flippant commentary, as if everything will go back to normal at the stroke of midnight on December 31st. Appearances from Hugh Grant, Lisa Kudrow, Kumail Nanjiani, Leslie Jones and especially Samuel L Jackson add interest. But while they make it watchable, they're only able to inject a few meaningful observations. (Netflix)

ONGOING 

This Is Us: series 5 
Open-handed emotions continue to guide this family series, which is still bouncing around in an ever-expanding timeline to catch the characters at various ages, sometimes straining to draw parallels between their reactions and experiences. The cast has settled into their second skins now, making these people feel like part of our own family, so every emotional wrench is strongly felt. I'm not crying, you are. (NBC)

Superstore: series 6 
Covid invaded this sitcom in a major way, and the writers have had a lot of fun with it, allowing viewers to laugh at the absurdities without dwelling too much on the annoying/boring aspects of lockdown. The cast continues to have fun playing these idiots as they work in their enormous warehouse shop, although sending America Ferrara off to California in the season's early episodes feels like a misstep. (NBC)

Mom: series 8 
The title is now pointless, as this show deleted one mom/daughter from the first season and has now lost another one. Instead, it has become a rehab sitcom starring Allison Janney. And I'm not complaining. It's still sharp and funny, tinged with real-life issues and packed with wacky characters who manage to keep their feet on the ground. Janney and William Fichtner's relationship continues to find sparky wrinkles, and it's still refreshing to see recovering addicts for whom putting their lives back together isn't accomplished in one episode. (CBS)

Shameless: series 11 
For their final season, the Gallagher family are clearly intending to go out in a blaze of glory. This series starts with them in very different places as parents, spouses and entrepreneurs, which continues their journeys with additional textures and complications. There's the usual worry that the writers will continue to pull the rug out from under these people we've grown to love. But it will be fun to see where they all end up. (Showtime)

NOW WATCHING: WandaVision, The Stand, Staged (2), Dickinson (2), The Conners (4), Kim's Convenience (5).

LOOKING FORWARD: It's a Sin, Snowpiercer (2), Call My Agent (4)...