Frasier
Kelsey Grammer slips effortlessly back into his iconic role for a third time, still seeming like a man living in the wrong place and time, and loving it despite the constant annoyances. This reworking is more of a standard sitcom than the 1993-2004 iteration, with the usual collection of offbeat characters and predictable tensions. So that Niles-Frasier dynamic feels sorely lacking. That said, these people definitely grow on us. And it's the funniest new comedy in years, a rare show that can make us laugh out loud. (Paramount)
Lavishly and boldly assembled, this drama traces several decades in American politics through the prism of homophobia and fear, most notably in the 1950s McCarthy hearings. An epic romance is recounted in fragmented snippets that prevent the viewer from properly engaging with the narrative's emotional momentum, but individual scenes are gorgeously written and played, and various story arcs carry strong emotional wallops. Matt Bomer and Jonathan Bailey have wonderfully prickly chemistry in the central roles. (HBO)
First-rate production values and excellent performances add both weight and depth to this 1950s drama, which takes a specific look at the often cruel suppression of women in American society. The story centres on ace scientist Elizabeth (a superb Brie Larson), a survivor of abuse who finds herself increasingly marginalised despite her brilliant mind. Strong performances from Lewis Pullman (as her colleague and romantic foil) and Aja Naomi King (as an intrepid neighbour) add terrific textures. (Apple)
Michelle Yeoh storms the small screen as the mother of siblings (Justin Chien and Sam Song Li) who haven't seen each other in decades. One stayed in Taipei with their Triad boss dad (Johnny Kou) and became a killer, while the other moved with mum to Los Angeles and became "soft". The spiralling interaction within this family, plus a range of terrific side roles, makes this show worth a look, while the violence that surrounds them erupts in fiercely well-staged action sequences. It's a lot of fun, and keeps us on our toes. (Netflix)
This spin-off from The Boys has a sparky young cast and a driving sense of momentum, plus the same intensely hyper-violent touches and gimmicky sexual shenanigans. The fresh-faced cast is likeable, even as their super-powered university student characters rocket through a series of outrageous situations while uncovering and trying to expose a massive conspiracy involving a shady cabal that is exploiting all of them. Ultimately, it's a bit of nasty nonsense that folds itself back into The Boys. (Prime)
Beautiful manga-style animation brings this epic-legend series to life, with hour-long episodes that feel rather ambitious, but also textured and satisfying. Set in 17th century Japan, when being foreign was illegal, the story sends a young samurai who is half-European (thus the blue eyes) on a very personal quest. Secrets abound throughout the narrative, which unfolds with a wonderful series of unexpected adventures and relationships and lots of underlying secrets. And the characters have complexity and charm. (Netflix)
This sitcom is about an insomniac and her agoraphobic male pal who are never in the same room. Both are insufferable, difficult to like as they communicate by video chat. Thankfully, Lisa and Danny are brightly well-played by Antonia Thomas and Craig Roberts. But their misadventures feel contrived, as does how the story pushes them together. Along the way, they constantly poke fun at Lisa's partner (Blake Harrison), the show's most engaging character who's ridiculed for his humanity and sense of responsibility. Hmmm. (Apple)
From Sweden, this is a pitch-black comedy that isn't afraid to get very grim indeed, as the young title character (William Spetz) grapples with both his sexuality and his grief. This makes it often tough to watch, as Tore isn't particularly likeable, because he acts without thinking about anyone, even himself. But it's fascinating to watch as his experiences push and pull him in various directions, shifting his perspective and trajectory. And Spetz delivers an astonishingly brave performance in a wonderfully messy role. (Netflix)
Corny title aside, this French series has an intriguing premise that could serve as a fascinating exploration of masculinity. Alas, the story is told through a resolutely male gaze, with characters who are unflinchingly macho. It's about a teen girl who, to save the family farm, creates a stable of escorts with her brother and friends. The setting, in a part of France that looks like the Australian Outback, is gorgeous. While the obvious female themes are here, issues of sexuality only timidly emerge in the final two episodes. (Prime)
The Crown: series 6
This final season's first half builds to the death of Princess Diana (the fantastic Elizabeth Debicki) and her seismic influence on the royal family and the world. Then the show returns to the Queen (Imelda Staunton), Prince Philip (Jonathan Pryce), Princess Margaret (Lesley Manville), Prince Charles (Dominic West) and his sons., tying up loose narrative loose ends. As always, this is impeccably produced, with first-rate acting in complex roles. And as it inventively blends fact with fiction, it needs to be taken with a grain of salt. (Netflix)
The Morning Show: series 3
Far soapier than previous seasons, this show slows its momentum while diffusing the plot among various improbable character threads. Topicality remains strong enough to hold the interest, especially with powerhouse actors like Jennifer Aniston, Reese Witherspoon, Billy Crudup, Greta Lee and Julianna Margulies. It may not be as brisk, bold and nimble as the first season, but it's a rare show that takes on big issues relating to show business. And Jon Hamm has some nasty fun a the Musk-like tech baron on a mission. (Apple)
series 2
Jamie Dornan and Danielle Macdonald continue the adventures of the amnesiac Irishman, leaving the Australian Outback for Ireland and a new barrage of kidnappings, attacks and mayhem. It turns out that Elliot is actually scion of the Cassidy mob, and he reignites the feud with the rival McDonnell family. The twists and turns are fun, violent but gleefully played with tongue in cheek. While some of the random sideroads feel a bit annoying, the great Olwen Fouere is fabulously formidable as Elliot's no-nonsense mother. (BBC)
This show's plottiness increases once again, and the exhausting convolutions distract from the more entertaining relationships and sci-fi nuttiness. As the central premise splinters to follow other characters, Robbie Amell's Nathan is doubled as well, creating two main storylines while further beefing up supporting roles for leading ladies Andy Allo and Allegra Edwards, as well as Owen Daniel (as the entire afterlife hotel staff). This is a guilty pleasure, offering fun while never grappling with deeper ideas in the premise. (Prime)
Adding some terrific new characters and spiralling adventure chaos, this pirate ship comedy charges confidently into its second season. It's hilarious to watch events continually rocket off in new directions, as the characters struggle to make sense of each new situation. This season starts off sparky and silly, then get a bit murky with lots of flashback-induced soul-searching. So the final few episodes feel a little meandering and corny. But the way the show continually punctures masculinity is fiendishly clever. (Max)
Madrid's party/murder school is back in session, with traumatised ex-student Omar (Omar Ayuso) now on staff while his new boyfriend (Fernando Lindez) is a student, improbably funded by last year's multiple-tragedy victim Ivan (Andre Lamoglia) then launching into an awkward love triangle. There's a feeling like the stakes have been raised, most notably with the aggressive police, who are seen illegally wiretapping teens and violently evicting homeless kids from a shelter. But several vanished characters are sorely missed. (Netflix)
I G I V E U P
Rocketing back into its time-travelling, parallel universe mayhem, this show is far too pleased with its own impenetrable mythology to allow the viewer in. Tom Hiddleston and Owen Wilson have terrific chemistry, plus the great Ke Huy Quan, but it's swamped by overwrought production values and badly overwritten dialog. I tried to just sit back and have some fun with this, but lost the will to live by episode 3. (Disney)
NOW WATCHING: Fargo (5), The Traitors (2), Invincible (2), Open To It.
COMING SOON: Expats, Feud: Capote vs the Swans, Mr & Mrs Smith, Sexy Beast, The Woman in the Wall, The New Look, Players, Abbott Elementary (3), True Detective: Night Country (4), The Conners (6), Queer Eye (8).
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