Screen: April TV Roundup

Recent travels and a film festival put me out of sync with television series, which I watch in gaps between movies to cleanse my palate, like an amuse bouche. And of course, the more I write about shows, the more are sent to me to watch before they air, so keeping up gets trickier and trickier. But I'm working through things! And here are things I've watched over the past couple of months...

Peacemaker
A riotous blast of James Gunn nuttiness, this DC spinoff is packed with terrific characters who are all at cross-purposes with each other. They're also unusually flawed for a superhero show, which makes them far more gripping to watch. John Cena is perfection as the too-focussed title character. Everything he says sounds sexist or racist, even though he's neither (his father, played unapologetically by Robert Patrick, is both and then some). Some of this is too wacky for its own good, but the central plot is surprisingly involving, and the core characters begin to feel like family: we wouldn't want to live with them, but we care. (HBO)

This Is Going to Hurt
Ben Whishaw gives a spectacularly committed performance as an NHS ob-gyn barely clinging to sanity amid the everyday chaos of his job. Writer Adam Kay based this on his experiences, and it plays at a blackly hilarious fever pitch, skilfully evoking the feeling of life out of control, plus a sense of impending doom. Thankfully the script continually surprises us, as do the unusually complex characters, with fine support from Ambika Mod (as Adam's newbie colleague), Rory Fleck Byrne (his gorgeous fiance), Alex Jennings (his thoughtless boss) and the great Harriet Walter (his imperious mother). And it's difficult to recall a more emotionally devastating series than this one. (BBC)

The Book of Boba Fett 
While it looks great, making the most of its desert planet setting and first-rate effects, this spinoff series meanders between two timelines to tell the underwhelming story of the title character, played with understated steeliness by Temuera Morrison. Then it suddenly shifts and becomes its parent show The Mandalorian, which is much more involving. The overarching plotlines are a little awkward, such as contriving to get Grogu back into the show, but the Pedro Pascal brings some badly needed personality that sustains the simplistic storytelling. This includes a climactic battle sequence that's properly epic but so long and violent that it becomes oddly dull. (Disney)

The Afterparty
A clever premise sets this show apart, especially as it plays out so inventively. After a top actor/singer (Dave Franco) dies at his school reunion, his classmates are quizzed by a detective (Tiffany Haddish). Each episode centres on one person's account, told in different styles (including Ben Schwartz's full-on musical and Zoe Chao's bonkers animation) as bigger details emerge about the characters and their twisted connections over the past 15 years. The excellent ensemble includes Sam Richardson, Ilana Glazer, Ike Barinholtz and a wasted Jamie Demetriou. Each performer dives in fully to the sometimes frantic comedy and edgy drama. (Disney)

The Gilded Age
Is this the most sexless show HBO has ever made? Essentially a far less lusty American Downton Abbey, this lavishly produced series is set in 1880s New York as old money sneers at new, and dramas take place both up and downstairs. After a young woman (Louisa Jacobson) discovers her father has left her nothing, she turns to her estranged, imperious aunts (the fabulous but oddly muted Christine Baranski and Cynthia Nixon), and secretly befriends their ambitiously wealthy new neighbours (Carrie Coon and Morgan Spector). But it's relentlessly dull, with dense and oddly stilted conversations that leave little space for personality. I gave up after four episodes. (HBO)

Murderville
Too gimmicky for its own good, this comedy stars Will Arnett as a ridiculous detective whose ex-wife (Haneefah Wood) is the chief. Each episode features a rookie partnered with him for one case, with the hitch being that actors are playing themselves without a script and must identify the killer. Guest stars like Sharon Stone, Annie Murphy, Kumail Nanjiani and Conan O'Brien bring their specific energy to the show. So it's a shame that the narrative is set up so specifically that the show feels stale by the second episode. Little is made of the overarching mystery, Arnett is too dopey to be likeable and the only fun is found in the guests' throwaway gags. (Netflix)

Bridesman
One of the first series produced by a hook-up app, this wacky comedy features six brief but over-plotted episodes that follow chatty, self-absorbed Terry (Jimmy Fowlie), a bridesman in the wedding of his rather intense childhood friend Judith (Sydnee Washington). But he's unable to stop fantasising about her dumb-jock fiance (David Mudge). The story mainly centres on the cartoonishly spiky bridesdmaids, while Terry has a couple of superficial sexual encounters. It's bright and camp, and plays on several transgressive ideas, but it completely misjudges its intended audience by being merely goofy rather than even remotely lusty. (Grindr)

A N O T H E R   S E A S O N

Snowpiercer: series 3  
Plotting gets increasingly central with each season, this time digging even deeper into the rivalry between Wilford (grinning villain Sean Bean) and Layton (tenacious nice guy Daveed Diggs). This war involves tactics, attacks and betrayals that grow increasingly nuanced. This isn't as compelling as the social satire of the earlier seasons (or the 2013 film), because the premise and characters are far more intriguing than violent tit-for-tats. But the season builds interest, adding dark complexity as things twist and turn around the growing possibilities that Melanie (Jennifer Connolly) is alive, and there might be somewhere on Earth that's thawing out. (Netflix)

Star Trek Discovery: series 4b
Fans will remain devoted, but this show continues its slide away from more intelligent interpersonal dynamics with each episode, falling back on much less engaging action, threats and antagonism. The superb cast skilfully continues at full speed, even in some dead-end plotlines. But it's tricky to stay engaged when favourite characters depart for realistic (but frustrating) reasons. It's also difficult to get very excited about another "anomaly" and the sciency jargon that goes with it. Still, the twists in the plot do manage to hinge around deeper character issues. And in the first-contact scenario in the final set of episodes, this season generates some terrific thrills. (Peacock)

O N G O I N G

Minx
A strong premise and terrific cast make up for some rather clunky writing in this enjoyable comedy about a group of people trying to launch a female-targetted magazine in the early 1970s, taking on the patriarchy of Playboy and Penthouse. Ophelia Lovibond is solid in a rather thankless role as an uptight feminist journalist who can't quite comprehend the sexy magazine she's editing. But she has great chemistry with Jake Johnson as the counterculture publisher who knows how these things work. Oddly, the show is still shot from a male gaze, essentially apologising for the lashings of masculine nudity. But at least the actors dive without hesitation. (HBO)

The Conners: series 4
As the grandkids begin growing up, this sitcom has found a variety of intriguing things to say about three generations of a family living under one roof. Carrying the plotting forward sometimes feels a bit forced, although the wedding episode did have some classic moments, while officially adding Katey Segal to this messy family. Laurie Metcalf still steals all the best lines, but everyone around her is on fine form too. These characters continue to have a properly current resonance, taking on big issues to create a much more grounded picture of American life than the usual shiny version on television. And the joke hit-rate is unusually high too. (ABC)

This Is Us: series 6
Quite why this show is ending with this season is anyone's guess, as the multi-timeline premise lends itself to endless reinvention. Oddly, these final episodes are circling around themselves rather pointlessly, continually revisiting the same situations and emotions without pushing people in new directions. The cast is still excellent, selling the big feelings even if we've felt them all before. Surely it would have been much better for the audience (and the ratings) to continue to push things forward into new territory, bringing new characters into focal positions. They've really missed a trick, and I wouldn't be surprised to see a spin-off or follow-up in a few years. (NBC)

L A T E   T O   T H E   S H O W

Shrill: series 1-3
I'd never heard about this show, but spotted a box set of all three seasons on my long flight to Los Angeles in March. I watched all of it, and really enjoyed the story of Annie (the likeable and seriously up-for-it Aidy Bryant) as she seeks to make the most of her life, even as everyone criticises her for her weight. Based on Lindy West's memoir, Annie is a superbly complex character, funny and confident, and also full of doubts. Relationships are also nuanced and beautifully played by a terrific ensemble cast (John Cameron Mitchell!). It's a rare TV series that's funny, hopeful and also realistically painful. (Hulu)

NOW WATCHING: Moon Knight, Our Flag Means Death, Minx, Bridgerton (2), Euphoria (2), Star Trek Picard (2), Young Rock (2), The Conners (4), This Is Us (6)
COMING SOON: Star Trek: Strange New Worlds, Only Murders in the Building (2), The Boys (3), Ozark (4b), Grace & Frankie (7b).

Screen: Autumn TV Roundup

Even with all the movies I'm watching, I still have a bit more time than usual to catch episodes of series television, mainly because I don't have the normal travel time getting into town for physical screenings. The challenge is finding shows that are a tonic after a heavy film - most series at the moment seem to be so serious! So the rare comedy is hugely welcome. This is what I've been watching over the past couple of months...

Ted Lasso 
The premise for this sitcom looks lame: earnest American football coach is hired to manage a cynical English football (ie, soccer) team. But it stars Jason Sudeikis and several under-the-radar British comedy assassins (Brett Goldstein, Hannah Waddingham, Nick Mohammed), so I decided to take a look. And this is the best surprise so far this year, one of the smartest, funniest shows out there, subverting expectations at every moment with characters who are a lot more than the usual types. It's also a rare show that takes a positive approach to life in general, making you feel empowered even as you laugh at a wicked joke. (Apple) 

Ratched 
A rather unconnected prequel to One Flew Over the Cuckoo's Nest, this series is beautifully designed, with a fierce cast. It takes awhile to get going, but the story tightens over these eight episodes, as the eponymous nurse (Sarah Paulson) goes on a deeply personal mission and becomes embroiled in several other nasty events. Performances are terrific, particularly from iconic divas Cynthia Nixon, Judy Davis and Sharon Stone. But the main thing here is the production design, soaked in primary colours, arch architecture and horrific grisliness. The themes feel rather pushy, but it's enjoyably nasty. (Netflix)

A Suitable Boy 
Vikram Seth's acclaimed novel gets the period-epic BBC treatment, directed by the terrific Mira Nair, who always brings a blast of colourful energy to her depictions of Indian culture. Set in the early 1950s shortly after independence, the series recounts a series of interwoven romantic storylines that connect four families, complicated by the fallout from the nation's partition. As usual, Tabu steals the show as a singer of ill repute who falls for a young man played by the magnetic Ishaan Khattar. But the entire cast is frankly gorgeous, beautifully dressed in vivid costumes and bursting with emotion and energy. (BBC)

I Hate Suzie
This provocative British black comedy plays with a number of real-life elements while unflinchingly exploring a tricky issue. Billie Piper stars as a singer-actress whose intimate photos are hacked from her phone, causing mayhem in her personal and professional life. But her reactions often make things worse, which gives her character a startlingly complexity, a famous person who is deeply flawed yet has a public persona to maintain. The approach is inventively stylised, with writing that never takes the usual route for a TV show. And what it says about both society and the industry is astonishing. (Sky)

Hitmen 
The terrific comedy duo Mel Giedroyc and Sue Perkins put their snappy chemistry into a goofy sitcom, and the fact that they're playing assassins keeps the humour very black indeed. The writing is random and generally hilarious, although the show is awkwardly directed and edited to flatten some of the more outrageous gags. Still, Mel & Sue are so funny that they keep us watching, and their interaction with a range of side characters, from each episode's target hit to their riotous nemeses/cohorts Charles and Liz (Asim Chaudhry and Tonya Cornelisse) leaves us looking forward to a second season. (Sky)

Five Bedrooms
This Australian comedy-drama centres on five young people on the singles table at a wedding, each of whom is at a different point in his or her life, and they decide to buy a big house together. What follows is pretty ridiculous, really, as episodes progress from one carefully scripted catastrophe to the next, including farcical romance, surprise revelations, bankruptcy and even cancer. What makes it addictive is the cast, who manage to make these neurotic people very likeable, even as they continually sabotage their own lives. The question is whether they'll survive a second season of disasters. (Peacock)

Insatiable: series 2 
Full-on and deliberately over-the-top, this lurid comedy continues to centre more on murder than sex, which is odd considering that it's about the obsessive people who participate in beauty pageants. But even if the snaky plot continually takes the more obvious, often less interesting direction, the relentless pile-up of soapy twists and turns is riotous and often downright hilarious. And the wildly out-of-control characters are oddly endearing, sharply played by the likes of Dallas Roberts, Debby Ryan, Alyssa Milano and Christopher Gorham. It's not smart enough to be a classic, but it's a lot of messy fun. (Netflix)

The New Legends of Monkey: series 2
This insanely cheesy adventure series is oddly addictive, the definition of a guilty pleasure. It's not even particularly well-made, with its cheap sets and costumes, plus actors who never quite seem like they're taking their roles with even a grain of seriousness. But the goofiness is a lot of fun, and there are some sharply witty moments along the way, including genuinely hilarious dialog and plot points, throwaway one-liners and amusing mistakes. The plot is also so freewheeling that literally anything can happen at any moment. So it's impossible to predict what kind of idiocy is coming next. (Netflix)

PLAYING CATCH-UP

The Neighbor (El Vecino)
From Spain, this goofy comedy has a Green Lantern-like plot about the hapless Javier (Quim Gutierrez) who is given superpowers and a whizzy suit and charged with protecting the galaxy. And his dorky neighbour Jose (Adrian Pino) tries to help him become a better superhero. The joke is that everyone in Javier's life would make a better hero than him, and indeed he's a bit too self-involved, so it's no wonder that his relationship with unambitious journalist Lola (Clara Lago) collapses. But watching his transformation is fun. And the show's low-fi special effects make it even more charming. (Netflix)

Chewing Gum: series 1-2
After I May Destroy You, I realised that I had missed Michaela Coel's previous series, an equally complex and clever comedy about a young woman trying to escape her fiercely religious upbringing and explore the previously forbidden real world. It's all a bit broad and sometimes downright manic, but Coel is terrific as the hapless late bloomer Tracey, making witty comments to-camera as she barrels through a series of madcap experiences. And as the series continues, the side roles become better defined, which makes them both funnier and more emotionally involving. (BBC)

Lucifer: series 1-3
I've inched my way through this show, a terrific tonic when I need something mindless. The concept is witty (the devil fights crime in Los Angeles!), and the comical tone keeps it vacuously enjoyable. The preposterous murder-of-the-week plots, on the other hand, are essentially reworked from old episodes of Hart to Hart. It's also one of those shows that pretends to be sexy and raunchy while shying away from anything remotely realistic. But the characters are vivid enough to hold the attention, and their twisted inter-relationships make the show consistently watchable. Let's hope it finds some edge as it moves to Netflix. (Fox)

Eastsiders: series 1-4
This show was recommended for its writing, and it's well worth catching up with because the scripts are unusually strong. Over four seasons, the show focusses on a group of people who live in a queer L.A. bubble (no native Angeleno would ever think of Silverlake as "east"). The characters are siblings, neighbours and couples, many are gay, and all are dealing with the usual crises. But this is written and played with remarkable insight. Not only are the actors honest and messily real, but the dialog pops with lines like: "Let people be who they are, and then they will do for you the same favour." (Netflix)

I GIVE UP

Away: With this talented cast, it's shocking how bad the writing is, a cliched soap full of improbable melodrama. There's no way Nasa would send this bickering crew to Mars, complete with Russian and Chinese disruptors, facing a silly calamity each week. I made it through the second episode before giving up. (Netflix)

Muppets Now: The Muppets are back once again in another format that seems carefully concocted for the times: namely a computer screen. Some segments are amusing, especially offhanded moments with the starry guests. But it's trying too hard, and the writing fails to make anything of these iconic characters. (Disney)

NOW WATCHING: The Boys (2), Fargo (4), Lovecraft Country, The Third Day, The Duchess, The Comey Rule, We Are Who We Are, Long Way Up.

LOOKING FORWARD: The Mandalorian (2), The Crown (4), Star Trek: Discovery (3), Adult Material, NeXt, The Undoing.

Critical Week: A bit of a giggle

Well, that photo certainly isn't very indicative of Terence Davies' new film A Quiet Passion, the Emily Dickinson biopic that screened for London-based press this week (it also featured in last October's London Film Festival). A gloomy but strikingly realistic period film, it's livened up by the crisp performances of Cynthia Nixon and Jennifer Ehle, and it features lots of Dickinson's wonderfully evocative poetry, but it's pretty grim stuff. There was also a much bigger movie, Disney's remake of the 1991 classic Beauty and the Beast, which stirs live actors into the now photo-realistic animated fairy tale. It's still a hugely engaging story, and the actors and filmmakers add superb subtext, but fans of the original may find it unnecessary.

The best film of the year so far is the Oscar-nominated doc I Am Not Your Negro, which inventively reframes the race issue as the overall history of America. A stunning film, beautifully adapted from James Baldwin's words. We also had the slickly made, action-packed Korean period thriller The Age of Shadows, the grim but inventive British rural drama The Levelling, the astute and moving Chilean drama You'll Never Be Alone, and the serious-themed Italian road comedy A Little Lust.

Coming up this next week, we have Oscar Isaac and Christian Bale in The Promise, Charlie Hunnam and Tom Holland in The Lost City of Z, Dax Shepard and Michael Pena in CHiPs, and the Finnish comedy The Other Side of Hope. Also, the 31st BFI Flare kicks off on Thursday with the world premiere of the true British drama Against the Law. Look for comments on that film and lots of others in regular updates over the next two weeks.