Screen: February TV Roundup

I watched more TV than usual over the Christmas break, and then in January there was an onslaught of new material, while film screenings have been quiet. So here's an update on what I've been watching to kill time in between the movies...

Hawkeye
Due to my general exhaustion about Marvel-world, I was planning to skip this series. But the clips revealed a lively comical sensibility, so I've been sucked back in. And this is an enjoyable romp, with sparky turns from Jeremy Renner and Hailee Steinfeld as arrow-shooting heroes who bicker because the script insists that they must. The story is enjoyably convoluted and a bit out of control, packed with characters who are rather too sure of themselves based on flawed information. As Kate, Steinfeld's refusal to be the usual brooding hero is hugely refreshing. And the best surprise is the sizzling action-banter between Steinfeld and Florence Pugh's Yelena. Please give them their own movie. (Disney)

The Tourist
Jamie Dornan is terrific as a guy who wakes up in an Australian Outback hospital with no memory of who he is or how he got there. He makes a connection with Danielle Macdonald's rookie cop, while she intrepidly investigates his identity against all advice. Details about who he is and the trouble he's deeply into dribble out slowly over six episodes, maintaining a ripping sense of mystery while throwing in some heart-stopping action here and there. It's more violent than was strictly necessary, with one villain to many. But the variety of the baddies (from Olafur Darri Olafsson's man-beast to Alex Dimitriades' swaggering billionaire to Damon Herriman's wheezy cop) keeps things very lively. (BBC)

The Woman in the House Across the Street From the Girl in the Window 
Kristen Bell somehow maintains a straight face all the way through this thriller pastiche, which deploys every imaginable cliche of the mystery thriller genre with gusto. Although because those movies are essentially spoofs themselves (they never resemble anything like real life), this show really needed to go much further than this. Even the requisite steamy sex montage is oddly undercooked, as it were. Still, it's hilarious to watch Bell guzzle litre-sized glasses of wine as she gazes out her window, so emotionally wounded that no one believes she's witnessed a murder. As the whodunit takes some silly turns, more arch, over-the-top satire might have set this apart from the shows it's poking fun at. (Netflix)

A Very British Scandal
Claire Foy and Paul Bettany are terrific as the real-life Duke and Duchess of Argyll in this three-part drama about a 1963 court case that caused a seismic shift in Britain's tabloid coverage. There's a problem woven into the fact-based narrative, because it's impossible to end this story on a satisfying note. But the writers bravely refuse to embellish anything, so all of the events are deliberately left as hazy or undefined as history has recorded them, which is also slightly frustrating. Still, the entire cast is excellent, and the period is recreated with understated flair. It's also an eye-opening exploration of gender roles, centring on a woman who simply refused to be bound by the rules. (BBC)

Around the World in 80 Days
Lavishly produced on a remarkable scale, this grand adventure stars David Tennant and Ibrahim Koma as Phileas Fogg and Passepartout, with Leonie Benesch as a gender-swapped Fix, who's now a feisty journalist rather than a tenacious detective. Switching characters around isn't a problem, but the writers have essentially abandoned Jules Verne's novel completely, with big set pieces that feel contrived to add thrills at specific intervals. And the plot contrivances that have been inserted are surprisingly lazy and underdeveloped. Thankfully the actors are terrific, creating a nice sense of camaraderie between the bickering-but-loyal trio. And the landscapes are spectacular, augmented by above-average effects work. (BBC)

The Wheel of Time 
Clearly straining to be the new Game of Thrones, this over-serious epic about ancient lands and terrible wigs is bursting with convoluted mythology about the nature of fate (see the title) and how various people tap into power for good or evil, represented as white or black swirls, of course. The costumes designs are just as cliched, but at least the production is splashed with some bright colours to liven up the usual drab beige-greyness. Rosamund Pike produced the show, so it's surprising that she's wasted in an underdeveloped role (including two episodes in which she's unconscious). The rest of the cast has a fresh-faced intrigue that bodes well for a second series. Just give Pike more to do, please. (Amazon)

T H E Y ’ R E   B A C K !

And Just Like That: aka Sex and the City series 7 
This reunion show catches up with three of the central characters: Carrie, Miranda and Charlotte, played by Sarah Jessica Parker, Cynthia Nixon and Kristin Davis (Kim Cattrall's Samantha has moved to London). It works best when it's exploring how the characters have maintained their spark into their mid-50s, although packing so many momentous life events into these 10 episodes feels rather artificial. It also feels awkward as it tries to tick a series of trendy and politically correct boxes, while the darkly emotive sequences are rather soggy, as if concocted by writers to add depth on cue. That said, revisiting these characters is fun, and the lively and engaging new cast members add a fresh perspective. (HBO)

Dexter - New Blood: aka Dexter series 9
All these years later, we catch up with our favourite blood-spatter expert Dexter (Michael C Hall), who's now calling himself Jim and working in a weaponry shop somewhere very snowy. He's also being haunted the ghost of his snarky sister Debra (the great Jennifer Carpenter). Of course he's managed to fall in love the local police chief (Julia Jones). Then his now-teen son (Jack Alcott) turns up, triggering a series of momentous events that churn into a powerful finale. This has never been the most tightly scripted show, with its gaps in logic and continuity, but its characters have been so indelible that we hate to miss a single episode. And this limited series has clearly been created for the fans. (Showtime) 

A N O T H E R    S E A S O N

The Great: series 2 
Even more raucous than the first season, this historical romp continues to play loose with the facts while unpicking deeper truths about humanity. Everyone in the story is somewhat cartoonish, and the plots are bonkers, but that's the point, as present-day attitudes and dialog are overlaid on the 18th century Russian court. Now that Catherine (Elle Fanning) has seized control of the Russian Empire, her lovelorn husband Peter (Nicholas Hoult) languishes in house arrest. Although he can't be contained at all. The surrounding characters come into their own this season, orbiting hilariously around these bickering rulers. And then there's Gillian Anderson's riotous appearance as Catherine's mother. (Hulu)

The Witcher: series 2 
While this show still has some self-effacing wit, this season is far more serious than the lively, scruffy first set of episodes. This time it's much more about politics and power, as the characters jostle for position and engage in a lot of soapy melodrama that just seems silly because everyone maintains such a straight face. Which is even more astonishing since everyone is wearing an appalling wig. Thankfully, Henry Cavill knows how to rock a terrible weave, and his costars have plenty of tetchy energy as they circle each other. What makes this show so engaging is the fact that everyone is trying to find their place in this crazy world. But the writers need to have a lot more fun with it next time round. (Netflix)

Dickinson: series 3
The American Civil War is now raging, and the Dickinson family continues to battle among themselves, comically butting heads on all sides as poetry-minded Emily (Hailee Stanfield) tries to make sense of things in her askance, observant way. The narrative unfolds in a flurry of modern-day expressions mixed in with period detail in a way that's sometimes oddly jarring. But there's an important point being made here about the power of poetry to heal both a family and a society that are torn in half. And while the bigger issues may be rather overly pointed, and given rather a lot of artistic licence, the show does draw some well-deserved attention to the iconic poet and the challenges she faced. (Apple)

M O R E   T O   C O M E

Star Trek - Discovery: series 4a
Things get very dense very quickly this season, with yet another undefined "anomaly" causing catastrophe and confusion across the galaxy. The crew's various attempts to investigate this are rather tiresome, distracting from the much more intriguing interaction between them, which leaves their personal journeys to develop more slowly than usual. Sonequa Martin-Green is still a tremendous presence at the centre, complex and fascinating, and her connection with David Ajala's Book is at the show's heart. Also terrific are characters played by Anthony Rapp, Wilson Cruz and the excellent Blu del Barrio. But the departure of Mary Wiseman's Tilly feels like a mistake, as her fresh vibe is badly missed. (Peacock)

Ozark: series 4a
It hardly seems possible, but this saga turns even darker this season, as the Byrdes find themselves increasingly squeezed between the FBI, the Mexican drug cartel and local suppliers. As if the show needed another psychopath, the kingpin's nephew Javi (Alfonso Herrera) is perhaps even more wildly unpredictable than terrifying opium farmer Darlene (Lisa Emery). Meanwhile, Marty (Jason Bateman) keeps a level head, and Wendy (Laura Linney) is properly losing a grip on reality, especially where their daughter Charlotte (Sofia Hublitz) and 14-year-old son Jonah (a series-stealing Skylar Gaertner) are concerned. And it leaves things set up for even more carnage in the final run of episodes. (Netflix)

C A T C H I N G    U P 

Squid Game 
I defiantly refused to watch this Korean show when everyone else did, then finally gave in when I was in covid isolation over Christmas. It's an entertaining thriller packed with terrific characters and some gasp-worthy violence as society's losers are given a chance to make a fortune, or die trying. Colourful visual flourishes also make it stand out from bleak American thrillers. Although some more sharply pointed satire might make it more memorable. (Netflix) 

What/If 
I find Renee Zellweger mesmerising, even with her oddly pinched physicality. She's the driving force in this series, but remains mainly in the background as the central plot follows a young couple (Jane Levy and Blake Jenner) drawn into the gravitational pull of Renee's billionaire. The show is slick and prudishly sexy and, aside from the melodramatic reveals, it makes some nice observations about the power of greed and the strength of real relationships. (Netflix)

NOW WATCHING: The Book of Boba Fett, Peacemaker, The Afterparty, Pam & Tommy, Murderville, Euphoria (2), Snowpiercer (3), The Connors (4), This is Us (6).
COMING SOON: Severance, Star Trek: Picard (2), Star Trek: Discovery (3b), Killing Eve (4), The Marvelous Mrs Maisel (4).

Screen: April TV roundup

The seemingly never-ending lockdown continues to provide more time to watch television than usual, and I've squeezed in entire series between films over the past few months. It's been a largely mixed bag, with only a few triumphs: It's a Sin, Call My Agent (final season) and Young Rock (so far). There seems to be a bit of a lull at the moment, so I'm catching up with a couple of things before new stuff begins dropping in May. Here's what's kept me distracted since January...

Wandavision 
Just when you've think that Marvel has played all its cards, this show breaks new ground with its opening episodes, dead-on pastiches of sitcoms from the 1950s to the 90s. Paul Bettany and Elizabeth Olsen have fun with the lead roles, playing to the laugh-track silliness while adding an undercurrent of dread. There are terrific side roles for Kathryn Hahn, Teyonah Parris and Randall Park. And the production values are extraordinarily cinematic for a half-hour TV series. Then reality flips and it becomes rather a lot more Marvelly, especially as it approaches another overblown, formulaic, effects-heavy finale. It's a shame that the story ultimately feeds the Marvel Universe beast, because this would have been iconic as a stand-alone show. (Disney)

It's a Sin 
Russell T Davies mines his personal history for this lively, telling series set in 1980s London. It's a strikingly fresh approach to the period, capturing a realistic mix of energy and life as a community of gay men faces the horror of the Aids outbreak. Olly Alexander shines in the central role, while newcomer Callum Scott Howells deserves to become a star for his terrific turn as the observant Colin. Davies has a gift for creating ensembles of recognisable people then sending them through literally earth-shattering events, while never losing either the humour or emotion. This approach makes the show a landmark exploration of the Aids pandemic, and with only five episodes it left us wanting more. (BBC)

Lupin
Fiendishly entertaining, these first episodes are labelled as "Part 1", and (warning!) they end on a cliffhanger that leaves us impatient for the next chapter. Omar Sy brings his outsized charisma to his gentleman-thief character Assanne, who was raised on, and seeks to emulate, the classic Maurice Leblanc stories about Arsene Lupin. The show's cat-and-mouse structure is a lot of fun, as are the elaborate heists and cons that fill each episode. And it'd also deepened with some complex interpersonal issues. There are a few rather obvious plot elements, but it's all so skilfully written and played that we're happy to go along with it. And now we're waiting impatiently for Part 2 in the summer. (Netflix)

The Irregulars
There's a lot to enjoy about this scrappy adventure-thriller about a group of offbeat teens in 1870s London. The writing is fairly simplistic, relying on corny horror, the usual relational carnage and a lot of magical mumbo jumbo, and the show seems oddly unsure how to handle the presence of Sherlock Holmes (a fascinating Henry Lloyd-Hughes). But Dr Watson (Royce Pierreson) adds intrigue to the shenanigans, and the young cast members manage to be likeable even though their characters are all a bit too reactionary, impulsive and downright angry about everything. Darci Shaw is particularly strong in a difficult role, delivering on the promise she showed as the young Judy Garland in Judy. (Netflix)

The Stand 
Stephen King's epic 1978 novel gets the sprawling series treatment, with a sometimes jarring structure that unevenly flickers around in time. The eerily resonant premise is set around a pandemic that kills 99.9 percent of humans, leaving the remnant to take a stand with good in Boulder (James Marsden and Whoopi Goldberg) or evil in Las Vegas (Alexander Skarsgard and Nat Wolff). The editing is unnecessarily choppy, and the direction makes the whole show look rather cheesy, but the excellent actors help the series build some momentum as things heat up. So it's frustrating that the writers and directors botch the climax then finish on a jarringly lacklustre epilog. (CBS)

Your Honor
This show's hyper-manipulative style makes it both gripping and annoying at the same time, particularly in the wildly intense, downright panicky first episode. And things remain at peak-pressure moving forward. Bryan Cranston is excellent as a determined judge compromised by his son's involvement in a hit and run that's linked to a mob boss and his fearsome wife (the terrific Michael Stuhlbarg and Hope Davis). The script throws everything imaginable at the characters, and then some. So even with the continuous glaring plot implausibilities and very few characters who remain likeable, it's compulsively watchable rubbish. (Sky)

The One
There's a terrific idea at the centre of this series: that DNA can be used to find your perfect match. Although there are serious problems with the writing, from a string of massive holes in the premise to an over-reliance on the tired procedural murder case that holds the series together. It would have been far more engaging to explore the central idea with more complexity. Side-plots are promising, but they're never developed into anything interesting, merely feeding into a dull mystery. The casting seems oddly dull, but the actors are strong enough to hold the interest. And of course there's always the hope that the show might go somewhere interesting. Alas, it doesn't. (Netflix)

ONGOING & ENDING

Young Rock
Dwayne Johnson has so much charisma that he's easy to watch in just about anything, and here he's playing a ridiculously starry version of himself, narrating his life story. Three terrific young actors play him at 10, 15 and 20, and after the choppy first episode it just gets better and better, inventively diving in for a nuanced and often hilarious exploration of each period in Johnson's entertaining young life, surrounded by riotous family members and colourful wrestlers. With its 2032 framing scenes (featuring the superb Randall Park interviewing Johnson about his presidential campaign), this series could run and run. And Johnson could no doubt run 11 years from now. (NBC)

Kim's Convenience: series 5
In its final season, this series continues with its collection of snappy and amusingly insecure people causing all kinds of awkwardness as they meddle in each others' lives. Simu Liu missed the first few episodes (as he was off being a Marvel star), but makes a welcome return. And each of the ensemble cast members continues to add wrinkles to his or her character, riffing off each other with silly enthusiasm. It's all very broad, and most of these people are infuriating; perhaps a bit more progression in the overall story arc would make it a classic. But it's hugely likeable, the humour is warm and often topically resonant, and in its own nutty way the show frequently touches a nerve. (CBC)

Call My Agent: series 4 
With another collection of perfect episodes, this awesome French comedy comes to an end after four seasons. Sigourney Weaver, Jean Reno and Charlotte Gainsbourg are among the actors playing themselves as they drive their agents around the bend.  And once again the ensemble led by Camille Cottin, Thibault de Montalembert and Gregory Montel are endearing, intrepid and hilariously inventive as they try to both save their firm and maintain relationships with their riotously passive aggressive clientele. There are only 24 episodes in total, and they are hugely binge-worthy. It's a shame they're not making more of them, but this is the kind of classic show that will be worth revisiting from time to time. (Netflix)

SECOND SERVINGS

Snowpiercer: series 2 
Things have become much more heated, as it were, in this second season, as Snowpiercer has merged with supply train Big Alice, bringing a new collection of troublemaking characters, including Sean Bean as the imperious Wilford. Emotional issues are bubbling up everywhere, and they bring far more interest than the action thrills. There are also intriguing things going on outside on the frozen-over earth, although sending Jennifer Connolly out there feels like a mistake dramatically, because the warring factions on the train aren't nearly as interesting as the slow-churning power struggle between her, Daveed Diggs and now Bean. Still, the season built to an exciting climax. (Netflix)

Dickinson: series 2 
There's an ongoing problem with this show, as it indulges in so many flights of fancy that it's difficult to determine what's actually happening in the plot and what's in the imagination of iconic poet Emily Dickinson, who is sharply well-played by Hailee Steinfeld. Plus of course the unmissable Jane Krakowski as her mum. The modern-day touches are witty and very clever, making this feel like a more accurate rendition of history than the usual po-faced approach. This also allows for some perhaps too-knowing references to present-day issues. And while there are real biographical elements scattered throughout each episode, the writers are mainly creating stories out of implications between the lines of poems and letters. (Apple)

Staged: series 2 
After making a splash with their offhanded, larky lockdown sitcom, Michael Sheen and David Tennant are back for more six months later. And the premise is hilariously inspired, as they try to sabotage Hollywood's efforts to make an American version of season 1 without them. Big stars again make witty cameos, including Whoopi Goldberg and Ben Schwartz as slippery agents, plus Cate Blanchett, Phoebe Waller-Bridge, Ewan McGregor, Michael Palin, Jim Parsons and many more playing ridiculous versions of themselves. All of this is a knowing look at the insecurities of being an actor, played to perfection using video conferencing screens, then sharply edited to keep us chuckling. (BBC)

I GIVE UP

Raised by Wolves: The idea for this show was intriguing, and it came recommended, but I struggled to get through three episodes of ponderous moralising before giving up. I just couldn't find a reason to care about anyone on-screen. (HBO)

NOW WATCHING: Young Rock, The Queen's Gambit, The Conners (3), This Is Us (5), Kim's Convenience (5), Mom (8), Shameless (11).
LOOKING FORWARD: The Mosquito Coast, Pose (3), The Handmaid's Tale (4), Special (2), Younger (7).

Screen: July TV Roundup

With the glut of TV shows, and some extra time to try to catch up with things, I'm making these TV Roundups monthly from here on. As always, I find watching an episode or three a brain-cooling tonic after a film screening, so I prefer comedies of course. But a great drama works too. There were some terrific ones over the past two months...

LOVE AND LAUGHTER

Normal People

From Ireland, this half-hour drama has a visceral realism to it, which is one of director Lenny Abrahamson's strong suits. It's also resolutely mopey and overserious, which makes it difficult to get into. But sticking with it is rewarding, as it traces an on-off relationship from school days into young adulthood, touching on some enormous issues along the way. The point, of course, is that the word "normal" doesn't mean what we like to think it means. Everyone has deep issues that alter their lives in unexpected ways. And this couple is so beautifully played by Daisy Edgar-Jones and Paul Mescal that both have deservedly become global stars as a result of this quiet, introspective series. (BBC)

Love, Victor

A spin-off from the film Love, Simon, this series takes the same super-soft approach to a teen's coming out. Michael Cimino is cute in the title role, a character who is very easy to root for as, instead of coming out as gay, he opts for the easy route of having a girlfriend, which is much more acceptable to his religious Latina family. Ana Ortiz and James Martinez are terrific as his parents, but the show's scene-stealers are Isabelle Ferreira as his surly sister Pilar and Anthony Turpel as his goofy new pal Felix. The show is full of great moments, and some complex interaction. But like the film it's a bit too gentle for its own good. (Hulu)

Space Force

There's a great idea behind this show, but the writers oddly hedged back from making it a full-on sitcom, instead giving it the tone of a drama with amusing humour woven through it. There are a lot of funny things and silly characters, but the script never quite breaks through with either a laugh-out-loud joke or pointed satire. Steve Carell is likeable as always, playing it straight as the head of the new military branch, but John Malkovich steals every scene from him. Meanwhile, Lisa Kudrow is oddly wasted. It's engaging enough to keep watching (it's better than the similarly underpowered The Orville or Avenue 5), but the premise cries out for more edge than this tepid treatment. (Netflix)

Staged

Set during lockdown, this knowing sitcom features Michael Sheen and David Tennant as exaggerated versions of themselves as they decide to rehearse a play, Six Characters in Search of an Author, so they're ready to go on stage when theatres reopen. It's sharply written and played, peppered with hilarious gags about life in the covid era as well as witty waves of insecurity and arrogance. Both actors are superb, playing on their public personae, the rivalry between Wales and Scotland and little power games. Their wives pop in from time to time, pointedly, as does their director Simon Evans and shameless scene-stealers like Samuel L Jackson and National Treasure Judi Dench. (BBC)

Everything's Gonna
Be Okay

Josh Thomas is likeably hapless (see also his earlier sitcom Please Like Me), but he certainly shouldn't be trying to get away with playing a guy in his mid-20s anymore: he's 33 and looks it. Still, the show has a nicely unhinged premise, as his lively character assumes guardianship of his two teen half-sisters after their father dies. The ensuing antics refreshingly steer clear of the usual TV cliches, giving the comedy, drama, emotion and sexuality a real-life jolt that's both topical and never predictable. It's all rather brittle and sometimes squirm-inducing, but there's a sweet undercurrent to all of it. (Freeform)

SERIOUS STUFF

Love Life

Anna Kendrick is terrific in this intriguing series, which explores her character's romantic life from high school until she meets her true love. Terrific support from Jin Ha, Nick Thune, Scoot McNairy and the always awesome Hope Davis adds intriguing textures to each episode, as does the gorgeous voice of Lesley Manville as the omniscient narrator. It's packed with clever ideas and powerful moments, although the overall series feels a bit over-constructed, and one episode is completely superfluous. And as it slides through the years, it's like a more obvious American variation on Normal People. (HBO)

Mrs America

Cate Blanchett is a force of nature as the terrifying Phyllis Schlafly, the fiercely independent woman who inexplicably squashed the Equal Rights Amendment in the 1970s and essentially created the "family values" movement that still holds sway with right-wing evangelicals. Blanchett's Schlafly is so iconic in this fiendishly well-produced series that the supporting cast almost fades into the background, including the equally majestic Tracey Ullman (as Betty Friedan), Rose Byrne (as Gloria Steinem) and Margo Martindale (as Bella Abzug). This is a riveting look at an early clash between politics and populism that still resonates strongly today. (HBO)

Dispatches From Elsewhere

Adapted from the documentary The Institute, this show has a surreal, Gondry-esque approach with eye-catching in-camera effects and characters who continually reveal added details (including animated backstories). It's a little loose and rambling, making a very obvious point about how people thrive through connecting with each other and taking on challenges. But the deliberately too-clever scripts are nicely written to draw us into the intrigue, and the cast is wondrous (including Richard E Grant, Sally Field and series creator Jason Segel). The problem is that it's not easy to care, especially as the show crawls up inside itself. (AMC)

Tales From the Loop

With eight stand-alone but interlinked episodes, this series paints a fascinating bigger picture about a town in a quirky alternate 1960s. But the show's languid hour-long pace is far too indulgent, and each of these episodes would be improved by being edited to a sharp, provocative 30 minutes. Even the strongest episodes would have been much more engaging with less wistful gazing. Still, the filmmaking is beautiful, and the excellent actors (including heavy-hitters like Jonathan Pryce and Jane Alexander) create complex characters with messy internal lives and a surprising capacity for cruelty as the supernatural touches their lives. But the mopey tone undermines the potential. (Prime)

Messiah

A fascinating exploration of the nature of religion this series centres on a man (the quietly charismatic Mehdi Dehi) who appears in the Middle East and goes on to build up thousands of followers in America with his miraculous works, challenging theology and refusal to recognise borders. Of course the CIA takes notice, led by Michelle Monaghan's operative. The show is lavishly produced in terrific locations, although it's more than a little distracting that they've over-styled this Messiah to look like a storybook Jesus, albeit one who speaks Arabic and tells his Palestinian followers to throw away their weapons. As the show references religious traditions, it's both inventive and provocative (Netflix)

Jeffrey Epstein:
Filthy Rich

This four-part documentary series is not easy to watch as it delves into the organised paedophile ring Epstein got away with for decades, simply because he bought his way out of the justice system. The opening episode alone is deeply chilling, as it chronicles people who tried to stop him 20 years ago but failed because of his money and powerful connections. These women are brave and definitely believable. Strikingly well-assembled, the doc carefully maintains its focus on Epstein, but it's impossible not to see the men who are so frequently photographed alongside him, sharing private jokes and clearly part of a system of abuse that's terrifying. (Netflix)

A Series of Light

Superbly shot and edited, this series of five British shorts looks great, boosted by natural screenwriting and a willingness to get very dark as each centres on a young men at a pivotal point in his life. Since they relate to sexuality, the stories are full on, sometimes overplayed by an inexperienced cast. But it's easy to root for the characters as they face different fears, and there's a strong sense of panic and isolation, identity issues and the echoing repercussions of bad decisions. This makes each episode rather grim and cautionary, with ironically little lightness. But all of them offer something pointed to think about. (Prime)

BACK FOR MORE

The Politician: series 2

Jumping ahead a few years, this series continues the political climb of Payton, played by Ben Platt firing on all cylinders. This season traces his campaign for New York state senate, taking on an incumbent and her loyal assistant, fabulous roles for Judith Light and Bette Midler, who effortlessly steal the entire show. Meanwhile, Payton's mother (a storming Gwyneth Paltrow) is testing the political waters herself in California. This colourfully lively show's outrageous characters completely overshadow the lower-key gang around Payton, which leaves their subplots feeling somewhat melodramatic and irrelevant. But the show's overall trajectory is fascinating. Bring on season 3. (Netflix)

What We Do in the Shadows: series 2

The ongoing mock-doc (based on the 2014 movie) about a group of vampires living on Staten Island is a constant stream of hilarious gags, plus cleverly understated effects. Despite living for centuries, their cluelessness knows no bounds (like their excitement about being invited to a "Superb Owl" party - think about it). The gifted actors deliver each ridiculous joke with a straight face, often improvising something sublimely absurd. And the over-arching plot is surprisingly involving too, pushing each of these colourfully loveably dopey vampires in unexpected directions, largely due to the understated genius of their familiar, played to perfection by Harvey Guillen. (FX)

Killing Eve: series 3

The tone has changed for this third season, which feels more like a straightforward action thriller than the quirky character-based mayhem of seasons one and two. It still has its moments, and Sandra Oh and Jodie Comer are still terrific as the spy and the assassin who are inexorably drawn to each other. So is Fiona Shaw as Eve's jaded boss, plus the always great Harriet Walter. But merrily maiming and murdering side characters has depleted the show's emotional undercurrent, which frankly is always what holds the interest. It's beginning to feel rather cold and calculating, which is fitting but not as clever. And the last moment in the final episode missed a trick. (BBC)

One Day at a Time:
series 4

At its new home on Pop, this series just keeps getting better, anchored by terrific mother-daughter roles for Rita Moreno and Justina Machado, plus side roles that somehow manage to be goofy, topical and complex at the same time. Each character is likeable, even as they're fully ridiculous. And the smart scripts feel as fresh as ever, unafraid to be very silly as they touch knowingly on a wide range of very big issues relating to Latin families and the LGBT community, without ever getting too political. Which makes everything resonate much more widely. Sadly, the season was truncated by the pandemic, wrapped up with a witty animated episode. (Pop)

JUST LIKE REAL LIFE

Topicality in isolation: 

Comedy news shows have come to life during lockdown, as the hosts have done some of their best work from home, even as their frustration shows. Each has found innovative ways to keep up with the headlines. As always, John Oliver's Last Week Tonight strikes the best balance, picking apart the big stories with astute humour. Trevor Noah has shone brightly with The Daily Show, offering especially powerful commentary on things like the Black Lives Matter protests. Bill Maher has maintained Real Time's balance of viewpoints, edgy opinion, big-name guests and witty gags, plus hilarious inserts of vintage audience reactions. And Samantha Bee went into the woods for Full Frontal, raging hilariously and pointedly at the growing sense of injustice in society.

Style to spare: 

The fifth series of Queer Eye (Netflix) maintained the terrific line-up of make-overs that carry emotional punches (it's not easy to get through an episode dry-eyed). Four of the Fab Five are fascinatingly deep, while the scene-stealing fifth is a bit of a cartoon. There was only one weak episode: why make over an 18-year-old who hasn't yet found her style? Meanwhile, the second season of fast-paced, car-crash doc series Putting On (Revry) picks up two years later with the likeably overconfident On Mekahel, working on his underwear brand. On is still a breathtakingly oblivious control freak who can't understand why his designs don't appeal to men who aren't gym-ripped. And he insists his fiance Dave, a felon who can't get a passport while on parole and still hasn't divorced his wife, must travel to visit On's family in Israel before getting married in Paris. Sure enough, On gets his way.

Life's a drag:

RuPaul has had four drag queen competition series over the past few months: the 12th season of Drag Race (Netflix), the fifth season of Drag Race All Stars, and the first seasons of both Celebrity Drag Race and Canada's Drag Race. That's a lot of drag, but the producers are great at keeping these shows fresh with gimmicky innovations and lots of twists. And their real strength is assembling hugely entertaining casts for each series. Meanwhile, the second season of Werq the World (WoW) continues to insightfully document backstage at the Drag Race tour. Its structure also makes it an empowering look at how each performer overcomes resonant obstacles in pursuit of their dreams. And We're Here (HBO) is like a mash-up of Queer Eye, Drag Race and Priscilla Queen of the Desert, as three drag queens take on small towns across America. The observations are fascinating and often strongly moving, and the drag is properly transformational.

Game on:

I don't watch many game shows, but I sampled a few while in lockdown. Floor is Lava is a genuinely great idea staged in an entertainingly epic way. The sets are amazing, and the contestants gung-ho. But it's beaten to death by the editing, which repeats everything that happens at least 10 times. Stop treating audiences like idiots. Adam Scott is superb as the host of Don't, an under-imagined stunt-based quiz show that's only watchable because of Ryan Reynolds' snarky narration. And The Wall UK is another quiz show, but at least it's hosted by Danny Dyer, who offers some fun even if each game is ham-fistedly stretched out over an hour.

NOW WATCHING: Snowpiercer, I Will Destroy You, Luminaries, I Know This Much Is True, Homecoming (2).

COMING SOON: Brave New World, Wandavision, Down to Earth, Muppets Now, The Umbrella Academy (2).

Critical Week: Old friends

As the weather finally broke, giving us relief from this relentless heatwave, screenings this week for London-based critics were led by Christopher Robin, which was a nice surprise: a sensitive live-action Winnie-the-Pooh sequel starring Ewan McGregor. Although it might be a little slow for children. Much livelier but not nearly as engaging, The Festival has a bright young cast and superb real-world setting, but the story is thin and the jokes simply aren't funny. Featuring an even starrier young cast, including Ansel Elgort, Taron Egerton and Jeremy Irvine, Billionaire Boys Club is a slick money-based thriller that feels eerily over-familiar.

A little further afield, there was the superb Irish thriller Black '47, set during the devastating 19th century potato famine and featuring terrific characters in a riveting story. David Tennant chomps on the scenery as a killer in Bad Samaritan, a nasty little thriller with very little in the way of subtext. We the Animals is a simply stunning coming-of-age drama, gorgeously shot and played on every level. And Memoirs of War is a wrenching, slow-burn WWII epic starring Melanie Thierry as author-filmmaker Marguerite Duras.

Still further off the beaten path, Redcon-1 is a crazed British zombie apocalypse adventure that makes very little sense on any level. From Norway, Revenge is a, well, revenge thriller that's insinuating and involving as its story twists and turns. The sensitive German drama Paths traces the dissolution of a long-term relationship in a quietly meaningful way. And the documentary Nureyev is perhaps a little too ambitious for its own good, with a lot going on with the imagery, sound and voiceovers, but a too-"official" narrative.

This coming week we have Idris Elba's directing debut Yardie, Australian thriller I Am Vengeance, acclaimed Italian drama Dogman, the German thriller The Year I Lost My Mind and three documentaries: Hot to Trot about ballroom dancing, Gun No 6 tracing the life of a firearm and the, ahem, self-explanatory American Circumcision.