Screen: July TV Roundup

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

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

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

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

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

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

B A C K   F O R   M O R E

The Bear: series 4

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

The Last of Us: series 2 

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

Nine Perfect Strangers: series 2 

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

And Just Like That: series 3 

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

Fubar: series 2 

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

T H A T ' S   A L L ,   F O L K S

Andor: series 2 

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

Squid Game:
series 3 

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

The Handmaid's Tale: series 6 

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

GUILTY PLEASURES: The Traitors NZ, I Kissed a Boy

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

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

Previous roundup, MAY 2025 >

Screen: December TV Roundup

Festivals and awards season have taken a toll on my schedule, but I keep watching episodes of TV series as punctuation between the movies. It's amazing how much you can get through just watching an episode or two here or there. Some of the series below started back in the summer, and others dropped in binge-worthy bundles just in time for a free weekend. But there were several shows I simply didn't have time to watch, such as House of the Dragon, The Rings of Power and The English, to name three...

O H   T H E   D R A M A

The White Lotus: series 2 
Shifting to Italy with only the awesome Jennifer Coolidge's Tanya as a returning character, writer-director Mike White gets even more ambitious this time around. Enormous themes, ideas and even plot points are hidden in between the dialog and situations, offering constant moments of discovery for the audience. And just enough remains ambiguous to keep our brains spinning. It's still a story about haves and have-nots, but this time the lines are even more fiendishly blurred. And the first-rate cast includes Aubrey Plaza, F Murray Abraham, Theo James, Tom Hollander, Haley Lu Richardson, Michael Imperioli and Will Sharpe. Provocative, unmissable television. (HBO)

The Crown: series 5
It's all change once again for this series, which follows the British royal family into the 1990s with Imelda Staunton now playing Queen Elizabeth. Appropriately, she's a bit more aloof than before, although this makes the show far less engaging. This also leaves her in the background as episodes centre more on Diana (Elizabeth Debicki) and Charles (Dominic West), plus a very odd episode that spirals away to tell the story of Mohamed Al-Fayed (Salim Daw). But the show is still immaculately produced and beautifully acted across the board. And it finds intriguing angles on things like press intrusion and the collapse of the Soviet Union. (Netflix)

The Handmaid's Tale: series 5 
Diving even further into darkly disturbing thriller territory, this show is unafraid to send its characters into some properly horrific corners, although it perhaps seems a bit odd that almost all of them are still alive considering the hideous violence all around them. Elisabeth Moss continues to shine as June, and she directed a few belting episodes as well. She's now in exile in Canada with her husband (O-T Fagbenle), but still intricately involved in the goings-on in Gilead, especially with Serena (Yvonne Strahovski) and the now-more-sinister Joseph (Bradley Whitford). In its penultimate season, the stakes are getting higher, and characters continue to get more complicated. So bring it on. (Hulu)

The Sandman
Ambitiously adapting Neil Gaiman's darkly complex comic book, this series is visually stunning, with an excellent ensemble cast circling around a skilfully nuanced Tom Sturridge as Lord Morpheus, the ruler of the Dreaming. The show's structure, which sees Morpheus trying to restore order after he's released from a century of captivity, involves frequent shifts in settings and tone, veering from wacky comedy to grim horror to wrenching drama. This makes it feel uneven at times, but each scene is dazzling. And when you have ace costars like Gwendoline Christie, David Thewlis, Charles Dance, Joely Richardson and John Cameron Mitchell on hand, it's impossible to look away. (Netflix)

Andor 
Oddly dry and dull, this Star Wars series is a prequel to the 2016 film Rogue One, shifting between bickering officials in the Empire and the bickering rebels who are trying to undermine them. While it's enjoyably layered and intriguing, the narrative is scattered over a wide range of characters, each of whom has something interesting to do. But even with a terrific cast, no one emerges as a person who is terribly engaging. Even Diego Luna, in the pivotal role, feels like a side character. While expertly staged the action sequences seem oddly random, and the plot's spiralling political machinations remain rather clinical. So let's hope for a more personal approach in the second season. (Disney) 

The Resort
I was intrigued because this show was created by Andy Siara (Palm Springs) and has a cool cast that includes William Jackson Harper, Cristin Milioti, Skyler Gisondo and the always fabulous Nick Offerman. A sometimes remarkably dark mix of comedy and fantasy, the story centres around a holiday resort in the Yucatan and two young people who went missing 15 years earlier. Then tantalising clues hint that there's time travel involved. The gradually unfolding mystery is engaging, but it's the edgy humour and continuous stream of quirky characters that keeps us entertained. So there's a slightly bittersweet tone as things begin to come together, because we know this will mean that the gang will break up. Then the conclusion suggests that there's more to come. (Peacock)

Elite: series 6
This guilty-pleasure drama from Spain continues to get darker, nastier and more convoluted. And also repetitive. After killing off another central character, the teens continue to indulge in drugs and partying while occasionally attending school. This time they're grappling with horrific violence in the form of a vicious public outing, attempted hit-and-run murder, drug-fuelled gang rape and homophobic murder, among other things. Yes, what these kids are dealing with is extremely grim, and the fact that they're all wildly wealthy doesn't help them at all. It leaves us hoping there's a glimmer of hope in the next season. (Netflix)

J U S T   F O R   L A U G H S

Only Murders in the Building: series 2 
After setting up a new mystery at the end of the first season, this show slides effortlessly into back into its groove, with a confident storytelling approach that's even more engaging. The writing crackles with wit, including continuous references to the difficulty of ramping things up for a second season of the eponymous podcast. All three leads (Steve Martin, Martin Short and Selena Gomez) add amusing wrinkles to their characters as they interact with a collection of properly ridiculous people. In addition, the central mystery is genuinely knotted and intriguing, offering lots of twists, turns and scene-stealing moments for the fabulously hammy cast. (Hulu)

She-Hulk: Attorney at Law 
Marvel stays in sitcom mode (see also Ms Marvel) for this refreshingly silly series starring Tatiana Maslany as the cousin of Mark Ruffalo's Hulk, who is inadvertently infected with his blood and develops her own distinct giant green alter-ego. Hilariously, she hates the name "She-Hulk", as she should, and the show centres on her efforts to live a normal life as a lawyer, as if she could. Some of her antics are a bit gimmicky, such as trying to date as either Jennifer or She-Hulk, but the show is grounded by her relationships with friends, family and of course her various super-powered clients (including Tim Roth and Megan Thee Stallion). Maslany has a wonderful offhanded charm in the role, although She-Hulk's digital design is somewhat iffy. (Disney) 

The Bear
An unusually edgy tone makes this comedy-drama remarkably riveting, as it charges through a situation that never quite feels under control. Set in Chicago, it's anchored by another powerful performance by Jeremy Allen White (see also Shameless) as a disgraced world-class chef who returns home to run his family's sandwich shop. Clashes abound with relatives (including the fearlessly abrasive Ebon Moss-Bacharach) and employees, and everywhere else for that matter. Ayo Edebiri shines as a young genius who joins the team. But then the entire cast is strikingly realistic, as is the claustrophobic mayhem in the kitchen. (FX)

What We Do in the Shadows: series 4
After ramping things up in the previous season, it's been fun to watch the heightened craziness boil over in various directions in these episodes. The writers continue to gleefully lampoon a range of societal issues, with added nuttiness as Nandor (Kayvan Novak) is granted a series of wishes by a slippery djinn (Anoop Desai), Guillermo (Harvey Guillen) starts taking a stand for himself, and Colin Robinson (Mark Proksch) is reborn as a bratty kid. These episodes progress at a remarkably brisk pace, throwing all kinds of nuttiness into the mix, with Nandor remarrying his favourite wife (Parisa Fakhri) and Nadja (Nastasia Demetriou) opening a nightclub, both with predictably messy results. (FX)

Acapulco: series 2
This brightly inventive comedy further develops its now-and-then plot strands by sending Eugenio Derbez's Maximo to Mexico with his nephew (Raphael Alejandro) while reminiscing about his adventures as a young man (Enrique Arrizon). Much of the story centres around romantic complications this time, including a big Valentine's Day episode that makes particularly good use of the show's candy-hued nostalgic colour palette. A bit of intrigue emerges this season as well. But what sets this show apart is its terrific depth for such comical characters, strongly complex relationships and some deeper themes in subplots involving diversity and gossip. (Apple)

Reboot 
There's a lot to like about this gimmicky comedy, with sees Hannah (Rachel Bloom) set out to revive the vintage sitcom her father (Paul Reiser) turned into a hit a couple of decades ago. As the reuniting original cast members, Keegan-Michael Key, Johnny Knoxville, Judy Greer and Calum Worthy have a lot of fun with their seriously messy characters. The interaction between them is gleefully soapy, making pointed jokes about the television and film industries and the nature of being an actor. And while it leans heavily toward both goofy and sentimental moments, there's enough knowing realism to make it genuinely hilarious. (Hulu)

Smiley
The title may refer to the emoticon, but it's also indicative of the tone of this Spanish comedy, which keeps the audience happy with its sometimes simplistic romcom tale about two men who seem completely wrong for each other and yet still click. Carlos Cuevas and Miki Esparbé are terrific in the roles, as a sexy bartender and a slightly nerdy architect who know that having a relationship won't work, but of course they can't resist each other. Their circle of friends is unusually sparky for a series like this, taking the show in some refreshingly offbeat directions. And the complexity of the situation gives the comedy an unusually unpredictable tone. (Netflix)

Inside Amy Schumer: series 5
For the fifth season, this sketch show comes back with five episodes that are tightly written and performed to take on specific themes. While poking fun at everyday life, the media and politics, the scenes dig more deeply into the way we react to these things. So everything strikes a nerve, and it's expertly played by Schumer and her terrific ensemble of costars, including Tim Meadows and Cara Delevingne, plus witty music from Ron Weiner. Most impressive is the momentum these episodes build as they go along, almost creating an overall narrative that touches on topics we all grapple with. And Schumer's unapologetic approach is engaging and refreshing. (MTV)

T H A T ' S   A L L   F O L K S

Kevin Can F**k Himself: series 2 
Annie Murphy is back for a second and final season of this offbeat hybrid sitcom/thriller, which feels much darker this time around. Even the studio-audience sequences have a bleak edge to them, as Murphy's Allison continues to try to escape her hellish marriage to the goofball Kevin (Eric Petersen), this time plotting with her pal Patty (Mary Hollis Inboden) to fake her own death. The mix between the bleak comedy and pitch-black drama feels a little forced now, but the point the show is making about male and female perspectives is provocative and important. And where the story goes is genuinely involving, and chilling too. (AMC)

Dead to Me: series 3
Lively and more than a little absurd, this comedy thriller series concludes with a snaky series of episodes in which our heroines (Christina Applegate and Linda Cardellini) desperately scramble to avoid trouble with the police, even as they become increasingly entangled with them for a variety of random reasons. We also get the return of James Marsden, as the twin brother of the late Steve. And the show's dance with death continues through a cancer diagnosis. But at its heart, this is the story of an unexpected friendship, and Applegate and Cardellini make it hugely enjoyable even when the plot begins to get very silly indeed. (Netflix)

I   G I V E   U P

Quantum Leap 
From 1989 to 1993, this zippy time-travel series was a guilty pleasure, so it's almost surprising that it took three decades to reboot it. Alas, the writing this time is abysmal, including the feeble attempt to create an ensemble cast and the painfully undercooked adventures as Ben (Raymond Lee) leaps from period to period. Scripts aren't rooted in even the most cursory logic or detail, leaving it impossible to connect with, so I stopped trying. (NBC)

NOW WATCHING: Welcome to Chippendales, Marie-Antoinette, Abbott Elementary (2), His Dark Materials (3), Young Rock (3), The Conners (5).

COMING SOON: That 90s Show, Shrinking, Extrapolations, Ted Lasso (3), Star Trek: Picard (3), The Mandalorian (3).

Previous roundup: AUGUST 2022 >

Screen: July TV Roundup

I've had a lot to watch over the past few months, as I've been voting in the Dorian TV Awards (winners announced next month). This of course encourages me to watch quite a few things I wouldn't have otherwise seen - then when the nominations came out I have other things to catch up on. Not that I always agree with fellow voters (I haven't included here the shows I gave up on after 1 or 2 episodes). There's been some great television lately, and as the lines continue to blur between cinema and TV there seems to be more than ever to watch... 

Genera+ion

Not quite as loose and honest as We Are Who We Are, this teen drama astutely digs into contemporary attitudes among a group of teens at a Los Angeles high school. The most inventive touch is to replay key moments through the eyes of different characters, revealing a bigger picture about, well, an entire generation. The young cast is so good (particularly Justice Smith, Chase Sui Wonders and Uly Schlesinger) that the scenes involving parents played by the always excellent Martha Plimpton and Sam Trammell feel a bit distracting. It also seems a stretch to try to explain away crippling adolescent angst with parental and societal issues. Teens have always been like this, and the vast majority of us have managed to grow up. (HBO)

The Underground Railroad

Barry Jenkins' ambitious adaptation of Colson Whitehead's novel is often painful to watch, but that's the entire point: it shouldn't be easy to explore US history. Using cleverly surreal elements, the series takes a deep dive into the lingering impact of slavery on American culture. At the centre is the story of Cora (Thuso Mbedu), an escaped slave pursued by the tenacious Ridgeway (Joel Edgerton) and his young sidekick Homer (Chase Dillon). It's often shot in deep shadows that make the imagery annoyingly impenetrable, but most of the show looks spectacular, and the themes are bold and urgent, cutting through our watered-down ideas about the nation's past to provoke some righteous emotion. (Prime)

Loki

By honing in on Tom Hiddleston's god of mischief, this series remains continually watchable, even if it essentially turns into yet another over-egged Marvel-style romp across the multiverse. As it continues, it gets indulgently bombastic and far too pleased with itself, which is rather annoying. But the performances are terrific, anchored by the hugely engaging Hiddleston as a deity forced to briefly consider the idea of mortality. Also terrific are Owen Wilson, Gugu Mbatha-Raw and Wunmi Mosaku, plus lively Loki variants played by Sophia Di Martino and the always-fabulous Richard E Grant. A more properly stand-alone show would have been even better, mischievously refusing to feed Marvel's ever-expanding franchise. (Disney)

Lisey's Story

Stephen King adapts his own novel into this limited series starring the always riveting Julianne Moore as the wife of a dead novelist (Clive Owen) who found inspiration, and healing from his awful past, in a fantasy underworld. The gimmicky wordplay and supernatural elements tend to steal focus from the much more intriguing story about grief, sibling bonds and menacing fans. But first-rate director Pablo Larrain never loses the character focus, drawing powerfully shaded performances from Moore and her on-screen sisters Jennifer Jason Leigh and Joan Allen. It's their collective story that brings everything to vivid life and makes this far more involving than we expect. (Apple)

The Mosquito Coast

Only taking the title from Paul Theroux's novel, this series abandons the plot to launch an overegged roadtrip-from-hell thriller. Interesting ideas about consumerism and living off the grid are lost in a badly dragged-out story of a family making a life-threatening escape from shifty Feds and murderous criminals. But the superficial action makes it feel pointless. That said, the episodes are finely shot and edited, and the terrific ensemble (Justin Theroux, Melissa George, Gabriel Bateman and Logan Fox as a family on the run) adds nuance to characters who would have been far more interesting if the writers had stuck with the novel's more timely dramatic premise instead of creating yet another vapid action series. (Apple)

Star Wars: The Bad Batch

I haven't seen the other animated Star Wars series, but thought I'd give this one a shot. Even with its sometimes jarringly game-like imagery, it's finely made and has some snappy characters. The pace and tone slow drastically after the thumping first episode, indulging in a heist-of-the-week structure that clumsily attempts to deepen the characters. But as it continues, there are some over-arching relational elements that hold the attention, as this band of scrappy outsiders grapples with the nature of who they are and which side they're on. That makes it more intriguing than engaging. But I'm not sure how much longer I can wait for some meaningful revelations, or something to connect to. (Disney)

The Upshaws

There are some terrific issues woven into the fabric of this sitcom, and a great cast who would be able to bring them meaningfully to light. But the scripts take a lazy comical approach that goes for goofy gags rather than knowing humour, leaving it all feeling oddly simplistic. Anchoring the cast, Mike Epps, Kim Fields and the great Wanda Sykes are excellent as people grappling with a family structure that's far more traditional than the show can bring itself to acknowledge. And a disastrous canned laugh track roars at all of the very worst non-jokes. This could have been a superb comical exploration of a family dealing with its murky past, but it ends up as little more than silliness. (Netflix)

That Damn Michael Che

Saturday Night Live comic Michael Che finds a new way to blend stand-up and sketch comedy with this edgy series that tackles timely issues in an original way. Each episode centres on a theme, usually something that has strong political fallout, and a variety of scenes play out as pitch-black satire, witty spoof or thoughtfully amusing monolog. This approach keeps us ready to laugh, and there are quite a few hilariously barbed gags. And the show also constantly reminds us that these are urgent, knotty issues that require much more than light-hearted thoughts. Che's laconic presence is a very clever counterpoint, and his perspective avoids the usual cliches for something far more complex. (HBO)

BACK FOR MORE

Special: series 2

Ryan O'Connell is back for another series of comical antics as a young gay man with cerebral palsy simply trying to get on with his life like anyone else. But of course everyone else sees his disability before they see him. O'Connell is a terrific writer, never allowing sentimentality to creep in while finding comedy and warmth in a range of prickly interactions. And in the central relationship between Ryan and his mother (the fabulous Jessica Hecht), the show has a big, beating heart. Their warm, meaningful connection adds subtext to the much more challenging storylines involving other side characters. And it also provides even more spark to the show's distinctive and vitally important perspective. (Netflix)

Lupin: part 2

This show is so compulsively watchable that is seems cruel that producers only made five more shows to cap off this first season. Yes, each episode leaves us wanting more, including the final one. Gliding through it all, Omar Sy has an abundance of  charm and intelligence that carries us right past some rather shaky writing (plot holes ahoy!). The twisty narrative is thoroughly riveting, as it offers something much more layered than the usual crime series. Most impressive is that this isn't actually about heists or getting revenge, the two things that seem to be driving the action. It's actually a more human story about connection, justice and making peace with the past. All with a witty literary nod. (Netflix)

Love, Victor: series 2

If anything, the second season of this soapy teen drama is even more simplistic than the first. It's a great show for pre-teens who need to be encouraged that they will one day find a way through difficulties that feel insurmountable. And the writers do take on some topics that other shows shy away from completely, representing a superb range of experiences that relate to sexuality. But it's far too cute and obvious for viewers who are the age of the characters or older. That said, the cast led by Michael Cimino is excellent, and the actors find some nice nuance even in the most obvious plot threads. But frankly, each of them is good enough to take on something more complex and less prudish than this show. (Hulu) 

The Handmaid's Tale: series 4

Feeling a bit truer to the show's original promise, this season both escalates the events and deepens the drama as things take several jaw-dropping twists. Elisabeth Moss is of course excellent as June navigates a terrifying escape and becomes a leader in exile, now fighting the violently misogynist government of Gilead from relative safety in Canada. Plot threads around Yvonne Stahovski, Joseph Fiennes and Ann Dowd feel off-topic, but develop nicely alongside June's much more internalised and emotionally powerful journey, even if vengeance doesn't really suit her. And in June's more righteous rebellion, the show still has some strong bite, offering remarkably strong scenes for Max Minghella and O-T Fagbenle. (Hulu)

Elite: series 4

This outrageously trashy Spanish teen soap returns with another riotously over-the-top season set in a posh private school where there's a massive party every night and a range of serious crimes take place each term. The collision of classes is what makes the show addictive, this time centring on the arrival of a new insanely wealthy family with three trouble-stirring siblings. And there's also a slumming prince to stir up an enjoyable but superfluous romantic sideroad. The writers seemed far more interested in throwing the characters into a wild series of encounters, jealousies and pranks than the overriding mystery, which never quite comes together. But it's shameless, mindless fun. (Netflix)

THIS IS THE END

Pose: series 3

The quality of writing has been uneven ever since the first season, indulging in some simplistic moralising and cliched plot points, plus a lot of rather pushy melodrama. But the hit rate increases with these final episodes, which tackle some big themes with raw emotions. The characters are more robust than ever, played by a top-notch, groundbreaking ensemble with a resonance so intense that they're utterly iconic. Each one feels like a family member, so the issues they face carry a powerful kick. And there are some awesome episodes along the way to the series finale's spectrum of emotions, from political rage to the exhilaration of performing to the pain and guilt of loss. It'll be great to see what Mj Rodriguez, Indya Moore and Dominique Jackson do next. It'll be hard to top this, but here's hoping. (FX)

The Kominsky Method: series 3

After sending off Alan Arkin's Norman in the first episode, Michael Douglas is joined by his old partner in crime Kathleen Turner for a superb final collection of episodes that grapple with family connections, money issues and a range of themes circling around the central idea of growing older and older. Some of the storylines feel a bit superfluous, such as Norman's kids wrangling to get their hands on their inheritance cash. But Paul Reiser is hilarious as the prospective son-in-law who seems like he's all wrong for daughter Mindy (Sarah Baker), but might be just right. And Morgan Freeman makes a hilarious appearance as himself, as does Barry Levinson, who brings a terrific final plot point with him. (Netflix)

NOW WATCHING: Schmigadoon, Physical, Kevin Can F**k Himself, The White Lotus, Dave (2), Never Have I Ever (2), I Think You Should Leave (2).

COMING SOON: Mr Corman, Nine Perfect Strangers, Ted Lasso (2).

LFF: Tell your story

Aside from watching everything online, another major difference in this year's London Film Festival is that there isn't that usual nagging feeling that somewhere else in the city there are parties and filmmakers and actors hanging out having fun without you. This year everyone's joining in from home, aside from a precious few actual screenings. Here are two more highlights, plus this week's non-festival roundup...

Shirley

dir Josephine Decker; with Elisabeth Moss, Michael Stuhlbarg 20/US **.

A fictional story involving iconic author Shirley Jackson is told with inventive style by director Josephine Decker, who infuses the screen with imagery and sounds that play on Jackson's work, using wildly colourful flourishes and nods to murky horror tropes. The actors are superb as people who become twisted around each other. But the story never quite clicks into gear, so it's only the creepy tension that keeps us watching.

The Painter and the Thief

dir Benjamin Ree; with Barbora Kysilkova, Karl-Bertil Nordland 20/Nor ****

Playing out as a fascinating dramatic narrative, this documentary unfolds its story using found footage, surveillance cameras and remarkably intimate fly-on-the-wall sequences. Filmmaker Benjamin Ree is following the extraordinary story of an unexpected friendship, two people who shouldn't be able to see each other with such remarkable clarity. Perhaps they recognise that they're both survivors of difficult situations. And in many ways they're still struggling to get through.

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C R I T I C A L   W E E K

BEST OUT THIS WEEK:
Black Box • Kajillionaire
Song Lang • Yes 
PERHAPS AVOID:
The War With Grandpa 
FULL REVIEWS >

In between the festival films, I managed to watch the amusing but badly underpowered slapstick comedy The War With Grandpa, the guilty pleasure twisty sci-fi thriller Black Box, the provocative black comedy Yes, the warm midlife crisis comedy From the Vine, the scruffy road movie Making Tracks, the bonkers Turkish parable The Antenna, the meandering French odyssey The Wanderings of Ivan, and the moving Vietnamese drama Song Lang.

And this coming week I need to fit these in around LFF screenings: Paul Bettany in Uncle Frank, the horror films Evil Eye and Nocturne, the mystery Don't Look Back, and a doc called JR "Bob" Dobbs and the Church of the SubGenius.