Shadows on the Screen: Summer TV roundup

So many shows, new and returning, converged this spring that it was a relief that this year's season of Game of Thrones was delayed. It's been intriguing to see the convergence of so many political shows tackling the same themes: Homeland, Veep, Scandal and House of Cards at times felt like the same show, struggling to be more outrageous than what was actually happening in Washington. And then The Handmaid's Tale (ahem!) trumped all of them. 

SOMETHING NEW

Twin Peaks

To get ready for this, I binged the 1990-91 series, plus the 1992 movie Fire Walk With Me, chilled each time "25 years later" was mentioned. And now here we are. The new shows have a different tone, more fragmented and much drier. But David Lynch is cleverly maintaining the open-ended mystery, dropping clues everywhere without explaining anything, giving just enough plot to make it riveting. Most of the returning cast members are appearing in cameos, but Kyle McLachlan has even more work to do as Dale Cooper tries to, well, put himself back together after a quarter century in red-curtained limbo (although his duality is beginning to feel draggy). The show is also still very funny, although not quite as silly as the original shows were. It's also just as magnetic, impossible to look away. This season continues until September, and Lynch says there's more to come after that.

The Handmaid's Tale

Margaret Atwood's novel is more than 30 years old, and yet its premise feels chillingly relevant in this creepy series set in a very near future ("When they blamed terrorists and suspended freedom temporarily, we let them") ruled by a theocratic government that brutally enforces "traditional" values. Produced with artistry and anchored by yet another riveting performance from Elisabeth Moss, this is a punchy exploration of human nature and the dangers of subverting it for whatever reason. It's somehow shocking to hear Offred's fiery internal thoughts as she plays such a passive role on the outside, a rare fertile woman in a polluted world, assigned to bear children for a wealthy commander (Joseph Fiennes) and yearning for her stolen daughter (Jordana Blake). What this says about fanaticism and resilience is astonishing. And it's emotionally riveting. A second season is coming, praised be.

Santa Clarita Diet

A witty, original approach to the zombie genre, this sitcom is thoroughly engaging thanks to the likeable central performances of Drew Barrymore and Timothy Olyphant as estate agents in suburbia dealing with her sudden appetite for human flesh. The carnage is played for laughs, and since this is Netflix the grisliness and language are pretty full-on. It's all rather broad, and the short episodes never really go anywhere. Indeed, the 10-episode first season feels very slight. But there are hilarious moments dotted throughout every episode, and the side roles are pretty fabulous, from teens Liv Hewson and Skyler Gisondo to the likes of Portia De Rossi, Patton Oswalt, Nathan Fillion, Ricardo Chavira, Thomas Lennon and the great Grace Zabriskie.

Thirteen Reasons Why

There's a loose realism to this series that continually takes the viewer by surprise. Corny but involving, it holds the interest with dramatic intensity and the seriousness of the teen-suicide theme. Dylan Minette is excellent as a highschooler trying to understand why one of his classmates killed herself then left him a set of old-fashioned cassette tapes to explain herself and to lead him on a kind of scavenger hunt. It's all a bit gimmicky, contriving to drag things out over the 13 stretched-out episodes that turn every character (including the dead girl) into someone who isn't remotely likeable. There are some important points, but it's not as truthful as it pretends to be.

THE DRAMA CONTINUES

Sense8: Series 2

After nearly two years, this ground-breaking, earth-shattering series returns, and it kicks off with a fierce attack on endemic bigotry in society - a seriously complex, thoughtful and provocative exploration of sexism, misogyny and homophobia. This is a show about what binds humanity together in the face of various man-made divisions. And it's staggeringly well written, acted and assembled as a ripping thriller this time, with stronger characters and a punchy momentum that grabs hold and doesn't let up. Sadly, after this enormous set-up, Netflix has decided not to continue the story. Although it definitely needs some kind of conclusion, please.

House of Cards: Series 5

It seems impossible that this show could get any darker, but here we are. This season is so bleak and nasty that it's not easy to watch, but we're kind of afraid that the Underwoods might hunt us down and kill us if we stop. Kevin Spacey and Robin Wright are astounding as always, offering a terrifying portrayal of a couple clinging relentlessly to power through sheer force of will. And as they subtly begin turning on each other, this becomes must-see drama. The nastier gyrations of the plot may feel exaggerated and contrived until we remember what's happened in the so-called civilised world over the past year. Our political landscape might not be quite this violent, but it's not as far removed as we'd like to think. And where this is going for future seasons is more than a little scary.

Fargo: Series 3

The almost freakishly talented Noah Hawley (see also Legion) continues this anthology series with a new scenario in snowy 2010 Minnesota, quickly spinning events out of control over the first few episodes, then deepening characters and intrigue in fiendishly inventive ways. Some of the flourishes are a bit gimmicky (and one episode seems to have snuck in here from Twin Peaks), but there's a snaky underlying attitude that keeps it riveting. And the cast is simply wonderful, anchored by the superb Carrie Coon and a double dose of Ewan McGregor. Produced to a very high standard, it's also a rare show that allows for unnerving complexity in its themes, including the moral questions about who's good and evil. Fiendishly clever.

The Get Down: Series 1b

The second half of Baz Luhrmann's groovy and stylish 11-episode dramatisation of the birth of hip-hop in 1978 continues in the same exhilarating style, anchored by the engaging central performance from Justice Smith. This is bold television, exploring a range of issues with intelligence, humour and real insight, plus a terrific use of old and new songs that makes Empire look feeble by comparison. Some of the excesses are a bit overused (there's far too much animation, oddly including key plot moments). But the impressionistic approach is fascinating, even if it's perhaps too artful for purists who want to see the gritty details of this period of history, both for New York and for music. 

JUST A LAUGH

Veep: Series 6

The writing is as good as ever in this sixth season, even though the characters are spread out in a variety of places around the political world. Which just proves the resilience of the characters and the actors playing them. No one's anywhere near the White House this time, which somehow makes everything even funnier. Julia Louis-Dreyfus has the best comedic timing on television, period. And what makes this show so unmissable is that she's happily playing such a self-absorbed buffoon, while everyone around her is even more appalling. We really should hate all of these idiots, and the chaos they bring to US government, but their relentless cynicism makes them likeable. And also frighteningly authentic.

Grace and Frankie: Series 3

It was impressive to see the cast and writers push these characters in some bold directions during this season. Instead of the gentle holding pattern of Series 2, this year was packed with challenges, and the writing was sharply funny as well as more intelligent and introspective, which drew superbly textured performances from Jane Fonda, Lily Tomlin, Martin Sheen, Sam Waterston and others. Some elements felt a bit farcical, in a sitcom sort of way (namely Bud's hypochondriac girlfriend), but there were plenty of clever surprises along the way. And everything touched on much bigger themes about various forms of bigotry, along with the general indignities of getting older.

The Trip to Spain:
Series 3

This hilarious improvised comedy directed by Michael Winterbottom sends Steve Coogan and Rob Brydon on another wacky road trip, taking in the sights and tastes while engaging in stream-of-consciousness repartee. Once again, these six half-hour episodes are engaging and packed with witty gags, delicious food and lovely landscapes. This time it also feels rather grumpy and deliberately self-indulgent, overdoing the starry impersonations to the point of exhaustion (they seem to notice this as well). As before, there are a few side characters to add some narrative continuity, and of course a string of smart running jokes. Plus a nice wave of Cervantes-style surrealism popping up now and again. But if they travel somewhere else, it would be nice to freshen up their banter.

Unbreakable Kimmy Schmidt: Series 3

Because of the breakneck pace and relentless goofiness, this third season takes awhile to find its feet. But once it sets up the story arcs for its central characters, the series takes off into a series of riotous, astute directions. The rapid-fire dialog is flat-out hilarious, played broadly by gifted actors who are able to turn their dim-witted, oblivious characters into people who are surprisingly loveable. And along the way, there are some serious issues that gurgle quietly in the background, cleverly remaining fodder for jokes rather than preachy messaging (such as racist sports franchise names or the gentrification of quirky neighbourhoods). So even if everything is utterly bonkers, there's an edge to this show that makes it irresistible.

I GIVE UP

There were three shows that I just couldn't stick with. Generally I try to give a show at least three episodes before I tune out... 

• American Gods: A bewildering melange of fantasy, mythology, comedy and thrills, this hyper-violent series is so smug that it never lets the viewer into what's going on. I struggled through three episodes. 
• Dear White People: Justin Simien cleverly adapts his provocative film for TV, using an inventive structure that focusses on different perspectives. I love the complex, witty exploration of race issues, but it feels oddly ingrown, and far too pleased with itself.
• I Love Dick: Jill Soloway brings the brilliant Kathryn Hahn with her from Transparent to this cynical comedy about a bunch of unlikeable artists. Even with the terrific cast and some surprising storytelling, I didn't make it past episode 5.

Coming up: Game of Thrones, Master of None, The Carmichael Show, something new?

Shadows on the Screen: Spring TV roundup

With Christmas holidays and a screening lull around awards season, I had a bit more time than usual over the past few months to catch up on various television series. As always, this is my vent, a chance to enjoy watching something that isn't work-related. And then here I am writing about it....

NEW & NOTABLE

War & Peace

Sumptuously produced by the BBC, this Sunday evening series couldn't be any more epic if it tried. Andrew Davies' script brilliantly brings the multi-layered plotting of Tolstoy's classic to life, anchored by riveting performances from Paul Dano and Lily James, plus a star-making turn from James Norton. The entire sprawling cast brings texture and emotion to these complex characters and their tumultuous, war-torn lives. And it looks simply amazing.

The Grinder

The best new show this year is this knowing sitcom starring Fred Savage and Rob Lowe as brothers - one's a lawyer, the other played one on a hit TV show and doesn't quite understand that he's not one in real life. Savage and Lowe are a terrific double act, and the writers smartly balance audience sympathies. This means that the ongoing silliness is inspired - warmly involving and knowingly referential. And it's also nicely played in a fresh way that allows the actors to laugh at each other on-screen. 

Dickensian

With 20 episodes, this is a rather extended half-hour series, cleverly imagined by Tony Jordan as a prequel to most of Charles Dickens' novels, as the characters interact in Victorian London's bustling East End. There are some terrific touches along the way, plus standout performances from the Tuppence Middleton as the hapless Miss Havisham and Stephen Rea as a sardonic detective (both are even better in War & Peace). But many of the characters are too cartoonish to register as human beings, and some of the plot gyrations are simplistic and silly.

The Night Manager

Tom Hiddleston got the nation's pulses racing by flashing some well-toned flesh in this adaptation of the John le Carre thriller about a shady hotel worker hired by British intelligence to infiltrate the ranks of a notorious arms dealer. The solid cast also includes Hugh Laurie, Tom Hollander, Elizabeth Debicki and David Harewood, while the show is stolen by the magnificent Olivia Colman, who brings superbly subtle touches to all of her scenes as a heavily pregnant operative. The whole thing looks terrific, and the plot is gripping right up until it turns rather corny in the final two episodes.

ONWARD & UPWARD

The X Files: series 10

After taking a 13-year break (during which there were two big-screen movies), this iconic show came back for a 10th season. Gillian Anderson and David Duchovny are on fine form in their iconic roles as inquisitive FBI agents Scully and Mulder. And series creator Chris Carter has some nice surprises up his sleeve through the six beautifully produced episodes. This show has always been an uneven mix of riveting mystery, murky mythology and downright clunky plotting - and this season is no exception. But when things click into place, few shows offer so many terrific goosebump moments.

House of Cards: series 4

Kevin Spacey and Robin Wright aggressively tear up the screen in this fourth season of their power-mad White House drama. Spacey's Frank is now president, but Wright's Claire isn't going to sit quietly by his side. This season is set during the primaries leading to Frank's first presidential election as a candidate, so it couldn't be much more timely. And while the whole liver-transplant plot element flickers by much too quickly, it adds a deeper, darker layer of intrigue to the goings-on. Fine support as always from Michael Kelly, Mahershala Ali, Molly Parker and Elizabeth Marvel, plus the awesome Ellen Burstyn throwing shade as Claire's estranged mother.

Shameless: series 6

The Gallagher family continues to mess up their lives spectacularly in this underrated black comedy that's getting better with age. William H Macy is on fire this season as the patriarch without a hint of a moral compass. And there are further life-changing twists and turns for five of his children, played with engaging honesty by Emmy Rossum, Jeremy Allen White, Cameron Monaghan, Ethan Cutkosky and Emma Kenney. Plus jaw-dropping developments for neighbours Veronica and Kevin (Shanola Hampton and Steve Howey). It's nice to see a series that gets less fearless as it goes on. Indeed, the show features some of the best acting and writing on television right now.

Galavant: series 2

Opening with a gleeful musical number showing their surprise at being granted a second season, this riotously entertaining musical fairy tale is so infectiously joyful that it's impossible not to love it. Joshua Sasse is wonderful as the charming and somewhat clueless hero, ably supported by Timothy Omundson's even more oblivious deposed king. The entire supporting cast dives in for the fun, including a surprisingly witty Vinnie Jones and a sassy guest appearance from Kylie Minogue. All in all, this is much smarter than it looks, and it leaves fans wanting more.

OFF THE BOIL

The Flash: series 2

I'm still enjoying this show, which has retained its sense of humour and strong characters amid its unnecessarily knotted plot threads. By comparison, Arrow (series 4) became increasingly bogged down in shadowy action and convoluted plotting. Aside from the awful fight choreography, the writers insist on continuing the island flashbacks, which are pointless and, frankly, ridiculous. And the overly twisted storylines leave the strong cast looking as lost as the audience. I gave up about halfway through this season. I tried to watch spin-off Legends of Tomorrow, mainly due to the actors, but the dire action and dumb plots put me off after a handful of episodes. I'm avoiding all other Marvel and DC comics-based TV series - enough is enough.

Modern Family: series 7

For the first time, the strain is beginning to show in this formerly sharp show, as the characters become oddly predictable in the way they spew off witty one-liners and interact with each other in increasingly contrived situations. The strength of this show has been in the way the humour evolved with the characters and actors, but this year feels strangely familiar, as if the writers are stuck in a rut, trying to find humour in situations rather than people. Essentially, this means that the show is in danger of becoming a tired parody of itself (like, for example, Two and a Half Men).

Scandal: series 5

This once-great show has abandoned the weekly scandals and edgy cliffhangers that once made it so addictive. Instead, it has become a corny soap centred around a group of power-grabbing characters who can't seem to function in the real world, are too selfish to relate to each other and all speak with that same shouty voice. All of which is turning it into a parody of House of Cards. It's still watchable due to the ace cast, but I'm wondering how much longer I'll stick with it.

JUST THE FACTS

With Jon Stewart stepping down from The Daily Show last autumn, there's been a shift in the news cycle. Last Week Tonight with John Oliver continues to lead the charge with its intelligent, polished approach, refusing to accept the official take on the big stories while focussing on those that really need to catch the national attention. The Daily Show with Trevor Noah has distinctly changed, with a more stand-up style and less pointed satire. But Noah is finding his feet, and he's finally started getting stronger guests to banter with, which will hopefully hone his interview skills. The real breakout is Full Frontal with Samantha Bee, much smarter and more fearless than the others, with Bee's hilariously on-the-nose observations taking no prisoners. Her segments are easily the most quotable of the bunch, and her insight is bracingly important. On a different tangent, Chelsea Does used four episodes to explore marriage, racism, drugs and the tech world. While Chelsea Handler's observations sometimes slip into goofy self-parody, she also has a way of getting beneath the surface without resorting to the usual cliches, so her take on these four issues is both funny and thought-provoking.

CATCHING UP

Breaking Bad:
2008-2013

So many people have been shocked that I completely missed this series when it was on that I decided to give it a go. It took me about two months to work my way through all 62 episodes. The first two seasons are brilliant - great characters, wonderful writing and acting, clever direction. Then it turns indulgent, murky and far too violent before the final bunch of episodes brings everything full-circle to a skilfully well-realised conclusion. Bryan Cranston is simply perfect (no wonder he won five Emmys for this role). After only ever seeing Aaron Paul (three Emmys) in movies like Need for Speed and Exodus, I now see what a great actor he is and hope he makes smarter choices. And I hope we see more of Anna Gunn (two Emmys) and RJ Mitte too. 

NOW WATCHING: continuing the current seasons for Girls, Empire, Doctor Thorne, The Real O'Neals, The Royals and Schitt's Creek; looking forward to new seasons of Game of Thrones and Unbreakable Kimmy Schmidt.

Shadows on the Screen: Spring TV roundup

Television is what I do when I want to clear my head, taking 25 or 45 minutes as a break between writing about movies. So I've managed to see a variety of shows over the past few months. Sometimes a show takes over a weekend of binge-watching, which feels like a holiday! It's great to watch something I don't have to write about. Although that's exactly what I'm doing here - these are 16 shows I've been watching over the winter...

QUALITY

Parks and Recreation: series 7
In its final 13 episodes, this consistently smart, funny and almost criminally engaging show visited the near future (these episodes were set in 2017) to wrap everything up on a variety of notes that were witty and moving. Simply one of the best sitcoms ever made,  it'll be sorely missed. At least we know we haven't seen the last of the fabulous Amy Poehler, Adam Scott, Chris Pratt, Aubrey Plaza, Aziz Ansari, et al.


Looking: series 2
Andrew Haigh's loosely constructed series exploring the lives of three gay men in San Francisco continues to make its plot turns realistically random, as the characters find love and friendship in unexpected places. Intriguingly, there's a nagging feeling that all of them are going to end up unhappy, even as lovely things happen in their romantic lives. But that cleverly reflects life in a subculture that's been told for a generation that they're incapable of having that happy ever after. Pointed and thoughtful stuff. Perhaps too complex, which is why it's sadly not been renewed for a third series.
SEE ALSO: my interview with Frankie J Alvarez >

Wolf Hall
The BBC's prestigious period drama traced the arc of Anne Boleyn (Clare Foy) in six episodes through the eyes of Thomas Cromwell (the awesome Mark Rylance). It's dark and brooding, quiet and utterly fierce, packed with creepy surprises and beautifully underplayed characters. The cast is simply amazing, including a terrific performance from Damien Lewis as a watchful, intensely insecure Henry VIII. Sometimes rather dense and murky, but the story's big moments are beautifully rendered. Utterly riveting.

House of Cards: series 3
Much of the tension seemed to be absent from the show this year, mainly because there's nowhere left for Kevin Spacey's Frank Underwood to go now that he's the US President. His manoeuvring toward re-election wasn't nearly as compelling, nor was the shadowy rebirth of his henchman Doug (Michael Kelly). On the other hand, Spacey and Robin Wright are both utterly mesmerising on-screen, especially as they traversed the gyrations of their freaky marriage. All of the actors are superb; most notable in the supporting cast were Molly Shannon and Elizabeth Marvel.

NEW DISCOVERIES

You're the Worst
This biting, acerbic rom-com was so much fun that it felt like it ended far too soon - after just 10 brisk half-hour episodes. Chris Geere and Aya Cash are terrific as the self-destructive leads, people who know better than to start a relationship but do anyway. Their struggle to both adhere to and break the rules is complex and very funny, although the scripts sometimes get oddly preachy for such a free-spirited romp. It's as if the writers want to be radical but are still bound by traditional rules themselves, which adds a layer of meta-meaning that's compulsive to watch. Bring on series 2.

Togetherness
This new HBO series benefits from strong performances from the leading cast members Mark Duplass, Melanie Lynskey, Amanda Peet and Steve Zissis as four people grappling with their interrelationships. Each character's actions are rather annoying - this is one of those shows during which we're constantly screaming at the screen - as they jeopardise their connections with each other by doing things that are desperate or downright stupid. But the actors manage to bring out the undercurrents very nicely. And the cliffhanger ending bodes well for a messy Series 2.

Cucumber / Banana / Tofu
Channel 4's experiment in interlinked programming was intriguing enough to hold the interest, although I gave up on the on-demand mini-doc Tofu after one episode. I very nearly gave up on Cucumber too, since its central characters were so irritatingly written and played as cartoon figures rather than real people. The only one who worked was Freddie Fox's bitter queen, a loathsome young man with deep insecurities. He made the show watchable. Banana was considerably better, one-off dramas that peeled away (!) from Cucumber to touch on big issues with some genuinely resonant emotion.

Schitt's Creek
Frankly, I'd watch anything that Eugene Levy and Catherine O'Hara were in. So even if this far too high-concept sitcom strains to be wacky, it's packed with a constant flow of sardonic, understated humour. It's not immediately clear how the writers will be able to stretch this one joke into a second season, but as long as Levy and O'Hara find ways to play with their terrific on-screen charisma, I'll be watching. And aside from a too-broad turn from Chris Elliott, the supporting cast really grows on you.

BACK FOR MORE

Shameless: series 5
This American remake of the long-running British show contains some of the best writing and acting on TV at the moment. It's a rare show that dares to push its characters into unapologetically horrific situations but plays it honesty, drawing out laughter and brittle emotion instead of sensationalism or preachiness. It's extremely full-on, but the actors ground their characters remarkably, making them likeable even though they all do rather terrible things in an attempt to just get on with their lives. Unpredictable and often exhilarating.

Modern Family: series 6
A consistently high quality of writing sets this sitcom apart, developing characters who grow along with the actors playing them. This season the children are beginning to take over the show, and it's about time, because all of them are terrific actors and their characters are hilarious. The adults are amusing in their own right (even if they drift into caricature now and then), but have little to do but laugh at and worry about the kids, which is of course both sharply realistic and very funny.

Girls: series 4
Lena Dunham's meandering, whiny comedy took a couple of odd turns this season, including Hannah's impulsive, spoiled-brat decision to drop out of her prestigious writing course. But then all of these people are hard to like, even if their self-involvement is eerily truthful. The show is a lot more fun when these complex characters are bantering with each other than when they're off having their own dramas or clearly doomed romances.

The Walking Dead: series 5
This is one of those shows I think I'll stop watching for good after each episode. And yet I keep at it, because they're continually throwing a wrench in the works. I had finally become fed up with this season's repetitive bleakness when our intrepid, depleted heroes stumbled on an idyllic community. Obviously everything will have to go horribly wrong, but I'll hold on until then.

GUILTY PLEASURES

Empire
In its first season, this gleefully trashy soap recalled the heyday of Dynasty with its premise involving a bigoted and unwell patriarch (Terrence Howard), his bickering children and the arrival of his larger-than-life ex-wife (Taraji P Henson, just give her the Emmy now). The cast is so good that it's able to hold the absurd scripts together, especially as characters grapple with everything from ALS to bipolar disorder via closeted sexuality, violent crime and sinister counterplots. The best guilty pleasure in years.

Scandal: series 4
In what is clearly a pattern for this show, the even-numbered seasons try the patience by attempting to add serious plotting rather than the much more entertaining trashiness that makes us want to tune in. This season is especially frustrating because the show's writers seem intent on turning it into a feeble cross between Homeland and House of Cards. The superb actors and tangled plots are still more than enough reason to stay tuned, but please bring back the sudsy fun!

Arrow: series 3
Honestly, this is the most inane show I watch - lazy writing and appallingly choreographed action. But it's also a lot of fun, packed with actors who are hugely watchable (and some tension too because the writers aren't afraid to kill off favourite characters). So even if the whole thing feels undercooked, and more than a little impressed with its own seriousness, it still manages to be thoroughly entertaining and oddly gripping, mainly because it's impossible to predict where it might go. But one thing's for sure: every time the writers push the characters into another impossible corner, there'll be something miraculous to get them through.

Glee: series 6
In its final season, this show slipped further into a parody of itself (which is saying something), but I hung on to the bitter end. Gone were the relevant themes and unexpected plot turns, and in their place were heightened cartoon versions of the characters, fewer songs and indulgent storylines that contrived to bring back the old cast members while ignoring fresher faces. And while Matthew Morrison and Lea Michele became even more insufferable, at least Jane Lynch was still around to make her increasingly insane Sue Sylvester the show's highlight. Although the surge of sentiment in the final episodes was uncharacteristic, and undeserved.

Shadows on the Screen: Summer TV roundup

As a film critic, I love movies even though watching them feels like work as I have to analyse every detail and remember everyone's names! To escape - and to recapture my enjoyment of less demanding entertainment - I watch guilty pleasure television. Sometimes this is quality stuff like Mad Men or Top of the Lake, but I like silly TV like Franklin & Bash or Downton Abbey just as much. And I love smart-funny sitcoms (Veep, Modern Family and Parks and Recreation are favourites). Here's what I've been watching this summer, in chronological order...

Mad Men: series 6
created by Matthew Weiner; with Jon Hamm, Elisabeth Moss, Vincent Kartheiser, January Jones, Christina Hendricks; AMC/US *****
The quality of this show never flags, as the scripts continually provoke characters to their breaking points. So much happened in this season that it's impossible to outline briefly: each character went through an odyssey that left them profoundly changed. Many of them were heading in all-new directions as the final episode wrapped up. What's fascinating is watching each person try to do the right thing but fail at every turn because of weakness, lust, ambition or even ignorance. These are amazing people, staggeringly well-played by a first-rate cast, including strong new roles this season for Linda Cardellini, Harry Hamlin and James Wolk. They even pushed young Sally (Kiernan Shipka) in some pretty intense directions, in the process thankfully bringing back her nice-creepy friend Glen (Marten Holden Weiner). (May-Jun.13)

Franklin & Bash: series 3

created by Bill Chais, Kevin Falls; with Mark-Paul Gosselaar, Breckin Meyer, Reed Diamond, Malcolm McDowell, Heather Locklear; TBS/US ***.
This is a rare beast: a mindless guilty pleasure that's silly and inconsequential, but never stupid. Gosselaar (all grown up since Saved by the Bell) and Meyer have terrific chemistry as womanising, rule-defying surfer lawyers who join an elite Los Angeles legal firm run by McDowell's eccentric renaissance man. This season, the firm is managed by a whip-cracking Locklear, who adds even more energy to the show, not that it needed it. This is a free-wheeling comedy that has a lot of fun with its weekly oddball court cases, including celebrity judge guest stars. And all of the characters are hilarious, including the guys' assistants, who live with them in their Malibu beach house, where their neighbourly feud with Rob Lowe gets a nice pay-off. Yes, it's utterly ridiculous, but it constantly surprises us with smart comedy and even some character depth when we least expect it. (Jul.13)

Top of the Lake
created by Jane Campion, Gerard Lee; with Elisabeth Moss, David Wenham, Peter Mullan, Thomas M Wright, Holly Hunter; BBC/NZ ****.
Embracing mystery and ambiguity in ways that we haven't seen on TV since Twin Peaks, this series plays with our curiosity, dropping all kinds of clues in every scene. We're never sure if these are important keys to understanding the bigger picture or off-handed details to reel us in. But it's absolutely mesmerising, set in a spectacular New Zealand mountain community. And Moss' riveting performance anchors the show impeccably, drawing us in with a mix of steely tenacity, earthy emotion and painful baggage. Her interaction with shifty cop Wenham, nice-guy childhood boyfriend Wright and bullish gangster Mullan is simply magical. Each of these men is a riot of conflicting personality traits that feeds into the central mystery about a missing pregnant teen. But where she is and who her baby's father is are secondary to Moss' own journey. And Hunter's seriously odd guru adds some absurd humour along the way. (Jul-Aug.13)

True Blood: series 6

created by Alan Ball; with Anna Paquin, Stephen Moyer, Alexander Skarsgard, Sam Trammell, Rob Kazinsky; HBO/US ***.
After a couple of rather soapy seasons, this series rocketed through a tense story that had everyone at each others' throats: government thugs are up to something awful, the now godlike Bill (Moyer) is trying to change the world, lovelorn Eric (Skarsgard) is out for revenge, Sam (Trammell) is caught between werewolves and shifters, and Sookie (Paquin) has met a super fairy-vamp (Kazinsky) who has pined after her for 5,000 years. Every episode is packed with jolts that catch us off guard, including a number of high-profile deaths. And even though it's completely over-the-top, it's packed with wonderfully entertaining side characters who make it unmissable, notably Anna Camp's insane vampire-hunter, Kristin Bauer van Straten's always-angry diva and Deborah Ann Woll's tormented young blood-sucker. But everyone surprises us in this series. (Jul-Aug.13)

House of Cards
created by Beau Willimon; with Kevin Spacey, Robin Wright, Kate Mara, Michael Kelly, Corey Stoll; Netflix/US ****
Spacey brilliantly channels the ghost of Ian Richardson's character in this remake of the iconic 1990 British series about an ambitious politician ruthlessly pulling the strings of government for his own benefit. It's dark and twisted, and Spacey lets us see not only the character's manipulative cruelty but also his inner insecurities. Even more vivid is Wright's portrayal of his equally ambitious wife. This is one of the strongest women in film or TV at the moment, and you can't take your eyes off her. Mara is plucky but a bit soft as the reporter caught up in the nastiness. But Stoll shines as a Congressman forced into all kinds of dark corners. His plot strand may feel preachy and somewhat forced, but it's the most emotionally engaging element in the whole show. Unlike the original version, which was a stand-alone mini-series (continued in two further stand-alone series), this remake ends on a cliffhanger that clearly leads to a second season. (Aug.13)

Banshee
created by David Schickler, Jonathan Tropper; with Antony Starr, Ulrich Thomsen, Ivana Milicevic, Frankie Faison, Ben Cross; Cinemax/US ***
This small-town thriller is a decent guilty pleasure with its twisty plot and colourful characters - a Western set in present-day America. It centres on an ex-con (Starr) who passes himself off as the new sheriff in an unusually violent rural Pennsylvania town (shootouts every day!), where he's trying to win back his old girlfriend (Milicevic), daughter of the New York mob boss (Cross) who wants him dead. Meanwhile, he continually locks horns with a local gangster (Thomsen) who grew up in the local Amish community. Starr's central performance is eerily reminiscent of Arrow's Steven Amell (they could play twins): beefy but expressionless. But the show is also misogynistic and racist, while the writing and directing (and especially the fight choreography) are frequently quite lazy, all of which is surprising with Alan Ball's name attached as a producer. Amid continual violence, the sex is the stuff of male fantasy: women are often naked, helpless and thankless, but never the men. The only interesting character is Hoon Lee's cross-dressing fix-it expert, but he gets tamed as the series progresses. (Aug.13)

> Autumn highlights include the finale of Dexter, the returns of Homeland and Downton Abbey, and the new season of sitcoms.