Screen: January TV Roundup

Extra television was required this autumn to prepare for casting my TV ballots in the 81st Golden Globes. But it's just impossible to catch everything. Still, I'd seen most nominees in each category before I cast my final-round votes, then cheered The Bear, Succession and Beef to victory on Sunday night. Here's what I've been watching over the past four months, starting with nine new series. Or in the first case, new-ish...

Frasier
Kelsey Grammer slips effortlessly back into his iconic role for a third time, still seeming like a man living in the wrong place and time, and loving it despite the constant annoyances. This reworking is more of a standard sitcom than the 1993-2004 iteration, with the usual collection of offbeat characters and predictable tensions. So that Niles-Frasier dynamic feels sorely lacking. That said, these people definitely grow on us. And it's the funniest new comedy in years, a rare show that can make us laugh out loud. (Paramount) 

Fellow Travelers
Lavishly and boldly assembled, this drama traces several decades in American politics through the prism of homophobia and fear, most notably in the 1950s McCarthy hearings. An epic romance is recounted in fragmented snippets that prevent the viewer from properly engaging with the narrative's emotional momentum, but individual scenes are gorgeously written and played, and various story arcs carry strong emotional wallops. Matt Bomer and Jonathan Bailey have wonderfully prickly chemistry in the central roles. (HBO)

Lessons in Chemistry
First-rate production values and excellent performances add both weight and depth to this 1950s drama, which takes a specific look at the often cruel suppression of women in American society. The story centres on ace scientist Elizabeth (a superb Brie Larson), a survivor of abuse who finds herself increasingly marginalised despite her brilliant mind. Strong performances from Lewis Pullman (as her colleague and romantic foil) and Aja Naomi King (as an intrepid neighbour) add terrific textures. (Apple)

The Brothers Sun
Michelle Yeoh storms the small screen as the mother of siblings (Justin Chien and Sam Song Li) who haven't seen each other in decades. One stayed in Taipei with their Triad boss dad (Johnny Kou) and became a killer, while the other moved with mum to Los Angeles and became "soft". The spiralling interaction within this family, plus a range of terrific side roles, makes this show worth a look, while the violence that surrounds them erupts in fiercely well-staged action sequences. It's a lot of fun, and keeps us on our toes. (Netflix)

Gen V
This spin-off from The Boys has a sparky young cast and a driving sense of momentum, plus the same intensely hyper-violent touches and gimmicky sexual shenanigans. The fresh-faced cast is likeable, even as their super-powered university student characters rocket through a series of outrageous situations while uncovering and trying to expose a massive conspiracy involving a shady cabal that is exploiting all of them. Ultimately, it's a bit of nasty nonsense that folds itself back into The Boys. (Prime)

Blue Eye Samurai
Beautiful manga-style animation brings this epic-legend series to life, with hour-long episodes that feel rather ambitious, but also textured and satisfying. Set in 17th century Japan, when being foreign was illegal, the story sends a young samurai who is half-European (thus the blue eyes) on a very personal quest. Secrets abound throughout the narrative, which unfolds with a wonderful series of unexpected adventures and relationships and lots of underlying secrets. And the characters have complexity and charm. (Netflix)

Still Up 
This sitcom is about an insomniac and her agoraphobic male pal who are never in the same room. Both are insufferable, difficult to like as they communicate by video chat. Thankfully, Lisa and Danny are brightly well-played by Antonia Thomas and Craig Roberts. But their misadventures feel contrived, as does how the story pushes them together. Along the way, they constantly poke fun at Lisa's partner (Blake Harrison), the show's most engaging character who's ridiculed for his humanity and sense of responsibility. Hmmm. (Apple)

Tore 
From Sweden, this is a pitch-black comedy that isn't afraid to get very grim indeed, as the young title character (William Spetz) grapples with both his sexuality and his grief. This makes it often tough to watch, as Tore isn't particularly likeable, because he acts without thinking about anyone, even himself. But it's fascinating to watch as his experiences push and pull him in various directions, shifting his perspective and trajectory. And Spetz delivers an astonishingly brave performance in a wonderfully messy role. (Netflix)

Escort Boys
Corny title aside, this French series has an intriguing premise that could serve as a fascinating exploration of masculinity. Alas, the story is told through a resolutely male gaze, with characters who are unflinchingly macho. It's about a teen girl who, to save the family farm, creates a stable of escorts with her brother and friends. The setting, in a part of France that looks like the Australian Outback, is gorgeous. While the obvious female themes are here, issues of sexuality only timidly emerge in the final two episodes. (Prime)

A   F I N A L   B O W

The Crown: series 6 
This final season's first half builds to the death of Princess Diana (the fantastic Elizabeth Debicki) and her seismic influence on the royal family and the world. Then the show returns to the Queen (Imelda Staunton), Prince Philip (Jonathan Pryce), Princess Margaret (Lesley Manville), Prince Charles (Dominic West) and his sons., tying up loose narrative loose ends. As always, this is impeccably produced, with first-rate acting in complex roles. And as it inventively blends fact with fiction, it needs to be taken with a grain of salt. (Netflix)

A N O T H E R   H E L P I N G

The Morning Show: series 3 
Far soapier than previous seasons, this show slows its momentum while diffusing the plot among various improbable character threads. Topicality remains strong enough to hold the interest, especially with powerhouse actors like Jennifer Aniston, Reese Witherspoon, Billy Crudup, Greta Lee and Julianna Margulies. It may not be as brisk, bold and nimble as the first season, but it's a rare show that takes on big issues relating to show business. And Jon Hamm has some nasty fun a the Musk-like tech baron on a mission. (Apple)

The Tourist:
series 2
Jamie Dornan and Danielle Macdonald continue the adventures of the amnesiac Irishman, leaving the Australian Outback for Ireland and a new barrage of kidnappings, attacks and mayhem. It turns out that Elliot is actually scion of the Cassidy mob, and he reignites the feud with the rival McDonnell family. The twists and turns are fun, violent but gleefully played with tongue in cheek. While some of the random sideroads feel a bit annoying, the great Olwen Fouere is fabulously formidable as Elliot's no-nonsense mother. (BBC)

Upload: series 3
This show's plottiness increases once again, and the exhausting convolutions distract from the more entertaining relationships and sci-fi nuttiness. As the central premise splinters to follow other characters, Robbie Amell's Nathan is doubled as well, creating two main storylines while further beefing up supporting roles for leading ladies Andy Allo and Allegra Edwards, as well as Owen Daniel (as the entire afterlife hotel staff). This is a guilty pleasure, offering fun while never grappling with deeper ideas in the premise. (Prime)

Our Flag Means Death: series 2 
Adding some terrific new characters and spiralling adventure chaos, this pirate ship comedy charges confidently into its second season. It's hilarious to watch events continually rocket off in new directions, as the characters struggle to make sense of each new situation. This season starts off sparky and silly, then get a bit murky with lots of flashback-induced soul-searching. So the final few episodes feel a little meandering and corny. But the way the show continually punctures masculinity is fiendishly clever. (Max)

Elite: series 7
Madrid's party/murder school is back in session, with traumatised ex-student Omar (Omar Ayuso) now on staff while his new boyfriend (Fernando Lindez) is a student, improbably funded by last year's multiple-tragedy victim Ivan (Andre Lamoglia) then launching into an awkward love triangle. There's a feeling like the stakes have been raised, most notably with the aggressive police, who are seen illegally wiretapping teens and violently evicting homeless kids from a shelter. But several vanished characters are sorely missed. (Netflix)

I   G I V E   U P

Loki: series 2 
Rocketing back into its time-travelling, parallel universe mayhem, this show is far too pleased with its own impenetrable mythology to allow the viewer in. Tom Hiddleston and Owen Wilson have terrific chemistry, plus the great Ke Huy Quan, but it's swamped by overwrought production values and badly overwritten dialog. I tried to just sit back and have some fun with this, but lost the will to live by episode 3. (Disney) 

NOW WATCHING: Fargo (5), The Traitors (2), Invincible (2), Open To It.

COMING SOON: Expats, Feud: Capote vs the Swans, Mr & Mrs Smith, Sexy Beast, The Woman in the Wall, The New Look, Players, Abbott Elementary (3), True Detective: Night Country (4), The Conners (6), Queer Eye (8).

Previous roundup: OCTOBER 2023 > 

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 >

Critical Week: Somebody's watching

There were three high-profile British films screened to the press in London this week. Ghost Stories is Andy Nyman's clever adaptation of a stage pay that merges three horror subplots into a twisty, nasty comedy-thriller. Early Man is the latest claymation romp from Aardman, a hilariously silly adventure set where the stone and bronze ages meet. And Finding Your Feet is a warm and easy-going romantic drama livened up by excellent performances from Imelda Staunton, Timothy Spall and Celia Imrie.

From America, we had more horror comedy in the shape of Mom & Dad, a gonzo twist on several genres, featuring terrifically unhinged performances from Selma Blair and Nicolas Cage in the title roles. Dance Baby Dance is an extremely low-budget comedy about an aspiring tap dancer, charming but amateurish. And from France, the short film collection French Kisses is the usual mixed bag, and features some very strong clips.

There were also two documentaries: The Final Year is an oddly overslick look at Obama's last 12 months in office, fascinating but scrubbed clean. And 100 Men centres on a Kiwi filmmaker who takes an offbeat angle to explores gay culture over the past few decades.

Films this coming week include the trilogy finale Maze Runner: The Death Cure, the British thriller Lies We Tell, the musical biopic Thirsty and a restoration of the Bergman classic The Magic Flute.