Screen: Summer TV Roundup

There's more and more television to watch, with so many outlets starting new shows and miniseries all year-round rather than the old-style seasonal system. I can't keep up with everything, but I do alright, watching episodes in between movies and writing deadlines to clear my head. It's been a busy spring, and the summer is already going full-pelt...

SHINY AND NEW

Years and Years

One of those shows that gets deep under the skin, this family drama slides quickly from the present into the near future, then skips ahead by a year or so in each episode. This makes its plotlines feel remarkably urgent, because it looks like this is the direction the world is heading: straight into dystopia! Comments about what's to come are both shockingly big and subtly clever, and what makes the show even more involving is the powerhouse cast, including Anne Reid (whose final-episode rant has rightfully gone viral), Emma Thompson, Russell Tovey, Rory Kinnear and Jessica Hynes. Some of the sci-fi excesses feel a bit nutty, but most are underplayed. While the political angles relating to immigration, health and economics hit close to home, the family's dynamic is hugely engaging. Essential.

Chernobyl

The quality of this production is staggering, as it recreates the look and feel of the 1980s Soviet Union with unnerving precision and an inventive narrative approach. This is simply stunning television, a harrowing re-creation of the notorious meltdown and its aftermath, seen through the eyes of a few key people. The combination between personal stories, scientific expertise and political control is strikingly well-balanced. It's rare to see a show that can seem so effortless in its ability to shift between terror, wrenching emotion, dark provocation and outright rage. By the end, we feel like we have lived through it with these people, played with awards-worthy precision by the gifted likes of Jared Harris, Jessie Buckley, Stellan Skarsgard and Emily Watson. And the final message about the power of the truth is urgent.

Good Omens

Frankly, this is what I was hoping for from American Gods, which turned out to be far too pleased with itself to be watchable. By contrast, this is a lively, witty, smart pastiche about gods and monsters and the end of days. Michael Sheen and David Tennant are hilarious as an angel and demon who become friends over the millennia and team up to stop the 11-year-old Antichrist (Sam Taylor Buck) from triggering Armageddon. Jaunty and clever, the show is skilfully assembled with a fabulous starry supporting cast (Jon Hamm, Miranda Richardson, Michael McKean, Jack Whitehall and Frances McDormand as the voice of God), expert sets and costumes, and a wryly hilarious and gripping story adapted from the acclaimed Neil Gaiman/Terry Pratchett novel.

Fosse/Verdon

Sam Rockwell and Michelle Williams are simply superb in this series about the professional and personal partnership between Bob Fosse and Gwen Verdon. Starting in 1968, the show follows their work and tumultuous marriage through a series of films and stage projects. It's astutely well-written and directed with lots of style, including a constant string of lively musical dance numbers. Although the attempt to dramatise Fosse's life as a surreal musical was better done by the man himself in All That Jazz. Still, this is a terrific romp through the lives of this iconic power couple, reminding us why their work is so indelible.

Dead to Me

This offbeat comedy-drama centres on an unlikely friendship between two very different women (the terrific Christina Applegate and Linda Cardellini) who meet in a bereavement group. The writers cleverly add plot twists and cliffhangers to continually switch-up the story, which helps the show work on a variety of levels: an unexpected friendship, an exploration of grief, a struggle to deal with the truth, a blackly creepy caper comedy. Some of the elements work better than others, but the core show is both entertaining and provocative.

Bless This Mess

This snappy sitcom from the sharp mind of Lake Bell follows a couple (Bell and Dax Shepard) as they quit their New York jobs and move a Nebraska farm they've inherited. They know nothing about farming, and the house needs a lot of work, but they've had it with the city and need a change. Although the over-friendly neighbours and the man (Ed Begley Jr) living in the barn are a whole other challenge. As is the wise shop owner/sheriff (Pam Grier) The characters are colourful and engaging, and the developing story is hilarious. Just as importantly, there are superb depths to these people and their situation. Although the silly tone can get a little grating.

Special

Ryan O'Connell created, wrote and stars in this witty, sharply observed series about a gay 28-year-old trying to navigate adult life in the context of his cerebral palsy. Over eight 15-minute episodes, O'Connell finds both hilarious moments of comedy and some darkly touching emotions as his character tries to put his condition in the background. He's a remarkably complex young man, not always doing the right thing, but remaining likeable as he struggles with his self-image. The surrounding characters are a bit more cartoonish, but are also deeply engaging, adding some deep meaning to the show's themes. A remarkable achievement that deserves more episodes.

I Think You Should Leave

Tim Robinson's sketch comedy show is not only sharply well-produced with an array of superb guest stars, it also pushes humour far beyond the usual limits. Each little scenario begins as a fairly standard comedy bit, then twists into surreal directions that become absurdly funny and more than a little surreal, sometimes veering closer to horror. Binge-watching this first season is almost too easy, as the episodes race by, making us laugh while tweaking us with unexpected provocative barbs, leaving us wanting a lot more.

THIS IS THE END

Game of Thrones:
series 8

Kicking off with a bang, these final six epic episodes shift back and forth between churning build-up and mad action intensity. From the whoosh of Jon Snow's first dragon ride to the knighting of Brienne to Arya's stunning pounce. The Night King dominated the first three episodes, then we moved on to Cersei and her stubbornly violent thirst for power. There are a staggering number of very pointed scenes in which the characters clear the slates between them (and quite a few of the old faithful are killed off horribly). And it couldn't help but be a bit anti-climactic with so many characters and so much going on. But it's the offhanded moments that are the most enjoyable, packed with character-based wit and emotion that's expertly played by Peter Dinklage, Kit Harington, Emilia Clarke, Lena Headey, Maisie Williams, Nicolaj Coster-Waldau, Gwendoline Christie, to name a few. 

Jane the Virgin: series 5

It's remarkable that this series has maintained its high quality right to the very end, mixing smart wit and a knowing pastiche of telenovelas with a bunch of superbly engaging characters who will really be missed. The lively cultural mix has been even more pronounced this year, even as the soapy antics spiralled in outlandish directions that were alternatively hilarious and emotive. Gina Rodriguez is such a great anchor to the chaos, even managing to sell the ludicrous return of her dead husband (Brett Dier) to again mess up her relationship with baby daddy Rafael (Justin Baldoni). There is little doubt how this will end for each character, but the writers have plenty of surprises up their sleeves.

Veep: series 7

The writing never flagged with this series, even as the overall plot kind of went in circles ever since Julia Louis-Dreyfus' indelible Selena Meyer stopped actually being vice president. Where the writers have taken this show has been eerily prescient, remaining utterly hilarious even as it can never match the craziness of the real political world. So in this series, set on the primary campaign trail, they double and even triple down on the mayhem, almost daring America to keep up. It's so fast that you can barely blink while watching it. And it would be even funnier if it didn't feel so accurate.

The Big Bang Theory: series 12

What is there to say about this show after all these years, other than that it has gone out at the peak of its powers. Actually, you could argue that once these nerds began getting married, the premise was badly compromised. But the actors and writers have sustained the show with warmth and infectious humour, mainly because the characters are so indelible. I've watched this show sporadically from the start, usually on airplanes, so I've only been loosely keeping track of it over the years. But the final episodes were a lot of fun. 

MORE TO COME

Killing Eve: series 2

Picking up just seconds after the first season ended, these new shows rarely pause for breath. Indeed, Sandra Oh's Eve seems unable to get her feet back under her after everything she has learned lately. The connection between her and Jodie Comer's astonishingly complex Villanelle is wonderfully surprising and more than a little disturbing. It's rare for a series to be able to play with such hideous violence in a way that's witty and pointed, never losing sight of the tragedy. The twists and turns of the plot are often exhilarating, mainly because the characters are so realistic that we never know what appalling thing they might do next. And the season cliffhanger was perfect.

Santa Clarita Diet: series 3

This breezy, nutty little show is the perfect antidote to over-serious, too-trendy dramas. Drew Barrymore and Timothy Olyphant are engagingly ridiculous in the central roles as a sparky, over-achieving zombie and her up-for-it husband. And Liv Hewson came into her own this season as their feisty daughter, whose awkward connection with a neighbour boy (Skyler Gisondo) took some nice turns. Superb costars this year include Jonathan Slavin as their over-eager undead pal and Linda Lavin as a reborn pensioner. The Knights of Serbia subplot is rather corny, but adds some witty gags along the way. Bring on the fourth and final season.

True Detective: series 3

After the somewhat iffy second season, showrunner Nic Pizzolatto took a long break, regrouped and found another A-list cast for an epic detective drama. This one has strong echoes of the real-life West Memphis case, with significant differences, and its snaky plot is intriguing. But jumping around between three periods over some 40 years eliminates most of the mystery and diminishes the narrative drive with sheer confusion (the only way to know where you are is to look at the haircuts). Mahershala Ali is of course awesome, and so are Carmen Ejogo and Stephen Dorff, all in tricky, messy roles that hold the attention even if the central case doesn't.

Victoria: series 3

Now easily in its own groove, this semi-historical series has toned down its more soapy influences. Although there's still a strong whiff of Downton Abby around this take on the reign of Queen Victoria. Jenna Coleman has settled into her role as the strong-willed monarch, now in a tug-of-war for control with her frustrated husband Prince Albert (Tom Hughes). Political conflict comes largely from Lord Palmerston (Laurence Fox). And the kids are becoming characters now, although Victoria seems to give birth to another child every five episodes. Side characters have the obvious secret romances, mini-scandals and so forth. It feels somewhat toothless and generic, but it's entertaining and worth sticking with.

Tales of the City: series 4

The previous seasons of this Armistead Maupin-based series were in 1993, 1998 and 2001. And it's remarkable that this new iteration maintains the same mix of humour, emotion and soap-style subplots. Many of the original cast members continue in their roles, including Laura Linney, Olympia Dukakis and Paul Gross, with welcome additions Ellen Page, Murray Bartlett and Zosia Mamet. The various plotlines are funny and intriguing, and refreshingly awkward as well. Like the earlier series, the storylines feel distracting from the much more interesting character comedy and drama. This one involves blackmail and revenge, or something. A bit more personal complexity would have made this even better. 

Mom: series 6

This show may be spinning its wheels - the characters haven't really gone anywhere this season. But it's sure been a lot of fun to watch them, especially led by the formidable Allison Janney, whose impeccable comic timing is beautifully matched by the loveable Anna Faris. This is a rare sitcom in which riotously funny people cope with darkly serious issues, and it's great that the showrunners continue to find ways of laughing at things most people would consider resolutely unfunny. Here, they are hilarious, with a meaningful kick.

Modern Family: series 10

The characters in this show continue to be some of the most consistently funny people on television, and it's been impressive to watch the writers let them grow up organically over a decade, up until the moment when yet another generation emerged into this family. The writing is still unusually sharp, mixing slapstick with more intelligent gags and underlying emotion. There have been some hit-and-miss moments in the past few years, so it's probably time to retire these characters. Next season is set to be the last, and they will be missed.

I GIVE UP

The Twilight Zone: Jordan Peele relaunched this vintage anthology series with a certain amount of style. Production values are high, and the casting is cool, with actors who can bring the needed nuance to each scene. So it's frustrating that the scripts aren't up to par, lacking both thematic depth and moral complexity. 

The Act: Based on a true crime story, this disturbing series traces a grisly murder in extended flashback over four years. At the centre are two idiosyncratic performances by Patricia Arquette and Joey King, but their relationship is too obvious. And the bizarre plot structure makes it difficult to care how it arrives at the predicted ending.

NOW WATCHING: Euphoria, Catch-22, The Hot Zone, The Name of the Rose, Pose (series 2), Big Little Lies (2), The OA (2), The Handmaid's Tale (3), Black Mirror (5), Younger (6).

COMING SOON:  The Loudest Voice, The Politician, The End of the F***ing World (2), Lodge 49 (2), Stranger Things (3), The Crown (3), Insecure (4).

Shadows on the Screen: Summer TV roundup

It's been a busy few months for television shows. But it's nice to have some quality programming to keep me entertained and clear my mind in between my film screenings...

Trust

The story of J Paul Getty III's kidnapping was the subject of Ridley Scott's underrated All the Money in the World last year, and now Danny Boyle comes at the story with this sprawling, skilfully assembled 10-part series. This allows for rather a lot more detail relating to all of these people, plus much more on the figures around them. And what a cast: Donald Sutherland as the stingy grandfather, Hilary Swank as the determined mother, Harris Dickinson as the kidnapped teen, Brendan Fraser as the swaggering Texan fixer, and terrific support all around. The scripting by Simon Beaufoy sometimes tries too hard to be inventive, while the raw facts of the story are so mind-boggling that they don't need the embellishment. 

A Very English Scandal

Anchored by ripping performances from Hugh Grant and Ben Whishaw, this three-part series tells the true story the frightfully posh politician Jeremy Thorpe (Grant), who in the early 1960s had a passionate affair with riding instructor Norman Scott (Whishaw). And when he thought the story might get out, Thorpe simply decided to have Scott bumped off. Stephen Frears directs this as a jaunty comedy with a very dark underbelly, and the actors play it with similar textures to make it thoroughly riveting. Perhaps a longer series would have made the narrative more coherent, since it leaps through the years in sometimes confusing ways. But this is dazzling television, and a great story with several complex twists in the tale.

Wild Wild Country

There's a slightly tabloid angle to this documentary series, although it does work dilligently to tell the story from each side, and the balance makes it very strong. It's tracing the events in 1980s rural Oregon, when the followers of Rajneesh bought a huge tract of land and began building their utopia. Local residents were relatively OK with this until strange things started happening, and the Rajneeshees reacted to criticism by taking over a local town government, casually poisoning restaurants throughout the region and arming themselves to the teeth. The story is grippingly recounted with firsthand interviews from a variety of people involved. Although while the facts are clear, what really happened remains a bit murky.

The Looming Tower

There are echoes of Homeland in this limited series, except that all of this is true. It's based on exhaustive research into the work of the FBI and CIA in the years leading up to the 9/11 attacks. Mixing in actors with real footage of the major figures, this 10-part drama feels eerily authentic, and it certainly doesn't go easy on the ways the CIA withheld evidence from the FBI that could clearly have averted the awful events. Jeff Daniels is excellent as FBI chief John O'Neill, whose story takes a grim ironic twist. The show's heart and mind is Tahar Rahim as agent Ali Soufan, who tenaciously tries to prevent what he can see coming. The show sometimes seems to get sidetracked by the characters' personal lives, but these details add to the realism.

Safe

Michael C Hall comes to Britain for this twisty mystery series, which explores the deep, dark secrets in a gated community outside Manchester. Written by Harlan Coban, it's all rather arch and contrived, but there's a gripping edge to the story, and it's shot and acted with plenty of intrigue. Basically, the central mystery is far too entwined to hold water, falling apart with even a casual examination of the details. It's also fairly easy early on to work out whodunit, since the usual suspects are clearly guilty of other crimes. But the cast keeps things interesting, and the story is told with a blast of energy to keep us watching.

Rise

Basically a serious version of Glee, this high school theatre club drama really needs to lighten up a bit. It's fraught with intense issues and deliberately meaningful plotlines that feel somewhat pushy, especially on themes surrounding identity. That said, these topics are addressed through characters who are engaging and beautifully played by the ensemble cast. It may feel like the usual Breakfast Club collection of teens, plus a frazzled teacher whose personal life takes up far too much screen time, but everything that happens resonates as an only slightly heightened version of things most viewers can identify with.

Here and Now

Like a cross between This Is Us and Sense8, this strikingly well made show comes from the mind of Alan Ball (American Beauty, Six Feet Under), which means that it takes a realistic approach to what feels like an extraordinary set of characters. Each of the members of the Bayer-Boatwright family have an intense journey of their own. The cast may be anchored by the robust Holly Hunter and Tim Robbins, but it's newcomers Daniel Zovatto, Jerrika Hinton, Raymond Lee and Sosie Bacon who really shine as their eclectic kids. And even the side roles are fleshed out as real people with lives of their own.

Barry 

Actor Bill Hader was involved in creating, writing and directing this series, which gives him a terrific chance to flex his acting chops. It's essentially a black comedy, but it's the darker underlying drama that makes it watchable. On the surface, this story about a hitman moving to Los Angeles and being bitten by the acting bug is pretty corny, and also far too obsessed with grisly violence. But it's through the traumatised Barry's self-discovery that the show finds unusual ways to draw the audience in. It's also great to see Henry Winkler poking fun at the industry in a surprisingly edgy supporting role as Barry's acting coach.

The New Legends of Monkey

From New Zealand, this adventure series is packed with hilarious comical asides that more than make up for its cheesy Xena/Hercules production values and a nutty plot in which demons and gods battle for control of a primitive culture. At its centre is a witty four-person team, including the revived Monkey King, trying to keep the demons from unlocking the secret to ruling the world. Or something. It doesn't really matter when the dialog is so snappy, the characters so silly and the action such a riotous mess. Sit back and giggle right through all of it, then be surprised by a creeping current of emotion.

MORE DRAMA

Timeless: series 2

There's a cheesy charm to this time-travel series that makes for enjoyable escapism. But it's important not to think about anything that happens, because the scripts are full of holes. For one thing, our heroes are always racing to get in their time machine to stop baddies they're convinced are determined to destroy the world. But this ignores the fact that having a time machine eliminates the urgency. Not to mention how quickly they're able to steal perfectly fitting clothing on arrival. And the villains' actions are also inexplicably pointless. Meanwhile, the show-runners indulge in rather a lot of pointlessly unnecessary cross-cutting in an attempt to ramp up simplistic subplots. Still, it's enjoyable if you don't think about it. 

Jane the Virgin: series 4

One of the best-written series on TV, this funny, warm, fiendishly clever show is both a comedy and a drama, as well as a pastiche of florid Latina telenovelas. Terrific recurring guests this year include Rosario Dawson (as a shady/seductive lawyer) and Brooke Shields (as a deranged version of herself). The plot leaps along at a rapid-fire pace, with constant twists and turns, relationships and momentous events. But the characters are solidly grounded and thoroughly charming, with a complexity that's rare for light entertainment. So not only is the show hilarious and sweet, but it also grapples with some serious issues (like Xo's cancer) in earthy, authentic ways. And it leaves the soapy excesses in the background where they belong.

Scandal: series 7

After a very rough start which struggled to convince us that Kerry Washington's Olivia had gone over to the dark side, this rather ludicrous show picked up a head of steam as it headed into its last episodes ever. As always, everyone on-screen lectures each other in over-enunciated, vein-bursting rants. But at least the writers had a bit of fun messing with the characters and who they can trust, leading to some meaty moments as things barrelled along to what was clearly going to be a "shocking" finale. Except that, as satisfying as it might have been, it was never surprising at all.

Homeland: series 7

After last year's more contained season, the shift to domestic activity is breathing new life into this series, especially as Claire Danes' Carrie goes off the grid to take on a renegade US President (Elizabeth Marvel) who's thankfully not too Trumpish, aside from bullheadedly charging into every situation. Relational textures are intriguing, as Mandy Patinkin's Saul finds himself in a somewhat contrived but compelling position as it becomes apparent that the Russians have launched an elaborate plan to destabilise the American government. Yes, the writers are drawing from headlines and, as usual, real life has overtaken them. But at this point in the show, Carrie and Saul are more interesting for how they react and interact than for what they do to save the world.

MORE LAUGHS

Santa Clarita Diet: series 2

This charming bit of fluff is mainly watchable thanks to the goofy-charming performances of Drew Barrymore and Timothy Olyphant as a suburban couple coping matter-of-factly with her murderous zombie condition. It's all very silly, dealing with violent death with a wink and a smile (because that's OK if the victims are Nazis). And the general panic is infectiously entertaining. This season's breakout star is Liv Hewson as their snarky daughter, who gets rather a lot more to do and shines, especially in scenes with best pal Eric (Skyler Gisondo). And it's nice to have Nathan Fillion back too. Well, his head at least. 

Schitt's Creek: series 4

This show has been sharply well-written from the outset, but this season feels even more focussed than usual, bringing the characters to life in ways that are often surprisingly moving (as well as being hysterically funny). Eugene Levy, Catherine O'Hara, Dan Levy and Annie Murphy are all expert actors, milking each moment for maximum comedy, but never without a point. And the ensemble surrounding them is also wonderfully engaging, especially Noah Reid as David's dryly provocative boyfriend - a great character who changes the tone of the show in the right direction. As always, Chris Elliott's idiotic mayor is just an irritant in need of better subplots. Still, it's the best thing on TV this year so far.

The Unbreakable Kimmy Schmidt: series 4

With only a half-season this year (the show wraps up with the second half early next year), what used to be one of the funniest sitcoms on the air has fallen into something so mannered that most of the gags feel like in-jokes that leave the audience out. The cast is still terrific, with the perky Ellie Kemper and shameless scene-stealer Tituss Burgess holding down the fort, plus a lot more of the wonderful Carol Kane and a lot less of the awesome Jane Krakowski. But the storylines are corny and dull, struggling to propel the show's premise in an interesting direction. And quirky running gags like that ubiquitous robot are rather pointless.

Mom: series 5

This sitcom just gets stronger year by year, thanks to the fine performances by Allison Janney and Anna Faris, along with an ace supporting ensemble. Even as the issues get deeper and more serious, mainly relating to addiction, the scripts continually undercut the emotion with jagged jokes. But they never belittle the themes. Back when this show first debuted, the main gag was that this wildly implausible tall mother and tiny daughter were both irresponsible parents and grandparents. But the show-runners sensibly (and a bit jarringly) jettisoned the kids to focus on some important things about them, while Janney and Faris rose to the challenge, creating powerful chemistry while having a lot of fun at the same time.

Modern Family: series 9

This show continues to wobble in the writing department, although this season the smartly comedic have outweighed the over-stretched, stale lows. Some of the funniest sequences have involved the kids, who are now complex young adults who are adept scene-stealers alongside the veterans. So when the writing is sharp, it sparkles. And there have been terrific moments for everyone this year. On the other hand, it all feels very safe, never pushing anyone too far one way or the other. And the overriding plot is running in place while mini-dramas last the length of a half-hour episode then flutter away. In other words, the show needs to start moving forward again.

Will & Grace: series 9

It seems odd to revive a series like this, which was dated in its original run even as it broke ground for its depiction of central characters who happened to be gay. It's hard to imagine younger audiences watching this new, since it's pretty much exactly the same show as it was when it went off the air in 2006 after its eighth season. Eric McCormack and Debra Messing's title characters are still fairly ridiculous, so self-absorbed that it's no surprise that they're single. Sean Hayes' Jack is still so silly that he can't help but raise a smile. And Megan Mullally's absurd Karen is still the only thing that keeps me watching: everything she does and says is flat-out brilliant.

Roseanne: series 10

After the hype about this resurrected series (which originally ran 1988-1997), the show is surprisingly nuanced. And also very funny. The writers cleverly keep things balanced, pitting Roseanne Barr's Trump-supporting title character against her left-wing sister Jackie (the awesome Laurie Metcalf, likely to win a fourth Emmy for this role). John Goodman again brings a witty, relaxing tone, and the kids (now with added grandchildren) are stirring the mix of blue-collar humour with sharply observed politics. You don't have to agree with everything each character says to enjoy this skilfully written and played sitcom. Sadly, Barr's inability to hold her tongue off-camera has sunk the show.

I GIVE UP

Two series came back for their second seasons badly misjudging their successes. Both Westworld and Legion gave into the most indulgent instincts of their showrunners. The plotlines splintered as both shows became relentlessly gimmicky, tilting toward great-looking confusion rather than actual storytelling. The actors are fantastic, but the more pretentious a show gets, the less engaging it is. I gave up after a few episodes of each. Only a fanboy could love these shows now.

NOW WATCHING

Patrick Melrose, Pose, The Handmaid's Tale (series 2), I'm Dying Up Here (series 2), Sense8 (series 3), Younger (series 5), and I'm on the look out for more half-hour comedies. Suggestions welcome...

Shadows on the Screen: Winter TV Roundup

I had some time over the holidays to catch up on TV shows I've been following over the past few months. Results have been mixed, but there have been some great small-screen gems in here to help me recover from the big-screen movies...

Stranger Things: Series 2

The Duffer Brothers step things up a notch with a bigger, much scarier story arc that feels much more finely tuned to the characters and the actors. Everything in these nine episodes fits together beautifully, deepening the connections and unnerving the audience. References feel somewhat more grown-up this time, from X-Men to The Exorcist, and the scale of events is genuinely enormous, with deeply personal touches. All of the cast is excellent, from adults like Winona Ryder and David Harbour to the older and younger teens, who mix beautifully and end up nowhere near where they started. It's also refreshing that they ended on such an open note: anything can happen next year. 

The Crown: Series 2

Basically an anthology series, each episode takes an aspect of Elizabeth II's life from her second decade as monarch. So there are episodes on JFK, sending Charles to school, the Profumo scandal, modernising the monarchy, confronting the family's Nazi past and Margaret's romance with Lord Snowden. But the season's through-line centres on Philip's indiscretions and how the couple weathered those various storms to solidify their relationship as a marriage rather than an arrangement. It's grippingly well written and played, but this structural approach makes it feel rather, well, episodic, without much momentum as a series. It's almost more like an unusually well-produced educational film. And these actors are all so good that next season's all-new cast (as everyone ages) has a lot to live up to.

Easy: Series 2

The second season of this anthology show revisits all of the overlapping characters, finding moments of proper comedy and drama along the way. Although most of the humour is of the bitter sort. Episodes all stand alone but loop around to touch others, and the characters all feel enjoyably realistic. The main problem is writer-director Joe Swanberg's relentless sexualising of females (for example, when artists are struggling, the man becomes an Uber driver, the woman becomes a prostitute). In isolation, none of this feels excessive, but when every episode features a scantily clad woman it becomes a little obvious. That said, there's equal opportunity nudity. And the characters are all complex and involving.

I'm Dying Up Here

The 1970s Los Angeles stand-up scene is the setting for this solidly produced hour-long drama, which follows a group of comics as they traverse the ups and downs of their careers. The show is packed with terrific characters, all superbly played, from mother hen Melissa Leo to a varied bunch of hopefuls played by Ari Graynor, Andrew Santino, Michael Angarano, Clark Duke, RJ Cyler and Al Madrigal, to name a few. The political aspects of the comic scene are a little dull, but the personal journeys taken by each person are compelling, and the period detail is a lot of fun. There are also some terrific stand-up routines along the way.

The Deuce

The 1970s New York sex industry is the setting for this solidly produced hour-long drama, which follows a group of bar owners, prostitutes, pimps and pornographers as they shuffle through the crime-ridden streets. The show is almost incredibly murky, with corruption everywhere and such a huge range of detailed characters that none of them really stand out. There simply isn't time to properly develop each of them into a sympathetic person we can identify with in some way. But the acting is superb, anchored by James Franco as a rather too identical pair of twins and Maggie Gyllenhaal as hooker with a lot of personal issues. It's also refreshing to see a show that lacks the usual American hang-ups about sex and sexuality.

Black Mirror: Series 4

Charlie Brooker's slick, technology-themed variation on The Twilight Zone continues to tap into very current fears with its only slightly futuristic stories. These new Netflix episodes are produced like mini movies (the first episode is feature length) and have A-list Hollywood casts and crews. The plots sometimes have lapses in logic, but the themes are powerful, exploring how technological advances play into the darker urges we already have. This means that some of the stories are downright bleak. For example, Jodie Foster's episode Arkangel is deeply unsettling not because of its child-spying implants, but because of what it says about today's overprotective culture. And the best episode, Timothy Van Patten's Hang the DJ, mixes gloominess with hope as it plays with the concept of dating apps.

Transparent: Series 3

Thankfully less gloomy than the last season, these episodes saw the astonishingly dysfunctional family travelling to Israel as they connect with a long-lost relative. There were quite a few genuinely hilarious moments along the way, and most of the outlandish slapstick was reined in this time, even if each person's personal crisis seemed like the end of the world, to them at least. Of course, the setting gives the show's writers plenty of scope to play with political ideas. And they also cleverly infuse this entire season with songs from Jesus Christ Superstar. This is perhaps a little on-the nose as far as irony goes, but it grounds the family in a shared experience that connects them to this place. 

You're the Worst: Series 4

What was once a caustic, brave show has clearly reached the limits of its premise. this season, the writers struggled with what to do with a couple that needed to get together for the audience's sake, but were designed to be thoroughly toxic. Instead of playing on the codependent aspects, this season has them lashing out separately. But it felt like the wheels were spinning with nowhere left to go. All of the actors continue to approach their broadly ridiculous characters with an intriguing sense of emotional honesty that makes them sympathetic and unlikeable at the same time. But I don't think I could take one more half an hour with any of them.

Episodes: Series 5

The final season of this loose-limbed sitcom circles back to end exactly as you've always known it would. And along the way there are plenty of ridiculous antics for Sean and Beverly (Stephen Mangan and Tamsin Grieg) and their circle of hopelessly neurotic friends, including Matt LeBlanc, who is now hosting one of the most hilariously appalling game shows ever imagined. The show has always had a way of lampooning Hollywood by playing everything just a little broadly. But there's also the definitely sense that pretty much everything they've ever depicted has actually happened. And the characters really grew on us.

SEASONS IN PROGRESS

This Is Us: Series 2

In this second season, the writers are taking things very seriously, piling lots of big themes into each episode. Life for these people feels a little too difficult this year, at each of the various periods in their lives. And the show has introduced yet another timeline that lets the main cast get a bit more screen time while playing their characters a little younger and hotter. But the real thing, of course, is that the writers are now torturing the audience mercilessly with the possibilities about how Milo Ventmiglia's Jack dies, setting up a potential calamity in each episode. It's getting a bit silly. Just tell us and get on with the story.

Jane the Virgin: Series 4

Fiendishly well written, this spoof of Mexican soap opera plays on its origins mercilessly. And some of the twists and turns are more than a little annoying. But the central characters are all so loveable that it's hard to mind. By now, the writers have milked several of the characters as far as they can (it's way overtime to lose Yael Grobglas' evil twin character Anezka), and there's only so long they can stretch the will-they/won't they romance between the adorable Gina Rodriguez's Jane and the ludicrously hot Justin Baldoni's Rafael. But every scene is still packed with such great touches that it's worth hanging in there.

Scandal: Series 7

True confession: I am only still watching this show because it's the final season, and I might as well see it through. Because this year's series is actually pretty bad, straining to shift Kerry Washington's Olivia Pope from hero of the peoiple to villainous mastermind (ie, she's become her father Joe Morton). This is so contrived that it's almost laughable, well it would be if it weren't so unnecessarily dark and violent. In fact, all of the subplots are grislier and nastier this year. The zing of, well, the scandal is gone. This is apocalyptic.

Shameless: Series 8

It's amazing that this show can carry on, throwing the Gallagher family into even more spiralling mayhem without feeling contrived. Some elements are infuriating, as they're meant to be, while others leave us wondering what the writers were thinking when they came up with this. William H Macy is clearly relishing this new phase in Frank's life, and the undulating feud between Emmy Rossum's Fiona and Cameron Monaghan's Ian has been played with surprising texture. Even Vee and Kev (Shanola Hampton and Steve Howey) are still on fire. It's impossible to predict where any of the plot strands are headed.

Will & Grace: Series 9

I don't remember this show being quite so broad and smiley the first time around. Even the opening credits this time reek of fake camaraderie. And while the idea is amusing that, 11 years later, these people are basically back where they started, the writing really needs to push them forward rather than using each episode to revive one of the more memorable gags or side characters. And the actors need to pull back a bit on their broadly comical performances, stirring in just a bit of believability. Except Megan Mullally, of course. Karen is still one of the most amazing characters ever seen on a sitcom, and she's as funny now as she ever was.

Modern Family: Series 9

This show has had some weak episodes over the past couple of years, but this season the writing feels back up to par. Plotting is tight, weaving various threads together in each episode that build to a big punchline. Of course, better writing gives the ace cast a lot to work with, and these characters are proving to be a continuous source of comedy: people we think we know very well who continue to surprise us. And the increasingly number of characters, including the kids, all have ongoing storylines that are genuinely engaging and witty. Indeed, the children are growing into comedy icons themselves.

I GIVE UP

The Orville

Seth MacFarlane had a great opportunity here to make a full on satirical sci-fi series, and yet he seems happy to merely nod earnestly in the direction of Star Trek. There's the occasional great gag or inventive touch, but the plots and characters are never interesting or funny enough to care about. I stopped at about episode 5.

The Flash/Supergirl 

These were the last two shows of the DC Comics universe that I was watching, and they too have shifted into cheaply made, far too violent storylines that make absolutely no sense and have no angle on which the audience can find a connection. It's just gimmicky and grisly and angsty. Life's too short.

Empire

I was a big fan from the start of this show, and I hung in there even through some long dips into seriously silly storytelling. But this season simply lost all of the various plots, giving each character a drastic personality change. Nothing is happening here that's even remotely compelling. And the people are annoying. I'm done.