Screen: November TV Roundup

In the run-up to voting deadlines for the Golden Globes, I've been watching rather a lot of TV (including stand-up specials and, this year, podcasts). For me, television is always a nice break from the more diligent focussed attention needed when watching movies. So I seek out comedies and mindless shows where possible. There have been quite a few good series this autumn, and some duds as well. I'm starting this roundup with some brand new shows...

Boots
This lively boot camp comedy-drama centres around 18-year-old Cameron (Miles Heizer) who gets fed up with being bullied, so he joins the Marines with his best friend Ray (Liam Oh). The hitch is that Cameron is gay, which is forbidden in the military in 1990. Because it's based on a memoir, the show is packed with knowing details that bring the characters and situations to vivid life. So Cameron and Ray, and several of their fellow recruits and drill sergeants become unusually complex as they grapple with their own issues. The standout is Max Parker as Sgt Sullivan, who is struggling to confront his own sexuality while trying to teach his young trainees to find the truth inside them. And Vera Farmiga has a wonderfully offbeat role as Cameron's mother. (Netflix)

Chad Powers
Because it hinges on a silly gimmick, it's difficult to see how this comedy will sustain itself over multiple seasons. The premise is that a disgraced professional American football player (Glen Powell) uses a movie-makeup disguise to join a university team under an assumed identity, and no one recognises him. These episodes fizz with big personalities and a solid mix of humour and tension. Powell is superbly unapologetic as the idiotic jerk Russ, as well as the even dopier Chad. And Steve Zahn is on peak form as his flustered coach, whose daughter (a solid Perry Mattfeld) provides both simmering attraction and edgy bickering fireworks. The great Toby Huss is also on hand as Russ' estranged makeup artist dad. By the end, the premise is strained to the limit, so we wonder where it can go from here. (Hulu)

MobLand
First, I must confess that I avoid crime-based series, simply because murder and carnage aren't my idea of entertainment. But the cast of this show intrigued me, with Helen Mirren and Pierce Brosnan as leaders of a thuggish Irish family in England, alongside the talented likes of Tom Hardy, Paddy Considine, Joanna Froggatt and Joanna Pulver (plus some spicy guest stars). Guy Ritchie directed the first two episodes, setting a snappy tone that plays up the pitch-black comedy. The overarching narrative becomes increasingly grisly, both sidestepping questions of morality and blurring lines around loyalty. But this is riveting television, and it's very difficult to look away from actors who are almost supernaturally gifted when it comes to this kind of wonderful scene-chomping dialog. (Paramount)

House of Guinness
Writer Steven Knight ramps everything up in this loosely fact-based account of the Irish stout family in the 1860s, creating soap opera style plot threads that are infused with big attitude and lots of violence. The cast is terrific at bringing out the subtle character details amid the more bombastic production style, with Anthony Boyle, Louis Partridge and an underused Fionn O'Shea as brothers tasked with carrying on their stern father's empire. There are also strong female roles for Emily Fairn, Naimh McCormack and Ann Skelly, plus another slippery turn from Jack Gleeson. So it's frustrating that the plot lines move so erratically to a frustratingly open-ended finale. If there's no season 2, then this first series was pointless. (Netflix)

Alien: Earth
Imagined on a staggering scale, this prequel series features a detailed mythology and epic effects, exploring a 22nd century in which Earth is ruled by three competing corporations. That alone makes it worth a look, but it's also a prequel to Ridley Scott's landmark 1979 space horror Alien, inventively matching the aesthetic and tone. The plot opens as alien species escape from a crashed research vessel, creating chaos while rival company bosses claim these creatures for their own nefarious reasons. The depiction of business/political overreach is eerily recognisable. And there are seriously complex roles for the excellent Sydney Chandler and Alex Lawther, playing siblings with a fascinating sci-fi twist. Plus great support from Essie Davis, Adarsh Gourav, Babou Ceesay, Timothy Olyphant and more. (FX)

Wayward
An involving idea adds a kick to this mystery thriller series, set in a creepy town dominated by a reform school run by the cheerfully sinister Evelyn (Toni Collette). Plot threads are seen through the eyes of new student Abbie (Sydney Topliffe) and her troublemaking best pal Leila (Alyvia Alyn Lind), as well as newly arrived cop Alex (series creator Mae Martin) and his wife Laura (Sarah Gadon), who went to Evelyn's school. While it's perhaps not as nuanced as it might be, the show is hugely entertaining largely because of what is not said. And the psychological ideas worm their way into our thoughts, especially as characters speak about the nature of parent-child connections. There is also a terrific blend of new age mumbo jumbo and hippie heal-the-world messaging, plus rather a lot of murder. (Netflix)

T H E   S A G A   C O N T I N U E S

Only Murders in the Building: series 5

Steve Martin, Martin Short and Selena Gomez are back for more hilariously silly sleuthing, this time with a mystery centred around their murdered doorman. The action and comedy both kick off quickly, as our heroes dive into another whodunit that increasingly ties itself in knots, sending the trio through a nutty series of twists and turns. The case this season is a bit too messy to hold the interest, especially as it sets up events that contrive to evict the colourful residents from their beloved Arcona apartment building, which is now manned by a robotic doorman who knows too much. But it definitely helps to have big names popping up everywhere, including Dianne Wiest, Renee Zellweger, Christoph Waltz, Logan Lerman and Bobby Cannavale. We may not care who the killer is, but we're still having fun. (Hulu)

Peacemaker:
series 2 

Even more propulsive than the first season, this anarchic show takes off at high speed and provides all the energy, originality and unpredictability that we expect from James Gunn. The events directly connect to Gunn's recent Superman movie, but are both much more fun and far more character-based, with a wonderful group of messy characters led by John Cena's hapless but likeable Chris. Even side roles are livened up with spicy dialog and outrageous motivations, which gives the entire show a jolt of electrical charm. So Danielle Brooks, Freddie Stroma, Jennifer Holland get much more do to this time around. And while using the tired parallel dimension gimmick in a way that actually means something, there's also more of Robert Patrick as Chris' riotously bullheaded dad. (Max)

The Morning Show: series 4 

Each season of this newsroom drama gets more soapy than the last, as contrived personal relationships increasingly interfere with more intriguing journalistic issues that made this a must-see from the start. And even the newsroom stuff is beginning to feel silly this time around, pushed to corny extremes as the plot dives into the events of 2024 with a gimmicky AI subplot. But it's still compelling, even with Jennifer Aniston's increasingly immobile face. She's terrific as broadcaster/executive Alex, whose life is messy and rather improbable. Reese Witherspoon is also solid as the plucky journalist whose nose sees her locked away for most of this season. The supporting cast is packed with bright lights (Greta Lee, Jon Hamm, Jeremy Irons, Lindsay Duncan), while other characters never gain traction. (Apple)

Juice: series 2

Writer-director Mawaan Rizwan is back with a new series of this outrageously charming comedy, which this time takes some darkly surreal turns that dig very deeply under the surface. Rizwan's energetic lead character Jamma sees his clown-like behaviour take a twist, going to various extremes to rekindle his relationship with Guy (the always terrific Russell Tovey). Rizwan's brother Nabhaan and mother Shanaz are back on board as his hilarious fictional family, along with Jeff Mirza as his goofy dad and Emily Lloyd-Saini as his snappy best friend. The colourfully hand-made sets and landscapes add to the sense that this is actually an internal journey, and the narrative trajectory continually catches us off guard with its insight, taking on powerfully resonant issues. (BBC)

Palm Royale:
series 2 

Carol Burnett and Allison Janney are two of my very favourite performers, so I'd watch anything they do. But this show finally lost me, because the writers push the story even further into annoying absurdity. As the goings-on in Palm Beach society get increasingly ridiculous, it's still a major problem that Kristen Wiig's lead character is the least engaging person on-screen. It certainly doesn't help that the most intriguing side characters (played by Ricky Martin and Laura Dern) have been oddly sidelined. And the writing is so silly that it has begun to grate, playing up the most obvious gags while entirely missing any chance to comment on privilege and wealth. I endured three episodes before giving up. Although I may go back and watch the rest, just for Carol and Allison. (Apple)

Star Trek - Strange New Worlds:
series 3

This prequel series dives straight into a tense conclusion to last season's cliffhanger. What follows is entertaining despite the soapy shenanigans, simply because the characters are so engaging. This allows actors like Anson Mount, Rebecca Romijn, Carol Kane and especially Ethan Peck to find terrific textures. And thankfully, the overarching plot felt much less oppressive this time. There are also a few entertainingly inventive gimmicky episodes (one blends The Last Frontier pastiche with a nutty whodunit), nodding to the franchise's history in a variety of ways. That said, the writers are a little preoccupied with these references, especially as they set up the characters for the original 1960s series. Two more seasons are planned for this crew, so there's a lot more fun to come. (Paramount)

Open to It: series 2

Just as messy as the first season, these six episodes (plus a Pride special) continue the West Hollywood adventures of Princeton (Jason Caceres) and the couple Cam and Greg (Tim Wardell and the show's creator Frank Arthur Smith), who once tried to live as a threesome but are now pining for each other as they run around with a variety of other men and women. The writing is more ambitious and superbly thought-provoking, but the directing and editing are just as choppy, so key plot points get lost and side characters never quite become fully formed. But there's plenty of fun to be had with our central trio as they try to avoid running into each other at various raucous parties. And there are also some more drag queen antics and a finale that involves a riotously racy puppet show. (OutTV)

P L A Y I N G   C A T C H -  U P

English Teacher: series 1-2
After a couple of recommendations, I checked out the first season of this comedy before the second arrived. This is a bracingly entertaining comedy with unusually lively characters and intriguing social textures. Set in Austin, the comedy circles around English teacher Evan (series creator Brian Jordan Alvarez), whose identity as a gay man in Texas leads him into all manner of nonsense. Each of the side characters are hilarious, with especially strong roles for ace performers Jordan Firstman (as his enthusiastic on-off boyfriend) and Enrico Colantoni (as the school's exhausted principal). The second season is even more confident, taking on big issues with superbly unsettling nuance even as things get hilariously silly. So it's a real shame that there won't be a third series. (Hulu)

Nobody Wants This: series 1-2
Adam Brody and Kristen Bell are terrific in this show about a rabbi who falls for a woman who makes the eponymous sex-based podcast, ably supported by Timothy Simons and Justine Lupe as their ridiculous siblings. I watched both seasons back-to-back, and it was intriguing to see how the writers push things along, although there's also a sense that none of this is terribly realistic. The story centres around Judaism and Jewishness, and while it's refreshing to see a show that at least addresses religion and ethnicity in such a knowing way, it never gets particularly deep. More troublesome is the way the characters become less likeable the more we get to know them, making it a bit difficult to believe their relationship. But the actors are strong enough to keep us watching. (Netflix)

GUILTY PLEASURES: The Celebrity Traitors, Last Week Tonight, The Late Show, The Great British Bake Off, Strictly Come Dancing, Race Around the World, Selling Sunset, Drag Race UK, South Park.

NOW WATCHING: I Love LA, Gen V 2, Loot 3, The Witcher 4, Stranger Things 5.

COMING SOON: A Man on the Inside 2, Fallout 2, Death by Lightning, Industry 4, The Night Manager 2, Ponies, Star Trek: Starfleet Academy.

Previous roundup: SEPTEMBER 2025 >

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

There's been a lot on television to distract me from work over the past few months, and as always I particularly enjoy mindless fun to reset my brain in between serious movies. Obviously, I can't watch everything, and I do tend to avoid gritty police/hospital dramas in lieu of shows that keep me smiling. Although occasionally I like to be challenged on the small screen, I usually leave that for the big one...

Only Murders in the Building
Smart and witty, this comedy-mystery series reteams dynamic duo Steve Martin and Martin Short, plus Selena Gomez, as murder podcast obsessed neighbours who team up for some amateur sleuthing when someone is killed in their apartment block. While the pacing is quaint and silly, there are deranged twists galore. Martin and Gomez play their characters with a straight face, leaving Short to expertly steal every scene. While starry guests (Nathan Lane, Jane Lynch, Amy Ryan, Sting) provide plenty of pizzazz as the mystery unfolds. And the final moments are either a massive cliffhanger or a teaser for the second season. (Hulu)

Nine Perfect Strangers

Timing wasn't kind to this series, which came out too close to The White Lotus, a more astute, grounded drama set in a resort. But this show is worth a look, with its adept cast including Nicole Kidman, Melissa McCarthy, Michael Shannon, Manny Jacinto. It's set at a wellness retreat with guests who have been mysteriously curated by the owner (Kidman), who experiments with microdosing acid to push psychological buttons. It's slightly over-constructed, which makes things far less surprising than they should be, but the general nuttiness of the story holds the interest, as the actors bring offbeat layers to each character. (Prime)

Acapulco

Drawing on the nostalgic comedy traditions of shows like The Wonder Years or Young Rock, this lively comedy-drama features Eugenio Derbez reminiscing about his time as a chirpy teen (Enrique Arrizon) working in a fancy resort in the Mexican seaside town. Each of his adventures has a little moral message, which feels a bit pushy, as does the way the script somewhat simplistically depicts rich people exploiting locals who in turn are conning them. But the show's flamingo-coloured approach is thoroughly charming, and the cast is fresh and likeable, hinting at all kinds of secrets and revelations that are still to come. The bilingual approach is also superb. (Apple)

The Big Leap

A lively drama set around a dance-based reality show, this series features terrific characters in a tangled mess of over-egged soap-style storylines as a group of wannabe dancers try to stage a new production of Swan Lake. It's concocted and safe, including the romances, dark dramas and sassy challenges involving both the dancers and the crew members. But the actors are solid, anchored by Scott Foley as the semi-ruthless show-runner. Each of the interlinked plot threads is deeply silly, the kind of mindless nonsense that's perfect for escapist television, which the script knowingly acknowledges. And the dancing is strikingly good, especially Raymond Cham Jr's spinning, popping Justin. (Fox) 

Invasion

Yet another series that kicks off with a bunch of random, disconnected scenes, characters who mean nothing to the audience and forced suspense based only on the musical score. It looks great, and the excellent international cast manages to draw out some interest in a wide range of people facing a mysterious worldwide alien invasion. But the lazy, indulgent writing and directing make no attempt to pull a viewer in, allowing the story to unfold in out-of-sequence flashbacks that are both repetitive and inadequate. Even the random moments of insight are simplistic. I only barely resisted giving up. Set up for season 2, I doubt I'll return for more. (Apple) 

Mr Corman 

An inventive mix of comedy, drama and satire, this show centres on the terrific Joseph Gordon-Levitt as a fifth grade teacher who is feeling squeezed in by his day-to-day life, something very easy to identify with. Gordon-Levitt (who also writes and directs) is so likeable that he makes the title character deeply sympathetic even when he makes terrible decisions. The episodes are hugely uneven, spinning off into unexpected and sometimes indulgent directions that include long sideroads, fantasies and some darkly provocative twists. It's tricky to engage with it as a series, but it maintains a nicely provocative tone. I almost gave up, but stuck with it to the end. (Apple)

B A C K   F O R   M O R E

Ted Lasso: series 2 
Instead of repeating the breezy comedy of the first season, Jason Sudeikis goes deeper with his now-iconic American football coach in London, pushing him with a team psychologist (Sarah Niles), unexpected conflicts and corporate issues, plus the slow transformation of his protege (the brilliant Nick Mohammed) into a supervillain. And in most of these areas, his down-home aphorisms don't quite have the intended effect. This season has featured a few inventively themed episodes, but instead of being gimmicky they've maintained the same open-handed but earthy emotionality that pushes the story and characters further and further. It's a rare show that manages to balance realism and optimism. (Apple)

The Morning Show: series 2 

Going even darker, this drama starts exactly where the first season ended, with everyone in chaos following the revelations of harassment at a big network. Then it cuts to January 2020, as the breakfast TV show's cast and crew are blithely unaware of what sporadic reports about a virus in China might mean. This adds an underlying tension to everything, as do the chaotic US presidential primaries and the increasing melodrama between characters finely played by Reese Witherspoon, Jennifer Aniston and Billy Crudup, with added Steve Coogan who's in hiding with Valeria Golino in Italy. Where it all goes is perhaps a bit too shocking. (Apple)

The Other Two: series 2

It's been two and a half years, but this superbly written and played comedy is finally back for a second season, and this time siblings Brooke and Cary (Helene Yorke and Drew Tarver) find themselves in the shadow of their talkshow host mum (Molly Shannon), in addition to their popstar little brother Chase (Case Walker). The comedy feels a lot broader this time around, which makes it sillier and perhaps less endearing. But the central theme is still strong, playing on how frustrating it can be to watch seemingly untalented people succeed while you struggle. And once again, the pop culture gags are continual and skilfully right on the nose. (HBO)

Love Life: series 2

William Jackson Harper takes over the central role as this gently comical drama returns to follow another person's romantic rollercoaster journey. Opening with some bad decision-making that quickly leads to a divorce, Harper's Marcus is a likeable guy who struggles to get his life back on track. This includes some painfully awkward encounters, stressing out his friends and family and launching himself into a series of relationships. All of this happens while he's circling around the hugely likeable Mia (Jessica Williams), who is clearly too good for him, but we can't help but hope they work out their messiness. Harper is particularly terrific in a demanding role. (HBO)

Succession: series 3

Continuing without taking a breath from the last episode, this intense media family drama never gives the audience break from these intense people who circle around each other like sharks. Patriarch Logan (Brian Cox) is now in all-out war with his son Kendall (Jeremy Strong), with siblings Roman and Shiv (Kieran Culkin and Sarah Snook) vying for control and everyone else trying to cling to what little influence they may have. It's absolutely brutal, and riveting, to watch this family so aggressively engage in vicious power games. And the complexity of the roles gives each actor a lot to chew on along the way. Once again, the ending is a stunner. (HBO)

Sex Education: series 3 

This show continues to broaden its scope by bringing more characters into the focal zone, and it works because all of them are fierce, strikingly well written and played individuals. The spiralling relationships between family, friends and lovers are thoroughly entertaining, even if the careful plotting makes it fairly clear where things are heading. And the sparky cast, led by Asa Butterfield and Gillian Anderson, is hugely engaging. With added Lola Kirke as the villainous new headmistress of the season. Even she is given a bit of perhaps uncharacteristic shading under her relentless nastiness. (Netflix)

What We Do in the Shadows: series 3 

Things continue to ramp up in this season, as this household of four clueless vampires take the place of the council that was taken out by their vampire-hunting familiar Guillermo (Harvey Guillem), who continues to take care of them without them noticing. This adds a whole new angle to their relentless obliviousness, and each episode mines ridiculous situations for genuinely hilarious laughs. But even more important is how the writing and acting make us care about these idiots, especially as the final few episodes of this season change things so drastically. Any future episodes will feel very different indeed. (FX)

Brooklyn Nine-Nine: series 8

I was very late to this show, catching up with the first seven seasons during lockdown, and I enjoyed these final 10 shows as they appeared two per week. This is the kind of comedy I love, with nutty character-based humour that simply never pauses to let the audience catch their breath. It's silly, sharp and even has some political resonance, and the jagged relationships between these police precinct colleagues add engaging angles to the jokes. A few characters feel a little muted by time, but each of them has the power to surprise us. And the show's anchors Andy Samberg, Andre Braugher and Terry Crews are fabulous. (CBS)

GUILTY PLEASURES: The Great British Bake-Off (C4), Strictly Come Dancing (BBC), RuPaul's Drag Race UK (BBC), We're Here (WoW), I Like the Way U Move (BBC).

I GAVE UP: Foundation (Apple) was just too dense and choppy for me.

NOW WATCHING: Hawkeye, Landscapers, The Great (2), The Witcher (2), Star Trek: Discovery (4), The Conners (4), And Just Like That (7), Dexter: New Blood (9).

COMING SOON: The Woman in the House Across the Street From the Girl in the Window, The Book of Boba Fett, Pam & Tommy, Euphoria (2), Killing Eve (4).

Critical Week: Let your colours burst

Pride month kicked off this week, and I had my first few LGBTQ+ movies to watch. Showing at San Francisco's Frameline, Being Thunder is a remarkable documentary about Sherente Harris (above), a two-spirited Native American teen from Rhode Island who is challenging artificial gender roles. It's a gorgeously observant film worth looking for. Offbeat indie comedy-drama The Carnivores takes a loose, skilfully improvised approach as it tells the story of two Texan women with dog and relationship issues. And from Chile, My Tender Matador stars the great Alfredo Castro as a crossdresser who befriends a revolutionary in the Pinochet-era. It's moving and beautifully thought-provoking.

BEST OUT THIS WEEK:
A Quiet Place Part II • After Love
My Tender Matador • The Carnivores
Undine • I Am Samuel • Gunda
PERHAPS AVOID:
Introducing Jodea • Gully
ALL REVIEWS >

Closer to the mainstream, Flashback is a swirly thriller starring Dylan O'Brien in his meatiest role yet, although the supernatural elements kind of blur everything. An edgy drama set in inner-city Los Angeles, Gully features another terrific role for Kelvin Harrison Jr, although the movie is too fragmented to ever come into proper focus. The micro-budget comedy Introducing Jodea has some charm as it tells a story in the movie industry, but the cast and crew reveal their inexperience. And finally, I indulged myself in Friends: The Reunion, a couple of hours of shameless nostalgia that felt a bit contrived and over-structured. It was fun to see these six iconic actors in their less orchestrated reactions and interactions. And the celebrity fans were fun (Gaga! Bieber!), although they highlighted a number of recurring cast members who were oddly missing.

Films to watch this coming week both in cinemas and on screener links include Lin-Manuel Miranda's musical In the Heights, Aussie romcom Ellie & Abbie (and Abbie's Dead Aunt), horror comedy School's Out Forever, Spanish romance Carmen and Lola and Hungarian drama Treasure City.

Screen: Winter TV Roundup

There's been some good telly on lately, and the holidays offer some more time to binge than usual, so I've been able to keep almost up to date. I'm still lagging behind on a few shows, but will dive in when I can, to reset my mind in between the movies...

SHINY AND NEW

His Dark Materials

Fans of Philip Pullman's novels (like me) were understandably nervous about this BBC series, due to the watered-down 2007 feature The Golden Compass. But this series has taken time to dig deeper and bring out Pullman's provocative plotting and themes. Dafne Keen is terrific as young Lyra, a proper reluctant hero who has little idea that her actions have massive repercussions. And Ruth Wilson is staggering as the shifty Mrs Coulter. Produced with epic visuals that are never fussy, the show looks great. The extended format allows characters to emerge with a bracing sense of unpredictability. And that cliffhanger ending leaves us gasping for part 2.

The Mandalorian

Made on a superb scale like a free-wheeling Western with added gadgets, this Star Wars bounty hunter adventure is thoroughly entertaining, recounting a mini-epic with each half-hour episode. Its sets and characters look fantastic (effects and creatures are grounded and resolutely undigital), and it's written, shot and edited in a way that instantly feels like a classic, complete with a memorable musical score by Ludwig Goransson. Even under that armour, Pedro Pascal is a wonderfully sardonic hero. And at the end of episode 1, it introduces the year's best new character in a pint-sized relative of Yoda with a cheeky sense of curiosity that gorgeously balances the show's inventive action beats over eight wonderful episodes. 

Watchmen

This extraordinary series lets its story unfold without the usual comic book structures, presenting angles on its premise that continually subvert expectations. It's made with such a sure hand that watching it never feels like a chore: there's no doubt that this is heading somewhere very interesting, and getting there is darkly entertaining. The cast is edgy and textured, led by Regina King, Jean Smart, Tim Blake Nelson and a seriously unhinged Jeremy Irons. How it all fits together becomes clear slowly and enigmatically, while the subtle alternate reality in which the show is set is fascinating. So as the bigger plot emerges, this series carries all kinds of thematic implications.

The Morning Show

Jennifer Aniston and Reese Witherspoon play bickering journalists who are thrown together on a breakfast news show. Of course, they're more alike than not, and the fun of the show is watching them discover this against their will. While there is plenty of barbed humour laced through the scripts, this is a serious drama taking on workplace harassment and abuse in a strikingly honest, sometimes downright painful way. The show also lifts the lid on the artificiality of live television in a way that's funny and knowingly provocative. And the pitch-black issues raised in the storylines make it important too.

Dickinson

The ambition behind this show is notable, as it recounts the 19th century life of poet Emily Dickinson in sitcom style, infused with present-day dialog, attitudes and music. Anchored by Hailee Steinfeld and Jane Krakowski, the cast is excellent, and the storytelling is particularly strong. This allows for a knowing skewering of archaic (but sadly not unfamiliar) issues involving sexism and racism. Although this would come across more forcefully if it wasn't so smug about the anachronistic style. One cringeworthy example: after writing the memorable first lines of Because I Could Not Stop for Death, Emily puts down her pencil and proclaims, "Nailed it!"

The Umbrella Academy

The premise for this story feels a bit lazy (another zillionaire family, more kids with superpowers), but it plays out in ways that are continually surprising. And the show is written and directed with a generous dose of absurdity and sarcastic wit, plus a thunderous song score. It's also sharply acted by an eclectic cast (Ellen Page, Robert Sheehan, Mary J Blige), which helps make up for the plot's general default to violence that feels way over-the-top. Perhaps this betrays the comic book origin, but hopefully the writers will find more complexity in the second season.

The Politician

Ryan Murphy continues his takeover of all things televisual with this blackly comical political pastiche about a teen (Ben Platt, both deadpan and brimming with emotion) who takes his class president election far too seriously. But then so does everyone else at his posh private school. The narrative spins and shocks along the way, but remains a bit too ridiculous to to seriously touch on the themes. And the characters are all slightly cartoonish, even if they're a lot of fun - from teens Zoey Deutch, Lucy Boynton and David Corenswet to adults Jessica Lange, Gwyneth Paltrow, Bob Balaban. And the big set-up for the second season is beautifully played.

Living With Yourself

The main draw here is Paul Rudd playing a befuddled man who books into a refreshing spa day and ends up facing a clone of himself after something goes wrong. The premise is a bit sloppy, and the way it's written and directed is more than a little gimmicky, with characters who don't always ring true. But there are some witty moments and intriguing wrinkles that get close to resonant meaning (one of the Pauls is a close-minded idiot). It's worth watching, but would be even more engaging if it was more relaxed, sillier, sexier.

Dolly Parton's Heartstrings

Anthology shows are notoriously hit and miss, so there's no way each episode in this series can be a knock-out. But they're surprisingly well written, with sharp edges to the gentle narratives and some terrific performances (Melissa Leo!). Dolly's presence in each episode is great fun, including her sparkly introductions, her sassy characters and lively musical performances. Each episode centres around one of her songs, some more beloved than others, to weave a tale of love and heartbreak. It's often a little relentless in its warmth, but some prickly Southern charm adds interest.

ANOTHER YEAR

The Crown: series 3

Recasting this season was always the plan (it will happen again with series 5), and the transition is predictably tricky, even with the powerhouse duo of Olivia Colman and Helena Bonham Carter. But they grow into their roles, and by the time the wrenching episode 3 rolls around, they are inhabiting Elizabeth and Margaret with a vengeance. Colman gets to sink deeply into Elizabeth, adding offhanded touches that beautifully reveal the Queen's maturity as a leader. Tobias Menzies and Josh O'Connor also have particularly powerful episodes as princes Philip and Charles, respectively. Bring on season 4.

The Marvelous Mrs Maisel: series 3

As this show continues to beef up side characters, it badly loses focus. The ongoing story of hilarious standup Midge (Rachel Brosnahan) and her acerbic manager Susie (Alex Borstein) is still involving, not so much the rambling, distracting sideplots for her parents, ex-husband, his parents and the musical star she's touring with (who get long, pointless numbers of his own). It's like the writers couldn't resist crafting pithy dialog for these terrific actors, but they've forgotten what made the show so both unmissable and important. Make it a half-hour with Midge and Susie and it might rediscover its magic.

Succession: series 2

This second season was perhaps even more riveting than the first, as the plotlines twisted so tightly that even these expert wigglers found themselves with nowhere to go. Like a present-day Game of Thrones, these people circle around each other vying for control of an empire. Both the writing and acting are simply astonishing, as deeply layered characters seize on the snappy dialog. Each cast member is excellent, bringing humanity even to the greediest, most back-stabbing member of this wildly flailing family. More please.

The End of the F***ing World: series 2

Cleverly spinning off in new directions that feel both stylised and organic - just as awkward and brittle as before - this follow-up season takes our two antiheroes (Alex Lawther and Jessica Barden) on another offbeat road movie, this time pursued by someone (Naomi Ackie) wronged in their first spree. The outrageous things that happen are played to bone-dry comedic perfection, often with an added layer of thick irony. It's a rare TV series that refuses to play by the usual rules, which makes it unmissable.

SEASONS IN PROGRESS

The Conners: series 2a

While this sitcom's range of characters feels a little conveniently diverse, the writers and actors seem to have found their groove, mixing bristly humour with some honest situations. The cast is uniformly excellent, anchored ably by ace veterans John Goodman and Laurie Metcalf, plus Katey Sagal. Sara Gilbert and Alicia Goranson are terrific dealing with parental issues of their own, and it would be nice if Michael Fishman's DJ became more of a character.

This Is Us: series 4a

Things feel a bit tighter this year, even as the plots spiral to offer glimpses (and only the most tantalising glimpses) of new timelines. The actors are clearly enjoying the chance to continue flexing their performance muscles, most notably Justin Hartley, Sterling K Brown and Susan Kelechi Watson. Indeed, the deeper drama is far more involving that the gimmicky cross-cutting between time periods. This show is continually in danger of vanishing up its own navel, but the writers are just about keeping that in check.

Bless this Mess: series 2a

Trundling on harmlessly, this show is basically a tribute to Lake Bell's genius at finding subtle edges of humour in everything and surrounding herself with talented actors like Dax Shepard, Ed Begley Jr, Pam Grier and David Koechner. The premise is more than a little bit feeble, and the jokes are tired (at least Green Acres had a character who hated living in the country). But the show has a scruffy, ramshackle goofiness that keeps us watching. Mainly thanks to that cast.

Mom: series 7a

Everything is ticking along with this show's astute comedic approach to addiction and recovery, this year with the added wrinkle of marriage between Bonnie (Allison Janney) and Adam (William Fichtner). Janney is such a joy that it doesn't really matter what she's doing, and both writers and costars give her plenty to work with. It would be nice to beef up the other central cast members, whose plotlines feel a bit dull this year, most notably Anna Faris' Christy. She was more fun when she was a mom herself (where are her kids anyway?).

THE LAST STAND

Transparent: series 5

After Jeffrey Tambor's unceremonious departure from his series, this "musicale finale" ties up all the loose plot ends. It feels a little tidy and abrupt for a show that was known for its messy interactions. But the songs are enjoyable, performed well by the up-for-it cast, which kind of makes up for the way the overall story kind of peters out. There are no surprises, and some rather oddball twists here and there that never quite push the boundaries. But it's warm and engaging, and packed with lovely moments.

The Good Place: series 4a

Both blissfully funny and smartly thought provoking, this show is going out on a high. This season will be ending where the creators knew it would, rather than stretching things out unnecessarily. Which gives the adept actors the confidence to wonderfully push their performances right over the edge. Each of them is excellent on his or her own, and as an ensemble they create some magical alchemy. This is a rare sitcom that manages to be both intelligent and silly at the same time.

Modern Family: series 11a

This long-running sitcom has had some ropey episodes in recent years, but it's a rare show that has maintained a high quality of character-based comedy writing, allowing the actors to age on-screen. The expanding cast continues to be almost criminally watchable, with the children now grown-ups and the youngsters revealing a lot more personality than most TV kids get. There is a tendency to drift toward sentiment this season, but that's understandable if this is indeed the final series.

Shameless: series 10a

Never a show to pause for breath, this show kicked off its final season with a flurry of outrageous plot twists that sent the Gallagher family in about seven directions at once. This first set of episodes is perhaps a bit too frantic, even for this show, although this keeps the audience on its toes, piling on twists that are both entertaining and infuriating. There are several clever touches this year, as well as a few badly dangling threads (Carl's twins!). And as usual, the audience continues to root for these losers, despite the evidence.

I GIVE UP

See - I'm a fan of the cast, and they're superb here, but the premise is just a little too gimmicky and violent for me, set in a caveman-like future where humanity has gone blind. 

NOW WATCHING: The Witcher, Unbelievable, Castle Rock (2), You (2)

COMING SOON: Star Trek: Picard, The Outsider, High Fidelity, Schitt's Creek (7), Grace and Frankie (6), Homeland (8), Kidding (2)