Screen: June TV Roundup

There seems to have been rather a lot more television series released over the past few months than usual, as streaming services wage war with each other. Many are high-profile shows with A-list casts, and it's simply impossible to watch everything. Especially when you have a day job that requires watching films and stage shows! Anyway, here's what I've managed to catch since the last TV roundup in April, starting with seven new shows, then four series that wrapped up their runs, then nine more that have been back with new seasons...

Heartstopper
This British romance is one of the most joyous TV series in recent memory, following a group of teens navigating relationships, with added complexities as they are still discovering who they are and whom they're attracted to. The characters are so bracingly realistic that it's easy to identify with all of them, as the writing, direction and acting are packed with knowing details. Young leads Joe Locke and Kit Connor deserve to become stars, and it will be very cool to watch them grow up over the next two seasons. But then everyone on-screen is excellent, including a terrific side role for Olivia Colman. (Netflix)

Moon Knight
Oscar Isaac is the main reason to watch this rather nutty action series about a man with multiple personalities who is the superpowered human avatar to a tetchy Egyptian god. This allows Isaac to have a lot of fun with his multi-faceted role in a show that's deliberately bonkers. The plot is enjoyably freewheeling, with some big stylistic flourishes that add visual panache to a range of adventures as our hero stumbles from one outrageous situation to another, simply trying to survive (and perhaps save humanity) amid the bickering deities. Ethan Hawke is also terrific as his nemesis, as is the superb May Calamawy in a complex leading role. (Disney)

Severance
An inventive premise gives this show an instant kick of intrigue, as does its bonkers 1970s aesthetic, with endless corridors and advanced-but-archaic tech. Adam Scott is solid in a rare serious role as a man whose ordered life, in which his personal and professional consciousnesses have been severed, begins to unravel. All of this is perhaps a bit gimmicky, hinging on something intriguing that never quite makes sense. But the show's internal logic is compelling, as are startling characters played by the fabulous likes of John Turturro, Christopher Walken and Patricia Arquette. (Apple)

Big Boys
Complex and introspective, this show is presented as a comedy but features a strong kick of emotional drama along the way. Based on a memoir, it centres on young Jack (Derry Girls' Dylan Llewellyn), who defers his university studies to keep his mother (Camille Coduri) company after his father's death, then struggles to come to terms with his homosexuality. On campus, he befriends Danny (Jon Pointing), who opens up his world in increasingly unexpected ways. It's a rare show that depicts an close friendship between a gay and straight man who need each other to make sense of the world around them. (C4)

Our Flag Means Death 
Based on the true story of a man who abandoned his family to become a pirate, this show's pilot is directed by Taika Waititi, who then pops up as the fearsome Blackbeard in this wildly amusing comedy set on a pirate ship in 1717. Rhys Darby manages to make the effete gentleman captain Bonnet strongly endearing, and his hilarious ragtag crew includes the likes of Joel Fry, Vico Ortiz, Samson Kayo, Ewen Bremner and Mathew Maher. It's utterly ridiculous, but manages to poke witty holes into the masculinity of its posturing characters. And while everything is very silly, there's a deeper point here about the mentality that drives men to war. (HBO)

Ten Percent
A remake of the hilarious French comedy Call My Agent, this London variation holds closely to the original for the first few episodes, then begins to spread its wings in some uniquely British ways. Led by Jack Davenport, the offbeat cast is solid, and each episode contains starry cameos that are more knowing than jaw-dropping. It's a superb skewering of the insanity of a talent agency, amped up by the arrival of a couple of Americans who add fake Hollywood smiles to every nasty thing they do. The bland direction and slack pacing may leave it feeling a little undercooked, but by the end of this season the show finds its stride and leaves us looking forward to more. (Prime)

The Pentaverate 
Mike Myers plays at least half of the roles in this wildly inventive comedy adventure centred around a secret society that runs the world. The difference is that this one is nice. Only a Canadian would have come up with this premise, and Myers packs the show with terrific characters, laugh-out-loud gags and witty pop culture references, including many that lampoon his own career. Starry guests (Rob Lowe, Keegan-Michael Key, Ken Jeong) and massive effects sequences add to the freewheeling, escalating plot. And while it is very gimmicky, it's far more effective and involving than expected. (Netflix)

T H A T ’ S   A   W R A P

Derry Girls: series 3
Three years later, this great sitcom storms back at full force with indelible characters in riotously funny situations. There isn't a dull moment in these episodes, which are stunningly well-crafted to bring out amusing details in each character while propelling five teens into early adulthood. The 1990s setting adds political subtext that takes on increasing resonance, especially in the final episode, which beautifully sticks the landing. The five young leads are so good that we never want them off-screen. The surrounding adults add knowing textures in even the silliest situations. And Siobhan McSweeney still walks off with the whole show as the bitingly sardonic Sister Michael. (C4)

Killing Eve: series 4 
Carrying on with that snarky glint in the eye, this show continued pushing its characters into awkward corners, now as a three-sided drama featuring killers Eve, Villanelle and Carolyn (the frankly awesome Sandra Oh, Jodie Comer and Fiona Shaw). Because the situations are both terrifying and absurd, each actor can add a range of textures that hold the interest. So while the variations in tone are uneven, the show has a driving energy that carries us right to the end. After the previous three seasons, the series' final moments feel a little unsatisfying, going out with a bang rather than something more textured and transgressive. (BBC) 

Ozark: series 4b 
Iit was nerve-wracking to hit play on these final episodes, knowing that the writers have no qualms about getting very dark, and then darker still. It seemed impossible that there could ever be someone nastier than Darlene (Lisa Emery), and then Javi (Alfonso Herrera) turned up. And now his mother Camila (Veronica Falcon) takes the crown. Meanwhile as the Byrdes, Jason Bateman, Laura Linney, Sofia Hublitz and Skylar Gaertner continue deepening characters who are pushed into various corners. And Julia Garner still shines brightest as the fearsome Ruth. Of course some of the conclusions are frustrating, but it's difficult to recall another TV series this intense. (Netflix)

Grace & Frankie: series 7b 
Jane Fonda and Lily Tomlin have been so flat-out fabulous in these seven seasons that it's difficult to say goodbye to their characters. These last episodes don't scrimp on the tangled messiness, as the show continues to grapple with geriatric issues with openness and humour. This has been a rare show that has embraced sex, inebriation, honesty and power for people of all ages. There are times when things get more than a little cartoonish, but the sheer charisma of the entire cast makes each scene shine. And each actor unflinchingly embraces the more difficult aspects of their characters, which only makes all of them that much more loveable. (Netflix)

B A C K   F O R    M O R E

Bridgerton: series 2 
Shifting to the next Bridgerton sibling, this second season maintains the Austen-esque approach, introducing its prickly leads (the superb Jonathan Bailey and Simone Ashley) as romantic foils right at the start. The wrinkles and obstacles they face are enjoyably messy, and scenes are packed with sparky supporting characters, including fabulous divas Queen Charlotte (Golda Rosheuvel) and Lady Danbury (Adjoa Andoh). Putting modern-day vibes in an 19th century setting makes the show fizzy, thoroughly entertaining and sometimes moving too. So the eight episodes go by far too quickly. The show needs to keep expanding its diversity; we all know where it needs to go now. (Netflix)

Young Rock:
series 2 
Dwayne Johnson continues to unpick his childhood, shifting between various periods to explore his lively relationship with his parents, sport and politics. This second season follows on seamlessly from the first, as the young Rocks (Adrian Groulx, Bradley Constant and Uli Latukefu) are allowed to grow up on screen alongside the terrific Joseph Lee Anderson and Stacey Leilua as his feisty parents. There's also more Randall Park goofiness in the amusingly cynical framing scenes with Johnson, plus added Sean Astin as a nemesis this year, although his subplot gets a bit lost along the way. (NBC)

Star Trek - Picard: series 2 
While this second season succumbs to the Star Trek universe's odd affinity for wacky sciency anomalies and multiverse messiness, it also takes a swerve into something more existential with the return of both the Borg and the mischievous Q (John de Lancie). Also, much of the action is set in 2024 Los Angeles, which adds a present-day kick. Of course, the primary joy is seeing Patrick Stewart back in action, accompanied by a superb ensemble of costars. And there are cool cameos from several others from his The Next Generation days. Ultimately, what sets this show apart is its deeper themes and internalised storylines. So it's worth a look even for non-fans. (Paramount) 

Euphoria: series 2 
Kicking off with that same bleak, dark tone that made the first season a bit hard going, this new set of shows thankfully begins to dig a bit deeper fairly early on. It's still very heavy, and often rather preachy in a wallowing-in-the-muck sort of way. But it's made watchable by its willingness to delve intensely into things most shows gingerly step around. And this allows the cast to create often shockingly vivid characters. Zendaya is particularly superb as Rue, although her self-destructive behaviour is exhausting. Others are more nuanced, even if the writers continually push the casual drugs and violence way over the top. (HBO)

The Flight Attendant: series 2
Kicking off at the same frantic, out-of-control pace as the first season, these episodes immediately feel more tightly written. Even as the plot spirals out in several cleverly insane directions, the ongoing craziness surrounding Cassie (Kaley Cuoco) is entertaining and involving, including the way she consults with the various aspects of her personality. The central mystery is so bonkers that it's impossible to imagine where it's heading, especially as each clue seems to be downright impossible. Everyone in this show is hyper-distracted, and the things Cassie does are frankly idiotic. But it's fun to just hang on for the ride. (HBO)

Upload: series 2 
This second season feels truncated at seven episodes, and apparently a third series is coming. It's a show that allows you relax and stop thinking, brought to life by the criminally likeable Robbie Amell as a guy whose consciousness was uploaded to a virtual resort when he died. He continues to pine for his "angel" assistant Nora (Andy Allo) while his overbearing girlfriend Ingrid (Allegra Edwards) pays his bills keeps a much too-close eye on him. The rich/poor divide is more integral in this season, complete with the addition of a group of anti-upload activists who want to bring down the entire system. But it's still mercifully predictable and funny. (Prime) 

Space Force:
series 2
An unusually strong cast makes this comedy entertaining, anchored by Steve Carell and John Malkovich immaculately underplaying absurdly ridiculous characters. Plus adept supporting cast members like Ben Schwartz, Diana Silvers, Tawny Newsome and Jimmy O Yang. The premise might be corny, and much of the humour feels underpowered, especially running gags about the lack of funding in this new US military branch. But above-average writing gives the actors something to chew on even in the most absurd scenes. It also helps to have guest stars like Jane Lynch, Lisa Kudrow and Patton Oswalt popping in. (Netflix)

Girls5Eva: series 2 
Fast and breezy, this rapid-fire comedy sends this riotously ridiculous girl group on another wildly outrageous journey, this time as they try to get their barely revived career back up and running with a new album and tour. As before, the songs are absolutely hilarious, while the four central characters played perfectly by Sara Bareilles, Busy Phillips, Renee Elise Goldsberry and Paula Pell manage to stretch their stereotypes in all sorts of intriguing directions. And the show continually finds ways to explore the music business with striking insight, even as it indulges in the silliest jokes imaginable. (Peacock)

Elite: series 5  
Mindlessly trashy, this new season once again kicks off with a murder, then cycles back to build up to it as the teen characters throw a wildly sex-fuelled, drunken party seemingly every night. Stakes are upped by continuing last year's mystery while indulging in new red herring shenanigans. As always, it's a lot of escapist fun to watch these fabulously wealthy, ludicrously hot people squirm in a veritable hurricane of soapy calamities. As the show continues, its point of view is increasingly fragmented, so there's no longer a central figure to root for. But then, nobody in this show is very likeable, so it's easy to just sit back and watch the mayhem. (Netflix)

NOW WATCHING: Obi-Wan Kenobi, Becoming Elizabeth, Star Trek: Strange New Worlds, Ms Marvel, Pistol, Physical (2), The Boys (3), Stranger Things (4).
COMING SOON: House of the Dragon, Only Murders in the Building (2), Love Victor (3).

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: Winter TV Roundup

I look through this list of shows and wonder how I found time to watch all of this over the past three months. But I tend to watch an episode here and there during the day - to take a break from work, to reset my mind after a film, as background while I'm eating lunch. It's a bit scary how much TV I get through like this...

NEW AND NOTABLE

Killing Eve

Written by Phoebe Waller-Bridge, this is a seriously inventive spy thriller series. Funny and scary, it centres on a befuddled British agent (Sandra Oh) tracking a ruthless Russian killer (Jodie Comer) across Europe. None of the characters behave like the usual stereotypes; these are complex, surprising, offbeat people with their own issues. And the side roles are just as cleverly drawn. Well, any show that features the great Fiona Shaw is unmissable. And Waller-Bridge deserves praise for her willingness to avoid the usual action beats in lieu of character comedy, dark irony and some proper thrills. Plus a great cliffhanger ending.

Homecoming

Snaky and fascinating, this half-hour thriller series is a bit vague, deliberately delaying any revelation that could add clarity to the central mystery. This makes it a challenge to stick with, even as it worms its way under the skin, mainly because the characters are particularly strong, played beautifully by Julia Roberts, Bobby Cannavale, Stephan James and Shea Wigham. The writing and directing are astute and clever, with terrific moments in every episode, and a clever blurring of the lines between events in the past, present and future. In the end, this is a stark story about some very big issues like the wellbeing of veterans and the abuses of private contractors. So it carries some powerful resonance.

Wanderlust

Toni Collette and Stephen Mackintosh are terrific in this offbeat British comedy-drama about a married couple that decides to open their relationship to rekindle the spark between them. It's intriguing that the premise doesn't seem nearly as transgressive as it would have just a few years ago. Even the kids' somewhat outrageous behaviour feels almost normal. Whether this is a comment on our times or on a sliding scale of morality is the provocative question. The point is that this excellent cast is so good at making these people feel honest and real that it challenges us to define what we believe and why. And it keeps us smiling while doing so.

The Little Drummer Girl

The frankly awesome Florence Pugh stars in this adaptation of the John Le Carre thriller, which is snaky and stylish as it throws her character into a late-1970s spy/terrorism mess. Directed beautifully by Park Chan-wook, the series is wonderfully loose and elusive, but with a rivetingly strong edge that digs into the minds of the characters. Pugh is playing an actress with no espionage experience, drafted into a Mossad operation in which her method performance style is very effective, even as she blurs every line around her. Pugh's chemistry with slippery handler Alexander Skarsgard is mesmerising, while Michael Shannon's shady boss offers his own textures.

Vanity Fair

Thackeray's novel is adapted into this lively, colourful period series. It's perhaps a bit too jokey for its own good, knowingly nodding at the camera every chance it gets. But it's also skilfully well-made, with wonderful actors who inject lots of spark into their roles. And the way it's made brings in some nice present-day textures through the use of music and editing, plus themes surrounding the vacuous pursuit of popularity and money. Olivia Cooke has a terrific wide-eyed faux innocence as Becky Sharp, who aggressively attempts to make her fortune against the odds in 19th century England. She's so callous that it's hard to like her, so sympathy lies instead with the people she wrongs.

Kidding 

Definitely not for kids. Jim Carrey is superb as the Mr Rogers-style host of a long-running children's television show who clashes with the programme's producer, his dad (a hilariously exasperated Frank Langella), as he tries talk to kids about serious issues. But since this is from the mind of Michel Gondry, there's rather a lot more going on here. Essentially, this is a wildly inventive exploration of grief and emotional honesty, with terrific performances all round, including Catherine Keener and Judy Greer. It's sometimes a bit freaky, with entire episodes existing in a moment of insanity. But it's also darkly moving, and it carries a powerful kick as Carrey's Mr Pickles struggles with his inner demons.

Forever

It's rare for a comedy to explore existential issues, but this offbeat show boldly avoids obvious storytelling to create some quirky situations. Maya Rudolph and Fred Armisen star as a couple who, after events in the first two episodes, continue their marriage in the afterlife. The writing isn't as clever or funny as it thinks it is, and it never really says much about relationships, so the premise feels under-imagined. There's also the problem that the show simply never makes sense, even within its own deliberate lack of logic. But the cast is great, and the show's absurd enough to hold the interest as it plays with genuinely huge ideas.

The Bisexual

Desiree Akhavan appeared in Girls, and here she pushes that format even further as an awkwardly over-talking young woman in London trying to appear confident as she works with her ex (Maxine Peake), lives with a lovelorn Irishman (Brian Fleeson) and dodges barbs from her best pal (Saskia Chana). The cast is excellent, and the show's writing is astute, funny and very pointed as it explores issues that have never been confronted quite so straight-on in a TV show. Akhavan writes superbly barbed dialog that refuses to pull any punches, and as an actress she dives into a prickly character with so much gusto that we can't help but love her.

The Conners (aka Roseanne: series 11)

Dumping Roseanne Barr from Roseanne was a rushed over-reaction, and a great shame since this show took such a complex, messy, important approach to American politics. The remaining characters are all wonderful, finely played by the cast. But Barr's unhinged comedy is badly missed, leaving the show off-balance. That said, the approach to issues remains complex and engaging, and each actor brings layers and textures that make this one of the most sophisticated shows on network television. The way it grapples with political and social issues is a blast of fresh air. And Laurie Metcalf is a genius.

BACK FOR MORE

Murphy Brown: series 11

Two decades after going off the air, the entire talented cast is back for a reunion series. And while it took awhile to find its stride, it actually feels like the perfect sitcom for our times. The show's style feels a bit quaint, with a punchline carefully placed in every other line, but the topicality of the humour and the feistiness of the characters is thoroughly enjoyable. Adding the now-grown Avery (Jake McDorman) to the mix is just right. It reminds me why this was my favourite show all those years ago: a rare comedy in which the jokes actually mean something, bring out angles on the characters and occasionally find a moment of real emotion.

Shameless: series 9a

The Gallagher family simply won't give up. Each of them seems to have kicked up a gear this season, as increased desperation drives them to bigger, bolder scams. The actors are all so good that it's annoying when they cut away from anyone, but there isn't a weak storyline in here (of about 10 that run full-pelt). That said, the show is far more entertaining when these people are up to their, well, shameless antics than when the writers heap random misery on them undeserved. And there's been quite a bit of that so far this year. 

This Is Us: series 3a

This season continues to tug shamelessly at heartstrings, while exploring new past timelines along with the present-day saga and occasional future forebodings. So even with the occasional downright terrible episode (the fragmented Thanksgiving collage was a mess), the show is unmissable. The addition of Michael Angarano as the doomed Uncle Nick bodes well for future episodes, and both Kate's pregnancy and Randall's political campaign carry some nicely resonant kicks. It doesn't matter where it goes, just that it keeps moving, and that the writers don't work themselves into a corner.

The Good Place: series 3

As before, this season begins with a complete reboot of the premise, again offering the cast members the chance to play merrily with their characters. This series is even trickier than before, continually pulling the rug out from under the audience (and the characters for that matter) as a good-hearted demon (Ted Danson) and his definitely non-robot assistant (D'Arcy Carden) try to keep four hapless humans (Kristen Bell, William Jackson Harper, Jameela Jamil and Manny Jacinto) from the Bad Place. Smart, fast, silly and brilliantly well-played.

The Marvelous Mrs Maisel: series 2

This sharply written and produced series continues the story of the fast-talking 1950s housewife-turned-comic (Rachel Brosnahan). The plotting feels a little looser, abandoning the first season's tight arc for a more open-ended TV series style. This means that they spend a bit too much time following subplots involving Midge's manager (Alex Borstein), parents (Tony Shalhoub and Marin Hinkle) and ex-husband (Michael Zegen). Thankfully, the characters and actors are so good that we don't mind much. And the show comes exhilaratingly to life whenever Brosnahan gets behind a mic.

BINGEWATCHING

The End of the F***ing World: series 1

Alex Lawther and Jessica Barden are flat-out terrific as teens on the run in this half-hour road-trip comedy adventure. Lawther's James is only going along because he is pretty sure he's a serial killer, and he thinks Barden's manipulative Alyssa would be a decent first victim. But there's an unexpected connection developing between them as they search for her long-lost father, while the police and their parents try to track them down. Based on a series of comic books, it's laceratingly well-written and expertly played by an ensemble supporting cast of frankly brilliant British actors. Bring on the second series.

Fleabag: series 1

Phoebe Waller-Bridge has created a bracingly fresh British comedy, starring as a riotously frustrated woman willing to try just about anything to find some happiness after her best friend and business partner commits suicide. Hilariously inappropriate about almost everything, she remains remarkably likeable even as she upsets the lives of her friends and family (including Sian Clifford as her equally messed-up sister and the fabulous Olivia Colman as her snooty stepmum). But it's the emotional undercurrents, which swell up as the six episodes progress, that make the series memorable. It's impossible to predict where it will go from here.

Future Man: series 1

Josh Hutcherson is terrific as the title character in this wacky, action-packed half-hour comedy. He's the nerdy gamer Futterman, who finds himself travelling through time trying to save the world with two hysterically clueless characters (Eliza Coupe and Derek Wilson) from what he thought was a videogame. The hands of producers Seth Rogen and Evan Goldberg are strongly felt in the sharp stoner-style humour and outrageously over-the-top violence. Seriously addictive. The late Glenne Headley (as Josh's mum) will be sorely missed in the second season.

LIFE'S TOO SHORT

Maniac • After a strong start, this series became increasingly tricky, and by about the mid-point it simply turned itself inside out. Based on a Norwegian show, this is inventively directed by Cary Fukunaga with a Gondry-style playfulness, but it' far too pretentious. I made it through 5 episodes.
Rel • Cast and crew from The Carmichael Show reassemble for this lighter sitcom, which sends its endearing characters through a range of awkward situations. Lil Rel Howery is great in the lead role, but annoying when he plays a guest character in each episode. And while the show tackles some big issues, the buffoonery is wearing. I made it through 7 episodes.
The Deuce (series 2) • Like the first season, this show is somewhat dry and impenetrable, with a huge number of characters and complex situations that aren't fully explained. Shifting forward to the late-70s, it also feels slicker, with more organised criminals and pornographers. Maggie Gyllenhaal isexcellent, but it's hard to care what's happening. I gave up after episode 2.
House of Cards (series 6) • In its final season, this show became far too arch, drowning in cliches as Robin Wright's Claire turned oddly vicious. As good as she is, feels like she lost her grip on the character. The whole cast is superb, but the scripts don't do them justice. And the muddy tone wore me out about halfway into the third episode, when Claire turned to the camera and asked, "Are you still with me?"

NOW WATCHING: Les Miserables, Mom, Modern Family, Will & Grace, Murphy Brown, The Conners
COMING SOON: The Crown, Victoria, Future Man, Fleabag, The End of the F***ing World