Screen: July TV Roundup

While several high-profile shows are back with new seasons, it's been the new series that have captured the buzz over the past couple of months. It's always fun to discover something new, whether it's a limited series or something that is likely to go on for a few more seasons at least. Not that anyone is willing to let a hit simply pass into memory without milking at least one more collection of episodes. I've had time to catch up with a few things, starting here with new shows...

Too Much
Lena Dunham is back as writer-director (and occasional costar) of this sparky London-set comedy starring the awesome Megan Stalter and Will Sharpe. As with Girls, the show explores ambition, friendship and romance in ways most TV series would never dare, remaining honest and jaggedly funny while never shying away from the way real people interact both professionally and personally. Over the course of 10 episodes, Dunham crafts a perfect romcom that breaks every rule in the book. She also pokes fun at the American-in-London trope. And she peppers scenes with top-tier support from Richard E Grant, Naomi Watts, Andrew Scott, Andrew Rannells, Adele Exarchopolous, Rita Wilson, Rhea Perlman and many more. (Netflix)

Your Friends & Neighbors
Jon Hamm stars in this darkly comical series about a bigwig Wall Street trader whose wife (Amanda Peet) leaves him for his best friend (Mark Tallman). Then he's sacked by a greedy boss. So he decides to burgle his wealthy neighbours' homes to keep his head above water, as you do. It's all rather implausible and smug, only pretending to lampoon the lifestyles of the wildly wealthy while secretly revelling in them. And the overall story arc feels extremely constructed, with little air for real-life honesty to interfere. But Hamm is hugely watchable as always in an unusual role that combines comedy and drama, and the ensemble cast around him have strong moments of their own. The question is whether we'd watch a second season. (Apple) 

Sirens
This limited series is like a mashup of The White Lotus, Nine Perfect Strangers and The Perfect Couple, set at a New England island retreat run by the imperious Michaela (Julianne Moore). The action centres around her over-efficient assistant Simone (Milly Alcock), who is not happy that her distinctly working-class sister Devon (Meghann Fahy) has dropped in unannounced to ask for help in caring for their dad (Bill Camp). Wrinkles abound in relationships and connections, as secrets and mysteries emerge from the shadows to engulf everyone. And where it goes is refreshingly unexpected. Moore is hilarious as the earnest Michaela, like Gwyneth Paltrow with cult-leader vibes. Terrific costars include Kevin Bacon and the ubiquitous Josh Segarra. (Netflix)

Overcompensating
With its lively writing and likeably chaotic characters, this half-hour comedy is entertaining even if it's one of those shows that spins its wheels and never quite gets anywhere. The premise is clever: university freshman Benny (played by the show's creator Benny Skinner) has always exceeded expectations as an athlete and student, and is suddenly challenged to be his true gay self for the first time. But old habits die hard, and the closet isn't easy to escape. Characters are well-written and vividly played by a fresh cast, and the writing has hilariously knowing insight into the power of expectations and peer pressure, especially with the frat house antics. But over eight episodes, the story only takes baby steps, ending just as things begin moving. (Amazon)

Murderbot
Alexander Skarsgard is terrific in this comical sci-fi thriller series, which packs a lot of humour, suspense and barbed interaction into each of its half-hour episodes. He plays a sentient security robot who hacks the programme that limits his actions, which triggers an odyssey in which he explores who he is and what he means in the face of humanity. His opinions about people are hilariously astute, and it's a lot of fun to see how he awkwardly bonds with his oddball crew (including the terrific Noma Dumezweni and David Dastmalchian). This offers a terrific look at the nature of emotional interaction, while also lampooning the genre with amusing scenes from shows within the show. (Apple)

B A C K   F O R   M O R E

The Bear: series 4

Still not a comedy, despite winning all the awards, this bracing show boasts some of the best acting and writing on television. So while the never-ending miserable chaos sometimes feels exhausting, there's plenty of depth to it. The seriously first-class actors grow more riveting each series as talented people trying to keep a top tier restaurant from failing. Jeremy Allen White and Ayo Edebiri should win every prize going. And the supporting cast too, for that matter. Although showrunner Christopher Storer does love achingly cool montages (sometimes entire episodes are assembled this way). This season was packed with memorable elements, with a constant flurry of surprises. And that wedding episode. (FX)

The Last of Us: series 2 

Jumping ahead five years, this season kicks off with riveting episodes that set up powerful storylines and complex interactions. With shocking twists, the show feels far more propulsive than the first series, adding a proper sense of urgency that drives the action forward on a larger scale. As Ellie, Bella Ramsay continues to be a force of nature on the screen, one of the most complicated young people on television. Ellie's rippingly intentional character drives the action alongside Isabela Merced, Young Mazino and Gabriel Luna. Kaitlyn Dever has terrific presence as this season's villainous figure, alongside a taut Jeffrey Wright. And Catherine O'Hara takes no prisoners. But the departure of Pedro Pascal's thoughtful Joel was hard to watch. (HBO) 

Nine Perfect Strangers: series 2 

Now in an Alpine spa in Switzerland, Nicole Kidman's Masha assembles another group of mysteriously connected people for more psychedelic treatment that's just beyond what might be considered ethical. The ensemble cast is once again excellent, superbly playing people with dark secrets who are pushed into exploring their own minds. Standouts here include Annie Murphy, Murray Bartlett, Dolly De Leon, Henry Golding, Mark Strong, Lucas Englander and the great Christine Baranski. The snowy setting and offbeat old/new architecture offer very cool visuals for this season, but the best thing is the increasingly twisty internalised drama grows between these not-exactly strangers. It's not rocket science, but it's insinuating fun. (Hulu) 

And Just Like That: series 3 

The Sex and the City gang is back for more meandering New York comedy, settling into their new routines with the usual foibles about dating and relationships. Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Sarita Choudhury, Nicole Ari Parker and friends are as effortlessly charming as always, so even if the plotting feels as lazy as ever the dialog crackles with witty life and also finds some emotional resonance along the way. Plus a few enjoyably silly plot turns. It may be difficult to identify with the troubles of these almost ludicrously privileged people, but there are enjoyable moments along the way that keep us watching, largely because we've now invested nearly three decades into these characters. (Max) 

Fubar: series 2 

More nonsense ensues with Arnold Schwarzenegger and Monica Barbaro as father-daughter CIA operatives. This action comedy is packed with silly gags and utterly ridiculous plotting, accompanied by surprisingly grisly violence. This season digs a bit deeper into back-stories of the various teammates, pitching Schwarzenegger's Luke against his villainous ex Greta (a raucously camp Carrie-Anne Moss) while Barbaro's no-nonsense Emma is hilariously wooed by her British nemesis Chips (Guy Burnett). The growing ensemble has a lot of fun diving into the increasingly nutty mayhem. So it's entertaining to go along for the ride, in a switch-off-your-brain sort of way. But honestly, these should be half-hour episodes. (Netflix) 

T H A T ' S   A L L ,   F O L K S

Andor: series 2 

While the first season left me cold with its emphasis on people dryly discussing political plots in static rooms, this keeps that far more contained. These episodes have a superb driving kick that balances the over-intense discussions with proper dramatic tension and rather a lot of thrilling action and suspense. As the timeline counts down to the events of Rogue One (and of course the original Star Wars), the story wraps itself tightly around the audience, meaningfully grappling with big ideas about heroism, courage and political idealism in an unjust system. The real-world parallels are often chilling, especially because they feel so unintentional. And the cast is first rate, including Diego Luna, Genevieve O'Reilly, Stellan Skarsgard and Denise Gough. (Disney)

Squid Game:
series 3 

Picking up in the middle of the scene that cut out at the end of the second season, this final series continues to follow the messy attempts by those who escaped to get back in and stop these sadistic games. And the games are even nastier this time, starting with a particularly brutal round of Hide and Seek. As before, there's a tendency to over-egg the emotional moments, and the monstrous wealthy patrons are even more cartoonish this time. But the tension between our terrified-but-determined hero Gi-hin (Lee Jung-jae) and game's conflicted leader In-ho (Lee Byung-hun) has a terrific simmer to it. Enjoyably, the ghastly pay-off will divide audiences, as will the A-list cameo that leads into David Fincher's forthcoming American spin-off. (Netflix)

The Handmaid's Tale: series 6 

Elisabeth Moss is back as the fiery June, watchable as ever especially when she squares off against Yvonne Strahovski's glacial Serena. The extended narrative has become rather unwieldy over the past few seasons, with a lot of back and forth between peril and safety, and this season is no exception, adding big twists on several fronts. There's also a shameless overuse of Moss' now-iconic death stare (and others get to glower as well). As the overarching story evolves in some pointed directions, there are smaller details that niggle simply because they feel both unnecessary and unsatisfying. But it's held together by the determined drive of these embattled women to reclaim the just society that was so horrifically turned upside down by religious zealots. (Hulu)

GUILTY PLEASURES: The Traitors NZ, I Kissed a Boy

NOW WATCHING: The Sandman 2, Single Out 3, Stick, Adults, Olympo, Long Way Home, The Wild Ones

COMING SOON: Chief of War, The Tuesday Murder Club, Dexter: Resurrection, Peacemaker 2, Star Trek: Strange New Worlds 3, Acapulco 4.

Previous roundup, MAY 2025 >

Raindance: Dance the night away

Approaching closing night, the 33rd Raindance Film Festival continues with a range of fascinating independent films. I'm running a bit behind on reviewing them, but I'll catch up this weekend with a final post. Here are three films that take very different looks at love and community. And my Critical Week is below...

Somewhere in Love [Une Vie Rêvée]
dir-scr Morgan Simon; with Valeria Bruni Tedeschi, Felix Lefebvre 24/Fr ***.
Warm and full of life, this French drama follows a woman who finds herself in a difficult situation but refuses to give up. Writer-director Morgan Simon sets this out as a slice-of-life character study about a mother and son, using a realistically sparky humour and emotions. The narrative structure contrives to create some drama, but there's something more intriguing, and remarkably hopeful, going on under the surface.

If You Should Leave Before Me
dir-scr The Andersons; with Shane P Allen, John Wilcox 25/US ***
While this low-budget comedy-drama feels rather deliberately offbeat, it's also warm and observant as it explores things that remain unspoken between a middle-aged couple. Filmmakers Boyd and Markus Anderson ambitiously use colourful hand-made effects, visual flourishes and goofy jokes to tell interwoven stories that touch on love and death. With its overriding existential afterlife narrative, there's plenty to chew on, even if the movie feels indulgent and overlong.

Flamingo Camp
dir Chris Coats; with Nova, Poe, Cecil, Emmit 25/US ***.
Chronicling life for a group of people who live far off the grid, this openly emotional documentary observes residents of a colourful queer community in the California desert. It starts as a slice of life before turning into something much darker and more intense, as an eerily predictable tragedy strains relationships and opens wounds. This creates a loose narrative that's fascinating, largely because the setting is so unusual.

Full reviews of festival films will be linked here in due course: SHADOWS @ RAINDANCE >

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L  W E E K

BEST OUT THIS WEEK:
Sorry, Baby • Ponyboi
Rent Free • Wolf and Dog
ALL REVIEWS >

The big movie this week is F1 starring Brad Pitt and Damson Idris, a viscerally whizzy blockbuster with a script that never even remotely surprises us. River Gallo and Dylan O'Brien are excellent in the dark drama Ponyboi, even when it turns into a thriller. The indie comedy Rent Free takes an offbeat look at friendship that's funny and thought provoking. I also attended the premiere for the TV series Too Much, complete with a Q&A featuring creator Lena Dunham and stars Megamn Stalter and Will Sharpe, plus a very starry party. And I saw three live performances: Quadrophenia at Sadler's Wells, Jonah Non Grata at Soho Theatre and Botis Seva's Until We Sleep at Sadler's Wells East.

This coming week I'll be finishing up Raindance movies and also watching Charlize Theron in The Old Guard 2, Jon Cena and Idris Elba in Heads of State, David Cronenberg's The Shrouds, Sam Riley in Islands and a couple of live shows: Otto & Astrid: The Stage Tour at Jackson's Lane and Kiki & Herb Are Trying at Soho Theatre Walthamstow.

Critical Week: When the night falls

It's been a very quiet week, so I've spent some time catching up on movies and television shows (I am still far behind on the small screen!). One film I saw in a cinema was I Wanna Dance With Somebody, the Whitney Houston biopic that's rather straightforward but livened up by a terrific performance by Naomi Ackie. Lena Dunham's Catherine Called Birdy is a delightful modern-minded comedy set in medieval England, starring the wonderful Bella Ramsey. And Toni Collette lends some badly needed earthiness to the goofy black comedy The Estate, about cousins circling around their dying wealthy aunt (an up-for-it Kathleen Turner). 

BEST OUT THIS WEEK:
Wildcat • Corsage
Peter Von Kant
ALL REVIEWS >

A bit further afield, All Quiet on the Western Front is a staggeringly well-made German drama about World War I. It may have the usual war-is-horrific message, but its perspective and first-rate production values make it worth a look. From Japan, Inu-oh is an extremely offbeat historical drama that's worth a look for its originality and dazzling animation, even if the storytelling is messy. And there were three docs: the absolutely gorgeous Moonage Daydream recounts the life and work of David Bowie using a swirling collection of archival footage; the deeply engaging Wildcat follows a damaged young man to the Peruvian Amazon to find a sense of purpose; and the chilling Navalny exposes the Russian government's ruthless attempt to murder an opposition politician.

This coming week I still have quite a few awards-worthy films to catch up with at home, plus some things I've been putting off like the sequel Disenchanted and the Disney animation Strange World. Actual press screenings won't be back until 9th January. I'm also still way behind on my television viewing - I've only just begun this last season of The Crown, and I haven't yet started the last season of A Handmaid's Tale or indeed House of the Dragon.

Sundance London: Make a connection

Sundance Film Festival: London may only last four days, but the 15 films in the lineup are all buzzy titles that audiences and critics have an appetite for. And one of the best things about this festival is that every screening includes a Q&A with filmmakers and/or cast members. Even if someone can't attend, such as Lena Dunham with her new drama Sharp Stick (above), she shows up in a zoom call, interviewed about the film specifically for those of us who had just watched it. Of course, this means that the lovely spaces at Picturehouse Central are all taken over by VIP or press events (I can at least get into the press ones). Here are some more highlights...

Sharp Stick
dir-scr Lena Dunham; with Kristine Froseth, Jon Bernthal 22/US ****
After a 12-year break from filmmaking Lena Dunham is once again inventively challenges the way women are depicted on screen. She cleverly spins a lightly fantastical tale about a young woman's coming of age that's so defiantly complex and thoughtful that it often feels shocking. But it shouldn't be, and that's the point. Packed with layered, frankly amazing characters, it's the kind of film that should start important conversations.

Hatching [Pahanhautoja]
dir Hanna Bergholm; with Siiri Solalinna, Sophia Heikkila 22/Fin ***.
Cleverly mixing over-the-top beauty with insidious nastiness, this Finnish thriller remains sunny and smiley even as scenes become very grisly indeed. Blackly comical touches combine with underlying emotions to pull the audience in, as director Hanna Bergholm draws out important themes and thoroughly freaks out the audience. As it warps into gleefully yucky body horror, the film also finds surprising meaning in the personal drama, including some moving emotions.

Brian and Charles
dir Jim Archer; with David Earl, Chris Hayward 22/UK ****
With disarming charm that sneaks up on the audience, this offbeat British comedy-drama is packed with wonderfully quirky characters who bring a relatively simple narrative to sparkling life. Director Jim Archer takes an amusingly deadpan approach that adds an involving kick to the script, which was written by lead actors David Earl and Chris Hayward. So even if the story is rather silly, it's underscored with real heart.

Fire of Love
dir Sara Dosa; with Katia Krafft, Maurice Krafft 22/Can ***.
With a wealth of amazing footage, this documentary follows intrepid volcanologists Katia and Maurice Krafft, who skilfully filmed their adventures around the world. Filmmaker Sara Dosa assembles this material to vividly capture their passion for both molten lava and each other. Much of the imagery is so astonishing that it leaves us gasping for breath. But it's the likeable couple at the centre that holds the interest.

Full reviews will be on the site soon. For more information, visit SUNDANCE LONDON >

Shadows on the Screen: Spring TV roundup

Here's what I've been watching on television over the past few months, simply to escape from the movies, which are of course work for me. This is fun...

Big Little Lies

An offbeat style of TV from Jean-Marc Vallee with a strikingly starry cast, this series may take a fairly standard approach (unpicking the brittle undergrowth beneath an outwardly perfect community), but the Northern California setting adds a bold visual touch, and the A-list actors bring their A-game. Nicole Kidman, Reese Witherspoon, Shailene Woodley, Laura Dern, Adam Scott and Alexander Sarsgaard are all excellent as prickly, deeply flawed people trying to show their best sides to everyone around them, including their hilariously precocious children. The way the scripts teased us with a murder was very clever, leading to a seriously heart-stopping finale. So bring on the next season.

Feud

A lively exploration of the rivalry between Joan Crawford and Bette Davis, this series is so camp that it's hard not to love every moment. Whether it's all true is irrelevant, as the actors gleefully chomp on the scenery. Jessica Lange and Susan Sarandon are superb in the lead roles, adeptly supported by Judy Davis, Alfred Molina and Stanley Tucci, plus Catherine Zeta-Jones and Kathy Bates in juicy side roles. It's a colourful romp through 1960s Hollywood, cleverly playing up the way the industry changed in the decades both before and afterwards. The Oscar episode was simply heavenly, and it'll be interesting to see if they can outdo that in the few episodes still left to go.

Taboo

Tom Hardy stars in (and with his father created and wrote) this series for the BBC, which takes a decidedly offbeat approach to the whole concept of the period drama. Dark and grimy, it's a clever collision of free-spirited adventure and cruel corporate greed in a very repressed early 19th century London. It's a period of history that's rarely depicted on-screen, so the entangled plot threads are genuinely fascinating, even if the show is relentlessly gloomy (it's virtually shot in monochrome). Hardy is excellent in the central role as the enigmatic explorer who takes on the system, with an imperious supporting performance from a dastardly Jonathan Pryce. A second series is coming.

Legion 

I've been turned off by all other superhero TV series this year, but was urged to take a look at this one. And the inventive approach of creator Noah Hawley (Fargo) certainly piqued my interest. These eight episodes were an action-packed rollercoaster of psychological thrills and more visceral nuttiness. Even so, the kaleidoscopic narrative fragmentation is a little off-putting, continually throwing the audience out of anything terribly engaging emotionally. And excessive gunplay always bugs me. But Dan Stevens is simply fantastic, giving a staggeringly textured performance at the centre. And any show that deploys the great Jean Smart and Aubrey Plaza to maximum effect gets my vote. 

The Get Down

Baz Luhrmann's dazzling series is a thrilling fictionalised drama using real people from the emerging hip-hop movement in 1970s New York. The characters are strikingly vivid, specifically a group of teens who find themselves caught between their parents, gangs, politicians and their love of music. As the central character Ezekiel, Justice Smith is magnetic - a rising star getting ready to go supernova. Luhrmann gives all of this an impressionistic mythological sensibility that feels earthy and authentic and also wildly fantastical. The first six episodes last summer were exhilarating, and six more are due this spring.

When We Rise 

Gus Van Sant and Dustin Lance Black revisit Harvey Milk-era San Francisco in this eight-part series, which traces some 50 years in the gay equality movement. Shot with an almost documentary realism, the series centres on four survivors who served as consultants for the series: Cleve Jones, Roma Guy, Ken Jones and Cecilia Chung. This means that scenes are based on first-hand accounts, which makes the deeply personal storylines much more powerfully involving. It's all a bit earnest and worthy, but that's only because the themes are so big. Thankfully, everything is grounded in these real people, and the cast recreates them beautifully, especially Austin McKenzie and Jonathan Majors as the young Cleve and Ken (Guy Pearce and Michael K Williams adeptly play them in later years).

Insecure

This 8-part half-hour comedy series has a strong cast and terrific characters, although the series title is a big problem, as it perpetuates the stereotype of the seemingly strong woman who is actually crippled by insecurity. It also seems to portray turning 30 as some sort of magical moment of maturity or seriousness - another cultural myth that really needs to be debunked. Otherwise, this show is beautifully written and played with a snappy sense of humour. Relationship issues feel bracingly realistic, and the actors are all superb, especially creator Issa Rae and Jay Ellis.

Deep Water

This four-part Australian TV series centres on Bondi Beach detectives (Yael Stone and Noah Taylor) who discover inexplicable links between a present-day murder and a series of unsolved hate-crime killings from the late 1980s, which the police ignored at the time. The show has a soapy emotional flair that sidesteps authenticity in lieu of flashy plot points, hot potato themes and shifty suspects. So it's a rather standard television procedural, overloaded with characters and shocking revelations. But the underlying issues tough on things that haven't improved as much as we'd like to think they have in the past 25 years. And it's strikingly well shot, with engaging performances.

BACK FOR MORE

Sherlock: Series 4

With its sporadic episodes, this show has been drifting in an increasingly smug direction for awhile now. It's still strikingly well acted, and produced to a very high standard. But the inventive visuals are increasingly gimmicky, and the further the plots drift from the Conan Doyle stories, the less interesting or engaging they become. This incarnation of the detective won us over with clever adaptations of original stories to modern settings. But the mysteries in these episodes are merely tricksy and self-satisfied, and the show seems to be riding on Benedict Cumberbatch and Martin Freeman rather than deploying them as the characters. We'd like more, but please get back on track.

The Man in the High Castle: Series 2

I wasn't planning to return to this show, but there wasn't anything else on at the time. The cast is strong enough to maintain the intrigue, especially Luke Kleintank, hugely sympathetic as Joe, a young guy on a complex journey into his Nazi roots. And Cary-Hiroyuki Tagawa beautifully underplays Tagomi's increasingly dark odyssey. But the plotting is increasingly cheesy, with lots of melodramatic revelations and ironic twists, plus an extension of the parallel timeline premise that never quite came into focus. By the end it was a bit difficult to get excited about much of what happened. So whether I watch the next season will probably again depend on alternative programming.

Tracey Ullman's Show: Series 2

The expert mimic continues to lampoon both modern culture and celebrity figures with this brisk sketch comedy. Some of the segments are inspired, mainly those that address some aspect of society that's flatly ridiculous anyway. Other things feel a bit tired; as clever as they are, the ongoing alternative sagas of Judi Dench and Maggie Smith should have been abandoned in lieu of new targets. As this season went on, it dragged badly. A few moments of sharp invention kept it moving, but without a complete reinvention, I doubt that I'll be back for a third series.

ONGOING

Girls: Series 6

The final season of Lena Dunham's groundbreaking series sends her character into yet another unexpected adventure: pregnancy. It's the bold writing and acting that make this show so exceptional, a willingness to go places movies and TV shows never go, with characters who are complex, flawed and often darkly unlikeable, and yet also easy to identify with. And laugh with. While Dunham quietly takes Hannah in some offbeat directions, there are more colourful arcs for Marnie (Allison Williams) and Elijah (Andrew Rannells) this year. Without ever being flashy or gimmicky, this has been a clever deconstruction of the sitcom. And with only a few episodes to go, it's impossible to predict where we'll leave these hot-mess characters.

Homeland: Series 6

Like some sort of reboot, this series cleverly threw a massive shift into the premise, bringing Claire Danes' Carrie back to America as a private citizen getting involved in a political mess involving her former CIA bosses (the great Mandy Patinkin and F Murray Abraham), her former colleague (Rupert Friend) and the president elect (Elizabeth Marvel). The last season in Berlin was thrilling, but this one has a whole new level of intensity to it, grounding the action in everyday reality, even as it echoes other shows like House of Cards and Scandal. And there's such a strong sense of righteous anger running through it that it's unmissable.

Mom: Series 4

Despite the too-enthusiastic live audience, this show is still worth watching simply for Alison Janney's impeccable characterisation, and Anna Faris is also excellent. Most surprising is that it's a silly comedy that indulges in the expected jokes and pratfalls surrounding family and friends, but underscores everything with seriously dark touches, mainly as it explores the central characters' various addictions. It doesn't seem like this was initially envisioned as a 12-step sitcom, but that's where it has ended up, and it's what makes it worth watching.

Jane the Virgin: Series 3

I came late to this bracingly well-written pastiche of Latin telenovelas, but I have since caught up to the present, travelling through the twisted knot of entwined narratives. It's broadly silly, and frequently laugh-out-loud hilarious in its deliberately messy plotting, but the characters are allowed to deepen and evolve, which gives the show a surprising dramatic kick. It also lets actors like Gina Rodrigues, Andrea Navedo, Yael Grobglas and Justin Baldoni find unexpected edges in their characters.

Schitt's Creek: Series 3

Frankly, after the first season it was unclear how the writers could keep this comedy going, and there were times when it felt like a stretch. But Eugene Levy and Catherine O'Hara are so funny in the main roles, impeccably supported by Dan Levy, Annie Murphy and Emily Hampshire, that you'd watch them all sitting around chatting about the weather. So it's nice that the plot is actually going somewhere rather interesting, finding interesting things to say about a family of millionaires stranded in small-town America.

Coming up: I'm looking forward to more of Twin Peaks, Game of Thrones, Unbreakable Kimmy Schmidt, Veep, Fargo, Grace and Frankie, House of Cards, The Get Down and hopefully some new discoveries.

Shadows on the Screen: Summer TV roundup

I watch a range of TV series as an escape valve from all the movies, and I like most genres that don't centre on cops, lawyers or hospitals. And I'm about to add superheroes to that list. Anyway, it's been an enjoyable few months, with some solid quality and several guilty pleasures...

SOMETHING NEW

The People v OJ Simpson: American Crime Story

With staggeringly sharp writing, direction and acting, this dramatisation of the notorious events of 1994 and 1995 is utterly riveting from start to finish. All of the actors are award-worthy; stand-outs include Sarah Paulson's beleaguered lawyer, Sterling Brown as her tenacious partner and David Schwimmer as Robert Kardashian. And these were only the most complex characters in a show packed with memorable performances. Clearly, the most important thing about this heavily researched show is the balanced approach it takes to finally put the record straight.

The Five

Harlan Coban's mystery took a terrifically snaky path through 10 gripping episodes. Since so many red herrings and character dramas were stirred in, the solution was impossible to see coming, but the ending still managed to be solidly satisfying. Tom Cullen was terrific in the central role, ably supported by a varied, skilled cast including OT Fagbenle, Lee Ingleby and Sarah Solemani as his childhood pals (they are four of the eponymous five, possibly). It's a rare thriller that can deepen the characters even as it makes the central storyline increasingly knotted, keeping the audience on the edge of their seats.

The Real O'Neals

A brightly silly play on the standard American sitcom, this genuinely hilarious series has five terrific actors playing the O'Neal family, each of whom goes through a sort of coming-out from their superficial good-Catholic appearance, sparked by teen Kenny (Noah Galvin) realising that he's gay. Where this goes is witty and smart, but played for very broad laughs, which cleverly undercuts a wide array of serious themes that gurgle through every scene. The dialog snaps with life, hysterically delivered by a cast we'd like to spend a lot more time with. As these characters mature, it'll be interesting to see how bold the writers are allowed to get within the US network formula. Because if they don't learn and grow, this show is doomed.

Flowers

This blackly comical 6-part drama is so relentlessly quirky that it quickly weeds out less patient audience members with the very first scenes. An eccentric story about eccentric people in an eccentric English village, it's so mannered that it struggles to generate any real emotional kick. Even so, the cast is excellent, anchored by the brilliant Olivia Colman, who makes Deborah Flowers an engagingly flawed matriarch who veers from chirpy optimism to wrenching despair. As her husband and children, Julian Barratt, Sophia Di Martino and Daniel Rigby are intriguing and often surprising. As is writer-director Will Sharpe in what turns out to be a key role. It's a shame the story doesn't quite hang together.

Flaked 

Will Arnett is reason enough to watch this show, although it's pretty insufferable. Centred on a group of losers who are in their mid to late 30s, this show doesn't really have a single likeable character. Much of the interaction is jaggedly resonant, and the cool Venice Beach setting is put to use for maximum hipster value. So it's frustrating that the show feels so stuck in a perspective that's relentlessly narrow: men struggling with identity issues due to a lack of direction caused by past problems. Ho hum.

GOING STRONG

Game of Thrones:
series 6

It became almost a cliche that each episode in this season would end with a major bombshell involving a nasty death or edgy triumph. Daenarys (Emilia Clarke) continues to dominate the show, and teaming her with Tyrion (Peter Dinklage) has created the most formidable TV duo in recent memory. The battles have been bigger and more violent, so much so that there hasn't been time for many sexual shenanigans this season. And since they keep killing off the vilest of the villains, there aren't many left to hiss at. As the plot threads begin to entwine, the show is growing more coherent and urgent. And unmissable.

Veep: series 5

Running in parallel with the American election cycle, this season had a lot of fun with the whole primary system, followed by a chaotic voting day. The dialog has been some of the best in the entire five-year run, delivered beautifully by the genius Julia Louis-Dreyfus and company. Although the plotting has a nagging predictability, including the documentary being made by first daughter Catherine (Sarah Sutherland), the shambolic campaign of the too-idiotic Jonah (Timothy Simons), and the backroom sneakiness of vice presidential candidate Tom (Hugh Laurie). The jaggedly hysterical dialog has been awesome this year, although the bittersweet ending felt like a farewell.

Girls: series 5

This series has been notable for presenting an ensemble of people who are so disarmingly realistic that they seem quirky and almost surreal in the generally accepted fantasy landscape of television. In this season, Lena Dunham and friends all acted on impulse, making sudden decisions based on no rationality whatsoever, which is fairly infuriating for audiences that are hooked on the trite plotting of most TV series. But this show is relentlessly fresh and funny, pushy and annoying, but always surprising, forcing both thought and uneasy laughter. And the final episode in this season is breathtaking.

Silicon Valley: series 3

Frankly, I wasn't sure I'd return to this series, but there wasn't much else on so I gave in. The problem is that the writers seem to only have one trick up their sleeves: make things as miserable as possible for these nerds and their supposedly amazing invention. Every time they get a break and things look like they might actually come together, there is a series of setbacks caused by ludicrous circumstances out of their control. This may comically reflect the reality of the IT sector, but it's annoying to watch a show in which everyone just runs in circles. Especially when the primary cause of most of the pain is TJ Miller's insufferable moron Erlich. Miller's a gifted comic, but without Erlich the show might actually be enjoyable.

BACK FOR SECONDS

Unbreakable Kimmy Schmidt: series 2

This buoyant series continued with its breakneck pacing, zooming through 13 episodes in what felt like the blink of an eye. It was nice to see a bit of deepening for the side characters played by Jane Krakowski and Tituss Burgess - both play utterly ridiculous people, but this season revealed some surprisingly emotional sides. Ellie Kemper continues to be perhaps the most relentlessly likeable person on TV - adorable, hilarious, silly. Her story is superbly involving. Although it's probably too jarringly nonstop for some viewers, as Tina Fey recreates her 30 Rock formula of packing what feels like 10 comedy gags into each second of air time. 

Grace and Frankie: series 2

Jane Fonda and Lily Tomlin took their characters quite a bit further in this second season, pushing both their camaraderie and deep differences to various breaking points. The scripts sometimes felt a bit goofy, but both actresses are so good that it's hard to mind much. And there's fine support from Martin Sheen and Sam Waterston, on their own journey as the coupled-up ex-spouses, plus Brooklyn Decker, Ethan Embry, Baron Vaughn and June Diane Raphael as their complex kids. This is also a rare show that gives other acting veterans a chance to shine - Ernie Hudson and Sam Elliot both had great roles this season. Geriatric love has never looked so sexy on-screen: there's hope for everyone!

Empire: series 2

After a very rough first half, this season got back on track by concentrating once again on the soapy excesses rather than the grim criminal elements. And the stories mercifully reverted back to the tetchy members of the Lyon dynasty rather than those swirling around them. The big cliffhanger finale was perfectly played, Dallas/Dynasty style. And it suggests that things will continue to return to more camp craziness for the third season. Intriguingly, now that we're used to Taraji P Henson's outrageous attitude and costumes and Terrence Howard's squinty steeliness, it's the three sons who are emerging as much more complex, engaging characters. The question is whether Henson and Howard will let them share the spotlight.

The Royals: series 2

This oddly undercooked series continues with its cheap and cheerful style, mixing very badly written scripts with cheesy direction. The cast is adept, although each moment of resonance is undermined by something eye-rollingly stupid. Still, William Moseley and Alexandra Park manage to find depth in their twin prince and princess roles, while Liz Hurley and Joan Collins have a ball strutting around in high-fashion regalia with their diva attitudes and hidden agendas. And Tom Austen offers some terrific brooding-hunk moments. Trashy and pretty awful, really. But fun.

Schitt's Creek: series 2

After the gimmicky set-up in the first season, this one felt like it was kind of pushing it. A family of four millionaires stranded in a backwoods town, each of the characters pushed forward in his or her life, but without more interpersonal development, none of this quite makes sense anymore. That said, the four lead actors (Eugene Levy, Catherine O'Hara, Dan Levy and Annie Murphy) are so engaging that the show is still hugely entertaining. (While Chris Elliott is still hopelessly annoying.) So if they try to stretch this premise even thinner, I'll still be watching. 

There isn't much on over the summer months - well, not that I've discovered yet - but I am watching the second season of Wayward Pines, enjoying Chelsea Handler's cleverly titled Chelsea, looking forward to the Looking movie and Sharknado 4, and catching up with less promising series I'd previously skipped, like Supergirl.