Screen: September TV Roundup

There have been some great shows on lately to offer some distractions when I'm not watching movies or getting outside to enjoy the sunshine. I continue to avoid any shows centring on murder or injury - just not what I want to watch, aside from the movies I have to see for work. Give me comedy, social satire, edgy drama or something original that combines all of that....

The White Lotus
From writer-director Mike White, this series cleverly slices through middle-class respectability with its edgy soap-style plot threads about wealthy people on vacation at a Hawaiian resort. Everyone has secrets, and the breadth of the approach is impressive, with a wonderful array of vivid characters ranging in age from teens to retirees. It's easy to get lost in the various stories, as each person is fully fleshed-out by a terrific cast that includes Steve Zahn, Jennifer Coolidge, Murray Bartlett, Fred Hechinger, Jake Lacey and Alexandra Daddario. The show's astute social satire is bracingly pitch-black, and it's so complex that getting to the end feels a lot like finishing a particularly satisfying novel. (HBO)

The Chair 
Sandra Oh is terrific as the lead in this wry comedy about faculty and students at an Ivy League university in New England. Both political and personal issues rear their heads along the way, as characters clash and unite in unexpected ways, while the tide of cancel culture swells ominously and the university's administrators fail to grasp what's happening or even begin to know how deal with it. There are also wonderful roles for Jay Duplass, David Morse and the always fabulous Holland Taylor. So while the over-arching narrative seemed to stumble along the way, future seasons might be able to bring some more focus to the larger issues and resonant interpersonal drama. (Netflix)

Schmigadoon! 
Keegan-Michael Key and Cecily Strong have a lot of fun as a happy couple whose relationship is put through the wringer when they're trapped in a mystical realm that's overrun by the trappings of a stage musical. The exaggerated Victoriana is hilarious in the design, dialog and morality, while the musical numbers hilariously riff on a variety of classics. In addition, the starry cast includes musical-comedy theatre superstars like Jane Krakowski, Kristin Chenoweth and Alan Cumming. So even if it all feels a little corny and obvious, and if each song is a bit too much of a pastiche for its own good, it's a terrific show for clicking off your brain for a silly laugh. (Apple)

Brand New Cherry Flavor
Refreshingly audacious, this crazed series takes the audience on a freaky odyssey that has strong echoes of Lynch and Cronenberg. Set in the early 1990s, it follows aspiring filmmaker Lisa (the superb Rosa Salazar) as she encounters a slimy director (Eric Lange) long before #MeToo and sets about getting revenge with the help of the mystical, shamanic Boro (Catherine Keener). What this costs Lisa is deeply twisted, as is pretty much everything about this show, which dives into the nastiness without hesitation. The boldness of the writing and directing feels like a tonic when most shows are trying so hard to please. This is challenging, disturbing and absolutely riveting television. (Netflix)

Physical 
Rose Byrne shines as a 1980s housewife emerging from the shadow of her underachieving (and thankfully never villified) husband as she finds that she has what it takes to become an aerobics star. The series takes its time to build this foundation, expertly layering in details that are both funny and rather bleakly chilling. While several of the side roles feel like rather random dimwitted TV series cliches, Sheila is a stunningly complex character, a woman who finally realises that she she will need to break the rules to achieve anything at all in a man's world. Her every move is transgressive and dangerous, but we can't help but root for her. And where the show goes is boldly unexpected. (Apple)

Kevin Can F**k Himself 
After Schitt's Creek, Annie Murphy cleverly adapts her wonderfully perky screen persona to this gimmicky series that combines brightly overlit sitcom silliness with darkly shaded drama. It's a daring experiment that pays off in unexpected ways, revealing shades of suburban angst beneath the chuckleheaded idiocy. And as the lead character's journey to self-discovery and independence gets increasingly intense, Murphy helps us identify with how it feels to continually be underestimated as the ditsy wife to a relentlessly cruel husband everyone sees as a dopey nice guy. The overall series pacing is a little uneven, and the final episodes pay off in a way that's unexpectedly provocative. (AMC)

The North Water
This is a big swerve for Andrew Haigh (Looking, 45 Years), set on a 19th century whaling ship in the Arctic where bristle-haired men are up to all manner of shady grisliness. It's gorgeously designed and shot in spectacular locations, although the relentlessly underlit cinematography can get somewhat annoying on the small screen. The first-rate cast is led by Jack O'Connell, Colin Farrell (against type as a seriously nasty piece of work) and Sam Spruell, with added Stephen Graham and Tom Courtenay. So even if the moral lines are a bit too clear, there's plenty of gristle in the story's riveting depiction of masculinity and control. It also leaves us feeling like we need a bath. (BBC)

Q-Force
Zippy and extremely ridiculous, this animated spy comedy adventure takes in serious themes as it goes along, playing with issues and stereotypes without making pointed comments. This carefree approach adds a provocative angle to the rampant bigotry that swirls around a group of queer spies who have been sidelined for a decade but are now taking their shot at the big time in an international mission that has unexpected repercussions. It's riotously sexy and violent, and animated with a properly adult sensibility, which means the humour is more ironic than expected. And the voice cast is first-rate, including Sean Hayes, Wanda Sykes, Jane Lynch and Stephanie Beatriz. (Netflix)

M O R E    M O R E    M O R E

Dave: series 2 
Continuing his intriguingly blurred autobiographical adventures, Dave Burd goes much darker this season, often dipping into pitch-black comedy and even darker emotions to skewer the show business industry in ways that continually take the breath away. There's a bleakness that makes these episodes less exhilaratingly enjoyable than the first series, but the ideas in the mix are even stronger. And Burd digs into his own offhanded personality to explore some properly pungent feelings as an unlikely rising star who is shaken by interaction with his colleagues, idols, family and friends. His oblivious confidence takes on a whole new meaning this time around. (FX)

Never Have I Ever: series 2
Inspired by Mindy Kaling's childhood, this series continues the adventures of Devi (the fabulous Maitreyi Ramakrishnan), a character who is bravely written and played in ways that aren't always likeable, mainly because we're watching her create most of her own problems. Her various relationships evolve in unexpected directions this season, including with two boyfriends, her best pal and her family members. The female roles are particularly well-written this season, including Devi's mother, cousin, closest friend and a rival Indian teen at her school. And John McInroe's witty voiceover adds such a random perspective that it brings everything to unusual life. (Netflix)

I Think You Should Leave: series 2
It's difficult to describe this sketch show starring Tim Robinson as a comedy, since the scenarios it sets up are based on aggression, awkwardness and absurd conflicts. The main reactions to these scenes are nervous laughter and gasps at both how ridiculous it all is (many hinge around something flatly surreal). But there's also a chilling recognition of human nature laced through everything, picking at our insecurities and those niggling annoyances that get under the skin. That Robinson and his talented cast and crew approach this in such a boldly in-your-face way is properly remarkable. It's one of those shows that feels uncomfortable to watch, but leaves us wanting more. (Netflix)

Lucifer: series 6 
The final season of this nutty show spent most of its time wrapping up story threads involving each of the central characters, while contriving an elaborate conclusion. Thankfully, this included some properly bonkers twists and turns on the way to a protracted, wildly indulgent final act that clumsily strained to be both epic and sentimental. The angels-and-demons premise kept things far more entertaining than the usual murder-of-the-week structure, and Tom Ellis' devilish charm so buoyantly held the entire show aloft that it will be fun to see what he does next. He perhaps spends a bit too much of these 10 episodes singing and dancing, but it's unlikely anyone would complain. (Netflix)

Grace & Frankie: series 7a
The first four episodes of this final season suddenly appeared in August (the rest will follow next year), and they're just as ridiculous as always, centring on the ongoing clashes between these two awkwardly merged families and their long history together. Jane Fonda and Lily Tomlin continue to build on their astonishingly strong chemistry, having fun playing their actual ages while making jokes that poke fun at their real-life images. And Martin Sheen, Sam Waterston and the ensemble cast of kids and spouses are becoming more grounded with each episode. There are still some loose ends to tie up, so however many episodes are left, we'll be happy to giggle along with them when they turn up. (Netflix)

NOW WATCHING: Only Murders in the Building, Mr Corman, Ted Lasso (2), The Other Two (2), What We Do in the Shadows (3), Brooklyn Nine-Nine (8).

COMING SOON: Foundation, The Big Leap, The Morning Show (2), Succession (3), Sex Education (3), The Conners (4).

Screen: June TV roundup

There's been rather a lot to watch lately on episodic television, handily filling in some free time between watching movies. These are the shows I've followed over the last month or so, and another handful of series are coming to a close in the next few weeks. Basically, there's always something to watch...

Mare of Easttown
Skilfully written by Brad Ingelsby and directed by Craig Zobel, this murder mystery is much more about its small-town Pennsylvania community than the convolutions of the murder/kidnapping case(s). At the centre, Kate Winslet delivers another textured powerhouse performance as a local police detective whose life seems is not so quietly unravelling. She's absolutely riveting: engaging, tenacious, compelling and, as an actor, generously allowing ace costars like Jean Smart, Evan Peters, Angourie Rice and Guy Pearce to steal their scenes. Best of all is that it doesn't matter whodunit: this is a story about resilience, connection and healing. It's rare to see a TV show produced at this level of quality across the board; this is essential viewing. (Sky)

Hacks
The fantastic Jean Smart continues to subvert every genre on television, triumphing in a range of dramatic roles (see Watchmen and Mare of Easttown). And now she reminds us that she's a queen of comedy too with a storming, scene-chomping role as a veteran Joan Rivers-style Las Vegas stand-up. She's so good that you hardly notice that the cast around her are experts as well. Co-lead Hannah Einbinder is solid in an oddly thankless role, but others are more likeable, most notably Carl Clemons-Hopkins. Meanwhile, Smart continually surprises us with her on-point delivery of devastating punchlines. And the writers keep quite a lot going on in this show, with emotional undercurrents and sharp commentary about show business. (HBO)

Halston
Ewan McGregor is terrific in this glossy series about the iconic American designer who rose to fame in the 1970s and then vanished in the 1980s. It's beautifully produced, creating intriguing characters with seriously spiky interaction. And it certainly never shies away from the darker angles of the story, including Halston's turbulent relationships, rampant drug use and a stubborn streak that ultimately cost him the right to use his name. It's perhaps a bit slick and flashy, focussing on the glamorous highs rather than the emotional lows, and rushing through his final years. But there are a few grittier sequences, from outrageous arguments to wrenching grief, that make it resonate. (Netflix)

The Falcon and the Winter Soldier
A lot more like standard Marvel fare than WandaVision, this series features the usual witty banter, too-dense plotting and outrageously over-produced action. I was tempted by stars Anthony Mackie, Sebastian Stan and especially Wyatt Russell, playing against type as the new Captain America. The actors kept me watching to the end, even when the writing had me rolling my eyes with frustration. There are some intriguing plot elements, but everything is so painfully obvious, quick to violence and ludicrously momentous that it might have worked better as a spoof. And even the adjusted title at the end is wrong: clearly it should be Captain America and the White Wolf. Still, fans will eat it up. (Disney)

Girls5eva
From the makers of Unbreakable Kimmy Schmidt, this comedy has the same absurd, lightning-fast sense of humour as it follows the four surviving members of a girl band who are making a comeback attempt at 40. This quartet is superbly written and played (by Sara Bareilles, Busy Philipps, Renee Elise Goldsberry and Paula Pell), with a constant stream of riotous gags. And big-name cameos adds witty touches, including producer Tina Fey as Dolly Parton. Thankfully, the silliness is grounded in knowingly funny observations on everything from the vicious music industry to the perils of ageing, with pointed nods to themes relating to gender and sexuality. (Peacock)

Jupiter's Legacy
Based on a comic by Mark Millar (Kick-Ass/Kingsman), this darkly shaded superhero series has similarities with The Boys, but isn't quite as deliberately nasty. The central conflict is fascinating, pitting traditional rule-based morality against today's more reactionary ethics. Although the writers never really take this anywhere. And while the cast is strong across the board, no one emerges as a vivid central figure to rally around. The most interesting people (like Andrew Horton's loyal son Brandon) are oddly sidelined in favour of less nuanced characters (like Josh Duhamel's self-righteous patriarch). More adventurous writing might make this better in seasons to come. (Netflix)

Frank of Ireland 
Almost infuriatingly bonkers, this Dublin comedy starring Gleeson brothers Brian and Domhnall is far too cartoonish to properly engage with. But it's very funny as these chucklehead buddies embark on a series of crazy antics centring on family, girls and their community. Nothing much grabs hold as all of the characters are noisy, over-the-top nutcases, led by the painfully dim and self-involved Frank (Brian) and his even dopier best pal Doofus (Domhnall). Frank's mother Mary (Pom Boyd) is just as ridiculously obtuse, while the only vaguely sensible person is Aine (Greene), as she's desperately trying to escape Frank's orbit. You would too. (C4)

Invincible
With a Scooby-Doo tone and a premise similar to The Boys, this adult-aimed animated series is funny, violent and exhilarating. The animation is generic but eye-catching, while the voice cast is extraordinary, featuring the powerhouse likes of Steven Yeun, JK Simmons, Sandra Oh, Mahershala Ali, Zachary Quinto, Andrew Rannells and Mark Hamill, for starters. They make even the smaller side characters burst with personality. The story of father-and-son superheroes has plenty of wrinkles and textures to it, bringing out much bigger themes about the nature of humanity through recognisable relationship issues. And the writers have room to get much more daring (more queerness, less blood) in future seasons. (Netflix)

Why Are You Like This
This politically incorrect comedy from Melbourne takes a few episodes to find its footing, and then it's over (there are only six half-hour instalments). The three self-absorbed 20-somethings at the centre are very difficult to like at first, but actors Naomi Higgins, Olivia Junkeer and Wil King find ways to deepen them in a series of rather pathetic attempts to get on with their lives. The main problem is that they blame everyone and everything for their own problems, causing misery everywhere they go. But their antics are also rather endearing, and the themes deepen over the course of this season. (Netflix)

Paradise City 
A bit of a mess, this cheesily written soap set in the hard-rock music industry has a wide array of characters, many of whom are superfluous, and lots of arch storytelling touches, including supernatural wackiness with camp angel and demon figures. More problematic is a strong undercurrent of misogyny in both the imagery and male-centred plot points (even when a woman is involved, it's all about the man). There isn't an unsubtle moment on the screen, but it's still watchable simply because of the intriguing premise and full-on approach. Also, the rock-n-roll vibe is strong, and the lead actors are solid even when their characters are strangely inconsistent. (Prime)

BACK FOR MORE

This Time: series 2
Alan Partridge is back for another hilarious season of painfully well-observed awkwardness. Steve Coogan plays this role so effortlessly (and so unapologetically) that he has become a part of Britain's national culture over three decades. Coogan's understanding of this character is so deep that it provides laughs at every level, from big slapstick silliness to riotously witty details (watch his field reports carefully). It's almost shocking that Alan can still be so enjoyably squirm-inducing after all these years. And this particular incarnation of him also offers a wonderfully fresh pastiche of glib TV news-chat shows. (BBC)

Everything's Gonna Be Okay: series 2 
Josh Thomas is a talented guy, but his character in this sitcom (a young guy who has become guardian of his teen sisters) is so insufferable that he's difficult to believe, especially in the self-involved way he mistreats his ridiculously gorgeous and nice boyfriend (Adam Faison). And he's only able to see problems faced by his sisters (Maeve Press and Kayla Cromer) as part of his own story. The offbeat approach makes the show watchable, especially with characters who refuse to fit into the usual boxes. But it's very difficult to engage with Nicholas on any level. (Freeform) 

The Neighbor: series 2 [El Vecino]
The goofy residents of a Madrid apartment block are back, as Javier (Quim Gutierrez) now has to share his superpowers with ex-girlfriend Lola (Clara Lago). There's also a global threat from some sort of reptilian race, and a galactic civil servant (Javier Botet) struggling to make sense of what's happening amongst these idiots. These eight brisk episodes are very easy to watch, eliciting a lot of smiles and a few solid laughs as they skewer corrupt politicians and messy relationships. But there isn't much else to it, and the broadened cast leaves the central characters feeling thinner than before. But the cliffhanger finale promises more to come. (Netflix)

Lucifer: series 5b
This nutty season wraps up with a few oddly tame episodes that are too plot-heavy to allow us to enjoy the gleefully ridiculous antics of the sexy characters. Even the murder-of-the-week storylines are part of a bigger narrative arc that pushes everyone toward a major confrontation, leaving Lucifer (the increasingly over-the-top Tom Ellis) in a whole new place. For a show that's basically just mindless fun, these episodes feel rushed and serious, and they also feature even more of this series' trademark fragmented conversations in which characters neither listen nor say what they truly think. Although any show that adds Dennis Haysbert to its cast (as God no less) is worth a look. (Netflix)

IT'S ALL OVER

Younger: series 7
This dopey sitcom (in which the situation never provided much comedy) is finally wrapping up the scrambled romantic lives of its characters. It's become increasingly saccharine season by season, while the actors look like they've been severely nipped and tucked, except star Sutton Foster, who's now styled as a 50-year-old for some reason (after pretending to be in her 20s for the years). But all of the actors are hugely watchable, including Hilary Duff, Nico Tortorella, Debi Mazer and the great Miriam Shor, who sadly only occasionally skypes in this season. So I've decided to stick it out, even though the writers are clearly determined to offer the wrong happy ending. (MTV)

Shameless: series 11 
This epic comedy-drama wrapped up its run with 12 momentous episodes, as the extended Gallagher family finally faces up to the gentrifying forces in South Chicago, and Frank (the awesome William H Macy) begins to suffer alcohol-induced dementia. It's a clever way to bring things to a close, playing on the characters' quirks to push them in new directions and force some big decisions. And while the show's wilder impulses have been tamed somewhat over the years, each of these colourful characters gets to go out with a bang. And some well-earned emotion too. (Showtime)

CATCHING UP

The Queen's Gambit 
I put off watching this because, well, chess and drugs. But when I had a bit of time, I quickly realised why the whole world was caught up in the series. It's bracingly well-written and beautifully directed with some seriously clever flourishes. And it features yet another stellar performance from Anya Taylor-Joy, plus a terrific cast of fellow Brits. I particularly loved the clever way chess comes to life on-screen, without ever getting bogged down in the details. And the personal odyssey Beth takes through the narrative arc is properly epic, and very moving too. (Netflix)

I GIVE UP

Dad Stop Embarrassing Me • About 10 minutes into the first episode it's clear that this is a turkey slathered with inane dialog and awkwardly insulting slapstick. The cast (led by Jamie Foxx) is promising, but it feels like like one of those painfully unfunny SNL sketches that just won't end. (Netflix)

Cinema Toast • This anthology series starts with a great idea: re-editing public domain film footage with a new soundtrack to tell different stories. Each episode takes nuttiness to the extreme in a way that's experimental rather than entertaining. Far too indulgent. (Showtime)

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NOW WATCHING: The Underground Railroad, The Mosquito Coast, The Upshaws, Star Wars: The Bad Batch, Special (2), Pose (3), The Handmaid's Tale (4), Younger (7).

LOOKING FORWARD: Blindspotting, Physical, Kevin Can F**k Himself, Dave (2), Lupin (2), Love Victor (2), The Kominsky Method (3), Master of None (3), Elite (5).

Screen: Autumn TV Roundup

Even with all the movies I'm watching, I still have a bit more time than usual to catch episodes of series television, mainly because I don't have the normal travel time getting into town for physical screenings. The challenge is finding shows that are a tonic after a heavy film - most series at the moment seem to be so serious! So the rare comedy is hugely welcome. This is what I've been watching over the past couple of months...

Ted Lasso 
The premise for this sitcom looks lame: earnest American football coach is hired to manage a cynical English football (ie, soccer) team. But it stars Jason Sudeikis and several under-the-radar British comedy assassins (Brett Goldstein, Hannah Waddingham, Nick Mohammed), so I decided to take a look. And this is the best surprise so far this year, one of the smartest, funniest shows out there, subverting expectations at every moment with characters who are a lot more than the usual types. It's also a rare show that takes a positive approach to life in general, making you feel empowered even as you laugh at a wicked joke. (Apple) 

Ratched 
A rather unconnected prequel to One Flew Over the Cuckoo's Nest, this series is beautifully designed, with a fierce cast. It takes awhile to get going, but the story tightens over these eight episodes, as the eponymous nurse (Sarah Paulson) goes on a deeply personal mission and becomes embroiled in several other nasty events. Performances are terrific, particularly from iconic divas Cynthia Nixon, Judy Davis and Sharon Stone. But the main thing here is the production design, soaked in primary colours, arch architecture and horrific grisliness. The themes feel rather pushy, but it's enjoyably nasty. (Netflix)

A Suitable Boy 
Vikram Seth's acclaimed novel gets the period-epic BBC treatment, directed by the terrific Mira Nair, who always brings a blast of colourful energy to her depictions of Indian culture. Set in the early 1950s shortly after independence, the series recounts a series of interwoven romantic storylines that connect four families, complicated by the fallout from the nation's partition. As usual, Tabu steals the show as a singer of ill repute who falls for a young man played by the magnetic Ishaan Khattar. But the entire cast is frankly gorgeous, beautifully dressed in vivid costumes and bursting with emotion and energy. (BBC)

I Hate Suzie
This provocative British black comedy plays with a number of real-life elements while unflinchingly exploring a tricky issue. Billie Piper stars as a singer-actress whose intimate photos are hacked from her phone, causing mayhem in her personal and professional life. But her reactions often make things worse, which gives her character a startlingly complexity, a famous person who is deeply flawed yet has a public persona to maintain. The approach is inventively stylised, with writing that never takes the usual route for a TV show. And what it says about both society and the industry is astonishing. (Sky)

Hitmen 
The terrific comedy duo Mel Giedroyc and Sue Perkins put their snappy chemistry into a goofy sitcom, and the fact that they're playing assassins keeps the humour very black indeed. The writing is random and generally hilarious, although the show is awkwardly directed and edited to flatten some of the more outrageous gags. Still, Mel & Sue are so funny that they keep us watching, and their interaction with a range of side characters, from each episode's target hit to their riotous nemeses/cohorts Charles and Liz (Asim Chaudhry and Tonya Cornelisse) leaves us looking forward to a second season. (Sky)

Five Bedrooms
This Australian comedy-drama centres on five young people on the singles table at a wedding, each of whom is at a different point in his or her life, and they decide to buy a big house together. What follows is pretty ridiculous, really, as episodes progress from one carefully scripted catastrophe to the next, including farcical romance, surprise revelations, bankruptcy and even cancer. What makes it addictive is the cast, who manage to make these neurotic people very likeable, even as they continually sabotage their own lives. The question is whether they'll survive a second season of disasters. (Peacock)

Insatiable: series 2 
Full-on and deliberately over-the-top, this lurid comedy continues to centre more on murder than sex, which is odd considering that it's about the obsessive people who participate in beauty pageants. But even if the snaky plot continually takes the more obvious, often less interesting direction, the relentless pile-up of soapy twists and turns is riotous and often downright hilarious. And the wildly out-of-control characters are oddly endearing, sharply played by the likes of Dallas Roberts, Debby Ryan, Alyssa Milano and Christopher Gorham. It's not smart enough to be a classic, but it's a lot of messy fun. (Netflix)

The New Legends of Monkey: series 2
This insanely cheesy adventure series is oddly addictive, the definition of a guilty pleasure. It's not even particularly well-made, with its cheap sets and costumes, plus actors who never quite seem like they're taking their roles with even a grain of seriousness. But the goofiness is a lot of fun, and there are some sharply witty moments along the way, including genuinely hilarious dialog and plot points, throwaway one-liners and amusing mistakes. The plot is also so freewheeling that literally anything can happen at any moment. So it's impossible to predict what kind of idiocy is coming next. (Netflix)

PLAYING CATCH-UP

The Neighbor (El Vecino)
From Spain, this goofy comedy has a Green Lantern-like plot about the hapless Javier (Quim Gutierrez) who is given superpowers and a whizzy suit and charged with protecting the galaxy. And his dorky neighbour Jose (Adrian Pino) tries to help him become a better superhero. The joke is that everyone in Javier's life would make a better hero than him, and indeed he's a bit too self-involved, so it's no wonder that his relationship with unambitious journalist Lola (Clara Lago) collapses. But watching his transformation is fun. And the show's low-fi special effects make it even more charming. (Netflix)

Chewing Gum: series 1-2
After I May Destroy You, I realised that I had missed Michaela Coel's previous series, an equally complex and clever comedy about a young woman trying to escape her fiercely religious upbringing and explore the previously forbidden real world. It's all a bit broad and sometimes downright manic, but Coel is terrific as the hapless late bloomer Tracey, making witty comments to-camera as she barrels through a series of madcap experiences. And as the series continues, the side roles become better defined, which makes them both funnier and more emotionally involving. (BBC)

Lucifer: series 1-3
I've inched my way through this show, a terrific tonic when I need something mindless. The concept is witty (the devil fights crime in Los Angeles!), and the comical tone keeps it vacuously enjoyable. The preposterous murder-of-the-week plots, on the other hand, are essentially reworked from old episodes of Hart to Hart. It's also one of those shows that pretends to be sexy and raunchy while shying away from anything remotely realistic. But the characters are vivid enough to hold the attention, and their twisted inter-relationships make the show consistently watchable. Let's hope it finds some edge as it moves to Netflix. (Fox)

Eastsiders: series 1-4
This show was recommended for its writing, and it's well worth catching up with because the scripts are unusually strong. Over four seasons, the show focusses on a group of people who live in a queer L.A. bubble (no native Angeleno would ever think of Silverlake as "east"). The characters are siblings, neighbours and couples, many are gay, and all are dealing with the usual crises. But this is written and played with remarkable insight. Not only are the actors honest and messily real, but the dialog pops with lines like: "Let people be who they are, and then they will do for you the same favour." (Netflix)

I GIVE UP

Away: With this talented cast, it's shocking how bad the writing is, a cliched soap full of improbable melodrama. There's no way Nasa would send this bickering crew to Mars, complete with Russian and Chinese disruptors, facing a silly calamity each week. I made it through the second episode before giving up. (Netflix)

Muppets Now: The Muppets are back once again in another format that seems carefully concocted for the times: namely a computer screen. Some segments are amusing, especially offhanded moments with the starry guests. But it's trying too hard, and the writing fails to make anything of these iconic characters. (Disney)

NOW WATCHING: The Boys (2), Fargo (4), Lovecraft Country, The Third Day, The Duchess, The Comey Rule, We Are Who We Are, Long Way Up.

LOOKING FORWARD: The Mandalorian (2), The Crown (4), Star Trek: Discovery (3), Adult Material, NeXt, The Undoing.