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: February TV Roundup

I watched more TV than usual over the Christmas break, and then in January there was an onslaught of new material, while film screenings have been quiet. So here's an update on what I've been watching to kill time in between the movies...

Hawkeye
Due to my general exhaustion about Marvel-world, I was planning to skip this series. But the clips revealed a lively comical sensibility, so I've been sucked back in. And this is an enjoyable romp, with sparky turns from Jeremy Renner and Hailee Steinfeld as arrow-shooting heroes who bicker because the script insists that they must. The story is enjoyably convoluted and a bit out of control, packed with characters who are rather too sure of themselves based on flawed information. As Kate, Steinfeld's refusal to be the usual brooding hero is hugely refreshing. And the best surprise is the sizzling action-banter between Steinfeld and Florence Pugh's Yelena. Please give them their own movie. (Disney)

The Tourist
Jamie Dornan is terrific as a guy who wakes up in an Australian Outback hospital with no memory of who he is or how he got there. He makes a connection with Danielle Macdonald's rookie cop, while she intrepidly investigates his identity against all advice. Details about who he is and the trouble he's deeply into dribble out slowly over six episodes, maintaining a ripping sense of mystery while throwing in some heart-stopping action here and there. It's more violent than was strictly necessary, with one villain to many. But the variety of the baddies (from Olafur Darri Olafsson's man-beast to Alex Dimitriades' swaggering billionaire to Damon Herriman's wheezy cop) keeps things very lively. (BBC)

The Woman in the House Across the Street From the Girl in the Window 
Kristen Bell somehow maintains a straight face all the way through this thriller pastiche, which deploys every imaginable cliche of the mystery thriller genre with gusto. Although because those movies are essentially spoofs themselves (they never resemble anything like real life), this show really needed to go much further than this. Even the requisite steamy sex montage is oddly undercooked, as it were. Still, it's hilarious to watch Bell guzzle litre-sized glasses of wine as she gazes out her window, so emotionally wounded that no one believes she's witnessed a murder. As the whodunit takes some silly turns, more arch, over-the-top satire might have set this apart from the shows it's poking fun at. (Netflix)

A Very British Scandal
Claire Foy and Paul Bettany are terrific as the real-life Duke and Duchess of Argyll in this three-part drama about a 1963 court case that caused a seismic shift in Britain's tabloid coverage. There's a problem woven into the fact-based narrative, because it's impossible to end this story on a satisfying note. But the writers bravely refuse to embellish anything, so all of the events are deliberately left as hazy or undefined as history has recorded them, which is also slightly frustrating. Still, the entire cast is excellent, and the period is recreated with understated flair. It's also an eye-opening exploration of gender roles, centring on a woman who simply refused to be bound by the rules. (BBC)

Around the World in 80 Days
Lavishly produced on a remarkable scale, this grand adventure stars David Tennant and Ibrahim Koma as Phileas Fogg and Passepartout, with Leonie Benesch as a gender-swapped Fix, who's now a feisty journalist rather than a tenacious detective. Switching characters around isn't a problem, but the writers have essentially abandoned Jules Verne's novel completely, with big set pieces that feel contrived to add thrills at specific intervals. And the plot contrivances that have been inserted are surprisingly lazy and underdeveloped. Thankfully the actors are terrific, creating a nice sense of camaraderie between the bickering-but-loyal trio. And the landscapes are spectacular, augmented by above-average effects work. (BBC)

The Wheel of Time 
Clearly straining to be the new Game of Thrones, this over-serious epic about ancient lands and terrible wigs is bursting with convoluted mythology about the nature of fate (see the title) and how various people tap into power for good or evil, represented as white or black swirls, of course. The costumes designs are just as cliched, but at least the production is splashed with some bright colours to liven up the usual drab beige-greyness. Rosamund Pike produced the show, so it's surprising that she's wasted in an underdeveloped role (including two episodes in which she's unconscious). The rest of the cast has a fresh-faced intrigue that bodes well for a second series. Just give Pike more to do, please. (Amazon)

T H E Y ’ R E   B A C K !

And Just Like That: aka Sex and the City series 7 
This reunion show catches up with three of the central characters: Carrie, Miranda and Charlotte, played by Sarah Jessica Parker, Cynthia Nixon and Kristin Davis (Kim Cattrall's Samantha has moved to London). It works best when it's exploring how the characters have maintained their spark into their mid-50s, although packing so many momentous life events into these 10 episodes feels rather artificial. It also feels awkward as it tries to tick a series of trendy and politically correct boxes, while the darkly emotive sequences are rather soggy, as if concocted by writers to add depth on cue. That said, revisiting these characters is fun, and the lively and engaging new cast members add a fresh perspective. (HBO)

Dexter - New Blood: aka Dexter series 9
All these years later, we catch up with our favourite blood-spatter expert Dexter (Michael C Hall), who's now calling himself Jim and working in a weaponry shop somewhere very snowy. He's also being haunted the ghost of his snarky sister Debra (the great Jennifer Carpenter). Of course he's managed to fall in love the local police chief (Julia Jones). Then his now-teen son (Jack Alcott) turns up, triggering a series of momentous events that churn into a powerful finale. This has never been the most tightly scripted show, with its gaps in logic and continuity, but its characters have been so indelible that we hate to miss a single episode. And this limited series has clearly been created for the fans. (Showtime) 

A N O T H E R    S E A S O N

The Great: series 2 
Even more raucous than the first season, this historical romp continues to play loose with the facts while unpicking deeper truths about humanity. Everyone in the story is somewhat cartoonish, and the plots are bonkers, but that's the point, as present-day attitudes and dialog are overlaid on the 18th century Russian court. Now that Catherine (Elle Fanning) has seized control of the Russian Empire, her lovelorn husband Peter (Nicholas Hoult) languishes in house arrest. Although he can't be contained at all. The surrounding characters come into their own this season, orbiting hilariously around these bickering rulers. And then there's Gillian Anderson's riotous appearance as Catherine's mother. (Hulu)

The Witcher: series 2 
While this show still has some self-effacing wit, this season is far more serious than the lively, scruffy first set of episodes. This time it's much more about politics and power, as the characters jostle for position and engage in a lot of soapy melodrama that just seems silly because everyone maintains such a straight face. Which is even more astonishing since everyone is wearing an appalling wig. Thankfully, Henry Cavill knows how to rock a terrible weave, and his costars have plenty of tetchy energy as they circle each other. What makes this show so engaging is the fact that everyone is trying to find their place in this crazy world. But the writers need to have a lot more fun with it next time round. (Netflix)

Dickinson: series 3
The American Civil War is now raging, and the Dickinson family continues to battle among themselves, comically butting heads on all sides as poetry-minded Emily (Hailee Stanfield) tries to make sense of things in her askance, observant way. The narrative unfolds in a flurry of modern-day expressions mixed in with period detail in a way that's sometimes oddly jarring. But there's an important point being made here about the power of poetry to heal both a family and a society that are torn in half. And while the bigger issues may be rather overly pointed, and given rather a lot of artistic licence, the show does draw some well-deserved attention to the iconic poet and the challenges she faced. (Apple)

M O R E   T O   C O M E

Star Trek - Discovery: series 4a
Things get very dense very quickly this season, with yet another undefined "anomaly" causing catastrophe and confusion across the galaxy. The crew's various attempts to investigate this are rather tiresome, distracting from the much more intriguing interaction between them, which leaves their personal journeys to develop more slowly than usual. Sonequa Martin-Green is still a tremendous presence at the centre, complex and fascinating, and her connection with David Ajala's Book is at the show's heart. Also terrific are characters played by Anthony Rapp, Wilson Cruz and the excellent Blu del Barrio. But the departure of Mary Wiseman's Tilly feels like a mistake, as her fresh vibe is badly missed. (Peacock)

Ozark: series 4a
It hardly seems possible, but this saga turns even darker this season, as the Byrdes find themselves increasingly squeezed between the FBI, the Mexican drug cartel and local suppliers. As if the show needed another psychopath, the kingpin's nephew Javi (Alfonso Herrera) is perhaps even more wildly unpredictable than terrifying opium farmer Darlene (Lisa Emery). Meanwhile, Marty (Jason Bateman) keeps a level head, and Wendy (Laura Linney) is properly losing a grip on reality, especially where their daughter Charlotte (Sofia Hublitz) and 14-year-old son Jonah (a series-stealing Skylar Gaertner) are concerned. And it leaves things set up for even more carnage in the final run of episodes. (Netflix)

C A T C H I N G    U P 

Squid Game 
I defiantly refused to watch this Korean show when everyone else did, then finally gave in when I was in covid isolation over Christmas. It's an entertaining thriller packed with terrific characters and some gasp-worthy violence as society's losers are given a chance to make a fortune, or die trying. Colourful visual flourishes also make it stand out from bleak American thrillers. Although some more sharply pointed satire might make it more memorable. (Netflix) 

What/If 
I find Renee Zellweger mesmerising, even with her oddly pinched physicality. She's the driving force in this series, but remains mainly in the background as the central plot follows a young couple (Jane Levy and Blake Jenner) drawn into the gravitational pull of Renee's billionaire. The show is slick and prudishly sexy and, aside from the melodramatic reveals, it makes some nice observations about the power of greed and the strength of real relationships. (Netflix)

NOW WATCHING: The Book of Boba Fett, Peacemaker, The Afterparty, Pam & Tommy, Murderville, Euphoria (2), Snowpiercer (3), The Connors (4), This is Us (6).
COMING SOON: Severance, Star Trek: Picard (2), Star Trek: Discovery (3b), Killing Eve (4), The Marvelous Mrs Maisel (4).

Screen: Spring TV Roundup

During lockdown, it seems that television is my only break from the movies - theatre, museums, just walking through the city are out! And with all the movies streaming online, the only thing different about watching TV is that it doesn't feel like work. We said goodbye to a few favourite shows recently, even as we are making quite a few new discoveries. And with streaming services multiplying, it's not easy to keep up. But I'll do what I can...

WAVE GOODBYE

Schitt's Creek: series 6

This Canadian comedy seems to have snuck up on the world. While the first two seasons were a little uneven, I've stuck with it simply because comic geniuses Catherine O'Hara and Eugene Levy are on peak form. Meanwhile, Dan Levy, Annie Murphy and the surrounding cast have turned potentially cartoonish roles into their own loveable icons. Each year the show got better - deeper, funnier, more resonant - and it's a rare series that has gone out at its very best. It's also unlikely that we'll see another show that so adeptly mixes absurd humour with sophisticated comedy while continually surprising us with earthy emotion. It's already missed.

The Good Place: series 4

Funny and fiendishly smart, this inventive comedy left us wanting more even as it wrapped up its four-year, 50-episode run in a beautifully imagined series finale that will likely make this show a cult classic. The frankly awesome cast (Kristen Bell, Ted Danson, William Jackson Harper, Jameela Jamil, Manny Jacinto and especially D'Arcy Corden) deserves to be haunted by these roles for the rest of their lives. Each episode is bracingly intelligent even as it retains its riotously silly approach, and the series ended in a way that was hilarious, full of emotion and bursting with profound insight into the meaning of existence. Indeed, shows rarely go out on such a delirious high. Heaven indeed.

Future Man: series 3

Continuing at its breakneck pace, this insane sci-fi comedy thriller just keeps throwing Josh Hutcherson's hapless Futterman from one high-energy crisis to the next, barely pausing to catch a breath amid a constant barrage of outrageous verbal and visual humour. Along the way, Hutcherson has developed a terrific sense of camaraderie with costars Eliza Coupe and Derek Wilson without ignoring their distinctive character flaws. From a trio of bickering idiots, they've become an endearing bickering family. This final season features a lot more shameless galloping through timelines than before, which gives the show a deranged Quantum Leap sensibility. Thankfully, it's as profane as ever. And the finale is brilliant (shout-out to composer Halli Cauthery).

Modern Family: series 11

It's been a long run for this family, and some of the later seasons have been a little uneven. But there are moments of classic comedy in every episode, and perhaps the most notable thing about the show is how the expanding cast has aged so well, especially the children who grew up on-screen to skilfully steal scenes from the adults. Having the same writers since day one has helped, making serious themes accessible through silly character-based humour. This final season gave each actor a lot to play with, plotting journeys for each character as they head off into various carefully crafted directions. They may have ended up scattered all over, but I wouldn't bet against a reunion.

SAY HELLO

Tiger King

It took me awhile to get round to watching this, and when I did I instantly understood why the buzz was so strong. For a documentarian, these big cat obsessives were a gift, providing constantly shifting stories and an excess of personality, crazy hair and multiple spouses. Each of these nasty people has his or her own brand of insanity. Some are stubbornly likeable (Joe Exotic) while others are inexplicably despicable from the get-go (Carole Baskin). That the audience feels so strongly about them is part of what makes this such compelling television. And the way each episode deepens the craziness as well as the mystery makes it almost impossible not to binge. Brilliantly shot and edited into a must-see.

Star Trek: Picard

There's a freshness to this show that breathes life into an entire franchise (see also The Mandalorian), simply because it never takes itself too seriously. Patrick Stewart is terrific revisiting his iconic character, pulled out of retirement for a rogue mission with a ragtag team of people in need of redemption. The evolving plot is fascinating, especially as it so stubbornly refuses to go in the direction we (or indeed Picard) expect it to, spiralling off into new directions, crossing paths with favourite characters from the past, and remaining beautifully grounded in the people rather than the settings or ideas. That said, the ideas are big ones, echoing current events in subtly clever ways.

Devs

Alex Garland carries on his existential tone with this series about a tech company that's exploring the very nature of reality to predict the past and future. Or something like that. The central idea is very fuzzy, but the way the show spirals out its narrative is clever and involving, with strong characters that provide big emotional kicks along the way. Nick Offerman has a wonderfully woolly presence as the company founder whose oddly overwrought obsession with his daughter's death drives the premise. Alison Pill gives another coolly intense, vulnerable performance (see also Picard). But the show's heart is the awkward connection between Sonoya Mizuno's central character Lily and her ex-boyfriend Jamie, sublimely underplayed by Jin Ha.

Unorthodox

Based on a true story, this four-part series is insightfully made, getting into the head of teenage bride Esty (Shira Haas) as she escapes from an ultra-orthodox Jewish community in New York. It's easy to understand why she might sneak away and run to Berlin. The sideplot in which her husband (Amit Rahav) and his rather shady cousin (Jeff Wilbusch) come after her feels a bit dramatic, but it's delicately underplayed. Much more gripping is Esty's own journey of self-discovery, not just of this big, strange world but also of her place in it, and who she actually is aside from the locked-down version of herself she was always told to show.

Quiz

The true story of the "coughing major", this three-part series makes the most of its fragmented structure, spiralling around to assemble the story from two primary perspectives. Most impressive is that it never actually takes sides, presenting the known facts and letting the audience grapple with the implications. Performances are simply awesome from Matthew Macfadyen, Michael Sheen and Sian Clifford. And it's finely directed by Stephen Frears to dig far beneath the headlines and the period (including the fact that the notorious Who Wants to Be a Millionaire episode was taped the day before 9/11). It may not be the final word on the ongoing legal case, but it's thoughtful and provocative.

The Outsider

Murder mysteries aren't usually my thing, but this one stars the unmissable Ben Mendelsohn and Cynthia Erivo. It's also based on a Stephen King novel, so it's packed with flawed characters in a story that continually takes unexpected, horrifically incomprehensible turns. The snaky plot offers a clever slant on the monster-predator premise, which keeps it riveting even when the writing, direction and editing become a bit indulgent, deliberately making things far more confusing than they need to be. Thankfully the ace cast members create complex characters we can really root for, even amid some dark personal issues.

I Am Not Okay With This

There's a refreshingly snarky edge to this brisk comedy about a teen trying to work out a sense of who she is and how she's connected to the people around her. Sydney (Sophia Lillis) loves her best pal (Sofia Bryant) but instead finds herself in a relationship with a cute-dork neighbour (Wyatt Oleff). She's also discovering that she has some rather outrageous super powers. And she's afraid to tell anyone about any of this. The way the story develops has a wonderfully off-the-cuff sensibility, remaining carefully within the perspective of these messy teens, while referencing classics from The Breakfast Club to (ahem!) Carrie. Where it goes bodes well for a second season.

COME BACK

Ozark: series 2

Diving immediately into this family's intense life in southern Missouri, this show gets scarier with each episode. The key shift this season is the way Marty and Wendy (Jason Bateman and Laura Linney, better than ever) take their separate agendas to a whole new level, ultimately ending up in battle with each other even as they're pinched by both a nosey Fed and an escalating drug cartel war. It's beautifully written and played with complexity and intrigue. And the fabulous Julia Garner and Janet McTeer get to root around in their characters too. There's a tendency to over-egg the knotted plotlines, but don't worry: just relish how these people deal with the double-dealing.

The New Pope: series 2

Paolo Sorrentino continues the photogenic, surreal journey of Pope Pius XIII (played with wry glee by Jude Law), which began with 2016's The Young Pope. Having received a heart transplant from a Muslim, Pius lies in a coma, so after a riotous false start the Vatican cardinals appoint a new Pope (John Malkovich, no less). And just as he gets into his stride, Pius wakes up. The witty scripts swirl around issues of power and faith in wickedly clever ways, and the cast is excellent across the board. With flat-out spectacular imagery, Sorrentino has a terrific skill for bringing modern touches into this fusty world, playfully pointing out the difference between what the church is and what it should be. 

Sex Education: series 2

Carrying on from the moment it left off, this show might have improved by becoming even more unapologetic about its title topic. Instead, the usual TV prudeness seems to be creeping in, as the scripts feel oddly embarrassed about sex and sexuality while still being rather pleased with themselves for having the nerve to touch on hot potato ideas. Thankfully, the cast is still superb enough to bring the interaction to vivid life, with Asa Butterfield offering even more layers to Otis, and Gillian Anderson continually surprising us with Jean's droll straight-talking. The side characters are nicely developed much deeper as well, so let's hope the writers have the nerve to push them further.

The Trip to Greece: series 4

After Britain, Italy and Spain, Steve Coogan and Rob Brydon (with director Michael Winterbottom) find another sun-drenched corner of southern Europe to visit. This time the show has echoes of Ancient Greek history, myths and philosophy woven in among the improvisational goofiness, as the duo visits insanely delectable restaurants, picturesque locations and historical sites. The odd black-and-white mythological flashback feels a little out of place, as does some generally murky meta-plotting. This is echoed in how Coogan seems unusually downbeat all the way through this series, which adds a hint of moody darkness to his banter with Brydon.

Grace and Frankie: series 6

Jane Fonda and Lily Tomlin continue to find comedy gold as this sometimes daft show taps into properly meaningful issues without ever getting too serious. The chemistry between Fonda and Tomlin (and Martin Sheen and Sam Waterston) is a joy to watch, whether they're giggling or crying together, and everyone in the surrounding cast has also deepened their roles beyond initial stereotypes. Some of the plotting feels badly contrived, perhaps overreaching for such a cheerful little show. But the ideas, humour and emotion are consistently engaging, adding thoughtful topicality and emotional resonance to the laughter. Alas, next season is set to be the final one.

CATCH UP

Unbelievable

Simply stunning, this devastatingly powerful drama traces the case of a serial rapist through the eyes of two detectives (the towering duo of Merritt Wever and Toni Collette) and one extremely complex victim (a bravely nuanced Kaitlyn Dever). Based on true events, the show unfolds with bracing authenticity, taking an angle rarely explored in a crime series: namely, a purely female perspective that is nuanced through the eyes of various characters. And there isn't a moment that exploits or sensationalises the crime. So not only is this finely written and directed, engaging and intensely emotional, but it's also deeply, powerfully important.

The Kominsky Method: series 1-2

I watched the entire first series on a flight from London to Los Angeles, wondering why I'd never seen it before. Then when I got home, I binged the second season. Michael Douglas and Alan Arkin are on peak form as an ageing actor and his agent struggling to keep up with life in Hollywood, generally making their own problems worse in the process. The writing is often laugh-out-loud hilarious, with some properly astute touches, and the guest stars are a lot of fun too. Each episode is a joy to watch as it spirals around the edges of standard sitcom territory, adding smart observations into each scene. 

Castle Rock: series 2

With a plot that's only tangentially connected to the first season, this series ramps things up quite a bit. The dense storyline is much more action-packed and also rather less internally engaging. But the enjoyably mashed-up echoes of Stephen King's novels are still very clever, with the best connections being the subtlest ones. And the cast is excellent, anchored by Tim Robbins, Lizzy Caplan, Barkhad Abdi and Elise Fisher. So it's perhaps forgivable that the writing has a tendency to slip into simplistic hyper-violence rather than grappling with the intriguing themes that are gurgling loudly under the surface. 

GIVE UP

Avenue 5: A rare misfire from Armando Iannucci, this space-set comedy seems to continually miss the point of its own premise. Characters are enjoyably annoying, but all of them are loathesome. Even the gifted Hugh Laurie and Josh Gad can't make much of these idiots. Maybe it gets better, as it's been renewed for a second season. But no.

Kidding: Sorry, I recognise the genius of how this show is put together, and Jim Carrey's performance is seriously great (as are those from Catherine Keener, Judy Greer, Frank Langella). But the relentless sadness of the show just wore me out, and I simply couldn't get back into it when I started watching the second season.

NOW WATCHING: Little Fires Everywhere, Tales From the Loop, Outer Banks, Feel Good, Run, Dave, Homeland (8), One Day at a Time (4), Insecure (4), Killing Eve (3), What We Do in the Shadows (2).

COMING SOON: Hollywood, The Eddy, Space Force, Fargo (4), Star Trek Discovery (3), Dead to Me (2).