Critical Week: Dance the night away

It's been another relatively quiet week for me at the cinema, as I have spent most of my time organising the London Critics' Circle Film Awards – we're holding our 45th ceremony on Sunday night, and there's rather a lot to do to prepare for the starry evening. It's always an unusually intimate, relaxed awards show, with A-listers mixing with rising stars and of course the critics themselves. Highlights will be giving special awards to Daniel Craig and Zoe Saldaña. The afterparty will be great fun.

BEST OUT THIS WEEK:
No Other Land
Saturday Night • Hard Truths
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So I only had time to watch a couple of movies. There was the goofy romcom You're Cordially Invited with Reese Witherspoon and Will Ferrell, funny enough to be entertaining, but nothing special. And the blackly comical thriller Companion is smart and inventive, with terrific central performances from an ensemble cast that includes Sophie Thatcher and Jack Quaid. I attended a rather fabulous big-screen preview of the Disney+ TV series Paradise, attended by James Marsden, Sterling K Brown and Julianne Nicholson. And there was also a theatre press night, with the dark comedy The Gift at the Park Theatre.

This coming week, I'll be catching up with Renee Zellweger, who's back for Bridget Jones: Mad About the Boy, Ryan Destiny in The Fire Inside and Francois Ozon's dark drama When Autumn Falls. There's also the press night for Antigone (On Strike) at the Park Theatre.

Screen: January TV Roundup

Extra television was required this autumn to prepare for casting my TV ballots in the 81st Golden Globes. But it's just impossible to catch everything. Still, I'd seen most nominees in each category before I cast my final-round votes, then cheered The Bear, Succession and Beef to victory on Sunday night. Here's what I've been watching over the past four months, starting with nine new series. Or in the first case, new-ish...

Frasier
Kelsey Grammer slips effortlessly back into his iconic role for a third time, still seeming like a man living in the wrong place and time, and loving it despite the constant annoyances. This reworking is more of a standard sitcom than the 1993-2004 iteration, with the usual collection of offbeat characters and predictable tensions. So that Niles-Frasier dynamic feels sorely lacking. That said, these people definitely grow on us. And it's the funniest new comedy in years, a rare show that can make us laugh out loud. (Paramount) 

Fellow Travelers
Lavishly and boldly assembled, this drama traces several decades in American politics through the prism of homophobia and fear, most notably in the 1950s McCarthy hearings. An epic romance is recounted in fragmented snippets that prevent the viewer from properly engaging with the narrative's emotional momentum, but individual scenes are gorgeously written and played, and various story arcs carry strong emotional wallops. Matt Bomer and Jonathan Bailey have wonderfully prickly chemistry in the central roles. (HBO)

Lessons in Chemistry
First-rate production values and excellent performances add both weight and depth to this 1950s drama, which takes a specific look at the often cruel suppression of women in American society. The story centres on ace scientist Elizabeth (a superb Brie Larson), a survivor of abuse who finds herself increasingly marginalised despite her brilliant mind. Strong performances from Lewis Pullman (as her colleague and romantic foil) and Aja Naomi King (as an intrepid neighbour) add terrific textures. (Apple)

The Brothers Sun
Michelle Yeoh storms the small screen as the mother of siblings (Justin Chien and Sam Song Li) who haven't seen each other in decades. One stayed in Taipei with their Triad boss dad (Johnny Kou) and became a killer, while the other moved with mum to Los Angeles and became "soft". The spiralling interaction within this family, plus a range of terrific side roles, makes this show worth a look, while the violence that surrounds them erupts in fiercely well-staged action sequences. It's a lot of fun, and keeps us on our toes. (Netflix)

Gen V
This spin-off from The Boys has a sparky young cast and a driving sense of momentum, plus the same intensely hyper-violent touches and gimmicky sexual shenanigans. The fresh-faced cast is likeable, even as their super-powered university student characters rocket through a series of outrageous situations while uncovering and trying to expose a massive conspiracy involving a shady cabal that is exploiting all of them. Ultimately, it's a bit of nasty nonsense that folds itself back into The Boys. (Prime)

Blue Eye Samurai
Beautiful manga-style animation brings this epic-legend series to life, with hour-long episodes that feel rather ambitious, but also textured and satisfying. Set in 17th century Japan, when being foreign was illegal, the story sends a young samurai who is half-European (thus the blue eyes) on a very personal quest. Secrets abound throughout the narrative, which unfolds with a wonderful series of unexpected adventures and relationships and lots of underlying secrets. And the characters have complexity and charm. (Netflix)

Still Up 
This sitcom is about an insomniac and her agoraphobic male pal who are never in the same room. Both are insufferable, difficult to like as they communicate by video chat. Thankfully, Lisa and Danny are brightly well-played by Antonia Thomas and Craig Roberts. But their misadventures feel contrived, as does how the story pushes them together. Along the way, they constantly poke fun at Lisa's partner (Blake Harrison), the show's most engaging character who's ridiculed for his humanity and sense of responsibility. Hmmm. (Apple)

Tore 
From Sweden, this is a pitch-black comedy that isn't afraid to get very grim indeed, as the young title character (William Spetz) grapples with both his sexuality and his grief. This makes it often tough to watch, as Tore isn't particularly likeable, because he acts without thinking about anyone, even himself. But it's fascinating to watch as his experiences push and pull him in various directions, shifting his perspective and trajectory. And Spetz delivers an astonishingly brave performance in a wonderfully messy role. (Netflix)

Escort Boys
Corny title aside, this French series has an intriguing premise that could serve as a fascinating exploration of masculinity. Alas, the story is told through a resolutely male gaze, with characters who are unflinchingly macho. It's about a teen girl who, to save the family farm, creates a stable of escorts with her brother and friends. The setting, in a part of France that looks like the Australian Outback, is gorgeous. While the obvious female themes are here, issues of sexuality only timidly emerge in the final two episodes. (Prime)

A   F I N A L   B O W

The Crown: series 6 
This final season's first half builds to the death of Princess Diana (the fantastic Elizabeth Debicki) and her seismic influence on the royal family and the world. Then the show returns to the Queen (Imelda Staunton), Prince Philip (Jonathan Pryce), Princess Margaret (Lesley Manville), Prince Charles (Dominic West) and his sons., tying up loose narrative loose ends. As always, this is impeccably produced, with first-rate acting in complex roles. And as it inventively blends fact with fiction, it needs to be taken with a grain of salt. (Netflix)

A N O T H E R   H E L P I N G

The Morning Show: series 3 
Far soapier than previous seasons, this show slows its momentum while diffusing the plot among various improbable character threads. Topicality remains strong enough to hold the interest, especially with powerhouse actors like Jennifer Aniston, Reese Witherspoon, Billy Crudup, Greta Lee and Julianna Margulies. It may not be as brisk, bold and nimble as the first season, but it's a rare show that takes on big issues relating to show business. And Jon Hamm has some nasty fun a the Musk-like tech baron on a mission. (Apple)

The Tourist:
series 2
Jamie Dornan and Danielle Macdonald continue the adventures of the amnesiac Irishman, leaving the Australian Outback for Ireland and a new barrage of kidnappings, attacks and mayhem. It turns out that Elliot is actually scion of the Cassidy mob, and he reignites the feud with the rival McDonnell family. The twists and turns are fun, violent but gleefully played with tongue in cheek. While some of the random sideroads feel a bit annoying, the great Olwen Fouere is fabulously formidable as Elliot's no-nonsense mother. (BBC)

Upload: series 3
This show's plottiness increases once again, and the exhausting convolutions distract from the more entertaining relationships and sci-fi nuttiness. As the central premise splinters to follow other characters, Robbie Amell's Nathan is doubled as well, creating two main storylines while further beefing up supporting roles for leading ladies Andy Allo and Allegra Edwards, as well as Owen Daniel (as the entire afterlife hotel staff). This is a guilty pleasure, offering fun while never grappling with deeper ideas in the premise. (Prime)

Our Flag Means Death: series 2 
Adding some terrific new characters and spiralling adventure chaos, this pirate ship comedy charges confidently into its second season. It's hilarious to watch events continually rocket off in new directions, as the characters struggle to make sense of each new situation. This season starts off sparky and silly, then get a bit murky with lots of flashback-induced soul-searching. So the final few episodes feel a little meandering and corny. But the way the show continually punctures masculinity is fiendishly clever. (Max)

Elite: series 7
Madrid's party/murder school is back in session, with traumatised ex-student Omar (Omar Ayuso) now on staff while his new boyfriend (Fernando Lindez) is a student, improbably funded by last year's multiple-tragedy victim Ivan (Andre Lamoglia) then launching into an awkward love triangle. There's a feeling like the stakes have been raised, most notably with the aggressive police, who are seen illegally wiretapping teens and violently evicting homeless kids from a shelter. But several vanished characters are sorely missed. (Netflix)

I   G I V E   U P

Loki: series 2 
Rocketing back into its time-travelling, parallel universe mayhem, this show is far too pleased with its own impenetrable mythology to allow the viewer in. Tom Hiddleston and Owen Wilson have terrific chemistry, plus the great Ke Huy Quan, but it's swamped by overwrought production values and badly overwritten dialog. I tried to just sit back and have some fun with this, but lost the will to live by episode 3. (Disney) 

NOW WATCHING: Fargo (5), The Traitors (2), Invincible (2), Open To It.

COMING SOON: Expats, Feud: Capote vs the Swans, Mr & Mrs Smith, Sexy Beast, The Woman in the Wall, The New Look, Players, Abbott Elementary (3), True Detective: Night Country (4), The Conners (6), Queer Eye (8).

Previous roundup: OCTOBER 2023 > 

Screen: December TV Roundup

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

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

Nine Perfect Strangers

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

Acapulco

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

The Big Leap

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

Invasion

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

Mr Corman 

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

B A C K   F O R   M O R E

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

The Morning Show: series 2 

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

The Other Two: series 2

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

Love Life: series 2

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

Succession: series 3

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

Sex Education: series 3 

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

What We Do in the Shadows: series 3 

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

Brooklyn Nine-Nine: series 8

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

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

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

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

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

Screen: Summer TV Roundup Part 1

Because of these extraordinary times, I've watched rather a lot more series television than usual in between the movies I'm reviewing (obviously, I can't cover theatre or dance these days). So I'm dividing my Summer TV Roundup into two parts. It seems like there's no end of new series popping up involving some serious talent both in front of and behind the cameras. As a result, there are still several intriguing shows on my to-do list, rather like how that pile of books to read just keeps growing...

SOMETHING NEW 

Hollywood

Set in the mid-1940s, this fabulously produced drama roots its story in several little-known facts and then stirs in some fictional twists, until it explodes into a riotously entertaining fantasy in the final episode. The point is very strong: what would have happened if studio moguls had stood up for what was right way back then instead of cowering in the closet? The cast is simply awesome, anchored by by the glorious Patti LuPone and Holland Taylor, plus scene-stealing turns from Jim Parsons and Rob Reiner and a solid cast of newcomers. And not only is it a great "what if" but it also makes us wonder if we're there yet. 

The Great

From The Favourite screenwriter Tony McNamara comes another bawdy historical romp, this time centring on Catherine the Great (Elle Fanning) and her stormy marriage to Emperor Peter (Nicholas Hoult). This witty approach would be much more engaging in half-hour increments; these hour-long episodes feel rather over-extended. But the dialog sizzles with wit and insight into bigger themes about politics, gender and power. And it also offers a wry slant on real historical events that brings them to life, sometimes in exhilaratingly funny ways. Some of the crudity is a little tiresome, and the rampant sex feels oddly timid, but the cast is excellent across the board. And the production design is fabulous.

Run

There's an underlying nastiness to the premise of this adventure comedy, about two people who escape from their established lives based on a promise made 15 years earlier. Merritt Wever and Domhnall Gleeson are good enough in the central roles to earn our sympathies, but the plotting is too gimmicky for its own good, constantly throwing in contrived obstacles, unnecessarily violent twists and gaping inconsistencies in the plot and characterisations. This means that the show never gets the chance to explore the much more intriguing central idea about dissatisfaction or the yearning for past simplicity.

Never Have I Ever

Gorgeously written, this teen comedy gets under the skin of its characters in a way that pulls the audience right into the hilariously soapy situations. There are layers of meaning here, including clever explorations of ethnicity, gender and sexuality. So even if the entire show feels a bit coy and gimmicky, it helps that the characters are realistically unpredictable, likeable even as they do all the wrong things for all the wrong reasons. The cast is terrific across the board, anchored by Maitreyi Ramakrishnan as the enjoyably hapless Devi, who muddles her relationships with everyone around her but has a darkly emotive centre.

The Eddy

Damien Chazelle combines his love of jazz with an edgy, verite style of filmmaking for this dramatic musical about the trials of running a groovy nightclub in Paris. The dark tone is a little much for a series, but the music has a loose energy, even if spontaneous jam sessions feel oddly contrived. The cast is excellent, including superb performers like Andre Holland, Amandla Steinberg, Leila Bekhti, Joanna Kulig and (far too little of) Tahar Rahim, but none of the characters are sympathetic, and they're so deliberately awful that they're not hugely believable either. The strong production values kept me watching, but I wouldn't want to spend any more time with these people

Upload

There's a dopey-sexy charm to this high-concept comedy anchored by the hugely likeable Robbie Amell, whose character dies young in 2033 and is uploaded into a virtual afterlife. He can keep in touch with the living world, including his high-maintenance fiancee (Allegra Edwards), who is paying the bills so controls his experience, and his clever-hot upload assistant Nora (Andy Allo), with whom he's falling in love, of course. There's nothing terribly smart about this show, and it never even tries to grapple with issues like mortality or regret. But it's packed with witty gags, great side characters and irresistible emotions. Looking forward to the next season.

Little Fires Everywhere

This insidious drama gets under the skin with its suggestive plotting, and since it takes until about the fifth episode to give anything away, the audience is hooked. The way the shows jumps around in time is very awkward, and the tone feels just a wee bit overwrought. But the cast is terrific, adults and teens alike, led by the adept Reese Witherspoon and Kerry Washington, who rise above their rather typecast roles. So it feels like a shame that the plot felt so obvious and predictable, even though the writers kept trying to throw us off the scent.

Dave

What starts as a rather silly stoner comedy, cleverly deepens into something far more interesting, with astonishing undercurrents that say powerful things about friendships, personal ambition and the surprising nature of raw talent. The series hits its stride in the seventh episode, taking on mental illness before delving into some properly pungent internalised issues about what it takes to become a star. And the final three episodes are simply genius. Dave Burd and his crew are terrific in the roles, plus some fabulous guest stars. It's rare to see a show that's unafraid to be both ridiculous and unapologetically complex at the same time. A must-see.

CARRYING ON

Dead to Me: series 2

Christina Applegate and Linda Cardellini are back for more chaotic black comedy as two women who are inexorably linked by a bond of friendship that's entangled with death and murder. Resurrecting James Marsden as the hitherto unknown identical twin brother of the season one villain/victim makes this show feel like a full-on soap opera. Which is of course entertaining, even though there's not much to it. It may be thoroughly ridiculous, hinging on a series of ludicrous coincidences, but the ongoing messiness of the characters and the way they are increasingly intertwined is enjoyable. And the actors manage to add clever subtext.

The Conners: series 2b

There aren't many shows that are tapping into the current zeitgeist as adeptly as this does, poking gentle fun at everyday annoyances linked to much more profound truths about how the current global economy and right-wing governments are crushing the working class. There are quiet comments on immigration, social services, entrepreneurialism, ageing and pop culture scattered among these terrific characters, finely performed across the board (just give Laurie Metcalf all the Emmys). And the way the storylines continually catch reality is both entertaining and brave.

Insecure: series 4

I've had problems with this show from the start. I keep watching because of the terrific cast, but the characters just get more and more self-absorbed, with increasingly insulting storylines. This doesn't serve any of the actors well, because it's just too pushy and contrived for the characters to engage with the audience. It's odd that Issa Rae writes this herself, undermining her own character's integrity (and wasting the terrific Jay Ellis in the process). Although other side roles fare better. And the way it's structured to stretch out plot strands over multiple seasons is cynical and annoying. I give up.

WAVING FAREWELL 

Bless this Mess: series 2b

Essentially a ridiculous updating of Green Acres, this is the kind of show I would never stick with if it weren't for the actors in it. They manage to not only deliver hilarious comical performances, but are continuing to deepen their characters even as the show seems unable to figure out where it's heading. There are moments when Lake Bell and Dax Shepard seem to tap into something genuinely funny and relevant, but most scenes opt for the dumb gag rather than the smart one. Thankfully, there are sharp jokes too, but not enough to make me miss it now that it's been cancelled. 

Homeland: series 8

Claire Danes returned for one last hurrah as the brilliant but unstable Carrie in this tightly scripted final season. Cleverly highlighting how the world has changed since this show premiered, the drama is intense, as are the beautifully staged action sequences. And the writers clearly didn't feel constrained to play it safe. Both Danes and Mandy Patinkin are as excellent as ever, surrounded by a terrific supporting cast creating characters with their own stories and interests. So even as the narrative goes way off the rails in the final two episodes, with an implausible lapse for Carrie herself, what this show is dealing with gets more and more urgent, as does what it says about today's global political issues. 

Will & Grace: series 11

After its original eight-year run, this classic sitcom returned 12 years later for three more seasons, leading up to another series finale. It's a shame that the show's creators didn't use these three new series to push things further, or develop the characters in interesting directions. The comedy is amiably entertaining, but it's always far more mindless than the writers think it is. And while there are some great gags (as always for Megan Mullally and Sean Hayes), there were some excruciating bits too, including a bizarrely simplistic I Love Lucy homage. The ending is a bit happier and more open-handed this time, but once again it kind of missed the point.

CATCHING UP

Kim's Convenience: series 1-2

I've only watched two of four seasons so far, but I'm enjoying this show's askance approach to the usual sitcom about a mother, father and two grown kids. There's plenty to like about this show, including its dry humour and spiky interaction. That they're Korean Christians living in Toronto adds amusingly unexpected textures to the show, as do some intriguing wrinkles in their interaction. Although it's a bit of a problem that Paul Sun-Hyung Lee's Appa is simply too mean and self-absorbed to be likeable, even though he's skilfully played for laughs.

Elite: series 1-3

From Spain, this sexy-dopey high school soap is a guilty pleasure largely because of the beautiful, talented 25-year-old actors who play teens at a posh private school where each day seems to consist of an exam, a party and some blackmail. Plots also include murders and other violent nastiness, as the kids treat each other horribly. The first series had a lively vibe, while the second was dark and ugly, and the third continued with contrived, increasingly angry storylines to a gruesome climax and extended emotional finale. But it definitely has its moments, so I'm glad there's more to come.

The House of Flowers: series 1-3

This Mexican soap starts as a snappy-smutty comedy and morphs into a flailing comedy-melodrama about a messy upper-class family. By the middle of the second season, each character has given into his or her most idiotic personality traits, while the clumsy plots become increasingly corny (including a doomsday cult and TV talent competition). And in the third season, the timeline splits, crosscutting with the youthful antics of the older generation in the late-70s while neglecting the core cast. Most of these people are nasty and/or stupid, but they do manage to hold the interest. 

NOW WATCHING: Normal People, Mrs America, Snowpiercer, The Plot Against America, What We Do in the Shadows (2), Killing Eve (3), Kim's Convenience (3-4).

COMING SOON: Love Victor, Space Force, Messiah, I Know This Much Is True, A Series of Light, The Umbrella Academy (2), Queer Eye (5).