Screen: June TV Roundup

There have been some outstanding television programmes over the past couple of months, including a few that are likely to dominate the awards discussion over the next year. Yes, they were amid my nominations for this year's Dorian Awards (Golden Globes voting uses a different calendar). in this roundup, I'll start here with three new shows, then three final seasons and finally four returnees...

Half Man
From Baby Reindeer writer Richard Gadd, this is a staggeringly bold drama about the push and pull between two stepbrothers from Glasgow. Niall and Ruben are expertly played by Jamie Bell and Gadd himself, with star-making turns by Mitchell Robertson and Stuart Campbell as teens. But it's the unflinching nature of the writing that makes this show essential, taking a riveting look through at connection, masculinity and identity with mind-bogglingly layered situations. It's violent and harsh, but there's a real sense of affection woven into the badly strained nastiness. And this is a rare case in which editing the story out of sequence actually adds a proper kick, forcing us to pay attention. (BBC)

Big Mistakes
Created by Dan Levy and Rachel Sennott, this bonkers crime comedy centres around Levy's Pastor Nicky and his agent-of-chaos sister Morgan (Taylor Ortega), who gets them entangled with a mobster (Mark Ivanir). As things escalate, the plot feels increasingly silly, but it remains watchable simply because the cast is so strong. The ace card here is Laurie Metcalf as the siblings' mother, so self-absorbed with running for mayor that she hasn't a clue what's going on with them. The story has a freewheeling structure that easily carries us along through eight half-hour episodes. And these people are just about the right kind of ridiculous to make us want to see more of them. (Netflix)

Margo’s Got Money Troubles
Bold and full of intensely outrageous moments, this comedy centres around a family that has serious impulse control issues, but the deep and very messy love they have for each other is riveting to watch. Powerhouse performances bring these people to life, including Elle Fanning in the title role as a single mother who finds an inventive way to make ends meet, Michelle Pfeiffer as her spiky mother and Nick Offerman as her ex-wrestler, ex-addict dad. Plus extraordinary turns from Marcia Gay Harden, Greg Kinnear, Michael Angarano and especially Nicole Kidman. There's nothing simple about this show, but it's funny and bracingly honest about things most television programmes are terrified to touch. (Apple)

T H I S   I S   T H E   E N D

Hacks: series 5
With a steady stream of starry cameos, this comedy charges confidently through to its big finale with another series of episodes that mix snappy humour, entitled attitudes and warm emotion. Of course the entire show has been about the relationship between jaded veteran standup comic Deborah (the great Jean Smart) and her cynical young writing partner Ava (Hannah Einbinder), so it's nice that the storylines honed in on their interaction. Meanwhile, there was plenty of nuttiness from their agents (Paul Downs and Megan Stalter) and a flurry of side characters from throughout the seasons. It's so much fun we don't mind too much that the various plotlines all feel rather undercooked. (HBO)

Euphoria: series 3
Jumping ahead a few years, this season shifts from a teens-messing-around-with-drugs drama into intense crime thriller with young people trying to survive against very steep odds. Anchored around the seriously gifted Zendaya, who gives Rue a wonderfully textured soul, the show feels like it is pinging from one tragedy to the next, and it becomes clear that no one is going to escape writer-director Sam Levinson unscathed. Plot turns are astonishingly harsh, the violence is darkly haunting and the seediness is sometimes overpowering. But the actors are all on fire, especially Sydney Sweeney, Jacob Elordi, Colman Domingo, Maude Apatow, Adewale Akinnuoye-Agbaje and Alexa Demie (HBO) 

The Boys: series 5
Barging into its full-on final season, this raucously violent show sets up that long-anticipated final confrontation between Karl Urban's scabrous antihero Billy and Antony Star's supervillain Homelander. The true protagonist Hughie (Jack Quaid) also gets a personal arc with conflicted goodie Starlight (Erin Moriarty). And side characters have their own kicks, including favourites Frenchie and Kimiko (Tomer Capone and Karen Fukuhara), plus Jensen Ackles and Cameron Crovetti as Homelander's father and son, respectively. It's all as deliberately ugly and abrasive as always. Even with various requisite over-grisly endings, this is an astute, timely look at the true nature of power and heroism. (Prime)

B A C K   F O R   M O R E

The Four Seasons: series 2
Breezing through another eight episodes, this outrageously watchable show catches up with three couples over another year of joint holidays. This is pure joy distilled into a TV series. The dynamics both within and between the couples have shifted, largely due to Ginny's (Erika Henningsen) impending motherhood and Anne's (Kerri Kenney) lingering bitterness. And both Kate/Jack (Tina Fey/Will Forte) and Danny/Claude (Colman Domingo/Marco Calvani) have their own relationship issues. The first-rate cast excels at this engaging, fresh mix of comedy and drama. Notable flourishes include a flashback episode with Steve Carell, plus a trip to Italy that beautifully redefines Claude. (Netflix)

The Comeback: series 3
Lisa Kudrow's inventive comedy returns, following on from its 2005 and 2015 runs. It's also tackling another bracingly current industry issue, while catching up on the next chapter in the life of Kudrow's astonishingly nuanced alter-ego Valerie Cherish. This time, her manager (Dan Bucatinsky) lands her the lead role in a sitcom that's written by AI, creating mixed emotions: the cast and crew have jobs, but writers don't. Using dry humour, the topical discussion is cleverly woven into the fabric of the show, so it's more provocative and less flashy than, say, The Studio. And the ensemble is simply wonderful, in both new and returning roles. Andrew Scott is particularly strong as a slippery studio head. (HBO)

Scrubs: series 10
The hospital sitcom is back, after its nine-season run from 2001 to 2010, with its distinctive mix of fast-talking wit and heartwarming sentiment. Returning cast members Zach Braff, Sarah Chalke, Donald Faison and Judy Reyes are joined by Joel Kim Booster as a nemesis doctor and most enjoyably Vanessa Bayer as a hapless HR officer. And it works well because it shifts the leading characters from rookies into the veterans, now in charge of a new group of ridiculous but of course brilliant interns. What makes this entertaining is the lively writing, with rapid-fire banter, extended sight gags and rather a lot of very silly jokes that poke fun at things like masculinity and political correctness. (ABC)

Alpha Males [Machos Alfa]: series 5
Increasingly tangled in knots, this Spanish comedy continues to put its characters through the wringer as they attempt to grapple with the interplay between gender and society. At this point, the four men are on their own, planning a patriarchal commune away from women. But of course they are quietly breaking their own rules. Meanwhile, their exes are having their own journey, trying to build strong female lives while also continually blurring the lines. The actors are a bit more grounded this time around, which makes the rapid-fire storytelling feel marginally less inane. But the way it pings around between the various story threads is still rather exhausting. (Netflix)

GUILTY PLEASURES: Britain's Got Talent, The Traitors US, Race Across the World, Drag Race (UK vs the World 3, All Stars 11).

NOW WATCHING: Spider-Noir, Good Omens 3, Man on Fire, Maximum Pleasure Guaranteed, Widow's Bay.

COMING SOON: The Bear 5, Star Trek: Strange New Worlds 4, Sugar 2, The Vampire Lestat, Zorro, Heartstopper Forever.

Previous roundup: APRIL 2026 > 

Screen: June TV Roundup

It's astonishing how much TV you can watch if you just slot in episodes in between doing other things. I'm astonished that I got through all of these shows in the past two months or so. Because I vote in a few TV awards, this is the season when everyone is sending me links to watch their shows and consider them for votes. This allows me to get ahead on several series, although it's impossible to watch everything. Or to even watch everything I want to see. Let's start here with the dramas...

Ripley 
Steve Zaillian takes a highly stylised approach to this adaptation of Patricia Highsmith's iconic novels, writing and directing in a way that evokes 1950s-era Hitchcock. It's moody and gorgeous, even if it sometimes feels mannered and forced. And Andrew Scott's central performance as the opportunistic, conscience-free Ripley is utterly riveting from start to finish, often chilling in the way it sidesteps expected emotions. Supporting performances (including Dakota Fanning, Johnny Flynn and a superb John Malkovich cameo) also ripple with intrigue, while cinematographer Robert Elswit gives the Italian settings a monochromatic beauty. (Netflix)

Bridgerton: series 3
Things turn steamy very quickly, as Colin (Luke Newton) returns to London as a sweaty, hairy muscle hunk at odds with his former best pal Penelope (Nicola Coughlan). Romcom rules make it clear that these two will work out their differences, and they do so in an intensely entertaining, sexy way. Meanwhile, there are several more hugely engaging storylines swirling around, including more for siblings Eloise (a scene-stealing Claudia Jessie) and Benedict (Luke Thompson), which bodes well for future seasons. This is one of the most delightful guilty pleasures streaming anywhere. It's impossible not to binge the episodes the moment they land. (Netflix)

True Detective - Night Country: series 4
Jodie Foster is riveting in this fascinating anthology thriller, which this season includes hints of supernatural intrigue. This tale ripples beautifully, and very darkly, with the local politics and folklore in rural Alaska, set during the winter when the sun only barely peaks over the horizon. And the murder mystery at the heart of the show is both horrific and infused with an intriguing dose of magical realism. It's also filmed with some astonishingly outrageous visual flourishes, adding both picturesque and seriously grotesque moments. Superb costars include Kali Reis as a haunted local cop and the great Fiona Shaw as a rather otherworldly loner. (HBO)

Baby Reindeer
Cleverly mixing comedy into the darkest of dramas, this series is based on the life of writer and lead actor Richard Gadd, who boldly bares his soul while reliving a seriously harrowing series of experiences. He plays an aspiring comic who becomes the target of a relentless stalker (Jessica Gunning), a situation exacerbated by a previous sexual assault. The fact that he has written about this stirs controversy, but also makes the story even more honest and important than expected. So where these events go is staggeringly intense, and also so skilfully written and played that it's movingly cathartic. Essential. (Netflix)

Star Trek - Discovery: series 5
This final season unfolds with an limited series-style plot around which the excellent ensemble of actors gets to play out their own personal journeys, led by the superb Sonequa Martin-Green and David Ajala, plus terrific new crew member Callum Keith Rennie. There seems to be even more technical mumbo jumbo than before, and the plotting feels very corny, sending the crew on an implausible scavenger hunt leading to a mind-boggling tech, with scary baddies on their tail. Plus rather a lot of series-finale sentimentality. But it's easy to put that clunky writing aside because the characters and relationships are so strong. (Paramount)

Eric
With a deliberately twisty script by Abi Morgan, this missing-child thriller cleverly uses a children's TV show to add imaginative touches, including the title character, a man-sized monster puppet. Set in 1985 New York, it stars a seriously committed Benedict Cumberbatch as puppeteer Vincent, whose young son (Ivan Morris Howe) disappears, the final fracture in Vincent's marriage to Cassie (the superb Gaby Hoffman). But the best story thread involves the investigating detective beautifully played by McKinley Belcher III. With inventively detailed production design and salient social themes, the story is gripping even if it's naggingly over-controlled. (Netflix)

A Gentleman in Moscow
Ewan McGregor oozes charm in this gently amusing drama that spans the decades of the Soviet Union, as an aristocrat is spared the firing squad during the Russian Revolution due to his connection with a pro-communist poem. So he is instead placed under house arrest in a grand olde-worlde hotel. Over the years he befriends a young girl then becomes surrogate father to her daughter. He also has a decades-long fling with a sexy actress (played by McGregor's wife Mary Elizabeth Winstead). It all feels rather fable-like, but it's lavishly produced and warmly engaging. And there's a nice mix of earthy realism and dreamy wistfulness. (Showtime)

Supersex
Sadly not as controversial as the internet outrage suggests, this series is less explicit than most, timidly shot through a disturbingly misogynistic perspective: women are naked objects, men are carefully concealed heroes. "Loosely based" on Italian pornstar Rocco Siffredi, it's skilfully produced to recreate the 1970s and 80s, and the actors are solid, particularly Alessandro Borghi as Rocco and Adriano Gianni as his thug brother Tommaso. Among the women, only Jasmine Trinca's vivid Lucia registers. But for a show about sex, it's never actually sexy, there are no likeable characters, and a current of homophobia runs through everything. (Netflix)

J U S T   F O R   L A U G H S

Hacks: series 3
Blisteringly well played by Jean Smart and Hannah Einbinder, this comedy continues to push barriers with its story about ambition and creativity in show business. As Smart's established comic Deborah Vance pursues her dream of hosting a late night talk show, her relationship with Einbinder's writer Ava is stretched in ways neither of them expect. Episodes layer in fascinating details at every turn, even if some plot points feel a bit stale (such as Ava discovering what she thinks is an engagement ring in her girlfriend's things). But expanded roles for Deborah's family members add texture, as do starry cameos. And the performances are unstoppable. (Max)

Dead Boy Detectives
There's a nicely sparky tone to this offbeat series, which offers a mystery per week for likeable British teens Edwin and Charles (George Rexstrew and Jayden Revri), who died some 70 years apart and have chosen to remain on Earth as supernatural problem-solvers. The over-arching story is more than a little annoying, trapping the boys in the Pacific Northwest as two comically vile villains (Ruth Connell's Night Nurse and Jenn Lyon's witch Esther) send things nonsensically spiralling. But there are terrific side roles for Lukas Gage and Michael Beach, and some clever touches and themes amid the silliness. (Netflix)

Loot: series 2
Maya Rudolph is terrific in this show about an obscenely wealthy divorcee who is trying to devote her life to something more important through her charity foundation. But she also still enjoys living the very high life. Michaela Jae Rodriguez is excellent as the head of the charity, and their evolving relationship adds some bite to this season, as do expanded journeys for fabulous costars Joel Kim Booster, Ron Funches and Nat Faxon. There's a guilty pleasure element to this show, watching people spend absurd money in an attempt to do the right thing. And some new characters add additional spark, and a lot of laughs, this season. (Apple)

Palm Royale
Sudsy enough to hold the interest, this show is rather frustrating because its central character, Kristin Wiig's Maxine, is so oddly unlikeable. This isn't Wiig's fault; it's the premise itself. We never root for her to triumph in her pointless goal to surmount the social strata in 1969 Palm Beach, using the pedigree of her hapless husband (Josh Lucas) to try to establish her status. We're far more interested in Allison Janney's imperious queen bee, Laura Dern's new age dropout and especially Carol Burnett, who is awesome even when her nutty diva is in a coma. Even Ricky Martin, surprisingly solid as a snarky muscled pool boy, is far more engaging. (Apple)

Acapulco: series 3
Past and present finally collide this season as Maximo (Eugenio Derbez) returns to Mexico with his nephew (Raphael Alejandro), becoming part of the story rather than just bookending it with his narration. There are still flashbacks to the hilariously pink-hued 1980s with young Maximo (Enrique Arrizon) and his lively cohorts, who get up to all kinds of surprisingly complex antics. But this time there is also a much stronger connection with the present day, as plot threads hinge on various revelations that echo through the decades, and we get to see where several of these people end up. It's still a lot of fun, but with a bit more subtext than before. (Apple)

The Big Door Prize: series 2
After the frustratingly vague first season, this show thankfully gains a sense of momentum, with more nuance in the characters and their messy relationships, including some engaging ambiguity. It also feels a lot funnier, as connections between these people have ramped up due to additional discoveries about who they are and who they should become, thanks to this odd fortune-telling machine that throws their lives into chaos. It's a bit cartoonish, but Chris O'Dowd, Gabrielle Dennis, Sammy Fourlas, Djouliet Amara and Josh Segarra continue to shine in the ensemble cast, creating roles that are witty, complex and intriguingly sympathetic. (Apple) 

Abbott Elementary: series 3
A steelier edge kicks off this season with some unexpected textures. It's still relentlessly silly, using that same deadpan camera stare far, far too much. Even if the writers give up on the idea, there are intriguing layers of politics as Janine (Quinta Brunson) is working for the district, complicating her relationships with colleagues who are still struggling with budget cuts in this scrappy little state school. Janine's will-they-won't-they romance with Gregory (Tyler James Williams) is still eye-rollingly farcical. While Sheryl Lee Ralph continues to steal the show as the no-nonsense Barbara, and Janelle James' narcissistic principal gets funnier each season. (ABC)

The Conners: series 6
It seems like this show can simply run forever, with characters aging as their children and grandchildren face new issues in new times. Even back when this was called Roseanne (1988-2018), the generational comedy gave the show its kick, finding as much entertainment in old people moaning as in kids facing their own obstacles. John Goodman, Laurie Metcalf, Sara Gilbert and Alicia Goranson are as strong as ever. And the wider variety of characters allow writers to take on themes without contriving too much. As always, the show presents recognisable realities and absurdities of present-day life without preaching, even if the points are clear. (ABC)

Night Court: series 2
While the scripts for this relaunched legacy series (1984-1992) are relentlessly goofy and a bit too quick to catch, the cast is bright enough to make it entertaining, often acknowledging the absurdity of the show's over-written and deliberately dopey sense of humour. The ensemble is ably led by the likeably offbeat Melissa Rauch and John Larrouquette. And the show makes terrific use of the night court setting, with a continuous parade of nutty guest characters. It's a bit frustrating that there isn't much going on under the surface to hold the interest and make us care about these people, but it keeps us smiling. (NBC)

R E A L   L I F E   V I B E S

Steve! (Martin): A Documentary in 2 Pieces
Thoroughly entertaining, this two-part biographical doc is packed with fantastic clips from this iconic star's singular career. It's fun to be reminded of the many highs, and even his lows (like Pennies From Heaven) are significant artistic achievements. The first part explores his years as a groundbreaking writer and stand-up, leading into scene-stealing appearances on Saturday Night Live and classic comedy films. The second half looks at his more serious side, along with his interest in art, writing, his personal life and now Only Murders in the Building. It's bracingly honest and features a range of terrific interviewees. A must-see for fans. (Apple)

Jerrod Carmichael Reality Show
In everything he has done, Carmichael has found laughs alongside sharp commentary about larger issues. And now that he's so dramatically come out of the closet, this approach takes on a whole new range of topicality in this hybrid series, which combines fly-on-the-wall reality moments with confessional stand-up routines based on his experiences. Each brief episode is packed with moments that are breathtakingly honest, as Carmichael delves into both his past and the things he wants to improve about his behaviour. In other words, he is putting himself on-camera in a way that's astonishingly raw, hugely engaging and powerfully important. (Max)

I GIVE UP: The French series Fiasco has a great idea, set around a film production that goes wildly off the rails, plus an ace cast (including Pierre Niney and Francois Civil) and enjoyably full-on production values. But the writing is just too inane. As the show strained for laughs, I was exhausted after two episodes. (Netflix)

GUILTY PLEASURES: Britain's Got Talent (17), Drag Race UK vs the World (2), Selling the OC (3), The Circle (6).

NOW WATCHING: The Big Cigar, Expats, Fantasmas, The Regime, The Sympathizer, Sugar.

COMING SOON: The Acolyte, The Boys (4), Presumed Innocent, The Bear (3), That 90s Show (2), Sausage Party: Foodtopia, Lady in the Lake, Snowpiercer (4), Time Bandits.

Previous roundup: APRIL 2024 >