Screen: September TV Roundup

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

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

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

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

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

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

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

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

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

M O R E    M O R E    M O R E

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

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

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

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

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

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

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

Screen: July TV Roundup

With the glut of TV shows, and some extra time to try to catch up with things, I'm making these TV Roundups monthly from here on. As always, I find watching an episode or three a brain-cooling tonic after a film screening, so I prefer comedies of course. But a great drama works too. There were some terrific ones over the past two months...

LOVE AND LAUGHTER

Normal People

From Ireland, this half-hour drama has a visceral realism to it, which is one of director Lenny Abrahamson's strong suits. It's also resolutely mopey and overserious, which makes it difficult to get into. But sticking with it is rewarding, as it traces an on-off relationship from school days into young adulthood, touching on some enormous issues along the way. The point, of course, is that the word "normal" doesn't mean what we like to think it means. Everyone has deep issues that alter their lives in unexpected ways. And this couple is so beautifully played by Daisy Edgar-Jones and Paul Mescal that both have deservedly become global stars as a result of this quiet, introspective series. (BBC)

Love, Victor

A spin-off from the film Love, Simon, this series takes the same super-soft approach to a teen's coming out. Michael Cimino is cute in the title role, a character who is very easy to root for as, instead of coming out as gay, he opts for the easy route of having a girlfriend, which is much more acceptable to his religious Latina family. Ana Ortiz and James Martinez are terrific as his parents, but the show's scene-stealers are Isabelle Ferreira as his surly sister Pilar and Anthony Turpel as his goofy new pal Felix. The show is full of great moments, and some complex interaction. But like the film it's a bit too gentle for its own good. (Hulu)

Space Force

There's a great idea behind this show, but the writers oddly hedged back from making it a full-on sitcom, instead giving it the tone of a drama with amusing humour woven through it. There are a lot of funny things and silly characters, but the script never quite breaks through with either a laugh-out-loud joke or pointed satire. Steve Carell is likeable as always, playing it straight as the head of the new military branch, but John Malkovich steals every scene from him. Meanwhile, Lisa Kudrow is oddly wasted. It's engaging enough to keep watching (it's better than the similarly underpowered The Orville or Avenue 5), but the premise cries out for more edge than this tepid treatment. (Netflix)

Staged

Set during lockdown, this knowing sitcom features Michael Sheen and David Tennant as exaggerated versions of themselves as they decide to rehearse a play, Six Characters in Search of an Author, so they're ready to go on stage when theatres reopen. It's sharply written and played, peppered with hilarious gags about life in the covid era as well as witty waves of insecurity and arrogance. Both actors are superb, playing on their public personae, the rivalry between Wales and Scotland and little power games. Their wives pop in from time to time, pointedly, as does their director Simon Evans and shameless scene-stealers like Samuel L Jackson and National Treasure Judi Dench. (BBC)

Everything's Gonna
Be Okay

Josh Thomas is likeably hapless (see also his earlier sitcom Please Like Me), but he certainly shouldn't be trying to get away with playing a guy in his mid-20s anymore: he's 33 and looks it. Still, the show has a nicely unhinged premise, as his lively character assumes guardianship of his two teen half-sisters after their father dies. The ensuing antics refreshingly steer clear of the usual TV cliches, giving the comedy, drama, emotion and sexuality a real-life jolt that's both topical and never predictable. It's all rather brittle and sometimes squirm-inducing, but there's a sweet undercurrent to all of it. (Freeform)

SERIOUS STUFF

Love Life

Anna Kendrick is terrific in this intriguing series, which explores her character's romantic life from high school until she meets her true love. Terrific support from Jin Ha, Nick Thune, Scoot McNairy and the always awesome Hope Davis adds intriguing textures to each episode, as does the gorgeous voice of Lesley Manville as the omniscient narrator. It's packed with clever ideas and powerful moments, although the overall series feels a bit over-constructed, and one episode is completely superfluous. And as it slides through the years, it's like a more obvious American variation on Normal People. (HBO)

Mrs America

Cate Blanchett is a force of nature as the terrifying Phyllis Schlafly, the fiercely independent woman who inexplicably squashed the Equal Rights Amendment in the 1970s and essentially created the "family values" movement that still holds sway with right-wing evangelicals. Blanchett's Schlafly is so iconic in this fiendishly well-produced series that the supporting cast almost fades into the background, including the equally majestic Tracey Ullman (as Betty Friedan), Rose Byrne (as Gloria Steinem) and Margo Martindale (as Bella Abzug). This is a riveting look at an early clash between politics and populism that still resonates strongly today. (HBO)

Dispatches From Elsewhere

Adapted from the documentary The Institute, this show has a surreal, Gondry-esque approach with eye-catching in-camera effects and characters who continually reveal added details (including animated backstories). It's a little loose and rambling, making a very obvious point about how people thrive through connecting with each other and taking on challenges. But the deliberately too-clever scripts are nicely written to draw us into the intrigue, and the cast is wondrous (including Richard E Grant, Sally Field and series creator Jason Segel). The problem is that it's not easy to care, especially as the show crawls up inside itself. (AMC)

Tales From the Loop

With eight stand-alone but interlinked episodes, this series paints a fascinating bigger picture about a town in a quirky alternate 1960s. But the show's languid hour-long pace is far too indulgent, and each of these episodes would be improved by being edited to a sharp, provocative 30 minutes. Even the strongest episodes would have been much more engaging with less wistful gazing. Still, the filmmaking is beautiful, and the excellent actors (including heavy-hitters like Jonathan Pryce and Jane Alexander) create complex characters with messy internal lives and a surprising capacity for cruelty as the supernatural touches their lives. But the mopey tone undermines the potential. (Prime)

Messiah

A fascinating exploration of the nature of religion this series centres on a man (the quietly charismatic Mehdi Dehi) who appears in the Middle East and goes on to build up thousands of followers in America with his miraculous works, challenging theology and refusal to recognise borders. Of course the CIA takes notice, led by Michelle Monaghan's operative. The show is lavishly produced in terrific locations, although it's more than a little distracting that they've over-styled this Messiah to look like a storybook Jesus, albeit one who speaks Arabic and tells his Palestinian followers to throw away their weapons. As the show references religious traditions, it's both inventive and provocative (Netflix)

Jeffrey Epstein:
Filthy Rich

This four-part documentary series is not easy to watch as it delves into the organised paedophile ring Epstein got away with for decades, simply because he bought his way out of the justice system. The opening episode alone is deeply chilling, as it chronicles people who tried to stop him 20 years ago but failed because of his money and powerful connections. These women are brave and definitely believable. Strikingly well-assembled, the doc carefully maintains its focus on Epstein, but it's impossible not to see the men who are so frequently photographed alongside him, sharing private jokes and clearly part of a system of abuse that's terrifying. (Netflix)

A Series of Light

Superbly shot and edited, this series of five British shorts looks great, boosted by natural screenwriting and a willingness to get very dark as each centres on a young men at a pivotal point in his life. Since they relate to sexuality, the stories are full on, sometimes overplayed by an inexperienced cast. But it's easy to root for the characters as they face different fears, and there's a strong sense of panic and isolation, identity issues and the echoing repercussions of bad decisions. This makes each episode rather grim and cautionary, with ironically little lightness. But all of them offer something pointed to think about. (Prime)

BACK FOR MORE

The Politician: series 2

Jumping ahead a few years, this series continues the political climb of Payton, played by Ben Platt firing on all cylinders. This season traces his campaign for New York state senate, taking on an incumbent and her loyal assistant, fabulous roles for Judith Light and Bette Midler, who effortlessly steal the entire show. Meanwhile, Payton's mother (a storming Gwyneth Paltrow) is testing the political waters herself in California. This colourfully lively show's outrageous characters completely overshadow the lower-key gang around Payton, which leaves their subplots feeling somewhat melodramatic and irrelevant. But the show's overall trajectory is fascinating. Bring on season 3. (Netflix)

What We Do in the Shadows: series 2

The ongoing mock-doc (based on the 2014 movie) about a group of vampires living on Staten Island is a constant stream of hilarious gags, plus cleverly understated effects. Despite living for centuries, their cluelessness knows no bounds (like their excitement about being invited to a "Superb Owl" party - think about it). The gifted actors deliver each ridiculous joke with a straight face, often improvising something sublimely absurd. And the over-arching plot is surprisingly involving too, pushing each of these colourfully loveably dopey vampires in unexpected directions, largely due to the understated genius of their familiar, played to perfection by Harvey Guillen. (FX)

Killing Eve: series 3

The tone has changed for this third season, which feels more like a straightforward action thriller than the quirky character-based mayhem of seasons one and two. It still has its moments, and Sandra Oh and Jodie Comer are still terrific as the spy and the assassin who are inexorably drawn to each other. So is Fiona Shaw as Eve's jaded boss, plus the always great Harriet Walter. But merrily maiming and murdering side characters has depleted the show's emotional undercurrent, which frankly is always what holds the interest. It's beginning to feel rather cold and calculating, which is fitting but not as clever. And the last moment in the final episode missed a trick. (BBC)

One Day at a Time:
series 4

At its new home on Pop, this series just keeps getting better, anchored by terrific mother-daughter roles for Rita Moreno and Justina Machado, plus side roles that somehow manage to be goofy, topical and complex at the same time. Each character is likeable, even as they're fully ridiculous. And the smart scripts feel as fresh as ever, unafraid to be very silly as they touch knowingly on a wide range of very big issues relating to Latin families and the LGBT community, without ever getting too political. Which makes everything resonate much more widely. Sadly, the season was truncated by the pandemic, wrapped up with a witty animated episode. (Pop)

JUST LIKE REAL LIFE

Topicality in isolation: 

Comedy news shows have come to life during lockdown, as the hosts have done some of their best work from home, even as their frustration shows. Each has found innovative ways to keep up with the headlines. As always, John Oliver's Last Week Tonight strikes the best balance, picking apart the big stories with astute humour. Trevor Noah has shone brightly with The Daily Show, offering especially powerful commentary on things like the Black Lives Matter protests. Bill Maher has maintained Real Time's balance of viewpoints, edgy opinion, big-name guests and witty gags, plus hilarious inserts of vintage audience reactions. And Samantha Bee went into the woods for Full Frontal, raging hilariously and pointedly at the growing sense of injustice in society.

Style to spare: 

The fifth series of Queer Eye (Netflix) maintained the terrific line-up of make-overs that carry emotional punches (it's not easy to get through an episode dry-eyed). Four of the Fab Five are fascinatingly deep, while the scene-stealing fifth is a bit of a cartoon. There was only one weak episode: why make over an 18-year-old who hasn't yet found her style? Meanwhile, the second season of fast-paced, car-crash doc series Putting On (Revry) picks up two years later with the likeably overconfident On Mekahel, working on his underwear brand. On is still a breathtakingly oblivious control freak who can't understand why his designs don't appeal to men who aren't gym-ripped. And he insists his fiance Dave, a felon who can't get a passport while on parole and still hasn't divorced his wife, must travel to visit On's family in Israel before getting married in Paris. Sure enough, On gets his way.

Life's a drag:

RuPaul has had four drag queen competition series over the past few months: the 12th season of Drag Race (Netflix), the fifth season of Drag Race All Stars, and the first seasons of both Celebrity Drag Race and Canada's Drag Race. That's a lot of drag, but the producers are great at keeping these shows fresh with gimmicky innovations and lots of twists. And their real strength is assembling hugely entertaining casts for each series. Meanwhile, the second season of Werq the World (WoW) continues to insightfully document backstage at the Drag Race tour. Its structure also makes it an empowering look at how each performer overcomes resonant obstacles in pursuit of their dreams. And We're Here (HBO) is like a mash-up of Queer Eye, Drag Race and Priscilla Queen of the Desert, as three drag queens take on small towns across America. The observations are fascinating and often strongly moving, and the drag is properly transformational.

Game on:

I don't watch many game shows, but I sampled a few while in lockdown. Floor is Lava is a genuinely great idea staged in an entertainingly epic way. The sets are amazing, and the contestants gung-ho. But it's beaten to death by the editing, which repeats everything that happens at least 10 times. Stop treating audiences like idiots. Adam Scott is superb as the host of Don't, an under-imagined stunt-based quiz show that's only watchable because of Ryan Reynolds' snarky narration. And The Wall UK is another quiz show, but at least it's hosted by Danny Dyer, who offers some fun even if each game is ham-fistedly stretched out over an hour.

NOW WATCHING: Snowpiercer, I Will Destroy You, Luminaries, I Know This Much Is True, Homecoming (2).

COMING SOON: Brave New World, Wandavision, Down to Earth, Muppets Now, The Umbrella Academy (2).

Shadows on the Screen: Winter TV Roundup

I look through this list of shows and wonder how I found time to watch all of this over the past three months. But I tend to watch an episode here and there during the day - to take a break from work, to reset my mind after a film, as background while I'm eating lunch. It's a bit scary how much TV I get through like this...

NEW AND NOTABLE

Killing Eve

Written by Phoebe Waller-Bridge, this is a seriously inventive spy thriller series. Funny and scary, it centres on a befuddled British agent (Sandra Oh) tracking a ruthless Russian killer (Jodie Comer) across Europe. None of the characters behave like the usual stereotypes; these are complex, surprising, offbeat people with their own issues. And the side roles are just as cleverly drawn. Well, any show that features the great Fiona Shaw is unmissable. And Waller-Bridge deserves praise for her willingness to avoid the usual action beats in lieu of character comedy, dark irony and some proper thrills. Plus a great cliffhanger ending.

Homecoming

Snaky and fascinating, this half-hour thriller series is a bit vague, deliberately delaying any revelation that could add clarity to the central mystery. This makes it a challenge to stick with, even as it worms its way under the skin, mainly because the characters are particularly strong, played beautifully by Julia Roberts, Bobby Cannavale, Stephan James and Shea Wigham. The writing and directing are astute and clever, with terrific moments in every episode, and a clever blurring of the lines between events in the past, present and future. In the end, this is a stark story about some very big issues like the wellbeing of veterans and the abuses of private contractors. So it carries some powerful resonance.

Wanderlust

Toni Collette and Stephen Mackintosh are terrific in this offbeat British comedy-drama about a married couple that decides to open their relationship to rekindle the spark between them. It's intriguing that the premise doesn't seem nearly as transgressive as it would have just a few years ago. Even the kids' somewhat outrageous behaviour feels almost normal. Whether this is a comment on our times or on a sliding scale of morality is the provocative question. The point is that this excellent cast is so good at making these people feel honest and real that it challenges us to define what we believe and why. And it keeps us smiling while doing so.

The Little Drummer Girl

The frankly awesome Florence Pugh stars in this adaptation of the John Le Carre thriller, which is snaky and stylish as it throws her character into a late-1970s spy/terrorism mess. Directed beautifully by Park Chan-wook, the series is wonderfully loose and elusive, but with a rivetingly strong edge that digs into the minds of the characters. Pugh is playing an actress with no espionage experience, drafted into a Mossad operation in which her method performance style is very effective, even as she blurs every line around her. Pugh's chemistry with slippery handler Alexander Skarsgard is mesmerising, while Michael Shannon's shady boss offers his own textures.

Vanity Fair

Thackeray's novel is adapted into this lively, colourful period series. It's perhaps a bit too jokey for its own good, knowingly nodding at the camera every chance it gets. But it's also skilfully well-made, with wonderful actors who inject lots of spark into their roles. And the way it's made brings in some nice present-day textures through the use of music and editing, plus themes surrounding the vacuous pursuit of popularity and money. Olivia Cooke has a terrific wide-eyed faux innocence as Becky Sharp, who aggressively attempts to make her fortune against the odds in 19th century England. She's so callous that it's hard to like her, so sympathy lies instead with the people she wrongs.

Kidding 

Definitely not for kids. Jim Carrey is superb as the Mr Rogers-style host of a long-running children's television show who clashes with the programme's producer, his dad (a hilariously exasperated Frank Langella), as he tries talk to kids about serious issues. But since this is from the mind of Michel Gondry, there's rather a lot more going on here. Essentially, this is a wildly inventive exploration of grief and emotional honesty, with terrific performances all round, including Catherine Keener and Judy Greer. It's sometimes a bit freaky, with entire episodes existing in a moment of insanity. But it's also darkly moving, and it carries a powerful kick as Carrey's Mr Pickles struggles with his inner demons.

Forever

It's rare for a comedy to explore existential issues, but this offbeat show boldly avoids obvious storytelling to create some quirky situations. Maya Rudolph and Fred Armisen star as a couple who, after events in the first two episodes, continue their marriage in the afterlife. The writing isn't as clever or funny as it thinks it is, and it never really says much about relationships, so the premise feels under-imagined. There's also the problem that the show simply never makes sense, even within its own deliberate lack of logic. But the cast is great, and the show's absurd enough to hold the interest as it plays with genuinely huge ideas.

The Bisexual

Desiree Akhavan appeared in Girls, and here she pushes that format even further as an awkwardly over-talking young woman in London trying to appear confident as she works with her ex (Maxine Peake), lives with a lovelorn Irishman (Brian Fleeson) and dodges barbs from her best pal (Saskia Chana). The cast is excellent, and the show's writing is astute, funny and very pointed as it explores issues that have never been confronted quite so straight-on in a TV show. Akhavan writes superbly barbed dialog that refuses to pull any punches, and as an actress she dives into a prickly character with so much gusto that we can't help but love her.

The Conners (aka Roseanne: series 11)

Dumping Roseanne Barr from Roseanne was a rushed over-reaction, and a great shame since this show took such a complex, messy, important approach to American politics. The remaining characters are all wonderful, finely played by the cast. But Barr's unhinged comedy is badly missed, leaving the show off-balance. That said, the approach to issues remains complex and engaging, and each actor brings layers and textures that make this one of the most sophisticated shows on network television. The way it grapples with political and social issues is a blast of fresh air. And Laurie Metcalf is a genius.

BACK FOR MORE

Murphy Brown: series 11

Two decades after going off the air, the entire talented cast is back for a reunion series. And while it took awhile to find its stride, it actually feels like the perfect sitcom for our times. The show's style feels a bit quaint, with a punchline carefully placed in every other line, but the topicality of the humour and the feistiness of the characters is thoroughly enjoyable. Adding the now-grown Avery (Jake McDorman) to the mix is just right. It reminds me why this was my favourite show all those years ago: a rare comedy in which the jokes actually mean something, bring out angles on the characters and occasionally find a moment of real emotion.

Shameless: series 9a

The Gallagher family simply won't give up. Each of them seems to have kicked up a gear this season, as increased desperation drives them to bigger, bolder scams. The actors are all so good that it's annoying when they cut away from anyone, but there isn't a weak storyline in here (of about 10 that run full-pelt). That said, the show is far more entertaining when these people are up to their, well, shameless antics than when the writers heap random misery on them undeserved. And there's been quite a bit of that so far this year. 

This Is Us: series 3a

This season continues to tug shamelessly at heartstrings, while exploring new past timelines along with the present-day saga and occasional future forebodings. So even with the occasional downright terrible episode (the fragmented Thanksgiving collage was a mess), the show is unmissable. The addition of Michael Angarano as the doomed Uncle Nick bodes well for future episodes, and both Kate's pregnancy and Randall's political campaign carry some nicely resonant kicks. It doesn't matter where it goes, just that it keeps moving, and that the writers don't work themselves into a corner.

The Good Place: series 3

As before, this season begins with a complete reboot of the premise, again offering the cast members the chance to play merrily with their characters. This series is even trickier than before, continually pulling the rug out from under the audience (and the characters for that matter) as a good-hearted demon (Ted Danson) and his definitely non-robot assistant (D'Arcy Carden) try to keep four hapless humans (Kristen Bell, William Jackson Harper, Jameela Jamil and Manny Jacinto) from the Bad Place. Smart, fast, silly and brilliantly well-played.

The Marvelous Mrs Maisel: series 2

This sharply written and produced series continues the story of the fast-talking 1950s housewife-turned-comic (Rachel Brosnahan). The plotting feels a little looser, abandoning the first season's tight arc for a more open-ended TV series style. This means that they spend a bit too much time following subplots involving Midge's manager (Alex Borstein), parents (Tony Shalhoub and Marin Hinkle) and ex-husband (Michael Zegen). Thankfully, the characters and actors are so good that we don't mind much. And the show comes exhilaratingly to life whenever Brosnahan gets behind a mic.

BINGEWATCHING

The End of the F***ing World: series 1

Alex Lawther and Jessica Barden are flat-out terrific as teens on the run in this half-hour road-trip comedy adventure. Lawther's James is only going along because he is pretty sure he's a serial killer, and he thinks Barden's manipulative Alyssa would be a decent first victim. But there's an unexpected connection developing between them as they search for her long-lost father, while the police and their parents try to track them down. Based on a series of comic books, it's laceratingly well-written and expertly played by an ensemble supporting cast of frankly brilliant British actors. Bring on the second series.

Fleabag: series 1

Phoebe Waller-Bridge has created a bracingly fresh British comedy, starring as a riotously frustrated woman willing to try just about anything to find some happiness after her best friend and business partner commits suicide. Hilariously inappropriate about almost everything, she remains remarkably likeable even as she upsets the lives of her friends and family (including Sian Clifford as her equally messed-up sister and the fabulous Olivia Colman as her snooty stepmum). But it's the emotional undercurrents, which swell up as the six episodes progress, that make the series memorable. It's impossible to predict where it will go from here.

Future Man: series 1

Josh Hutcherson is terrific as the title character in this wacky, action-packed half-hour comedy. He's the nerdy gamer Futterman, who finds himself travelling through time trying to save the world with two hysterically clueless characters (Eliza Coupe and Derek Wilson) from what he thought was a videogame. The hands of producers Seth Rogen and Evan Goldberg are strongly felt in the sharp stoner-style humour and outrageously over-the-top violence. Seriously addictive. The late Glenne Headley (as Josh's mum) will be sorely missed in the second season.

LIFE'S TOO SHORT

Maniac • After a strong start, this series became increasingly tricky, and by about the mid-point it simply turned itself inside out. Based on a Norwegian show, this is inventively directed by Cary Fukunaga with a Gondry-style playfulness, but it' far too pretentious. I made it through 5 episodes.
Rel • Cast and crew from The Carmichael Show reassemble for this lighter sitcom, which sends its endearing characters through a range of awkward situations. Lil Rel Howery is great in the lead role, but annoying when he plays a guest character in each episode. And while the show tackles some big issues, the buffoonery is wearing. I made it through 7 episodes.
The Deuce (series 2) • Like the first season, this show is somewhat dry and impenetrable, with a huge number of characters and complex situations that aren't fully explained. Shifting forward to the late-70s, it also feels slicker, with more organised criminals and pornographers. Maggie Gyllenhaal isexcellent, but it's hard to care what's happening. I gave up after episode 2.
House of Cards (series 6) • In its final season, this show became far too arch, drowning in cliches as Robin Wright's Claire turned oddly vicious. As good as she is, feels like she lost her grip on the character. The whole cast is superb, but the scripts don't do them justice. And the muddy tone wore me out about halfway into the third episode, when Claire turned to the camera and asked, "Are you still with me?"

NOW WATCHING: Les Miserables, Mom, Modern Family, Will & Grace, Murphy Brown, The Conners
COMING SOON: The Crown, Victoria, Future Man, Fleabag, The End of the F***ing World