Shadows on the Screen: Summer TV roundup

It's been a busy few months for television shows. But it's nice to have some quality programming to keep me entertained and clear my mind in between my film screenings...

Trust

The story of J Paul Getty III's kidnapping was the subject of Ridley Scott's underrated All the Money in the World last year, and now Danny Boyle comes at the story with this sprawling, skilfully assembled 10-part series. This allows for rather a lot more detail relating to all of these people, plus much more on the figures around them. And what a cast: Donald Sutherland as the stingy grandfather, Hilary Swank as the determined mother, Harris Dickinson as the kidnapped teen, Brendan Fraser as the swaggering Texan fixer, and terrific support all around. The scripting by Simon Beaufoy sometimes tries too hard to be inventive, while the raw facts of the story are so mind-boggling that they don't need the embellishment. 

A Very English Scandal

Anchored by ripping performances from Hugh Grant and Ben Whishaw, this three-part series tells the true story the frightfully posh politician Jeremy Thorpe (Grant), who in the early 1960s had a passionate affair with riding instructor Norman Scott (Whishaw). And when he thought the story might get out, Thorpe simply decided to have Scott bumped off. Stephen Frears directs this as a jaunty comedy with a very dark underbelly, and the actors play it with similar textures to make it thoroughly riveting. Perhaps a longer series would have made the narrative more coherent, since it leaps through the years in sometimes confusing ways. But this is dazzling television, and a great story with several complex twists in the tale.

Wild Wild Country

There's a slightly tabloid angle to this documentary series, although it does work dilligently to tell the story from each side, and the balance makes it very strong. It's tracing the events in 1980s rural Oregon, when the followers of Rajneesh bought a huge tract of land and began building their utopia. Local residents were relatively OK with this until strange things started happening, and the Rajneeshees reacted to criticism by taking over a local town government, casually poisoning restaurants throughout the region and arming themselves to the teeth. The story is grippingly recounted with firsthand interviews from a variety of people involved. Although while the facts are clear, what really happened remains a bit murky.

The Looming Tower

There are echoes of Homeland in this limited series, except that all of this is true. It's based on exhaustive research into the work of the FBI and CIA in the years leading up to the 9/11 attacks. Mixing in actors with real footage of the major figures, this 10-part drama feels eerily authentic, and it certainly doesn't go easy on the ways the CIA withheld evidence from the FBI that could clearly have averted the awful events. Jeff Daniels is excellent as FBI chief John O'Neill, whose story takes a grim ironic twist. The show's heart and mind is Tahar Rahim as agent Ali Soufan, who tenaciously tries to prevent what he can see coming. The show sometimes seems to get sidetracked by the characters' personal lives, but these details add to the realism.

Safe

Michael C Hall comes to Britain for this twisty mystery series, which explores the deep, dark secrets in a gated community outside Manchester. Written by Harlan Coban, it's all rather arch and contrived, but there's a gripping edge to the story, and it's shot and acted with plenty of intrigue. Basically, the central mystery is far too entwined to hold water, falling apart with even a casual examination of the details. It's also fairly easy early on to work out whodunit, since the usual suspects are clearly guilty of other crimes. But the cast keeps things interesting, and the story is told with a blast of energy to keep us watching.

Rise

Basically a serious version of Glee, this high school theatre club drama really needs to lighten up a bit. It's fraught with intense issues and deliberately meaningful plotlines that feel somewhat pushy, especially on themes surrounding identity. That said, these topics are addressed through characters who are engaging and beautifully played by the ensemble cast. It may feel like the usual Breakfast Club collection of teens, plus a frazzled teacher whose personal life takes up far too much screen time, but everything that happens resonates as an only slightly heightened version of things most viewers can identify with.

Here and Now

Like a cross between This Is Us and Sense8, this strikingly well made show comes from the mind of Alan Ball (American Beauty, Six Feet Under), which means that it takes a realistic approach to what feels like an extraordinary set of characters. Each of the members of the Bayer-Boatwright family have an intense journey of their own. The cast may be anchored by the robust Holly Hunter and Tim Robbins, but it's newcomers Daniel Zovatto, Jerrika Hinton, Raymond Lee and Sosie Bacon who really shine as their eclectic kids. And even the side roles are fleshed out as real people with lives of their own.

Barry 

Actor Bill Hader was involved in creating, writing and directing this series, which gives him a terrific chance to flex his acting chops. It's essentially a black comedy, but it's the darker underlying drama that makes it watchable. On the surface, this story about a hitman moving to Los Angeles and being bitten by the acting bug is pretty corny, and also far too obsessed with grisly violence. But it's through the traumatised Barry's self-discovery that the show finds unusual ways to draw the audience in. It's also great to see Henry Winkler poking fun at the industry in a surprisingly edgy supporting role as Barry's acting coach.

The New Legends of Monkey

From New Zealand, this adventure series is packed with hilarious comical asides that more than make up for its cheesy Xena/Hercules production values and a nutty plot in which demons and gods battle for control of a primitive culture. At its centre is a witty four-person team, including the revived Monkey King, trying to keep the demons from unlocking the secret to ruling the world. Or something. It doesn't really matter when the dialog is so snappy, the characters so silly and the action such a riotous mess. Sit back and giggle right through all of it, then be surprised by a creeping current of emotion.

MORE DRAMA

Timeless: series 2

There's a cheesy charm to this time-travel series that makes for enjoyable escapism. But it's important not to think about anything that happens, because the scripts are full of holes. For one thing, our heroes are always racing to get in their time machine to stop baddies they're convinced are determined to destroy the world. But this ignores the fact that having a time machine eliminates the urgency. Not to mention how quickly they're able to steal perfectly fitting clothing on arrival. And the villains' actions are also inexplicably pointless. Meanwhile, the show-runners indulge in rather a lot of pointlessly unnecessary cross-cutting in an attempt to ramp up simplistic subplots. Still, it's enjoyable if you don't think about it. 

Jane the Virgin: series 4

One of the best-written series on TV, this funny, warm, fiendishly clever show is both a comedy and a drama, as well as a pastiche of florid Latina telenovelas. Terrific recurring guests this year include Rosario Dawson (as a shady/seductive lawyer) and Brooke Shields (as a deranged version of herself). The plot leaps along at a rapid-fire pace, with constant twists and turns, relationships and momentous events. But the characters are solidly grounded and thoroughly charming, with a complexity that's rare for light entertainment. So not only is the show hilarious and sweet, but it also grapples with some serious issues (like Xo's cancer) in earthy, authentic ways. And it leaves the soapy excesses in the background where they belong.

Scandal: series 7

After a very rough start which struggled to convince us that Kerry Washington's Olivia had gone over to the dark side, this rather ludicrous show picked up a head of steam as it headed into its last episodes ever. As always, everyone on-screen lectures each other in over-enunciated, vein-bursting rants. But at least the writers had a bit of fun messing with the characters and who they can trust, leading to some meaty moments as things barrelled along to what was clearly going to be a "shocking" finale. Except that, as satisfying as it might have been, it was never surprising at all.

Homeland: series 7

After last year's more contained season, the shift to domestic activity is breathing new life into this series, especially as Claire Danes' Carrie goes off the grid to take on a renegade US President (Elizabeth Marvel) who's thankfully not too Trumpish, aside from bullheadedly charging into every situation. Relational textures are intriguing, as Mandy Patinkin's Saul finds himself in a somewhat contrived but compelling position as it becomes apparent that the Russians have launched an elaborate plan to destabilise the American government. Yes, the writers are drawing from headlines and, as usual, real life has overtaken them. But at this point in the show, Carrie and Saul are more interesting for how they react and interact than for what they do to save the world.

MORE LAUGHS

Santa Clarita Diet: series 2

This charming bit of fluff is mainly watchable thanks to the goofy-charming performances of Drew Barrymore and Timothy Olyphant as a suburban couple coping matter-of-factly with her murderous zombie condition. It's all very silly, dealing with violent death with a wink and a smile (because that's OK if the victims are Nazis). And the general panic is infectiously entertaining. This season's breakout star is Liv Hewson as their snarky daughter, who gets rather a lot more to do and shines, especially in scenes with best pal Eric (Skyler Gisondo). And it's nice to have Nathan Fillion back too. Well, his head at least. 

Schitt's Creek: series 4

This show has been sharply well-written from the outset, but this season feels even more focussed than usual, bringing the characters to life in ways that are often surprisingly moving (as well as being hysterically funny). Eugene Levy, Catherine O'Hara, Dan Levy and Annie Murphy are all expert actors, milking each moment for maximum comedy, but never without a point. And the ensemble surrounding them is also wonderfully engaging, especially Noah Reid as David's dryly provocative boyfriend - a great character who changes the tone of the show in the right direction. As always, Chris Elliott's idiotic mayor is just an irritant in need of better subplots. Still, it's the best thing on TV this year so far.

The Unbreakable Kimmy Schmidt: series 4

With only a half-season this year (the show wraps up with the second half early next year), what used to be one of the funniest sitcoms on the air has fallen into something so mannered that most of the gags feel like in-jokes that leave the audience out. The cast is still terrific, with the perky Ellie Kemper and shameless scene-stealer Tituss Burgess holding down the fort, plus a lot more of the wonderful Carol Kane and a lot less of the awesome Jane Krakowski. But the storylines are corny and dull, struggling to propel the show's premise in an interesting direction. And quirky running gags like that ubiquitous robot are rather pointless.

Mom: series 5

This sitcom just gets stronger year by year, thanks to the fine performances by Allison Janney and Anna Faris, along with an ace supporting ensemble. Even as the issues get deeper and more serious, mainly relating to addiction, the scripts continually undercut the emotion with jagged jokes. But they never belittle the themes. Back when this show first debuted, the main gag was that this wildly implausible tall mother and tiny daughter were both irresponsible parents and grandparents. But the show-runners sensibly (and a bit jarringly) jettisoned the kids to focus on some important things about them, while Janney and Faris rose to the challenge, creating powerful chemistry while having a lot of fun at the same time.

Modern Family: series 9

This show continues to wobble in the writing department, although this season the smartly comedic have outweighed the over-stretched, stale lows. Some of the funniest sequences have involved the kids, who are now complex young adults who are adept scene-stealers alongside the veterans. So when the writing is sharp, it sparkles. And there have been terrific moments for everyone this year. On the other hand, it all feels very safe, never pushing anyone too far one way or the other. And the overriding plot is running in place while mini-dramas last the length of a half-hour episode then flutter away. In other words, the show needs to start moving forward again.

Will & Grace: series 9

It seems odd to revive a series like this, which was dated in its original run even as it broke ground for its depiction of central characters who happened to be gay. It's hard to imagine younger audiences watching this new, since it's pretty much exactly the same show as it was when it went off the air in 2006 after its eighth season. Eric McCormack and Debra Messing's title characters are still fairly ridiculous, so self-absorbed that it's no surprise that they're single. Sean Hayes' Jack is still so silly that he can't help but raise a smile. And Megan Mullally's absurd Karen is still the only thing that keeps me watching: everything she does and says is flat-out brilliant.

Roseanne: series 10

After the hype about this resurrected series (which originally ran 1988-1997), the show is surprisingly nuanced. And also very funny. The writers cleverly keep things balanced, pitting Roseanne Barr's Trump-supporting title character against her left-wing sister Jackie (the awesome Laurie Metcalf, likely to win a fourth Emmy for this role). John Goodman again brings a witty, relaxing tone, and the kids (now with added grandchildren) are stirring the mix of blue-collar humour with sharply observed politics. You don't have to agree with everything each character says to enjoy this skilfully written and played sitcom. Sadly, Barr's inability to hold her tongue off-camera has sunk the show.

I GIVE UP

Two series came back for their second seasons badly misjudging their successes. Both Westworld and Legion gave into the most indulgent instincts of their showrunners. The plotlines splintered as both shows became relentlessly gimmicky, tilting toward great-looking confusion rather than actual storytelling. The actors are fantastic, but the more pretentious a show gets, the less engaging it is. I gave up after a few episodes of each. Only a fanboy could love these shows now.

NOW WATCHING

Patrick Melrose, Pose, The Handmaid's Tale (series 2), I'm Dying Up Here (series 2), Sense8 (series 3), Younger (series 5), and I'm on the look out for more half-hour comedies. Suggestions welcome...

Shadows on the Screen: Winter TV Roundup

I had some time over the holidays to catch up on TV shows I've been following over the past few months. Results have been mixed, but there have been some great small-screen gems in here to help me recover from the big-screen movies...

Stranger Things: Series 2

The Duffer Brothers step things up a notch with a bigger, much scarier story arc that feels much more finely tuned to the characters and the actors. Everything in these nine episodes fits together beautifully, deepening the connections and unnerving the audience. References feel somewhat more grown-up this time, from X-Men to The Exorcist, and the scale of events is genuinely enormous, with deeply personal touches. All of the cast is excellent, from adults like Winona Ryder and David Harbour to the older and younger teens, who mix beautifully and end up nowhere near where they started. It's also refreshing that they ended on such an open note: anything can happen next year. 

The Crown: Series 2

Basically an anthology series, each episode takes an aspect of Elizabeth II's life from her second decade as monarch. So there are episodes on JFK, sending Charles to school, the Profumo scandal, modernising the monarchy, confronting the family's Nazi past and Margaret's romance with Lord Snowden. But the season's through-line centres on Philip's indiscretions and how the couple weathered those various storms to solidify their relationship as a marriage rather than an arrangement. It's grippingly well written and played, but this structural approach makes it feel rather, well, episodic, without much momentum as a series. It's almost more like an unusually well-produced educational film. And these actors are all so good that next season's all-new cast (as everyone ages) has a lot to live up to.

Easy: Series 2

The second season of this anthology show revisits all of the overlapping characters, finding moments of proper comedy and drama along the way. Although most of the humour is of the bitter sort. Episodes all stand alone but loop around to touch others, and the characters all feel enjoyably realistic. The main problem is writer-director Joe Swanberg's relentless sexualising of females (for example, when artists are struggling, the man becomes an Uber driver, the woman becomes a prostitute). In isolation, none of this feels excessive, but when every episode features a scantily clad woman it becomes a little obvious. That said, there's equal opportunity nudity. And the characters are all complex and involving.

I'm Dying Up Here

The 1970s Los Angeles stand-up scene is the setting for this solidly produced hour-long drama, which follows a group of comics as they traverse the ups and downs of their careers. The show is packed with terrific characters, all superbly played, from mother hen Melissa Leo to a varied bunch of hopefuls played by Ari Graynor, Andrew Santino, Michael Angarano, Clark Duke, RJ Cyler and Al Madrigal, to name a few. The political aspects of the comic scene are a little dull, but the personal journeys taken by each person are compelling, and the period detail is a lot of fun. There are also some terrific stand-up routines along the way.

The Deuce

The 1970s New York sex industry is the setting for this solidly produced hour-long drama, which follows a group of bar owners, prostitutes, pimps and pornographers as they shuffle through the crime-ridden streets. The show is almost incredibly murky, with corruption everywhere and such a huge range of detailed characters that none of them really stand out. There simply isn't time to properly develop each of them into a sympathetic person we can identify with in some way. But the acting is superb, anchored by James Franco as a rather too identical pair of twins and Maggie Gyllenhaal as hooker with a lot of personal issues. It's also refreshing to see a show that lacks the usual American hang-ups about sex and sexuality.

Black Mirror: Series 4

Charlie Brooker's slick, technology-themed variation on The Twilight Zone continues to tap into very current fears with its only slightly futuristic stories. These new Netflix episodes are produced like mini movies (the first episode is feature length) and have A-list Hollywood casts and crews. The plots sometimes have lapses in logic, but the themes are powerful, exploring how technological advances play into the darker urges we already have. This means that some of the stories are downright bleak. For example, Jodie Foster's episode Arkangel is deeply unsettling not because of its child-spying implants, but because of what it says about today's overprotective culture. And the best episode, Timothy Van Patten's Hang the DJ, mixes gloominess with hope as it plays with the concept of dating apps.

Transparent: Series 3

Thankfully less gloomy than the last season, these episodes saw the astonishingly dysfunctional family travelling to Israel as they connect with a long-lost relative. There were quite a few genuinely hilarious moments along the way, and most of the outlandish slapstick was reined in this time, even if each person's personal crisis seemed like the end of the world, to them at least. Of course, the setting gives the show's writers plenty of scope to play with political ideas. And they also cleverly infuse this entire season with songs from Jesus Christ Superstar. This is perhaps a little on-the nose as far as irony goes, but it grounds the family in a shared experience that connects them to this place. 

You're the Worst: Series 4

What was once a caustic, brave show has clearly reached the limits of its premise. this season, the writers struggled with what to do with a couple that needed to get together for the audience's sake, but were designed to be thoroughly toxic. Instead of playing on the codependent aspects, this season has them lashing out separately. But it felt like the wheels were spinning with nowhere left to go. All of the actors continue to approach their broadly ridiculous characters with an intriguing sense of emotional honesty that makes them sympathetic and unlikeable at the same time. But I don't think I could take one more half an hour with any of them.

Episodes: Series 5

The final season of this loose-limbed sitcom circles back to end exactly as you've always known it would. And along the way there are plenty of ridiculous antics for Sean and Beverly (Stephen Mangan and Tamsin Grieg) and their circle of hopelessly neurotic friends, including Matt LeBlanc, who is now hosting one of the most hilariously appalling game shows ever imagined. The show has always had a way of lampooning Hollywood by playing everything just a little broadly. But there's also the definitely sense that pretty much everything they've ever depicted has actually happened. And the characters really grew on us.

SEASONS IN PROGRESS

This Is Us: Series 2

In this second season, the writers are taking things very seriously, piling lots of big themes into each episode. Life for these people feels a little too difficult this year, at each of the various periods in their lives. And the show has introduced yet another timeline that lets the main cast get a bit more screen time while playing their characters a little younger and hotter. But the real thing, of course, is that the writers are now torturing the audience mercilessly with the possibilities about how Milo Ventmiglia's Jack dies, setting up a potential calamity in each episode. It's getting a bit silly. Just tell us and get on with the story.

Jane the Virgin: Series 4

Fiendishly well written, this spoof of Mexican soap opera plays on its origins mercilessly. And some of the twists and turns are more than a little annoying. But the central characters are all so loveable that it's hard to mind. By now, the writers have milked several of the characters as far as they can (it's way overtime to lose Yael Grobglas' evil twin character Anezka), and there's only so long they can stretch the will-they/won't they romance between the adorable Gina Rodriguez's Jane and the ludicrously hot Justin Baldoni's Rafael. But every scene is still packed with such great touches that it's worth hanging in there.

Scandal: Series 7

True confession: I am only still watching this show because it's the final season, and I might as well see it through. Because this year's series is actually pretty bad, straining to shift Kerry Washington's Olivia Pope from hero of the peoiple to villainous mastermind (ie, she's become her father Joe Morton). This is so contrived that it's almost laughable, well it would be if it weren't so unnecessarily dark and violent. In fact, all of the subplots are grislier and nastier this year. The zing of, well, the scandal is gone. This is apocalyptic.

Shameless: Series 8

It's amazing that this show can carry on, throwing the Gallagher family into even more spiralling mayhem without feeling contrived. Some elements are infuriating, as they're meant to be, while others leave us wondering what the writers were thinking when they came up with this. William H Macy is clearly relishing this new phase in Frank's life, and the undulating feud between Emmy Rossum's Fiona and Cameron Monaghan's Ian has been played with surprising texture. Even Vee and Kev (Shanola Hampton and Steve Howey) are still on fire. It's impossible to predict where any of the plot strands are headed.

Will & Grace: Series 9

I don't remember this show being quite so broad and smiley the first time around. Even the opening credits this time reek of fake camaraderie. And while the idea is amusing that, 11 years later, these people are basically back where they started, the writing really needs to push them forward rather than using each episode to revive one of the more memorable gags or side characters. And the actors need to pull back a bit on their broadly comical performances, stirring in just a bit of believability. Except Megan Mullally, of course. Karen is still one of the most amazing characters ever seen on a sitcom, and she's as funny now as she ever was.

Modern Family: Series 9

This show has had some weak episodes over the past couple of years, but this season the writing feels back up to par. Plotting is tight, weaving various threads together in each episode that build to a big punchline. Of course, better writing gives the ace cast a lot to work with, and these characters are proving to be a continuous source of comedy: people we think we know very well who continue to surprise us. And the increasingly number of characters, including the kids, all have ongoing storylines that are genuinely engaging and witty. Indeed, the children are growing into comedy icons themselves.

I GIVE UP

The Orville

Seth MacFarlane had a great opportunity here to make a full on satirical sci-fi series, and yet he seems happy to merely nod earnestly in the direction of Star Trek. There's the occasional great gag or inventive touch, but the plots and characters are never interesting or funny enough to care about. I stopped at about episode 5.

The Flash/Supergirl 

These were the last two shows of the DC Comics universe that I was watching, and they too have shifted into cheaply made, far too violent storylines that make absolutely no sense and have no angle on which the audience can find a connection. It's just gimmicky and grisly and angsty. Life's too short.

Empire

I was a big fan from the start of this show, and I hung in there even through some long dips into seriously silly storytelling. But this season simply lost all of the various plots, giving each character a drastic personality change. Nothing is happening here that's even remotely compelling. And the people are annoying. I'm done.

Shadows on the Screen: Spring TV roundup

With Christmas holidays and a screening lull around awards season, I had a bit more time than usual over the past few months to catch up on various television series. As always, this is my vent, a chance to enjoy watching something that isn't work-related. And then here I am writing about it....

NEW & NOTABLE

War & Peace

Sumptuously produced by the BBC, this Sunday evening series couldn't be any more epic if it tried. Andrew Davies' script brilliantly brings the multi-layered plotting of Tolstoy's classic to life, anchored by riveting performances from Paul Dano and Lily James, plus a star-making turn from James Norton. The entire sprawling cast brings texture and emotion to these complex characters and their tumultuous, war-torn lives. And it looks simply amazing.

The Grinder

The best new show this year is this knowing sitcom starring Fred Savage and Rob Lowe as brothers - one's a lawyer, the other played one on a hit TV show and doesn't quite understand that he's not one in real life. Savage and Lowe are a terrific double act, and the writers smartly balance audience sympathies. This means that the ongoing silliness is inspired - warmly involving and knowingly referential. And it's also nicely played in a fresh way that allows the actors to laugh at each other on-screen. 

Dickensian

With 20 episodes, this is a rather extended half-hour series, cleverly imagined by Tony Jordan as a prequel to most of Charles Dickens' novels, as the characters interact in Victorian London's bustling East End. There are some terrific touches along the way, plus standout performances from the Tuppence Middleton as the hapless Miss Havisham and Stephen Rea as a sardonic detective (both are even better in War & Peace). But many of the characters are too cartoonish to register as human beings, and some of the plot gyrations are simplistic and silly.

The Night Manager

Tom Hiddleston got the nation's pulses racing by flashing some well-toned flesh in this adaptation of the John le Carre thriller about a shady hotel worker hired by British intelligence to infiltrate the ranks of a notorious arms dealer. The solid cast also includes Hugh Laurie, Tom Hollander, Elizabeth Debicki and David Harewood, while the show is stolen by the magnificent Olivia Colman, who brings superbly subtle touches to all of her scenes as a heavily pregnant operative. The whole thing looks terrific, and the plot is gripping right up until it turns rather corny in the final two episodes.

ONWARD & UPWARD

The X Files: series 10

After taking a 13-year break (during which there were two big-screen movies), this iconic show came back for a 10th season. Gillian Anderson and David Duchovny are on fine form in their iconic roles as inquisitive FBI agents Scully and Mulder. And series creator Chris Carter has some nice surprises up his sleeve through the six beautifully produced episodes. This show has always been an uneven mix of riveting mystery, murky mythology and downright clunky plotting - and this season is no exception. But when things click into place, few shows offer so many terrific goosebump moments.

House of Cards: series 4

Kevin Spacey and Robin Wright aggressively tear up the screen in this fourth season of their power-mad White House drama. Spacey's Frank is now president, but Wright's Claire isn't going to sit quietly by his side. This season is set during the primaries leading to Frank's first presidential election as a candidate, so it couldn't be much more timely. And while the whole liver-transplant plot element flickers by much too quickly, it adds a deeper, darker layer of intrigue to the goings-on. Fine support as always from Michael Kelly, Mahershala Ali, Molly Parker and Elizabeth Marvel, plus the awesome Ellen Burstyn throwing shade as Claire's estranged mother.

Shameless: series 6

The Gallagher family continues to mess up their lives spectacularly in this underrated black comedy that's getting better with age. William H Macy is on fire this season as the patriarch without a hint of a moral compass. And there are further life-changing twists and turns for five of his children, played with engaging honesty by Emmy Rossum, Jeremy Allen White, Cameron Monaghan, Ethan Cutkosky and Emma Kenney. Plus jaw-dropping developments for neighbours Veronica and Kevin (Shanola Hampton and Steve Howey). It's nice to see a series that gets less fearless as it goes on. Indeed, the show features some of the best acting and writing on television right now.

Galavant: series 2

Opening with a gleeful musical number showing their surprise at being granted a second season, this riotously entertaining musical fairy tale is so infectiously joyful that it's impossible not to love it. Joshua Sasse is wonderful as the charming and somewhat clueless hero, ably supported by Timothy Omundson's even more oblivious deposed king. The entire supporting cast dives in for the fun, including a surprisingly witty Vinnie Jones and a sassy guest appearance from Kylie Minogue. All in all, this is much smarter than it looks, and it leaves fans wanting more.

OFF THE BOIL

The Flash: series 2

I'm still enjoying this show, which has retained its sense of humour and strong characters amid its unnecessarily knotted plot threads. By comparison, Arrow (series 4) became increasingly bogged down in shadowy action and convoluted plotting. Aside from the awful fight choreography, the writers insist on continuing the island flashbacks, which are pointless and, frankly, ridiculous. And the overly twisted storylines leave the strong cast looking as lost as the audience. I gave up about halfway through this season. I tried to watch spin-off Legends of Tomorrow, mainly due to the actors, but the dire action and dumb plots put me off after a handful of episodes. I'm avoiding all other Marvel and DC comics-based TV series - enough is enough.

Modern Family: series 7

For the first time, the strain is beginning to show in this formerly sharp show, as the characters become oddly predictable in the way they spew off witty one-liners and interact with each other in increasingly contrived situations. The strength of this show has been in the way the humour evolved with the characters and actors, but this year feels strangely familiar, as if the writers are stuck in a rut, trying to find humour in situations rather than people. Essentially, this means that the show is in danger of becoming a tired parody of itself (like, for example, Two and a Half Men).

Scandal: series 5

This once-great show has abandoned the weekly scandals and edgy cliffhangers that once made it so addictive. Instead, it has become a corny soap centred around a group of power-grabbing characters who can't seem to function in the real world, are too selfish to relate to each other and all speak with that same shouty voice. All of which is turning it into a parody of House of Cards. It's still watchable due to the ace cast, but I'm wondering how much longer I'll stick with it.

JUST THE FACTS

With Jon Stewart stepping down from The Daily Show last autumn, there's been a shift in the news cycle. Last Week Tonight with John Oliver continues to lead the charge with its intelligent, polished approach, refusing to accept the official take on the big stories while focussing on those that really need to catch the national attention. The Daily Show with Trevor Noah has distinctly changed, with a more stand-up style and less pointed satire. But Noah is finding his feet, and he's finally started getting stronger guests to banter with, which will hopefully hone his interview skills. The real breakout is Full Frontal with Samantha Bee, much smarter and more fearless than the others, with Bee's hilariously on-the-nose observations taking no prisoners. Her segments are easily the most quotable of the bunch, and her insight is bracingly important. On a different tangent, Chelsea Does used four episodes to explore marriage, racism, drugs and the tech world. While Chelsea Handler's observations sometimes slip into goofy self-parody, she also has a way of getting beneath the surface without resorting to the usual cliches, so her take on these four issues is both funny and thought-provoking.

CATCHING UP

Breaking Bad:
2008-2013

So many people have been shocked that I completely missed this series when it was on that I decided to give it a go. It took me about two months to work my way through all 62 episodes. The first two seasons are brilliant - great characters, wonderful writing and acting, clever direction. Then it turns indulgent, murky and far too violent before the final bunch of episodes brings everything full-circle to a skilfully well-realised conclusion. Bryan Cranston is simply perfect (no wonder he won five Emmys for this role). After only ever seeing Aaron Paul (three Emmys) in movies like Need for Speed and Exodus, I now see what a great actor he is and hope he makes smarter choices. And I hope we see more of Anna Gunn (two Emmys) and RJ Mitte too. 

NOW WATCHING: continuing the current seasons for Girls, Empire, Doctor Thorne, The Real O'Neals, The Royals and Schitt's Creek; looking forward to new seasons of Game of Thrones and Unbreakable Kimmy Schmidt.

Shadows on the Screen: Winter TV roundup

Christmas break is a great time to binge watch things I've banked up for months, alternating them with studio screener discs of movies seeking awards consideration. Most of these are limited series that completed their runs (or at least this season) before Christmas. The other three built to a mid-season cliffhanger and will be back in the spring...

DISCOVERIES 

You, Me and the Apocalypse

This offbeat UK-US hybrid has heavyweight comical brilliance in the cast (Rob Lowe, Megan Mullally, Nick Offerman) and a likeable double lead in Matthew Baynton. So there were moments of both comical and dramatic genius in this multi-strand tale of the final month before an asteroid obliterates life on Earth. But the tone resolutely refused to gel, existing somewhere in that space between goofy slapstick and edgy satire. In the end, it managed to entertain right to the awkward ending. Would I watch a second series? Possibly, if I needed something vacuous to fill the time.

Master of None

Aziz Ansari brought his stand-up persona to the TV series format in this intriguing hybrid of sitcom and anthology show. Each episode addresses a single theme,while allowing the characters to deepen engagingly. Even the minor roles had layers of complexity rarely seen in TV comedy, popping in and out of episodes like people do in real life - bringing their individual complications with them. It's also a rare show with a proper gender and ethnic angle that mirrors real life. As a result, the 10 episodes seemed to go by far too quickly. Would I watch a second series? Obviously.

Minority Report

Based on both the Philip K Dick novel and the Steven Spielberg movie, this futuristic series had some clever themes and a sharp visual design to it. On the other hand, it badly simplified the moral issues involved, often reducing the premise to a cheesy cop drama that, despite having a strong female lead in Meagan Good, felt eerily misogynistic (apparently in the future women are required to wear plunging necklines, which men have to oogle). This is probably because, as the series progressed, the writers stubbornly refused to add any proper depth to the characters. Would I watch a second series? I doubt it.

The Man in the High Castle

Also based on a Philip K Dick novel, this Amazon series takes a look at a parallel-reality 1960 in which the Nazis and Japanese won the war, dividing up America between them. The result is an intriguing mix of fantasy and political drama, packed with very big issues. It also boasts a terrific cast of likeable actors in complex, sympathetic roles. On the other hand, the production design was almost comically gloomy, and the plotting sometimes felt badly under-developed. But in the end, the intriguing "what if..." themes add a strong kick. Would I watch a second series? Yes, although I wish they'd let the story end properly this time round.

London Spy

More gloominess, this time in an even more relentlessly dark and grey present-day London, where a hapless young guy (the superb Ben Whishaw) discovers that his beloved late boyfriend was actually a spy. Strong support from Jim Broadbent, with spicy roles for underused stars like Charlotte Rampling, Harriet Walter, Kate Dickie and Adrian Lester. The production does a great job of creating a moody, paranoid atmosphere, although a hint of fresh air might have made it more engaging. And a plot that had somewhere interesting to go. Would I watch a second series? Probably. I like moody.

MORE DRAMA

Downton Abbey: series 6

Julian Fellowes managed to keep the quality high right to the end of this final season, even if the show has relentlessly smoothed out every intriguing edge with each successive year. This climactic series, plus the two-hour finale, was never as dark or surprising as we hoped. But it gave all of the characters both narrative intrigue and lots of camp one-liners as it brought every plot thread (and then some) to a close. If anything, this last season was even funnier than the previous years, so perhaps it was a good idea to go out on a high.

Fargo: series 2

Instead of playing it safe, producers took this show back 25 years into a massive gang war. The result isn't quite as likeable as the first season, but it's even more provocative and textured, with a large cast of unforgettable characters, most of whom end up dead. Standouts include Kristen Dunst's blank hairdresser and her helpful butcher husband (Jesse Plemmons), two observant and measured local cops (Patrick Wilson and Ted Danson), a charismatic interloper (Bookeem Woodbine), a tenacious native American (Zahn McClarnon) and a matriarch (Jean Smart) who rules through gritted teeth. What happens is twisty, messy and so sprawling that it constantly requires narration to find the path through it. Fiendishly clever.

Transparent: series 2

Quite simply the most beautiful series in production at the moment, this second season pushed all of the characters much, much further, grappling with enormous issues of gender and sexuality, as well as family connections. All of these people are deeply flawed, which makes them eerily easy to identify with as they struggle to find their way. And the brief explorations of how their family's history echoes down through the decades was seriously haunting.

Homeland: series 5

Claire Danes' now ex-CIA operative Carrie Mathison may have gone off the grid for this series, but the writers cleverly managed to bring her right into the middle of a massive terrorist plot. The Berlin setting gave the show a blast of fresh air, as did the inclusion of Miranda Otto as a shifty US official. Along the way, there was some strong, complex drama and several heart-stopping moments, beautifully staged in intriguing locations. And it concludes on a note that allows the show to reboot again somewhere new next year.

MORE COMEDY

You're the Worst: series 2

One of the darkest sitcoms ever made, this strikingly original show delved into depression this year in a way that was unexpected, honest and powerfully moving. This isn't something comedy series usually do, but the cast and crew managed it here while maintaining the show's hilariously brittle vibe,. They also constantly, inventively push these outrageous characters forward. Unmissable.

Doll & Em: Series 2

Dolly Wells and Emily Mortimer continue their rather silly friendship, this season as they tried to write a play about their lives. The show is fiendishly knowing, dry and witty but more telling and emotional than funny. It constantly catches the audience by surprise with its astute comments on both friendship and show business. But the low-key approach sometimes tests the patience.

Please Like Me: series 3

This Australian sitcom is maturing year-by-year into something unusually observant, as its gang of young characters (led by creator-actor Josh Thomas) navigate their way into the thorny grown-up world of relationships and family. Constantly surprising and packed with unexpected laugh-out-loud moments, the show also had a stronger, more resonant emotional undercurrent this year.

The Muppets

This reboot of The Muppet Show cleverly sets the chaos around a late-night TV show hosted by Miss Piggy, which offers the promise of lots of starry guests sending themselves up. But the style of the show (a mock-doc) and the humour (The Office-style idiocy) utterly fail to catch the singular genius of the Muppets. It simply isn't smart, sweet or funny. I lasted four episodes and gave up.

MID-SEASON BREAKS

Empire: series 2

There's been a strange tonal shift in this second season, as the Lyon family escalate their internal warring. The problem is that this has tipped the series from camp sassiness to real nastiness, leaving none of the characters particularly likeable. If rumours are to be believed, there's a similar level of feuding going on behind the cameras, which doesn't bode well for the future of a show that started off so brilliantly. Hopefully the second half of this season will be more fun. Frankly, it needs to feel the impact of Lee Daniels' involvement a lot more than it does at the moment.

Scandal: series 5

Kerry Washington's Olivia Pope continues to grapple with all manner of controversy, and in this season she's at the centre of the storm herself. The plots are melodramatic and soapy, but the interaction is great fun, as the camp excesses of Olivia's now-public affair with the US President (Tony Goldwyn), which is thankfully balanced by serious, shadowy grisliness. But there are fewer proper cliffhangers this year, as the story settles into a straightforward soapy narrative. Bring back the scandals, please.

Arrow: series 4 / The Flash: series 2

These heroic action series continue to intermingle enjoyably, as they use simplistic scripts to explore hugely overcomplicated plots, with characters visiting each others' shows. And the charismatic actors make them addictive - Arrow's brooding darkness is undercut by edgy comedy and romance, while The Flash's lively comedy is subverted by moments of real emotion. A third series (Legends of Tomorrow) joins them in early 2016. Will it have the same mix of badly choreographed action and compelling characters?

Ongoing series I'm watching at the moment include The Grinder (my favourite new show this year), Modern Family, Galavant, Dickensian, and I'm looking forward to Chelsea Does.

Shadows on the Screen: Spring TV roundup

Television is what I do when I want to clear my head, taking 25 or 45 minutes as a break between writing about movies. So I've managed to see a variety of shows over the past few months. Sometimes a show takes over a weekend of binge-watching, which feels like a holiday! It's great to watch something I don't have to write about. Although that's exactly what I'm doing here - these are 16 shows I've been watching over the winter...

QUALITY

Parks and Recreation: series 7
In its final 13 episodes, this consistently smart, funny and almost criminally engaging show visited the near future (these episodes were set in 2017) to wrap everything up on a variety of notes that were witty and moving. Simply one of the best sitcoms ever made,  it'll be sorely missed. At least we know we haven't seen the last of the fabulous Amy Poehler, Adam Scott, Chris Pratt, Aubrey Plaza, Aziz Ansari, et al.


Looking: series 2
Andrew Haigh's loosely constructed series exploring the lives of three gay men in San Francisco continues to make its plot turns realistically random, as the characters find love and friendship in unexpected places. Intriguingly, there's a nagging feeling that all of them are going to end up unhappy, even as lovely things happen in their romantic lives. But that cleverly reflects life in a subculture that's been told for a generation that they're incapable of having that happy ever after. Pointed and thoughtful stuff. Perhaps too complex, which is why it's sadly not been renewed for a third series.
SEE ALSO: my interview with Frankie J Alvarez >

Wolf Hall
The BBC's prestigious period drama traced the arc of Anne Boleyn (Clare Foy) in six episodes through the eyes of Thomas Cromwell (the awesome Mark Rylance). It's dark and brooding, quiet and utterly fierce, packed with creepy surprises and beautifully underplayed characters. The cast is simply amazing, including a terrific performance from Damien Lewis as a watchful, intensely insecure Henry VIII. Sometimes rather dense and murky, but the story's big moments are beautifully rendered. Utterly riveting.

House of Cards: series 3
Much of the tension seemed to be absent from the show this year, mainly because there's nowhere left for Kevin Spacey's Frank Underwood to go now that he's the US President. His manoeuvring toward re-election wasn't nearly as compelling, nor was the shadowy rebirth of his henchman Doug (Michael Kelly). On the other hand, Spacey and Robin Wright are both utterly mesmerising on-screen, especially as they traversed the gyrations of their freaky marriage. All of the actors are superb; most notable in the supporting cast were Molly Shannon and Elizabeth Marvel.

NEW DISCOVERIES

You're the Worst
This biting, acerbic rom-com was so much fun that it felt like it ended far too soon - after just 10 brisk half-hour episodes. Chris Geere and Aya Cash are terrific as the self-destructive leads, people who know better than to start a relationship but do anyway. Their struggle to both adhere to and break the rules is complex and very funny, although the scripts sometimes get oddly preachy for such a free-spirited romp. It's as if the writers want to be radical but are still bound by traditional rules themselves, which adds a layer of meta-meaning that's compulsive to watch. Bring on series 2.

Togetherness
This new HBO series benefits from strong performances from the leading cast members Mark Duplass, Melanie Lynskey, Amanda Peet and Steve Zissis as four people grappling with their interrelationships. Each character's actions are rather annoying - this is one of those shows during which we're constantly screaming at the screen - as they jeopardise their connections with each other by doing things that are desperate or downright stupid. But the actors manage to bring out the undercurrents very nicely. And the cliffhanger ending bodes well for a messy Series 2.

Cucumber / Banana / Tofu
Channel 4's experiment in interlinked programming was intriguing enough to hold the interest, although I gave up on the on-demand mini-doc Tofu after one episode. I very nearly gave up on Cucumber too, since its central characters were so irritatingly written and played as cartoon figures rather than real people. The only one who worked was Freddie Fox's bitter queen, a loathsome young man with deep insecurities. He made the show watchable. Banana was considerably better, one-off dramas that peeled away (!) from Cucumber to touch on big issues with some genuinely resonant emotion.

Schitt's Creek
Frankly, I'd watch anything that Eugene Levy and Catherine O'Hara were in. So even if this far too high-concept sitcom strains to be wacky, it's packed with a constant flow of sardonic, understated humour. It's not immediately clear how the writers will be able to stretch this one joke into a second season, but as long as Levy and O'Hara find ways to play with their terrific on-screen charisma, I'll be watching. And aside from a too-broad turn from Chris Elliott, the supporting cast really grows on you.

BACK FOR MORE

Shameless: series 5
This American remake of the long-running British show contains some of the best writing and acting on TV at the moment. It's a rare show that dares to push its characters into unapologetically horrific situations but plays it honesty, drawing out laughter and brittle emotion instead of sensationalism or preachiness. It's extremely full-on, but the actors ground their characters remarkably, making them likeable even though they all do rather terrible things in an attempt to just get on with their lives. Unpredictable and often exhilarating.

Modern Family: series 6
A consistently high quality of writing sets this sitcom apart, developing characters who grow along with the actors playing them. This season the children are beginning to take over the show, and it's about time, because all of them are terrific actors and their characters are hilarious. The adults are amusing in their own right (even if they drift into caricature now and then), but have little to do but laugh at and worry about the kids, which is of course both sharply realistic and very funny.

Girls: series 4
Lena Dunham's meandering, whiny comedy took a couple of odd turns this season, including Hannah's impulsive, spoiled-brat decision to drop out of her prestigious writing course. But then all of these people are hard to like, even if their self-involvement is eerily truthful. The show is a lot more fun when these complex characters are bantering with each other than when they're off having their own dramas or clearly doomed romances.

The Walking Dead: series 5
This is one of those shows I think I'll stop watching for good after each episode. And yet I keep at it, because they're continually throwing a wrench in the works. I had finally become fed up with this season's repetitive bleakness when our intrepid, depleted heroes stumbled on an idyllic community. Obviously everything will have to go horribly wrong, but I'll hold on until then.

GUILTY PLEASURES

Empire
In its first season, this gleefully trashy soap recalled the heyday of Dynasty with its premise involving a bigoted and unwell patriarch (Terrence Howard), his bickering children and the arrival of his larger-than-life ex-wife (Taraji P Henson, just give her the Emmy now). The cast is so good that it's able to hold the absurd scripts together, especially as characters grapple with everything from ALS to bipolar disorder via closeted sexuality, violent crime and sinister counterplots. The best guilty pleasure in years.

Scandal: series 4
In what is clearly a pattern for this show, the even-numbered seasons try the patience by attempting to add serious plotting rather than the much more entertaining trashiness that makes us want to tune in. This season is especially frustrating because the show's writers seem intent on turning it into a feeble cross between Homeland and House of Cards. The superb actors and tangled plots are still more than enough reason to stay tuned, but please bring back the sudsy fun!

Arrow: series 3
Honestly, this is the most inane show I watch - lazy writing and appallingly choreographed action. But it's also a lot of fun, packed with actors who are hugely watchable (and some tension too because the writers aren't afraid to kill off favourite characters). So even if the whole thing feels undercooked, and more than a little impressed with its own seriousness, it still manages to be thoroughly entertaining and oddly gripping, mainly because it's impossible to predict where it might go. But one thing's for sure: every time the writers push the characters into another impossible corner, there'll be something miraculous to get them through.

Glee: series 6
In its final season, this show slipped further into a parody of itself (which is saying something), but I hung on to the bitter end. Gone were the relevant themes and unexpected plot turns, and in their place were heightened cartoon versions of the characters, fewer songs and indulgent storylines that contrived to bring back the old cast members while ignoring fresher faces. And while Matthew Morrison and Lea Michele became even more insufferable, at least Jane Lynch was still around to make her increasingly insane Sue Sylvester the show's highlight. Although the surge of sentiment in the final episodes was uncharacteristic, and undeserved.

Critical Week: I didn't do it!

Press screenings are slowly starting up again after the holidays, and of the four films I watched in the past week, two featured innocent men on the wrong side of the law. Poker Night stars Beau Mirchoff (above) as a rookie detective whose life takes a horrific twist after he's inducted into the elite cops' secret game. An interesting idea, but the story struggles to hold water amid over-stylised filmmaking and scene-chomping performances. Even wobblier is Taken 3, Liam Neeson's latest work-out as an action star. Everyone on-screen is solid, but the Besson/Kamen script is ludicrous and Olivier Megaton's direction leaves the action scenes incoherent.

The other two films were much more challenging. Claude Lanzmann's Shoah (1985) is one of cinema's all-time masterpieces, and now he has turned an unused 1975 interview into a new doc The Last of the Unjust, highlighting a side of the Holocaust we've never seen. Low-key and straightforward, it's far too long and academic, but utterly essential. And then there's the Mexican multi-strand drama Four Moons, a sensitive, strikingly honest exploration of four stages of life for men grappling with their own gay identities. The filmmaking is a bit simplistic, but the acting and themes are powerfully involving.

Otherwise I took in some TV, binge-watching to catch up on the current seasons of Scandal (a pure guilty pleasure), Arrow (ridiculous but addictive), Agents of S.H.I.E.L.D. (corny but diverting) and The Walking Dead (starting to wear a bit thin). And then there's the Foo Fighter's doc series Sonic Highways, which inventively delves into the nature of music in society and how songs are written as Dave Grohl and crew travel around America recording songs in key cities. Fascinating, and surprisingly moving too. Plus of course the Christmas finale of Downton Abbey, which was a pure delight, for a change. For a film critic, television is like a great escape: I can actually watch something without working!

This coming week cranks up a bit more with screenings of Cate Blanchett's new film The Turning, Mickey Rourke and Kim Basinger in the delayed release of the Nigerian drama Black November, Stephen Daldry's Trash, Alex Garland's Ex Machina and the offbeat teen horror thriller It Follows.

Shadows on the Screen: Spring TV roundup

Yes, sometimes a bit of television can help clear my head after a day at the movies (ie, work). And I've been following several series over the past few months. The granddaddy of them all is the most expensive TV show ever made...

Game of Thrones: series 3
created by David Benioff, DB Weiss; with Lena Headey, Peter Dinklage, Emilia Clarke, Maisie Williams, Kit Harington, Nikolaj Coster-Waldau HBO/US ****
Honestly, this is one of the most thrillingly infuriating TV series ever, as it skips around its array of storylines tantalising the audience with tidbits of narrative, about half of which is hugely engaging. By far, the best characters in the show are Dinklage's Tyrion (above) and Clarke's Daenerys, and both had gripping journeys this year, ending up in unexpected emotional places. And Williams' Arya is proving to be the show's dark horse. There was also the usual series of nightmarish battles and sudden deaths for various central characters. Few TV shows have ever tried something on this scale, and while the fragmented narrative keeps it from being completely involving, each episode is packed with moments that take the breath away.

Mad Men: series 7
created by Matthew Weiner; with Jon Hamm, Elisabeth Moss, Vincent Kartheiser, John Slattery, Christina Hendricks, Robert Morse AMC/US *****

The final season of this already iconic show has been split into two - so actually this is the penultimate series, and we'll have to wait until next year to see how it all ends. This astonishingly well written and acted drama has now arrived in 1969, where things are rather tumultuous for both America and the characters. Some of the story threads feel a little obtuse (January Jones has so little to do now), while the New York/California split made the show sometimes feel a bit schizophrenic. But everything dovetails together cleverly without answering every question, which forces the audience to engage with the moral complexities and interpersonal dramas. It's time for it to come to an end, but we'll hate to see it go.

Veep: series 3

created by Armando Iannucci; with Julia Louis-Dreyfus, Anna Chlumsky, Matt Walsh, Tony Hale, Reid Scott, Timothy Simons HBO/US ****

Nurse Jackie: series 6

created by Evan Dunsky, Linda Wallem, Liz Brixius; with Edie Falco, Merritt Wever, Adam Ferrara, Peter Facinelli, Paul Schulze, Anna Deavere Smith Showtime/US ****
Two cable series pushed boundaries with female-led, dark-edged comedies. Louis-Dreyfus continues to be the best comic performer on television; her impeccable timing makes Selena both formidable and rather endearingly pathetic. Selena's campaign for the presidency sometimes drifted over the lines into corny slapstick, but was consistently hilarious. By contrast, Falco's equally impeccable performance as Jackie made her show unmissable, thanks to some of the best writing in all six seasons. As a high-functioning addict, Jackie's link to reality drifted very slowly this season, so the laughter tended to be of the bitter, nervous sort. Both shows offered terrific season-long arcs that were packed with surprises and left things in a whole new place for next year.

Modern Family: series 5
created by Steven Levitan, Christopher Lloyd; with Ed O'Neill, Sofía Vergara, Julie Bowen, Ty Burrell, Jesse Tyler Ferguson, Eric Stonestreet ABC/US *****

Parks and Recreation: series 6

created by Greg Daniels, Michael Schur; with Amy Poehler, Adam Scott, Aziz Ansari, Nick Offerman, Aubrey Plaza, Chris Pratt NBC/US *****

Community: series 5

created by Dan Harmon; with Joel McHale, Gillian Jacobs, Alison Brie, Danny Pudi, Yvette Nicole Brown, Ken Jeong NBC/US ****
I don't watch very many network sitcoms, but these three single-camera shows are mercifully free of laugh-tracks (I tried to watch Mom because I love Allison Janney and Anna Faris, but the inane guffawing wore me out). These three, on the other hand, are not only very funny but are blessed with some of the best writing and acting on TV. Has another show ever maintained such high quality over five seasons as Modern Family? When I met Ty Burrell at a press event in January I asked him why, and he said it's simple: they have the same team of writers they started with. Which also explains why the children have grown into sharply complex characters all their own. Another show that gets funnier year by year, Parks has a cast of hilarious scene-stealers who continually add layers to their characters. Losing Rob Lowe and Rashida Jones would have doomed a lesser show, but these guys more than filled the gap. And in its final season, Community bounced back to the wacky unpredictability of earlier years. The scattershot approach was a little disorienting (as are many of the brainy jokes and subtle references), but it's a rare show that actually talks up to its audience.

Agents of S.H.I.E.L.D.: series 1
created by Joss Whedon, Jed Whedon, Maurissa Tancharoen; with Clark Gregg, Ming-Na Wen, Brett Dalton, Chloe Bennet, Iain De Caestecker, Elizabeth Henstridge ABC/US ***

Scandal: series 3

created by Shonda Rhimes; with Kerry Washington, Tony Goldwyn, Jeff Perry, Darby Stanchfield, Katie Lowes, Guillermo Diaz ABC/US ****

Arrow: series 2

created by Andrew Kreisberg, Greg Berlanti, Marc Guggenheim; with Stephen Amell, Katie Cassidy, David Ramsey, Caity Lotz, Manu Bennett, Susanna Thompson Warner/US ***

These three series are guilty pleasures: not particularly great but a lot of fun. Marvel's S.H.I.E.L.D. series often feels like either an X-Files rip-off or a craven tie-in to their big-screen movies, but the character interaction is a lot of fun, and the season arc led the team into some intriguingly perilous situations. Scandal was a blast of fresh air in its first short season, then became bogged down in soapy melodrama in the second year. This third series was a lot sharper, with more political edge and some strong moral dilemmas. It also features the most fabulous cliffhangers imaginable - even the lead-ins to the ad breaks leave the audience breathless with anticipation. By contrast, Arrow suffers from painfully clumsy plotting that feels badly contrived at every turn, while the dual-timeline structure is straining at the seams. But the often startlingly fit actors are magnetic, drawing us into the action even though we know it's utterly ridiculous.

~~~~~~~ ~~ ~~~ ~~~~
CRITICAL WEEK: Here's Tammy!
Since I was on holiday last week, I saw no films at all. But I returned to work on Monday (my birthday, no less) and caught up with two: Melissa McCarthy's comedy Tammy isn't quite sure if it's a silly slapstick comedy or a sentimental road movie - so isn't really either one. And the festival-favourite comedy Obvious Child is a seriously endearing rom-com that avoids the usual structure and is packed with spiky characters and humour. I've got several things in the pipeline over the next week, including catch-up screenings of this summer's Transformers, How to Train Your Dragons and Planet of the Apes movies. But first things first: I mustn't let my tan fade away...