Screen: Spring TV Roundup

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

WAVE GOODBYE

Schitt's Creek: series 6

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

The Good Place: series 4

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

Future Man: series 3

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

Modern Family: series 11

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

SAY HELLO

Tiger King

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

Star Trek: Picard

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

Devs

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

Unorthodox

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

Quiz

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

The Outsider

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

I Am Not Okay With This

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

COME BACK

Ozark: series 2

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

The New Pope: series 2

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

Sex Education: series 2

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

The Trip to Greece: series 4

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

Grace and Frankie: series 6

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

CATCH UP

Unbelievable

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

The Kominsky Method: series 1-2

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

Castle Rock: series 2

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

GIVE UP

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

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

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

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

Screen: Spring TV Roundup

I don't feel like I watch this much TV, mainly because I always have so many things in my "to watch" list. But just catching an episode here and there between films and before bed, to reset my brain while working, clearly adds up. As always, I enjoy offbeat shows the most, and I try to avoid anything centred around murder or illness. Give me messy characters over a police procedural any day. More comedies are always welcome...

SOMETHING NEW

Les Miserables

This series is not the musical, it's a fairly standard costume drama TV adaptation of Victor Hugo's great novel. The solid cast helps keep it watchable, even if it's shot and edited in a rather pedestrian way that belittles the material by trying too hard. Still, the epic story can't help but sweep the viewer up in the outrageous injustice of it all. And the always-remarkable Dominic West, David Oyelowo, Olivia Colman, Josh O'Connor and others are terrific. Although you can't help but wonder how much better it would be if the producers had been more daring. Swapping West's and Oyelowo's roles around would have been an intriguing start.

This Time With Alan Partridge

Steve Coogan continues the adventures of his most notorious alter-ego with this riotously well-written comedy, which sees him returning from the wilderness of regional radio to BBC TV in London. Not only is Coogan still on razor-sharp form with this relentlessly awkward character, but the show is a superb pastiche of sofa television, knowingly poking fun at everything that happens both in front of and behind the cameras. It's also taking on some of big issues without even a whiff of political correctness. Alan valiantly attempts to join the Time's Up era while at the same time bulldozing it. Some of the technical gags (mainly the studio's overcomplicated tweet system) seem a little stretched out. Otherwise, it's wickedly funny.

You

There's a lot not to like about this hour-long black comedy series. The central characters are reprehensible. In the main role, Penn Badgely is a psychopath who poses as a nice-guy bookshop owner while he's using technology to stalk and seduce a cute, bland blonde (Elizabeth Lail) who clearly can't be as sweet as he thinks she is. A twist to reveal her perspective is oddly underused, but begins to make the show much more interesting. Lapses of logic abound, including the way this is another series in which people seem able to run around and do all kinds of expensive, highly skilled, nefarious things with whizzy gadgets even though they never seem to go to work.

Now Apocalypse

Gregg Araki brings his distinctive style to the small screen with this rather bonkers half-hour comedy, which follows a group of young people on an inebriated, sex-fuelled odyssey as some sort of alien conspiracy seems to be threatening the planet. Araki's witty take on youth culture is as luridly colourful as his films have always been, And the sexy young cast is thoroughly engaging, ably anchored by Avan Jogia, Beau Mirchoff and Kelli Berglund. There is a sense that Araki covered this material back in the 1990s, and that the sense of doom was perhaps more timely then, but this feels like a blast of fresh air on television: never coy about sex, never proscriptive about sexuality, honest about the struggle to find your place in the world.

Sex Education

Smart and very funny, this British series fills each hour-long episode with pithy observations about sex, which makes most of the characters squirm uncomfortably, especially Otis (Asa Butterfield), whose mother (Gillian Anderson) is a sex therapist.  And Emma Mackey, Ncuti Gatwa and Kedar Williams-Stirling are also superb. The script smartly skewers attitudes toward sexuality at every turn, so even when there's a badly cliched episode (such as No 5, when everything goes wrong simply because the writers are too lazy to think up something clever or original), there's plenty of character comedy and drama to hold the interest. And where it goes is finely played right to the explosive climax. Sorry.

Putting On

This snappy and watchable documentary web series from Revry follows On Mekahel as he goes into business with his ex Mateusz Pach to create a line of underwear. The charming, overconfident On is the definition of a drama queen diva in a ridiculously over-designed apartment (complete with fluffy white dog), blaming everyone for problems he causes himself. With six episodes under 10 minutes each, the show is a brisk, intriguing look at a business start-up, including some tellingly detailed moments along the way, balancing a business split between New York and Los Angeles, checking out samples, choosing models and hiring a PR agency. Sure, you have to be a control freak to do this job, but On really needs to lighten up.

BACK FOR MORE

Fleabag: series 2

The first season was so drop-dead brilliant that it was impossible to imagine where Phoebe Waller-Bridge might take it next. But the show just gets better with each new episode, which only makes a season of six half-hour shows feel almost painfully short. Not only is the writing simply jaw-droppingly hilarious and shocking at the same time, but Waller-Bridge has added the fabulous Andrew Scott, Kristin Scott Thomas and Fiona Shaw to a cast that already features Olivia Colman in one of her most memorable roles as Fleabag's smiling-monster stepmum (who finally cut loose, off-camera, this series). Everything about these characters is so messy that the show is easily the funniest thing on television. And the final episode was surprisingly moving too.

Future Man: series 2

This show is so fast-paced that binging it is almost too easy. The dialog is so sharp and silly that it keeps the audience on its toes, spinning events in continually unexpected directions. Josh Hutcherson is even better this season, helped by the fact that the entire season takes place in one time (the far distant future), while the other characters continually exasperate him. The show wildly satirises human history, most notably issues of power and political corruption. But it's so absurd and manic that it begins to get sublimely inane - a stoner sci-fi comedy romp that feels utterly ridiculous but actually has some cool subtext.

Star Trek Discovery: series 2

This season got instantly back on track, making the debut season feel like a sideroad (well, it took place in a parallel timeline). This is much more grounded in the Trek ethos, which makes each "discovery" that much stronger as the characters explore new planets while trying to solve an epic mystery. The characters and their tricky relationships also develop in intriguing directions, with some terrific additions to the cast, including Anson Mount's Pike and Ethan Peck's Spock. Viewers who watch carefully will spot some annoying plot holes here and there, but the personal drama is so compelling that it's hard to mind too much. It's also impossible to predict where this will go next, which is rare for an episodic adventure in this genre.

Friends From College: series 2

This ensemble comedy returned to further entangle the lives of these lively characters. Nothing about this show is particularly believable, especially as all of the drama feels so ingrown, but it's entertaining for what it is. This is largely thanks to the up-for-it cast, layering some bracingly unlikeable angles into their characters. Which actually makes them more sympathetic, because we can identify with them. It's refreshing to see a show that doesn't strain to make everyone a quirky type who is adorably sweet. These people all have crippling issues that push them to do terrible things to each other. But they're so hilariously hapless about it that it's hard to hate them.

One Day at a Time:
series 3

I'd never seen this, but on a recommendation I started from the beginning and binged it. This is one of the smartest, funniest sitcoms out there. A remake of a classic 1970s show, it's a fresh take on the single-mother set-up with a particularly strong cast of complex characters led by Justina Machado and national treasure Rita Moreno. It's a rare comedy that uses character-based wit to keep the audience laughing while also tackling some deeper themes with emotion but no sentimentality. And it's bracingly realistic, easy to identify with these people as they grapple with big issues using warmth and humour. Netflix sadly hasn't renewed it, so let's hope someone else picks it up.

This Is Us: series 3b

Compulsively watchable, this sludgy show manages to find new interest by continually delving into new timelines, backstories and possibilities. There are so many different story periods and strands that it's becoming worrying: can they sustain all of this fragmentation without losing the logical coherence of it all? Thankfully, the core cast is solid enough to make the show unmissable. The Michael Angarano/Griffin Dunne plot thread fit in nicely with the show's recurring themes. And seeing Randall (Sterling K Brown) go into politics will hopefully bring some cool new angles, especially for Susan Kelechi Watson's Beth, who felt like the break-out character this year.

The Good Place: series 3

This series continues to pull the rug out from under its characters and the audience in the most awesome ways imaginable, somehow managing to be stupid, smart, hilarious and emotionally resonant all at the same time. The afterlife antics continued this year with our heroes trying to prove that the rules have made it too hard to get into heaven, so they set out to change the system. The existential themes are provocative, even as the characters and situations remain sublimely ridiculous. And the cast is getting better with each episode. There seems to be no end to the inventiveness of the writers.

Schitt's Creek: series 5

After last year's sublime season, the gang returns for an even stronger year, with sharply well-written episodes that are played to perfection by actors who are relaxing into their characters. Even Chris Elliott isn't as annoying this time around, finding some unexpected layers to the idiotic Roland. Of course the main reason to watch this is the raw genius of Catherine O'Hara and Eugene Levy, plus the impeccable timing of Dan Levy and Annie Murphy as their kids. But then all of the characters are unforgettable. And the way they react to each other and the realities of their lives is simply priceless. The show can't run forever, but we can hope. And we also hope they release Moira's Cabaret as a stand-alone special. And The Crows Have Eyes III, too.

Grace and Frankie: series 5

This is one of those rare shows that gets better with age, appropriately enough. By now, the broad premise has settled into the background, allowing the writers the space to have some fun with the characters as they adeptly weave various plot strands together. This not only makes the show funnier. but it's also much more textured and insightful. Episodes spark plenty of laughter, but with an emotional edge. All of which gives the strong cast a lot to run with. Jane Fonda and Lily Tomlin are simply wonderful in the title roles, pushing their characters further than expected. And everyone around them is on peak form.

Shameless: series 9b

When the Gallaghers bring chaos on themselves, it's engaging; when the universe dishes out bad luck, it feels like writers are contriving to stir up trouble. The second half of this season weaves in too much scripted pain, particularly for Fiona (Emmy Rossum). But as annoying as it was to see her shattered and mean, at least there was a bigger plan, and they sent her off with real panache. Even as the younger kids grow up and get into their own issues, William H Macy's Frank remains the most unapologetically irresponsible member of the family, and Macy still nails the character perfectly. They all continue to be great, actually. As much as we'll miss Rossum, it'll be great to have Cameron Monaghan's Ian back next year.

THE END OF THE ROAD

Timeless: series 3

This show wraps up with a two-part season subtitled, ahem, "The Miracle of Christmas". The increasingly splintered narrative makes even less logical sense than before, but the show has a simplistic charm that delivers mindless entertainment as it pings around between encounters with various random historical figures and events. The settings are intriguing, with some clever touches along the way. But the convolutions of the script are frankly laughable, especially as they try to unravel the tangled mess of plot threads over the previous two seasons. That's clearly impossible, so most of the dialog sounds like gibberish. But it's good fun.

You're the Worst:
series 5

This series was always going to be difficult to maintain, as the idea of two relationship-averse people falls apart when they're planning their wedding. But the writers find ways to continue their tortured interaction in some jaggedly funny directions. And the actors somehow manage to deepen even the more cartoonish side characters in the show; all are excellent. Being the final season, there was a definitely sense this time round that they are heading somewhere, even if the whole wedding scenario just never clicks into gear. Still, the final episode has some terrific touches in the way it wraps things up.

Unbreakable Kimmy Schmidt: series 5

To wrap up the show, this half-season started rather wobbly before regaining its stride for some superbly entertaining wackiness. Frankly, the premise was stretched beyond the breaking point, as Kimmy's emergence as a capable, intelligent woman kind of undermines her continuing naivete. So the writers instead went off the rails into manic nuttiness involving the wider cast of characters, which simply wasn't as engaging, even though it was still very well-played by the ace actors (Jane Krakowski is god). A bolder approach, pushing Kimmy into some proper female-empowerment scenarios, might have given the series some legs. But at least it went out with a bang.

NOW WATCHING: Killing Eve, Twilight Zone, Veep, Victoria, True Detective, Jane the Virgin

COMING SOON: Game of Thrones, Fosse/Verdon, Good Omens, Santa Clarita Diet

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...