Screen: November TV Roundup

In the run-up to voting deadlines for the Golden Globes, I've been watching rather a lot of TV (including stand-up specials and, this year, podcasts). For me, television is always a nice break from the more diligent focussed attention needed when watching movies. So I seek out comedies and mindless shows where possible. There have been quite a few good series this autumn, and some duds as well. I'm starting this roundup with some brand new shows...

Boots
This lively boot camp comedy-drama centres around 18-year-old Cameron (Miles Heizer) who gets fed up with being bullied, so he joins the Marines with his best friend Ray (Liam Oh). The hitch is that Cameron is gay, which is forbidden in the military in 1990. Because it's based on a memoir, the show is packed with knowing details that bring the characters and situations to vivid life. So Cameron and Ray, and several of their fellow recruits and drill sergeants become unusually complex as they grapple with their own issues. The standout is Max Parker as Sgt Sullivan, who is struggling to confront his own sexuality while trying to teach his young trainees to find the truth inside them. And Vera Farmiga has a wonderfully offbeat role as Cameron's mother. (Netflix)

Chad Powers
Because it hinges on a silly gimmick, it's difficult to see how this comedy will sustain itself over multiple seasons. The premise is that a disgraced professional American football player (Glen Powell) uses a movie-makeup disguise to join a university team under an assumed identity, and no one recognises him. These episodes fizz with big personalities and a solid mix of humour and tension. Powell is superbly unapologetic as the idiotic jerk Russ, as well as the even dopier Chad. And Steve Zahn is on peak form as his flustered coach, whose daughter (a solid Perry Mattfeld) provides both simmering attraction and edgy bickering fireworks. The great Toby Huss is also on hand as Russ' estranged makeup artist dad. By the end, the premise is strained to the limit, so we wonder where it can go from here. (Hulu)

MobLand
First, I must confess that I avoid crime-based series, simply because murder and carnage aren't my idea of entertainment. But the cast of this show intrigued me, with Helen Mirren and Pierce Brosnan as leaders of a thuggish Irish family in England, alongside the talented likes of Tom Hardy, Paddy Considine, Joanna Froggatt and Joanna Pulver (plus some spicy guest stars). Guy Ritchie directed the first two episodes, setting a snappy tone that plays up the pitch-black comedy. The overarching narrative becomes increasingly grisly, both sidestepping questions of morality and blurring lines around loyalty. But this is riveting television, and it's very difficult to look away from actors who are almost supernaturally gifted when it comes to this kind of wonderful scene-chomping dialog. (Paramount)

House of Guinness
Writer Steven Knight ramps everything up in this loosely fact-based account of the Irish stout family in the 1860s, creating soap opera style plot threads that are infused with big attitude and lots of violence. The cast is terrific at bringing out the subtle character details amid the more bombastic production style, with Anthony Boyle, Louis Partridge and an underused Fionn O'Shea as brothers tasked with carrying on their stern father's empire. There are also strong female roles for Emily Fairn, Naimh McCormack and Ann Skelly, plus another slippery turn from Jack Gleeson. So it's frustrating that the plot lines move so erratically to a frustratingly open-ended finale. If there's no season 2, then this first series was pointless. (Netflix)

Alien: Earth
Imagined on a staggering scale, this prequel series features a detailed mythology and epic effects, exploring a 22nd century in which Earth is ruled by three competing corporations. That alone makes it worth a look, but it's also a prequel to Ridley Scott's landmark 1979 space horror Alien, inventively matching the aesthetic and tone. The plot opens as alien species escape from a crashed research vessel, creating chaos while rival company bosses claim these creatures for their own nefarious reasons. The depiction of business/political overreach is eerily recognisable. And there are seriously complex roles for the excellent Sydney Chandler and Alex Lawther, playing siblings with a fascinating sci-fi twist. Plus great support from Essie Davis, Adarsh Gourav, Babou Ceesay, Timothy Olyphant and more. (FX)

Wayward
An involving idea adds a kick to this mystery thriller series, set in a creepy town dominated by a reform school run by the cheerfully sinister Evelyn (Toni Collette). Plot threads are seen through the eyes of new student Abbie (Sydney Topliffe) and her troublemaking best pal Leila (Alyvia Alyn Lind), as well as newly arrived cop Alex (series creator Mae Martin) and his wife Laura (Sarah Gadon), who went to Evelyn's school. While it's perhaps not as nuanced as it might be, the show is hugely entertaining largely because of what is not said. And the psychological ideas worm their way into our thoughts, especially as characters speak about the nature of parent-child connections. There is also a terrific blend of new age mumbo jumbo and hippie heal-the-world messaging, plus rather a lot of murder. (Netflix)

T H E   S A G A   C O N T I N U E S

Only Murders in the Building: series 5

Steve Martin, Martin Short and Selena Gomez are back for more hilariously silly sleuthing, this time with a mystery centred around their murdered doorman. The action and comedy both kick off quickly, as our heroes dive into another whodunit that increasingly ties itself in knots, sending the trio through a nutty series of twists and turns. The case this season is a bit too messy to hold the interest, especially as it sets up events that contrive to evict the colourful residents from their beloved Arcona apartment building, which is now manned by a robotic doorman who knows too much. But it definitely helps to have big names popping up everywhere, including Dianne Wiest, Renee Zellweger, Christoph Waltz, Logan Lerman and Bobby Cannavale. We may not care who the killer is, but we're still having fun. (Hulu)

Peacemaker:
series 2 

Even more propulsive than the first season, this anarchic show takes off at high speed and provides all the energy, originality and unpredictability that we expect from James Gunn. The events directly connect to Gunn's recent Superman movie, but are both much more fun and far more character-based, with a wonderful group of messy characters led by John Cena's hapless but likeable Chris. Even side roles are livened up with spicy dialog and outrageous motivations, which gives the entire show a jolt of electrical charm. So Danielle Brooks, Freddie Stroma, Jennifer Holland get much more do to this time around. And while using the tired parallel dimension gimmick in a way that actually means something, there's also more of Robert Patrick as Chris' riotously bullheaded dad. (Max)

The Morning Show: series 4 

Each season of this newsroom drama gets more soapy than the last, as contrived personal relationships increasingly interfere with more intriguing journalistic issues that made this a must-see from the start. And even the newsroom stuff is beginning to feel silly this time around, pushed to corny extremes as the plot dives into the events of 2024 with a gimmicky AI subplot. But it's still compelling, even with Jennifer Aniston's increasingly immobile face. She's terrific as broadcaster/executive Alex, whose life is messy and rather improbable. Reese Witherspoon is also solid as the plucky journalist whose nose sees her locked away for most of this season. The supporting cast is packed with bright lights (Greta Lee, Jon Hamm, Jeremy Irons, Lindsay Duncan), while other characters never gain traction. (Apple)

Juice: series 2

Writer-director Mawaan Rizwan is back with a new series of this outrageously charming comedy, which this time takes some darkly surreal turns that dig very deeply under the surface. Rizwan's energetic lead character Jamma sees his clown-like behaviour take a twist, going to various extremes to rekindle his relationship with Guy (the always terrific Russell Tovey). Rizwan's brother Nabhaan and mother Shanaz are back on board as his hilarious fictional family, along with Jeff Mirza as his goofy dad and Emily Lloyd-Saini as his snappy best friend. The colourfully hand-made sets and landscapes add to the sense that this is actually an internal journey, and the narrative trajectory continually catches us off guard with its insight, taking on powerfully resonant issues. (BBC)

Palm Royale:
series 2 

Carol Burnett and Allison Janney are two of my very favourite performers, so I'd watch anything they do. But this show finally lost me, because the writers push the story even further into annoying absurdity. As the goings-on in Palm Beach society get increasingly ridiculous, it's still a major problem that Kristen Wiig's lead character is the least engaging person on-screen. It certainly doesn't help that the most intriguing side characters (played by Ricky Martin and Laura Dern) have been oddly sidelined. And the writing is so silly that it has begun to grate, playing up the most obvious gags while entirely missing any chance to comment on privilege and wealth. I endured three episodes before giving up. Although I may go back and watch the rest, just for Carol and Allison. (Apple)

Star Trek - Strange New Worlds:
series 3

This prequel series dives straight into a tense conclusion to last season's cliffhanger. What follows is entertaining despite the soapy shenanigans, simply because the characters are so engaging. This allows actors like Anson Mount, Rebecca Romijn, Carol Kane and especially Ethan Peck to find terrific textures. And thankfully, the overarching plot felt much less oppressive this time. There are also a few entertainingly inventive gimmicky episodes (one blends The Last Frontier pastiche with a nutty whodunit), nodding to the franchise's history in a variety of ways. That said, the writers are a little preoccupied with these references, especially as they set up the characters for the original 1960s series. Two more seasons are planned for this crew, so there's a lot more fun to come. (Paramount)

Open to It: series 2

Just as messy as the first season, these six episodes (plus a Pride special) continue the West Hollywood adventures of Princeton (Jason Caceres) and the couple Cam and Greg (Tim Wardell and the show's creator Frank Arthur Smith), who once tried to live as a threesome but are now pining for each other as they run around with a variety of other men and women. The writing is more ambitious and superbly thought-provoking, but the directing and editing are just as choppy, so key plot points get lost and side characters never quite become fully formed. But there's plenty of fun to be had with our central trio as they try to avoid running into each other at various raucous parties. And there are also some more drag queen antics and a finale that involves a riotously racy puppet show. (OutTV)

P L A Y I N G   C A T C H -  U P

English Teacher: series 1-2
After a couple of recommendations, I checked out the first season of this comedy before the second arrived. This is a bracingly entertaining comedy with unusually lively characters and intriguing social textures. Set in Austin, the comedy circles around English teacher Evan (series creator Brian Jordan Alvarez), whose identity as a gay man in Texas leads him into all manner of nonsense. Each of the side characters are hilarious, with especially strong roles for ace performers Jordan Firstman (as his enthusiastic on-off boyfriend) and Enrico Colantoni (as the school's exhausted principal). The second season is even more confident, taking on big issues with superbly unsettling nuance even as things get hilariously silly. So it's a real shame that there won't be a third series. (Hulu)

Nobody Wants This: series 1-2
Adam Brody and Kristen Bell are terrific in this show about a rabbi who falls for a woman who makes the eponymous sex-based podcast, ably supported by Timothy Simons and Justine Lupe as their ridiculous siblings. I watched both seasons back-to-back, and it was intriguing to see how the writers push things along, although there's also a sense that none of this is terribly realistic. The story centres around Judaism and Jewishness, and while it's refreshing to see a show that at least addresses religion and ethnicity in such a knowing way, it never gets particularly deep. More troublesome is the way the characters become less likeable the more we get to know them, making it a bit difficult to believe their relationship. But the actors are strong enough to keep us watching. (Netflix)

GUILTY PLEASURES: The Celebrity Traitors, Last Week Tonight, The Late Show, The Great British Bake Off, Strictly Come Dancing, Race Around the World, Selling Sunset, Drag Race UK, South Park.

NOW WATCHING: I Love LA, Gen V 2, Loot 3, The Witcher 4, Stranger Things 5.

COMING SOON: A Man on the Inside 2, Fallout 2, Death by Lightning, Industry 4, The Night Manager 2, Ponies, Star Trek: Starfleet Academy.

Previous roundup: SEPTEMBER 2025 >

Critical Week: Everybody wants to rule the world

While the television is covered with major sporting events at the moment, the gloomy weather is driving people into the cinemas. And there are plenty of things worth seeing. As usual, I'm a bit ahead of the pack on many of the films I saw this week. But I never heard about a press screening for Despicable Me 4, so I bought a ticket and was happy to find it the best in the franchise so far. It's still fast and blissfully nutty, but there's a smart edge to it this time. I also caught the British animated adventure Kensuke's Kingdom, based on the beloved Michael Morpugo novel about a young boy stranded on an almost deserted island. It's beautifully designed and well-written.

BEST OUT THIS WEEK:
Sisi & I • Problemista
Despicable Me 4
Fly Me to the Moon
ALL REVIEWS >

In live-action, there was Scarlett Johansson and Channing Tatum subtly falling for each other in the Apollo 11 comedy-drama Fly Me to the Moon, which is colourful and very charming. Jacques Audiard's new film Emilia Perez won multiple prizes at Cannes, notably for the staggering central performances in a bold, moving story about violence and transformation. Sandra Huller is as terrific as always in Sisi & I, as the handmaiden to the Austrian empress; the film is witty, inventive and involving. The Korean horror Sleep begins as a sharply well-made light drama about sleep-walking before turning genuinely freaky. And from Iran, My Favourite Cake is a warm and hugely involving late-in-life romance with a big emotional kick. On stage, I attended the opening cabaret of this month's London Clown Festival at Soho Theatre and Dorian: The Musical at Southwark Playhouse.

This coming week I'll be watching Glen Powell in Twisters, Saoirse Ronan in The Outrun, June Squibb in Thelma and the British drama Chuck Chuck Baby, plus two stage shows: National Youth Dance Company at Sadler's Wells and more of Jack Tucker at Soho Theatre.

Screen: October TV Roundup

I've watched quite a lot of TV over the summer, episode by episode in between the movies. I look for more escapist fare, although sometimes something serious can work perfectly. I certainly avoid police or medical procedural dramas. And finding a good comedy has been tricky lately...

T H I S   I S   T H E   E N D

Sex Education: series 4
Firing on all cylinders, this show powers into its final season by knowingly shifting the action to a touchy-feely politically correct school where our heroes' shenanigans aren't nearly as revolutionary. Even if plotlines sometimes hiccup, each of the central characters takes their own pointed journey through this new reality, and they bring complexity and engaging nuance to their interaction. Asa Butterfield, Ncuti Gatwa, Emma Mackey, Connor Swindells and Amy Lou Wood have deservedly boosted their stardom over these four seasons. And Gillian Anderson channels Margaret Thatcher from The Crown into her sexologist. There are also several sparky new characters who hint that this show shouldn't stop here. (Netflix)

Physical: series 3
Things continue to ramp up for Sheila (Rose Byrne) as she becomes a minor TV celebrity with her weekly workout segments, expanding her empire. Yet despite doing some work on herself, she has a new inner demon to contend with in the form of arch-rival Zooey Deschanel, whose actual character is miles away from Sheila's imagined version of her. This kind of writing seems a bit uneven, reusing old ideas rather than finding a fresh new direction, and her big revelation and ultimate grounding isn't particularly convincing. But Byrne is terrific in the central role, a complex character whose messiness makes her sympathetic. Her journey is still compelling to watch, even if we care less and less about the people who are in her orbit. (Apple)

A L L   N E W

Juice
Written by and starring bright young spark Mawaan Rizwan, this riotous comedy is made to a very high production standard, with often outrageously colourful sets and costumes and cleverly inventive transitions between scenes. It follows the antics of Jamma (Rizwan), who is described by his boyfriend (Russell Tovey) as a tornado of energy. Indeed, the show is sometimes so chaotic that it's a little exhausting, but it's infused with a huge amount of heart thanks to the endearing performances and writing that digs beneath the hyperactive surface. Terrific costars include Jeff Mirza (as Jamma's surly dad) and Rizwan's mother Shahnaz and brother Nabhaan as gloriously heightened versions of themselves. (BBC)

Ahsoka
When this series recaptures that sense of kinetic energy and snappy camaraderie that made the Star Wars universe hum to begin with, it's remarkably involving. But like other recent series, there's a tendency to turn ponderous and very dark (both thematically and visually) for no real reason other than to heighten the drama about the Jedi and Sith fighting over control of the galaxy. And there's now a second galaxy to worry about. Alongside Rosario Dawson, the solid cast brings scenes to life, especially the late Ray Stevenson and the voice of David Tenant. The show is very well-made, with lovely offhanded moments scattered all the way through, but the mythology is so dense and intrusive that it's difficult to care. (Disney)

Single, Out
From Australia, this comedy-drama traces the coming-of-age of young artist Adam (Will Hutchins), who has his first sexual experience with cute rugby-playing Josh (Adam Mountain), best friend of his brother Clayton (Steven Christou). So Adam decides to come out, then has to navigate this new reality. This includes going to bars, dating and working out who he is and what he wants. There are the usual sitcom elements, such as Adam's witty interaction with his boss and colleagues, and the show definitely has sex on its mind, but shoots anything sexy with a awkward prudishness (it's not about what's shown, but how). That said, the side roles are enjoyably sparky and the humour is wonderfully dry, and there are sharply pointed issues woven through each 20-minute episode. (Cinephobia)

B A C K   F O R   M O R E

Only Murders in the Building: series 3
Things ramp up once again, as our trio of sleuths (Steve Martin, Martin Short, Selena Gomez) investigate the messy murder of an actor (Paul Rudd) by someone in the company of his Broadway show, which includes a hilariously gung-ho Meryl Streep. The stakes feel higher this time around, perhaps because the murder happened (twice!) right within their midst, and all of the suspects are good friends and colleagues. This gives a charge of energy to the show, which is further heightened by fabulous guest stars like Andrea Martin and Matthew Broderick.  Where the plot goes is enjoyably twisty, packed with witty in-jokes about both the mystery genre and theatre culture. And some great songs too. (Hulu)

Star Trek - Strange New Worlds: series 2 
Maybe it's just me, but despite the solid cast and high production values, and writers willing to take on big topics, this show is struggling to hold my interest. This season seems designed to merely hit the usual action beats while making references to the original series, rather than allowing thoughtful drama to drive the episodes forward. And the ever-expanding cast means that no one gets enough screen time to become fully engaging. Even in their relatively short scenes, Anson Mount, Rebecca Romijn, Ethan Peck, Christina Chong, et al are riveting. The Lower Decks crossover episode is fabulous, striking the witty tone the whole series needs. And the musical episode was certainly ambitious. (Paramount)

And Just Like That: series 2 
More focussed than the first season, this sequel show carries on both reinventing its characters and refusing to allow them to grow in any meaningful way. It's an odd concoction in which Sarah Jessica Parker tries to play Carrie as if she's still 35, rather than almost 60, which might add a more meaningful kick to everything. Parker, Cynthia Nixon and Kristin Davis don't get a lot to do here, and most of the side roles remain oddly thankless. Cameos from the original series continue to pop up from episode to episode, adding enjoyable colours. So it's always watchable, even if it never quite feels like anything interesting is happening. And like the original series, it never feels remotely believable. (Sky) 

Lupin: part 3
Even more tightly written and directed than the first season, this heist thriller series gleefully plays with the narrative, flickering around in time to conceal plot secrets and then reveal them at just the right time to keep the audience on board.  Although the villain's motive remains obscure for far too long. The central plotline about Assanne being blackmailed into stealing things is a little tedious, but it plays out with pizzazz. This is hugely entertaining to watch, with a steady stream of satisfying payoffs. Omar Sy is terrific as the charming super-thief at the centre, with his bright smile and lanky swagger. And the supporting cast have had their roles deepened and textured to add even more interest. (Netflix)

Minx: series 2 
Leaning more intently into female power dynamics with the arrival of moneybags boss Elizabeth Perkins, this show continues the now-rising fortunes of a magazine editor (Ophelia Lovibond) who finds success with her publication centred around naked men. As before, the show is a mix of business struggles, personal challenges and flashy shenanigans. And most of the trouble is caused by scruffy publishing genius Doug (Jake Johnson), while more interesting characters played by Oscar Montoya, Jessica Lowe and Idara Victor take pointed side journeys of their own. Snappy pop culture references and an overall sense of narrative momentum keep us watching, even if characters and plotlines are somewhat underwhelming. (Starz)

The Afterparty: series 2 
And we're back with another murder that takes place during an afterparty, this time a wedding. Tiffany Haddish returns to the scene as the no-nonsense detective, and each partygoer's account of the fateful event is rendered in another genre style, including romcom, period drama, noir mystery and a Wes Anderson film. It's also just as messy and pointless as it was the first time around, with the frantic pace and scattershot approach making it difficult to care much about whodunit. That said, it's skilfully well-made, and the cast is always watchable, including returnees Sam Richardson and Zoe Chao, plus Elizabeth Perkins, Jon Cho, Jack Whitehall and Paul Walter Hauser. (Apple)

Good Omens: series 2
Even more bonkers than the first season, this show is infused with a hilariously quirky sense of humour as our best pal outcasts, angel Aziraphale (Michael Sheen) and demon Crowley (David Tenant), find themselves in the middle of a supernatural battle when the amnesiac archangel Gabriel (Jon Hamm) turns up. Wacky antics ensue, augmented by an amusing collection of nutty flashbacks scattered throughout eternity. Plus the tremendous chemistry Sheen and Tenant have developed here and elsewhere (see Staged). So even if it all feels faintly pointless, it's a lot of fun to watch inept angels and demons trying to force order into the universe, while Sheen and Tenant remain outside the fray. (BBC)

The Wheel of Time: series 2
Making most of the worst mistakes of fantasy TV series (and movies), the dialog in this show has far too much mythology in it, including endless people, place and thing names that are impossible to understand or remember if you haven't read the books. But the production quality is much stronger this season, including more eye-catching special effects, even if many action sequences take place murkily in the night. It remains watchable because the ensemble cast members deliver nicely offhanded performances, let by the reliable Rosamund Pike. So when the show concentrates on their interrelationships, we can get involved in the story and ignore the gibberish. (Prime)

What We Do in the Shadows: series 5 
Twisting the story further, these endearingly ridiculous characters enter a new dynamic when Guillermo (Harvey Guillen) breaks the rules to realise his dream of becoming a vampire. This adds an intriguing new mix of tension and emotion to the usual silliness. The storylines are expertly crafted to build amusingly on threads from previous seasons as Guillermo's secret spirals increasingly out of control, although where it ends up feels like a cop-out. Still, these characters seem to have no end of hilarity built into them, as they continually misunderstand even the most basic things while assuming their centuries of existence make them the smartest people in the room. (FX) 

P L A Y I N G   C A T C H - U P

Starstruck: series 1-3
Rose Matafeo created and stars in this comedy as Jessie, a seriously disastrous 30-ish woman trying to make sense of her aimless life in London when she falls in love with famous movie star Tom (Nikesh Patel). Their on-off relationship is the spine of this series, and they spend most of the episodes at an awkward distance, grappling with lingering feelings that make it difficult to move on. Jessie is such a relentless self-saboteur that she's not easy to like, but then she only has one proper friend (the fabulous Emma Sidi). She continually stirs up drama and wrecks her connections with friends, then blames them for it, which is exaggerated and not remotely funny. But the dialog crackles with wit and honest emotion. (BBC) 

Young Royals:
series 1-2
Essentially a more grounded Swedish variation on the sexy Spanish teen soap Elite, this show is also set at a posh private school. Here, 16-year-old Crown Prince Wilhelm (Edvin Ryding) causes all kinds of drama simply by being present. These spotty teens are realistically messy in their romantic entanglements, and there's meaningful commentary about race, class, politics and economics along the way. But of course the most engaging thing here is the romance between Wilhelm and townie Simon (Omar Rudberg), a cutie with the voice of an angel. And Malte Gardinger is particularly good as conflicted villainous senior August. The question is whether they can keep this going as the actors begin to look 30. (Netflix)

Glow: series 1-3
I'm not sure why I missed this show, but the presence of Betty Gilpin and Alison Brie made me want to take a look, plus a starry lineup of directors. Strong characters kept me watching over the 30 episodes, even with some rather annoying plot lines (such as the unlikely romance between Brie and her boss Marc Maron). And there's a sense that after the sparky opening set-up season, the writers attempted to drastically slow things down, moving from the creation of a ladies wrestling TV show to a Vegas extravaganza that isn't nearly as interesting. There actually could have been more wrestling on-screen, as it's hilariously choreographed and staged. Getting back to basics might have saved this show. (Netflix)

I   G I V E   U P

One Piece
While this has been a big hit, it's difficult to know who it's made for. The humour seems aimed at an audience around the same age as the teen protagonists. But it's also relentlessly dark and violent. This might have worked with half-hour episodes, but at an hour this is simply too much, especially since everything is so hammy. I only made it through two episodes. (Netflix)

The Full Monty 
Catching up with the characters from the 1997 movie 25 years later, this show isn't easy to get into. It feels like the first season of a Sheffield-set soap opera about people struggling to survive due to societal issues and bad decisions. The cast is good, but their connections feel contrived, which gives the show no sense of direction. I stuck it out for four episodes. (Hulu)

-----------------------------------

GUILTY PLEASURES: Drag Race (UK/Down Under), The Great British Bake Off, Strictly Come Dancing, Selling the OC.

NOW WATCHING: The Continental, Still Up, Gen V, Our Flag Means Death (2), The Morning Show (3), Black Mirror (6).

COMING SOON: Frasier, Lessons in Chemistry, All the Light We Cannot See, Loki (2), Invincible (2), Upload (3), Elite (7).

Previous roundup AUGUST 2023 >

Screen: December TV Roundup

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

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

Nine Perfect Strangers

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

Acapulco

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

The Big Leap

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

Invasion

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

Mr Corman 

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

B A C K   F O R   M O R E

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

The Morning Show: series 2 

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

The Other Two: series 2

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

Love Life: series 2

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

Succession: series 3

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

Sex Education: series 3 

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

What We Do in the Shadows: series 3 

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

Brooklyn Nine-Nine: series 8

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

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

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

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

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