On the Road: Take a ride

I'm out in Southern California once again, catching up with friends and family for a couple of weeks, so my film-watching schedule will be greatly reduced. I hope to see a few things while I'm out here, both press screenings and regular cinema outings, but I also want to enjoy the sunny weather, beachy Orange County vibes and of course fish tacos. Before leaving London I managed to see the new Star Wars movie The Mandalorian and Grogu twice - first at a crew screening with a friend who works in special effects, and then at an Imax press screening. It's a lot of fun, but feels oddly slight for the franchise, especially the undercooked dialog. 

On the flight, I only watched one movie, the hilariously ridiculous Downton spoof Fackham Hall, which I had missed when it came out in cinemas. Perfectly mindless airplane entertainment. Then I found the latest series of The Traitors US, and watched three and a half episodes from London to Denver and then one and a half from Denver to Orange County. Need to find the rest of the season now.

While I'm here there are a few films opening that I hope to catch, including Brendan Fraser in Pressure. And I wouldn't mind seeing the new Scary Movie and Masters of the Universe. I have one press screening in the diary, for Olivia Wilde's The Invite with Seth Rogen and Penelope Cruz. And I'm chasing press screenings for both the new Spielberg film Disclosure Day and the drag action comedy Stop! That! Train! Whatever I see, I'll update things here...

Screen: July TV Roundup

While several high-profile shows are back with new seasons, it's been the new series that have captured the buzz over the past couple of months. It's always fun to discover something new, whether it's a limited series or something that is likely to go on for a few more seasons at least. Not that anyone is willing to let a hit simply pass into memory without milking at least one more collection of episodes. I've had time to catch up with a few things, starting here with new shows...

Too Much
Lena Dunham is back as writer-director (and occasional costar) of this sparky London-set comedy starring the awesome Megan Stalter and Will Sharpe. As with Girls, the show explores ambition, friendship and romance in ways most TV series would never dare, remaining honest and jaggedly funny while never shying away from the way real people interact both professionally and personally. Over the course of 10 episodes, Dunham crafts a perfect romcom that breaks every rule in the book. She also pokes fun at the American-in-London trope. And she peppers scenes with top-tier support from Richard E Grant, Naomi Watts, Andrew Scott, Andrew Rannells, Adele Exarchopolous, Rita Wilson, Rhea Perlman and many more. (Netflix)

Your Friends & Neighbors
Jon Hamm stars in this darkly comical series about a bigwig Wall Street trader whose wife (Amanda Peet) leaves him for his best friend (Mark Tallman). Then he's sacked by a greedy boss. So he decides to burgle his wealthy neighbours' homes to keep his head above water, as you do. It's all rather implausible and smug, only pretending to lampoon the lifestyles of the wildly wealthy while secretly revelling in them. And the overall story arc feels extremely constructed, with little air for real-life honesty to interfere. But Hamm is hugely watchable as always in an unusual role that combines comedy and drama, and the ensemble cast around him have strong moments of their own. The question is whether we'd watch a second season. (Apple) 

Sirens
This limited series is like a mashup of The White Lotus, Nine Perfect Strangers and The Perfect Couple, set at a New England island retreat run by the imperious Michaela (Julianne Moore). The action centres around her over-efficient assistant Simone (Milly Alcock), who is not happy that her distinctly working-class sister Devon (Meghann Fahy) has dropped in unannounced to ask for help in caring for their dad (Bill Camp). Wrinkles abound in relationships and connections, as secrets and mysteries emerge from the shadows to engulf everyone. And where it goes is refreshingly unexpected. Moore is hilarious as the earnest Michaela, like Gwyneth Paltrow with cult-leader vibes. Terrific costars include Kevin Bacon and the ubiquitous Josh Segarra. (Netflix)

Overcompensating
With its lively writing and likeably chaotic characters, this half-hour comedy is entertaining even if it's one of those shows that spins its wheels and never quite gets anywhere. The premise is clever: university freshman Benny (played by the show's creator Benny Skinner) has always exceeded expectations as an athlete and student, and is suddenly challenged to be his true gay self for the first time. But old habits die hard, and the closet isn't easy to escape. Characters are well-written and vividly played by a fresh cast, and the writing has hilariously knowing insight into the power of expectations and peer pressure, especially with the frat house antics. But over eight episodes, the story only takes baby steps, ending just as things begin moving. (Amazon)

Murderbot
Alexander Skarsgard is terrific in this comical sci-fi thriller series, which packs a lot of humour, suspense and barbed interaction into each of its half-hour episodes. He plays a sentient security robot who hacks the programme that limits his actions, which triggers an odyssey in which he explores who he is and what he means in the face of humanity. His opinions about people are hilariously astute, and it's a lot of fun to see how he awkwardly bonds with his oddball crew (including the terrific Noma Dumezweni and David Dastmalchian). This offers a terrific look at the nature of emotional interaction, while also lampooning the genre with amusing scenes from shows within the show. (Apple)

B A C K   F O R   M O R E

The Bear: series 4

Still not a comedy, despite winning all the awards, this bracing show boasts some of the best acting and writing on television. So while the never-ending miserable chaos sometimes feels exhausting, there's plenty of depth to it. The seriously first-class actors grow more riveting each series as talented people trying to keep a top tier restaurant from failing. Jeremy Allen White and Ayo Edebiri should win every prize going. And the supporting cast too, for that matter. Although showrunner Christopher Storer does love achingly cool montages (sometimes entire episodes are assembled this way). This season was packed with memorable elements, with a constant flurry of surprises. And that wedding episode. (FX)

The Last of Us: series 2 

Jumping ahead five years, this season kicks off with riveting episodes that set up powerful storylines and complex interactions. With shocking twists, the show feels far more propulsive than the first series, adding a proper sense of urgency that drives the action forward on a larger scale. As Ellie, Bella Ramsay continues to be a force of nature on the screen, one of the most complicated young people on television. Ellie's rippingly intentional character drives the action alongside Isabela Merced, Young Mazino and Gabriel Luna. Kaitlyn Dever has terrific presence as this season's villainous figure, alongside a taut Jeffrey Wright. And Catherine O'Hara takes no prisoners. But the departure of Pedro Pascal's thoughtful Joel was hard to watch. (HBO) 

Nine Perfect Strangers: series 2 

Now in an Alpine spa in Switzerland, Nicole Kidman's Masha assembles another group of mysteriously connected people for more psychedelic treatment that's just beyond what might be considered ethical. The ensemble cast is once again excellent, superbly playing people with dark secrets who are pushed into exploring their own minds. Standouts here include Annie Murphy, Murray Bartlett, Dolly De Leon, Henry Golding, Mark Strong, Lucas Englander and the great Christine Baranski. The snowy setting and offbeat old/new architecture offer very cool visuals for this season, but the best thing is the increasingly twisty internalised drama grows between these not-exactly strangers. It's not rocket science, but it's insinuating fun. (Hulu) 

And Just Like That: series 3 

The Sex and the City gang is back for more meandering New York comedy, settling into their new routines with the usual foibles about dating and relationships. Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Sarita Choudhury, Nicole Ari Parker and friends are as effortlessly charming as always, so even if the plotting feels as lazy as ever the dialog crackles with witty life and also finds some emotional resonance along the way. Plus a few enjoyably silly plot turns. It may be difficult to identify with the troubles of these almost ludicrously privileged people, but there are enjoyable moments along the way that keep us watching, largely because we've now invested nearly three decades into these characters. (Max) 

Fubar: series 2 

More nonsense ensues with Arnold Schwarzenegger and Monica Barbaro as father-daughter CIA operatives. This action comedy is packed with silly gags and utterly ridiculous plotting, accompanied by surprisingly grisly violence. This season digs a bit deeper into back-stories of the various teammates, pitching Schwarzenegger's Luke against his villainous ex Greta (a raucously camp Carrie-Anne Moss) while Barbaro's no-nonsense Emma is hilariously wooed by her British nemesis Chips (Guy Burnett). The growing ensemble has a lot of fun diving into the increasingly nutty mayhem. So it's entertaining to go along for the ride, in a switch-off-your-brain sort of way. But honestly, these should be half-hour episodes. (Netflix) 

T H A T ' S   A L L ,   F O L K S

Andor: series 2 

While the first season left me cold with its emphasis on people dryly discussing political plots in static rooms, this keeps that far more contained. These episodes have a superb driving kick that balances the over-intense discussions with proper dramatic tension and rather a lot of thrilling action and suspense. As the timeline counts down to the events of Rogue One (and of course the original Star Wars), the story wraps itself tightly around the audience, meaningfully grappling with big ideas about heroism, courage and political idealism in an unjust system. The real-world parallels are often chilling, especially because they feel so unintentional. And the cast is first rate, including Diego Luna, Genevieve O'Reilly, Stellan Skarsgard and Denise Gough. (Disney)

Squid Game:
series 3 

Picking up in the middle of the scene that cut out at the end of the second season, this final series continues to follow the messy attempts by those who escaped to get back in and stop these sadistic games. And the games are even nastier this time, starting with a particularly brutal round of Hide and Seek. As before, there's a tendency to over-egg the emotional moments, and the monstrous wealthy patrons are even more cartoonish this time. But the tension between our terrified-but-determined hero Gi-hin (Lee Jung-jae) and game's conflicted leader In-ho (Lee Byung-hun) has a terrific simmer to it. Enjoyably, the ghastly pay-off will divide audiences, as will the A-list cameo that leads into David Fincher's forthcoming American spin-off. (Netflix)

The Handmaid's Tale: series 6 

Elisabeth Moss is back as the fiery June, watchable as ever especially when she squares off against Yvonne Strahovski's glacial Serena. The extended narrative has become rather unwieldy over the past few seasons, with a lot of back and forth between peril and safety, and this season is no exception, adding big twists on several fronts. There's also a shameless overuse of Moss' now-iconic death stare (and others get to glower as well). As the overarching story evolves in some pointed directions, there are smaller details that niggle simply because they feel both unnecessary and unsatisfying. But it's held together by the determined drive of these embattled women to reclaim the just society that was so horrifically turned upside down by religious zealots. (Hulu)

GUILTY PLEASURES: The Traitors NZ, I Kissed a Boy

NOW WATCHING: The Sandman 2, Single Out 3, Stick, Adults, Olympo, Long Way Home, The Wild Ones

COMING SOON: Chief of War, The Tuesday Murder Club, Dexter: Resurrection, Peacemaker 2, Star Trek: Strange New Worlds 3, Acapulco 4.

Previous roundup, MAY 2025 >

Critical Week: Cinematic royalty

Pretty much everything in London this week is centred around Saturday's big coronation of King Charles and Queen Camilla. I'm avoiding the crowds, and will catch it on TV. Meanwhile, movie queens Jane Fonda, Diane Keaton, Candice Bergen and Mary Steenbergen return for Book Club: The Next Chapter, a much funnier, more engaging sequel to the corny 2018 hit. An even larger ensemble returns for Guardians of the Galaxy Vol 3, which has had better reviews than it deserves. It's funny, and fans will love it, but there isn't a single exciting or thrilling moment.

BEST OUT THIS WEEK:
Pamfir • The Blue Caftan
Chile '76
ALL REVIEWS >

Jim Parsons stars in the involving romantic drama Spoiler Alert, which infuses real-life humour into a sad story. BlackBerry stars Jay Baruchel as the man who first combined email and mobile phones. It's a fascinating story, skilfully told. Two decades in the making, the witty and rather overlong autobiographical comedy 5-35-77 traces Patrick Read Johnson's journey into filmmaking, via a preview screening of Star Wars. And Still is a gorgeously well-made documentary chronicling Michael J Fox's acting career as well as his experiences with Parkinson's. 

I also covered two stage shows this past week: the inventive, insightful Supernova at Clapham Omnibus, and the fiendishly entertaining musical comedy Eurovision: Your Decision at Wonderville

This next week I'll be watching Jennifer Lopez in The Mother, Finnish action film Sisu, 1970s British thriller Dead Shot and Anton Corbijn's doc Squaring the Circle. I also have a couple of catch-up movies to watch.

Screen: July TV Roundup

I've had a lot to watch over the past few months, as I've been voting in the Dorian TV Awards (winners announced next month). This of course encourages me to watch quite a few things I wouldn't have otherwise seen - then when the nominations came out I have other things to catch up on. Not that I always agree with fellow voters (I haven't included here the shows I gave up on after 1 or 2 episodes). There's been some great television lately, and as the lines continue to blur between cinema and TV there seems to be more than ever to watch... 

Genera+ion

Not quite as loose and honest as We Are Who We Are, this teen drama astutely digs into contemporary attitudes among a group of teens at a Los Angeles high school. The most inventive touch is to replay key moments through the eyes of different characters, revealing a bigger picture about, well, an entire generation. The young cast is so good (particularly Justice Smith, Chase Sui Wonders and Uly Schlesinger) that the scenes involving parents played by the always excellent Martha Plimpton and Sam Trammell feel a bit distracting. It also seems a stretch to try to explain away crippling adolescent angst with parental and societal issues. Teens have always been like this, and the vast majority of us have managed to grow up. (HBO)

The Underground Railroad

Barry Jenkins' ambitious adaptation of Colson Whitehead's novel is often painful to watch, but that's the entire point: it shouldn't be easy to explore US history. Using cleverly surreal elements, the series takes a deep dive into the lingering impact of slavery on American culture. At the centre is the story of Cora (Thuso Mbedu), an escaped slave pursued by the tenacious Ridgeway (Joel Edgerton) and his young sidekick Homer (Chase Dillon). It's often shot in deep shadows that make the imagery annoyingly impenetrable, but most of the show looks spectacular, and the themes are bold and urgent, cutting through our watered-down ideas about the nation's past to provoke some righteous emotion. (Prime)

Loki

By honing in on Tom Hiddleston's god of mischief, this series remains continually watchable, even if it essentially turns into yet another over-egged Marvel-style romp across the multiverse. As it continues, it gets indulgently bombastic and far too pleased with itself, which is rather annoying. But the performances are terrific, anchored by the hugely engaging Hiddleston as a deity forced to briefly consider the idea of mortality. Also terrific are Owen Wilson, Gugu Mbatha-Raw and Wunmi Mosaku, plus lively Loki variants played by Sophia Di Martino and the always-fabulous Richard E Grant. A more properly stand-alone show would have been even better, mischievously refusing to feed Marvel's ever-expanding franchise. (Disney)

Lisey's Story

Stephen King adapts his own novel into this limited series starring the always riveting Julianne Moore as the wife of a dead novelist (Clive Owen) who found inspiration, and healing from his awful past, in a fantasy underworld. The gimmicky wordplay and supernatural elements tend to steal focus from the much more intriguing story about grief, sibling bonds and menacing fans. But first-rate director Pablo Larrain never loses the character focus, drawing powerfully shaded performances from Moore and her on-screen sisters Jennifer Jason Leigh and Joan Allen. It's their collective story that brings everything to vivid life and makes this far more involving than we expect. (Apple)

The Mosquito Coast

Only taking the title from Paul Theroux's novel, this series abandons the plot to launch an overegged roadtrip-from-hell thriller. Interesting ideas about consumerism and living off the grid are lost in a badly dragged-out story of a family making a life-threatening escape from shifty Feds and murderous criminals. But the superficial action makes it feel pointless. That said, the episodes are finely shot and edited, and the terrific ensemble (Justin Theroux, Melissa George, Gabriel Bateman and Logan Fox as a family on the run) adds nuance to characters who would have been far more interesting if the writers had stuck with the novel's more timely dramatic premise instead of creating yet another vapid action series. (Apple)

Star Wars: The Bad Batch

I haven't seen the other animated Star Wars series, but thought I'd give this one a shot. Even with its sometimes jarringly game-like imagery, it's finely made and has some snappy characters. The pace and tone slow drastically after the thumping first episode, indulging in a heist-of-the-week structure that clumsily attempts to deepen the characters. But as it continues, there are some over-arching relational elements that hold the attention, as this band of scrappy outsiders grapples with the nature of who they are and which side they're on. That makes it more intriguing than engaging. But I'm not sure how much longer I can wait for some meaningful revelations, or something to connect to. (Disney)

The Upshaws

There are some terrific issues woven into the fabric of this sitcom, and a great cast who would be able to bring them meaningfully to light. But the scripts take a lazy comical approach that goes for goofy gags rather than knowing humour, leaving it all feeling oddly simplistic. Anchoring the cast, Mike Epps, Kim Fields and the great Wanda Sykes are excellent as people grappling with a family structure that's far more traditional than the show can bring itself to acknowledge. And a disastrous canned laugh track roars at all of the very worst non-jokes. This could have been a superb comical exploration of a family dealing with its murky past, but it ends up as little more than silliness. (Netflix)

That Damn Michael Che

Saturday Night Live comic Michael Che finds a new way to blend stand-up and sketch comedy with this edgy series that tackles timely issues in an original way. Each episode centres on a theme, usually something that has strong political fallout, and a variety of scenes play out as pitch-black satire, witty spoof or thoughtfully amusing monolog. This approach keeps us ready to laugh, and there are quite a few hilariously barbed gags. And the show also constantly reminds us that these are urgent, knotty issues that require much more than light-hearted thoughts. Che's laconic presence is a very clever counterpoint, and his perspective avoids the usual cliches for something far more complex. (HBO)

BACK FOR MORE

Special: series 2

Ryan O'Connell is back for another series of comical antics as a young gay man with cerebral palsy simply trying to get on with his life like anyone else. But of course everyone else sees his disability before they see him. O'Connell is a terrific writer, never allowing sentimentality to creep in while finding comedy and warmth in a range of prickly interactions. And in the central relationship between Ryan and his mother (the fabulous Jessica Hecht), the show has a big, beating heart. Their warm, meaningful connection adds subtext to the much more challenging storylines involving other side characters. And it also provides even more spark to the show's distinctive and vitally important perspective. (Netflix)

Lupin: part 2

This show is so compulsively watchable that is seems cruel that producers only made five more shows to cap off this first season. Yes, each episode leaves us wanting more, including the final one. Gliding through it all, Omar Sy has an abundance of  charm and intelligence that carries us right past some rather shaky writing (plot holes ahoy!). The twisty narrative is thoroughly riveting, as it offers something much more layered than the usual crime series. Most impressive is that this isn't actually about heists or getting revenge, the two things that seem to be driving the action. It's actually a more human story about connection, justice and making peace with the past. All with a witty literary nod. (Netflix)

Love, Victor: series 2

If anything, the second season of this soapy teen drama is even more simplistic than the first. It's a great show for pre-teens who need to be encouraged that they will one day find a way through difficulties that feel insurmountable. And the writers do take on some topics that other shows shy away from completely, representing a superb range of experiences that relate to sexuality. But it's far too cute and obvious for viewers who are the age of the characters or older. That said, the cast led by Michael Cimino is excellent, and the actors find some nice nuance even in the most obvious plot threads. But frankly, each of them is good enough to take on something more complex and less prudish than this show. (Hulu) 

The Handmaid's Tale: series 4

Feeling a bit truer to the show's original promise, this season both escalates the events and deepens the drama as things take several jaw-dropping twists. Elisabeth Moss is of course excellent as June navigates a terrifying escape and becomes a leader in exile, now fighting the violently misogynist government of Gilead from relative safety in Canada. Plot threads around Yvonne Stahovski, Joseph Fiennes and Ann Dowd feel off-topic, but develop nicely alongside June's much more internalised and emotionally powerful journey, even if vengeance doesn't really suit her. And in June's more righteous rebellion, the show still has some strong bite, offering remarkably strong scenes for Max Minghella and O-T Fagbenle. (Hulu)

Elite: series 4

This outrageously trashy Spanish teen soap returns with another riotously over-the-top season set in a posh private school where there's a massive party every night and a range of serious crimes take place each term. The collision of classes is what makes the show addictive, this time centring on the arrival of a new insanely wealthy family with three trouble-stirring siblings. And there's also a slumming prince to stir up an enjoyable but superfluous romantic sideroad. The writers seemed far more interested in throwing the characters into a wild series of encounters, jealousies and pranks than the overriding mystery, which never quite comes together. But it's shameless, mindless fun. (Netflix)

THIS IS THE END

Pose: series 3

The quality of writing has been uneven ever since the first season, indulging in some simplistic moralising and cliched plot points, plus a lot of rather pushy melodrama. But the hit rate increases with these final episodes, which tackle some big themes with raw emotions. The characters are more robust than ever, played by a top-notch, groundbreaking ensemble with a resonance so intense that they're utterly iconic. Each one feels like a family member, so the issues they face carry a powerful kick. And there are some awesome episodes along the way to the series finale's spectrum of emotions, from political rage to the exhilaration of performing to the pain and guilt of loss. It'll be great to see what Mj Rodriguez, Indya Moore and Dominique Jackson do next. It'll be hard to top this, but here's hoping. (FX)

The Kominsky Method: series 3

After sending off Alan Arkin's Norman in the first episode, Michael Douglas is joined by his old partner in crime Kathleen Turner for a superb final collection of episodes that grapple with family connections, money issues and a range of themes circling around the central idea of growing older and older. Some of the storylines feel a bit superfluous, such as Norman's kids wrangling to get their hands on their inheritance cash. But Paul Reiser is hilarious as the prospective son-in-law who seems like he's all wrong for daughter Mindy (Sarah Baker), but might be just right. And Morgan Freeman makes a hilarious appearance as himself, as does Barry Levinson, who brings a terrific final plot point with him. (Netflix)

NOW WATCHING: Schmigadoon, Physical, Kevin Can F**k Himself, The White Lotus, Dave (2), Never Have I Ever (2), I Think You Should Leave (2).

COMING SOON: Mr Corman, Nine Perfect Strangers, Ted Lasso (2).

Screen: November TV Roundup

I'm still watching a bit more television than usual, thanks to lockdown - basically filling the time I would normally be travelling into central London for film screenings. There's been a lot on, and I'm behind with a few series, trying to take them one by one and getting easily distracted when something new pops up (The Crown!). Here's what I've been watching over the last few months, starting with a timely treat...

The Lego Star Wars Holiday Special
This animated 45-minute mash-up is an inventive mix of silly comedy and thrilling action. It's set after the nine-film saga as Finn and Poe plan a bustling Life Day party, and a magical Force Key sends Rey on a wildly chaotic journey through space and time, jumbling up the entire franchise. The mayhem is packed with knowing nods to fans, plus hilarious Lego-style gags as that black caped gang (Darth Vader, Kylo Ren and Palpatine) squares off against Rey, Luke and others. The holiday touches are amusing too, including Christmas jumpers, Poe's sentimentality and an unexpected snowfall. It's a lot of nutty fun, but not nearly as daring or ridiculous as the notorious 1978 Star Wars Holiday Special. (Disney)

We Are Who We Are
With the pungent subtitle "Right Here Right Now", this strikingly current series by Luca Guadagnino centres around teens living on a US military base in italy. The show has a loose-limbed exuberance to it that's engaging and freeform, allowing it to circle themes and deepen considerably as it spirals in unexpected directions. It also deliberately blurs lines of gender and sexuality in almost every character, which is fascinating as these young people take circuitous routes into their grown-up selves. The central friendship between Fraser and Caitlin is played with unapologetic complexity by Jack Dylan Grazer and Jordan Kristine Seamon. And their parents have their own messy journeys. (HBO)

Lovecraft Country
This ambitious series could have been this year's Watchmen, exploring history and major issues through story infused with fantasy. But it's not nearly as focussed or coherent. Jonathan Majors leads an above-average cast, holding attention even as the characters and plotting become increasingly opaque. Each episode is a combination of intrepid action and mind-bending supernatural freak-outs, all of which feels strangely random, especially as it never comes together to illuminate the bigger mystery. The themes are powerful, but the expository dialog is too dense, the dramatics exaggerated, and whole episodes are extraneous. Curiosity keeps us watching, but interest wanes. (HBO)

The Third Day 
With echoes of The Wicker Man, this series initially follows a man (Jude Law) to the island of Osea, off the Essex coast, where he runs into a freaky ancient cult that's up to something nefarious. And he's the person they're after. The perspective then switches to another woman (Naomie Harris) who arrives in Osea months later on her own private mission. These two plot threads are quickly revealed to be one, and the filmmaking approach skilfully keeps dropping creepy details into scenes, including wonderful performances from Law and Harris, plus Paddy Considine and an on-fire Emily Watson. It's uneven and not terribly convincing, but enjoyably chilling. (HBO)

Tehran
A twisty plot makes sure that this espionage thriller holds the attention over eight nail-biting episodes. It's about an Israeli agent (Niv Sultan) trying to complete her mission in Tehran while an Iranian security official (Shaun Toub) tries to stop her. Telling the story from both perspectives adds some unnerving nuance, which means that we don't want either side to succeed. Some of the plot points leave gaping holes here and there, and a tit-for-tat kidnapping tilts the story toward melodrama. As does a genuinely sweet romance that might just be part of a spy's job. But it's sharply well made and superbly acted, and it gets increasingly thrilling the events unfold. (Apple)

The Duchess 
London-based Canadian stand-up comic Katherine Ryan based this sitcom on autobiographical elements as a single mother who puts her daughter above everything else. There are some very funny and astute moments scattered throughout this show, and some terrific dialog, especially as Katherine storms around being brutally honest with everyone she meets. But she's not hugely likeable, and she mistreats the people in her life until they snap; and when they do something nasty, they're suddenly the villains. It's a bit frustrating to watch her fail utterly to learn anything from her errors. But it's blackly hilarious, and rather bleak fun. (Netflix)

Someone Has to Die [Alguien Tiene Que Morir]
From Spain, this three-part melodrama centres on a wealthy Spanish family that's infused with outrageously cruel bigotry. This latest conflict starts when prodigal son Gabino (Alejandro Speitzer) returns to Madrid from Mexico after 10 years away, and his father instantly exerts control, furious that Gabino brought a friend (Isaac Hernandez) home with him. The plot is simply bonkers, not only making very little sense in its histrionics, but always settling in on the worst possible things people can do to each other. As always, the great Carmen Maura livens things up as the imperious matriarch. But even her character is essentially thankless. (Netflix)

BACK FOR MORE

The Boys: series 2 
Diving straight back in with an all-new pile-up of decapitations, betrayals and Billy Joel tunes, this mis-titled rowdy series barely pauses for breath. The high-energy superhero characters are a mess from the very start, caught in spirals of inner turmoil and frustrated megalomania, which of course gives the actors a lot to work with and provides plenty of interpersonal fireworks. Literally. The various plotlines move in fits and starts, compromised by some soapy story points and sequences that strain to be over-cool. But there are plenty of intriguing wrinkles to the characters that catch us off guard, most notably whenever the engaging Hughie (Jack Quaid) is on-screen. (Prime)

The Crown: series 4 
Peter Morgan continues to mine the royal family for dramatic morsels, and as always his writing has the ring of truth to it even though it's pure fiction. Centring this season around Margaret Thatcher (Gillian Anderson) and Princess Diana (Emma Corrin), the show is immaculately produced, as each episode contains heart-stopping moments alongside the throwaway bits that make it feel so real. Even if the takeaway this year is that Prince Charles is a monster. And the cast deserves all the awards: beautifully anchored by Olivia Colman with Josh O'Connor, Tobias Menzies and Helena Bonham Carter, each of whom gets a chance to shine very brightly indeed. It'll be all-change for the next season. (Netflix)

ONGOING

Star Trek: Discovery: series 3 (in progress)
This season's opener sends this series into yet another whole new direction, and where it continues from here is beautifully crafted, reinventing the entire show once again with a very different set of tensions and intentions. The superior cast (led by Sonequa Martin-Green, Anthony Rapp and the awesome Michelle Yeoh) bridges all of this expertly, deepening their roles as they go while finding clever ways to reinvent the wider franchise for today's audience. Like the original series almost 60 years ago, this show continues to ask enormous moral and ethical questions in provocative ways, and it grapples with hot-potato issues using stories that are easy to identify with. (Netflix)

The Conners: series 4 
(in progress)
The astute writers on this sitcom have always reflected the times, and this new season is no exception. Embracing the pandemic and the economic carnage it has brought to the working class, the scripts are putting this already bedraggled family through the wringer with issues of health, work, finances and immigration flaring up in earthy, thoughtful ways. And throughout even the most serious stuff, this great cast (Laurie Metcalf continues to steal the show) manages to drop smart punchlines all over the place, reminding us that laughter can ease the pain, for a few moments at least. It's rare to have such a long-running show that actually feels like it's still going somewhere. (ABC)

CATCHING UP

Huge in France 
Acclaimed comedic actor Gad Elmaleh plays a version of himself in this amusing comedy about a top French comic who moves to Los Angeles to be closer to his teen son (Jordan Ver Hoeve), an aspiring model with his own issues. The show focuses on how Gad struggles with the fact that he's not famous in America and can't get a grip on the local sense of humour. With his identity in crisis, he's certainly in no shape to help his son pursue his dream, although his contacts come in handy (cue a terrific Jean Paul Gaultier cameo). Everyone in this show is struggling wildly with who they are, which gives the writers a chance to astutely satirise various aspects of show business.  (Netflix)

REALITY BITES

Reality competitions are comfort food during this pandemic, and have found clever ways to bubble, distance and so forth. The most comforting of them all, The Great British Bake Off: series 11 (C4), put its cast and crew in a bubble and made the show as normal with another terrific line-up of likeable contestants, plus a new host in the cheeky Matt Lucas. With a more complex style of safe distancing, Strictly Come Dancing: series 18 (BBC) is also back for another spin, with entertaining celebrities and up-for-it professionals. Quarantine measures make everything look very different, but there's plenty of glittery magic. And then there's I'm a Celebrity, Get Me Out of Here: series 20 (ITV), held this year in a superbly creepy castle in Wales, which has added some enjoyable twists for the typically eclectic cast of scene-stealers. And then there were two competitions that delayed their finals until the autumn: Britain's Got Talent: series 14 (ITV) saw the title going to a fitting winner who warms the heart with his witty quintessentially British act, while The Voice UK: series 9 (ITV) came back with two live shows to wrap up its truncated season and crown another seriously talented winner we'll probably never hear from again.

Ewan McGregor and Charley Boorman hit the road again for Long Way Up (Apple), another likeable travelogue, this time from Tierra del Fuego to Los Angeles. The scenery is spectacular, and their stopovers add some pointed meaning. The first and last episodes get a bit bogged down in logistics, but it's a fabulous journey. And in Amy Schumer Learns to Cook: series 1-2 (Food) the comic and her chef husband take us into their lockdown life, teaching how to make cocktails and to recreate favourite restaurant dishes at home. It's loose and funny, with some great tips.

Finally, RuPaul had a few series running through the autumn as well, including Drag Race: Vegas Revue (VH1), following a group of queens as they launch a massive show on the Strip, and God Shave the Queens (WoW), with British drag stars putting on their own UK tour. Both featured plenty of lively backstage clashes, which isn't surprising with these divas. And both stage shows were cut short by Covid. I couldn't find a way to watch Drag Race Holland, and now Drag Race Spain is coming too.

I GIVE UP

• Adult Material: I only made it through two episodes of this broad and contrived comedy-drama before giving up. The premise is solid, a soapy bit of madness set around the porn industry. But it's impossible to believe that these people are wealthy when they make such terrible porn and are so incapable of acting like humans. A waste of the terrific Hayley Squires and Rupert Everett. (C4)
• Truth Seekers: As a fan of Simon Pegg and Nick Frost, I was looking forward to this ghost-hunting sitcom. But while it has a gently scruffy charm, it just isn't funny. Frost and Samson Kayo are a witty double act at the centre, as they face a variety of supernatural activity. And high-profile guest stars add sparky moments along the way. But after three dull episodes, I gave up. (Prime)

NOW WATCHING: The Undoing, Next, The Comey Rule, Des, The Mandalorian (2), His Dark Materials (2), Fargo (4), This Is Us (5), Superstore (6), Mom (8)

LOOKING FORWARD: The Stand, Bridgerton, The Morning Show (2), Dickinson (2), Shameless (11).

Critical Week: A colourful life

I ended last year watching Federico Fellini's masterpiece La Dolce Vita, and then this week caught his earlier I Vitelloni as part of the Fellini retrospective at BFI Southbank. All of which confirms Fellini as my favourite all-time filmmaker: his way of capturing the energy of life on-screen is unparalleled. I Vitelloni (which essentially translates as The Young Bucks) is a powerful 1953 drama about a group of lazy, life-loving guys in their late-20s, grappling with thoughts about their future. Marriages, affairs, capers, relationships and some provocative personal issues make the film vivid and intensely engaging. The cast is terrific, and it's so cool that it's almost overpowering. A great reminder to see classics on the big screen whenever possible.

There were only two press screenings for me this week. The Runaways is a gently paced British adventure about three kids and two donkeys travelling across Yorkshire to find their mother. It's beautifully shot, and surprisingly dark. And The Uncertain Kingdom is a collection of 20 short films (they screened 9 for us) that highlight the turbulence in British culture at the moment - beautifully made dramas, comedies and documentaries looking at income inequality, racism and bigotry, government apathy and of course Brexit.

In addition, I had a chance to revisit two films. First was Star Wars: The Rise of Skywalker, which I needed to see as a fan (the first time felt like work), and I had the same reaction: it's both hugely entertaining and naggingly disappointing. And I attended the premiere of The Host, a British-Dutch thriller that riffs on the premise of Psycho, with some added twists. It was fun to host the post-screening Q&A with actors Mike Beckingham, Maryam Hassouni, Suan-Li Ong, Nigel Barber, Togo Igawa and the awesome Ruby Turner, plus producer extraordinaire Zachary Weckstein and gifted cinematographer Oona Menges.

I've only got one press screening in the diary this coming week, James Norton as a journalist in the true story Mr Jones. I'm sure other things will come up, and in the meantime I've got a lot of work to do producing the London Critics' Circle Film Awards at the end of the month.