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 >

Screen: December TV Roundup

This roundup is a few months late, as my autumn was sidetracked in all kinds of directions. I have still managed to watch the odd episode of a series here and there, so I've been slowly getting through things, especially in the run-up to the voting deadline for the Golden Globes TV categories (but it's impossible to see everything). As always, television is my therapy, a chance to relax from the more intense work of watching and reviewing films. Still, it's been great to see cinematic ideas and approaches in series this autumn, most notably in the first one here. Starting with new shows...

Disclaimer
Who would have thought that a pitch-black battle of wits between Cate Blanchett and Kevin Kline was what we always wanted on TV? Turns out that was gifted Mexican filmmaker Alfonso Cuaron, who put together this ripping dramatic thriller about grappling with past decisions and present-day accusations. Offbeat and unexpected, it continually flips the tables on its characters, with powerhouse performances from Blanchett and Kline, plus Sacha Baron Cohen, Leslie Manville and Kodi Smit-McPhee. With unusual nuance, the actors bring out dark themes in ways that are powerfully provocative. (Apple)

A Man on the Inside
Ted Danson reteams with The Good Place creator Michael Schur for this ingeniously designed comedy mystery based on the terrific 2020 Chilean documentary The Mole Agent. Danson is on top form as a man who goes undercover in a San Francisco retirement home to investigate a robbery. Residents are wonderfully played by veterans like Sally Struthers, Margaret Avery, Veronica Cartwright, Susan Ruttan, Stephen McKinley Henderson and John Getz. Cleverly, the show remains consistently funny and astute, while refusing to shy away from some surprisingly moving moments. (Netflix)

The Perfect Couple
A sudsy mystery set around a fabulously wealthy family in Nantucket, this show delights the audience with a series of snaky relationships between relatives. Essentially White Lotus Lite, the writing is never quite as surprising or tricky as it thinks it is, as everything is fairly obvious from the start. But the jagged editing makes sure that there are some great surprises along the way, and terrific scenes for the ensemble of terrific actors led by Nicole Kidman and Liev Schreiber as parents who aren't as oblivious as they seem to be. And the story's messier edges are rather good fun. (Netflix)

Monsters: The Lyle and Erik Menendez Story
In this third season of Ryan Murphy's anthology series, the notorious Menendez case provides plenty of juicy tabloid-style nastiness to hold the attention. And the central performances from Nicholas Alexander Chavez and especially Cooper Koch as the troubled siblings make it riveting. Stir in edgy turns from Javier Bardem and Chloe Sevigny as their (probably) abusive parents, Ari Graynor as their tenacious lawyer and Nathan Lane as too-involved novelist Dominic Dunne. It's a clever look at the questions between the lines, leaving us with a lot to talk about. (Netflix)

Agatha All Along
Kathryn Hahn gets her own Marvel spin-off with this sequel to WandaVision, as the witch Agatha meets a teen (Joe Locke in a nice break from Heartstopper) who holds a very dark secret. As they set off down the Witch's Road with a group of rivals including Aubrey Plaza and Patti LuPone, the plotting becomes a bit knotted and dense, but there's a light sense of humour that keeps the show fizzing along entertainingly. Indeed, the mischievous performances make sure that all of the witchy nonsense isn't as impenetrable as it feels. (Disney)

Kaos
Sunny and sparky, this energetic series puts Greek gods in the modern world, threatening the balance between their encampment on Mount Olympus, the humans on Earth and the residents of the Underworld. First a warning: this is one of those series that sets up something huge, then only delivers it in the final seconds of the final episode, leaving it all hanging on a potential second season, which sadly isn't happening. That said, it's a lot of fun to watch this talented cast play with the material, including Jeff Goldblum, Janet McTeer, Cliff Curtis, David Thewlis and especially Nabhaan Rizwan. (Netflix)

Time Bandits
Taika Waititi and Jemaine Clement adapted Terry Gilliam's sublime classic film into this scrappy series, considerably altering the premise to make everything much murkier. Strangely, the characters feel under-written and not particularly funny, especially the roles Waititi and Clement gave themselves (the Supreme Being and Pure Evil). Most surprising is how unsophisticated this feels, like a cheaply made children's TV show. Lisa Kudrow is enjoyable as the leader of a group marauding through time, and others have their moments. But it never quite grabs hold, and won't be back for another season. (Apple)

W E L C O M E   B A C K

Only Murders in the Building: series 4
Hilariously continuing to play with its premise, this series gets more intricate with each season. And this time our trio of podcasters (Steve Martin, Martin Short and Selena Gomez) has been pulled into the sphere of a blithely shifty Hollywood producer (Molly Shannon) who wants to make a movie about them starring Eugene Levy, Zach Galifianakis and Eva Longoria. Cue their hilarious pastiche performances from them and a crowded cast of big-name stars. Through it all, a murder propels them into another messy whodunit that twists and turns with each nutty episode. (Hulu)

Heartstopper: series 3
Things get a bit more intense in this season, as one of the main story threads centres on how Nick (Kit Connor) struggles to help Charlie (Joe Locke) get help to deal with his eating disorder. The issue is never simplified, so it gets genuinely dark along the way, and this adds a shadow over most of the other plotlines as well. So while this more serious edge kind of undermines the show's usual sweetness, it also allows it to grow up a bit and tackle something important and relatable. And the production and performances are terrific as always, with a superb role for Hayley Atwell. (Netflix)

Frasier: series 2
For its second season, this legacy series continues to complicate its inter-relationships, bringing back some favourite characters (most notably Peri Gilpin) while adding some depth to the new ones who have been introduced this time around. At the centre, Kelsey Grammer shines as the oblivious egomaniac shrink with a heart of gold. While Niles' absence is still sorely felt, as is any reference to Frasier's earlier life in Boston, the writing is sharp enough to keep us laughing. And the connections between these people are warm and involving, and funny too. (Paramount)

A N D   S O   I T   E N D S

Somebody Somewhere: series 3
Frankly, this is heaven in a television series, upending all of the usual sitcom cliches to depict the relationships between a group of almost staggeringly real people. At the centre is Bridget Everett's Sam, who still hasn't quite found her place amid her feisty sister (Mary Catherine Garrison) and goofy best friend (Jeff Hiller). So she can't see why a hulking new neighbour (Olafur Darri Olafsson) could like her as much as she likes him. Like a balm for the soul, this show makes you laugh, sigh and cry ugly tears of joy. And it reminds us how important it is to find our people. (Max)

The Umbrella Academy: series 4
For their final season, this makeshift bunch of siblings is trying to get back to their original timeline. Yes, multiverse nonsense abounds, as does yet another reality-ending plot. As tiring as that is, there's enough interest in the characters to keep us watching. They are also well-played by an ensemble that has grown very tight over the run of this series, and over these six rather annoyingly fragmented episodes they get to wrap up their various stories. It also helps to have Megan Mullally and Nick Offerman on hand as the antagonists. (Netflix)

Unstable: series 2
Rob Lowe is back as the nutty tech boss who is still navigating his relationship with his adult son (played by Rob's son John Owen Lowe). The whole show feels a bit too carefully constructed as a wacky workplace sitcom, but there are funny moments along the way, thanks to a cast that isn't afraid to look ridiculous. Both owes are terrific, and their good-natured banter is thoroughly entertaining, especially when augmented by the up-for-it supporting cast. Perhaps with a little more forward momentum, this show might have caught on with viewers and then returned for more. (Netflix)

Elite: series 8
For the last season of this Spanish show set in a prestigious private school, the writers have gone even darker than usual, as almost everyone is now indulging in some sort of criminality, often involving violence that's unusually grim. That said, the storylines are as sexy as always, even if the direction has a new coyness to it that throws the camp soapiness and lurid lustiness out of balance. This means that the actors have to scramble to keep their characters grounded in any sense of reality. But it just about works, and we'll miss this nutty, lusty, grisly mess when it's gone. (Netflix)

Snowpiercer:
series 4
Returning for its final season after a long break, this high-concept futuristic thriller immediately throws logic out the window. A fractured structure never quite makes sense, while characters have jolting personality shifts, most notably Daveed Diggs' leader Layton, who thoughtlessly jeopardises everyone with a personal quest. But then, none of the plot threads serves the characters very well, and the splintered approach keeps anything from gaining momentum, as it were. It's all so choppy, and such a bit let-down after the intelligent first three seasons, that I didn't make it to the end. (AMC)

GUILTY PLEASURES: The Great British Bake-Off, Strictly Come Dancing, Queer Eye, Drag Race (UK, Global All-Stars, Canada vs the World), The Circle, Selling Sunset.

NOW WATCHING (OR INTENDING TO): Squid Game 2, What We Do in the Shadows 6, Wolf Hall: The Mirror and the Light, Dexter: Original Sin, Black Doves, The Madness, The Day of the Jackal, Landman, The Sticky, Laid.

COMING SOON: The White Lotus 3, Severance 2, Zero Day, Prime Target, The Traitors 3.

Previous roundup: AUGUST 2024 > 

Screen: June TV Roundup

It's astonishing how much TV you can watch if you just slot in episodes in between doing other things. I'm astonished that I got through all of these shows in the past two months or so. Because I vote in a few TV awards, this is the season when everyone is sending me links to watch their shows and consider them for votes. This allows me to get ahead on several series, although it's impossible to watch everything. Or to even watch everything I want to see. Let's start here with the dramas...

Ripley 
Steve Zaillian takes a highly stylised approach to this adaptation of Patricia Highsmith's iconic novels, writing and directing in a way that evokes 1950s-era Hitchcock. It's moody and gorgeous, even if it sometimes feels mannered and forced. And Andrew Scott's central performance as the opportunistic, conscience-free Ripley is utterly riveting from start to finish, often chilling in the way it sidesteps expected emotions. Supporting performances (including Dakota Fanning, Johnny Flynn and a superb John Malkovich cameo) also ripple with intrigue, while cinematographer Robert Elswit gives the Italian settings a monochromatic beauty. (Netflix)

Bridgerton: series 3
Things turn steamy very quickly, as Colin (Luke Newton) returns to London as a sweaty, hairy muscle hunk at odds with his former best pal Penelope (Nicola Coughlan). Romcom rules make it clear that these two will work out their differences, and they do so in an intensely entertaining, sexy way. Meanwhile, there are several more hugely engaging storylines swirling around, including more for siblings Eloise (a scene-stealing Claudia Jessie) and Benedict (Luke Thompson), which bodes well for future seasons. This is one of the most delightful guilty pleasures streaming anywhere. It's impossible not to binge the episodes the moment they land. (Netflix)

True Detective - Night Country: series 4
Jodie Foster is riveting in this fascinating anthology thriller, which this season includes hints of supernatural intrigue. This tale ripples beautifully, and very darkly, with the local politics and folklore in rural Alaska, set during the winter when the sun only barely peaks over the horizon. And the murder mystery at the heart of the show is both horrific and infused with an intriguing dose of magical realism. It's also filmed with some astonishingly outrageous visual flourishes, adding both picturesque and seriously grotesque moments. Superb costars include Kali Reis as a haunted local cop and the great Fiona Shaw as a rather otherworldly loner. (HBO)

Baby Reindeer
Cleverly mixing comedy into the darkest of dramas, this series is based on the life of writer and lead actor Richard Gadd, who boldly bares his soul while reliving a seriously harrowing series of experiences. He plays an aspiring comic who becomes the target of a relentless stalker (Jessica Gunning), a situation exacerbated by a previous sexual assault. The fact that he has written about this stirs controversy, but also makes the story even more honest and important than expected. So where these events go is staggeringly intense, and also so skilfully written and played that it's movingly cathartic. Essential. (Netflix)

Star Trek - Discovery: series 5
This final season unfolds with an limited series-style plot around which the excellent ensemble of actors gets to play out their own personal journeys, led by the superb Sonequa Martin-Green and David Ajala, plus terrific new crew member Callum Keith Rennie. There seems to be even more technical mumbo jumbo than before, and the plotting feels very corny, sending the crew on an implausible scavenger hunt leading to a mind-boggling tech, with scary baddies on their tail. Plus rather a lot of series-finale sentimentality. But it's easy to put that clunky writing aside because the characters and relationships are so strong. (Paramount)

Eric
With a deliberately twisty script by Abi Morgan, this missing-child thriller cleverly uses a children's TV show to add imaginative touches, including the title character, a man-sized monster puppet. Set in 1985 New York, it stars a seriously committed Benedict Cumberbatch as puppeteer Vincent, whose young son (Ivan Morris Howe) disappears, the final fracture in Vincent's marriage to Cassie (the superb Gaby Hoffman). But the best story thread involves the investigating detective beautifully played by McKinley Belcher III. With inventively detailed production design and salient social themes, the story is gripping even if it's naggingly over-controlled. (Netflix)

A Gentleman in Moscow
Ewan McGregor oozes charm in this gently amusing drama that spans the decades of the Soviet Union, as an aristocrat is spared the firing squad during the Russian Revolution due to his connection with a pro-communist poem. So he is instead placed under house arrest in a grand olde-worlde hotel. Over the years he befriends a young girl then becomes surrogate father to her daughter. He also has a decades-long fling with a sexy actress (played by McGregor's wife Mary Elizabeth Winstead). It all feels rather fable-like, but it's lavishly produced and warmly engaging. And there's a nice mix of earthy realism and dreamy wistfulness. (Showtime)

Supersex
Sadly not as controversial as the internet outrage suggests, this series is less explicit than most, timidly shot through a disturbingly misogynistic perspective: women are naked objects, men are carefully concealed heroes. "Loosely based" on Italian pornstar Rocco Siffredi, it's skilfully produced to recreate the 1970s and 80s, and the actors are solid, particularly Alessandro Borghi as Rocco and Adriano Gianni as his thug brother Tommaso. Among the women, only Jasmine Trinca's vivid Lucia registers. But for a show about sex, it's never actually sexy, there are no likeable characters, and a current of homophobia runs through everything. (Netflix)

J U S T   F O R   L A U G H S

Hacks: series 3
Blisteringly well played by Jean Smart and Hannah Einbinder, this comedy continues to push barriers with its story about ambition and creativity in show business. As Smart's established comic Deborah Vance pursues her dream of hosting a late night talk show, her relationship with Einbinder's writer Ava is stretched in ways neither of them expect. Episodes layer in fascinating details at every turn, even if some plot points feel a bit stale (such as Ava discovering what she thinks is an engagement ring in her girlfriend's things). But expanded roles for Deborah's family members add texture, as do starry cameos. And the performances are unstoppable. (Max)

Dead Boy Detectives
There's a nicely sparky tone to this offbeat series, which offers a mystery per week for likeable British teens Edwin and Charles (George Rexstrew and Jayden Revri), who died some 70 years apart and have chosen to remain on Earth as supernatural problem-solvers. The over-arching story is more than a little annoying, trapping the boys in the Pacific Northwest as two comically vile villains (Ruth Connell's Night Nurse and Jenn Lyon's witch Esther) send things nonsensically spiralling. But there are terrific side roles for Lukas Gage and Michael Beach, and some clever touches and themes amid the silliness. (Netflix)

Loot: series 2
Maya Rudolph is terrific in this show about an obscenely wealthy divorcee who is trying to devote her life to something more important through her charity foundation. But she also still enjoys living the very high life. Michaela Jae Rodriguez is excellent as the head of the charity, and their evolving relationship adds some bite to this season, as do expanded journeys for fabulous costars Joel Kim Booster, Ron Funches and Nat Faxon. There's a guilty pleasure element to this show, watching people spend absurd money in an attempt to do the right thing. And some new characters add additional spark, and a lot of laughs, this season. (Apple)

Palm Royale
Sudsy enough to hold the interest, this show is rather frustrating because its central character, Kristin Wiig's Maxine, is so oddly unlikeable. This isn't Wiig's fault; it's the premise itself. We never root for her to triumph in her pointless goal to surmount the social strata in 1969 Palm Beach, using the pedigree of her hapless husband (Josh Lucas) to try to establish her status. We're far more interested in Allison Janney's imperious queen bee, Laura Dern's new age dropout and especially Carol Burnett, who is awesome even when her nutty diva is in a coma. Even Ricky Martin, surprisingly solid as a snarky muscled pool boy, is far more engaging. (Apple)

Acapulco: series 3
Past and present finally collide this season as Maximo (Eugenio Derbez) returns to Mexico with his nephew (Raphael Alejandro), becoming part of the story rather than just bookending it with his narration. There are still flashbacks to the hilariously pink-hued 1980s with young Maximo (Enrique Arrizon) and his lively cohorts, who get up to all kinds of surprisingly complex antics. But this time there is also a much stronger connection with the present day, as plot threads hinge on various revelations that echo through the decades, and we get to see where several of these people end up. It's still a lot of fun, but with a bit more subtext than before. (Apple)

The Big Door Prize: series 2
After the frustratingly vague first season, this show thankfully gains a sense of momentum, with more nuance in the characters and their messy relationships, including some engaging ambiguity. It also feels a lot funnier, as connections between these people have ramped up due to additional discoveries about who they are and who they should become, thanks to this odd fortune-telling machine that throws their lives into chaos. It's a bit cartoonish, but Chris O'Dowd, Gabrielle Dennis, Sammy Fourlas, Djouliet Amara and Josh Segarra continue to shine in the ensemble cast, creating roles that are witty, complex and intriguingly sympathetic. (Apple) 

Abbott Elementary: series 3
A steelier edge kicks off this season with some unexpected textures. It's still relentlessly silly, using that same deadpan camera stare far, far too much. Even if the writers give up on the idea, there are intriguing layers of politics as Janine (Quinta Brunson) is working for the district, complicating her relationships with colleagues who are still struggling with budget cuts in this scrappy little state school. Janine's will-they-won't-they romance with Gregory (Tyler James Williams) is still eye-rollingly farcical. While Sheryl Lee Ralph continues to steal the show as the no-nonsense Barbara, and Janelle James' narcissistic principal gets funnier each season. (ABC)

The Conners: series 6
It seems like this show can simply run forever, with characters aging as their children and grandchildren face new issues in new times. Even back when this was called Roseanne (1988-2018), the generational comedy gave the show its kick, finding as much entertainment in old people moaning as in kids facing their own obstacles. John Goodman, Laurie Metcalf, Sara Gilbert and Alicia Goranson are as strong as ever. And the wider variety of characters allow writers to take on themes without contriving too much. As always, the show presents recognisable realities and absurdities of present-day life without preaching, even if the points are clear. (ABC)

Night Court: series 2
While the scripts for this relaunched legacy series (1984-1992) are relentlessly goofy and a bit too quick to catch, the cast is bright enough to make it entertaining, often acknowledging the absurdity of the show's over-written and deliberately dopey sense of humour. The ensemble is ably led by the likeably offbeat Melissa Rauch and John Larrouquette. And the show makes terrific use of the night court setting, with a continuous parade of nutty guest characters. It's a bit frustrating that there isn't much going on under the surface to hold the interest and make us care about these people, but it keeps us smiling. (NBC)

R E A L   L I F E   V I B E S

Steve! (Martin): A Documentary in 2 Pieces
Thoroughly entertaining, this two-part biographical doc is packed with fantastic clips from this iconic star's singular career. It's fun to be reminded of the many highs, and even his lows (like Pennies From Heaven) are significant artistic achievements. The first part explores his years as a groundbreaking writer and stand-up, leading into scene-stealing appearances on Saturday Night Live and classic comedy films. The second half looks at his more serious side, along with his interest in art, writing, his personal life and now Only Murders in the Building. It's bracingly honest and features a range of terrific interviewees. A must-see for fans. (Apple)

Jerrod Carmichael Reality Show
In everything he has done, Carmichael has found laughs alongside sharp commentary about larger issues. And now that he's so dramatically come out of the closet, this approach takes on a whole new range of topicality in this hybrid series, which combines fly-on-the-wall reality moments with confessional stand-up routines based on his experiences. Each brief episode is packed with moments that are breathtakingly honest, as Carmichael delves into both his past and the things he wants to improve about his behaviour. In other words, he is putting himself on-camera in a way that's astonishingly raw, hugely engaging and powerfully important. (Max)

I GIVE UP: The French series Fiasco has a great idea, set around a film production that goes wildly off the rails, plus an ace cast (including Pierre Niney and Francois Civil) and enjoyably full-on production values. But the writing is just too inane. As the show strained for laughs, I was exhausted after two episodes. (Netflix)

GUILTY PLEASURES: Britain's Got Talent (17), Drag Race UK vs the World (2), Selling the OC (3), The Circle (6).

NOW WATCHING: The Big Cigar, Expats, Fantasmas, The Regime, The Sympathizer, Sugar.

COMING SOON: The Acolyte, The Boys (4), Presumed Innocent, The Bear (3), That 90s Show (2), Sausage Party: Foodtopia, Lady in the Lake, Snowpiercer (4), Time Bandits.

Previous roundup: APRIL 2024 >