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).

Screen: Winter TV Roundup

There's been some good telly on lately, and the holidays offer some more time to binge than usual, so I've been able to keep almost up to date. I'm still lagging behind on a few shows, but will dive in when I can, to reset my mind in between the movies...

SHINY AND NEW

His Dark Materials

Fans of Philip Pullman's novels (like me) were understandably nervous about this BBC series, due to the watered-down 2007 feature The Golden Compass. But this series has taken time to dig deeper and bring out Pullman's provocative plotting and themes. Dafne Keen is terrific as young Lyra, a proper reluctant hero who has little idea that her actions have massive repercussions. And Ruth Wilson is staggering as the shifty Mrs Coulter. Produced with epic visuals that are never fussy, the show looks great. The extended format allows characters to emerge with a bracing sense of unpredictability. And that cliffhanger ending leaves us gasping for part 2.

The Mandalorian

Made on a superb scale like a free-wheeling Western with added gadgets, this Star Wars bounty hunter adventure is thoroughly entertaining, recounting a mini-epic with each half-hour episode. Its sets and characters look fantastic (effects and creatures are grounded and resolutely undigital), and it's written, shot and edited in a way that instantly feels like a classic, complete with a memorable musical score by Ludwig Goransson. Even under that armour, Pedro Pascal is a wonderfully sardonic hero. And at the end of episode 1, it introduces the year's best new character in a pint-sized relative of Yoda with a cheeky sense of curiosity that gorgeously balances the show's inventive action beats over eight wonderful episodes. 

Watchmen

This extraordinary series lets its story unfold without the usual comic book structures, presenting angles on its premise that continually subvert expectations. It's made with such a sure hand that watching it never feels like a chore: there's no doubt that this is heading somewhere very interesting, and getting there is darkly entertaining. The cast is edgy and textured, led by Regina King, Jean Smart, Tim Blake Nelson and a seriously unhinged Jeremy Irons. How it all fits together becomes clear slowly and enigmatically, while the subtle alternate reality in which the show is set is fascinating. So as the bigger plot emerges, this series carries all kinds of thematic implications.

The Morning Show

Jennifer Aniston and Reese Witherspoon play bickering journalists who are thrown together on a breakfast news show. Of course, they're more alike than not, and the fun of the show is watching them discover this against their will. While there is plenty of barbed humour laced through the scripts, this is a serious drama taking on workplace harassment and abuse in a strikingly honest, sometimes downright painful way. The show also lifts the lid on the artificiality of live television in a way that's funny and knowingly provocative. And the pitch-black issues raised in the storylines make it important too.

Dickinson

The ambition behind this show is notable, as it recounts the 19th century life of poet Emily Dickinson in sitcom style, infused with present-day dialog, attitudes and music. Anchored by Hailee Steinfeld and Jane Krakowski, the cast is excellent, and the storytelling is particularly strong. This allows for a knowing skewering of archaic (but sadly not unfamiliar) issues involving sexism and racism. Although this would come across more forcefully if it wasn't so smug about the anachronistic style. One cringeworthy example: after writing the memorable first lines of Because I Could Not Stop for Death, Emily puts down her pencil and proclaims, "Nailed it!"

The Umbrella Academy

The premise for this story feels a bit lazy (another zillionaire family, more kids with superpowers), but it plays out in ways that are continually surprising. And the show is written and directed with a generous dose of absurdity and sarcastic wit, plus a thunderous song score. It's also sharply acted by an eclectic cast (Ellen Page, Robert Sheehan, Mary J Blige), which helps make up for the plot's general default to violence that feels way over-the-top. Perhaps this betrays the comic book origin, but hopefully the writers will find more complexity in the second season.

The Politician

Ryan Murphy continues his takeover of all things televisual with this blackly comical political pastiche about a teen (Ben Platt, both deadpan and brimming with emotion) who takes his class president election far too seriously. But then so does everyone else at his posh private school. The narrative spins and shocks along the way, but remains a bit too ridiculous to to seriously touch on the themes. And the characters are all slightly cartoonish, even if they're a lot of fun - from teens Zoey Deutch, Lucy Boynton and David Corenswet to adults Jessica Lange, Gwyneth Paltrow, Bob Balaban. And the big set-up for the second season is beautifully played.

Living With Yourself

The main draw here is Paul Rudd playing a befuddled man who books into a refreshing spa day and ends up facing a clone of himself after something goes wrong. The premise is a bit sloppy, and the way it's written and directed is more than a little gimmicky, with characters who don't always ring true. But there are some witty moments and intriguing wrinkles that get close to resonant meaning (one of the Pauls is a close-minded idiot). It's worth watching, but would be even more engaging if it was more relaxed, sillier, sexier.

Dolly Parton's Heartstrings

Anthology shows are notoriously hit and miss, so there's no way each episode in this series can be a knock-out. But they're surprisingly well written, with sharp edges to the gentle narratives and some terrific performances (Melissa Leo!). Dolly's presence in each episode is great fun, including her sparkly introductions, her sassy characters and lively musical performances. Each episode centres around one of her songs, some more beloved than others, to weave a tale of love and heartbreak. It's often a little relentless in its warmth, but some prickly Southern charm adds interest.

ANOTHER YEAR

The Crown: series 3

Recasting this season was always the plan (it will happen again with series 5), and the transition is predictably tricky, even with the powerhouse duo of Olivia Colman and Helena Bonham Carter. But they grow into their roles, and by the time the wrenching episode 3 rolls around, they are inhabiting Elizabeth and Margaret with a vengeance. Colman gets to sink deeply into Elizabeth, adding offhanded touches that beautifully reveal the Queen's maturity as a leader. Tobias Menzies and Josh O'Connor also have particularly powerful episodes as princes Philip and Charles, respectively. Bring on season 4.

The Marvelous Mrs Maisel: series 3

As this show continues to beef up side characters, it badly loses focus. The ongoing story of hilarious standup Midge (Rachel Brosnahan) and her acerbic manager Susie (Alex Borstein) is still involving, not so much the rambling, distracting sideplots for her parents, ex-husband, his parents and the musical star she's touring with (who get long, pointless numbers of his own). It's like the writers couldn't resist crafting pithy dialog for these terrific actors, but they've forgotten what made the show so both unmissable and important. Make it a half-hour with Midge and Susie and it might rediscover its magic.

Succession: series 2

This second season was perhaps even more riveting than the first, as the plotlines twisted so tightly that even these expert wigglers found themselves with nowhere to go. Like a present-day Game of Thrones, these people circle around each other vying for control of an empire. Both the writing and acting are simply astonishing, as deeply layered characters seize on the snappy dialog. Each cast member is excellent, bringing humanity even to the greediest, most back-stabbing member of this wildly flailing family. More please.

The End of the F***ing World: series 2

Cleverly spinning off in new directions that feel both stylised and organic - just as awkward and brittle as before - this follow-up season takes our two antiheroes (Alex Lawther and Jessica Barden) on another offbeat road movie, this time pursued by someone (Naomi Ackie) wronged in their first spree. The outrageous things that happen are played to bone-dry comedic perfection, often with an added layer of thick irony. It's a rare TV series that refuses to play by the usual rules, which makes it unmissable.

SEASONS IN PROGRESS

The Conners: series 2a

While this sitcom's range of characters feels a little conveniently diverse, the writers and actors seem to have found their groove, mixing bristly humour with some honest situations. The cast is uniformly excellent, anchored ably by ace veterans John Goodman and Laurie Metcalf, plus Katey Sagal. Sara Gilbert and Alicia Goranson are terrific dealing with parental issues of their own, and it would be nice if Michael Fishman's DJ became more of a character.

This Is Us: series 4a

Things feel a bit tighter this year, even as the plots spiral to offer glimpses (and only the most tantalising glimpses) of new timelines. The actors are clearly enjoying the chance to continue flexing their performance muscles, most notably Justin Hartley, Sterling K Brown and Susan Kelechi Watson. Indeed, the deeper drama is far more involving that the gimmicky cross-cutting between time periods. This show is continually in danger of vanishing up its own navel, but the writers are just about keeping that in check.

Bless this Mess: series 2a

Trundling on harmlessly, this show is basically a tribute to Lake Bell's genius at finding subtle edges of humour in everything and surrounding herself with talented actors like Dax Shepard, Ed Begley Jr, Pam Grier and David Koechner. The premise is more than a little bit feeble, and the jokes are tired (at least Green Acres had a character who hated living in the country). But the show has a scruffy, ramshackle goofiness that keeps us watching. Mainly thanks to that cast.

Mom: series 7a

Everything is ticking along with this show's astute comedic approach to addiction and recovery, this year with the added wrinkle of marriage between Bonnie (Allison Janney) and Adam (William Fichtner). Janney is such a joy that it doesn't really matter what she's doing, and both writers and costars give her plenty to work with. It would be nice to beef up the other central cast members, whose plotlines feel a bit dull this year, most notably Anna Faris' Christy. She was more fun when she was a mom herself (where are her kids anyway?).

THE LAST STAND

Transparent: series 5

After Jeffrey Tambor's unceremonious departure from his series, this "musicale finale" ties up all the loose plot ends. It feels a little tidy and abrupt for a show that was known for its messy interactions. But the songs are enjoyable, performed well by the up-for-it cast, which kind of makes up for the way the overall story kind of peters out. There are no surprises, and some rather oddball twists here and there that never quite push the boundaries. But it's warm and engaging, and packed with lovely moments.

The Good Place: series 4a

Both blissfully funny and smartly thought provoking, this show is going out on a high. This season will be ending where the creators knew it would, rather than stretching things out unnecessarily. Which gives the adept actors the confidence to wonderfully push their performances right over the edge. Each of them is excellent on his or her own, and as an ensemble they create some magical alchemy. This is a rare sitcom that manages to be both intelligent and silly at the same time.

Modern Family: series 11a

This long-running sitcom has had some ropey episodes in recent years, but it's a rare show that has maintained a high quality of character-based comedy writing, allowing the actors to age on-screen. The expanding cast continues to be almost criminally watchable, with the children now grown-ups and the youngsters revealing a lot more personality than most TV kids get. There is a tendency to drift toward sentiment this season, but that's understandable if this is indeed the final series.

Shameless: series 10a

Never a show to pause for breath, this show kicked off its final season with a flurry of outrageous plot twists that sent the Gallagher family in about seven directions at once. This first set of episodes is perhaps a bit too frantic, even for this show, although this keeps the audience on its toes, piling on twists that are both entertaining and infuriating. There are several clever touches this year, as well as a few badly dangling threads (Carl's twins!). And as usual, the audience continues to root for these losers, despite the evidence.

I GIVE UP

See - I'm a fan of the cast, and they're superb here, but the premise is just a little too gimmicky and violent for me, set in a caveman-like future where humanity has gone blind. 

NOW WATCHING: The Witcher, Unbelievable, Castle Rock (2), You (2)

COMING SOON: Star Trek: Picard, The Outsider, High Fidelity, Schitt's Creek (7), Grace and Frankie (6), Homeland (8), Kidding (2)

Screen: Autumn TV Roundup

Watching an episode or two of a TV show in between movies, or between writing a review and proofreading it, seems to help reset my brain. So the more escapist, the better! This summer summer felt a bit thin for good television, so I'm surprised to see how much I watched over the past four or five months...

ALL NEW

The Boys

Taking a bracingly honest approach to the superhero genre, this show dares to present these heroes as deeply flawed humans who have let their power go to their heads, even as they're being manipulated by the giant corporation that's making a fortune off of them. The characters are complex and messy, and the escalating nastiness of the plot is superbly unpredictable. So it's a shame that the show has such a generic title, smug attitude and frenzied love of grisly violence. The relentless toxic masculinity begins to feel oppressive by the end, on both sides of the battle. And much of the more provocative material feels like it was designed to shock rather than to build characters or story. But the show's driving central narrative is riveting.

Euphoria

Because it dares to break rules, this show stands out from the crowd. Its depiction of that teen sense of immortality is frankly astonishing, showing sex and drugs in ways that are frighteningly honest while refusing to vilify the way young people use devices and social media. It's rare to find a movie or TV series acknowledge so skilfully that the world has changed and the older generations need to get up to speed rather than pointlessly trying to drag everyone back. The cast is note perfect, both teens and adults. And the show is gorgeously well shot and edited, even if its structure sometimes becomes indulgent as it over-explains the cause of each character's vices. This was most noticeable in the season finale, which was edited into a chaotic jumble to leave each plot thread dangling at just the right angle. It's occasionally stunning, but also naggingly pretentious.

Catch-22

Joseph Heller's spiralling WWII novel is adapted into a beautifully focussed miniseries set mainly around the experiences of a young officer (Christopher Abbott) at a US airbase in Italy. The continual ironies make it well worth a look, as it adopts a snappy M*A*S*H tone with added dark absurdities. It's a lacerating look at the true nature of war, in which no one is a winner. And it features some superb supporting actors (Kyle Chandler is particularly notable), plus a continual stream of heart-stopping moments. George Clooney and Grant Heslov led the charge on this show, directing and appearing in various episodes, and the high production values make it feel timeless.

The Other Two

Sharply well written and played, this comedy hilariously scrambles the idea of celebrity. It's about two 20-something siblings (Drew Tarver and Helene Yorke) who are still struggling to find their way in life, and now they also have to grapple with the sudden viral fame of their younger 13-year-old brother (Case Walker). All three actors are perfect, with impeccable comic timing. And the great Molly Shannon shines as their hilariously involved mother, who takes a journey all her own (and deserves awards-season attention). These episodes go down so smoothly that the season ends far earlier than we want it to. But the writers finish on a very funny twist that sets things off in a new direction for the second series.

What We Do in the Shadows

Basically transplanting the hilarious New Zealand spoof film to Staten Island, this witty documentary pastiche follows a group of over-earnest vampires as they fail to grasp the complexities of modern society. Each of the half-hours features yet another ridiculous challenge for people stuck in the middle ages. And the addition of energy and emotional vampires is a stroke of genius. Performances are spot on, never winking at the camera even as they acknowledge the presence of the crew, which gets itself into trouble now and then. It's all a bit fluffy and absurdly silly, but that's just what you want from a TV comedy.

The Name of the Rose

With its medieval setting and triumphant opening theme, it's clear that the producers were going for a Game of Thrones vibe. Sure, it's packed with oddly named characters who are impossible to remember, but the story is more singular, zeroing in on brainy monk William (a wonderfully lively John Turturro) trying to solve a series of murders in a monastery. With its shifty characters and maze-like library, the show pulls us into the mystery through the eyes of William's young novice Adso (Damian Hardung), who's in love with a peasant girl (Greta Scarano) in the woods. Then the vicious papal henchman (Rupert Everett) arrives to complicate things dramatically. 

STILL GOING STRONG

Pose: series 2

Shifting the story forward to 1990, and diving right into the Aids epidemic, this show starts strong but quickly begins to get bogged down in special conceptual episodes (including far too many maudlin after-death fantasies that are overwritten and overplayed). By contrast, when the show focusses on its characters and their everyday issues, it shines. The period is the moment this subculture hit the mainstream with Madonna's Vogue, and the cast is incandescent as ever, with compelling storylines and riveting performance pieces. Moving forward, let's hope the showrunners remember that it's the smaller, personal moments that provide the sharpest observations and emotional high points. And frankly, Patti LuPone should sing in every episode of every TV show ever.

Big Little Lies: series 2

This is a lot more soapy than the first season, simply because the writers are now trying to stretch things out. Thankfully, the cast is so good (with an added powerhouse performance from Meryl!) that it never feels trite. Indeed, the entangled drama expands in unpredictable directions that continually keep the viewer on his or her toes, as each of the central characters faces surprising situations that shake them to the core. This offers plenty of grist for the almost obscenely talented likes of Nicole Kidman, Reese Witherspoon, Laura Dern, Shailene Woodley, Zoe Kravitz, Adam Scott and more. But this is The Meryl Show all the way. There's even a great cliffhanger.

Stranger Things: series 3

Progressing even further into horror, this third season is a full-throttle adventure that once again cleverly maintains a character focus while a high-concept plot unfolds. Alliances are shifted around now that we're in 1985, with the older and younger teens working together on two fronts to figure out what's going on: one group chasing a monster and the other spying on Russians. Meanwhile, Joyce and Jim (Winona Ryder and David Harbour) are on their own trajectory. It's a beautifully produced show with an attention to detail that goes far beyond production design. And the cast is excellent, bringing these realistically messy people to vivid life.

The Handmaid's Tale: series 3

This show continues in thriller mode, while the pressure of stretching one book into an ongoing series sends plots spiralling out to cover more characters in increasingly melodramatic gyrations. This waters down the show's kick, because the first season was so astonishingly focussed. But it's still bold and provocative, with storylines that twist and turn through some genuinely nasty and emotionally devastating events. As ever, the cast is excellent, anchored by a powerhouse Elizabeth Moss in full-glowering superhero mode. And the wonderful Ann Dowd gets some back-story this time, even as she's less central.

Easy: series 3

This comedy-drama ensemble is back with their separate, occasionally loosely connected dramas. Sometimes creator Joe Swanberg's offhanded attempts to shock feel pushy, for example presenting an open marriage as an everyday situation. But a moralising undercurrent gives away the game. The Chicago setting at least makes the show look different from other things on the air, and the actors bravely tackle the roles without worrying that all of these people are deeply unlikeable. They're realistic, so there are things about each of them that we can sympathise with, but it's difficult to care. 

Black Mirror: series 5

There are only three episodes in this season, and the high quality of the productions will leave the audience wanting more. Charlie Brooker happily pushes his characters to the brink with the help of on-the-edge technology that feels like it might be introduced tomorrow. Anthony Mackie and Yahya Abdul-Mateen II play out a fiendishly clever variation on the usual bromance. Andrew Scott has a harrowing stand-off with the cops, which gets increasingly entwined technologically. And Miley Cyrus is terrific as popstar Ashley Q, whose life is hijacked by her assistant, while a loyal fan (Angourie Rice) has an unexpected connection with an artificial-intelligence toy. They way these two strands converge is fiendishly clever.

Younger: series 6

A guilty pleasure, this dopey comedy continues to be just right when you don't want to think: hot people angsting about inane dilemmas in situations that bear no resemblance to the real world. And the way the show tries to be hip about social media is deeply amusing. Watched this way, there's quite a lot of fun to be had in the quirky characters, even if it's impossible to care what happens. But it doesn't help that the show's star (Sutton Foster's Liza) is the dullest character, and her romance with Peter Hermann's Charles is a non-starter. She's clearly destined for Nico Tortorella's gorgeous young single-dad tattooist. So just get on with it.

ON A BINGE

The OA: series 1-2

Created by and starring Brit Marling, this show is a clever prism of reality that's challenging but never tries to outfox the audience. It's rare to find such a mind-bending premise that's so bracingly coherent, packed with sequences that send exhilarating tingles up the spine. And where this season ends makes it even more essential, so it's sad that the plug was pulled. 

Derry Girls: series 1-2

This raucous half-hour comedy is perhaps a bit too broad for its own good, but it is amusing as it follows a group of Catholic teens as the conflicts of early 1990s Northern Irish unfold in the background. The girls (and one boy) are pretty ridiculous in their naivete, but their interaction is generally hilarious. But this knowing, funny show is stolen by Siobhan McSweeney as the deadpan Sister Michael.

Call My Agent: series 1-3

Not sure why I hadn't discovered this French comedy (now made by Netflix) before, but it's seems made for me! At a top Paris talent agency (with clients playing themselves, often riotously so), the out-of-control staff members get more engaging with each episode. It's a terrific combination of snappy humour, soapy plotlines and knowing industry pastiche. The Isabelle Huppert episode is essential.

Superstore: series 1-4

Over the dog days of summer, I was in need of a half-hour comedy to fill in the corners between work projects. And it didn't take long to get through all four seasons of this breezily silly sit-com set in a Walmart/Target like warehouse store, anchored ably by America Ferrera. It tackles big issues (immigration, un-liveable wages, sexism) but is refreshingly offhanded about pretty much everything. 

Succession: series 1

The cast and sharp writing make this show essential. There's a bit too much swaggering masculinity on display (the female characters need to be beefed up), and the mashup of Murdoch, Ailes and Disney sometimes feels a little forced. But it's fast and ruthlessly nasty, which is something rare on television. The question is whether they can sustain this pace into another season.

The Haunting of Hill House: series 1

Bearing almost no resemblance to the source Shirley Jackson novel, this series spin an elaborate horror story over several timelines, This Is Us-style. It's beautifully put together, with a superior cast, although everything is rather too scary-looking. Still, it's packed with solid freak-outs. Some of the cast will return for the second season, a variation on Henry James' iconic The Turn of the Screw.

REALITY BITES

Clearly the most escapist of all TV genres, reality shows are such vapid fun that they help provide a break from, and some perspective on, actual life events. I enjoyed Love Island this summer for its collection of too-beautiful people who aren't stupid but don't seem to understand what's actually important. I'm currently keeping an eye on guilty pleasures The Great British Bake Off and Strictly Come Dancing, two shows that feature big personalities and nothing else I'm remotely interested in. See also The X Factor: Celebrity, which just launched, and I'm a Celebrity, Get Me Out of Here, coming soonish. RuPaul's Drag Race UK is off to a great start, combining huge characters with social importance and sassy colour. But the best reality show this year, perhaps ever, is A Very Brady Renovation, reuniting all six iconic child actors with an army of renovation show hosts to merge the exterior of the famed house with the 1969 interiors that only ever existed on a soundstage. It's the perfect combination of nostalgia and ingenuity, and staggeringly well put together. And now that house exists for real. This was pure television joy!

I GIVE UP

Sometimes you get into a show and begin to wonder why you're wasting your time, so I stop watching. Russian Doll was not my cup of tea from the start, with its abrasively heightened drama, pushy convolutions and acting that's too deliberately over-the-top. Brassic is a shameless variation on, well, Shameless that's far too wacky to be engaging, so the strong underlying themes ring hollow. Lodge 49 had a meandering, loose first season, but the show-runners went bigger with season 2, and the overly messy structure leaves the superb Wyatt Russell with nothing coherent to do. And I only made it through a couple minutes of the dryly overserious The Hot Zone.

NOW WATCHING: The Politician, Unbelievable, Living With Yourself, Succession (series 2), The Conners (2), Bless This Mess (2), The Good Place (4), This Is Us (4), Superstore (5), Mom (7), Modern Family (11).

COMING SOON: His Dark Materials, The Mandalorian, The Loudest Voice, War of the Worlds, State of the Union, The End of the F***ing World (2), Castle Rock (2), The Crown (3)...