Screen: April TV Roundup

Recent travels and a film festival put me out of sync with television series, which I watch in gaps between movies to cleanse my palate, like an amuse bouche. And of course, the more I write about shows, the more are sent to me to watch before they air, so keeping up gets trickier and trickier. But I'm working through things! And here are things I've watched over the past couple of months...

Peacemaker
A riotous blast of James Gunn nuttiness, this DC spinoff is packed with terrific characters who are all at cross-purposes with each other. They're also unusually flawed for a superhero show, which makes them far more gripping to watch. John Cena is perfection as the too-focussed title character. Everything he says sounds sexist or racist, even though he's neither (his father, played unapologetically by Robert Patrick, is both and then some). Some of this is too wacky for its own good, but the central plot is surprisingly involving, and the core characters begin to feel like family: we wouldn't want to live with them, but we care. (HBO)

This Is Going to Hurt
Ben Whishaw gives a spectacularly committed performance as an NHS ob-gyn barely clinging to sanity amid the everyday chaos of his job. Writer Adam Kay based this on his experiences, and it plays at a blackly hilarious fever pitch, skilfully evoking the feeling of life out of control, plus a sense of impending doom. Thankfully the script continually surprises us, as do the unusually complex characters, with fine support from Ambika Mod (as Adam's newbie colleague), Rory Fleck Byrne (his gorgeous fiance), Alex Jennings (his thoughtless boss) and the great Harriet Walter (his imperious mother). And it's difficult to recall a more emotionally devastating series than this one. (BBC)

The Book of Boba Fett 
While it looks great, making the most of its desert planet setting and first-rate effects, this spinoff series meanders between two timelines to tell the underwhelming story of the title character, played with understated steeliness by Temuera Morrison. Then it suddenly shifts and becomes its parent show The Mandalorian, which is much more involving. The overarching plotlines are a little awkward, such as contriving to get Grogu back into the show, but the Pedro Pascal brings some badly needed personality that sustains the simplistic storytelling. This includes a climactic battle sequence that's properly epic but so long and violent that it becomes oddly dull. (Disney)

The Afterparty
A clever premise sets this show apart, especially as it plays out so inventively. After a top actor/singer (Dave Franco) dies at his school reunion, his classmates are quizzed by a detective (Tiffany Haddish). Each episode centres on one person's account, told in different styles (including Ben Schwartz's full-on musical and Zoe Chao's bonkers animation) as bigger details emerge about the characters and their twisted connections over the past 15 years. The excellent ensemble includes Sam Richardson, Ilana Glazer, Ike Barinholtz and a wasted Jamie Demetriou. Each performer dives in fully to the sometimes frantic comedy and edgy drama. (Disney)

The Gilded Age
Is this the most sexless show HBO has ever made? Essentially a far less lusty American Downton Abbey, this lavishly produced series is set in 1880s New York as old money sneers at new, and dramas take place both up and downstairs. After a young woman (Louisa Jacobson) discovers her father has left her nothing, she turns to her estranged, imperious aunts (the fabulous but oddly muted Christine Baranski and Cynthia Nixon), and secretly befriends their ambitiously wealthy new neighbours (Carrie Coon and Morgan Spector). But it's relentlessly dull, with dense and oddly stilted conversations that leave little space for personality. I gave up after four episodes. (HBO)

Murderville
Too gimmicky for its own good, this comedy stars Will Arnett as a ridiculous detective whose ex-wife (Haneefah Wood) is the chief. Each episode features a rookie partnered with him for one case, with the hitch being that actors are playing themselves without a script and must identify the killer. Guest stars like Sharon Stone, Annie Murphy, Kumail Nanjiani and Conan O'Brien bring their specific energy to the show. So it's a shame that the narrative is set up so specifically that the show feels stale by the second episode. Little is made of the overarching mystery, Arnett is too dopey to be likeable and the only fun is found in the guests' throwaway gags. (Netflix)

Bridesman
One of the first series produced by a hook-up app, this wacky comedy features six brief but over-plotted episodes that follow chatty, self-absorbed Terry (Jimmy Fowlie), a bridesman in the wedding of his rather intense childhood friend Judith (Sydnee Washington). But he's unable to stop fantasising about her dumb-jock fiance (David Mudge). The story mainly centres on the cartoonishly spiky bridesdmaids, while Terry has a couple of superficial sexual encounters. It's bright and camp, and plays on several transgressive ideas, but it completely misjudges its intended audience by being merely goofy rather than even remotely lusty. (Grindr)

A N O T H E R   S E A S O N

Snowpiercer: series 3  
Plotting gets increasingly central with each season, this time digging even deeper into the rivalry between Wilford (grinning villain Sean Bean) and Layton (tenacious nice guy Daveed Diggs). This war involves tactics, attacks and betrayals that grow increasingly nuanced. This isn't as compelling as the social satire of the earlier seasons (or the 2013 film), because the premise and characters are far more intriguing than violent tit-for-tats. But the season builds interest, adding dark complexity as things twist and turn around the growing possibilities that Melanie (Jennifer Connolly) is alive, and there might be somewhere on Earth that's thawing out. (Netflix)

Star Trek Discovery: series 4b
Fans will remain devoted, but this show continues its slide away from more intelligent interpersonal dynamics with each episode, falling back on much less engaging action, threats and antagonism. The superb cast skilfully continues at full speed, even in some dead-end plotlines. But it's tricky to stay engaged when favourite characters depart for realistic (but frustrating) reasons. It's also difficult to get very excited about another "anomaly" and the sciency jargon that goes with it. Still, the twists in the plot do manage to hinge around deeper character issues. And in the first-contact scenario in the final set of episodes, this season generates some terrific thrills. (Peacock)

O N G O I N G

Minx
A strong premise and terrific cast make up for some rather clunky writing in this enjoyable comedy about a group of people trying to launch a female-targetted magazine in the early 1970s, taking on the patriarchy of Playboy and Penthouse. Ophelia Lovibond is solid in a rather thankless role as an uptight feminist journalist who can't quite comprehend the sexy magazine she's editing. But she has great chemistry with Jake Johnson as the counterculture publisher who knows how these things work. Oddly, the show is still shot from a male gaze, essentially apologising for the lashings of masculine nudity. But at least the actors dive without hesitation. (HBO)

The Conners: series 4
As the grandkids begin growing up, this sitcom has found a variety of intriguing things to say about three generations of a family living under one roof. Carrying the plotting forward sometimes feels a bit forced, although the wedding episode did have some classic moments, while officially adding Katey Segal to this messy family. Laurie Metcalf still steals all the best lines, but everyone around her is on fine form too. These characters continue to have a properly current resonance, taking on big issues to create a much more grounded picture of American life than the usual shiny version on television. And the joke hit-rate is unusually high too. (ABC)

This Is Us: series 6
Quite why this show is ending with this season is anyone's guess, as the multi-timeline premise lends itself to endless reinvention. Oddly, these final episodes are circling around themselves rather pointlessly, continually revisiting the same situations and emotions without pushing people in new directions. The cast is still excellent, selling the big feelings even if we've felt them all before. Surely it would have been much better for the audience (and the ratings) to continue to push things forward into new territory, bringing new characters into focal positions. They've really missed a trick, and I wouldn't be surprised to see a spin-off or follow-up in a few years. (NBC)

L A T E   T O   T H E   S H O W

Shrill: series 1-3
I'd never heard about this show, but spotted a box set of all three seasons on my long flight to Los Angeles in March. I watched all of it, and really enjoyed the story of Annie (the likeable and seriously up-for-it Aidy Bryant) as she seeks to make the most of her life, even as everyone criticises her for her weight. Based on Lindy West's memoir, Annie is a superbly complex character, funny and confident, and also full of doubts. Relationships are also nuanced and beautifully played by a terrific ensemble cast (John Cameron Mitchell!). It's a rare TV series that's funny, hopeful and also realistically painful. (Hulu)

NOW WATCHING: Moon Knight, Our Flag Means Death, Minx, Bridgerton (2), Euphoria (2), Star Trek Picard (2), Young Rock (2), The Conners (4), This Is Us (6)
COMING SOON: Star Trek: Strange New Worlds, Only Murders in the Building (2), The Boys (3), Ozark (4b), Grace & Frankie (7b).

Screen: January TV Roundup

I'm not watching quite as much TV as usual, because it's awards screening season with films. But I've still managed to see quite a few series in between the movies over the past few months...

The Mandalorian: series 2 
One of the finest series in production at the moment, creator Jon Favreau continues to tap into that childhood Star Wars vibe to create a mini-epic in each half-hour-ish episode. Cleverly, each plot is a misdirection, as Pedro Pascal's title character and his increasingly cheeky tiny sidekick are continually distracted by side adventures as they proceed on their epic quest. This means revisiting old characters, meeting new ones and dropping a steady stream of franchise references and witty discoveries into each scene. Every moment is simply gorgeous. (Disney)

His Dark Materials: series 2 
Things get darker as this series continues, now heading into Phillip Pulman's second novel The Subtle Knife. The superb Dafne Keen is flexing her acting chops in the central role: Lyra is becoming a force to reckon with even as she digs deep inside herself. And joining her now, Amir Wilson makes a terrific partner/foil on this journey. The effects are still a bit overly digital, but they bring the fantastical elements to life in vivid ways. And the depth of character across the board makes it riveting, including a seriously complex villain in Ruth Wilson. (BBC)

Star Trek - Discovery: series 3
It's rare for a series to improve so enormously from season to season, but this show seems to revel in reinvention. This season's episodes were bracingly engaging, packed with epic action and full of big ideas. With inventive plotting and a flat-out terrific ensemble, it constantly surprises with its clever approaches to the themes that have made this franchise stand out since 1966. This season sent the crew ahead into a distant fragile future, where they're forced to confront their identities in some superbly well-imagined and played situations that have enormous ramifications. Where to next? (Netflix)

Fargo: series 4 
It's not easy to get into this fourth season, which is set amid duelling gangs in 1950 Kansas City. The racial issues are complex, and of course the production design and eclectic casting is a lot of fun, led by the excellent Chris Rock and Jessie Buckley, both miscast. But it feels oddly indulgent, especially with its churningly violent overtones. While the fatalistic touches are still everywhere, the offhanded small-town charm of the first three seasons (and the Coens' film) is sorely missed. Creator Noah Hawley's approach is ambitious and intriguing, but this season is never engaging. (FX)

SOMETHING NEW

Bridgerton 
Sharply well written and played, and produced with a modern Jane Austen vibe, this juicy Regency soap is ludicrously entertaining. It centres on two families on the London social scene, each with different fortunes during the matchmaking season. At the centre is the tangled romcom-like journey of Daphne and Simon (Phoebe Dynevor and Rege-Jean Page), who overcome toxicity with forgiveness and an open heart (at least until season 2). And the other vivid characters have entertaining journeys of their own, amid fabulous sets and costumes that never overwhelm them. The dialog bristles with wit, and it's a rare show that's genuinely sexy too. (Netflix)

The Serpent
A riveting true story, beautifully produced with a great cast, this series traces the nasty story of Charles Sobhraj (Tahar Rahim), who robbed, drugged and killed travellers across Southeast Asia in the mid-70s, and Dutch diplomat Herman Knippenberg (Billy Howle), who went far beyond his job to catch him. The period and atmosphere are so beautifully evoked that we can forgive the obvious directorial touches and jarringly choppy editing (two weeks later, three years earlier, seven months later, huh?). And the actors are so strong that we're pulled right into each incredible twist and turn in the tale. (BBC)

The Undoing 
There's a fairly straightforward mystery at the centre of this stylish series, but it's elevated by the astonishing casting of Nicole Kidman, Hugh Grant and Donald Sutherland, each of whom plays someone who's slippery and suspicious, but probably not the killer. Add the always excellent Noah Jupe as the teen in the middle, a great role that should have been even bigger. It's all so twisty and vicious, with so many bombshells that it's hard to wait for the next episode. And it's so juicy that we really don't mind where it might end up. The journey is the thing. (HBO)

The Flight Attendant
There's a trashy energy to this series that makes it watchable, even though the storytelling isn't particularly strong. The main problem is that the central character (played full-on by Kaley Cuoco) is relentlessly unlikeable: not only is she a raging alcoholic, but she has serious impulse-control issues. This makes everything that happens feel both implausible and annoying. The actors are solid, creating intriguing characters, most notably Michel Huisman, who makes what could have been a thankless role into someone genuinely fascinating. But all the whizzy, slick production values in the world can't make up for the essentially flimsy plot. (HBO)

Next 
John Slattery is terrific as a scrappy tech billionaire in this slick, convoluted thriller about an AI programme that runs amok and starts murdering and manipulating. This allows for a series of set-pieces that play out with witty and very nasty details. And it's just believable enough to be darkly chilling as things get increasingly freaky, carefully layering in the possible future with the realistic present. The relentless violence is perhaps more human than machine, but it plays nicely into the audience's fear of too-smart technology. And the ramifications the story raises will keep our minds spinning. (Fox)

Black Narcissus
There's a wonderfully leery tone to this melodramatic series, based on the 1939 novel (previously adapted into a 1947 Powell & Pressburger film). Gemma Arterton is superb as Sister Clodagh, the young nun sent to the high Himalayas to start a convent with four colleagues. Her innuendo-fuelled clashes with the roguish Mr Dean (Alessandro Nivola) add some subdued spice, as do her clashes with mentally unstable Sister Ruth (Aisling Franciosi). It's all rather overwrought and ridiculous, which is of course what makes it compelling and entertaining, especially when things get vaguely sexy and hauntingly freaky. (BBC) 

Death to 2020
This mock-doc looking back at the last 12 months really should have been a lot more original than this with Charlie Brooker's name attached. But it's a rather simplistic rehash of the year's various nightmares, peppered with lazy jokes and flippant commentary, as if everything will go back to normal at the stroke of midnight on December 31st. Appearances from Hugh Grant, Lisa Kudrow, Kumail Nanjiani, Leslie Jones and especially Samuel L Jackson add interest. But while they make it watchable, they're only able to inject a few meaningful observations. (Netflix)

ONGOING 

This Is Us: series 5 
Open-handed emotions continue to guide this family series, which is still bouncing around in an ever-expanding timeline to catch the characters at various ages, sometimes straining to draw parallels between their reactions and experiences. The cast has settled into their second skins now, making these people feel like part of our own family, so every emotional wrench is strongly felt. I'm not crying, you are. (NBC)

Superstore: series 6 
Covid invaded this sitcom in a major way, and the writers have had a lot of fun with it, allowing viewers to laugh at the absurdities without dwelling too much on the annoying/boring aspects of lockdown. The cast continues to have fun playing these idiots as they work in their enormous warehouse shop, although sending America Ferrara off to California in the season's early episodes feels like a misstep. (NBC)

Mom: series 8 
The title is now pointless, as this show deleted one mom/daughter from the first season and has now lost another one. Instead, it has become a rehab sitcom starring Allison Janney. And I'm not complaining. It's still sharp and funny, tinged with real-life issues and packed with wacky characters who manage to keep their feet on the ground. Janney and William Fichtner's relationship continues to find sparky wrinkles, and it's still refreshing to see recovering addicts for whom putting their lives back together isn't accomplished in one episode. (CBS)

Shameless: series 11 
For their final season, the Gallagher family are clearly intending to go out in a blaze of glory. This series starts with them in very different places as parents, spouses and entrepreneurs, which continues their journeys with additional textures and complications. There's the usual worry that the writers will continue to pull the rug out from under these people we've grown to love. But it will be fun to see where they all end up. (Showtime)

NOW WATCHING: WandaVision, The Stand, Staged (2), Dickinson (2), The Conners (4), Kim's Convenience (5).

LOOKING FORWARD: It's a Sin, Snowpiercer (2), Call My Agent (4)...

Screen: Spring TV Roundup

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

SOMETHING NEW

Les Miserables

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

This Time With Alan Partridge

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

You

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

Now Apocalypse

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

Sex Education

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

Putting On

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

BACK FOR MORE

Fleabag: series 2

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

Future Man: series 2

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

Star Trek Discovery: series 2

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

Friends From College: series 2

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

One Day at a Time:
series 3

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

This Is Us: series 3b

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

The Good Place: series 3

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

Schitt's Creek: series 5

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

Grace and Frankie: series 5

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

Shameless: series 9b

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

THE END OF THE ROAD

Timeless: series 3

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

You're the Worst:
series 5

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

Unbreakable Kimmy Schmidt: series 5

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

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

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

Shadows on the Screen: Spring TV roundup

I continue to use television as a reset in between film screenings, so I manage to catch quite a few series along the way. Here's what I watched through the winter months...

NEW AND NOTABLE

The Assassination of Gianni Versace: American Crime Story

The decision to tell this story out of sequence, essentially moving backwards through the narrative, eliminated any sense of momentum from the overall series. The only real way to watch it is as a group of stand-alone episodes that are loosely connected but lack any dramatic kick. That said, there's real power in the story itself, and it's very well shot, edited and acted by a first-rate, unapologetic cast. Darren Criss is superb as the psychopathic central character, and Penelope Cruz is remarkable as a deeply unlikeable Donatella. But by the final episode, when it circles back to where it started, there's an odd lack of emotion or tension, leaving the series admirable but not particularly satisfying.

Everything Sucks!

Set in the late 1990s, this smart comedy follows a handful of teens through the misery of high school, during which their burgeoning hormones cause quite a few problems. Basically, this is Stranger Things with nerdy kids facing more everyday horrors like the idea of your principal dating your mother. Discovering that you're not like the other kids is both terrifying and liberating. And the show is so freshly written and played that it frequently takes the breath away, and not only because the events are so resonant. These are all vividly realistic, flawed people trying to do their best against the usual odds everyone faces. So the humour bristles with earthy honesty, and quiet revelations are powerfully moving. 

The Marvelous Mrs Maisel

A blast of fresh air, this lively series rightly won awards across the board. Rachel Brosnahan is fantastic as the title character, a 1950s New York society housewife who finds herself suddenly single and nowhere near as helpless as everyone thinks she should be. A force of nature, Midge is smart and absolutely hilarious, so her budding career as an edgy standup comic feels just about right. It helps that the writers give her jokes that are actually funny. And the show's recreation of the period is strikingly well-done. But it's the characters who make this show unmissable, including Alex Borstein as Midge's sardonic agent, Michael Zegen as her hapless ex, and Marin Hinkle and Tony Shalhoub as her eye-rolling parents. 

McMafia

This eight-part British series struggled to build up a head of steam in its tale of Russian mafia business dealings. James Norton anchored the series ably, although his character was far too repressed to really spring to life or garner much audience sympathy, especially as his story arc took him to some very, very dark places. The more engaging character was David Strathairn as a shifty Israeli dealmaker, although he was left on the sidelines. There may be a more intriguing story in here about business ethics in a slippery moral climate, but this show concentrated on the sinister mob underworld, which was watchable but never terribly compelling.

Star Trek: Discovery

The oppressive darkness in this show is a little much sometimes, from the violent parallel universe episodes to the ongoing nastiness as people who are meant to be good continually use murder and torture as everyday tools, simply because there's a war on. At least it looks great, and the cast is excellent across the board, with some nice surprises in the supporting ensemble. Although poor Doug Jones needs to redesign his annoyingly rubbery makeup so he can actually move his face. Spoiler alert: as painful as it was to lose the terrific Jason Isaacs and Wilson Cruz from the cast, at least Michelle Yeoh came back with a wild-eyed vengeance.

BACK FOR MORE

This Is Us: series 2

The shameless heart-tugging reached epic proportions over this season, but when a show is this well written and played you don't mind too much. All of the actors are great - including the kids who play the main roles at two earlier stages in their lives. And the producers finally had mercy on the audience by revealing the circumstances around Jack's death, including how it impacted each of the others in a specific way that causes all of the emotional fallout years later (many tissues required). It's contrived and overwrought, but beautifully done.

Love: series 3

The romance between improbable couple Paul Rust and Gillian Jacobs continues, and is just as offbeat. Both of these people are damaged, not always likeable and not very easy to root for, so their relationship is a proper mess. Even more interesting in this season was the professional arc of Rust's character, who finally manages to shoot his film. But for every triumph, the screenwriters give him three crises, which is a little exhausting. And the show feels soft and sweet when it should be a lot more prickly. But it's charming enough to hold the interest.

Inside No 9: series 4

Reece Shearsmith and Steve Pemberton's anthology series is showing a little strain. It's still wildly inventive, mixing a menacing horror vibe with Twilight Zone-style twists, but some of the premises kind of strained for effect, losing plausibility on the way. Still, the swings in tone were remarkable, from the slapstick farce of Zanzibar to the grim nostalgia of Bernie Clifton's Dressing Room. The nastiest episode was also the most gimmicky, Once Removed recounted its murderous tale in reverse order. Thankfully, each episode also has a topicality that makes it resonate. And they also offer a range of juicy roles for Shearsmith and Pemberton.

Grace and Frankie: series 4

A thin idea to begin with, this show has somehow found ways to deepen all of its characters without pushing anyone too far. Jane Fonda and Lily Tomlin are still superb at the centre, with terrific chemistry and impeccable timing. They add unusual pathos and comedy to even the corniest situation. Martin Sheen and Sam Waterston struggle a bit more with their cartoonish roles, but also ground them in realistic thoughtfulness. And it's a rare show that makes us want more time with the side characters: these two couples' four children are pretty ridiculous, but their obsessions and quirks could fuel a series on their own.

Shameless: series 8

It's a rare show that can sustain the quality over eight years, and even rarer for a TV series to get the balance right between comedy and drama. But this remake of the British show is better than ever, pushing its characters into ever-more-intense situations while at the same time letting them grow and change. Sometimes it's a little overwhelming, as the writers never seem to let them catch a break, but there were moments in this season that offered the Gallagher family some welcome moments of triumph amid the usual setbacks. William H Macy anchors the show beautifully as the, yes, shameless Frank. But the entire ensemble is excellent.

The X Files: series 11

After the intriguing return to this story last year, this show continues in a bizarrely comical way that feels more like a pastiche than a new season. The first episode in this series was a downright spoof, and while subsequent episodes have had a certain entertainment value, most have been so ludicrous that they seem to miss the point entirely. Even the series mythology feels like it has lost the plot. So even though Gillian Anderson and David Duchovny continue to have strong chemistry together on-screen, maybe she's right to say that it's time to hang up these characters for good.

I GIVE UP

Bliss: As a fan of Stephen Mangan and creator David Cross, I was looking forward to this offbeat half-hour comedy about a guy trying to maintain two families. But the premise is riddled with implausibilities that began niggling right from the start, leading to some inevitable "twists". By the third episode, I'd had enough.

Action Team: The idea of a spoof action series is a great one, and there are some witty touches in this goofy British show. But both the writing and acting are far too broad and obvious for my taste. I lasted two episodes.

IN PROGRESS

At the moment I'm watching Trust (terrific cast, clever storytelling); The Looming Tower (riveting and scary, like a true version of Homeland); The Santa Clarita Diet 2 (a welcome slice of Drew Barrymore silliness); Schitt's Creek 4 (better than ever); Homeland 7 (has found a new groove); and the revivals of Will & Grace (funny if Megan Mullally is on screen) and Roseanne (eerily up to date humour). And plenty of things are coming up soon.

Shadows on the Screen: Winter TV Roundup

I had some time over the holidays to catch up on TV shows I've been following over the past few months. Results have been mixed, but there have been some great small-screen gems in here to help me recover from the big-screen movies...

Stranger Things: Series 2

The Duffer Brothers step things up a notch with a bigger, much scarier story arc that feels much more finely tuned to the characters and the actors. Everything in these nine episodes fits together beautifully, deepening the connections and unnerving the audience. References feel somewhat more grown-up this time, from X-Men to The Exorcist, and the scale of events is genuinely enormous, with deeply personal touches. All of the cast is excellent, from adults like Winona Ryder and David Harbour to the older and younger teens, who mix beautifully and end up nowhere near where they started. It's also refreshing that they ended on such an open note: anything can happen next year. 

The Crown: Series 2

Basically an anthology series, each episode takes an aspect of Elizabeth II's life from her second decade as monarch. So there are episodes on JFK, sending Charles to school, the Profumo scandal, modernising the monarchy, confronting the family's Nazi past and Margaret's romance with Lord Snowden. But the season's through-line centres on Philip's indiscretions and how the couple weathered those various storms to solidify their relationship as a marriage rather than an arrangement. It's grippingly well written and played, but this structural approach makes it feel rather, well, episodic, without much momentum as a series. It's almost more like an unusually well-produced educational film. And these actors are all so good that next season's all-new cast (as everyone ages) has a lot to live up to.

Easy: Series 2

The second season of this anthology show revisits all of the overlapping characters, finding moments of proper comedy and drama along the way. Although most of the humour is of the bitter sort. Episodes all stand alone but loop around to touch others, and the characters all feel enjoyably realistic. The main problem is writer-director Joe Swanberg's relentless sexualising of females (for example, when artists are struggling, the man becomes an Uber driver, the woman becomes a prostitute). In isolation, none of this feels excessive, but when every episode features a scantily clad woman it becomes a little obvious. That said, there's equal opportunity nudity. And the characters are all complex and involving.

I'm Dying Up Here

The 1970s Los Angeles stand-up scene is the setting for this solidly produced hour-long drama, which follows a group of comics as they traverse the ups and downs of their careers. The show is packed with terrific characters, all superbly played, from mother hen Melissa Leo to a varied bunch of hopefuls played by Ari Graynor, Andrew Santino, Michael Angarano, Clark Duke, RJ Cyler and Al Madrigal, to name a few. The political aspects of the comic scene are a little dull, but the personal journeys taken by each person are compelling, and the period detail is a lot of fun. There are also some terrific stand-up routines along the way.

The Deuce

The 1970s New York sex industry is the setting for this solidly produced hour-long drama, which follows a group of bar owners, prostitutes, pimps and pornographers as they shuffle through the crime-ridden streets. The show is almost incredibly murky, with corruption everywhere and such a huge range of detailed characters that none of them really stand out. There simply isn't time to properly develop each of them into a sympathetic person we can identify with in some way. But the acting is superb, anchored by James Franco as a rather too identical pair of twins and Maggie Gyllenhaal as hooker with a lot of personal issues. It's also refreshing to see a show that lacks the usual American hang-ups about sex and sexuality.

Black Mirror: Series 4

Charlie Brooker's slick, technology-themed variation on The Twilight Zone continues to tap into very current fears with its only slightly futuristic stories. These new Netflix episodes are produced like mini movies (the first episode is feature length) and have A-list Hollywood casts and crews. The plots sometimes have lapses in logic, but the themes are powerful, exploring how technological advances play into the darker urges we already have. This means that some of the stories are downright bleak. For example, Jodie Foster's episode Arkangel is deeply unsettling not because of its child-spying implants, but because of what it says about today's overprotective culture. And the best episode, Timothy Van Patten's Hang the DJ, mixes gloominess with hope as it plays with the concept of dating apps.

Transparent: Series 3

Thankfully less gloomy than the last season, these episodes saw the astonishingly dysfunctional family travelling to Israel as they connect with a long-lost relative. There were quite a few genuinely hilarious moments along the way, and most of the outlandish slapstick was reined in this time, even if each person's personal crisis seemed like the end of the world, to them at least. Of course, the setting gives the show's writers plenty of scope to play with political ideas. And they also cleverly infuse this entire season with songs from Jesus Christ Superstar. This is perhaps a little on-the nose as far as irony goes, but it grounds the family in a shared experience that connects them to this place. 

You're the Worst: Series 4

What was once a caustic, brave show has clearly reached the limits of its premise. this season, the writers struggled with what to do with a couple that needed to get together for the audience's sake, but were designed to be thoroughly toxic. Instead of playing on the codependent aspects, this season has them lashing out separately. But it felt like the wheels were spinning with nowhere left to go. All of the actors continue to approach their broadly ridiculous characters with an intriguing sense of emotional honesty that makes them sympathetic and unlikeable at the same time. But I don't think I could take one more half an hour with any of them.

Episodes: Series 5

The final season of this loose-limbed sitcom circles back to end exactly as you've always known it would. And along the way there are plenty of ridiculous antics for Sean and Beverly (Stephen Mangan and Tamsin Grieg) and their circle of hopelessly neurotic friends, including Matt LeBlanc, who is now hosting one of the most hilariously appalling game shows ever imagined. The show has always had a way of lampooning Hollywood by playing everything just a little broadly. But there's also the definitely sense that pretty much everything they've ever depicted has actually happened. And the characters really grew on us.

SEASONS IN PROGRESS

This Is Us: Series 2

In this second season, the writers are taking things very seriously, piling lots of big themes into each episode. Life for these people feels a little too difficult this year, at each of the various periods in their lives. And the show has introduced yet another timeline that lets the main cast get a bit more screen time while playing their characters a little younger and hotter. But the real thing, of course, is that the writers are now torturing the audience mercilessly with the possibilities about how Milo Ventmiglia's Jack dies, setting up a potential calamity in each episode. It's getting a bit silly. Just tell us and get on with the story.

Jane the Virgin: Series 4

Fiendishly well written, this spoof of Mexican soap opera plays on its origins mercilessly. And some of the twists and turns are more than a little annoying. But the central characters are all so loveable that it's hard to mind. By now, the writers have milked several of the characters as far as they can (it's way overtime to lose Yael Grobglas' evil twin character Anezka), and there's only so long they can stretch the will-they/won't they romance between the adorable Gina Rodriguez's Jane and the ludicrously hot Justin Baldoni's Rafael. But every scene is still packed with such great touches that it's worth hanging in there.

Scandal: Series 7

True confession: I am only still watching this show because it's the final season, and I might as well see it through. Because this year's series is actually pretty bad, straining to shift Kerry Washington's Olivia Pope from hero of the peoiple to villainous mastermind (ie, she's become her father Joe Morton). This is so contrived that it's almost laughable, well it would be if it weren't so unnecessarily dark and violent. In fact, all of the subplots are grislier and nastier this year. The zing of, well, the scandal is gone. This is apocalyptic.

Shameless: Series 8

It's amazing that this show can carry on, throwing the Gallagher family into even more spiralling mayhem without feeling contrived. Some elements are infuriating, as they're meant to be, while others leave us wondering what the writers were thinking when they came up with this. William H Macy is clearly relishing this new phase in Frank's life, and the undulating feud between Emmy Rossum's Fiona and Cameron Monaghan's Ian has been played with surprising texture. Even Vee and Kev (Shanola Hampton and Steve Howey) are still on fire. It's impossible to predict where any of the plot strands are headed.

Will & Grace: Series 9

I don't remember this show being quite so broad and smiley the first time around. Even the opening credits this time reek of fake camaraderie. And while the idea is amusing that, 11 years later, these people are basically back where they started, the writing really needs to push them forward rather than using each episode to revive one of the more memorable gags or side characters. And the actors need to pull back a bit on their broadly comical performances, stirring in just a bit of believability. Except Megan Mullally, of course. Karen is still one of the most amazing characters ever seen on a sitcom, and she's as funny now as she ever was.

Modern Family: Series 9

This show has had some weak episodes over the past couple of years, but this season the writing feels back up to par. Plotting is tight, weaving various threads together in each episode that build to a big punchline. Of course, better writing gives the ace cast a lot to work with, and these characters are proving to be a continuous source of comedy: people we think we know very well who continue to surprise us. And the increasingly number of characters, including the kids, all have ongoing storylines that are genuinely engaging and witty. Indeed, the children are growing into comedy icons themselves.

I GIVE UP

The Orville

Seth MacFarlane had a great opportunity here to make a full on satirical sci-fi series, and yet he seems happy to merely nod earnestly in the direction of Star Trek. There's the occasional great gag or inventive touch, but the plots and characters are never interesting or funny enough to care about. I stopped at about episode 5.

The Flash/Supergirl 

These were the last two shows of the DC Comics universe that I was watching, and they too have shifted into cheaply made, far too violent storylines that make absolutely no sense and have no angle on which the audience can find a connection. It's just gimmicky and grisly and angsty. Life's too short.

Empire

I was a big fan from the start of this show, and I hung in there even through some long dips into seriously silly storytelling. But this season simply lost all of the various plots, giving each character a drastic personality change. Nothing is happening here that's even remotely compelling. And the people are annoying. I'm done.