Screen: June TV roundup

There's been rather a lot to watch lately on episodic television, handily filling in some free time between watching movies. These are the shows I've followed over the last month or so, and another handful of series are coming to a close in the next few weeks. Basically, there's always something to watch...

Mare of Easttown
Skilfully written by Brad Ingelsby and directed by Craig Zobel, this murder mystery is much more about its small-town Pennsylvania community than the convolutions of the murder/kidnapping case(s). At the centre, Kate Winslet delivers another textured powerhouse performance as a local police detective whose life seems is not so quietly unravelling. She's absolutely riveting: engaging, tenacious, compelling and, as an actor, generously allowing ace costars like Jean Smart, Evan Peters, Angourie Rice and Guy Pearce to steal their scenes. Best of all is that it doesn't matter whodunit: this is a story about resilience, connection and healing. It's rare to see a TV show produced at this level of quality across the board; this is essential viewing. (Sky)

Hacks
The fantastic Jean Smart continues to subvert every genre on television, triumphing in a range of dramatic roles (see Watchmen and Mare of Easttown). And now she reminds us that she's a queen of comedy too with a storming, scene-chomping role as a veteran Joan Rivers-style Las Vegas stand-up. She's so good that you hardly notice that the cast around her are experts as well. Co-lead Hannah Einbinder is solid in an oddly thankless role, but others are more likeable, most notably Carl Clemons-Hopkins. Meanwhile, Smart continually surprises us with her on-point delivery of devastating punchlines. And the writers keep quite a lot going on in this show, with emotional undercurrents and sharp commentary about show business. (HBO)

Halston
Ewan McGregor is terrific in this glossy series about the iconic American designer who rose to fame in the 1970s and then vanished in the 1980s. It's beautifully produced, creating intriguing characters with seriously spiky interaction. And it certainly never shies away from the darker angles of the story, including Halston's turbulent relationships, rampant drug use and a stubborn streak that ultimately cost him the right to use his name. It's perhaps a bit slick and flashy, focussing on the glamorous highs rather than the emotional lows, and rushing through his final years. But there are a few grittier sequences, from outrageous arguments to wrenching grief, that make it resonate. (Netflix)

The Falcon and the Winter Soldier
A lot more like standard Marvel fare than WandaVision, this series features the usual witty banter, too-dense plotting and outrageously over-produced action. I was tempted by stars Anthony Mackie, Sebastian Stan and especially Wyatt Russell, playing against type as the new Captain America. The actors kept me watching to the end, even when the writing had me rolling my eyes with frustration. There are some intriguing plot elements, but everything is so painfully obvious, quick to violence and ludicrously momentous that it might have worked better as a spoof. And even the adjusted title at the end is wrong: clearly it should be Captain America and the White Wolf. Still, fans will eat it up. (Disney)

Girls5eva
From the makers of Unbreakable Kimmy Schmidt, this comedy has the same absurd, lightning-fast sense of humour as it follows the four surviving members of a girl band who are making a comeback attempt at 40. This quartet is superbly written and played (by Sara Bareilles, Busy Philipps, Renee Elise Goldsberry and Paula Pell), with a constant stream of riotous gags. And big-name cameos adds witty touches, including producer Tina Fey as Dolly Parton. Thankfully, the silliness is grounded in knowingly funny observations on everything from the vicious music industry to the perils of ageing, with pointed nods to themes relating to gender and sexuality. (Peacock)

Jupiter's Legacy
Based on a comic by Mark Millar (Kick-Ass/Kingsman), this darkly shaded superhero series has similarities with The Boys, but isn't quite as deliberately nasty. The central conflict is fascinating, pitting traditional rule-based morality against today's more reactionary ethics. Although the writers never really take this anywhere. And while the cast is strong across the board, no one emerges as a vivid central figure to rally around. The most interesting people (like Andrew Horton's loyal son Brandon) are oddly sidelined in favour of less nuanced characters (like Josh Duhamel's self-righteous patriarch). More adventurous writing might make this better in seasons to come. (Netflix)

Frank of Ireland 
Almost infuriatingly bonkers, this Dublin comedy starring Gleeson brothers Brian and Domhnall is far too cartoonish to properly engage with. But it's very funny as these chucklehead buddies embark on a series of crazy antics centring on family, girls and their community. Nothing much grabs hold as all of the characters are noisy, over-the-top nutcases, led by the painfully dim and self-involved Frank (Brian) and his even dopier best pal Doofus (Domhnall). Frank's mother Mary (Pom Boyd) is just as ridiculously obtuse, while the only vaguely sensible person is Aine (Greene), as she's desperately trying to escape Frank's orbit. You would too. (C4)

Invincible
With a Scooby-Doo tone and a premise similar to The Boys, this adult-aimed animated series is funny, violent and exhilarating. The animation is generic but eye-catching, while the voice cast is extraordinary, featuring the powerhouse likes of Steven Yeun, JK Simmons, Sandra Oh, Mahershala Ali, Zachary Quinto, Andrew Rannells and Mark Hamill, for starters. They make even the smaller side characters burst with personality. The story of father-and-son superheroes has plenty of wrinkles and textures to it, bringing out much bigger themes about the nature of humanity through recognisable relationship issues. And the writers have room to get much more daring (more queerness, less blood) in future seasons. (Netflix)

Why Are You Like This
This politically incorrect comedy from Melbourne takes a few episodes to find its footing, and then it's over (there are only six half-hour instalments). The three self-absorbed 20-somethings at the centre are very difficult to like at first, but actors Naomi Higgins, Olivia Junkeer and Wil King find ways to deepen them in a series of rather pathetic attempts to get on with their lives. The main problem is that they blame everyone and everything for their own problems, causing misery everywhere they go. But their antics are also rather endearing, and the themes deepen over the course of this season. (Netflix)

Paradise City 
A bit of a mess, this cheesily written soap set in the hard-rock music industry has a wide array of characters, many of whom are superfluous, and lots of arch storytelling touches, including supernatural wackiness with camp angel and demon figures. More problematic is a strong undercurrent of misogyny in both the imagery and male-centred plot points (even when a woman is involved, it's all about the man). There isn't an unsubtle moment on the screen, but it's still watchable simply because of the intriguing premise and full-on approach. Also, the rock-n-roll vibe is strong, and the lead actors are solid even when their characters are strangely inconsistent. (Prime)

BACK FOR MORE

This Time: series 2
Alan Partridge is back for another hilarious season of painfully well-observed awkwardness. Steve Coogan plays this role so effortlessly (and so unapologetically) that he has become a part of Britain's national culture over three decades. Coogan's understanding of this character is so deep that it provides laughs at every level, from big slapstick silliness to riotously witty details (watch his field reports carefully). It's almost shocking that Alan can still be so enjoyably squirm-inducing after all these years. And this particular incarnation of him also offers a wonderfully fresh pastiche of glib TV news-chat shows. (BBC)

Everything's Gonna Be Okay: series 2 
Josh Thomas is a talented guy, but his character in this sitcom (a young guy who has become guardian of his teen sisters) is so insufferable that he's difficult to believe, especially in the self-involved way he mistreats his ridiculously gorgeous and nice boyfriend (Adam Faison). And he's only able to see problems faced by his sisters (Maeve Press and Kayla Cromer) as part of his own story. The offbeat approach makes the show watchable, especially with characters who refuse to fit into the usual boxes. But it's very difficult to engage with Nicholas on any level. (Freeform) 

The Neighbor: series 2 [El Vecino]
The goofy residents of a Madrid apartment block are back, as Javier (Quim Gutierrez) now has to share his superpowers with ex-girlfriend Lola (Clara Lago). There's also a global threat from some sort of reptilian race, and a galactic civil servant (Javier Botet) struggling to make sense of what's happening amongst these idiots. These eight brisk episodes are very easy to watch, eliciting a lot of smiles and a few solid laughs as they skewer corrupt politicians and messy relationships. But there isn't much else to it, and the broadened cast leaves the central characters feeling thinner than before. But the cliffhanger finale promises more to come. (Netflix)

Lucifer: series 5b
This nutty season wraps up with a few oddly tame episodes that are too plot-heavy to allow us to enjoy the gleefully ridiculous antics of the sexy characters. Even the murder-of-the-week storylines are part of a bigger narrative arc that pushes everyone toward a major confrontation, leaving Lucifer (the increasingly over-the-top Tom Ellis) in a whole new place. For a show that's basically just mindless fun, these episodes feel rushed and serious, and they also feature even more of this series' trademark fragmented conversations in which characters neither listen nor say what they truly think. Although any show that adds Dennis Haysbert to its cast (as God no less) is worth a look. (Netflix)

IT'S ALL OVER

Younger: series 7
This dopey sitcom (in which the situation never provided much comedy) is finally wrapping up the scrambled romantic lives of its characters. It's become increasingly saccharine season by season, while the actors look like they've been severely nipped and tucked, except star Sutton Foster, who's now styled as a 50-year-old for some reason (after pretending to be in her 20s for the years). But all of the actors are hugely watchable, including Hilary Duff, Nico Tortorella, Debi Mazer and the great Miriam Shor, who sadly only occasionally skypes in this season. So I've decided to stick it out, even though the writers are clearly determined to offer the wrong happy ending. (MTV)

Shameless: series 11 
This epic comedy-drama wrapped up its run with 12 momentous episodes, as the extended Gallagher family finally faces up to the gentrifying forces in South Chicago, and Frank (the awesome William H Macy) begins to suffer alcohol-induced dementia. It's a clever way to bring things to a close, playing on the characters' quirks to push them in new directions and force some big decisions. And while the show's wilder impulses have been tamed somewhat over the years, each of these colourful characters gets to go out with a bang. And some well-earned emotion too. (Showtime)

CATCHING UP

The Queen's Gambit 
I put off watching this because, well, chess and drugs. But when I had a bit of time, I quickly realised why the whole world was caught up in the series. It's bracingly well-written and beautifully directed with some seriously clever flourishes. And it features yet another stellar performance from Anya Taylor-Joy, plus a terrific cast of fellow Brits. I particularly loved the clever way chess comes to life on-screen, without ever getting bogged down in the details. And the personal odyssey Beth takes through the narrative arc is properly epic, and very moving too. (Netflix)

I GIVE UP

Dad Stop Embarrassing Me • About 10 minutes into the first episode it's clear that this is a turkey slathered with inane dialog and awkwardly insulting slapstick. The cast (led by Jamie Foxx) is promising, but it feels like like one of those painfully unfunny SNL sketches that just won't end. (Netflix)

Cinema Toast • This anthology series starts with a great idea: re-editing public domain film footage with a new soundtrack to tell different stories. Each episode takes nuttiness to the extreme in a way that's experimental rather than entertaining. Far too indulgent. (Showtime)

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NOW WATCHING: The Underground Railroad, The Mosquito Coast, The Upshaws, Star Wars: The Bad Batch, Special (2), Pose (3), The Handmaid's Tale (4), Younger (7).

LOOKING FORWARD: Blindspotting, Physical, Kevin Can F**k Himself, Dave (2), Lupin (2), Love Victor (2), The Kominsky Method (3), Master of None (3), Elite (5).

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)...

Shadows on the Screen: Autumn TV roundup

There have been some good shows on over the summer, and perhaps I managed to avoid the truly awful ones. As always, TV gives me a break from cinema, which is work for me. Watching an episode or two after finishing a writing deadline is a great reboot. And this first show was something truly special...

Pose

Exploring the colourful vogueing subculture in 1980s New York, this series is warm, involving, funny, sad and often exhilarating as it digs into its characters. The interaction is raw and honest, the situations are resonant and the glamorous balls are magnificent. A side-plot involving Evan Peters and Kate Mara sometimes feels tacked on to unnecessarily provide white star power, but both are superb in complex, textured roles. Still, the stars of the show are awesome - likeable, compelling, inspiring and full of wonderful contradictions. Special mention to Mj Rodriguez as Mother Bianca, Dominique Jackson as Mother Elektra (above), Ryan Jamaal Swain as young dancer Damon and the astounding Billy Porter as the host of the ball. These are important, urgent stories that have never been told like this.

Patrick Melrose

Edward St Aubyn's five autobiographical novels are adapted into this full-on five-part series centred on a magnificent tour-de-force by Benedict Cumberbatch in the title role. Opening with the death of Patrick's loathed father (Hugo Weaving) in 1982, after which he makes a vow to get off heroin, the story is a snappy blend of torturous flashbacks and wickedly funny inner monologs. Edward Berger's direction is bracingly inventive, and all of the characters are cleverly larger than life. It's a staggeringly involving story with properly deep twists and turns, as Patrick tries to put his past into perspective in order to make something of his life. Profound and important. 

Who Is America 

Sacha Baron Cohen creates several more pranking alter-egos (see also Ali G, Borat, Bruno) for this seven-part series, which provokes people's opinions from politics to art. Playing various characters allows him to shift the tone from wildly obvious buffoonery to more subtle satire. Entertainment, often of the most chilling kind, comes when the guests fail to catch on, mainly luring gullible conservatives with crazy ideas they already want to hear. By contrast he confronts liberals with contrary ideas. When someone refuses to rise to his provocation, it says a lot. In other words, this is a telling comment on the state of a divided nation. Although it doesn't feel as subversive at a time when politicians say appalling things all on their own.

Sharp Objects

The setup may be a bit hackneyed (jaded alcoholic journalist assigned to cover murders in her sleepy Missouri hometown), but Amy Adams shines in the role as a woman reluctantly confronting her past, most notably her fearsome mother (the awesome Patricia Clarkson). This does kind of make the escalating murder mystery feel a little distracting, while the gurgling romance between the journalist and the hot detective (an almost-as-jaded Chris Messina) feels more than a little contrived. But then it is based on a novel by Gillian Flynn (Gone Girl). Thankfully, the writing is powerfully internalised, while Jean-Marc Vallee's textured, sultry direction is mesmerising.

The Innocents

A British series with heavy Scandinavian overtones, this is insinuating and evocative, but it requires patience as it slowly reveals its story amid editing trickery, unfinished conversations and simplistic melodrama. The supernatural flourishes (mainly shapeshifting) are hard to get a grip on, but the emotions of the characters are raw and urgent. This helps carry the viewer through the infuriatingly vague Norwegian scenes in which whatever the calmly unreasonable Guy Pearce is up to with those women is pretentiously unclear. The real secret weapon in this series is the leading young duo, Sorcha Groundsell and Percelle Ascott. They are terrific together, and their journey is powerfully packed with yearning, confusion, intelligence and hope.

The First
The opening title for this series couldn't be more pretentious if it tried, but then the whole show's tone is often painfully over-serious. Still, it's watchable due to the solid cast anchored by a beefy Sean Penn and complex Natascha McElhone. And there are big ideas swirling as these people prepare to launch the first Mars mission. It's rare to see such a big-scale series resolutely refuse to indulge in the usual rush to urgency. The story takes its time to develop. So why have the show's producers given into the fad for chopping things into ribbons of flashbacks, dreams and imagination, making it a challenge to find the narrative line. It's evocative, and an intriguing story to tell, but it's packed with corny symbolism and inexplicable cutaways.

Lodge 49

Wyatt Russell is a slacker surfer dude who stumbles across a signet ring that introduces him to an oddball fraternal society that feels eerily familiar. He's such an idiot that he shouldn't be as likeable as he is, but there's a sense of yearning to the character, as he endeavours to get back everything his family lost. As his sister Liz, Sonya Cassidy is just as good, but the show's writers aren't confident or clever enough to give her storyline as much weight, so she seems to flutter around the edges. Thankfully, the screen is full of lively oddballs who hold the interest as the mystery spirals in unexpected directions. It never quite comes together, but it's engaging.

Castle Rock

There's a lot of clever stuff going on in this series, which harks back to characters and settings from various Stephen King novels. Whether or not you get all the references is irrelevant, because there's plenty to enjoy, starting with excellent performances from Andre Holland, Melanie Lynskey, Bill Skarsgard and especially the great Sissy Spacek. There are elements of this series that are trying far too hard to be clever, but there's also a raw, honest thread of emotion that underscores everything that happens. So even when there's something wildly unexplained happening, it's grounded in the people. Just like King's novels.

Insatiable
Every element of this show is packed with double entendre, although it feels like rather a lot of bluster. Despite being a Netflix show, this would almost be safe for network primetime, as the edginess is purely superficial. Thankfully, it's also very funny, playing up the dodgy things most people are thinking about, but these characters can't help but blurt out loud. Sparky supporting roles are enjoyably absurd, played by ace scene-stealers. In the lead role, Dallas Roberts has a great time skilfully layering innuendo into everything he does and says. Opposite him Debby Ryan is also superbly unfiltered, although for a satire about beauty pageants and eating disorders, her casting is perhaps tone-deaf. But at least it tackles the issues. And it takes some intriguing, dark turns in the final few episodes.

Dietland

A remarkably quirky series, this starts out as something I would never be interested in (a drama about someone on a diet), but it quickly becomes much, much more than that. The surreal plot turns and wildly colourful characters continually send the audience in unexpected directions. The writing, direction and acting take absolutely no prisoners as they pointedly satirise a culture in which women are sidelined, especially those perceived as overweight. And the cast (anchored by the terrific Joy Nash) takes no prisoners as they fill every moment with subtle subtext and implication. This helps the central revolution take on a stand-and-cheer importance, even if the radicalised violence feels a bit over the top.

ANOTHER SEASON

Ozark: series 2

Things continue to close in as Jason Bateman and Laura Linney remain just about one step ahead of being killed. Both actors are superb, as are the surrounding cast of equally desperate people. Even the fearsome new cartel lawyer (the magical Janet McTeer) seems to always be looking over her shoulder. The message isn't that crime doesn't pay, because it clearly does. But this is a rare show that presents the moral quagmire that results when rules are bent, twisted and broken. The writers continue to send these people spiralling ever deeper into trouble. For example, they're no longer just covering up murders, but actually responsible for killing people. And adding local politicians to their web is very clever. But the master stroke was the messy, awful relationship Ruth (the astoundingly full-on Julia Garner) had with her vile ex-con dad (Trevor Long).

The Handmaid's Tale: series 2

The second season of this show launched with a powerful bang, throwing the audience right back into this disturbing dystopia while propelling the forwards into the unknown. This season also spends more time looking backwards through flashbacks that looks eerily like present-day America, just as the fanatics are taking over the government. This portrayal of freedoms being removed in tiny increments is just as terrifying as the depiction of religious zealots running the country unfettered. This season got a little awkward plot-wise, including a few story strands that fell oddly flat. But the central narrative and themes remain riveting.

I'm Dying Up Here: series 2

The characters have deepened considerably in this series about stand-up comics in late-70s Los Angeles, as the writers send them into a variety of personal clashes. This includes some obvious moral issues, as they compromise to achieve their dreams: Ron (Clark Duke) earns a fortune as a soulless one-line joke on a sitcom, Eddie (Michael Angarano) scrapes a living writing for a fading star (a superb Brad Garrett), Adam (RJ Cyler) finds success on any front elusive, Nick (Jake Lacy) and Cassie (Ari Graynor) have deeply personal conflicts, Goldie (Melissa Leo) faces the wrath of her acolytes by refusing to pay them. Yes, the plotting feels obvious, so it's a good thing the actors are so good.

The Good Place: series 2

I binge-watched the first two seasons of this comedy and thoroughly enjoyed its unusually high-concept premise. The first season is about a woman (the great Kristen Bell) who finds herself in heaven and knows she doesn't belong. A big twist turns everything on its head for the second season, as she teams up with the supernatural being (the fabulous Ted Danson) running the place on an elaborate scam. Over both series, the show resists the usual structures as it develops the characters in hilarious directions. Side roles for Jameela Jamil and Manny Jacinto are hugely engaging, as is the ever-evolving not-a-robot assistant Janet (D'Arcy Carden). Can't wait to see where the incoming third season takes them.

Younger: series 5
The writing on this show isn't any better, but it's worth watching for unpredictable scene-stealers Miriam Shor and Debi Mazar. And Nico Tortorella is simply too loveable for words. Otherwise, it's flatly ridiculous that anyone still believes Sutton Foster's Liza is in her mid-20s (thankfully there aren't many who still do). And her romantic muddle is dull. It would be much more engaging to see her set up house and have a baby with Josh, twisting the title's meaning in a new direction. Hilary Duff's character has better storylines this time, entangled with two very different men. And the take on the shifting role of publishing, while still a bit fantastical, at least tackles relevant themes while playing with super-current media.

Insecure: series 3

Issa Rae is back for this sharp comedy, which still relies a bit too heavily on personal awkwardness and misery, with tiresome predictable calamities at every turn. Y'lan Noel and Kendrick Sampson are nicely beefing up Issa's love life, plus the lingering ghost of Jay Ellis. The side characters are fun (and funny), but their plots are less involving, and the new storyline for Yvonne Orji's Molly feels under-developed. At least this season they finally took on the issue of the workplace, its endemic racism and particularly Issa's tone-deaf boss. But frankly I would also rather see the show-runners give Issa and Molly a few triumphs, maybe a bit of self-confidence that will make the show's title more ironic and less simplistically defeating.

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COMING SOON 

House of Cards (2 Nov), The Man in the High Castle (5 Oct), The Good Place (27 Sep), Victoria and more...