Fringe: Michelle Brasier - Monet X Change - Raising Kane

Reform ★★★★
Michelle Brasier
with Tim Lancaster, Jordan White
Gilded Balloon Teviot, Dining Room • Fringe, Aug.23

With seemingly boundless energy, Brasier puts her entire skillset to work telling a story that's hilarious, pointedly nasty and surprisingly moving. Fuelled by her innate optimism, the audience is taken through a series of twists and turns that emerge through stand-up comedy, dramatisations and sharply funny songs. Brasier's exuberance is infectious, even if the rapid-fire delivery makes it tricky to catch all of her punchlines. But the story is wonderfully engaging, especially as it urges us to see an often harsh world through more positive eyes. And the way she tells it keeps us laughing.

She bounds on stage with a riff equating Jane Goodall's study of chimpanzees with Ryan Seacrest's study of Kardashians, then notes that bonobos, unlike chimps or Kardashians, live happily without conflict, and she wishes humans could too. This leads into an epic story from lockdown, when she ordered a pilates reformer machine online, even though she had doubts about the seller (who is played by guitarist Tim, with Jordan accompanying on keyboards and percussion). Frequently breaking into song, this narrative proceeds briskly, as Brasier exuberantly recounts her efforts to get her money back from the seller over several months, developing an eerily codependent friendship with him in the process. It's a great story, and she punctuates it with songs, projections and riotously funny sideroads.

At each point in the story, she amusingly helps us understand her inexplicable decisions to be nice rather than aggressive. It's a terrific depiction of how we all interact politely in public, and then things shift when something goes wrong. And yet she continues to take a positive approach, always acknowledging how odd this makes her. Which of course brings us firmly on her side as the tale arrives at its conclusion. This isn't just a story about a scammer, it's also about issues of trust, empathy and, most surprisingly, empowerment. Brasier's songs are full of raw emotion and biting humour. And the observations she raises are hilarious, random and ultimately deeply thoughtful. "Maybe women feel they need to help a guy who is a victim," she says. "Or maybe I did it because I would have this story to tell." Be a bonobo.

For details, MICHELLE BRASIER >

photos by Nick Robertson • 14.Aug.23

Life Be Lifein’ ★★★★★
Monet X Change
Underbelly Bristo Square, McEwan Hall • Fringe, Aug.23

After her triumphant appearances on three series of RuPaul's Drag Race, Hall of Famer Monet X Change is one of the biggest drag stars in the world. For this finely crafted show, she proves that she can also command a big stage. Expertly played to fill the expansive McEwan Hall, this performance continually surprises, largely because Monet allows herself to be astonishingly vulnerable as she takes the audience through key life moments that created the majestic diva we see before us. This makes it powerfully involving, moving and even inspiring, while also being very, very funny. And her singing voice is epic.

Shimmering in a glittery jumpsuit under a tower of blonde curls, Monet takes the stage as a gloomy piece of accompaniment begins, then stops it to explain that this song is Lost in the Stars, from an operetta. Interruptions continue as Monet recounts details about her life as an opera singer and drag queen. She learned this song at 18, but hasn't had the voice to properly sing it until now. This leads to stories from her early life as Kevin, who knew he was gay but never said anything to his strongly religious family. And the boys at school said nothing either. Stories tumble out about school crushes, early sexual experiences and mental distractions that derailed very public performances.

Monet is a master storyteller, filling her account with riotously funny asides, pointed observations and striking emotional openness. Along the way, she mentions key songs that pushed her forward in her journey, from Britney Spears' Baby One More Time to Jennifer Hudson's And I Am Telling You I'm Not Going ("in the original key"), each adding to her queer confidence and making her ready for Drag Race, which challenged and sometimes crippled her. She also speaks honestly about relationships that are complex and impactful. All of this adds up to a decision to never play it safe, to use her full voice. And then she does, finally diving into Lost in the Stars and then into a mashup of her most important tunes. It's a jaw-dropping finale, as we see her passions for singing and drag collide in the best possible way. We're not sure whether to laugh or cry, so both are probably correct. 

For details, MONET X CHANGE >

photo by Rich Fury • 14.Aug.23

Raising Kane ★★★
written and performed by David Shopland
Assembly George Square, Studio 4 • Fringe, Aug.23

In recounting the life of Orson Welles within the context of his masterwork Citizen Kane, performer David Shopland finds intriguing themes that speak to bigger ideas about human ambition, expectations and creativity. He also ultimately discovers his own personal connections as a writer, director and actor, which adds a colourful kick to a show that's otherwise performed in black and white. The show feels perhaps a bit awkward, as those familiar with Welles and Kane will instantly spot Shopland's clever tinkering with the facts. But this adds nicely to the mischievous, mysterious tone.

With mood-setting music playing, Shopland takes to the stage dressed in grey tones, including his face (heavy-wet grey greasepaint) and hands (gloves). As Orson Welles, he speaks about how his first film Citizen Kane was criticised in Europe by Sartre, who believed that cinema must be present tense, not looking back. Meanwhile in America, Newsweek said the film was the greatest that would ever be made, piling expectations on the young Welles. He then describes his childhood in Wisconsin and the inspiring people he met along the way who gave him focus and direction in life, from his art-loving parents to teachers and his long-time collaborator John Houseman.

Finely written, the script is wordy, so the performance feels mannered, livened up by knowing references and camp impersonations of the people in Welles' life. Most powerful is the sense of a young man "standing on the precipice of immortality", and this is fleshed out in various anecdotes that are packed with knowing detail. Finally, Shopland admits, "I'm not Orson, I'm David," revealing the picture behind the picture as he transforms himself into a very different performer. It's a bracing shift that makes the entire play much more personal and resonant, reminding us to concentrate on the present rather than reliving past glories or worrying about future ones.

For details, FAKE ESCAPE >

15.Aug.23

Full information at EDINBURGH FRINGE >

Fringe: Martin Urbano - Anna Lou - Garrett Millerick

Apology Comeback Tour ★★★★
Martin Urbano
Pleasance Courtyard, Bunker Three • Fringe, Aug.23

Wholly and rather boldly wrong, Martin Urbano's stand-up is a masterclass in wrong-footing the audience, deploying a slickly endearing persona while saying things that are so vile that they're unrepeatable. With a cute smile and conspiratorial wink, Urbano casually tosses punchlines relating to racism, misogyny and, most of all, pedophilia. But because he presents this with such relentless charm, plus a bit of awkwardness, he completely disarms us, eliciting laugh after belly laugh. And each time, we worry that we perhaps shouldn't be laughing at this. 

Everything about Urbano's set is peppered with absurdly rude gags, from his celebrity impressions (Bill Cosby) to the way he talks about "my crazy Mexican family". But he also has a sharp underlying point, poking fun at false concern and outrage. Much of the humour is aimed at himself, taking on a range of inappropriate attitudes. This is daring satire, playing on men who feel like they "can't do anything anymore" while protesting the "allegations against me". But all of this is delivered in a way that makes a solid point about the darker edges of culture.

"I'm so edgy, offensive, cool and awesome," he says, as he indulges in some hilariously messy tone-shifting, acting like he's making this up as he goes. He has the audience ask pre-scripted questions that are surreal in their implications. He launches into a riff about child abuse following a very rude Mad Libs bit, then brings someone from the front row on-stage to read a brilliantly self-critical closing series of jokes that tie everything together. The best comedians should always shock the audience, and Urbano is a master.

For details, MARTIN URBANO >

photos by Dylan Woodley • 12.Aug.23

Le Wine Club ★★★
with Anna Lou Larkin
Gilded Balloon Patter Hoose, Nip • Fringe, Aug.23

This offbeat show is a mixture of song and dance, a lecture about wine, a magic trick and a murder mystery. It's cleverly put together as a lively one-woman show by Anna Lou Larkin, who hosts with a heightened French accent and oh-la-la charm. So if the comedy feels a little undercooked, never quite finding its sharper edges, the overall narrative provides an amiably nutty way to spend an hour, complete with a cup of wine picked up on the way into the theatre space.

Anna Lou is a delightful host, delivering music and information with a twinkly smile that occasionally transforms into a devious smirk. "Here, hope is drunk and drunks have hope," she announces, launching into a lesson about wine tasting while dropping in references to a very special bottle of wine and her winemaker ex-partner Marcel, who left her. Well, he died. And was probably murdered by Bob, who owns the bar. This narrative develops interspersed with instructions about wine tasting: look, sniff, sip, slurp, swirl, spit or swallow!

Essentially a mini cabaret show, each element of this performance is packed with wry humour. The songs are silly and funny, and Anna Lou even accompanies a couple of them with her accordion. The wine lecture is informative and full of innuendo. And the story of Marcel's demise is sad and goofy. In other words, this is a show that keeps us smiling all the way through, with the occasional burst of laughter. It's also a terrific reminder that even though there are clear rules about drinking wine, it's better to do whatever you want to do. And that champagne goes with everything.

For details, ANNA LOU LARKIN >

13.Aug.23

Never Had It So Good ★★★★★
Garrett Millerick
Monkey Barrel Comedy, The Tron • Fringe, Aug.23

Full-on from the moment he starts, Millerick launches into one riotously hilarious rant after another, building up a rather alarming sweat as he takes the audience on a hugely entertaining journey that's bold and wonderfully abrasive, but underscored with an honest sense of frustration that pretty much everyone can identify with. Millerick has a way of picking up on things that are happening right now, even right during the show, and incorporating them flawlessly into his tirade, which seems almost on the verge of boiling over into a mass murder. And it powers at high speed into an absolutely stunning conclusion that's both funny and strongly pointed.

He begins by abusing the Fringe audience for attending five or more shows in musty basements, equating our quest for more with an eating disorder. And he sees this in our quest for ever more sequels, revivals of vintage TV shows and endless streaming channels. "I am not a well man," he admits, but then everyone is depressed to some degree these days. We thought David Bowie's death at the start of 2016 would be the worst thing about that year. So as badly as he wants to write a positive show after getting his life back on track, losing a lot of weight and getting sober, he can't help but notice how relentless modern life is. So he says controversial things ("Call me the Edge Lord").

He believes that at the moment he was born in the summer of 1983, there was already more than enough Star Wars. He knowingly punctures a range of deliberately virtuous activity. And he sees that the fallout from the British Empire is like a party we missed, but now we have to pay the bar bill. Yes, he seems to have something to say about almost everything, but his comments echo what we have been thinking, and it's refreshing to hear them out loud. Then he turns the tables on us, and in a perfectly constructed narrative unpicks his own arguments to give us a blast of unapologetic positivity. And it's simply exhilarating, even in a musty basement.

For details, GARRETT MILLERICK >

photos by Edward Moore • 13.Aug.23

Full information at EDINBURGH FRINGE >

Fringe: Otto & Astrid - Fielding Edlow - Lena

There are more than 3,500 shows playing at the Edinburgh Fringe in more than 300 venues around the city, most of which are created in unexpected spaces. The vibe here is electrical, as the action continues 24 hours a day with lively crowds on the lookout for comedy, theatre, music and art. Posters on every surface advertise these shows, and far too many of them look tempting. Of course, it's impossible to do more than scratch the surface...

Otto & Astrid’s Joint Solo Project ★★★★★
with Daniel Tobias, Clare Bartholomew
Assembly George Square Gardens, Piccolo • Fringe, Aug.23

Sibling rivalry derails a rock concert in this fiendishly smart comedy piece, as the beloved brother-sister duo returns for two separate solo performances. At the same time. It's written and played with precision around a series of catchy pastiche songs that become instant earworms, enticing the audience to get involved with call-and-response choruses. Otto and Astrid are hugely endearing characters, stars of the band Die Roten Punkte. But after failing to agree on whose songs should go on their new album, they're taking a break and performing solo tonight. And as much as they try not to share a stage tonight, they simply can't escape it.

The show opens on Otto's solo spotlight. He's cuddly and emotive, singing an homage to Iggy Pop called I Wanna Be Your Kitten, and clearly missing his sister. Then in the middle of a song, Astrid makes her immaculately timed catastrophic entrance, a walking disruption who is loveable in very different ways. Sarcastic and messy, she pushes Otto into a tug of war of wills. And the nastier she gets, the funnier it is, because it's also clear that deep underneath she wants to give Otto a hug as much as he wants to hug her (and everyone else). Without back-up bandmates, they have no choice but to help each other on-stage, Astrid on drums and Otto on guitar, forcing the audience to pick sides.

Otto's Depeche Mode-style song laments their parents being eaten by a lion when they were kids (Astrid insists they were run over by a train). Then Astrid sings a punk anthem about girl power, which Otto can't help mansplaining. Astrid gets the audience chanting along to Tasty Snack, then bums us out with a hilariously mopey dirge before the jubilant Party Explosion finale. The show is a riot of fabulous visual sight gags, sharply witty banter and big musical beats, but it's the underlying connection between Otto and Astrid, and the fully committed performances by Tobias and Bartholomew, that turn the entire audience into die-hard fans.

For details, OTTO & ASTRID >

photos by Mark Turner & Matt Duboff • 13.Aug.23

Gaslighting Is My Love Language ★★★
Fielding Edlow
Just the Tonic Meeting Room, Grassmarket Centre • Fringe, Aug.23

An abrasive delivery both pushes and pulls the audience throughout Edlow's stand-up set, which ricochets through a range of raucous topics that centre around her toxic relationship with ex-husband Larry. She describes him in wholly unflattering terms, taking cheap shots at his appearance, age and taste ("watching him get undressed is like skinning a salmon"), but also revealing some lingering affection. Her quick-fire punchlines involve abstract metaphors that usually have specifically American cultural references, which are largely lost on an Edinburgh audience. This makes it perhaps a bit difficult to engage with her, but she keeps working it, and her unapologetic approach and self-deprecating wit win us over.

The set is structured around the idea of gaslighting, mainly relaying a number of anecdotes about Larry and others she has encountered over the years. "I'm not changing any names," she notes, "so come and find me!" There are also personal experiences as an actress struggling to interact around celebrities, such as a one-scene role playing a stenographer in Behind the Candelabra. She also coaxes an audience member to re-enact a key moment from the classic 1944 film Gaslight, taking the Charles Boyer role herself opposite a towering hunk as Ingrid Bergman. And she gleefully flirts with the audience.

There are funny riffs on the benefits of having relatively no success in her career. "I don't need concealer," she says, "because I'm not tired." And she tells several stories from her marriage that are as nasty about herself as they are about Larry. All of this creates a strong narrative structure that keeps us engaged, even if it's essentially the sad story of a bad breakup, punctuated by quick-fire punchlines. And she knows why she does this: "I don't light myself on fire to keep you warm."

For details, FIELDING EDLOW >

photos by Troy Conrad & Benjamin Ealovega • 12.Aug.23

Lena ★★★★
by Tim Withnall
director Paul Hendy
with Erin Armstrong, Jon Culshaw, Alan McHugh, Julie Coombe, Helen Logan
Assembly George Square, Gordon Aikman Theatre • Fringe, Aug.23

Inventively staged as a biographical doc covering three decades in the life of a real-life child star, this 90-minute drama is heartfelt and very moving. It's hardly covering new ground, and even directly makes reference to its two key touchstones, Judy Garland and Karen Carpenter. But that doesn't make it any less wrenching, especially with a terrific cast that delivers expressive performances, anchored by the gifted Armstrong in the title role as Lena Zavaroni.

Narrated by Hughie Green (Culshaw), host of the TV competition show Opportunity Knocks, the show traces Lena's early life with her musical parents Victor and Hilda (McHugh and Coombe, both excellent) on Scotland's Isle of Bute before being discovered by a record producer in 1973 at age 9 and being whisked off to London to live with shark-like manager Dorothy (Logan). Her sweet voice ("clear as a Highland spring") and adorable youthfulness combine to make her a star, as Dorothy coaches her on etiquette and staying slim. But Lena can't escape that mindset, and anorexia begins to take its horrible toll on her life and career. She returns to her parents to recover, and attempts a comeback in the late '70s, but the family faces a series of tragedies.

Lena's heartbreaking story is well-known in Britain, and everyone will resonate with the echoes of other shining stars who burned out far too early. The show is very cleverly staged, with vivid sets, inventive lighting and a series of big musical numbers that are both entertaining and pointedly plot-driving. These allow the gifted Armstrong to display both a range of acting beats and a wide variety of musical styles, from Lena's signature tune Ma! (He's Making Eyes at Me) to a gorgeous final ballad about how the search for fame goes nowhere. Which of course brings additional meaning in today's influencer era.

For details, LENA >

photo by Ian Watson • 13.Aug.23

Full information at EDINBURGH FRINGE >

Stage: We are what we are

La Cage aux Folles
book Harvey Fierstein
music & lyrics Jerry Herman
based on the play by Jean Poiret
director Tim Sheader

with Billy Carter, Carl Mullaney, Shakeel Kimotho, Ben Culleton, Sophie Pourret, John Owen-Jones, Julie Jupp, Debbie Kurup, Jak Allen-Anderson, Daniele Coombe
musical director Ben van Tienen
choreography Stephen Mear
sets Colin Richmond
lighting Howard Hudson
Regent's Park Theatre, London • 29.Jul-16.Sep

It's been 40 years since this musical premiered on Broadway, and 50 years since the original French play was written, and yet there are no signs of ageing in this buoyant and inventive new production under the open air in Regent's Park. Avoiding the usual drag cliches, the designers have gone for something fresh and eye-catchingly offbeat, celebrating the full range of queer identities in all their frisky, camp glory. It's the kind of show that cant help but put a huge smile on your face, even as it elicits a tear or two of happy emotion while sharply poking weighty themes.

Set on the French Riviera populated mainly by Brits, the story centres around Georges (Carter), who runs the eponymous faded-glory drag burlesque theatre alongside his longterm partner Albin (Mullaney), a diva performer who is feeling threatened as middle age encroaches. When Georges' 24-year-old son Jean-Michel (Culleton) announces that he's getting married, both of them panic. And as his fiancee's father is a rabid arch-conservative who wants to shut down drag clubs, Jean-Michel asks Georges to play it straight. Because Albin incapable of doing that, Jean-Michel asks him to stay away. Neither takes this well, leading to high drama, lively farce and several fabulous musical numbers.

All of this is infused with deep feelings, as the show beautifully establishes the relationships from the start, giving the conflicts a sense of authenticity that's often powerfully moving. At the centre is the issue that Albin raised Jean-Michel as his son, playing the maternal role in his life. The way the situation is resolved is surprisingly complex but never heavy-handed. And the political issues gurgle strongly without taking over, adding new resonance at a time when ignorant lawmakers are trying to criminalise drag artists.

The staging is skilful and often breathtaking, with a range of dance numbers that reveal the considerable skills of the large dance ensemble, many of whom create memorable scene-stealing side characters. Costumes major in sequins and colour, but never in the obvious ways. And the witty touches that infuse the wardrobe are echoed in the funny and demanding choreography. But of course it's the songs that get under the skin. Mullaney delivers a startlingly emotive rendition of the iconic anthem I Am What I Am, rising from internalised pain to triumphant defiance. And The Best of Times is such a spectacular show-stopper that we never want it to end. Indeed, it very nearly doesn't. Meanwhile, there are earworms like Song on the Sand and With You on My Arm, plus the emotive kick of Look Over There.

A couple of the other numbers aren't quite as strong, the period is a bit of a muddle, and the story's conclusion feels rushed and perhaps unsatisfying. But the dazzling finale more than makes up for that. By reinventing this venerable musical so creatively, this company has breathed new life into Harvey Fierstein's witty book and Jerry Herman's indelible music. It was always timely, and now it's also clearly timeless.

For details: REGENT'S PARK THEATRE >

8/11.Aug.23

Critical Week: Scary movies

It's been a busy week at the movies for me, even if the cinemas are a bit hit and miss at the moment, with a bunch of releases that look unlikely to threaten Barbie's dominance of the box office. I finally caufht up with Disney's remake of Haunted Mansion, which is as much of a limp mess as the 2003 film was, abandoning characters for corny references and mindless action. Much better was Aporia starring Judy Greer, an inventive and involving time-bending drama with no special effects at all. I also enjoyed Ben Kingsley teaming up with Jane Curtin and Harriet Sansom Harris in the stranded-alien caper Jules, which is simple and charming.

BEST OUT THIS WEEK:
Red, White & Royal Blue
Aporia • Dreamin' Wild
L'Immensita • Medusa Deluxe
PERHAPS AVOID:
Haunted Mansion
REVIEWS >

A bit further afield was the gorgeous stop-motion animation in The Inventor, which recounts the story of Leonardo da Vinci with wit and colour. Lucy Hale and Grant Gustin star in the cute romcom Puppy Love, which is fine for those looking for something unsurprising. Jeremy Allen White is terrific in a supporting role in Fremont, a clever and very quirky arthouse movie about Afghan immigrants. The superb Japanese drama Love Life remains remarkably sunny as it explores some very dark themes. And the Romanian drama RMN takes no prisoners in its exploration of xenophobia in a rural community.

This coming week I'll be up in Edinburgh watching shows at the Fringe and covering them here. I also have a couple of films to catch up on if there's time. I also hope to reattend the new staging of La Cage Aux Folles at the Open Air Theatre in Regent's Park, as the press night was rained out after about an hour of the show on Tuesday.

Critical Week: Eat me

A couple of upstarts are arriving this month to challenge the dominance of Barbie and Oppenheimer at the box office, although it doesn't look like a fair fight. Jason Statham is back for more over-the-top action mayhem in Ben Wheatley's Meg 2: The Trench, a guilty pleasure mashup of shark chaos and thrilling villainy. Meanwhile, Seth Rogen has recharged another franchise with the hugely engaging Teenage Mutant Ninja Turtles: Mutant Mania, a gorgeously animated romp that's funny and thrilling. 

BEST OUT THIS WEEK:
Klondike • Shortcomings
TMNT: Mutant Mayhem • Lola
Smalltown Boys • Kokomo City
PERHAPS AVOID:
Til Death Do Us Part
ALL REVIEWS >

Also screened this week was Gran Turismo, the hugely crowd pleasing true story of a gamer-turned-racer starring Archie Madekwe, David Harbour and Orlando Bloom. The British comedy-drama The Trouble With Jessica is uneven but has a terrific cast led by Shirley Henderson and Rufus Sewell. Til Death Do Us Part is a choppy mess of a thriller with Cam Gigandet and Jason Patric. The doc Rock Hudson: All That Heaven Allowed is a surprisingly intimate, important look at the closeted Hollywood icon. And I finally caught up with the exuberant British comedy Polite Society, which uses wildly inventive action to punch its involving story.

This coming week I'll be watching Disney's remake of Haunted Mansion, Judy Greer in Aporia, Ben Kingsley in Jules, Daisey Ridley in The Inventor, Grant Gustin in Puppy Love, Jeremy Allen White in Fremont, the Japanese drama Love Life and the Romanian drama RMN.

Screen: August TV Roundup

Long gone are the days when TV series premiered their new seasons in the autumn. Many high-profile shows have new episodes this summer, which gives me something enjoyable to watch in between the movies and stage shows. Some of the best programmes of the year are now sent out in the summertime, right during the TV awards show season. The question is what next year's shows will look like, as the delays from the writers and actors strike begin to shift release schedules. Well, it's started already, as the Emmys have postponed their awards ceremony from September to January. In the meantime, there's plenty to watch...

T H E   S A G A   C O N T I N U E S

The Bear: series 2 
There's a different energy this season, as the characters rally around a sense of purpose, looking to the future rather than simply trying to stay afloat. But the hope is tinged with a real sense of fear that makes each of the characters powerfully sympathetic. This allows the still-naturalistic performances to feel more relaxed and introspective, with stellar work once again from Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bacharach. Generously, each member of the ensemble (plus astonishing guest stars) is given the chance to shine brightly in a nuanced, specific journey as part of the larger effort to reinvent and relaunch the restaurant in an insanely short period of time. Where this goes is funny, thrilling and unusually bittersweet, as the gifted cast and crew refuse to dodge the difficult stuff. (Hulu)

Heartstopper: series 2 
This unspeakably warm and involving series picks up right where it left off, following a group of 16-year-olds who feel like they don't quite belong for one reason or another. The romantic storylines continue to add textures this season, most notably as Nick and Charlie (Kit Connor and Joe Locke) face some very big issues as they grow closer. And Elle and Tao (Yasmin Finney and William Gao) finally confront the unspoken feelings they have. Terrific adult roles remind us that these questions aren't limited to adolescence. The range of serious topics this series deals with is impressive, offering layers of hope to viewers without ever pushing a point. It's also played to perfection by a seriously gifted cast who play teens with all their messiness in tact. Plus the fabulous Olivia Colman. Unmissable. (Netflix)

The Witcher:
series 3 
The amusing tone of the first season is an increasingly distant memory as everything turns almost ludicrously serious, the mythology becomes woefully dense, the plot splinters all over the place and everyone begins to speak in raspy whispers rather than their actual voice. This dialog is also packed with more wacky names than any mere mortal can keep track of. The central plot is still involving, despite the sideroads, layers of villainy and hyper-violent, over-staged battles. Oddly, the romance between Henry Cavill's Geralt and Anya Chalotra's Yennifer is a nonstarter; more involving is the complex link between Jaskier (Joey Batey) and Radovid (Hugh Skinner). While it's rarer now, the offhanded banter still holds the interest because it highlights engaging relationships over dully uninteresting lore. (Netflix)

I Think You Should Leave: series 3 
It's another bone-dry dose of pointed humour from Tim Robinson, taking aim at pop culture with lacerating satire about a range of worthy targets, from dating shows to pharmaceutical adverts, with a special emphasis on squirm-worthy office politics. These are short, sharp sketches with often absurd flourishes, and they're produced impeccably. The way they interweave, reference each other and sometimes overlap is both hilarious and often unnerving. It's the kind of show that provokes nervous giggles rather than hearty laughter. We can see ourselves in these exaggerated characters, which is both amusing and terrifying. (Netflix)

T H A T ’ S   A L L   F O L K S

The Other Two: series 3 
Increasingly wacky, this show has been written and performed from the first episode with lightning-sharp wit. The jokes seem to get broader with each episode, heading in sometimes ridiculous or even surreal directions as the writers ramp up their satirical take on the authentically insane world of celebrity and fame. Helene York and Drew Tarver are excellent as the desperate siblings who are unlikably ambitious but still sympathetic. Molly Shannon continues to steal the show as their now uber-famous mother. And a collection of hilarious side characters (including many A-list cameos) livens up scenes with astute gags and exaggerated absurdities. This show often begins to feel like it will spin out of control at any moment, which makes it unmissable. (Max)

Never Have I Ever: series 4 
For its fourth and final season, this series follows the bright but impulsive Devi (Maitreyi Ramakrishnan) through her fourth and final year of high school, continuing to trace the trail of carnage she generates in both in her friendships and romantically. And it's still inexplicably narrated by a wryly hilarious John McEnroe. The whole point of this series is to watch Devi growing up and forming increasingly serious relationships, and its her connection with her single mother (Poorna Jagannathan) that becomes the strong focal point here. A range of sometimes wildly nutty side characters maintain their own enjoyable trajectories while interacting with Devi's, and there are superbly dramatic, romantic and sexy moments scattered through these episodes, plus a lot of very witty writing. (Netflix)

F R E S H   &   N E W

The Crowded Room 
While series creator Akiva Goldsman works far too hard to obscure the story with a fragmented narrative, this show is involving thanks to lead performances from Tom Holland and Amanda Seyfried as a criminal suspect and the psychiatrist trying to work out how his mind ticks. The plot's big secret is obvious very early on, and it's a mistake to wait until the sixth episode to confront it. If you stay with it, the show gets much better as it begins grappling with bigger themes about childhood abuse and mental trauma, which makes the second half of the series properly resonant and powerful. Holland and Seyfried play their complex roles beautifully, and the production is packed with clever visual touches that add to the internalised impact. (Apple)

Glamorous 
Kim Cattrall gets a superb starring role as the founder of a high-end cosmetics brand who is trying to reconnect with her loyal customers. Her friendship with perky overachiever Marco (Miss Benny) is refreshingly offbeat and uneven, nicely refusing to progress as expected. Scattered through 10 sparky episodes are plenty of nice surprises in the interaction, narrative and relationships. The show plays out like an updated variation on Ugly Betty, and it feels perhaps a bit pointed in its gender politics, but the underlying ideas are important. This adds a hint of depth to a show that's otherwise unashamedly cartoonish. These are characters who are able to grow and change, so by the end most have taken a proper journey. Bring on season 2. (Netflix)

Secret Invasion
Yet another Marvel product that can't decide whether to focus on big action set pieces or character drama, so it isn't satisfying on either front and it ends up feeling like a plot transition between other movies and series. When the people are at the centre of the scene, this is riveting, played to perfection by the likes of Samuel L Jackson, Olivia Colman, Ben Mendelsohn, Don Cheadle, Emilia Clarke and Kingsley Ben Adir. But each episode seems to require a bombastic action set-piece that's efficient enough but also painfully uninteresting (super-powered people bashing each other is so boring!). And the overall plot, about an alien race warring with itself over whether to annihilate humans to take over Earth, carries absolutely no tension in a Marvelised universe. (Disney)

Fubar 
There's a dopey charm to this silly action comedy starring Arnold Schwarzenegger as a CIA spy who is sent on one last mission before he retires, during which he discovers that his daughter (Monica Barbaro) is also an ace operative. The banter is sharp and goofy between protective father, independent daughter, oblivious family, goofy colleagues and absurdly handsome villainous mastermind (Gabriel Luna). It's one of those shows in which no other spies seem to exist in the agency, so both spycraft and romances are limited within this ensemble. Amid some rather oddly nasty violence, there's plenty of comic relief (mainly from sidekicks Fortune Feimster and Travis Van Winkle). All of which leaves this show as a bit of mindless fun. (Netflix)

Based on a True Story 
Kaley Cuoco, Chris Messina and Tom Bateman are a solid enough central trio to overcome this crime comedy's outrageously contrived story points. The idea is so absurd (struggling couple launches a true crime podcast with a real serial killer) that it's impossible to take anything that happens remotely seriously. Which is fine for a comedy, but becomes a problem when events take some properly serious turns. All of this is assembled and performed with such a chirpy blast of energy that it's easy to simply sit back and enjoy each ridiculous predicament these people get themselves into. The red-herring fantasy sequences are so overdone that they undermine any attempt to get into the groove of the story. But the actors sell it. (Peacock)

C A T C H I N G   U P   W I T H . . .

Somebody Somewhere: series 1-2
I arrived late to this series and found it to be my kind of vibe. The writing and performances are delightfully unforced, creating characters who bring the audience into each scene so we can laugh with them at the absurdities of their lives. Bridget Everett shines as Sam, whose sardonic wit is a survival mechanism in rural Kansas. Her connections are the heart of the show, played out in mini-adventures that bristle with humour and emotion. Sam's interaction with sister Tricia (Mary Catherine Garrison) is played with unusual complexity and texture. And Jeff Hiller is wonderfully bemused as her new best pal Joel. This is a gorgeous show that could run and run. (HBO)

The Last of Us
Having lost my interest in zombies a few seasons into The Walking Dead, I avoided this show when it first came out. Then it was nominated across the board in the Dorian Awards, so I decided to take a look before casting my vote. The first two episodes were as tedious as I thought they'd be, and then episode three came along, deepening the dawning connection between the fabulous Pedro Pascal and Bella Ramsey while tracing a gorgeous decades-spanning subplot featuring the great Nick Offerman and Murray Bartlett. The banter between Pascal and Ramsey is what kept me watching the series, plus some terrific guest stars (who knew Melanie Lynskey could be so gleefully vile?). This is far more involving than the action nonsense that consumes far too much screen time. (HBO)

GUILTY PLEASURES: Drag Race All Stars, Too Hot to Handle, Love Island.

NOW WATCHING: Star Trek: Strange New Worlds (2), Minx (2), Good Omens (2), And Just Like That (2), The Afterparty (2), What We Do in the Shadows (5), Black Mirror (6).

COMING SOON: The Continental, Ashoka, Only Murders in the Building (3), The Morning Show (3), Physical (3), Sex Education (4).

Previous roundup: JUNE 2023 >