Criminal Record

Available on Apple TV

This eight-part crime procedural does not instantly feel like a natural fit for the big budget world of Apple TV. Its creator, Paul Rutman, is best known for his work on Vera, ITV’s modest and long-running whodunit, and several episodes are directed by Ken Loach’s son Jim. However, Criminal Record thrives because of these points of difference and two outstanding lead performances from Cush Jumbo and Peter Capaldi.

Jumbo and Capaldi play opposing detectives who are pitted against one another when the former begins investigating an old murder case. Although their dynamic and the overall structure of Rutman’s show is nothing out of the ordinary, the vim and vigour that Jumbo brings to her role, especially when contrasted with the quiet menace of Capaldi’s work, keeps this show interesting to the last.

Criminal Record also feels like a timely examination of the corruption and institutional racism that has long blighted many aspects of Britain’s police force, doing so with enough subtlety to task its audience with questioning problematic everyday behaviours that would more often than not go unchallenged. Rutman is a skilled writer and the dialogue of this show always feels authentic, even when its events intermittently stray beyond the believable.

With a second season already commissioned, Criminal Record has shown, along with Slow Horses, that Apple can do gritty as well as they do glitz.

Blue Eye Samurai

Available on Netflix

There’s plenty to like about this striking animated series from the husband-and-wife team of Amber Noizumi and Michael Green. Set during the 17th century, Blue Eye Samurai provides an absorbing insight into the history of Japan and specifically its Edo period, during which the country was ruled by the Tokugawa shogunate and had closed its borders.

The backstory of the show’s protagonist, Mizu (Maya Erskine), is born out of that isolationist foreign policy. Her mother was raped and killed by one or more of the only four white men left in Japan, and the blue eyes she consequently inherits makes her a target for discrimination. After being schooled by a blind swordsmith, Mizu becomes a bushi (warrior) and embarks on a quest to avenge her mother’s death.

On face value, Blue Eye Samurai is an entertainingly gory affair that keeps you on the edge of your seat for much of its eight-episode run, courtesy of its frenetic and inventive fight sequences and kick-ass lead character. However, the show’s true value can be found in its subtle analysis of societal divide and how convention can see those who are perceived as something ‘other’ - be that because of their ethnicity, gender, social standing, or disability - shunned by the masses. Noizumi and Green’s examination of sexual politics is particularly compelling and distinguishes the show as being more than a mere visual delight, although Blue Spirit’s stunning 2D/3D hybrid animation is definitely a key selling point (the 2.35:1 aspect ratio used for the final episode is befitting of the big screen).

With Erskine in slick form and Brenda Song, George Takei, Kenneth Branagh, and Masi Oka standing out amongst the supporting cast, Blue Eye Samurai has the exciting air of an epic world taking shape, which makes news of its impending second season all the more welcome.

Fargo (Season 5)

Available on Amazon Prime

History tells us that when a series begins to falter, it rarely recovers. For example, Homeland and Game of Thrones were both momentary cultural phenomena before drastically regressing into ‘what could have been’ territory on account of some wayward plot twists.

With that in mind, credit ought to go to Fargo creator Noah Hawley for delivering a fifth season which returns the crime caper to its former glories after its underwhelming third and fourth instalments. While it might be a tad reductive to describe Hawley’s approach this time around as being back to basics, there is a pleasingly familiar ‘small word’ feel to this series, with its action focused on Juno Temple’s resilient housewife and her attempts to evade the clutches of Jon Hamm’s abominable sheriff.

Temple and Hamm rightfully received Golden Globe nominations for their work, with each respectively providing a protagonist and antagonist that are easy to emotionally invest in. As has been the case previously with Fargo, the leads are joined by a solid supporting cast that this time around includes Jennifer Jason Leigh, who is in delightful form as a wealthy and uber-conservative matriarch, and Sam Spruell, who intrigues as a mysterious mercenary that gets caught in the crossfire of the series’ central dispute.

Although Fargo is undeniably at its most engrossing when contained to the confines of its humble Midwestern setting, and this entry does suffer as the scale of its conflict enlarges, the fine performances of its cast ensures that it remains a fun ride right until the very end.

One Day

Available on Netflix

Netflix’s adaptation of David Nicholls’ acclaimed novel offers an immediate improvement on its 2011 cinematic namesake by course-correcting the disastrous casting of an American as its Yorkshire-bred female lead. No disrespect to the usually excellent Anne Hathaway, but her depiction of Emma meant that Lone Scherfig’s film was always doomed to failure, whereas Ambika Mod, who was previously best known for her performance in the BBC’s This Is Going to Hurt, instantly feels a better fit and is arguably the MVP of this limited series.

Leo Woodall (The White Lotus) is also well suited to the role of Dexter, whose romantic odyssey with Emma provides the premise of Nicholls’ tale, which is reinterpreted by a writing team led by Nicole Taylor (of Three Girls acclaim). The chemistry between Mod and Woodall, particularly in the series’ earlier episodes, means that this is a more emotive affair than its aforementioned predecessor, but it remains questionable whether the literary excellence of One Day translates adequately to a dramatic medium.

When reading Nicholls’ novel, you cannot help but be absorbed by Dexter and Emma’s ‘will they or won’t they’ ordeal, which spans over a decade and is steadfastly revisited every St. Swithin's Day. Here, it’s hard not to become unsympathetic to both characters as they constantly let their own egos and neuroses prevent them from getting together, especially as it begins to harm others who fall within their orbit. The decision to cram the couple’s eventual union into two half-hour episodes also means that One Day’s traumatic ending feels oddly flat, with the 14-episode runtime also testing the patience of viewers that do not routinely engage with this sort of fare.

That being said, the performances of Mod and Woodall make this iteration of One Day a more than worthwhile engagement and at least erase the memory of prior adaptations.

Carol & the End of the World

Available on Netflix

Fans of Rick and Morty may be a little underwhelmed by this mini-series from one of its most celebrated writers, Dan Guterman, but that’s not to say that there’s no value to be found in Carol & the End of the World.

Described by its creator as a ‘love letter to routine’, the show is centred on the painfully introverted Carol (Martha Kelly), a middle-aged woman who struggles to find meaning in her life as Earth prepares for an unpreventable apocalypse. That is until she finds a job at a mysterious accountancy firm that is seemingly unperturbed by the coming Armageddon, a place where outsiders such as Donna (Kimberly Hébert Gregory) and Luis (Mel Rodriguez) can persist with the everyday while those outside fast track the completion of their respective bucket lists.

Like Rick and Morty, the humour of Carol & the End of the World is often misanthropic and subversive, with episodes often centred on concepts that would ordinarily be considered unworthy of intensive examination, such as the contents of a lost property room or the clandestine desires of Somali pirates. Still, this is a far more meditative experience that is almost brazenly content to progress its narrative at a pace that is leisurely enough to be misconstrued as being uneventful.

Viewers that persist with Guterman’s show will be rewarded, however, with a viewing experience that does remind you of the reassurance that can be found in routine, a feeling that was perhaps most keenly expressed when COVID-19 restrictions were eased. Like then, the culmination of an extraordinary event can be enough to make us better appreciate the dull embrace of the ordinary, and this odd show seems to understand that on an unusually profound level.

Mr. & Mrs. Smith

Available on Amazon Prime Video

Given that the 2005 film on which it is based hardly set the world alight, it’s surprising that Mr. & Mrs. Smith was given the big-budget reboot treatment. Nonetheless, the premise of Doug Liman’s picture (which itself was based on a 1996 series) is solid enough - two unconnected loners decide to become secret agents for a mysterious organisation and are matched together as the Smiths, a suburbanite couple whose faux New York home is befitting of an Architectural Digest walkthrough. Naturally, it’s not long before the pair fall in love and calamity ensues.

For a series like this to work, you need a lead duo with palatable chemistry, and Mr. & Mrs. Smith is thus indebted to Maya Erskine and Donald Glover, the latter of which co-created this reset with Francesca Sloane. Both are sufficiently chic enough to complement the sleek aesthetic of the show and their solid comic timing makes their often taut exchanges all the more entertaining, particularly as their relationship begins to wilt under the strain of a career in espionage.

Mr. & Mrs. Smith is also filled with fun cameos from talent as varied as Alexander Skarsgård, John Turturro, Michaela Coel, Paul Dano, Ron Perlman, Sarah Paulson, and Sharon Horgan in a manner that is not dissimilar to Rian Johnson’s Poker Face. Of these guest spots, it’s probably Parker Posey and Wagner Moura’s obnoxious rival agents that are the pick of the bunch, although it is mightily fun to see Dano play against type as the Smith’s ‘hot neighbour’.

While the series, like its aforementioned source material, has action sequences aplenty, these often feel secondary to the more compelling matter of the Smith’s love life, which is often presented in a manner that most couples will find relatable. Indeed, a criticism would be that, as you near the end of its eight-episode run, Mr. & Mrs. Smith seemingly feels the need to accelerate this dynamic in order to reach its expectedly combative ending, which feels detrimental to the arcs of both lead characters.

Nonetheless, Erskine and Glover’s shared magnetism means the first half of Mr. & Mrs. Smith more than makes up for the more formulaic episodes that inevitably make up its final act, leaving you with a surprisingly effective reboot.

Vigil (Season 2)

Available on BBC iPlayer

This second series of Tom Edge’s police procedural is most noticeable for its drastic change in setting, with the unique premise of its predecessor - which saw Suranne Jones’ resourceful inspector investigate a murder while aboard a nuclear submarine - replaced with more familiar fare. While this is not entirely to its detriment, it would be remiss of me not to admit that Vigil feels far less engrossing without the cabin-fever paranoia that characterised its first outing.

Nonetheless, when one adjusts to that change in direction you are undoubtedly rewarded with a solid conspiratorial thriller that is once again amplified by the stellar work of Jones and her co-lead Rose Leslie. Joining them for this season are Romola Garai and Dougray Scott, the latter of which makes for especially devilish fun as a senior military officer that is suspiciously keen to sweep a murderous incident involving a compromised combat drone under the carpet.

As was the case with its first season, and indeed other genre bedfellows, Vigil’s narrative touches on contemporary political issues - in this case, the UK’s ongoing sale of arms to Gulf countries - without ever really exploring them in depth. While its fictional setting of the Kingdom of Wudyan could be interpreted as being inspired by one of Britain’s many morally grey allies, Edge’s steadfast commitment to storytelling convention ensures that such parallels never overwhelm the espionage action that is on display.

The result is an at times difficult second album, but one that delivers enough of what we liked first time around to keep most viewers satisfied.

Archie

Available on ITVX

ITV have been steadily upping their game with regard to their dramatic output as of late and this four-part biopic, written by Jeff Pope, supports that claim. Featuring a note-perfect lead performance by Jason Isaacs, Archie chronicles the life and times of Cary Grant, one of classic Hollywood’s most iconic actors, and his unlikely journey from a poverty-stricken upbringing in Bristol to international stardom.

Pope’s screenplay adopts a non-linear approach to Grant’s life story by dovetailing between his more humble existence as Archibald Leach (his birth name) and the debonair star he would later become. The travails of those formative years, in particular the sectioning of his mother Elsie, helps to explain the troubles that befell Grant’s marriage to Dyan Cannon (Laura Aikman), which preoccupies much of the series’ narrative.

While far from groundbreaking, Archie is an effective examination of the innate duality that comes with celebrity and the havoc deep-seated childhood trauma can wreak even in adult life.

Time (Season 2)

Available on BBC iPlayer

The first season of Jimmy McGovern’s crime drama, which starred Sean Bean and Stephen Graham, was one of the standout shows of 2021, so you could forgive its successor for buckling under the weight of expectation. Nonetheless, the sophomore outing of Time is a similarly impactful affair, with McGovern and co-writer Helen Black turning their attention to the equally flawed institutions that are the UK’s women-only prisons.

Starring Bella Ramsey, Jodie Whittaker, and Tamara Lawrance, this two-episode series is centred on the plight of three unrelated women who are locked up on the same day; one is a heroin addict who soon discovers she is pregnant, the other a struggling single mother who is jailed for failing to pay her electricity bills, and the latter a lifer whose back story is shrouded in mystery.

Although each role is finely performed, a criticism of this instalment of Time would be that its modest runtime makes it difficult for each arc to be satisfactorily resolved. For example, Whittaker steals the show because we witness the painful degradation of her character as she is kept away from her three children, while Lawrance’s performance, through no fault of her own, eventually feels overshadowed due to the lack of resolution afforded to it by Black and McGovern.

That is a minor quibble though as, on the whole, Time successfully adheres to its creator’s modus operandi by shining a light on the misfortunes bestowed on people (usually those of a working class background) by systems that are not fit for purpose.

Fool Me Once

Britain loves a crime drama, to the point where it’s gotten hard to keep up with the sheer volume of them. Some are broad and kitschy, some are dark and sophisticated. Fool Me Once finds a way to straddle a lot of these dividing lines and has been widely loved as a result.  

Michelle Keegan’s Maya Stern is an example of a part of this show that is sometimes blockbuster and sometimes deep and complex. Keegan’s masterful performance puts the exclamation point in her transition from soap actor to future BAFTA winner.

Maya is a compelling lead: an all-action British army veteran who commandeers private helicopter tutorials to chase down her enemies. She is a formidable protagonist with the agency and foresight to stay one step ahead of the drama, yet her actions never feel overly farfetched and remain rooted in reality, drawn from logic and real life.  

The same can’t be said for everything in Fool Me Once and some things do stretch the bounds of credibility. Examples include a digital photo frame that also captures video (not found in many homes) and a ‘DNA website’ in which Maya’s nieces Daniel and Abby receive a new brother request from their estranged half-brother.

Back to the positives, the final twist, the most crucial (and hard to get right) element of the British crime drama, is deeply satisfying. Maya (literally) frames her tormentors in a heart wrenching but at the same time gratifying ending – fittingly holding a mirror up to the tyranny of big pharma and the ruling classes.   

Harlan Coben has become the authority on crime drama in the UK over the last few years and the country will look forward to his next offering.    

Grime Kids

Available on BBC iPlayer

You’d be forgiven for entering Theresa Ikoko’s adaptation of DJ Target’s celebrated memoir Grime Kids with a preconceived idea of the sort of show it would be. Given the international success of Top Boy, it would be understandable if Ikoko leaned into the grittier elements of the upbringings of Target and other grime pioneers such as Dizzee Rascal, Skepta, and Wiley (to name but a few). While those elements are certainly not ignored, this is a far more joyous series than one might expect it to be.

That is due in no small part to Grime Kids’ excellent ensemble cast, which is led by relative newcomers Yus Jamal Crookes, Tienne Simon, Juwon Adedokun, Gabriel Robinson, and Shanu Hazzan. Despite the fact they predate the era which the show documents, the actors thoroughly imbue the spirit of the time, from their garms through to their effervescent attitude towards life. With each character benefitting from their own absorbing back story, which coalesces nicely with the group’s shared ambition of starting their own grime collective, Grime Kids is an infectious experience which grows in stature over the course of its five episode arc.

The Fake Sheikh

Available on Amazon Prime

If you were seeking a physical manifestation of the term ‘gutter press’, it might come in the form of Mazher Mahmood, who for years relished in entrapping celebrities by posing as the ‘Fake Sheikh’, a feat which he achieved through appropriation of Arabic dress. While not quite as morally destitute as the phone-hacking scandal which eventually brought about the Leveson Inquiry and demise (of sorts) of Mahmood’s employer the News of the World, it is certainly a stain on the reputation of the British press that has yet to be fully washed out.

Amazon’s documentary follows the grim rise and belated fall of Mahmood, as told by many of his ex-colleagues and a small handful of his former victims. Tonally, it is an odd series, with creator Ceri Isfryn electing to give a perplexingly generous amount of air time to Mahmood’s former News of the World chums who, unsurprisingly, are mostly in awe of his journalistic prowess, despite the effects it had on the lives of his victims.

Indeed, the series only really clicks into gear in its third and final instalment, where Mahmood’s cold and unfeeling attempted stitch-up of the N-Dubz singer Tulisa Contostavlos thankfully lead to the end of his career and brief imprisonment for perverting the course of justice. Anyone with a conscience will enjoy recalling how this grotesque individual got his comeuppance, but will doubtlessly leave The Fake Sheikh wishing it had served as an analysis of journalistic ethics rather than the ambiguous career retrospective it actually is.

Colin From Accounts

Available on BBC iPlayer

Catastrophe is just about the only series I can recall that came close to accurately depicting the real-life complexity of falling in love. You know, the initial giddiness followed by the frightening realisation that, in order to get your happy ever after, you’re going to have to work through all your long-standing neuroses and try to be the best version of yourself that you can be?

Anyone that has truly experienced it will tell you that finding ‘the one’ is simultaneously one of the best and hardest things that can happen to you but, aside from Rob Delaney and Sharon Horgan’s aforementioned show, few romcoms seem to truly understand that. Hallelujah, then, for Colin From Accounts.

Created and written by husband-and-wife team Patrick Brammall and Harriet Dyer (who also star as main characters Gordon and Ashley), this whip-smart series follows two singletons who are brought together by a freak occurrence involving a flashing, a car crash, and an injured dog whom they decide to adopt and name Colin. From there, they slowly begin to fall in love and are subsequently faced with the momentous task of, for want of a better expression, getting their shit together.

Like any good romcom, the beauty of Colin From Accounts is not in its fleeting dramatic moments, but rather the gradual evolution of its two leads as they expose their vulnerabilities to one another and realise that life is all the sweeter when you decide to face up to your trauma. It is a funny, expertly written, and beautifully acted affair and, thankfully, has already been renewed for a second season, which should hopefully air later this year.

Mr Bates vs The Post Office

Available on ITVX

Every now and then, we are reminded of culture’s ability to unite people behind a cause. There are countless examples of this littered throughout human history, and ITV’s outstanding Mr Bates vs The Post Office may just be the latest example.

Written by Gwyneth Hughes and directed by James Strong, this mini-series recounts the British Post Office scandal, which saw hundreds of subpostmasters wrongly prosecuted for theft, false accounting, and/or fraud. It is one of the gravest miscarriages of justice in British history, yet one that has largely gone under the radar until now. Thankfully, this stellar show has reinvigorated public interest in the long-standing attempts of Alan Bates (here played by a peak-form Toby Jones) and the Justice For Subpostmasters Alliance to hold the Post Office and, perhaps more importantly, the U.K. government to account.

Hughes’ approach to this emotive subject is commendable, paying respect to the personal tragedy that has befallen those affected by the scandal while also drumming up outrage at the cruel machinations of its orchestrators. As mentioned, Jones is also in fine fettle and supported commendably by an ensemble cast that includes the always dependable Alex Jennings, Ian Hart, Julie Hesmondhalgh, and Monica Dolan.

At the time of writing, the impact of the show has been underlined by the fact that the case of the Justice For Subpostmasters Alliance is the first item up for discussion at the reopening of Parliament after its winter recess, with pressure growing to strip the former Post Office CEO, Paula Vennells, of her CBE. That, my friends, is the power of collective action and great storytelling, and long may it continue.

Scott Pilgrim Takes Off

Available on Netflix

Netflix have monopolised the anime market as of late, enjoying success with shows such as Blue Eye Samurai and creating buzz for forthcoming properties such as Terminator: The Anime Series. Whether this strategy will prove effective is something that remains to be seen, although, on the evidence of Scott Pilgrim Takes Off, the streaming giant may be on to a good thing.

Co-developed by BenDavid Grabinski and Bryan Lee O'Malley, the creator of the original Scott Pilgrim graphic novels, this eight-part series reunites the voice cast of Edgar Wright’s much-loved 2010 live action adaptation while providing a fresh twist on its plot. Here, the titular protagonist (voiced by Michael Cera) is mostly MIA, leaving his bae Ramona (Mary Elizabeth Winstead) to confront her seven evil exes and discover who is responsible for the disappearance.

Much like Wright’s film, Scott Pilgrim Takes Off moves at a frenetic pace whilst keeping its tongue firmly in its cheek, with flippant pop culture references peppered throughout the show. Meanwhile, director Abel Góngora and animation producers Science SARU ensure the animation remains gorgeous throughout, with aspects evoking childhood memories spent watching Dragon Ball Z and the original Pokémon anime series.

Sure enough, Scott Pilgrim Takes Off is likely to entertain long-standing fans and newcomers alike, although its slacker tone may not be to everyone’s taste.

Based on a True Story

Available on NOW TV and Sky Comedy

Craig Rosenberg’s concise true crime parody benefits from an intriguing premise and two capable leads in Chris Messina and Kaley Cuoco, but fails to sustain intrigue over the course of its eight-episode run. Following Messina and Cuoco’s disillusioned suburbanite couple and their attempts to create a money spinning podcast with the help of their plumber and suspected serial killer (Tom Bateman), Based on a True Story questions how far one would be willing to compromise their morals in order to make a quick buck out of murder.

Executive produced by Jason Bateman’s Aggregate Films, the series certainly has the potential to be more than what it winds up being, which might explain why it has already been renewed for a second season. However, the issues with this debut outing are manifold, with its protagonists being intensely unlikeable (and thus impossible to root for) and its events growing even more implausible, to the point where, by its finale, I was rolling my eyes more than I was laughing. Messina, Cuoco, and Bateman keep proceedings from ever growing completely lifeless, but this ought to be filed as a missed opportunity.

The Crown (Season 6: Part Two)

Available on Netflix

The Crown’s final season couldn’t have gotten off to a much worse start than the crass dumpster fire that best describes its first four instalments, and this swansong certainly benefits from the subsequent low expectations that are imposed upon it.

Indeed, after the soap-operatic retelling of Princess Diana’s final days, it is a relief to see Peter Morgan resume his cash cow within the confines of Buckingham Palace, as The Crown desperately seeks to rediscover what initially made it one of Netflix’s premier series. That, of course, was its introspective analysis of the life and times of Queen Elizabeth II, and the uncompromising duties that are bestowed upon monarchy.

Unfortunately, these concluding six episodes only do a fitful job of restoring Morgan’s show to its former glories. Some, such as its eight (‘Ritz’) and tenth (‘Sleep, Dearie Sleep’), serve as a reminder of what originally made The Crown so compelling, and elicit the best performances of Imelda Staunton’s otherwise underwhelming stint as the aforementioned monarch. Sadly, others do the exact opposite. Take, for example, the odd sixth instalment (‘Ruritania’), which begins with a bizarre dream sequence in which the newly minted Prime Minister, Tony Blair, is crowned King by the British public, before proceeding to serve as an odd essay on the importance of protecting tradition (even ones as wasteful as the Keeper of the Queen’s Swans - look it up) from reformism.

Even more perplexing is this series’ recounting of the painfully dull romance of Prince William and Kate Middleton, an arc which does neither (particularly the latter) any favours and is far too inconsequential to merit the screen time it is afforded. That’s before you even begin to discuss Morgan’s loutish depiction of Prince Harry, a creative decision which assumedly makes his personal opinion on the recent royal scandal clear.

Alas, even at its most yawn-inducing, The Crown remains a supremely acted affair. Staunton, as mentioned, is more affecting than ever before, while there is a lot to like about Dominic West’s underrated performance as King Charles III. Sadly, this is just another case of a once-great series failing to nail its final landing, although few have decreased quite so drastically in quality as this.

Doctor Who: The Church on Ruby Road

Available on BBC iPlayer

Much was riding on this latest episode of Doctor Who. Not only did it have to introduce Ncuti Gatwa’s Doctor and companion, it had to attract a new audience while remaining familiar enough so as not to alienate lifelong fans. Luckily, this latest special is penned by Russell T. Davies, who continues to prove why he is possibly one of the best writers this beloved show has ever had.

Gatwa is completely electric, proving that he can hold his own as the face of the show. Not only does he bring a fresh, vibrant, and utterly joyous feeling to the character, but he really shines during this episode’s more sombre scenes, particularly the incredibly tense conversation he has with Michelle Greenidge’s Carla.

Millie Gibson also shines as new companion, Ruby Sunday, and shares a fantastic dynamic with Gatwa; I particularly loved how the two came across as two excited school children at times. That being said, she does feel a bit like Rose 2.0, so I’m hoping we’ll get more added depth to her character in the upcoming series to really set her apart from previous friends of the Doctor.

Unfortunately, the villains of the episode, the Goblins, weren’t the best antagonists, but, then again, they didn’t need to be. The focus was really on introducing new audiences to the show, so I understand why the Goblins were a bit sidelined, especially when we’ve only got an hour to get everything established for this new era. The real controversy with the Goblins seems to have come from their musical number halfway through the episode, although personally I absolutely adored the song. Yes, it was silly and campy, but that’s what makes it brilliant. And, let’s be honest, since when has Doctor Who not been silly and campy? I’m glad that Davies doesn’t seem to be taking things too seriously - this is a children’s show after all.

This new special completely solidified my excitement for this new era and, whilst it may not have been as strong as the recent anniversary specials, still managed to be a fun and engaging introduction to our two new leads. I cannot wait to see more of them in May.

Gen V

Available on Amazon Prime

It’s somewhat surprising to see The Boys, a series that has defiantly parodied cinematic franchises since its 2019 debut, launch a spin-off series but, despite the slight whiff of contradiction that lingers around Gen V, the end result is good fun.

Serving as a prelude to The Boys’ highly anticipated fourth season, this series follows the travails of a group of teenage ‘Supes’ that attend the Godolkin University School of Crimefighting, where students compete for top ranking and a chance to join The Seven, the nefarious group of morally compromised superheroes made famous by The Boys. Unsurprisingly, over the course of Gen V’s eight-episode run, we discover that all is not as it seems at the University, and that its powers-that-be harbour ulterior motives.

Given its knowing title, Gen V is geared towards contemporary audiences and helmed by a fledgling cast, of which Jaz Sinclair, Chance Perdomo, and Maddie Phillips shine, although not as brightly as London Thor and Derek Luh, who benefit from being assigned the series’ most interesting role as the gender-shifting Jordan Li. Shelley Conn is also good value as the nefarious University dean (although her thunder is well and truly stolen by a returning big bad from The Boys), while there’s a promising turn from Arnie offspring Patrick Schwarzenegger.

Although the teen-centric tone of the show means it can at times be difficult to differentiate Gen V from genre bedfellows such as The Hunger Games or X-Men franchises, this is a welcome addendum to one of Amazon Prime’s major success stories that succeeds in building anticipation for what’s to come next.

Smothered

Available on NOW TV and Sky Comedy

This charming romcom series from former Schitt’s Creek writer Monica Heisey is indebted to the chemistry of its two leads, Danielle Vitalis and Jon Pointing, which is authentic enough to draw audiences into a narrative that, although not entirely conventional, is fairly predictable. Heisey’s series follows Sammy (Vitalis) and Tom (Pointing) who, after a chance encounter at a karaoke bar, decide to embark on a no-strings affair that quickly becomes more complicated than either expected.

Vitalis and Pointing are both thoroughly enjoyable in their respective roles, distinguishing themselves as formidable comedic leads whose career paths are worth keeping an eye on. They are aided by a formidable supporting cast that includes the always excellent Aisling Bea (This Way Up), Blair Underwood, Lisa Hammond, and critically acclaimed singer-songwriter Self Esteem.

Exceptionally easy to binge (me and my partner watched the entire series over the course of one train journey to London), Smothered is unafraid to indulge in genre tropes while covering difficult topical terrain such as growing up, modern love, and step-parenting.