Fleabag
When Phoebe Waller-Bridge’s comedy-drama about a hedonistic, acerbically self-loathing thirtysomething made its debut in 2016, it was predictably lumped in with Girls as another study of millennial womanhood. But the inadequacy of that comparison was hammered home by a game-changing [second series](http://www.bbc.com/culture/story/20190301-fleabag-series-2-review), which was as profound as it was funny, depositing its formerly cynical heroine into a meditation on love, goodness, family and faith, via her will-they-won’t-they acquaintance with Andrew Scott’s so-called ‘Hot Priest’. Its very greatest pleasure? Its concision. This second run ended in beautifully enigmatic style, with a fox, at a bus stop – and that, after 12 30-minute episodes, is that, according to Waller-Bridge. Let’s hope she sticks to her word – because it’s perfect as it is. Available now on BBC iPlayer/Amazon Prime. (Credit: BBC) HM
Stranger Things
It may be viewable from your couch, but, when the third run of Netflix’s retro-fetishizing sci-fi horror was released in July, [it proved to be more worthy of the title of 'summer blockbuster' than almost all of its big-screen, big-budget peers](http://www.bbc.com/culture/story/20190703-stranger-things-3-review-five-stars). This time round, the cute child protagonists at its core have become gawky adolescents, while the plot is masterfully split into a series of sub-adventures. And, of course, there is the usual feast of film references, including The Thing, The Terminator, The Blob and Fast Times at Ridgemont High – but what’s impressive, more than ever, is just how organic such intertextuality feels, providing the basis for what is a nothing-less-than-outrageously watchable piece of genre-splicing entertainment. Available now on Netflix. (Credit: Netflix) HM
Years and Years
From Black Mirror to The Handmaid’s Tale, TV-makers are currently intent on giving us [their visions of the near future](http://www.bbc.com/culture/story/20190513-how-the-near-near-future-became-our-greatest-horror) – and invariably grim they are too. But no piece of dramatic forecasting has felt quite as startlingly close to home as former Dr Who showrunner Russell T Davies’s latest series, which imagines the next 15 years of our planet through the eyes of one extended family, the Lyons, living in the north of England. Davies’s genius here is to come up with a show that feels utterly unique in its tone, mixing the subversive dystopian-ism of JG Ballard with the homely warmth of long-running British soap Coronation Street. It’s also notable for featuring a compelling against-type performance from Emma Thompson as a brusque, populist politician who slowly but surely morphs into a fascistic despot. Available now on BBC iPlayer/HBO Go. HM
The Dark Crystal: Age of Resistance
This prequel to the classic 1982 Jim Henson fantasy drama seemed like a potentially cynical commission, cashing in on the same Eighties retro-mania as the streaming platform’s mega-hit Stranger Things. So what a delight it was to discover how uncynical the end result was: an exquisitely immersive adventure, which expanded far beyond the original’s concise narrative to give a real sense of the entire kingdom of the mythical Thra, ruled by the evil, vulture-like Skeksis with the help of their noble but naive Gelfling subordinates, while seamlessly combining the old-school puppetry with more state-of-the-art CGI vistas. What really made the series stand out from the current crop of fantasy film and TV, though, was its vein of nonsensical surrealism that gave it as much in common with the work of Lewis Carroll and Edward Lear as it did with questing epics like Lord of the Rings or The Chronicles of Narnia. And above all, there was no cuter small-screen moment this year than the sequence of an entire village of those maniacal miniature muppets, the Podlings, being washed en masse. (Credit: Netflix) HM
Chernobyl
The cataclysmic nuclear accident that happened in Ukraine in 1986, when a reactor in one of its power plants exploded, is a story that once occupied our collective nightmares, but has arguably been fading from view in recent years. So, 33 years on, it feels like a good time for this superb docu-drama account to remind the world of the tragedy that unfolded – from the unimaginable suffering of those who were caught up in its fallout, to the misinformation and obfuscation of the Soviet authorities as they tried to cover up what really occurred. Among a generous and unstarry ensemble (interestingly, made up of mostly British actors speaking in various British accents), Jared Harris gives a particularly poignant performance as a scientist prepared to speak truth to power. An excellent tie-in podcast, meanwhile, sees creator Craig Mazin going into detail about his research, and revealing where his recreation diverged from the real-life story. Available now on Sky Go/HBO Go/Now TV. (Credit: Sky/HBO) HM
When They See Us
Alongside Chernobyl, this is the year’s second outstanding mini-series throwing a spotlight on a particularly shameful event in recent history. Ava DuVernay’s four-parter gives voice to the horrific injustice suffered by the so-called ‘Central Park Five’: the five black and Hispanic New York City teenagers who were erroneously convicted, after coerced police confessions, of the assault and rape of a female jogger in Central Park in 1989. They each spent between six and 13 years in prison, before finally, in 2002, the real culprit confessed to the crime. It’s not subtle, but, given the subject matter, it feels right that it isn’t – what DuVernay has instead created is a drama of searingly direct force, which devastatingly traces the damage done to individuals, their families, and our society by institutional racism. Available now on Netflix. (Credit: Netflix) HM
Succession
When that pop-cultural phenomenon Game of Thrones finally drew to a close in May, the discussion quickly turned to: what, if anything, could replace it? But while there are many upcoming fantasy series cravenly vying to fill the void, its more authentic heir may be this other HBO epic about venal, power-hungry families – only this time, set not in a sorcerous ancient kingdom, but modern-day Manhattan. Having been a slow-burn success story in its first season, Jesse Armstrong’s tale of a monstrous media mogul and his warring children has now, truly, moved into an imperial phase, being simply funnier, more brutal, and more timely than anything else on TV right now. Its real trump card, alongside an idiosyncratic tragic-satiric tone, is its refusal to soften its frankly awful characters with any attributes that might bestow likeability on them. “We would joke ‘is this just a show about the villains. Is that OK? Are we allowed to do that?’,” one of its writers, Lucy Prebble, [told BBC Culture recently](http://www.bbc.com/culture/story/20190808-hbos-succession-and-our-reckoning-with-male-monsters). All props to them for keeping their resolve. Available now on Sky Go/HBO Go/Now TV. (Credit: HBO) HM
BoJack Horseman
If the Simpsons ushered in a new kind of ‘adult animation’ to TV in the Nineties, then Netflix’s BoJack has taken that maturity to new levels, telling the story of a disillusioned horse actor in ‘Hollywoo’ and dealing with subjects from depression to MeToo with a profundity to match any live action series. Now, sadly, it is almost over: this autumn, Netflix dropped the first eight episodes of its sixth and final series, with the other eight scheduled for Jan 31 2020. The only consolation? It hasn’t dropped the baton in its final straight. Dealing with BoJack’s experience in rehab and his agent ex Princess Carolyn’s new motherhood, among other things, this half-season struck the balance between melancholy and humour as exquisitely as ever. (Credit: Netflix) HM
Watchmen
Alan Moore’s gritty comic book series about caped vigilantes in an alternate, counterfactually-imagined America has long been regarded as “unfilmable” – a reputation only added to by Zach Snyder’s 2008 big-screen adaptation, which was widely dumped on by critics and flopped at the box office. But Lost creator Damon Lindelof’s great trick for his Watchmen series has been not to film the comic book, but rather extrapolate from Moore’s original to come up with his own creation – which shifts the action from 1985 to Oklahoma in 2019, and the story from one marinated in Cold War paranoia to one ignited by the racial divisions of 21st-Century America, with a white supremacist group who wear masks with the face of original anti-hero Rorschasch being taken on by similarly covered-up cops including Regina King’s Detective Angela Abar, aka Sister Night. Undoubtedly a little confusing at first for Watchmen newbies, including this viewer, it nevertheless coalesces into something unlike anything else on television: visually arresting and sociologically scintillating. (Credit: HBO) HM
Dark
Kids are disappearing in their small hometown of Winden, and the adults are hiding secret double lives; meanwhile smart-mouthed teens are investigating weird goings-on in the woods – it’s not difficult to see why this German-language sci-fi has drawn comparisons to the Duffer Brothers’ Stranger Things. However, despite the occasional nod to 80s nostalgia, the foreboding atmosphere of this time-travel saga makes it a closer relation to David Lynch and Mark Frost’s weird world of Twin Peaks, albeit with a slightly more logical plot. But make no mistake, don’t try to watch the latest series without having seen series one (or 'cycle one' of the trilogy) first, or you’ll be scratching your head, as the timelines ramp up in complexity enough that you will likely forget who is who – the show’s makers have even issued their own online guide. The next series is set to be the last, but with stellar writing and pleasing shadowy aesthetics, you don’t need to jump through time zones to know if it’s worth following to the end. Available now on Netflix. (Credit: Netflix) EM
Russian Doll
Ever been trapped at a party that you just can’t wait to leave? Chain-smoking computer game coder Nadia (Natasha Lyonne) is the guest of honour at her seemingly inescapable 36th birthday bash in a New York loft hosted by her friend Maxine (Greta Lee, who makes the line “Sweet birthday, baby!” sound different every time) – but Nadia’s got bigger fish to fry, as she’s got to figure out how to get down the stairs without dying. The Groundhog Day-style premise sees Nadia repeatedly tumble head-first down the stairs or trip over trap doors (“Those things are a menace!”), only for her to miraculously wake in front of the same bathroom sink, as the night resets to a soundtrack of Harry Nilsson’s Gotta Get Up ringing in our ears every time. As Nadia succinctly puts it: “It’s a long story involving multiple deaths”; but there’s a twist – she is not the only one re-living this horrible night, and that might be key to Nadia ending the nightmare. Available now on Netflix. (Credit: Netflix) EM
Trapped
Icelandic detective series Trapped returned after a claustrophobic first run which saw an extreme blizzard close roads and airports to a remote town, where there was, inconveniently, a killer on the loose. Series two brought more grisly crimes, but it also touched more on contemporary issues: the threat of the far right; fear of immigrants; and protests amid environmental disasters. Reunited once more with cuddly bear chief of police Andri Ólafsson (Ólafur Darri Ólafsson), the team of small-town cops examine an even more complex and challenging murder case, beginning with the death of a geothermal power plant employee and involving secrets hidden in the surrounding countryside. Intelligent and moody, Trapped is one of the few Nordic crime dramas since The Bridge that keeps audiences coming back for more. Available now on Amazon Prime. (Credit: BBC) EM
State of the Union
This stripped-back 10-part British series about a couple in relationship crisis at times feels more like watching a stage play, with just two actors and a dialogue-heavy, whip-smart script from High Fidelity author Nick Hornby. Tom (Chris O’Dowd) and Louise (Rosamund Pike) meet weekly in a panel-walled pub in west London for a dash of Dutch courage before counselling. Having it out over a pint of ale and a dry white wine, the couple dissect their flawed marriage in an emotionally raw but humorous fashion, before agreeing which parts to disclose to an unseen therapist. Broken down into bite-sized 10 minute episodes, it is far too beautifully-crafted to simply binge in one sitting – though, like a cold drink on a summer afternoon in London, gulping it down in one go is difficult to resist. (Credit: Sundance TV/BBC Two) EM
Mindhunter
Based on the real-life FBI agents who pioneered criminal profiling and psychology in the 1970s and 80s, this series, overseen by David Fincher and filmed in a similarly atmospheric style to his 2007 film Zodiac, lived up to expectation with its long-awaited return. The second series again focuses on agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), as they go out into the field to see if they can help crack a case – this time, the infamous Atlanta child murders of 1979-81. However the focus has shifted slightly towards the more sympathetic character of family man Tench, who has his hands full reining in Ford’s extreme techniques, while also feeling the strain of a difficult situation at home; meanwhile Ford pops Valium to deal with panic attacks brought on by the events at the end of the last series. More is also revealed about the private life of frosty psychologist Wendy Carr (Anna Torv), who fights to be more hands-on in interviewing inmates. Available now on Netflix. (Credit: Netflix) EM
Derry Girls
Set against the backdrop of the Troubles, this sitcom from writer Lisa McGee is based on her own experiences growing up in Northern Ireland – and it returned even stronger for its second run. Erin Quinn, her cousin Orla and friends Clare, Michelle and 'the wee English fella' James, are figuring out their teens in 1990s Derry – a time of boy bands and bomb scares – but how will the girls face the challenge of a cross-community adventure holiday? With enthusiasm as it turns out, as the band of 'eejits' get to abseil with the boys from a Protestant school. In an ice-breaking session, though, the group become stumped when asked to name similarities between Catholics and Protestants, but excel in naming differences, with gems like “Protestants keep toasters in cupboards” and “Catholics love bingo.” There’s a universal appeal to its coming-of-age comedy, but there’s also joy to be had in the specificity of its Northern Irish slang and in-jokes; indeed, the now-famous mural of the Derry Girls that has sprung up in their home city is testament to the impact the show has had on local people. Available now on All4 and Netflix. (Credit: Channel 4) EM
Schitt's Creek
This sunny Canadian comedy has matured over its run to deliver a balance of heartfelt goofiness and cutting droll that serves as a refreshing, bingeable break from earnest prestige TV. When rich video-store chain magnate Johnny Rose (Eugene Levy) and his family of spoiled brats find themselves suddenly broke and forced to take up residence in the titular Schitt’s Creek – a tiny town bought as a joke gift for his son, David (Dan Levy) – their standard of living takes some adjustment and they learn to find joy in the simple things. In this penultimate series, The Roses are thriving, taking their personal relationships and professional lives to the next level. As the series begins, eccentric Moira (Catherine O'Hara, in an Emmy-nominated performance) returns from filming in Bosnia on what she hopes will be her comeback vehicle, an awful B-movie in which she stars as a cackling crow-woman. Elsewhere, the Rosebud motel is growing in reputation under Johnny’s management, although tending to the needs of grubby mayor Roland Schitt (Chris Elliott) and deadpan clerk Stevie Budd (Emily Hampshire) is proving more of a challenge. Available now on Netflix. (Credit: Netflix) EM
Unbelievable
Susannah Grant’s empathetic true-crime series, based on a Pulitzer-winning article about a serial rapist, focuses its gaze onto the survivors of abuse. Troubled teenager Marie Adler (Kaitlyn Dever) reports to police that she has been raped in her home by a masked intruder, but the investigating cops – and those closest to her – start to doubt her story. After they pressure Marie into recanting, she is charged for lying to police, and her life starts to spiral. Hundreds of miles away, meanwhile, dedicated detectives Grace Rasmussen and Karen Duvall – played by Toni Collette and Merritt Wever, who develop a compelling on-screen rapport – are chasing down leads that suggests one man is preying on multiple women, and they aren’t going to let up until they arrive at the truth, no matter how inconvenient. (Credit: Netflix) EM