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• Heartbreaking compromises

  In ‘The Last of Us’, Ashley Johnson gave Ellie life. Here’s why her casting was perfect, reports Alexandra Del Rosario.

• Isn’t this nice?

  Series three of the Emmy-winning Ted Lasso is phenomenally composed — everything just works. You can’t help but be drawn into it, no matter how much you hate its niceness, writes Joel Golby.

• Behind the music

  In Daisy Jones & The Six the stars sizzle with chemistry, the band shenanigans are fun and everyone and everything in it looks gorgeous — but it all just feels too slick and sanitary, writes Lucy Mangan.

• ‘Succession’ writer’s spin-off idea unlikely

  The final season of the HBO show Succession opens next month. Writer Jesse Armstrong would like some of its characters to live on ‘‘in an allied world’’, but HBO’s boss may need some convincing. Vanessa Thorpe reports.

• Mooning around

  Apple TV+’s new retro-futuristic dramedy about a timeshare salesman for moon properties looks incredible, but is sorely lacking in comic performances, writes Leila Latif.

• You K

  This series, the Netflix murder drama You tries to become a whodunnit that satirises the British class system. It’s no longer worth asking if it’s good or bad — just enjoy the rollercoaster, reckons Rebecca Nicholson.

• Anescape,not a failure

  The culture-clash comedy You People does its job of providing a fun escape. Why is that so hard to buy? Andrew Lawrence takes a closer look.

• Kevin saves the day

  If you have a case of superhero fatigue, Koala Man might just be the break you need, writes Karl Puschmann.

• Back in the day

  The sequel to That ’70s Show very much takes an approach of ‘‘If it ain’t broke ...’’ As we revisit the Wisconsin basement, even new characters have the old ones’ traits, writes Lucy Mangan.

• Driller thriller

  Martin Compston, Iain Glen and a deeply unsettling Mark Bonnar star in creepy thriller The Rig, set on an oil platform that is attacked by supernatural forces. You’ll have a gas, reckons Lucy Mangan.

Featured documents

• Down the rabbit hole

  What is real, and what isn’t? Karl Puschmann loses track as he follows comedian Nathan Fielder down an increasingly mind-bending spiral in Fielder’s new reality (?) show The Rehearsal....

• Screen Queen

  Be it her calming speech in lockdown, or her landmark decision to televise her coronation, the Queen embraced TV in a way that helped her connect to her subjects, writes Mark Lawson....

• THE press release accompanying volume four of Stranger Things makes a reckless boast: “Over five hours longer than any previous season!” The show is among Netflix’s biggest hits, but it returns at a time when the streaming platform’s business model — hook subscribers by hurling cash at bloated mega-...

• Backintown

  Is it somehow possible for the furious, dark and hyper-violent superhero satire The Boys to become even more out-there in its new third season? It looks like it, finds Ben Allan....

• Anescape,not a failure

  The culture-clash comedy You People does its job of providing a fun escape. Why is that so hard to buy? Andrew Lawrence takes a closer look....

• Rising star

  Kelvin Harrison jun talks to Patrick Ryan about Monster, his upcoming Cyrano movie musical with Peter Dinklage, and Baz Luhrmann’s Elvis biopic, in which he portrays blues great B.B. King....

• Dark tale given life

  Julianne Moore leaves nothing on the table in Lisey’s Story, writes RobertLloyd....

• Stranger than fiction

  True-crime podcasts like The Shrink Next Door are being snapped up for TV. But how does it really feel when your worst nightmare becomes a bingewatch, asks Issy Sampson....

• Stranger than fiction

  True-crime podcasts like The Shrink Next Door are being snapped up for TV. But how does it really feel when your worst nightmare becomes a bingewatch, asks Issy Sampson....

• Shadow of a fantasy

  Shadow and Bone is good but it could have been so much better, writes KellyLawler....