Apple tv+

When I previewed the 2025 Emmys in July, I wrote “it must feel pretty good to be Seth Rogen today.” His Hollywood satire, The Studio, had been nominated for a mighty 23 Emmy awards, and Rogen himself was up for acting, writing and directing. Well, today it must feel even better to be Seth Rogen. The show trampled over its competition to win a hugely impressive 13 awards – the most ever won by a comedy in a single season, let alone a debuting one – and Rogen himself won Best Actor, Best Director (for the self-consciously tricksy one-shot episode "The Oner”) and shared the Best Writing award with Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez.

LOG is the name of ungraded digital video footage. It’s flat, lifeless, and dark, but that’s fine because you can tweak, tune, and adjust in a way that was never possible with film, fiddling with exposure, contrast, saturation, and so forth. In those days, everything had to look as good as possible on the film. But, with the ability to grade in post, fix visual effects in post, and change backgrounds and designs in post, directors started getting lazy. And eventually, some convinced themselves that ugliness is a distinct stylist choice. It’s not laziness; it’s an aesthetic. I say all this as, in another era — an era with more care — Dope Thief could have been a great show.

On its surface, “corporate art” is comforting and accessible. It’s bright, friendly and visually simple, featuring flat cartoon vector people — with their bendy arms and odd proportions — who are jumping, dancing, reading or running. They’re always happy. Always. This art is used in every HR manual, charity about-us page, Facebook help section and LinkedIn jobs application. It’s uniform, indistinct, impersonal and insincere. The more you see it, the more you start feeling unsettled. Severance, the Apple TV+ sci-fi office thriller show from Ben Stiller, leans into that discomfort. The managers at Lumon Industries have perfectly clipped hair and overly broad smiles with flashy grins. Their white-wall offices are clean and organized, accented with single-color carpets.

Apple TV+ may be struggling to break through into the streaming mainstream with more than a handful of their shows (as I’ve written before), but one categorical success is the British comedy-thriller Slow Horses, about to begin its fourth series on the service this week.   Because Apple has a vastly lower take-up for its subscriptions than Netflix or Amazon Prime, it remains a niche, cult show, rather than a much-discussed behemoth, and this suits its admirers down to the ground, who discuss its fidelity to Mick Herron’s brilliant series of novels with the kind of revivalist fervor usually seen at the Democratic National Convention.  From one clapped out old has-been to another.

Lovers of Jason Sudeikis, British soccer — that’ll be “football” to you — and undemanding, if surprisingly curse-laden, comedy-dramas, rejoice. The third season of Sudeikis’s hit comedy Ted Lasso ended last year, with what seemed to be a fairly definitive conclusion to the show. The eponymous Ted returned home after seeing his beloved AFC Richmond come second in the league, the club’s dastardly former owner Rupert (Anthony Head, the show’s MVP in my opinion) was defeated and comic sidekick-turned-villain Nate “the Great” was redeemed and welcomed back into the fold. There were, admittedly, a few curveballs and loose ends chucked in there, but it was hard to see where a fourth season could go.   It now looks as if we will find out.

The third series of the hit comedy-mystery series Only Murders in the Building has arrived on Hulu, to the same critical acclaim as the previous two installments, and the adventures of Steve Martin, Martin Short and Selena Gomez show few signs of coming to an end. This time the trio are joined by none other than acting royalty Meryl Streep, playing Loretta, a plucky but frustrated actress who has never advanced to the big time, and Paul Rudd, the supposedly nicest man in Hollywood, deliberately cast against type as the obnoxious and entitled star of the show that Short is directing on Broadway, which he is hoping will restore his fortunes: a desire cruelly frustrated by Rudd’s character dropping dead on opening night.