Apple tv+

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.

Pachinko is like an extended version of the Monty Python ‘Four Yorkshiremen’ sketch (‘I used to have to get out of shoebox at midnight, lick road clean, eat a couple of bits of coal gravel’) relocated to mostly 20th-century Japan and Korea. There’s so much misery it makes Angela’s Ashes look like Pollyanna. And there’s so little by way of laughter or a redemptive pay off you might be tempted to end it all like one of the numerous doomed characters do – off camera, fortunately – in the almost relentlessly catastrophe-laden season one.

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.

Jason Dessen, the hero (and, as you’ll discover shortly, anti-hero) of Apple TV’s latest sci-fi caper Dark Matter, is a physics professor at a second-rate university in Chicago. You can tell he’s not that good at his job because he introduces the concept of Schrödinger’s cat (surely the only interesting bit in the entirety of physics) five minutes before the end of a lecture. ‘Oh and the cat dies,’ he says to the uninterested students as they file hurriedly out of class. With no time constraint, sci-fi series on streaming channels can keep spinning you along for all eternity Still, at least he’s happy. His teenage son might have been genetically engineered to fit the phrase ‘but he’s a great kid’ and his hot wife Daniela is beyond perfect.

Here’s a fun thought experiment: instead of entrusting the future of American democracy to one of two old men, what if you put it in the hands of 500 teenage girls? Girls State, the sister documentary to Amanda McBaine and Jesse Moss’s award-winning 2020 film Boys State, follows the events of a week-long civic engagement camp where high-schoolers create an all-female democracy from scratch. A feminist manifesto is much easier to compose than a real solution to culturally ingrained inequality Girls State and Boys State programmes have given argumentative American teens an education in the necessary evil of politics since the 1930s.

Slow Horses is the best thing on television. And it’s now so successful and popular it can afford to launch series three with a sequence worthy of James Bond: Istanbul location budget; spectacular chase sequences involving cars and speedboats with some thrillingly dangerous manoeuvres round a huge container vessel; a beautiful, immaculately dressed female agent meeting (spoiler alert, though to be fair you can see this one coming a mile off) a tragically sticky end. Except it’s better than Bond – not that difficult these days, it must be said – because it is missing all that grim portentousness, over-earnestness and pomposity. The cars are beaten up and gadget-free; the stunts look plausible; and the agents behave like real human beings.

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.

Back once more to our favourite unhappy place: the dystopian future. And yet again it seems that the authorities have been lying to us about the true nature of reality. This time – in Silo – the lie concerns the nature of the world outside the enormous silo in which our heroes and about 10,000 other survivors have been hiding for the past 100-odd years since some nameless apocalypse. Is it really as dangerous as the Powers That Be say? Or is this an illusion, maintained over a century of relentless official propaganda, designed to keep the enclosed populace frightened and in check? Silo began life in 2011 as a self-published short story by Hugh Howey – called Wool, not Silo – which he put out through Amazon’s Kindle Direct.

How thriller writers must miss the Cold War! Early John le Carré and Len Deighton had it easy when trying to create a convincingly menacing enemy: the Soviets, obviously. But their successors are forced to go through all manner of desperate contortions to generate their bad guy McGuffin. They can’t do Muslims because that’s Islamophobic; they can’t do the Chinese because the entertainment industry (like everywhere) is too in thrall to the CCP. So they end up promoting paper tigers like ‘right-wing extremism’, as Mick Herron does in the first of his Slow Horses series. Herron has been rightly hailed as the new Le Carré.