James Hibbs

The look of the series is so typically period drama that the contemporary flourishes are likely to be more of a confusion and a distraction than a draw. However, it's still a emotionally weighty series with some impressive central performances, a truly incredibly real-life story to tell and an interesting, if not 100 per cent successful, approach to doing so.

For the most part this is period drama 101, meaning fans of the genre are likely to find much to enjoy here, but may not be bowled over or shook of their expectations.

The Diplomat's greatest weakness is that it feels as though it is grasping for ripped-from-the-headlines relevance, with numerous references to semi-recent real-world events, but instead ends up feeling a little bit lame and dated. But once you accept the series for what it truly is, rather than for what it appears to be aspiring to, it's actually a fun ride with engaging characters and an easily digestible plot.

The whole thing felt like an answer to a question nobody had asked, and spoiling a good thing by giving us far too much of it. As it turns out, the heightened world of Grease and the serialised TV format simply do not go together.

It's fair to say that this series is utterly original in its structure and where it takes its characters, and in making such sharp diversions keeps things interesting, but also sometimes gives a sense of whiplash, particularly as you start to enjoy any of the given set-ups.

For some, the messy contradictions of this series will be its appeal, making it stand out from the crowd. For me, I kind of wish it would just pick a lane and either go full paranormal weirdness, grim-dark slasher or conventional detective drama. It's when it falls into the latter camp that Grace is at its strongest, proving that sometimes less really is more.

The cast all continue to put in stellar work. ... If this is to be the last time we see them (and even if this iteration of the show does end, that seems unlikely), then based on the assured strength of these opening episodes, the finest series to have come from Apple TV+ thus far will end with a clean sheet.

With only two episodes to go on, it's hard to say whether season 3 is as great a success as the first two. It certainly hasn't dipped off in quality in any considerable way so far, and one wouldn't expect it to.

That might not be for everyone. But with episodes this bite-sized, a cast this charming and a central performance this captivating, you really can't go wrong with giving the first episode a go and judging your appetite for the tone.

The series' tonal quirks and imbalances may be off-putting to some – the darkness of some subject matter right from the off is gripping but jarring – but it's in the scenes between mother and son that sitcom fans may find themselves most at home.

Segel is ultimately the one carrying the show - Ford, Maxwell, Jessica Williams and the rest of the central players all put in strong, engaging performances, but this thing rests on Segel's shoulders, and he doesn't disappoint.

This is still highly watchable fare with some strong performances and atmosphere, it's just not quite as propulsive or as innovative as one might have hoped. Maybe the final three will come along and put those criticisms to rest. If not, and this remains comparable to a somewhat overstretched Doctor Who story writ large - well, there's nothing wrong with that either.

It's still frequently, reliably amusing, and the show's new Christmastime setting gives the whole endeavour a slight festive feel – something which will surely be to this season's benefit when it comes time for potential yearly re-watches.

It's where the show leans into the emotional core of those affected by this awful crime that episodes 2 and 4, the lesser chapters, shine brightest, rather than in their more traditional police procedural or court room trappings. ... Unfortunately this does make episode 4, which dramatises Marina Litvinenko's years-long legal battle for justice, the weakest of the bunch.

In its final moments, the show chooses to focus on its emotional through-line and its characters, rather than explosive action or a shocking last-minute bait and switch – an easy decision to defend and one which may help The Control Room to stand out amongst the crowd.

This is a hugely uneven first batch of episodes, with too many story threads, characters lacking in substance, and a surprising deficit of energy, only reminding you of what could have been every time Collins's character is truly given the spotlight.

As in previous seasons, it's actually in the more contained episodes in which the show really shines.

It's Peaky Blinders in a new set of clothes, and while it is a worthy successor to that show, it has yet to reach that series's heights nor plumb the depths of its characters in quite the same way. But the dialogue is razor-sharp, the performances entertaining and the action well-staged.

Quibbles aside there's no denying that Inside Man is engaging television, and having seen further episodes beyond the series opener, that doesn't let up. In fact, as things progress and the story becomes more clearly defined, it's very much to the series' benefit. Episode 2 feels like a step up and is well worth sticking around for, even if you're unconvinced by the first.

It's an "elevated soap opera" – Neighbours if it was given a massive budget and had all the fun sapped out of it. ... It just feels like, given Mbatha-Raw's talent and Apple's money, Surface could have been so much more.

It is slightly too long (it should probably have been six episodes rather than nine, and the pace lulls in the middle), and certain highly capable comedy actors are completely wasted (Fresh Meat's Greg McHugh is just sort of there). But on the whole it's a diverting, lightweight series which caters to its audience and knows what it's there to do.

No matter the emotional drawbacks, Clark is a fully engaging and binge-worthy series. Like its central character, the show is fully committed to being utterly unhinged.

Non-linear storytelling has always been more easily accomplished in novels than in films or series, and Shining Girls unfortunately struggles to get it right. It does mostly stick the landing, but it's a bumpy, occasionally frustrating road before this series is truly able to shine.

We didn't need another traditional retelling of Watergate, and we certainly didn't need another allegorical fable about how Western democracy is going down the pan. But an under-told scandalous story told through a genuinely funny lens? Yes please.

Why Didn't They Ask Evans? may not be particularly innovative or groundbreaking, but it didn't need to be. Instead it's a well-told story with an all-star cast on top form, gloriously lush costumes, set design and visuals and more than enough twists and turns to keep things engaging.

I have to point out here that the series does get better as it goes along - characters are fleshed out, the plot advances and the comedy takes somewhat of a welcome backseat to the drama. But those early episodes are a tough watch, with every joke being heavily signposted and then mined to oblivion for all its worth. At times this become cringe comedy, minus the comedy.