Solid, if slightly underwhelming – but Riley Keough’s star quality leaps off the screen, and there is many a magical musical moment.

The story feels less solid than it did in the first two seasons, but thrilling adventure and extreme cuteness remain the joint order of the day in the ongoing adventures of Mando and Grogu.

Boasting a strong, committed central trio, this is a compelling, confronting examination of getting older, and of life’s big choices. An excellent, faithful adaptation by first-time screenwriter Taffy Brodesser-Akner.

A bravura send-off for Jean-Luc and the gang that gratifyingly recaptures the feeling of Star Trek at its nineties peak. It’s just a shame it took three seasons to get here.

Like its lead character, You is pure trash — but just like Joe, the show is also smart enough to adopt new disguises, letting it continue to thrive. It's fun, throwaway entertainment designed for binging.

So light it could be blown over by the flutter of a fan, The Makanai: Cooking For The Maiko House is still as warm and comforting as nabekko dumpling soup. Gorgeous stuff.

The latest in a long line of YA supernatural sagas from Netflix is a cut above, thanks to smart choices from showrunner Joe Cornish and a sparky young cast.

Like Ted Lasso, Shrinking is sweetly funny, and sentimental almost to a fault. It’s worth watching for a goofily poignant Jason Segel — and a gloriously grouchy Harrison Ford.

The final season of M Night Shyamalan’s darkly funny, deeply twisted TV horror saga confirms its status as one of his greatest achievements.

The truncated timeline of events sometimes works against the series, but vibrant performances make for emotionally investing viewing.

Comfortably the best adaptation of a video-game ever made: one that deepens the game’s dystopian lore, while staying true to its emotional core. Like the game, it’s a masterpiece, too.

There’s a grandeur to Sally Wainwright’s conception matched by Lancashire’s role-of-a-lifetime performance which puts Happy Valley way up there in the pantheon of British TV drama achievements.

You’ll be less likely to toss a coin to this Witcher than throw rotten fruit. Its few graces (Francesca Mills’ Meldorf, for example) aren’t enough to save it. Skip and cross fingers this doesn’t bode ill for The Witcher Season 3.

Bringing the series to an emotional conclusion, this is a complex, ambitious take on books that always required considerable commitment. There are budget limitations, but they’re overcome thanks to a clever adaptation and daemonically good cast.

Affirming Joe Barton’s status as one of the best screenwriters in the game, The Lazarus Project is exactly the kind of head-spinning, heart pounding TV that you’ll be left wanting to revisit time and again.

This is an unapologetically traditional fantasy, with no pretentions to Game Of Thrones-style grimness or Lord Of The Rings cultural depth. But it also has vivid characters, scary moments and fun obstacles, and they carry it briskly along. In the end it relies far less on nostalgia and more on expanding the world of the original film to encompass new complexity and new identities among all these daikinis, and that’s a real treat.

A complex yarn, slotted into six tightly packed episodes, this generous second helping confirms the series’ status as one of this year’s TV high-points. With Seasons 3 and 4 already on the way, this horse is proving anything but slow.

Tough, tense and thoughtful, this is a deeply grown-up thriller — and more compelling journalistic filmmaking from co-showrunner Mark Boal.

An intriguing, densely layered puzzle-box mystery that defies easy categorisation but somehow works.

The high-school adventures of Wednesday Addams are less ‘Mean Girls with monsters’ and more ‘gothed-up Harry Potter’. You might have hoped for better for The Addams Family’s best character, but at least she’s perfectly pitched by Jenna Ortega.

Whether or not it can reach the heights of Taylor Sheridan or Terence Winter's past successes remains to be seen. For now, though, Tulsa King promises to be a royally good time – for fans of comedy and mob drama alike.

A massively ambitious and original take on the Western genre confirming the extraordinary writing and directing skills of TV auteur Hugo Blick, while showcasing one of Emily Blunt’s greatest performances yet.

Despite a slow start and some occasional missteps, Season 5 of The Crown proves to be as addictive and captivating as ever.

Writer Steven Knight brings his A-game to this vividly realised and relentlessly enthralling account of the creation of the SAS.

A fun and worthwhile trip to the galaxy far, far away. The Dooku stories will be especially satisfying for Clone Wars fans, and Ahsoka remains a delight.

A mostly chilling, thrilling selection of scary tales. Guillermo Del Toro has made a selection pack of horror shorts full of ghosts, gore and giggles.

As long as Mike White can cut to the core of today’s culture of wealth and excess, viewers will want to book into The White Lotus again and again. Season 2 prods and provokes as mischievously and movingly as the first time.

A jargon-heavy sci-fi with not one but two future worlds to digest isn’t going to be to everyone’s tastes, and the occasionally lurid violence (episode one features a scene of ocular trauma that’s not for the faint-hearted) might further give pause. ... Still, despite its Cassandra-like tendencies, The Peripheral is a compelling enough window into another reality that utilises its central premise well.