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.

Basically, this story gets better the more time is given to it, something that certainly can't be said for all fantasy series. But unfortunately it does suffer more than other stories when it's given such strict time constraints.

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.

The characters, though all likeable, feel like familiar archetypes, and occasionally it seems as though the three women are veering towards caricature.

It's a musical drama about the slightly-damaged individuals in this fictional rock band and it does tackle themes like addiction, harassment, and discrimination — but all with a very light touch.

Unforgotten is as much about the central main cast as it is about the guest stars and the case that unfolds throughout each season. The performances in these five new episodes, particularly from Yates as troubled Rhys and Laird as complicated Ebele, underline the drama as continuing its streak of incredibly strong storytelling.

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.

You has always been a series that's terribly addictive to watch but this time round, the classic murder-mystery spin has restored faith in a drama that could have easily continued with many of the seen-before tropes. The result? A season that may very well be more enjoyable than those before it.

It packs a lot into just four episodes, and the story eventually comes full circle. So, with multiple twists and turns to what was already advertised as an incredibly bizarre story, and bold characters to match, Gunther's Millions is sure to keep you entertained.

Unfortunately, it’s easy enough to see where the twists and turns are going to take us - and what could have been a huge plot twist to set up the final episode can be seen a mile away. But it’s Cornish’s ability to bring the most terrifying parts of Stroud’s novels to life (or to death) that sets Lockwood & Co apart from Netflix’s other fantasy offerings.

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.

The Last of Us is the best video game adaptation of all time, and it's also a fantastic TV drama in its own right. If you're on the fence about watching it, do yourself a favour and get involved as soon as possible.

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.

Although Happy Valley is the kind of gripping drama that shouldn’t typically warrant laughter, Sally Wainwright brilliantly manages to weave in comedic lines – yet again – into scenes. ... Lancashire's multi-pronged performance – as a doting grandmother, a sister, a policewoman, a manager, and even a confidante for coercive controlling relationships – never ceases to amaze.

The Witcher: Blood Origin certainly does suffer without the muscular anchor of a Henry Cavill-type, as its writing simply isn’t strong enough for the splintered tale it’s telling. That said, punchy, memorable performers like Mirren Mack and Sophia Brown elevate this origin story to something still worth unwrapping on Christmas Day.

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.

The Lazarus Project is already one of the most inventive time-travel shows I’ve seen in years. If the first episode doesn’t seem like quite your thing, push on – like Giri/Haji, this show’s something of a wolf in sheep’s clothing.

It has been streamlined by screenwriter Jack Thorne and some characters and plot elements from the book have been ditched but it remains a thrilling, immersive TV treat that looks stunning and still has the hard-hitting emotional heft of the book. It is a credit to all involved, both on and off-screen.

Dolan, who nails the look of Anne perfectly, is a complete triumph in the role. ... Dolan's multi-layered performance is contrasted surprisingly well with Eddie Marsan's as John. His portrayal offers the drama some of the most contradictory moments – he is at once completely farcical but also incredibly menacing in tone.

While the focus is largely on the guards, the most compelling aspect of the pilot involves Stephen (Jake Davies), a prisoner three months shy of his release and the new transfer Dolby (Christopher Fulford).

This is a phenomenal cast across the board, taking Schumacher's superb scripts and propelling them to even greater heights.

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.

However compelling the heist itself is, first and foremost this is just a brilliantly funny comedy, and the laughs keep on coming at a very impressive rate throughout. ... This show is a real treat.

Crossfire isn’t your typical ‘stripped across the weeknight’ drama. It can be harrowing and heart-wrenching and it asks you to consider all kinds of impossible questions about instinct, vengeance and self-sacrifice. But its intensity, anchored by Hawes’ brilliantly resilient performance, never fails to transfix.