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As the season finale looms on the horizon Star Trek: Discovery attempts to begin pulling together its disparate Season 3 plot threads into something like a cohesive story. “Su’Kal” brings the villainous Osyraa and her Emerald Chain back into the picture, investigates the mysterious Kelpien ship that sent the distress call a few episodes back, and finally gives us an answer to what likely caused the Burn in the first place.

If you love a show that has romance, drama (but not too much), suspense (but not too much), happiness and quirkiness, and a beautiful town that makes you want to live there as well as great characters that you can fall in love with then this is the show for you. It’s one of those “feel good” shows

All in all, Revolution of the Daleks is a fun adventure that goes back to the basics of the Doctor and her friends vs the Daleks. Complete with heartbreaking moments, a legendary villain that’s almost impossible to disappoint, and the joy of Captain Jack’s return, it’s a safe but compelling return to the Doctor’s world. Revolution of the Daleks airs on New Year’s Day at 6.45pm on BBC One.

The main focus of the miniseries is, of course, the Bridgerton family, as widowed Lady Violet Bridgerton (Ruth Gemmell) attempts to steer her eight children through growing up and the marriage market. From oldest to younger: Anthony (Jonathan Bailey) inherited his father’s title Lord but he’s shirking his responsibility. Benedict (Luke Thompson) is a spare heir and realizes he can forge his own life outside of the strict lines of the Ton. Colin (Luke Newton) is now exploring the marriage market. But all eyes are on the oldest daughter, Daphne (Phoebe Dyvenor), as this is her debut into society. Her younger sister, Eloise (Claudia Jessie), rejects the marriage market but still manages to pay attention to the society gossip. 

Unlike Stranger Things, its appeal is likely to be limited to the age group of those whose lives it depicts; I would be surprised if it lands with adults in the way that it is clearly expected to with teenagers. Though it is funny, at times – “Have you ever heard of the male gaze?” / “We’re not entirely sure what it means, but we think you have it” – it lacks the crossover wit of its forebears (though there are nods to its heritage, with a cameo from Wilson Cruz, My So-Called Life’s Ricky, and some shots reminiscent of Heathers). It’s too tied up in conveying the message that terrible behaviour can have horrible consequences to deal in any subtleties or shades of feeling. It’s largely one-note – and that note is horrifying. “It has to get better,” implores one student towards the end, but given its fairly open ending, an apparent season two setup, it does not seem as if there’s much chance of that happening.

iZombie is a delightfully ironic take on the horror genre. While as a police procedural it’s far more Veronica Mars than Rookie Blues.

Away doesn’t reach the stratosphere as a spacetime adventure, but emotional earnestness and a strong cast help make this a compelling enough journey to the stars.

2020, Netflix, 10 episodes

The latest series marked an all-out departure from the show’s beginnings, and the one-crime-per-episode format was left by the wayside.

Instead, viewers were given a more action-packed format that aligned the Baker Street sleuth with Bond and Bourne rather than more cerebral crime-solvers like Poirot and Morse.

The X-Files‘ return to business as usual is a refreshing upgrade from the show’s underwhelming previous outing.

A new crew boards a revamped USS Enterprise in the first spin-off from the ’60s cult classic. Set some 70 years after the Captain Kirk era, the syndicated sequel follows the seven-year trek of Captain Jean-Luc Picard (Patrick Stewart) and his colourful subordinates(including a Klingon!) as they encounter new life forms and foes.

Adapted from the classic novel by Margaret Atwood, The Handmaid’s Tale is the story of life in the dystopia of Gilead, a totalitarian society in what was formerly the United States. Facing environmental disasters and a plunging birthrate, Gilead is ruled by a twisted fundamentalism in its militarized “return to traditional values.” As one of the few remaining fertile women, Offred (Elisabeth Moss) is a Handmaid in the Commander’s household, one of the caste of women forced into sexual servitude as a last desperate attempt to repopulate the world. In this terrifying society, Offred must navigate between Commanders, their cruel Wives, domestic Marthas, and her fellow Handmaids–where anyone could be a spy for Gilead–all with one goal: to survive and find the daughter that was taken from her.LESS