David Craig

Fortunately, there’s enough to the show’s plucky protagonists and rich sense of style to make up for its storytelling shortcomings. In fact, Spider-Noir is far better than such a frivolous spin-off has any right to be, with Cage deserving of high praise as the lynchpin that holds it all together.

Even with their clothes on, the charismatic characters are fun to be in the company of, with their day-to-day lives serving a balance of drama, comedy, romance and raunch that's eminently bingeable.

Beef season 2 was always going to lack the element of surprise that this series benefitted from when it burst onto our screens, but it would have been nice to see some bigger swings taken this time around. That said, Lee Sung Jin has proven without doubt that Beef works as an anthology and, with any luck, there will be more sizzling, bloody servings to come.

It's clear that Born Again season 2 is still recovering from the breeched delivery of the first, meaning it has to juggle its underbaked original elements with reincorporating (or giving closure to) those of the Netflix era. By the end of its deflating finale, there is a sense that the most painful hours of labour might be over.

At a mere four episodes long, The Listeners is a fast-moving and punchy look at the myriad factors that can draw well-adjusted people to radicalisation; humanising the victims of conspiracy culture – but crucially, not downplaying the damage it has wrought.

For as much potential as there is in the premise and cast, it's largely squandered in scripts that rely heavily on basic gags, whether that's a broad range of bodily functions, a few recurring naughty words, or Debbie and William's meandering banter.

Points of greater divergence may present themselves down the line – we've still four hours to go – but even if this season winds up being a tribute act for the first, at least its homaging quality material. After such a long absence, fans will hardly be sorry to watch The Night Manager again.

The plot is also compromised by the sheer volume of jokes, which go beyond comic relief to almost rendering this show an outright comedy-drama. How are we supposed to take the threat of the nightmare train seriously when even the people on board can't stop throwing out zingers? This could be forgiven if they were any good, but often it's just annoying.

It's the kind of daft assembly line thriller that you'd normally expect to see fired out of Netflix's Harlan Coben machine, or perhaps aired across three consecutive nights on 5; but the money and star-power behind this one does give it a certain charm.

From the opening dance number (which I'm sworn to secrecy about), it's an enormous amount of fun that carefully balances its surreal pleasures with impactful character-led moments – and plenty of unexpected twists.