Television

Although rebooting Jim Henson’s The Dark Crystal may seem a strange choice, the Netflix prequel Age of Resistance is technically impressive and speaks to contemporary concerns.

Ten episodes into its third season, The Handmaid’s Tale seems to be going round in circles, rather than expanding on its most interesting ideas and exploiting the talents of its stellar cast.

By focusing on the human stories of the world’s worst nuclear disaster, HBO’s Chernobyl offers a portrait of ordinary heroism – and a vision of how we might deal with climate catastrophes to come.

Beyond the thrills, the glamour and the sexual tension, Killing Eve’s second season asks viewers to confront their own ambiguous morals – and therein lies the series’ greatest strength.

Zindzi Okenyo is asserting herself through her art – on stage, on screen and in the recording studio. Here, the singer-songwriter and actor talks about growing up in different parts of Australia, travelling to her father’s birth country, and being comfortable in her own skin. “The older that I’ve gotten, the more it seems to me the way to be better is to know yourself as much as possible and then relax into it.”

The penultimate episode of Game of Thrones generated enormous controversy among fans. Why has the HBO series provoked such strong feelings?

In the second season of Netflix’s series The OA, its creators question the relentless technological progress of our time, but the result is somewhat scattered.

In Miracle Workers, the latest program about the afterlife, the crisis on Earth is taken to extremes with Steve Buscemi in charge of Heaven Inc.

The haze of chain smoke in Russian Doll does little to obscure the time-slipping drama’s lightweight psychoanalysis or the failure of its pretensions to feminist interrogation.

Ben Stiller’s small-screen directorial debut, Escape at Dannemora, a dramatisation of a real-life prison break, invites viewers’ sympathy for two violent criminals and then churns it into a grim vision of Trump’s America.