The Good Place (Netflix) seasons 1 & 2

Eleanor Shelstropp has died and finds herself in the Good Place, destined to meet her soul mate and enjoy a blissful eternity. But something is not quite right and all is not as it seems. Her ‘ideal’ home is small and not at all to her taste; she has nothing in common with her soul mate Chidi, an ethics professor; and everyone seems to think Eleanor was a saintly environmental campaigner rather than a selfish and ruthless peddler of dodgy medicines. Can she learn from Chidi and earn her place in the afterlife? Or will she be found out and sent to the Bad Place? Clever and funny, the show sneaks in a good amount of ethical dilemmas and moral philosophy lectures, in the most entertaining way possible. Ted Danson is perfectly cast as Michael, the architect of the Good Place, whose motives are increasingly suspect. Kristen Bell sustains a fine balance between annoying and loveable as the ethically challenged Eleanor. Created by Michael Schur, who was also responsible for Parks & Recreation and Brooklyn Nine Nine, the episodes are all around 22 minutes and filled with visual gags, smart cameos and snappy dialogue. Season 2 turns everything on its head, with Eleanor and her friends again battling for a toehold in the Good Place and risking a torturous eternity in the Bad Place. The season final again sets everything up for an interesting season 3.

Circe, by Madeline Miller

In the vein of Kerry Greenwood’s women of Troy series, this novel gives a different take on the Odyssey by telling it from the point of view of the witch Circe. Daughter of the Titan Helios, Circe is an outsider in her family and among the gods generally. Scapegoated and exiled, Circe builds an idyllic but essentially lonely life on the island of Aiaia, honing her skills over the centuries. As well as the Odyssey many of the major myths are touched on, with Circe somehow having a hand in the stories of Prometheus, Scylla and Charybdis, Daedalus and Icarus, the Minotaur, Jason and Medea. Some of these tales are more effective than others, with the focus more on their effect on Circe than the details of the stories themselves. The suffering of Prometheus and his influence on Circe is profound, but the treatment of Jason and Medea seems perfunctory. There is no sugar coating of the brutality and general indifference of the Gods in their interactions with mortals. Circe confirms her outsider status by behaving differently from her fellow immortals, confirming this ultimately by her choice to become her true self.

Thorn Queen, by Richelle Mead

Storm born Eugenie Markham is living a dual life. In the human world she is a shaman, banishing ghosts and other supernatural creatures that cause problems. In the Otherworld she is the reluctant Thorn Queen, trying to come to terms with her new responsibilities and her growing powers. Torn between two worlds, she is also torn between two lovers – Fox man Kiyo and charismatic Oak King Dorian. Eugenie finds herself drawn more deeply into the life and troubles of the Otherworld as the land needs her personal attention and she uncovers the mystery of young women going missing from small villages. Frequent and graphic sex scenes are tinged with BDSM but they are not included just for titillation. Mead cleverly juxtaposes the active sex life of her heroine with the central theme of power and consent.

That’s Not Me (2017), directed by Gregory Erdstein

Polly Cuthbert is an aspiring actor who is a little too selective in her choices. Considering herself too good for commercials and soap operas, she misses her chance, which is eagerly snatched up by her identical twin sister Amy. What follows is a difficult year where Polly finds herself in Amy’s shadow and completely loses her own identity. Co-written by the director and the lead actress Alice Foulcher, the film is smart and funny. It was made on an ultra low budget, but clever filming choices mean this doesn’t really show. Cameos from Isabel Lucas and Richard Davies lend a tiny touch of star power and an awesome original soundtrack adds joy. The film ends a little abruptly but leaves with a laugh created by a disclaimer that was probably included for legal reasons but is actually very funny. Aspiring filmmakers must despair when they see some of the crap that gets greenlit, especially through Hollywood. Films like this deserve an audience and it will be interesting to see what this talented couple do next.

The Crown (Netflix) season 1

Casting universally well-known characters is always difficult. When those characters are the Queen and the Duke of Edinburgh, even when portrayed in their youth, it must be almost impossible. Claire Foy and Matt Smith were inspired choices; they inhabit their roles completely and convincingly, obliterating memories of Dr Who, Anne Boleyn and all other previous roles. Foy is a wonderful actress and she superbly evokes the “ordinary young woman of modest ability and limited imagination”, who must grow into a role she is not ready for that will compromise her marriage and her close relationships. Smith is a revelation as Prince Philip, a man of his time who can’t seem to find his place as Mr Queen. Perfectly sumptuous costumes and settings help bring to life an era that is still within living memory for many. Alas the rest of the casting is hit and miss. Too many well known British acting faces seem to be there for their names rather than their prowess; with many you never forget they are actors playing a part. Eileen Atkins and Victoria Hamilton, as Queen Mary and the Queen Mother respectively, do improve as the series progresses. John Lithgow is surprisingly convincing as the increasingly decrepit Churchill, clinging to power. Alex Jennings is very good as the Duke of Windsor, portrayed as a rather nasty man who nevertheless garners some sympathy for his horrible situation. Ben Miles is totally miscast as Peter Townsend – it is not at all believable that young Princess Margaret would have fallen for a much older married man so devoid of looks and charm. Nuanced and subtle, sometimes a little slow, The Crown gives a fascinating insight to the monarchy that even a confirmed republican can find absorbing. It seems likely that those involved would not be pleased with their life being examined in such excruciating detail and who could blame them, but as The Crown makes clear, such is the price of monarchy – for better or for worse.

The Princess Bride, by William Goldman

A classic novel that purports to be about a classic text, the affectation of the author abridging that classic is well sustained but also tediously unnecessary. It is a conceit that really doesn’t add anything but length to the story. The characters are memorable - beautiful farm girl Buttercup, dashing pirate Westley, steadfast giant Fezzik and vengeance-fuelled Inigo Montoya, evil six-fingered Count Rugen and dastardly Prince Humperdink. It is impossible to not see them as portrayed in the film. The story is ridiculous, but told with amusing irony. Billed as an adventure/romance/fantasy, it is actually quite violent. All in all and unusually, the film is better than the book.

Precious and Grace, by Alexander McCall Smith

Traditionally built Mma Ramwotse and secretarial school star graduate Mma Makutsi have expanded their Number 1 Ladies Detective Agency. Their somewhat prickly professional relationship sometimes hampers their work. Canadian visitor Susan is seeking a sense of home she has lost since leaving Botswana as a child, but the intrepid ladies sense there is more to her quest. Part time volunteer detective Mr Polopetsi has got himself caught up in a pyramid scheme that Mma Ramotswe must try to extract him from. And then there’s the problem of apprentice Fanwell’s stray dog. Long tracts of homespun of philosophy make the story a trifle dull, rather than low key and charming. This is embodied by the rather prosaic title, lacking the usual quirk. It seems the author and his lady detectives are rather running out of steam.