Jessica Jones (Netflix)
Krysten Ritter's moody superhero-turned-PI is back after a two-year break. It has become easy to forget just how groundbreaking the first season was at the time, especially in a post-Wonder Woman world, where it might seem like DC's worldwide success represented the first major female-led superhero franchise. Not so: Jessica Jones paved the way, and in a much more adult manner, too. Similarly mature were the themes of PTSD and survivor's guilt; mental health has become a byword for many a film or television show now, but even two years ago, the series seemed forward-thinking. Hopefully season two will bring more of the same freshness and intelligence to the often turgid superhero genre—if nothing else, the teaser hints at the return of David Tennant's psychotic, purple-suited Kilgrave, a terrifying and welcoming prospect.
Atlanta (FX)
Donald Glover was the subject of an extensive profile in The New Yorker last week, in which he offered some astounding tidbits of information as to what we can expect from the upcoming season of Atlanta. Needless to say, it will be weird enough and savvy enough to join last season's black Justin Bieber, the invisible hit-and-run incident and the incredible talk-show episode B.A.N., as well as to expand the show's incisive racial commentary. Glover also declared the second season would be "a classic", before noting, typically equivocal, "Atlanta won't interest me much longer." Whatever this is true or not, you know that, as the opening credits roll over soaring shots of the city from above, you're in for 25-29 minutes of pure artistry, both hilarious and tragic.
Civilisations (BBC)
It's not really an exaggeration to suggest that Civilisation, art historian Kenneth Clark's iconic series of 1969, was one of the most influential documentaries in television history. Perfectly encapsulating the establishment view of what culture and "civilization" was at the time (hint: Giotto gets top marks; Africa is never mentioned), it spurred a reaction from a new generation of art historians, who swiftly introduced feminist, socialist and non-Eurocentric traditions into what was, until then, a very stuffy subject. Politics aside, the programme revitalized museum and gallery visitor numbers throughout the UK and USA, as millions tuned in each week. Will Mary Beard, Simon Schama and David Olusoga's tellingly renamed sequel Civilisations have similarly momentous effect? Only time will tell, but this flagship BBC programme is almost certain to be one of the highlights of the year, regardless. Ready yourself for 500 works of art spread over some 31 countries, and a million times more African, Asian and American art than in Clark's series.
The Mechanism (Netflix)
In 2014, a scandal known as Lava Jato, or Car Wash, swamped the Brazilian political establishment. What began as an investigation into small-time money-laundering eventually led to the indictment of 173 individuals including multiple executives at Petrobas, the national oil company and the most valuable corporation in Latin America. Illegal payments of $5bn to a litany of companies and politicians were uncovered, and eventually, Brazilian president Dilma Rousseff was impeached and removed from office. The Mechanism is loosely based on this investigation, with the additional fireworks one would expect from show creator Jose Padilha (who also wrote Narcos). It follows a small team that gradually discovers a massive scheme of kickbacks, slush funds and payments woven through the fabric of civic society, and should be a balm to anyone still pining after McMafia.
SMILF (Sky Atlantic)
If you can't work out what SMILF is an acronym for, then it may not be the right programme for you. On the other hand, if a comedy centred around the trials and tribulations of a single mum in Boston is your cup of tea, it will fit perfectly. Think something along the lines of Phoebe Waller-Bridge's excellent Fleabag but a little less misanthropic, and with the added prism of motherhood. Written by and starring Frankie Shaw, who has roots in Southie, it's simultaneously raucous and deeply dramatic, and has garnered many a place on U.S. end-of-2017 best TV lists. Without giving too much away, beyond the jokes about eponymous main character Bridgette's desperate sex life and sheer inability to keep up with the absurd demands of motherhood, this is a story that touches upon real-life social ills without ever becoming preachy. Rosie O'Donnell puts in a star turn as Bridgette's own volatile mother, too, and is worth watching in her own right.
13 Commandments (Walter Presents / Channel 4)
This month's requisite police procedural promises something a little different. 13 Commandments is a Belgian show that focuses on the crimes of a man who sees himself as a "modern-day Moses" and leaves cryptic messages following each of his attacks. Reviews have likened it to David Fincher's Se7en, which had a similar Biblical theme, and with the troubled cops pursuing the killer and the series' twist ending, it sounds as if this is murder mystery by numbers. However, the programme is predominantly Flemish-language and has an added element of Black Mirror-esque social commentary, as the killer finds sympathy among the public as he begins to target those in society he believes have sinned. Perhaps the biggest difference, though, comes courtesy of the sixth commandment (thou shalt not kill). Forbidden by his own rules to take life, the would-be serial killer instead finds increasingly creative ways to punish. Dark, but undeniably gripping.
21 Thunder (Netflix)
Given the universal popularity of football, there are relatively few successful films about the sport, and most of those that have been made focus on off-pitch conflict (think The Damned United or Bend It Like Beckham) rather than what happens out on the turf. 21 Thunder, a new series about a Canadian football (sorry: soccer) team, doesn't seem like it will break this mould, but if the trailer is anything to go by, it should be a light-hearted affair featuring on-pitch bust-ups, cup upsets and double-footed slide tackles. The writers and producers have expressed a desire to expand the remit of the programme beyond the all-male team, and to depict the diversity of modern Canada, so it ought to be compelling watching for casual and dedicated football fans alike.
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