The return of hit bonkbuster Rivals, the horny hockey show taking the world by storm, Richard Gadd’s follow-up to Baby Reindeer … and Buffy is back! Here’s your complete guide to 2026’s unmissable television

As the writer of conspiracy thriller Utopia and Covid-era relationship drama Together, Dennis Kelly has form for creating darkly perceptive TV drama. This excellent series stars Josh Finan (whose performance in The Responder earned him a Bafta nomination) as Dan, a philosophy teacher with a troubled family past, working in a prison. As he explores issues around freedom, luck and destiny with the inmates, he starts to wonder if he actually belongs behind bars like his abusive father. Soon, his anxieties threaten to become a self-fulfilling prophecy.
• BBC One, 3 January

In this energisingly original novel, an emotionally detached English student at college in New York tells a big lie

Lies offend our sense of justice: generally, we want to see the liar unmasked and punished. But when the deception brings no material gain, we might also be curious about what purpose the lie serves – what particular need of their own the liar is attempting to meet. This is precisely what Grace Murray’s witty, assured debut explores: not just the consequences of a lie but the ways in which it can, paradoxically, reveal certain truths.

At a small liberal arts college in upstate New York, Charlotte begins her final year by claiming that her father has just died of a heart attack. In fact, he is alive and well back in Lichfield, England. This lie is the jumping-off point for an unpacking of Charlotte’s psychology, as well as the catalyst for her relationship with fellow student Katarina, a quasi-love story that forms the book’s main narrative.

Both stars have bigger films on release but are hugely proud of The History of Sound, which has been four years in the making. They talk about the vulnerability of singing, the cost of inhabiting a role – and rationing future parts

All things considered, telling Paul Mescal I once placed a bet on him is not quite the icebreaker I had hoped. Or rather, it breaks the ice in an unusual way.

“The key question,” he says, his voice betraying a hint of trepidation, “is what was the bet? Most Likely to Join the 27 Club?”

Toby Morton now owns trumpkennedycenter.org, which advertises new year performance by the ‘Epstein dancers’

Donald Trump may be remaking the John F Kennedy Center for the Performing Arts into a pool of his self-reflection, but a writer for South Park, the TV series that better reflects the obsessions and tendencies of the administration than any political pundit, has purchased the rights to trumpkennedycenter.org.

Toby Morton, a TV writer and producer who has worked on the long-running and joyfully offensive sitcom, said he purchased the domain in August after predicting the president would change the name from the Kennedy Center to the Trump Kennedy Center after he installed himself as chair and stocked the board with loyalists.

From CMAT and the Carpenters’ fresh starts to the Beatles’ Here Comes the Sun and Nina Simone’s Feeling Good, starting again is a rich theme in pop. Here are some of the best examples

It’s hard to imagine anyone’s heart not being lifted a little by Right Back Where We Started From: the euphoric rush of new love rendered into three minutes of cod-northern soul (performed, unexpectedly, by various ex members of ELO, the Animals and 60s soft-poppers Honeybus). Avoid the 80s cover by Sinitta at all costs.

For those not going out to celebrate, you can still party with Harry and Sally, play cards with Jack Lemmon and make merry hell at the Overlook Hotel

At the end of any especially troublesome year it’s always good to revisit The Apartment, Billy Wilder’s brilliantly bleak comedy of office politics and festive bad cheer. It memorably ends on the stroke of midnight as heartsick Fran Kubelik (Shirley MacLaine) abandons a drunken new year’s party to be with hapless, jobless CC Baxter (Jack Lemmon) instead. Is The Apartment suggesting that Kubelik and Baxter then live happily ever after? Probably not, because I’ve never been convinced that these two lovers are going to stay the course. They’re too mismatched and desperate; their wounds are still too fresh. What the ending gives us is the next best thing: a sudden sense of hope and freedom, with everything packed in boxes except for a bottle, two glasses and a deck of cards. Nothing to lose and nowhere to go. “Shut up and deal.” A clean break, a fresh start. Xan Brooks