It’s always hard to choose the best new TV to watch with all the season premiere’s happening this time of year. You have the old faithfuls: your Soaps; Friends re-runs, which happen to be finishing this year – there is a God; The Simpsons. But, when it comes to choosing new shows, it boils down to either, a) you get into a really good, unmissable show or b) you lose an hour of your life on some complete horse…you get the picture. So, really, it’s not worth the risk. This is why I have compiled my recommendations of the unmissible television of the coming year.

There’s one name on everyone’s lips these days – Glee. Now, although Glee has proved to be a good bit of light entertainment, it hasn’t proved to have much substance and gets caught-up a little too much in the songs as if the writers forgot there’s supposed to be a story linking them. Lea Michelle, who plays Rachel, is fantastically annoying in the good way, you can’t help but like her. With such an amazing voice, which she can adapt to sing every song, she is the stand out member of the cast. Other stand out members include Jane Lynch, the fabulously devious cheerleader coach and Jayma Mays the neurotic, mysophobic and über-cute guidance counsellor.

Cougar Town, starring ex-Friends star Courteney Cox and starting on Living in March, has garnered a lot of attention since its Stateside premiere in September. It’s brash, vulgar and a bit cheeky, but with waning viewers, it probably won’t last past two series and you should catch it while you can. It has a great cast, and really pokes fun at an ever-rising part of the populace – the divorcée. Cox is excellent as the main character, and the supporting cast is very good. It’s not really one for the boys, but it’s sure to be a big hit with women all over the country.

Probably the best television series to come from the US in years is Weeds. The series revolves around the exploits of a potdealing, newly widowed woman trying to raise her children in a seriously luxurious, and apparently inhibited town in suburbia. It might not sound particularly interesting, but no blurb could really do it justice. It is the highest rating show on the Showtime network, and hasn’t failed to please over its five-season tenure. The cast is unbelievably brilliant, not a single weak link in it, particularly the younger members. It’s completely politically incorrect, hilariously funny and grippingly dramatic must-see TV. It has won countless awards for both the cast and the writers, and is set to have at least another season. It hasn’t really caught on over this side of the pond, Sky1 have shown it, but if you can get your hands on it, I thoroughly recommend it.

Nothing has had a quite as successful a run as Doctor Who. Returning from the abyss in 2005 with Christopher Eccleston and then the ever-popular David Tennant, the show has seen a revival like never before. A must-see for all sci-fi and non-sci-fi fans alike, the show has carved-out a once forgotten timeslot of sit-down-with-the-whole-family style television. With an unforgettable theme tune, a virtuoso writing team and a stellar cast over the years, the show has spawned a huge following of super fans, and doesn’t look like it’s going to decline when Matt Smith takes over the role this Easter.

The best of the rest include House MD, Hugh Laurie in his hugely successful role as a maverick genius diagnostician is into its sixth season and will be showing soon on Sky1: great for post dinner/glass of wine. The Big Bang Theory is a fine replacement for the Friends re-runs that are finishing this year. It’s about a group of four genii and a girl, and although the idea is a bit clichéd, it is actually very funny. Castle is proving to be a good dramedy, and already has a second season. Nathan Fillion of Buffy/Firefly fame plays a crime novelist who is employed by the NYPD to help solve murders, which are copycats of those portrayed in his novels. Gossip Girl is a superb teen drama. It’s about a group of filthy rich upper-East-Siders in Manhattan, whose exploits are gossiped about by the anonymous blogger "Gossip Girl". Although it's a total guilty pleasure, it is bitchy, dark and almost painfully funny at times. Skins is probably the best UK teen drama of the last ten years. Into its fourth season and the first run of the complete cast overhaul, it hasn’t lost any of its spark or failed to shock its viewers.

Keep your eyes peeled for: Better off Ted, a sitcom starring Portia De Rossi of Ally McBeal and Arrested Development fame. Set in the offices of a fictional callous technology company. It is superbly surreal and sports a great cast.

And of course, Dollhouse, another great show from the unbelievably gifted Joss Whedon with Eliza Dushku. Already cancelled by Fox, surprise surprise, it has twoseasons and has been shown on Sci-Fi. It is intelligent, philosophical and superbly written, which, combined with a terrible Friday timeslot, is probably why it was cancelled. It follows a corporation running an underground establishment, known as the Dollhouse, and group of ‘Dolls’ as they are imprinted with other people’s personalities and skills and rented by rich people for all kinds of business. Everything eventually goes awry and as the plot line becomes so convoluted you can't help but watch. The first season is already available on DVD and the second season will be released sometime this year.

It has been a very successful year for Marina Diamandis, aka Marina and the Diamonds, an indie-pop songstress hailing from fair Wales. Tipped for to hit the big time this year, Diamandis started out as many of the new generation of successful acts do: on MySpace. She sold copies of her EP online, and was soon discovered by a music scout which subsequently got her discovered by a major record label.

Fast forward a year and a half, and Marina is playing at huge music festivals in the UK and Ireland, headlining at the NME Radar Tour, being plugged by the likes of Kanye West, shortlisted for BBC Sound of 2010 and selling out dates of her own headlining tour across the UK, Ireland and the US – all before the release of her debut album.

I got a chance to preview her album, The Family Jewels, this week and I have to admit it has really blown me away. It is the perfect mix of indie-pop, catchy hooks and stellar lyrics. A woman with opinions and a sharp-tongued wit to boot, the album is a narrative of sorts, and takes you on a musical journey through the mind of a young woman who is not afraid to broach the subjects of politics, sexuality and body issues.

Her voice can be compared to Kate Bush or Annie Lennox. Her delivery is very staccato and emphasises certain syllables quite unashamedly, but it works. I do believe, not unlike Florence and the Machine, that Marina’s voice lends itself more to live shows than to the recording studio. However, that is where the comparison ends for me. Piano based anthems like Obsessions will have the swaying lighters out, with its delicate musicality. And the more upbeat tracks like Shampain will make it hard for you to sit still or not sing along.

“Oh My God, you look just like Shakira! No, no you’re Catherine Zeta. Actually, my name’s Marina.” She exclaims in her already successful current single Hollywood, where she pokes fun at reception she received in LA. A very confident young woman who already has a quasi-diva attitude that will be sure to make her a hit Stateside. An all-round slick piece of work, this is sure to be one of the musical high points of the year if not of the past few years.

The highlights of this album have to be Oh No!, Mowgli’s Road and Girls which will have you singing along in no time. Marina is playing a nation-wide tour from now until May, but the gigs are selling out fast so make sure you’re quick to get your hands on tickets before they’re all gone. Her MySpace page myspace.com/marinaandthediamonds has a stream of the album, and the CD version is to be released on Monday 22.

Verdict: A glitzy, glamourous, well-presented pop album. A highlight of the year for sure.

Rating: 4.5/5

Follow Marina on Twitter @twitter.com/MarinasDiamonds

This week's X10 saw the unveiling of the first screens of the much anticipated Fable III. Speaking at the conference, Lionhead's Peter Molyneux discussed the influences and features of the series' third installment.

"Fable III is all about power", claims Molyneux. The goal of Fable III is to immerse the player in a world in which their actions have global consequences. As the ruler of Albion, the player takes on their greatest responsibility yet. Molyneux cites Barack Obama as being one of the primary influences on the development of the story, with much of the focus lying in the promises of power.

However, the game's features go further into this exploration of power with the additon of the new weapon and 'dynamic touch' systems.

The game's weapon system has been modified to allow for complete customisation of the player's equipment. Leading on from Fable II's Augment System, players will be able to design their weapon down to "the curve of the blade".

The 'dynamic touch' system is also to revolutionise the way in which the player interacts with the world. Situation and character sensitive triggers are designed to increase the tactile feel of Albion and provide a more immersive experience.

Molyneux has also commented on the health and levelling system of Fable III, stating that the game will take them in a more organic direction. Following in the footsteps of games like Fallout 3, Lionhead plan to evolve the character in the world, rather than in a 2D menu. In another shake-up, the new game will see the ommission of a healthbar, with Molyneux stating that they would "do what FPSs do and use the world as a healthbar".

All of these features come in the wake of Fable II having, "Too many gimmicks and not enough features". A problem which Lionhead plans on rectifying with the newest chapter in Albion's history.

Will they succeed? Well, with a projected holiday release, we'll have a while to wait and see.

Myself and three friends booked tickets to see Phantom for the 5th of January 2010, and should have taken the adverse weather as the first sign that we should have stayed at home.

Firstly, I should say that our seats were perfect. We were front row of the Dress circle and the view could simply not have been better. On taking our seats we could not help but notice how impressive the set looked even pre-show. Unfortunately, the problems only started after the show had begun.

After showing initial promise with some very impressive effects, it soon became apparent that the cast was not able to keep up with the set. They were outdone by every other department working on the show. It is, in a word, spectacular, by which I mean that it is all spectacle. Wardrobe, lighting, the set and the orchestra were all very appealing but the cast and direction completely floundered.

The staging was clumsy with actors spending much of the show wandering the stage looking as if they couldn't find a mark and even when they did their delivery was sub-standard. I know this is musical theatre and that perhaps it requires more suspension of disbelief than other theatre, but in this case the only thing that could have suspended my disbelief was if you sentenced it to life. Phantom and Christine were unconvincing and overworked, while Raoul fell into the usual trap of being a charisma vacuum. The supporting cast frankly just seemed happy to be there.

Phantom's 23 years have led to it becoming stagnant. It needs a reason to be kept going; new energy and fervour. As it is, it plays like the West End's granddad on life support, while there are young, vibrant shows out there in Theatreland. Come on Phantom, people need a reason not to pull the plug.

Love Never Dies... but sometimes you wish it would.

With the Academy Awards just around the corner, I thought I’d give you the low-down on what’s what at this year’s ceremony. This year's show will be hosted by Steve Martin and Alec Baldwin with presentations from a host of stars including Tina Fey, Jason Bateman, Steve Carell and Sacha Baron Cohen. This year, Avatar and The Hurt Locker lead the way with 9 nominations each and Meryl Streep gets her 16th nod, which puts her as the most nominated actor in the history of the Oscars.

With that said, I think The Hurt Locker is set to gain the most wins from its nominations.

It’s pretty much sure to net Best Director for Katherine Bigelow, and the Cinematography and Editing awards. It will probably win Best Picture which will be another kick in the teeth for James Cameron, Katherine Bigelow’s ex-husband who had a very disappointing performance and this years BAFTA’s and had to watch Katherine’s flick pick-up 6 of its 8 nominations. Avatar will obviously get the Visual Effects award, but I think/hope that’s all it nets.

But with 10 films nominated in the Best Picture category this year it could be a bit of a surprise. If I were to hazzard a guess at what that surprise win might be, I’d pick An Education.

It’s a stellar British movie with the screenplay by Nick Hornby and starring Carey Mulligan, who picked up the BAFTA for Best Actress this week, Peter Sarsgaard and Olivia Williams.

The Best Actor in a Leading Role will probably go to Jeff Bridges for Crazy Heart, who has four previous nominations and no wins and it’ll be about time he gets it.

Or it could go to Colin Firth for A Single Man, who picked up the BAFTA this week for the same role. A Single Man is written and directed by Tom Ford, noted fashion designer and is a “gay role”, which the Academy always awards (see Sean Penn Milk).

Best Actress in a Leading Role is set to go to Sandra Bullock, who looks like she's going to appear to pick up her Razzie award the night before. However, Carey Mulligan gave a sensational performance in An Education as the young girl coming-of-age (another Academy favourite).

Christopher Waltz or Matt Damon could walk away with an award for Best Supporting Actor, and it looks like Mo’Nique’s performance in Precious: Based on the Novel ‘Push’ by Sapphire could net her the Best Supporting Actress award. Althoug, it wouldn’t be unlikely that Vera Farmiga or Anna Kendrick could win for Up in the Air.

Best Animated Feature Film is really between Up and The Princess and the Frog, one a Pixar creation, the other a hark back to the old day Disney with hand-drawn animation. My money is on Up, but my hopes rest on The Princess and the Frog.

Best Screenplay (Adapted)in my opinion should go to An Education, and definitely not Up in the Air because as Jason Reitman shows us again, he cannot write endings with the film really fizzling out with the last half hour to go. Best Screenplay (Original) will go to either Up or The Hurt Locker. It’s hard to tell. Up is a vary daring piece of Disney, which deals with the more heartbreaking and depressing side of life, and The Hurt Locker is such an epic piece of filmmaking.

We'll have to see tomorrow night who gets what, but as always it will be nice to see such deserved wins.