However sheepishly, its creators probably found the coincidence serendipitous, but thousands of others wouldn’t have been able to see past the appalling irony. Japan Sinks: 2020 arrived on Netflix as parts of Kyushu, the country’s third-largest island, were swamped by deadly rainstorms, flash floods and mudslides. For all its post-war economic miracles, pop culture triumphs and (fast receding) extended moment in the limelight, Japan, the world’s most earthquake-prone country, hardly has it easy when coping with natural upheavals; the word “tsunami” is a regrettably familiar Japanese export. And now here comes the apocalypse again, in what looks like its natural habitat. Based on Sakyo Komatsu’s science fiction-flavoured disaster novel Japan Sinks (which has already spawned a television show and two movies), Japan Sinks: 2020 is another thought-provoking winner from animator and director Masaaki Yuasa and his Science Saru studio. With much of the rest of the world also in semi-disaster mode, this challenging 10-part story, which can be emotionally wrenching, is certain to find global favour, approaching the subject of survival from personal and universal angles simultaneously. Torn asunder by a cataclysmic earthquake and its aftershocks, Japan disappears beneath the waves, leaving the populace refugees in their own cities as they start to troop away in search of sanctuary on high ground. In moments, lives are lost or rendered meaningless, families try to stick together through their endurance test, although it soon becomes clear victims will regularly fall by the wayside. In a Covid-19 calamity climate, Japan Sinks: 2020 has something for everyone whose reasons to exist have recently been upended. Determination, despair, heartbreak and hope are channelled through the Mutoh family of Tokyo, for whom we can’t help but root when the subsistence chips are down (which they almost always are), even if implausibility hampers some plot twists. Then again, this is anime, not documentary. Cartoon it may be, but this series feels as though it is dealing with a reality that might not be too distant. If another catastrophe is on the way, in Japan or elsewhere, it will have its choice of guises: virulent, climatic, environmental, geological … something sure to give us that sinking feeling. Hanna returns for a second series on Amazon Prime Last time we made the acquaintance of titular heroine Hanna (Amazon Prime, now streaming) she was a teenager living in a cave in the Romanian forest. Not any old forest-dwelling teenager, mind: one genetically modified and originally bound for a school for assassins, until she was rescued by her father. The CIA, however – the provider of this unusual form of further education – remains determined to bring her back into the fold, which is where the eight-part second series takes up the story. Hanna (Esme Creed-Miles), still bloody-minded to the point of self-destruction, is now watched over by rogue agent Marissa Wiegler (Mireille Enos), who is working against her fellow spooks to assuage her guilt for initially placing Hanna in the girls only brainwashing programme. All pupils are trainee super-spies, super-smart, super-strong and super-suspicious of everyone around them, but it’s their paranoia that keeps them alive. No impressionable teenaged assassin should leave home without it. Ironically, each member of this procession of young, female Jason Bournes, ostensibly harmless because of her gender and tender years, is kept drugged and under permanent surveillance in a closeted, secret location – all for the future defence of the free world. A coming-of-age identity drama loaded with hard-hitting action sequences and tricky questions of loyalty and belonging, Hanna suggests honesty is usually the best policy for grown-ups, regardless of how muddled the thinking of our fledglings appears to be. Teenagers, eh?