If music be the food of love, declared William Shakespeare … then we should all be watching Do Do Sol Sol La La Sol (Netflix). Series one will be available to binge in its 16-episode entirety from November 26, by which time we’ll know if reluctant piano prodigy Gu Ra-ra has found the real thing and chosen wisely between her two devoted suitors. The Bard’s observation wasn’t, in fact, made wholly in support of romance and its contradictory emotions. Nor is the route to happiness a straightforward one for Ra-ra (played by Go A-ra), paved as it is, from her childhood to her mid-20s, by family tragedy, recital catastrophe, nuptial humiliation and yet more family tragedy. After that lot, things will be sure to pick up. But our heroine is left reeling when she discovers that her wealthy father has gone broke. She then finds herself royally swindled out of a hefty down payment on a flat. Leaving the swanky Gangnam district of Seoul and heading to the coast – the better to avoid some uncompromising creditors – she crashes her car and suffers injuries that imperil her keyboard career. Could one existence be any more discordant? Have the series’ writers front-loaded Ra-ra’s setback catalogue to make any future redemption taste that much sweeter? Anything goes in a romantic drama-comedy with disaster characteristics. And then there are Ra-ra’s competing love interests. One is casual labourer and odd-job man Sunwoo Jun (Lee Jae-wook), who escapes a couple of besuited goons (always the worst kind) by leaping from his boarding-house window. The other is orthopaedic surgeon Cha Eun-seok (Kim Joo-hun), suffering from overwork and an underwhelming marriage. Both – surprise – land in the same town as the keyboard queen, who throws herself into teaching piano and a love of classical music (with a curious twist, suggested by the show’s strange title) to the children of her new, seaside bolt-hole. Just when it looks like a romantic breakthrough is imminent, something happens to prolong the agony of misinterpreted signals. After all, you can’t hurry love, no, you’ll just have to wait; love don’t come easy, it’s a game of give and take … Nick Frost and Simon Pegg reunite for Amazon Prime’s Truth Seekers Developing into an overgrown gnome probably wasn’t Nick Frost’s ultimate ambition when he started out in television. Yet here he is, starring in Truth Seekers (Amazon Prime), sporting the perfect shape for a nerdy, somewhat lonely, broadband installation engineer whose passion is hunting ghosts. The eight-part series is also a case of friends reunited, having been written, with others, by Frost and Simon Pegg (perhaps when he wasn’t hanging out with Tom Cruise). One of the most frightening aspects of this droll, poignant, comedy-horror show is Pegg’s wig. And although it doesn’t enjoy all that much of an airing – this being Frost’s baby, with Pegg coming off the bench as an impact substitute – the two best chums will always prove to be more than the sum of their parts. It takes both to make Truth Seekers tick, a process helped by the sort of rapidly delivered, priceless, throwaway quips Frost and Pegg build into their scripts (the feeling of being haunted is known as “Casper syndrome”, for example) and a cast that includes a spectacularly grumpy, grizzled, irascible Malcolm McDowell. Borrowing liberally from, while sending up, The Blair Witch Project and enthusiastic amateur YouTube conspiracy theorists everywhere, Truth Seekers is a trip into “interdimensional consciousness”. Its takeaway lesson? Never move into a haunted house: the spirits will play merry hell with your Wi-fi.