wed 20/08/2025

tv

The Change, Channel 4 review - beguiling feminist comedy with a stellar cast

Helen Hawkins

Young women who were riveted by Helen Fielding’s Bridget Jones columns in the 1990s are now probably of the age where the menopause is, or has recently been, a bigger concern than landing your own Mr Darcy. Which is why Bridget Christie’s The Change (Channel 4) has arrived with ideal timing.

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Best Interests, BBC One review - a family feels the unbearable strain of terminal illness

Adam Sweeting

This is possibly not ideal viewing for a spell of sunny weather in June, but Jack Thorne’s drama about a family trying to cope with a terminally ill child is as compelling as it’s painful. Sharon Horgan and Michael Sheen star as parents Andrew and Nicci, and Best Interests probes their private agony in piercingly intimate detail, but the focus also pulls out to encompass prickly issues of ethics, morality and the labyrinthine innards of the NHS.

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Succession Season Four finale, Sky Atlantic review - a glorious bonfire of the vanities

Helen Hawkins

Hey-hey! Alright! The standard greeting of Kendall Roy will be much missed, along with all the other regular joys of Succession. It wasn’t always 100% perfect, thank goodness, it was all too human: changeable, moody, ultimately self-serving, just like its characters, especially as it powered to a climax.

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Steeltown Murders, BBC One review - eloquent true-crime drama about tracking a serial killer 30 years on

Helen Hawkins

The thought of yet another primetime true-crime series might weary the soul, even if it has been created by Ed Whitmore (Manhunt: Martin Clunes heading two cases as DI Colin Sutton), directed by Marc Evans (Hinterland: Wales’s contribution to modern noir) and stars Philip Glenister. More rapes and murders of young women from the archives? More cops with typewriters and a drinking habit being poorly led by myopic superiors?

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Hannah Gadsby, Netflix special review - shaggy dog story of marital bliss

Veronica Lee

Hannah Gadsby had a memorable lockdown; it was when the Tasmanian comic got together with producer Jenney Shamash. And it's their courtship that forms the basis for Something Special, the wonderful new show by Gadsby which is now a Netflix special, recorded at the Sydney Opera House.

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Ten Pound Poms, BBC One review - a new life in the Great Southern Land

Adam Sweeting

The Ten Pound Pom programme (or to use its official title, the Assisted Passage Migration Scheme) was devised to encourage British emigrants to Australia after World War Two. The idea was that the volunteers could escape from drab, rationing-battered Britain to the sun, sea and wide-open spaces of the Great Southern Land, while also helping to boost the Australian economy. Adults paid 10 quid and children travelled free.

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Dalgliesh, Series 2, Channel 5 review - more gory cases for PD James's brooding poet-detective

Helen Hawkins

When young Morse went speeding off in his Jag at the end of the Endeavour finale earlier this year, the road was left open for another, zootier Jag to zoom in, the racing green E-type belonging to DCI Adam Dalgliesh of Scotland Yard. 

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Colin from Accounts, BBC Two review - winning mix of great performances, nuanced writing and a cute dog

Helen Hawkins

As Australia's greatest comedic export exits the stage, strewing gladioli, a promising contender for that title makes an entrance, trailing a dog on wheels. The dog is the titular Colin from Accounts, for the few who still haven’t tried this exceptional, refreshingly mature comedy. 

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Fatal Attraction, Paramount+ review - Adrian Lyne's bunny-boiler blockbuster expanded onwards and outwards

Adam Sweeting

Directed by Adrian Lyne, Fatal Attraction was the biggest-grossing film of 1987, and gave the world the term “bunny boiler”. Lyne isn’t aboard for Paramount’s new eight-part series, but the film’s screenwriter James Dearden is a major script contributor alongside the show’s creators Kevin J Hynes and Alexandra Cunningham.

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Citadel, Prime Video review - did Amazon really pay $300m for this?

Adam Sweeting

The Russo brothers, makers of Amazon Prime’s much-hyped, $300m new spy drama, decided to keep the concept simple – it’s Good versus Evil. In the Good corner we have Citadel, a super-secret global spy network which has the modest ambition of keeping everybody, everywhere in the world, safe.

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