Emily Baker

Disney’s live-action Moana is described as a nearly identical remake lacking artistic purpose, reflecting the company’s growing reliance on formulaic reboots instead of original creativity. While performances and visuals are competent, the film is portrayed as a symptom of Disney’s risk-averse corporate direction, contrasted with Pixar’s more innovative output. Despite isolated bright spots in upcoming projects, the overall outlook for Disney’s creative revival is presented as bleak.

A selection of emotionally resonant television series across major streaming platforms highlights stories ranging from bittersweet romances and true crime injustices to depictions of poverty, medical strain and family reunions. Each show delivers powerful emotional experiences through strong performances and impactful storytelling, offering viewers a variety of compelling tear‑jerkers to stream.

A TV editor argues that ITVX has evolved into the best streaming service in the UK, offering extensive free content supported by ads. Despite previously lagging behind competitors, ITVX now provides a wide range of series and films, including titles also available on paid platforms. Its optional low-cost premium tier adds more classic shows and offline viewing. With a robust catalogue spanning popular dramas, nostalgic series and major film franchises, the platform is presented as a superior and cost-effective alternative to its subscription-based rivals.

A selection of new and returning TV series arriving across major streaming platforms in July, spanning documentaries, dramas, comedies and thrillers. Highlights include a Legally Blonde prequel on Prime Video, a Katie Price documentary on Sky, a new adaptation of Little House on the Prairie on Netflix, crime dramas such as The Westies and Lucky, ensemble-led series like The Five-Star Weekend, and a feature-length Heartstopper finale. Additional releases include Tom Hiddleston’s Pompeii docudrama, the comedy Ann Droid, the Scottish thriller The Dark and a new season of Channel 4’s cyber‑espionage series The Undeclared War.

Antonia Thomas discusses the emotional dynamics and character motivations behind the finale of Two Weeks in August, highlighting the complexities of Jess’s relationships, her unhappiness, and the tensions within the friendship group. She explains key scenes, including the confrontation between Jess and Zoe and the strained marriage between Jess and Solomon, while reflecting on themes of self‑honouring and personal compromise. Thomas expresses hope for a potential continuation of the series despite the fractured relationships among the characters.

A critical yet affectionate review of Netflix’s I Will Find You describes the series as chaotic, silly and packed with implausible twists but ultimately entertaining. Strong performances and energetic action sequences help compensate for its shlocky storytelling, making it a watchable option during a slow summer TV season even if it falls short of being a genuinely good drama.

June brings a wide range of new and returning TV series across major broadcasters and streaming platforms, from dramas and documentaries to true crime and sports coverage. Highlights include Russell T Davies’s new Channel 4 drama Tip Toe, a new season of Clarkson’s Farm, a horror adaptation of Cape Fear on Apple TV, and Netflix’s true crime series The Witness. The BBC revives Who Do You Think You Are? alongside documentaries on young men’s wellbeing and the legacy of Brexit. Additional releases include a romcom starring Nicola Walker, a new story within The Light in the Hall, the final season of The Bear, and the return of House of the Dragon featuring the long-awaited Battle of the Gullet.

Russell T Davies discusses his new Channel 4 drama Tip Toe, which explores how online hate and rising homophobia can infiltrate everyday life. He connects the show’s themes to increased hostility toward the LGBTQ+ community and his own experiences of backlash, expressing concern that visibility is being weaponised. Davies reflects on broader societal anger affecting multiple groups and underscores the corrosive impact of extremist rhetoric while maintaining that Tip Toe also celebrates queer joy despite its dark trajectory.

The latest series of Clarkson’s Farm shows Jeremy Clarkson functioning as a fully competent farmer, removing the struggle and mishaps that once made the show engaging. With Clarkson sidelined after a health scare and much of the action handled by others, the series shifts toward filler segments disconnected from farming. The broader dynamic no longer delivers the humour or tension that previously improved Clarkson’s public image. Despite Clarkson’s own doubts about continuing, a sixth season is already confirmed, though the show appears to have lost its original appeal.

A selection of 11 uplifting television shows is recommended across comedy, drama, and reality formats, highlighting series that provide warmth, emotional connection, and positive themes. The list includes heartwarming romances, lighthearted comedies, gentle reality programming, and spirited adaptations, emphasizing joy, friendship, resilience, and personal growth. Several streaming platforms are noted for hosting these series, offering viewers multiple options for feel-good viewing.

A review of BBC’s drama Dear England highlights its nostalgic portrayal of national unity through Gareth Southgate’s leadership during a time of political division. The series contrasts Southgate’s optimistic vision of England with current tensions influenced by far-right activism and party infighting. Combining football and television, the show is described as uplifting and capable of stirring hope ahead of the upcoming World Cup.

Nineteen‑year‑old friends Jo Diop and Kush Burman reflect on their demanding journey in Race Across the World, describing setbacks, cultural challenges and emotional moments as they travel from Europe to Mongolia. Their contrasting personalities strengthen their partnership, helping them recover from early difficulties and return to the front of the competition before the final leg. Encounters with local communities, harsh conditions and personal memories deepen the experience, highlighting their resilience and the supportive bond between them as they approach the race’s conclusion.

Aimee-Ffion Edwards reflects on portraying a victim of serial sex offender John Worboys in the ITV drama Believe Me, emphasizing how the impact of the crimes and institutional failures persists for survivors. The series highlights how victims successfully challenged the Met Police for mishandling their cases and later fought to overturn Worboys’s planned early release. Edwards stresses the systemic issues revealed, the bravery of the women involved, and the continued relevance as Worboys faces another parole hearing. Real victims provided crucial insight to the production, and the drama aims to honour their resilience.

A review condemns Channel 5’s drama Number One Fan for drawing heavily and insensitively on real-life tragedies, including Holly Willoughby’s stalking ordeal and events surrounding Steve Dymond’s death after The Jeremy Kyle Show. The piece argues the series exploits trauma for entertainment without responsibility or care, criticises its narrative choices and character portrayals, and concludes that the show’s attempts at moral resolution fail to redeem its fundamentally parasitic approach.

Rosalía’s opening night of her Lux tour at London’s O2 Arena blended religious symbolism, classical influences and contemporary pop, transforming the concert into a spiritually charged spectacle. Featuring orchestral arrangements, multilingual performances, ballet, flamenco and visual art references, the show emphasised themes of faith, sanctity and self-liberation. Standout moments included devotional staging, operatic interpretations and a symbolic narrative of death and transcendence. Her technical skill and artistic ambition elevated the performance into an intense, near‑religious experience for the audience.

A review praises the TV series The Assembly for its uniquely candid interviews conducted by neurodivergent and learning-disabled interviewers, who elicit unusually honest and emotional responses from celebrity guests. The show’s openness leads to revealing moments with figures such as Nicola Sturgeon, Stephen Fry, Lenny Henry and Anna Maxwell Martin. While celebrities benefit from appearing approachable, the interviewers themselves are highlighted as the true stars, with their distinct personalities and unconventional questions shaping a refreshing and authentic format. The reviewer celebrates the series as groundbreaking and hopes it continues.

Kneecap’s rise to political prominence contrasts sharply with what is described as musically weak output that mixes hip‑hop, EDM and parody elements. Their new album Fenian shows moments of strong political messaging and more mature tracks such as Smugglers & Scholars and Palestine, yet ultimately falls back into juvenile humour, crude lyrics and simplistic production. Despite the reviewer’s criticism of the music, the band’s outspoken support for Palestinian, Irish and Cuban independence and their willingness to challenge political norms contribute to their cultural importance, even if the artistic quality fails to match their influence.

Molly Windsor discusses the climactic events of the Netflix drama Unchosen, detailing Rosie’s moral struggles, her escape from a controlling religious cult, and the dangerous confrontation with Sam. She reflects on Rosie’s sheltered upbringing, her search for truth, and the complex motivations driving both Rosie and Adam. The finale sees Rosie and her daughter reach safety while a time jump reveals Sam’s rise as the new cult leader, raising questions about Rosie’s future and the possibility of further conflict.

Richard Gadd’s series Half Man follows the destructive and abusive dynamic between two stepbrothers, portraying cycles of violence, trauma and internalised homophobia but offering little thematic depth beyond relentless bleakness. Strong performances and a gripping script are overshadowed by graphic brutality that rarely advances the narrative, resulting in a series that feels oppressive rather than insightful. The finale reveals the cause of their confrontation on a wedding day, yet the extreme darkness leaves little space for empathy or meaningful commentary.

A TV editor argues that several widely acclaimed series, including The Sopranos, Grey’s Anatomy, Peaky Blinders, Stranger Things, The Big Bang Theory, After Life, The Bear and Call the Midwife, are overrated. The critique highlights repetitive storytelling, weak writing, excessive nostalgia, tonal inconsistency, and decline in quality over time, noting that iconic status often masks significant flaws. The piece emphasizes that longevity and popularity do not necessarily equate to strong or enduring television.

David Haye’s sexist remarks on I’m a Celebrity… South Africa sparked strong backlash from fellow contestants and raised concerns about normalizing misogyny on prime-time television. ITV was criticized for failing to address or contextualize his comments, instead portraying him sympathetically through its editing and hosts’ reactions. The controversy highlights broader issues around mainstream tolerance of misogynistic attitudes amid rising anti‑women sentiment among younger generations.

Seven Storyville documentaries are highlighted for their compelling subjects, ranging from the lives of renowned volcanologists to the impact of Russia’s invasion of Ukraine, the realities of Alzheimer’s disease, LGBTQ+ persecution in Chechnya, climate-driven displacement in Mongolia, a Japanese journalist’s fight for justice in a #MeToo case, and a Norwegian filmmaker’s confrontation with the rise of the online manosphere. The selection underscores Storyville’s global scope and its focus on powerful, often difficult stories told with depth and emotional resonance.

The review criticizes the new mockumentary Twenty Twenty Six for lacking humour and relevance, arguing that its portrayal of FIFA as merely disorganised feels tone‑deaf given real‑world scandals involving the organization. It contrasts the show unfavourably with earlier series Twenty Twelve and W1A, noting that both FIFA and the BBC now face far more serious allegations that cannot be lightly satirised. The piece highlights recent BBC controversies and FIFA’s contentious actions, concluding that the series avoids meaningful critique and delivers a dull viewing experience.

David Attenborough’s new series Secret Garden highlights the richness of British wildlife by focusing on a riverside garden in Oxfordshire where ducks, voles, kingfishers and other species interact dramatically. The programme emphasises the value of local nature and gentle environmental stewardship while expanding on the approach seen in Attenborough’s earlier Wild London. The series underscores that remarkable natural activity exists close to home and encourages viewers to appreciate and protect the UK's habitats.

David Mitchell wins the second series of Last One Laughing after enduring six hours without laughing as comedians attempted to make each other break. His strongest challenges came from performances by Diane Morgan, Alan Carr and Romesh Ranganathan, while his own musical joker routine became a standout moment. Mitchell describes the experience as surreal and exhausting but ultimately effective due to his disciplined focus, noting he is now free to laugh again after the intense filming process.

Highlights nine acclaimed television series that successfully adapt their literary sources, praising strong performances, faithful or enhanced storytelling, and cultural impact across dramas, romances, historical fiction, and dystopian narratives.

A review of Channel 5’s third series of The Teacher criticises its exaggerated portrayal of cancel culture, using a student’s attempt to reject Shakespeare as a catalyst for conflict. While the storyline satirises modern outrage dynamics, the narrative shifts toward a darker plot involving a transgender student harmed by a teacher’s outburst. The piece highlights pressures within school environments and argues that petty disputes can overshadow real emotional damage.

HBO Max launches in the UK with multiple subscription tiers, offering a large catalogue including Friends, The Pitt, major HBO series, and franchises such as Harry Potter and DC Comics. Some HBO content will remain available through Now, though users who primarily watch HBO programming may save money by switching. The service is positioned as strong value due to its extensive lineup of acclaimed shows and films.

A new homeowner in her thirties recounts how purchasing a house near Manchester has brought unexpected financial strain despite stable incomes. Savings were wiped out by buying costs and ongoing repairs, including faulty guttering, electrical issues and mould. Rising social expenses and household bills add to financial anxiety, forcing stricter budgeting and lifestyle cutbacks. While the home provides happiness and long‑term hopes of starting a family, the financial burden leaves her feeling poorer than ever and wishing she had been better warned about the true costs of ownership.

Celebrity women at the Oscars appeared far thinner than in previous years, reflecting a growing cultural trend reinforced by weight‑loss drugs such as Ozempic. The article argues that the normalization of extreme thinness risks worsening body dysmorphia and harming women’s mental health, while a cultural reluctance to discuss women’s bodies prevents open acknowledgment of the problem. It warns that highly visible celebrity thinness brings these pressures into everyday life and calls for a more honest conversation about its impact.

Claudia Winkleman’s debut chat show is criticised as dull, awkward and poorly suited to her strengths, lacking the warmth and ease associated with Graham Norton’s format. Guest interactions drifted into unfocused or trivial conversations, while forced audience participation and misplaced gimmicks undermined the programme. The review argues that Winkleman thrives in chaotic, unconventional roles and that the show forces her into a structured hosting style that does not fit her abilities, resulting in one of her weakest projects.

Louis Theroux’s Netflix documentary examines the misogynistic online manosphere by spending time with influencers such as Harrison Sullivan, exposing their performative extremism and hypocrisy. The film highlights how financial incentives fuel their rise among young men and reveals the manipulative, often abusive behavior behind their curated personas. Theroux’s calm, empathetic approach ultimately contrasts sharply with the toxic masculinity on display, allowing the influencers’ contradictions and hostility to speak for themselves.