Lucy Mangan

The documentary examines Lisa Hayden-Johnson, who was convicted of child cruelty after subjecting her son Matthew to hundreds of medical encounters and unnecessary treatments while claiming he had numerous illnesses. It gives Matthew and his sister Laura an opportunity to describe the lasting damage caused by their childhoods, and usefully challenges sensationalist tabloid portrayals of Lisa as simply “Britain’s Most Evil Mum.” However, the programme does not sufficiently investigate why medical professionals failed to act sooner or press Lisa on her continuing denial. The review concludes that Matthew and Laura deserved more accountability from their mother, the professionals involved and the documentary itself.

The Guardian review examines The Great ADHD Myth?, a Channel 4 documentary presented by psychiatrist Max Pemberton, which questions whether ADHD is a distinct neurological disorder, whether stimulant treatment is overused, and who benefits from rising diagnoses. The programme presents sceptical medical views, follows Pemberton through a private assessment and medication trial, and documents 10-year-old Mason’s six-week break from medication alongside lifestyle changes. Mason appears happier and more himself but becomes harder to manage at school, eventually returning to medication after poor exam results. The review finds the documentary provocative but broadly convincing, endorsing lifestyle changes, flexible schooling and medication as a last resort.

Bear Grylls takes actors from the Christian drama The Chosen on manageable survival challenges in the Utah desert while discussing faith. The review finds the series soothing, funny and unexpectedly moving, especially in its depiction of confident men expressing gentleness and vulnerability without competitive posturing. Luke Dimyan’s episode is singled out for its warmth and authenticity, while later episodes feature Paras Patel, Elizabeth Tabish, Jonathan Roumie and Dallas Jenkins. The reviewer also questions Grylls’ continued stance on not judging people after his appearance at Russell Brand’s baptism, given the allegations and charges against Brand.

Alley Cats, Ricky Gervais’s six-episode Netflix cartoon about a gang of homeless cats, is criticized for relying heavily on repetitive genital jokes, profanity, nihilism and deliberately provocative material. The review finds occasional promise in the voice cast, the character of Ponce and a few glimpses of Gervais’s ability to explore male vulnerability, but argues that the sentimental family and mortality themes are poorly earned. Overall, the series is judged lazy, crude, boring and far below the standard set by Gervais’s earlier work such as The Office and Extras.

Possession follows Claudia, a biracial lawyer sent to Jamaica to challenge an unexpected inheritance left to the mysterious Cudjoe East, while investigating a plantation house connected to her nightmares. Its dual timeline links a present-day inheritance dispute with the history of enslavement, rebellion and colonial violence on the estate. The review praises the series’ atmospheric horror, its examination of inherited guilt, exploitation and reparations, and its performances, but argues that the supernatural elements may obscure the historical suffering and that the drama does not pursue its important questions far enough to be fully satisfying.

Ryan Murphy’s adaptation of Bret Easton Ellis’s novel is presented as a welcome return to form. Set among privileged Los Angeles teenagers in the 1980s, the series combines a serial-killer investigation involving the Trawler with themes of sexual discovery, AIDS-era anxiety, betrayal and fading youth. The review praises its meticulous visual style, period fashion, soundtrack and nostalgic atmosphere, while highlighting strong performances from Igby Rigney, Kaia Gerber and Homer Gere.

The review finds Celebrity Hunted to be gloriously chaotic, mocking the contestants and hunter team for their repeated incompetence and apparent willingness to reveal their locations. A few surveillance successes offer brief reassurance before raising concerns about how extensively ordinary people are monitored. The programme’s chaotic entertainment is ultimately contrasted with sincere, emotionally powerful cancer testimonies supporting Stand Up to Cancer, which the review praises for their dignity and fundraising purpose.

Lucy Mangan humorously reflects on a week marked by wildfires in Europe, imagining whether a helicopter or a wealthy partner with a bunker offers better protection from disaster. She mocks the takeover of former Little Chef venues by sex-toy retailer Pulse & Cocktails, jokes about train passengers’ anxiety over unreliable toilets amid possible driver strikes, and marvels at injured hiker David Cifaldi’s decision to descend a Montana mountain with a walking pole through his chest. She closes by examining the contradictions of tradwife culture, which presents traditional domesticity while relying on online monetisation, personal branding and women’s entrepreneurial labor.

Lucy Mangan criticizes Channel 4’s three-part true-crime documentary Don’t Date Brandon for being slow, shallow and voyeuristic. The programme follows Amber Rasmussen and Athena Klingerman as they uncover Brandon Johnson’s extensive lies, including fabricated messages, false cancer claims, deception about his work and a hidden relationship with another woman. The review argues that the first episode provides too little detail about the psychological effects of coercive control, making the victims’ experiences appear inexplicable rather than showing how manipulation gradually erodes trust and autonomy. Johnson was charged with assault and attempted kidnapping with intent to commit rape, accepted a plea agreement and is serving a 10-year state-prison sentence, with parole eligibility the following year.

The Guardian praises Furious as a sophisticated, highly entertaining eight-part crime thriller driven by female rage. Created by Elizabeth Meriwether, the Disney+ drama follows FBI agent Alice Black as she investigates staged deaths linked to a female serial killer, a sex-trafficking network and powerful men who have escaped accountability. The series combines a cat-and-mouse thriller with a character study of how women respond to trauma, emphasizing emotional devastation over graphic violence. Its themes are presented as newly plausible in light of revelations surrounding Epstein’s network, while also questioning whether institutions can meaningfully confront entrenched abuse.

The Guardian’s review finds this adaptation of Liz Jensen’s 2010 novel strikingly relevant to a UK facing record heat, political extremism and anxiety about the future. Psychotherapist Gabrielle Fox, traumatised and paralysed after her husband’s death, investigates teenager Bethany Krall’s apparent prophetic visions and her conviction for murdering her mother. The drama explores grief, guilt, mental illness, climate fears and religious fervour, with strong performances and several effective intimate scenes. However, the first two episodes are judged chaotic and thematically overloaded, leaving the series at risk of frustrating viewers unless its remaining episodes become more focused.

The review argues that Boris Johnson’s presence overwhelms and discredits a Channel 5 documentary about Ukraine’s frontline. His attempts at soldierly camaraderie, awkward handling of wartime equipment and shallow geopolitical commentary turn what might have been a serious account of the conflict into another version of his self-promotional persona. The review concludes that Johnson’s disputed role in persuading Kyiv to continue fighting after the 2022 Istanbul talks gives the programme an especially troubling moral dimension, and that it should not have been broadcast.

A humorous and sharply critical review of the National Geographic docudrama Pompeii: Out of Time With Tom Hiddleston, describing its emotionally overwrought presentation, heavy reliance on dramatic acting, and cringe-inducing narration. While acknowledging the documentary’s entertainment value and potential appeal to younger or less cynical viewers, the critique highlights its excessive sentimentality, melodramatic reenactments and Hiddleston’s relentless earnestness throughout.

A collection of writers revisits the happiest endings in television, highlighting finales from comedies and dramas including The Marvelous Mrs Maisel, 30 Rock, Detectorists, Derry Girls, Hacks, Only Fools and Horses, Brooklyn Nine-Nine, Sex and the City, Parks and Recreation, Mr Inbetween, The Leftovers and Gavin and Stacey. The selections emphasize emotional closure, friendship, romance, personal achievement, historical hope and the pleasure of seeing beloved characters receive fitting send-offs.

Netflix’s documentary recounts the Anaheim Craigslist case, in which threatening messages, false identities and rape fantasies led to the arrest of Michelle Hadley, whose charges were later dropped. The film examines the alleged victims, perpetrators and investigative failures while raising broader concerns about online anonymity, police inaction, sexual violence and cultural myths that leave women vulnerable to manipulation and predation.

Channel 4’s Secret Lives of Gypsy Wives is praised for the humor, energy and affection of Trewley Precious and her family, who are compared playfully with a working-class, Traveller version of the Kardashians. The series follows their close-knit family life, shared grief after Sidney’s death and Trewley’s ambition to build an empire rather than follow traditional expectations of marriage and motherhood. Beneath the exuberance, it exposes poverty, dependence on benefits and the limited opportunities facing residents of their estate, giving the show a darker social dimension.

A warm, visually appealing adaptation of Elin Hilderbrand’s novel follows five women gathered on Nantucket for a healing weekend orchestrated by Jennifer Garner’s Hollis after her husband’s death. Blending light drama, humor, and emotional revelations, the series focuses on female friendship, personal crises, and gentle escapism. Despite a familiar narrative, it offers refreshing attention to middle‑aged female characters and delivers a pleasant, comforting viewing experience.

A charismatic assassin’s botched assignment collides with her best friend’s personal crisis, setting off a chaotic mystery anchored by the chemistry between Hannah Waddingham and Octavia Spencer. The story uses its middle‑aged protagonists to explore themes of invisibility and midlife frustration while delivering action, humor and emotional depth. The series is praised for its performances, mature character focus and playful reinvention of the comedy‑thriller format.

A five‑part BBC nature documentary positions Chris Packham as David Attenborough’s successor, blending scientific depth with accessible explanations and a sense of wonder. Episodes explore evolutionary adaptations in animals such as elephants, bats, dolphins and horses, grounding each narrative in fossil evidence and biological principles while avoiding teleological framing. The series is praised for rekindling childlike curiosity and inspiring young viewers with its engaging presentation of life’s evolutionary journey.

A review of the crime drama The Dark praises its chilling atmosphere, Highland setting and compelling investigation led by DI Monica Kennedy. Strong performances, gothic elements and an intriguing mystery involving a series of murders and disappearances distinguish the series despite occasional narrative leaps and minor tonal missteps. Its bleak style, character depth and growing roster of suspects set up a tense and engaging progression as the story unfolds across six episodes.

A humorous weekly reflection covers coping with a heatwave, the author's mock proposal of a “Crone Law” mandating cotton clothing, the opening of a specialist romantasy bookshop in Oxford, irritation at Taylor Swift’s private wedding and the sale of related souvenir trash, national delight in Arthur Fery’s unexpected Wimbledon run, and the author’s family debating whether to attempt cycling despite lacking skill or motivation.

A modern reboot of Little House on the Prairie adapts the 19th‑century settler family saga for contemporary audiences, blending nostalgia with updated character depth and more inclusive storytelling. The series introduces greater emotional complexity, acknowledges historical tensions through supporting characters, and maintains a comforting, idealised tone where problems resolve quickly and faith and community prevail. The production is described as polished and formulaic yet effective, offering viewers a warm, sentimental escape.

A documentary advocating a UK wealth tax falters due to Gary Stevenson’s unconvincing presentation and inability to respond to challenges from interviewees including wealthy investors, landowners, and tax specialists. Critiques emphasize his emotional approach, lack of rigorous argumentation, and missed opportunities for deeper exploration of inequality and taxation, resulting in a disappointing and ineffective programme.

A review of the documentary series Katie Price: Nothing to Hide criticizes its lack of insight despite Price’s trademark candour. The film includes interviews with family members and former partners but avoids deeper examination of her life, choices, or the misogynistic culture surrounding her career. The documentary is described as carefully manufactured and unreflective, offering revelations without meaningful introspection.

A reality series placing six strangers in an Amish community is criticized as heavily manufactured, filled with staged conflicts and implausible scenarios involving both participants and their Amish hosts. The show’s setups, casting choices, and dramatized interpersonal tensions are depicted as artificial to the point of undermining authenticity or insight, leading to a portrayal that feels exploitative and unconvincing.

A prequel series to Legally Blonde follows teenage Elle Woods in 1990s Seattle, with Lexi Minetree capturing the charm of the original character. Despite strong performances and moments of appeal, the show suffers from a dull aesthetic, trope-driven writing, and a lack of the camp energy that defined the film, resulting in a watchable but underwhelming adaptation.

A review criticizes the Netflix true‑crime series Worst Neighbor Ever for presenting real tragedies in a shallow and exploitative manner. Though each episode covers harrowing events involving dangerous neighbors and devastating losses, the series is faulted for failing to investigate systemic issues such as policing failures, mental health, or societal factors. The critique argues that the show offers little beyond shock value and lacks the depth found in stronger true‑crime documentaries.

A review of the documentary Rolf Harris: Primetime Predator recounts Harris’s rise as a television personality and the decades of sexual abuse he committed, culminating in his conviction following Operation Yewtree. The film details how his fame, institutional protection and public trust allowed him to evade accountability, while victims describe long-term trauma and systemic failures. Archival footage and new testimony underscore the extent of his misconduct and the lasting damage inflicted on survivors.

Larry David’s series Life, Larry and the Pursuit of Unhappiness is criticized for repetitive sketches, weak comedic execution and overreliance on familiar material, despite a strong opening cameo by Barack Obama. The show’s historical skits, including portrayals of figures such as Rosa Parks and Alexander Graham Bell, fail to deliver impactful humor, relying instead on nostalgia and diluted versions of David’s usual persona. Performances by guest stars including Jerry Seinfeld and Jon Hamm do little to elevate the series, which is described as a significant disappointment aside from its polished introductory segment.

A documentary on Rik Mayall blends affectionate celebration with moments of sorrow, tracing his influential roles in alternative comedy and exploring his partnership and later rift with Ade Edmondson. Interviews with colleagues, including Ben Elton and Stephen Fry, highlight both his creative brilliance and personal struggles, while Edmondson’s lingering regret adds emotional weight. The film captures Mayall’s enduring impact and the deep fondness felt by those who worked with him.

A review of the Netflix documentary series The American Experiment describes its five long episodes on early US history as earnest, informative and heavily bipartisan but also overly cautious and occasionally dull. Featuring commentary from major political figures across party lines, the series aims for balance while tracing the nation’s founding and its evolving ideals. Despite its educational value, the production is portrayed as somewhat tedious and self-consciously wholesome, though it highlights the ambitious vision of the founding era and reflects on the trajectory of American democracy.

A documentary follows Jon Snow as he confronts Alzheimer’s while investigating a major toxic‑waste disaster in Zambia. Guided by family and activists, he helps expose a mining‑related environmental catastrophe, demonstrating undiminished empathy and journalistic instinct despite his declining memory. The film honours his career and character, offering a moving portrait of courage and dignity.

A four-part documentary recounts how Amanda Riley fabricated a terminal cancer diagnosis to solicit donations from her church community and acquaintances, ultimately prompting an investigation driven by a suspicious former friend and a television producer. The case escalated to IRS involvement and resulted in a five‑year sentence. While the story is inherently compelling, the review argues that the documentary suffers from excessive length, formulaic storytelling and limited insight into Riley’s motives.

A documentary fronted by Chris Packham examines the rise of parakeets in the UK and questions whether they meaningfully disrupt native species or simply trigger cultural biases. While individual complaints range from crop damage to competition for nesting sites, broader scientific consensus suggests minimal ecological harm, though concerns remain about potential agricultural impacts as populations grow. The film also highlights inconsistencies in attitudes toward non-native wildlife, contrasting reactions to parakeets with widespread acceptance of pheasants and Canada geese. The review praises the documentary’s thoughtful approach and light touch in exploring parallels with human immigration debates.

A US remake of Doc Martin, renamed Best Medicine, relocates the story to Maine and softens the original’s tone while retaining its comforting formula. Josh Charles plays the prickly doctor whose interactions with the town’s quirky residents drive gentle medical mysteries and relationship arcs. Despite being predictable, the series is praised as warmly executed, soothing, and satisfying in its celebration of small‑town life.

A critical review of the series Alice and Steve condemns its premise of a man dating his best friend’s much younger daughter as unconvincing and poorly executed, faulting the writing for avoiding meaningful exploration of its uncomfortable dynamics. Performances are described as uneven, with Jemaine Clement appearing embarrassed and Nicola Walker constrained by shallow characterization, while a secondary teen storyline is noted as more authentic but disconnected. The series is portrayed as dated, lacking depth, and failing to earn its emotional beats or narrative resolutions.