Rachel Aroesti

Charly Clive and Ellen Robertson, who have performed together for a decade as the sketch duo Britney, are enjoying new television visibility through Clive’s role in HBO’s Rooster and Robertson’s role in Netflix’s Vladimir. Despite the increased profile, they continue to make meticulously crafted, deliberately niche live comedy, bringing Holy Mackerel! and the play Jitters to the 2026 Edinburgh Fringe. The pair trace their partnership to school, where they bonded over shared comic instincts, and describe how Clive’s brain-tumour diagnosis inspired their original Britney show, which became a word-of-mouth hit. A BBC pilot based on it was not commissioned, but their subsequent US television opportunities have helped establish them professionally. They now view Britney as a joyful passion project rather than a route to fame, prioritising the intimacy and creative freedom of live performance over social-media reach or mainstream critical approval.

Ted Lasso returns for a fourth season after Ted leaves Kansas and agrees to manage AFC Richmond’s struggling women’s team in London. The season retains the series’ positivity, sentimentality and polished comic formula, but its contrived premise, football inaccuracies and lack of realism may frustrate viewers. The shift to women’s football introduces more serious issues, including underinvestment, injury, pregnancy, motherhood and gender bias in coaching, yet the review finds that the first four episodes do not build enough dramatic tension or sufficiently develop the new team. Fans of the show’s wholesome tone are likely to be reassured, while those seeking gritty realism may be disappointed.

Paddy Young discusses his rapid rise after joining Saturday Night Live UK, where he co-hosts Weekend Update with Ania Magliano and is expected to reprise his impersonation of new prime minister Andy Burnham. He also recounts a serious hand injury involving a samurai sword prop, his recovery, and the anxiety and self-doubt that persist despite his growing profile. The interview traces his path from Scarborough and early acting work to stand-up, viral sketches with Ed Night and a new advice podcast, while highlighting his jokes about precarious work, flatshares and the cost of living in London. SNL UK has brought financial security, wider recognition and major online reach, although Young remains concerned that his success could be temporary.

Critics select television’s happiest and most emotionally satisfying endings, highlighting finales from 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 favor hopeful resolutions, lasting friendships, romantic reunions, personal fulfilment and affectionate closure, while noting that some endings—especially Hacks—reach happiness only after darker or more painful developments.

Will Ferrell’s new Netflix series The Hawk attempts to revive early-2000s-style broad comedy through an underdog sports narrative but suffers from dated humor, overlong gags, and an absence of sharp satire. Characters such as Lonnie Hawkins rely on crude jokes and exaggerated traits that feel misaligned with current comedic sensibilities, while the show’s lack of thematic focus leaves its retro appeal inconsistent. Despite Ferrell’s energetic performance, the series fails to land significant comedic moments or meaningful commentary, resulting in a flat and unfocused return to a bygone comedic era.

Sue Johnston discusses her role in the new BBC comedy Ann Droid, reflecting on fame, aging, companionship and the loneliness that can accompany later life. She praises Diane Morgan’s writing and performance, noting parallels with Caroline Aherne’s humour and warmth. Johnston recalls key moments from her long career, her continued fears about work drying up, and the generational shift that has enabled more substantial roles for older actors. The interview also touches on changing attitudes toward technology and AI, the enduring impact of past collaborations, and the emotional legacy of her friendship with Aherne.

The final season of The Bear delivers an intense, chaotic depiction of what may be the restaurant’s last service, combining stressful calamities with moments of dark comedy and emotional resolution. The series is framed as a hallmark of the streamer era, celebrated for its thematic ambition while occasionally veering into self-indulgence. As Carmy resigns and Syd takes over amid financial uncertainty, the team battles a cascade of crises that highlight both their dysfunction and resilience. The show balances anguish with humour, culminating in hints of a cathartic conclusion that reinforces its reputation for blending tragedy, comedy and character-driven storytelling.

A second series of Funboys follows three hapless friends in a fictional Northern Irish town as they stumble through absurd adventures, with its comedic strength rooted in exaggerated melodrama, mock earnestness and satirical pastiche of cosy film and TV styles. Strong performances, including a cameo by Steve Coogan, support the show’s layered comic structure and gleefully ridiculous tone.

Naomi and Lisa-Kaindé Diaz return with a self-directed fourth album that blends their Cuban heritage, Parisian influences and multilingual vocals into a vivid mix of lore, harmonies, bass and distortion. Themes of independence shape both the music and lyrics, as the duo refine their signature balance of mysticism and grit across tracks such as Baba, Olokun and Moshpit. The album’s standout moment arrives with the vocal interplay on Good Life, underscoring the project’s confidence and cohesion.

Algorithm-driven platforms have eroded personal taste by shaping cultural consumption through homogenized, optimized content, leaving people unsure of their own preferences. Creatives and commentators highlight the resulting loss of individuality and the rise of marketing tactics that simulate authentic enthusiasm online. Tech leaders increasingly promote taste as a distinct human advantage while adopting cultural aesthetics to gain legitimacy. Amid growing fatigue with algorithmic feeds, niche, human-curated platforms and analogue practices are resurging as people seek authentic, self‑directed experiences. Returning to offline exploration and embracing constraints are presented as ways to reclaim personal taste and identity.

A review praises the documentary Brexit: A Very British Civil War for transforming the turbulent lead-up to the Brexit referendum into an entertaining, gossip‑filled account driven by high‑profile political figures. The film highlights infighting within the Leave and Remain camps, colourful anecdotes from major players including Farage, Johnson and Cameron, and the chaotic dynamics that shaped the final vote. Although the programme’s irreverent tone trivialises a serious political moment, it is described as irresistibly lively and sharply assembled, ending with a sense of looming post‑referendum disorder.

A selection of new and notable podcasts highlights a series exploring political influence on football, an investigation into Reform UK’s funding model, a show covering cultural angles in US sports, a retrospective on Himan Brown’s radio horror anthology, and a true‑crime series examining hate‑motivated cases with expert analysis.

The review describes Emma Barnett’s documentary on endometriosis, highlighting the severe and often dismissed suffering endured by women with the condition. Through personal diaries and interviews with other sufferers, Barnett exposes long diagnostic delays and inadequate treatment options. She challenges medical and political leaders on the lack of research funding and systemic minimisation of women’s pain, pressing former health secretary Wes Streeting for concrete commitments. The programme underscores the massive economic impact of endometriosis and calls for greater recognition and investment, even as millions continue to suffer without effective solutions.

A selection of new podcasts highlights Strictly Come Dancing hosts Anton Du Beke and Craig Revel Horwood’s opinion-led series, an examination of global toxic masculinity from BBC World Service, W Kamau Bell’s video podcast adaptation of his Substack, an interior‑design chat show, and an Audible documentary exploring unconventional crime‑prevention strategies.

Nish Kumar reflects on challenging fellow comedians over their participation in events linked to Saudi Arabia and criticizes the cultural‑washing of repressive regimes. He discusses his role as a left‑wing comic, his growing international profile, and the political nature of his material. The interview explores his career trajectory, past culture‑war controversies, and his commitment to integrity, including rejecting lucrative opportunities that conflict with his principles. Kumar also examines the ethics of comedy in a time of global instability while preparing for his new tour.

A selection of notable new podcast releases includes Anita Rani’s series spotlighting influential women, opening with a conversation with Meera Syal; a Slow Burn season examining US supreme court justice Neil Gorsuch; Drilled’s investigation into Bruce Rastetter’s carbon‑capture business; a literary travelogue following Namwali Serpell’s tour discussing Toni Morrison’s work; and an investigative series pursuing a figure linked to dangerous cross‑channel smuggling operations.

Sam Campbell’s surreal new Channel 4 series Make That Movie showcases his instinct-driven, eccentric comedic style through a show‑within‑a‑show about a delusional film director bringing bizarre public ideas to life. Campbell discusses the creative freedom behind the project, the trust of collaborators, and his evolution from Australian standup to a major figure in UK alternative comedy through successes such as Taskmaster and Last One Laughing UK. The series blends chaotic filmmaking parodies with an ensemble cast of fellow comics, drawing on influences from cult British comedy and notorious film productions. Embracing oddity as a creative principle, Campbell aims to deliver television that rewards audiences who appreciate unconventional humour.

Saturday Night Live UK’s first season is praised for its inventive and often provocative sketches, with standout performances from cast members Jack Shep and Emma Sidi and appearances by guest hosts including Tina Fey and Riz Ahmed. Highlights include satire of British culture, internet frustrations, royal family conspiracies, and reality‑TV parodies, showcasing a mix of surrealism and sharp social commentary. The show’s success has secured its return for a longer run in the autumn.

Beth Orton reflects on her musical beginnings, creative process and early influences, including David Bowie and John Martyn, while discussing challenges in sustaining a career outside the mainstream and her concerns about AI diminishing human artistic expression. She describes notable collaborations, the evolution of her past albums and her ongoing commitment to making emotionally resonant music. The interview highlights personal anecdotes, from memorable live encounters to formative studio experiences, and conveys her preference for focusing on new work rather than unreleased material from her past.

The second series of Amandaland follows Amanda Hughes as she pursues social‑media notoriety through increasingly desperate stunts, softening her once‑antagonistic persona into a more sympathetic figure. While the show lacks the sharpness of Motherland and leans on predictable sitcom conventions, strong performances from Lucy Punch, Joanna Lumley and Philippa Dunne provide emotional warmth. Familiar character dynamics and satisfying plotlines help offset formulaic elements, making the series a comforting and enjoyable return.

The review examines the second series of Channel 4’s Virgin Island, a reality show in which adult virgins participate in an intimacy retreat involving therapeutic sexual experiences. While the series features diverse personal backgrounds and continues to avoid typical reality TV drama, its emphasis on kindness and personal growth makes it distinct. Despite slow pacing and minimal entertainment value, it is portrayed as heartwarming due to the participants’ relief and confidence gained through therapy, contributing positively to the reality TV landscape.

A visually striking and stylistically ambitious crime drama, Mint follows Shannon’s doomed romance and the unraveling of her gangster family, blending surreal aesthetics with themes of trauma, loyalty and betrayal. Strong performances and inventive direction elevate the series, though its emotional resonance and genre subversion may feel limited for those fatigued by crime narratives.

A low‑budget reboot of TFI Friday shifts from YouTube to Channel 4, offering nostalgic musical performances but failing to recreate the original show’s energy or cultural impact. Chris Evans maintains intensity as host, though interviews feel shallow and the production resembles a visualised podcast more than a polished chatshow. Appearances from musicians including Shreya Ghoshal and Jack Savoretti provide highlights, but missing guests and limited content leave the revival feeling cosy yet insubstantial, appealing mainly to a niche audience.

The second season of Big Mood shifts from its nuanced portrayal of bipolar disorder to a farcical storyline centered on the damaged friendship between Maggie and Eddie. With Eddie under the influence of a manipulative wellness guru and Maggie attempting to expose the grift, the plot becomes less believable and less emotionally resonant. Despite occasional dramatic depth and strong performances, the show’s focus on broad comedy and a toxic central relationship undermines its ambitions.

Holly Humberstone’s second album shifts from the gothic melancholy of her debut to an upbeat, synth‑driven pop sound featuring euphoric choruses and nostalgic influences. The production is praised for its cool, knowing polish, with standout tracks such as To Love Somebody and White Noise showcasing her crowd‑pleasing instincts. Despite occasional clumsy lyrics, the album’s energetic direction and melodic strength suggest strong potential for her long‑term success as a pop artist.