Benji Wilson

This is subtle, masterful storytelling, superbly allied with nail-biting, at times almost unbearable, drama.

Brothers isn’t really good. .... Harrelson and McConaughey on screen together do have a magnetic energy, a friendship that works because it’s real. Sorry: “real”. Or whatever “real” means in the slipstream of TV shows like Brothers.

Makes you wonder whether the executives who bought the rights to the Dahl catalogue in 2021 for an estimated £500m have read the books. .... Gene Wilder appears only as a creepy AI-generated voice. .... The actual challenges in Wonka’s The Golden Ticket are largely anodyne.

With MobLand it’s best just to wait for the daft scenes to pass and enjoy the ride.

Everything is heightened, which is both a compliment – this is by some way the most glamorous butchery I have ever seen on screen – and a criticism (because it’s questionable whether murder should ever look this cool).

It’s never less than delightful, at times rather wonderful… but I haven’t seen the final episode.

Vigil broadly succeeds, because its central characters are credible and well played. You stick with the show, as daft as it sometimes gets, because you want to stick with its leading ladies.

It’s not showy in a book-club bore way, but there’s a layer of sophistication available to those who choose to indulge.

New Ted Lasso is the same as old Ted Lasso: a surprisingly delicate balance between the sickly-sweet and the smutty that leaves you marvelling at how they keep getting away with it.

Stuart Fails to Save the Universe is both quite clever and quite irritating, but it fails to save the sitcom because it is rarely laugh-out-loud funny. Not in this reality, anyway.