Stuart Heritage

While everything else about The Paper feels like a naturalistic workplace comedy, Impacciatore’s Esmerelda is big and broad and loud. .... There are, quite honestly, not enough awards in the world to give her. The Paper is also becoming a masterclass in the sort of will they/won’t they romantic storylines that tend to propel US sitcoms to the big leagues.

For now, the trio makes for a decent, if slightly anonymous, presence. .... This is probably the right way to do it. The returned Grand Tour feels deliberately low stakes, as if all involved have realised that the best way to grow an audience is to simply let the show develop at its own pace.

As things stand, Clarkson is now a man with his own gravitational pull. But Clarkson’s Farm works best when it forgets all the distractions and remembers to get its fingernails dirty. A little more of that would go a very long way.

Richie and Mikey wind up in a bar, where we’re treated to lots and lots (and lots) of sequences of Richie being gregarious and Mikey being soulfully depressive. Things soon pick up, but it leaves the sense that Gary is a great 30-minute episode of television trapped inside a fitfully mediocre 60-minute one. One scene, though, just about makes up for this. .... You have to weather a fair amount of self-indulgence to get there, but it’s a wonderful scene that should go down as one of The Bear’s greatest moments.

For novices, This Is a Gardening Show is perfect. It’s funny, looks beautiful and brims with such unalloyed enthusiasm that you can’t help but fall in line. I’m already making plans to show this to my kids. If it lands as hard as I think it will, the next generation of gardeners starts here.

The codependent venom of old has long since been replaced by an easy-going chumminess, which has defanged the show considerably. There’s still lots of fun to be had, but rarely does it feel like you’re watching the Hacks of old.

What’s so refreshing here isn’t just that the four-episode revival is so brief and self-contained, but that it manages to feel authentic to the original without being a simple facsimile.

Somehow these two poles – deliberately silly comedy and volcanic fury – manage to blend into a show that’s just as watchable as Scrubs ever was. May it run and run.

The star of this show is Cowell and Cowell alone. The group – all the identically haired 16-year-olds who did most of the work – are presented as an afterthought.

Many of these allegations are addressed in Sean Combs: The Reckoning. And while this means that the series isn’t a pleasant watch, it does feel like a grimly necessary one. Over the course of four episodes, the director, Alexandria Stapleton, paints a pattern of behaviour that starts to feel horribly inevitable.