Published by Mason Oldridge, 30 September 2026 We make a long-awaited return to Halstead Manor - and increased international territory - for a second season of Guy Ritchie’s crime drama. Eddie and Susie have expanded their operation into Italy, making connections with mafia boss Marco Moretti, Cico and Bella. Eddie also plots to become a hereditary peer to influence the legalisation of marijuana behind Bobby’s back, who wants the bill to fail. Additionally, Eddie wants to reclaim land lost over generations. Susie starts dating cocaine dealer Joe Green and becomes involved in the industry with Carlos Vargas in Peru, against Bobby’s warning. Meanwhile, Freddy is in rehab and has become a born again Christian under the influence of John ‘The Gospel’ Dixon. As with the previous season, there is a killer first episode, this time trading chicken for tiger as traitorous Cico is fed to one. Mid-season, Bobby has Eddie beaten and left in a shallow grave as punishment for his betrayal, which serves to be a pivotal moment in the escalation of Eddie’s transformation to a more established criminal. Eddie and Bella’s wedding, which comes out of nowhere, is a high stakes one and tension is felt throughout the grand episode. Impending disaster is detected, though this doesn’t stop Bella’s seaplane mid-air explosion from being any less cinematic and devastating. The penultimate episode differs massively in style, feeling like somewhat of a bottle episode as Geoff leads, protecting the estate from mercenaries who encroach on the land. This change of format makes for an enjoyable watch, especially with the inclusion of friendly neighbouring gamekeeper George. In the season finale, Eddie realises that Freddy and John are behind the attacks and enacts revenge. Eddie beats Freddy and comes close to killing him, but spares his life (after pleading from Sabrina) and instead forces him to violently decapitate a bound and gagged John with a chainsaw in a truly gory final scene. A unique element of this show is the unlikeability of most characters, a consequence of featuring a whole range of criminals, though Hugh Bonneville is an excellent (albeit temporary) addition as Lord Hawthorn, facing a moral dilemma and being the only one to call Susie out. With more high-octane action based upon a duke with spiralling rage, this second season is compelling throughout and feels like a British version of Breaking Bad. 9/10

Published by Mason Oldridge, 29 September 2026 Netflix’s latest film takes the form of a teen comedy drama centred around dance. Childhood best friends Maya and Anjali start at UCLA and join the university’s Bollywood-fusion dance team UCLA Agni, which causes tension in their friendship. First of all, the film honours South Asian culture within America respectfully. Casting Maitreyi Ramakrishnan as co-lead proves to be a strong choice as she previously led the cast in Never Have I Ever, which represented Indian-American multiculturalism in a positive light. Other actors of South Asian heritage round out the cast. Furthermore, a majority of the production staff are also of a South Asian background. Maya and Anjali’s relationship becomes strained, primarily because Anjali is attracted to group leader Ronak, but Maya clashes with him over creative differences. As the film progresses, this eventually boils over into a heated confrontation between the two friends as Maya’s insecurities come to light, which Anjali realises upon looking back at memories. Fortunately, the film concludes with the friends reconciling and the group winning the national competition. However, the film succumbs to a simplistic plot. It is fairly easy to see which direction it is heading in and how things will end up, offering up no curveballs or originality and making the film somewhat boring as it loses its grip on its own entertainment value. The film may treat its cultural representation with sensitivity and provide the necessary conflict in order to deliver a satisfactory resolution, though ultimately suffers at the hands of its basic and predictable narrative. 6/10

Published by Mason Oldridge, 28 September 2026 Following on from the previous two Netflix articles, we take a look back at even more of the platform’s Original series from recent years, not reviewed by Audio Visual. Insatiable (2018-2019) In this dark comedy drama set in Georgia, teenager Patty Bladell is bullied for being overweight, until she has her jaw broken in an altercation with a homeless man and is forced to undertake a liquid diet, losing 70 pounds in the process. In court, she is represented by lawyer and former pageant coach Bob Armstrong, who sees in her an opportunity to re-enter the pageant world, unaware of her underlying violent tendencies. This series is so fast-paced that it is difficult to keep up with the shocking twists and turns that come completely out of leftfield, such as Bob’s enemy revealing he has feelings for him and Patty beating her bad boyfriend Christian to death. This leads the series to take an even darker turn as pigs consume Christian’s corpse while Patty and Bob are attempting to dispose of it. The second season sees a murder mystery as fellow pageant girl Roxy is found dead and the Bobs run against each other for mayor, while Patty kills her villainous father Gordy. The series ends with a sinister conclusion as Bob is falsely imprisoned and Patty gleefully confesses to him that she likes killing. Surviving Summer (2022-2023) In this teen drama, rebellious teenager and avid skateboarder Summer Torres is expelled from her high school in Brooklyn and sent to live with family friends in Australia, where she integrates with the local surfing community. In the friendship group is Ari, the son of the family friend, who suffers with panic attacks following a serious injury, Poppy, who feels pressured to follow in the footsteps of her late mother and become a successful surfer, Marlon, whose friendship with Ari is strained after the accident and temporarily joins a rival surfing gang, and Bodhi, whose storylines include dealing with racial inequality and coming to terms with her bisexuality. The second season introduces the Radic siblings Baxter and Wren, throwing a spanner in the works for Summer and Ari’s romantic relationship. The drama isn’t anything gripping, with the show predominantly focusing on surfing, though it grows to become a perfect comfort watch. The Watcher (2022) The Brannock family move into their dream home in New Jersey, only to receive threatening letters from an unknown person, in this horror series based on a chilling true story. Dean and Nora meet their unsettling neighbours: married couple Mitch and Mo and siblings Pearl and Jasper. With the police reluctant to help, they hire private investigator Theodora. Dean meets with a former owner, who claims Mitch and Mo perform blood sacrifice rituals. Dean then finds a man in the house claiming to be the building inspector, who he later suspects to be John Graff, a former owner who massacred his own family and left music playing. Dean also finds footage of himself in bed with a girl, of which he has no knowledge. Dean and Nora further discover that teacher Roger Kaplan ran a school assignment on writing love letters to houses. Furthermore, tunnels are found under the house. The family eventually move out and the series ends with the identity of The Watcher still unknown, as an obsessive Dean pulls up outside the house and meets the new owner, unaware that Nora has followed him. The haunting stories within the plot make this series terrifyingly compelling throughout. Baby Reindeer (2024) Baby Reindeer is a dark comedy drama based on the real life events of creator, writer and lead actor Richard Gadd. Aspiring comedian Donny Dunn works at a pub in London and gives a free drink to an upset customer called Martha. However, Martha begins stalking Donny in person and online, affecting both his relationship with transgender Teri and his comedy career. It appears that Donny somewhat leads Martha on, sending mixed signals by balancing sympathy with anger and also obsessing over her himself, though this might be in order to produce an accurate portrayal of the real life events. The series is depressing and draws similarities to Trainspotting, particularly when Donny is sexually abused by Darrien. On the whole, Baby Reindeer is incredibly unsettling to watch. Sent from my iPhone. No Good Deed (2024) This comedy drama follows three couples in LA each interested in buying a house put up for sale by Paul and Lydia Morgan (Ray Romano and Lisa Kudrow), whose marriage has grown toxic after the death of their son Jacob, which was followed by their daughter Emily moving away. Scenes between the married couple are bleak to watch, though the series shifts focus to Jacob’s death as everything is not as it seems. Jacob was a thief, stealing from other residents to give gifts to flashy neighbour Margo (Linda Cardellini), who he had a crush on. Emily believed that she shot and killed Jacob, mistaking him for an intruder, and the family covered it up, though it is revealed that Margo actually killed him after she rejected him and he threatened to expose her. The series definitely improves upon switching direction and delivers a satisfactory conclusion as the Morgans get their happy ending and Margo is teased to get her comeuppance. Too Much (2025) Girls creator Lena Dunham delivers this romcom series which follows Jessica Salmon, an American who moves to London, believing it to be like the movies but finds herself in a council estate flat, and falls in love with musician Felix. The series evokes the exact opposite effect that a romcom should; instead of being feel-good and heartwarming, it is dire and gloomy. Jessica is a mess following a bad break-up and has emotional issues, while Felix is basically a waster with no stable income. Their relationship is not healthy, sparking various fall-outs and Felix’s infidelity. Even the casting of Richard E Grant and Naomi Watts couldn’t save the show, as cocaine use is treated like a regular and acceptable occurrence. Also addressing further dark subject matter such as sexual abuse and loneliness, this series is as disastrous as the lead relationship that it is based upon.

Published by Mason Oldridge, 12 March 2026 Following on from the previous Netflix article, we take a look back at more of the platform’s Original series from recent years, not reviewed by Audio Visual. The Haunting of Hill House (2018) The first of Mike Flanagan’s horror series for the streaming service, The Haunting of Hill House is probably the most well-known and popular. The show follows the adult Crain siblings, all troubled from their childhood in the haunted Hill House mansion. The series is gripping from the first episode when Steven encounters his younger sister Nell in his home, only to receive a call from his father Hugh to inform him that Nell is dead, indicating that the presence is a ghost. Flashbacks to 1992 reveal the paranormal phenomena they experienced as children, with Mr Smiley, the Bowler Hat Man and the Bent-Neck Lady as particularly terrifying figures. Furthermore, the explanations that Mr Smiley is a manifestation of trauma, the Bowler Hat Man is the ghost of William Hill, a former owner of the house who went insane and bricked himself in, and the Bent-Neck Lady is the ghost of adult Nell, who commits suicide by hanging, haunting her younger self are all jaw-dropping twists. Also, the series is known for its jumpscares, notably the car scene. There is finally a captivating ending surrounding the mysterious Red Room, as more revelations come to light. The Haunting of Bly Manor (2020) This next Mike Flanagan horror series focuses on the haunted Bly Manor in the English countryside. A young American woman Dani is hired as an au pair by Henry Wingrave to look after his nephew Miles and niece Flora, living alongside housekeeper Hannah, cook Owen and gardener Jamie, following the alleged suicide of the previous au pair Rebecca. As Dani experiences supernatural occurrences and odd behaviour from the children, it transpires that Rebecca was in a relationship with Henry’s devious assistant Peter, who possesses Miles and wants Rebecca to possess Flora. Furthermore, a tale from centuries ago reveals that former owner Viola haunts the grounds as The Lady in the Lake. She killed Peter, who then killed Hannah, revealing that she has been a ghost the whole time. The series ends with Dani taking over from Viola to save Flora, much to the heartbreak of Jamie, who is revealed to be the storyteller at the wedding of adult Flora. Midnight Mass (2021) Another Mike Flanagan horror series, Midnight Mass indulges in the vampire subgenre and the theme of religion elevates the series. It focuses on the arrival of mysterious new priest Father Paul Hill on a devoutly Catholic remote island community, temporarily replacing the elderly Monsignor Pruitt, who is on a pilgrimage. The series starts off with a gloomy aesthetic and slow pacing, but the reveal that Father Paul is actually a younger version of Pruitt who died and was resurrected by the lifeblood of an Angel, turns the series into an exciting tale. A further chilling scene sees Father Paul introduce the terrifying Angel to the churchgoers and encourage them to drink poison to die and be reborn, culminating in an epic final war between the alive and the undead. The ending is brilliantly unique as the entire remaining townsfolk die and turn to ash upon sunrise. The Woman in the House Across the Street from the Girl in the Window (2022) Kristen Bell leads on this black comedy parodying psychological thrillers, hence the lengthy title, yet also delivers a strong mystery itself. Anna is an alcoholic, drinking wine to numb the pain after her daughter was murdered by a cannibalistic serial killer, and frequently hallucinates as a result of taking medication while drinking. When the handsome Neil moves in across the street with his young daughter Emma, Anna is disappointed to learn that Neil has a girlfriend Lisa. However, she later witnesses her murder at Neil’s house, though there is no evidence found and it is believed to be another hallucination by everyone except Anna. As Anna investigates, the series cleverly positions Neil as the main suspect (making his innocent confession that he practices ventriloquism all the funnier) while also maintaining the possibility that Anna could have done it in a fugue state, before the fake reveal that simple-minded handyman Buell is responsible, eventually revealing Emma to be the true culprit. It also transpires that she was responsible for her mother’s drowning and her teacher’s lighthouse death. The series provides a happy ending for Anna, who reconciles with her husband Douglas, and they have a newborn daughter. A final scene sees Anna on a plane discover the dead body of a passenger, only for the body to vanish and her be told that the passenger never existed, teasing a future. Man vs Bee (2022) Rowan Atkinson adopts a new Mr Bean-type character for this slapstick comedy miniseries, focusing on physical comedy with minimal dialogue. It sees Trevor Bingley do battle with a bumblebee while housesitting for a rich couple in their modern home. As Trevor struggles to work the futuristic features and the bee consistently outsmarts him, his vendetta grows, gradually causing more destruction to the house. Among all the mayhem, burglars break in to make matters worse. Trevor is arrested for the damage he causes, though is later released for exposing a fake insurance plot. In addition to all the comedy, there is a level of emotion too in relation to Trevor’s meek relationship with his ex-wife Jess and daughter Maddie. Boo, Bitch (2022) Lara Condor (To All the Boys I’ve Loved Before) and Zoe Colletti (Only Murders in the Building) star in this supernatural teen comedy drama. Unpopular high schoolers Erika and Gia attend a party and are involved in a car accident in the woods on the way home, in which Erika dies after being hit by a moose. Erika realises that she is existing as a ghost due to having unfinished business, this being attending prom with her crush. Erika and Gia enact a plan to fulfil this so Erika can ascend, but Erika finds newfound popularity, which goes to her head and sees her alienate her best friend. In a twist, it is revealed that it was actually Gia who was hit by the moose and is existing as a ghost. Furthermore, only Erika and Gia’s love interest Gavin have been able to see her. Gia completes her unfinished business, saying goodbye to Erika and dancing with Gavin at prom, and, following a speech by Erika honouring Gia that leads to everyone chanting Gia’s name, she ascends. Erika later takes comfort in receiving a sign that Gia’s presence is still with her.

Published by Mason Oldridge, 4 November 2022 As streaming giant Netflix celebrates its 25th anniversary, we take a look back at some of the platform’s Original series from recent years, not reviewed by Audio Visual. The Society (2019) One of the best mysteries to ever grace the streaming service, The Society sees a group of teens head off on a school trip after their town is invaded with a noxious smell, only to return to find everyone gone. I find it comical how the first thing the students do is party, though the coming-of-age element is enhanced as a jock falls into depression, romance blossoms between polar opposites and a pregnant student is supported by her peers. However, self-proclaimed leadership angers some of the townsfolk with crime breaking out. A justice system is then subsequently created, resulting in the death sentencing of a suspect. Even more compelling to the story is the tense scenes between the psychopathic Campbell and his outcast girlfriend, which are bound to leave viewers anxiously gripped. Despite its popularity, the series was cancelled after one season due to the pandemic and while the ending provides the shocking insight that the townsfolk elsewhere mourn the loss of the students as though in an alternate universe, we unfortunately never find out what the smell was or how they got there. The I-Land (2019) Ten strangers find themselves on a desert island with no memory of who they are or how they got there. Personalities soon clash as they attempt to discover their identities and location. The answer does not disappoint as it is revealed they are prisoners on death row at a Texas correctional facility in a simulation to see if they can be rehabilitated. While the results are mixed, questions of morality are thrown up as the warden attempts to corrupt the experiment by provoking the subjects, in particular sending two officers in via avatars. The ending is very satisfying with the tables turned as protagonist Chase is freed and the warden is entered into the program. This limited series makes you think while also scoring on entertainment value. The Queen’s Gambit (2020) A drama miniseries about chess may sound like a boring plot, but The Queen’s Gambit is a delightfully interesting story about young chess player Beth Harmon, who begins playing in the basement of her orphanage with the custodian and works her way up to become a champion. From the state-mandated pills at the orphanage to her troubled adoptive mother, Beth battles addiction throughout her journey. She befriends US champion on her way to defeating the Soviet World Champion, which forms the basis of the conclusion. There are no twists involved in the plot yet somehow the series is so encapsulating with its storytelling and intriguing characters, with particular praise earned by lead star Anya Taylor-Joy. The fact that such a dismal-sounding synopsis turns out to be such an enthralling story is a true merit to the production and the cast. Clickbait (2021) Nick Brewer appears in a viral video holding a sign saying “At 5 millions views I die”. He was previously shown holding a sign stating “I abuse women”, leaving viewers unsure on whether Nick is a good guy or a villain. In a surprise early twist, Nick is found dead in just episode two. The initial investigation that pursues, with each episode focusing on a different character, is somewhat mediocre but the reveal at the end drastically improves the overall quality of the series. It is revealed that Nick’s elderly colleague Dawn has been catfishing several people for nothing more than entertainment in response to her husband’s inattentiveness. His supposed mistress never actually met Nick and was catfished the whole time by Dawn. Furthermore, it was Dawn who goaded another woman Sarah to commit suicide and so Sarah’s brother Simon made and posted the video after believing it was Nick who prompted her suicide, though let him go after proven innocent. Upon realising, Nick confronted Dawn, who then murdered him. Nick’s youngest son is held captive in the finale by Dawn and her husband when he gets too close to the truth and as the police mount the scene, Dawn surrenders and her husband, who refuses, is shot. Clickbait provides one of the best endings to a series ever in a complex connection between characters and their actions in a scary warning about social media and online anonymity. Archive 81 (2022) This supernatural horror series sees conservator Dan hired by the mysterious Davenport to restore some old tapes from 1994 which document student Melody’s dissertation on a fire at the Visser apartment building. Dan is sent to an isolated research facility without reception due to the tape’s poor condition and is soon unsettled to find security cameras watching him. He discovers that Melody stumbled upon the Visser residents worshipping a statue of a god-demon hybrid called Kaelego and are part of a cult who intend to use teenage resident Jess as a human sacrifice. Furthermore, Dan discovers the cult’s meeting room at the research facility, revealing the compound is built on the former premise of the Visser. The already eerie plot takes a creepier turn as Dan and Melody meet each other in time-jumping scenes and Kaelego attempts to reach Dan through the screen. As Dan attempts to rescue Melody, the final scene sees Dan wake up in a hospital bed in 1994 as the TV reports on the recent news of the Visser fire. The tension mixed with the intrigue and shock leaves Archive 81 as one of Netflix’s best series ever, yet was cancelled after one season despite its high viewing figures. Pieces of Her (2022) This thriller series starts off with a mother and daughter duo Laura and Andy witnessing a mass shooting at a diner. When Laura kills the shooter, Andy, on her mother’s orders, escapes on a cross-country trip to safety while finding out about her mother’s hidden past. The initial journey isn’t all too thrilling but the series develops via the flashbacks, revealing Laura is actually Jane Queller, the daughter of a wealthy business owner who falls in with the wrong crowd and begins dating Nick, the leader of terrorist group Army of the Changing World, before turning against him. In the present, we learn Jane is in witness protection with Andy. The finale brings with it action as adult Nick, having spent his life on the run, visits Andy, who is his biological daughter. Toni Collett may have received praise for her performance by the critics but the true star of the show is Jessica Barden for her portrayal as vulnerable young Jane, which draws comparison to the vulnerability she displayed in The End of the F***ing World.

Published by Mason Oldridge, 4 September 2026 Kasabian return with the third act of their Pizzorno era. The album starts off strong with Soulmate and its eerie sounds and fun lyrics. The four singles then proceed; Hippie Sunshine features a chanting chorus and playful keys, Superpowers enacts funk and Great Pretender sounds indie, but Nothing Better Than This is the highlight as a high-energy electro rock song. Silver Apple Eyes starts off with disco vibes, yet turns into a tropical song with powerful vocals and string sounds, while The Guru and the Crypto Time Machine is as intriguing as its name suggests. A truly experimental and innovative piece, its chime sounds and Middle Eastern influence creates a magical or perhaps dark fantasy world that will leave you feeling like you’re on a mad trip down the rabbit hole. It can’t be helped thinking that this track would have benefitted even more from a lengthier runtime to explore its creation further. Glide starts off based upon acoustic guitar, but progresses into a piano track reminiscent of Robbie Williams’ Feel. Hyper//Rising goes hard with its guitar heavy riffs and basslines, before Say Now (Closer) brings the album to a finish with a nice reduction in pace. Kasabian always deliver a perfect mix of guitar and drums with elements of synth and piano to create their own unique alternative rock sound and never fail to provide clean and well-rounded production. The Pizzorno era is still going strong. 8/10

Published by Mason Oldridge, 25 September 2026 Nothing But Thieves leave behind their dance and electronic experimentation of the Dead Club City as they enter a new chapter with their fifth LP. Sonically, Nothing But Thieves always deliver a mix of rock songs varying in heaviness, with the heavier options usually the strongest as they demonstrate the heights of their talent in this vein. And this record is no different… for the most part. The album opens with the title track, which is the heaviest on the tracklist. Featuring sinister sounds and distorted vocals, it goes hard with an aggressive riff reminiscent of Muse’s Stockholm Syndrome and is the standout. Lead single Evolution is a victim of its own softness, leaving other single Baby Kool (Evelyn) to be a much more enjoyable and commercially-friendly release. However, closing track A Different Kind of Happiness breaks the mould as they produce a ballad that showcases their gentler potential. The band themselves describe it as “one of the best songs we've ever written”, which is understandable, given its vulnerability and how emotionally charged it is. Elsewhere, the album has a couple of slower offerings with the acoustic If You Don't Have Someone to Love and the eerie I Needed You Then, I Need You Now. Overall, the band continue to prove that they are at their best when at their heaviest, though show their capabilities at the opposite end of the scale too. 7/10

Published by Mason Oldridge, 22 March 2024 Jason Watkins leads the lineup in this new Channel 5 drama. The plot is straight forward yet nevertheless compelling. Mild-mannered husband and father-of-one Simon Henderson is struggling with mortgage payments and being made redundant. When he is intimidated by youth gang leader Jordan, he lashes out and punches him, landing the teen in a coma. Simon claims to have found him unconscious in the street, but the lie soon escalates. The pacing isn’t the best given its four-episode run, but there is decent storyline progression as his wife learns the truth, the police edge closer to what really happened and Jordan wakes up and feigns memory loss in bid to blackmail his attacker, leaving Simon torn between handing himself in and going on the run. The acting plays a major part in keeping the story gripping. The contrast between Jason Watkins’ meek and anxious protagonist and Jonas Armstrong’s threatening and violent father of the victim is likely to keep viewers nervous over what will happen next. The ending is somewhat disappointing, however, as more questions arise than answers given. What happened to Harry? Why did Jordan lie about who attacked him? Why was the detective always rubbing her neck? The latter was a recurring motif that teased a purpose that ultimately didn’t exist. Furthermore, it is irritating that Jordan got to keep the money Simon gave him and that the Hendersons are now fearful to return home given the lifelong threat from Paul. Coma is easy-watching but nothing groundbreaking, only what is expected from a Freeview production. 6/10

Published by Mason Oldridge, 18 September 2026 The cat-and-mouse game is reignited and intensified in this second season of the Channel 5 drama. One year later, Huw is recovering from his stabbing and moving on with his life with wife Alice, while daughter Margot is moving in with her boyfriend Sam. However, Huw starts receiving letters from Patrick in prison and Margot starts being stalked by a hooded figure. When a woman approaches Jenny, believing her missing husband to be the first unknown victim of the Ripton Stalker, Patrick will only talk to Huw, inevitably dragging him back in. The season takes an unexpected turn as early as the first episode as Alice is killed in a hit-and-run. Huw continues to seem more interested in the case and Margot continues to seem more concerned about her safety than either of them do about grieving her, though this can be excused as such scenes wouldn’t make for entertaining viewing. This season is much more fast-paced and complex in comparison to the straightforward narrative of the first, with constant twists and turns, leaving it unclear which new direction events are going to go in and where things will end, therefore gripping until the last minute. The season ends with Huw now a suspect in Patrick’s escape and wanted by the police, Margot in the clutches of Patrick’s accomplice Sam (although she may have actually believed her dad on the phone call and is just playing along to stay alive) and Patrick on the run. While the unresolved ending is initially frustrating, surely this means a third season will happen? Robson Green is convincing as the manipulative serial killer, a task all the more difficult when you are known for presenting factual series on fishing, while Jason Watkins continues to be stellar as the obsessive former detective. This season is a lot more exciting and thrilling than the first and is thoroughly engaging as far as Freeview productions go. 7/10

Published by Mason Oldridge, 11 September 2026 We return to the Outer Banks - and around the world - for one last time. Following last season’s finale in which Groff kills JJ, an angry and heartbroken Kiara is out for revenge as the Pogues engage in a three-way hunt for the crown, along with the dastardly Groff and the ruthless Corsairs. The first two episodes are action-packed as the Pogues venture through Spain, Portugal and Croatia, hunting Groff. However, the Corsairs steal the crown and the Pogues return home. The series then returns to the simplicity of the earlier seasons with island-based antics, such as John B finding a bundle of weed and selling it to Barry (who always makes for an entertaining appearance) and John B and Pope breaking into Topper’s house to steal from the safe, which is a fun throwback. The rest of the season then sees the Pogues resume their mission to steal back the crown, culminating in an epic hijacking operation in Azerbaijan, where they blow up a mountain, plunging the Corsairs into water and reclaiming the crown. We finally learn if its supposed powers of bringing back the dead are true as Kiara attempts to resurrect JJ. While it doesn’t bring him back to life, the experience provides comforting closure for her. Unfortunately, the Corsairs then retrieve the crown from the group again. In the finale, a dramatic hurricane batters Kildare, putting lives at risk, as the gang congregate at the lighthouse and embark on a rescue mission for Kiara, after she finally dares to kill Groff. Groff continues to excel as the main antagonist this season, though what is most compelling is the redemption arc of Rafe. He makes the ultimate sacrifice to save Sofia when he is reimplicated in the murder of Sheriff Peterkin, linking back to the first season, saves Shoupe and apologises for killing Peterkin, before making an emotional departure to South America. Additionally, it was nice to see minor character Wheezie come to the rescue by shooting Groff and saving Rose. Throughout the series, the Pogues engage in four main treasure hunts: the Royal Merchant, the Cross of Santo Domingo, the lost city of El Dorado and the Blue Crown. The Royal Merchant gold is stolen by Ward, Rafe sells the cross, their home that they built with the reward from El Dorado is repossessed when they fail to pay their taxes and they don’t end up with the crown either. This all feels disappointing, though the series ends with them finding the original Royal Merchant gold again and rebuilding the island and their lives. Although they don’t receive justice for all their successful treasure hunting, it feels fitting that the one treasure that they do reclaim is the one that they initially set out to find, bringing the story full circle. This final season provides a satisfactory conclusion to one of Netflix’s greatest series. P4L. 9/10

Published by Mason Oldridge, 15 November 2024 The North Carolina-set teen drama is back with a new mission… and back on top form. The Pogues’ new fortune allows them to set up a new home and business for themselves: Poguelandia 2.0, but, when JJ bets their last gold nugget on himself in a dirt bike race he ultimately loses, they cannot afford to pay their property tax and reluctantly accept the offer they were made at the end of last season to help locate Blackbeard’s treasure. They are hired by Wes Genrette, whose ancestor killed the legendary pirate and whose family have been cursed ever since, as he believes finding the treasure will break the curse. However, also on the same mission are ruthless mercenaries who will stop at nothing to find the goods first. After the relative disappointment of last season, Season 4 can be seen as a return to the quality of the first two. This season brings with it an epic new villain in Chandler Groff, Wes’ son-in-law. Groff inhabits a charm that masks his greed and deceitfulness, similar to that of Ward Cameron, making him an enthralling and entertaining baddie to watch. Following the season finale, we can assume he will appear as the main antagonist in next season too! There are many memorable moments but perhaps the most atmospheric is JJ’s rampage in an angry response to the outcome of the town council meeting. Perfectly set to Fontaine DC’s Starburster, the police struggle to cope with the public unrest in a truly haunting scene. The season finale is, once again, cinematic. An action-packed race amidst a sandstorm in Morocco culminates with JJ discovering the crown, though the victory is short-lived as Groff returns, steals the crown, and stabs JJ to death in revenge for leaving him in the well. JJ’s death is totally unforeseen though retrospectively explains why he took centre stage this season. A fifth and final season is on the way and, with a death among the main cast bound to change the tone and revenge on their mind, the final visit to OBX is set to be an exciting one. 8/10

Published by Mason Oldridge, 7 September 2026 Netflix forged its way into the true crime landscape, particularly with the viral documentaries that boomed during covid such as Tiger King and American Murder: The Family Next Door, but there’s a niche subcategory that piques much more interest and intrigue: mysteries. Anthology series such as Unsolved Mysteries and Files of the Unexplained have covered many cases, including Jack the Ripper, the Mothman and the Roswell UFO incident, but here we take a look at limited series examining specific happenings. Crime Scene: The Vanishing at the Cecil Hotel (2021) The first season in the Crime Scene series, The Vanishing at the Cecil Hotel looks into the mysterious death of 21-year-old student Elisa Lam. In 2013, Lam was a guest staying at the Los Angeles hotel. She was travelling alone and suffered from bipolar disorder, as documented on her blog. Security footage from the day she disappeared shows Lam acting erratically in a hotel elevator, as if being followed by someone, while the doors fail to close. Her body was found in a rooftop water cistern 19 days later after guests complained of low water pressure, flooding, blackened water and it tasting unusual. Her death was ruled accidental, believing her to have suffered a psychotic episode due to under medicating, with bipolar disorder being a major contributing factor, but it was never proven how she actually got inside the water tank in the first place. The Cecil Hotel is infamous for numerous disturbing deaths, located near the notorious Skid Row, and Lam’s elevator footage is truly chilling to watch. DB Cooper: Where Are You?! (2022) On Thanksgiving Eve 1971, a man using the alias Dan Cooper (mistaken in reports as DB Cooper) hijacked a flight from Portland to Seattle, telling the flight crew that he had a bomb and demanding a large sum of cash and four parachutes upon landing. His demands were met and he released the passengers, before taking back off into the sky en route to Mexico City. Shortly after take-off, he parachuted down into the Washington wilderness below. In 1980, a small amount of the cash was discovered near the Columbia River. He was described as more polite than aggressive in his demeanour while aboard. Cooper was never identified or located and it remains unknown whether he survived the plunge and escaped. The most compelling element of the case is how this isolated example of air piracy was so well orchestrated and subsequently successful. Last Stop Larrimah (2023) This HBO documentary film was later released as a two-part series on Netflix. In 2017, 70-year-old Paddy Moriarty, a resident of the remote Australian town of Larrimah, and his dog Kellie went missing. He left the local pub that night and is believed to have returned home, but he and his dog were never seen again. The documentary examines how everyone is a suspect in such an isolated town of just a double digit population where the nearest police station is 43 miles away. Moriarty was a heavy drinker and not short of enemies. Wild theories flew, including that he was fed to a crocodile and baked into a pie, though it is ultimately believed that his disappearance was the result of an ongoing feud with his neighbours. This is the Zodiac Speaking (2024) This Netflix series investigates the anonymous Zodiac serial killer and specifically Arthur Leigh Allen, the only named suspect. From 1968-1969, murders were committed on four separate occasions in the San Francisco Bay Area, culminating in seven victims: five died and two survived. From 1969-1974, the serial killer wrote several letters to newspapers and police; he started with “this is the Zodiac speaking” and signed off with a gunsight symbol, confessing to the murders, taunting police and including cryptograms to solve. A total of four cryptograms were sent; only two so far have been deciphered. He talks about killing to have slaves in the afterlife. His complex cryptology and successful evasion highlight how he must be an impressively intelligent individual. This series itself hones in on the horrifying coincidences between Allen and the Zodiac. Allen worked as a teacher, until he was fired for molestation, and his former students recall his unsettling behaviour, including his interest in cryptology. He was a family friend of the Seawater family during the 60s and would take the children away on trips. Two of these trips occurred around the time and location of two unsolved murder cases, similar to those of the Zodiac, and the children recall Allen’s suspicious behaviour aligned with these instances. Shortly before his death in 1992, Allen allegedly confessed to one of the older Seawater children while sobbing on a phone call that he drugged them, molested one of them and said “it was me” when asked if he was the Zodiac. The Seawater children later found a box of letters from Allen to their mother Phyllis, discussing the Zodiac. Despite this, the Zodiac’s identity remains unknown and one of the greatest unsolved mysteries in history. Amy Bradley Is Missing (2025) In 1998, American woman Amy Bradley disappeared aboard a cruise ship during a family holiday en route to Curaçao. Amy and her brother Brad stayed up late drinking and dancing, with a keycard recording her returning to her cabin at 3:40am, where they both sat on the balcony and chatted. At 5:30am, their father Ron awoke and saw Amy asleep on the balcony, but at 6am she had vanished. The ship and surrounding waters were searched, but there was no sign of Amy. Initial theories suggested she may have fallen overboard or committed suicide, though Amy was a strong swimmer who had worked as a lifeguard. Amy had danced that night with band member Alister Douglas, who reportedly acted suspiciously following her disappearance. In the following months, there were reported sightings and interactions with Amy, accompanied by controlling men, suggesting she had been human trafficked. In 2005, her parents were emailed a photo of a scantily clad woman appearing to be Amy, fuelling speculation that she could have been sex trafficked. In 2010, a human jawbone washed ashore in Aruba. Furthermore, Amy’s ex-girlfriend also revealed that her parents had disapproved of her bisexuality. Despite all this, Amy has never been found and was declared legally dead in absentia on the 12th anniversary of her disappearance.

Published by Mason Oldridge, 29 August 2026 Earlier this spring back in May, two supernatural horror films were released just one week apart from each other. But which is the best of the two? Passenger Passenger follows young couple Tyler and Maddie on their van life adventure, who are followed and terrorised by a demonic entity called the Passenger. The film opens with two young men driving through the woods at night. When they pull over, one of them is attacked by the Passenger, prompting the other to drive off terrified. Tyler and Maddie later stop at the scene when they discover the other man crashed in the trees. However, it is here where and when the Passenger latches onto them and begins his sadistic campaign. Maddie grows suspicious when the three claw marks on the crashed car appear on their van and, throughout the film, sees and is attacked by the Passenger. Diana proves to be a pivotal character to the story as she is the one who educates the naive couple on the legend of the Passenger. They learn that he preys on travellers as well as the rule to never drive at night and, if you do, don’t stop. They are also told of the rumour that a traveller once survived the Passenger by entering the lost Church of St Christopher. All good horror films of this storyline sees its characters learn of such evil and then attempt to defeat such evil and Passenger executes that successfully as Tyler and Maddie head off in search of the mysterious holy land. The film cleverly introduces the theme of religion here as the anti-religious figure can only be defeated by a polar opposite religious figure, similar to the idea of good versus evil. The film culminates in an epic finale in which Maddie must fight the Passenger herself, following his attack on Tyler. She determinedly rams the Passenger into the statue of St Christopher, impaling and killing him in a truly badass moment. In the closing scene, Tyler and Maddie are reunited, feeling happy and freed, and watch the church go up in flames as emergency services descend on the scene. The film also succeeds at producing jumpscares of the highest order. Even when predictable, they still manage to startle every time. Furthermore, even after the initial shock, they continue to terrify with the chilling appearance of the Passenger, which can be examined more closely as he continues to appear on screen. The later and more prolonged showing of him reveals just how scary he actually looks, earning the makeup team much praise. Passenger is a straightforward yet entertaining story of which its narrative is as strong as its atmosphere and themes. Backrooms Backrooms incorporates elements of science fiction and psychological horror and is based on the creepypasta internet legend and subsequent web series of the same name. It follows struggling furniture store owner Clark, who discovers an extradimensional liminal space of seemingly endless and distorted yellow rooms and corridors with fluorescent humbuzz lights in the basement. In the opening scene, a researcher explores the Backrooms in 1990, presented as found footage. Chased by an unseen entity, he frantically attempts to escape, but is attacked. Clark is troubled by his alcoholism and the breakdown of his marriage, attending therapy sessions with his therapist Mary, who herself is struggling with trauma from the demolition of her childhood home. One night, Clark goes to check on the breaker box in the basement when the lights start flickering and he notices a glow in the wall, falling through it and finding himself in the Backrooms. He slowly explores the space, but returns to the store when he is chased by an unseen entity. He tells Mary about his discovery, but she doesn’t believe him. He takes his assistant manager Kat and her videographer boyfriend Bobby with him into the Backrooms to film proof to show Mary, but Bobby falls down a steep corridor and is dragged away by an unseen entity; Clark and Kat follow in an attempt to rescue him. When Mary receives a concerning voicemail from Clark, she goes to the store to check on him and enters the Backrooms herself. This is where things get really weird. Cue unexpected and graphic acts of violence, chilling imitations of characters and haunting humanoid creatures. The setting is easily the best aspect of the film. The Backrooms are truly eerie, with their maze-like formation utterly terrifying and their sickening inhabitants making the place all the more horrifying. The producers could’ve easily cheaped out here by revealing the Backrooms to be a figment of characters’ imaginations as a representation of their psychological state, but they don’t. Instead, the Backrooms exist and are very real, uniquely designed and expertly crafted as a place of nightmares. Another disturbing element that elevates this unsettling tale is the Async scientists. Little is known about the Async Research Institute other than that they used to produce MRI machines before discovering the Backrooms and switching their primary research focus. The way that Phil monitors the situation on surveillance equipment with such emotionless expression adds a whole new layer of creepiness to this warped world. Overall, the premise is brilliant, but the plot becomes somewhat confusing. It is a wise choice to leave unknowns about the Backrooms to keep them more mysterious and incomprehensible, though the storyline becomes really messy from the point of Mary’s entrance. Perhaps if the events later on were explained a bit more clearer, it could have maintained its strength throughout. On the whole, both films offer up a convincing concept. Where Passenger is simple as opposed to the complexity of Backrooms, only Passenger tells its story with a confident grasp on its angle across its entirety. Therefore, Passenger edges Backrooms as the better of the two as an exceptionally fun experience to watch.

Published by Mason Oldridge, 27 August 2026 We return to Colorado for a third season of the teen romcom. George recovers from his stroke. Jackie and Cole start a relationship. Individually, Jackie starts a new project opening a community space and Cole starts drag racing. Alex continues to struggle to fit in with the rodeo crowd, while playing third wheel to Kiley and Dylan. Danny and Erin get engaged. George’s van life sister Hannah, the mother of Lee and Isaac, turns up after abandoning the family. Richard and Tara begin a relationship. The season doesn’t get off to a great start as the first episode is mainly one character asking another character if they are OK and Cole and Jackie act really immature and childish upon starting their relationship, though this can be excused as a representation of first teen love. Alex’s storyline this season feels like a rehash of last season in which he clashes with the rodeo boys, as opposed to giving him a fresh story, although this does kind of shift towards him realising he has romantic feelings for Kiley. The arrival of Hannah proposes a new storyline that involves Lee and Isaac, who had previously not featured regularly. However, she departs after struggling to be a stable parent for her sons, leaving this story feeling slightly wasted as it concludes in the same way that it started. Inevitably, Jackie and Cole’s relationship runs into trouble; Cole breaks up with Jackie as he feels that he is no good for her and is holding her back from living a successful life that she is destined to achieve after being told so by Richard and his teen assistant Eliot, who was also Jackie’s childhood friend. But in true Cole fashion, he does this by pretending to have lost interest in her, breaking her heart and pushing her towards Eliot. Once again, Noah LaLonde is the standout actor for portraying such silent heartbreak with pain in his eyes. It feels disappointing that Will and Nathan don’t have their own storylines this season as the series excels by telling the stories of several of the Walter boys, though they are two of the less interesting brothers. The season ends with Jackie kissing Eliot as Cole is involved in a car crash on his way to win her back. It feels somewhat unresolved as Jackie never finds out the real reason that Cole broke up with her and Alex doesn’t get to tell Kiley how he really feels. This season takes a slight dip in comparison to the previous, but still continues on with telling an emotional and entertaining story. 8/10

Published by Mason Oldridge, 21 August 2026 Controversial rocker Marilyn Manson and his eponymous band return to deliver the second chapter of the One Assassination Under God series. Always guaranteed with Manson is his goth aesthetics, unique industrial sound and screamo vocals, albeit small variation between tracks… and this release is no different. Thematically, sonically and in the artwork, the record bears similarity to the previous chapter, with themes of death, religion and vulgarity forming its lyrical makeup too. The singles don’t quite match up to those from the first chapter, with Front Toward Enemy, having previously appeared as a B-side, being the standout, though these are both undeniably good songs. Experimentation would likely conceive a positive result from Manson, ideally a venture into electronic music as there are slight tinges that tease without execution. Despite its predictability, you know what you’re getting with Manson and that is strong quality heavy rock music. 8/10

Published by Mason Oldridge, 16 August 2026 Filmmaker John Hughes is the king of 80s comedy films, producing a string of classics throughout the decade. With many going on to become cult classics, here we take a look at those movies that defined a generation. Note that we are excluding Ferris Bueller’s Day Off as it has its own article, National Lampoon’s Christmas Vacation as it appears in the Christmas article and any of his 90s films. National Lampoon’s Vacation (1983) Clark Griswold (Chevy Chase) decides to take his wife Ellen (Beverley D’Angelo) and children Audrey and Rusty to Walley World amusement park. He insists on a cross-country road trip, which birthed the famous scene featuring The Girl in the Red Ferrari. The film also introduces unemployed layabout Cousin Eddie (Randy Quaid). A comedy highlight is when Clark accidentally kills Aunt Edna’s dog Dinky by forgetting to untie him from the car before driving off, for which a police officer chastises him. After a series of disastrous mishaps, Clark is tipped over the edge to discover that the park is closed, resulting in him holding the security guard (John Candy) at gunpoint as a SWAT team descends on the madness. The film features the song Holiday Road. Sixteen Candles (1984) Excited for her 16th birthday, Sam Baker (Molly Ringwald) is devastated to find that her family have forgotten the occasion, which is overshadowed by her older sister’s wedding the day after. She is infatuated with older classmate Jake Ryan (Michael Schoeffling) and fights off advances from the younger geeky Ted (Anthony Michael Hall). The film has garnered retrospective controversy, particularly for the Chinese foreign exchange student Long Duk Dong, who is said to be an Asian stereotype and a gong sounds when he appears on screen. Further criticism has arisen from the scenes in which Ted takes Sam’s underwear and Jake states how he could take advantage of his drunken girlfriend Caroline and lets Ted drive her home, but it still remains a true classic. The Breakfast Club (1985) Five high school students with different personalities - jock Andrew, princess Claire, geeky Brian, loner Allison and rebellious Bender - attend an all-day Saturday detention overseen by their vice principal Vernon, where they are tasked with writing an essay on who they think they are. As the day goes on, they open up about their anxieties and insecurities and share why they are in detention. They agree their bond will likely not continue but they will view their peers in a different light. This coming-of-age drama is less entertaining and more philosophical. The film ends with the song Don’t You (Forget About Me). National Lampoon’s European Vacation (1985) Clark Griswold and his family are back, this time heading on a trip to Europe following a gameshow win. As per usual, chaos ensues. In London, Clark drives on the wrong side of the road and finds the British to be very polite, even after crashing into them, before destroying Stonehenge. In Paris, the family have their camcorder stolen, Clark is mocked for his poor French speaking and a dog is accidentally thrown from the Eiffel Tower. In West Germany, after dining with elderly mistaken relatives, Clark joins in a Bavarian folk dance performance, leading to a massive brawl. Finally, in Rome, the family become embroiled in criminal activity when they rent a car from thieves, unaware that the captive manager is in the boot. Weird Science (1985) Geeky high schoolers Gary (Anthony Michael Hall) and Wyatt (Ilan Mitchell-Smith) create a computer-generated woman called Lisa (Kelly LeBrock) in a bid to gain popularity and win their crushes. However, Lisa, wanting to help the boys, goes too far with her magical powers, resulting in mutant bikers wreaking havoc at an out-of-control party at Wyatt’s house and Wyatt’s mean older brother Chet turning into a frog. Another teen comedy, this entry adopts sci-fi elements, which results in a chaotic and messy resolution, though still maintains a cult status. Pretty in Pink (1986) Poor high schooler Andie (Molly Ringwald) is best friends with the geeky Duckie (Jon Cryer), but their friendship is strained when the rich Blane (Andrew McCarthy) falls for her. Andie also has a tricky relationship with her father Jack and seeks advice from record shop manager Iona. The film draws comparison to Sixteen Candles as both are teen romcoms which follow a love triangle in which protagonist Ringwald is the love interest of both a geeky student and a popular student, though the tweaks make for a nice separate story as it tackles the subject of class division and the sweet ending sees Andie reconcile with Duckie, who has stuck up for her throughout the film, before the moment in which they walk into prom hand-in-hand together, prior to Duckie encouraging Andie to go after Blane. Planes, Trains and Automobiles (1987) Uptight businessman Neal (Steve Martin) and jovial salesman Del (John Candy) are polar opposites forced to travel together to get home in time for Thanksgiving. The film takes the form of a road comedy from New York City to Chicago when a blizzard causes travel disruption. A series of comic mishaps ensues alongside Neal’s recurring frustration at Del, with notable moments being the two sharing a hotel room, Neal’s sweary rant at the car rental woman and Del driving on the wrong side of the road before setting the car on fire, to which a state trooper subsequently pulls over the burnt-out vehicle. The film delivers a heartwarming ending as Neal invites Del, revealed to have been living on the road since the death of his wife, to meet his family for Thanksgiving. Uncle Buck (1989) Bob and Cindy reluctantly enlist Bob’s slacker brother Buck (John Candy) to look after their children - teenage daughter Tia (Jean Louisa Kelly) and younger kids Miles (Macaulay Culkin) and Maizy - when they go out of town for a family emergency. Although irresponsible, Buck shows that he genuinely cares for the children as he protects Tia from her arrogant boyfriend Bug (which sees Buck hilariously capture him), throws an impromptu birthday party for Miles (which includes the hilarious scene with the drunk clown) and defends Maizy at school against her strict teacher (in which he hilariously insults the large mole on her face). The film co-stars Buck’s frustrated girlfriend Chanice (Amy Madigan) and the Russells’ flirty neighbour Marcy (Laurie Metcalf). Uncle Buck succeeds with the late great John Candy as the lead and future child superstar Macaulay Culkin in his breakout role. RIP to the legendary John Hughes.

Published by Mason Oldridge, 10 August 2026 M3GAN’s delayed sci-fi horror spin-off finally arrives on digital platforms. Programmer David is mourning the loss of his wife when the robotics company that he works for is bought out by another that produces a companion robot, which the lonely widow agrees to beta test. However, the android, named Sara, becomes out of control when she becomes obsessed with being David’s ultimate soulmate. The violence is arguably the best element of the film, particularly the gruesome deaths of the delivery guy and Ben. Sara’s warning about how she will never die, even if her physical presence does, comes true with the unsettling ending as, one year later, David is introduced to a new companion robot that has finally gone to market, resembling Sara. While the film is easy enough to follow and watch, it maintains almost no originality at all. The plot is almost identical to Subservience and yet another story in which a technological device that is supposed to be helpful goes rogue and poses a threat. Furthermore, there is minimal reference to the M3GAN franchise of which it supposedly belongs, likely a marketing decision to help garner interest due to the films’ similar themes and shared production. The film itself isn’t bad, but the AI-gone-wrong trope is wholly exhausted. 6/10

Published by Mason Oldridge, 8 August 2026 Baa. Earlier in the year back in May, a very unique family mystery comedy film was released that certainly stood out from the rest of the cinema roster. Its combination of live action and CGI along with its questionable plot made the film sound naff, but its star-studded cast and extensive promotion opposed that doubtful prenotion. Which of course begged the question: is it actually any good? Based on the German novel Three Bags Full, a flock of sheep investigate when their beloved shepherd is murdered. The live action cast features some big names. Hugh Jackson stars as the murdered shepherd George Hardy, Emma Thompson is George’s solicitor Lydia Harbottle and Conleth Hill appears as Ham the butcher. Furthermore, the voice cast boasts Julia Louis-Dreyfus as Lily, the unofficial leader of the flock, and Chris O’Dowd as Mopple, her male counterpart, as well as Bryan Cranston as Sebastian, a strong character with a tragic past, and Sir Patrick Stewart as Sir Richfield, an elderly member of the group who is quick to shame anyone accused with an almighty outcry of “murderer!” Other household names rounding off the cast as minor sheep are Regina Hall and Bella Ramsey. The official investigation is undertaken by the actual police, but the sheep subtly aid with their own detective work. Officer Tim Derry is the official lead on the case; a typically unhelpful buffoon, he is initially dismissive of the murder claim and wants to pass it off as an unfortunate heart attack, though changes his mind when it is pointed out to him that he is dismissing clear signs of foul play and this is his opportunity to become the local hero of the sleepy village. He is unwillingly accompanied by budding young reporter Elliot Matthews, who is desperate to get a scoop. The case takes a turn though when George’s long-lost daughter Rebecca Hampstead arrives in town around the same time as his death and George’s will had recently been changed to leave the farm to her, making her the number one suspect with a clear motive. Throw in a long list of villagers with a grudge against George and a successful recipe for a classic whodunnit is born. In between the investigation, there are plenty of comedy moments to keep the story entertaining, most notably twin rams Ronnie and Reggie’s eagerness to bash things, including each other, and the rule of ‘don’t bash things unless there is a legitimate cause for bashing’ that is imposed on them. Other funny scenes include Ham falling asleep while literally counting the sheep and Lily and Mopple’s fear of crossing the road. The stunning setting of Denbrook as an idyllic, picturesque English village helps brighten the story and the seamless production sees the often risky mixture of live action and CGI blend together well. The film also introduces a philosophical element. The sheep live in ignorance, believing that death doesn’t exist and they instead turn into clouds and can seemingly choose to forget things on the count of three, except Mopple, who retains his memories. However, Lily is forced to come to terms with reality when Sebastian dies after fighting off two dogs. Mopple encourages Lily to keep her memories, as even though they hurt, they allow the ability to cherish precious memories of loved ones. Additionally, the flocks’ rejection of the winter lamb teaches a lesson to respect everyone regardless of their differences as he goes on to help identify the killer. The investigation culminates when Tim realises, again with the help of the sheep, that Elliot is actually Peter Van Vuuren, Rebecca’s twin brother and George’s long-lost son, and he is the real killer, who made her beneficiary to George’s estate and framed her so the inheritance would go to him as next-of-kin. This is nothing jaw-dropping and the coloured paint on George’s hands prompting the realisation feels a bit of a poor choice, but it’s a decent conclusion nonetheless and the rams finally finding a plausible reason to bash as means of stopping Elliot escape is a fitting move. Following Elliot’s arrest, Rebecca takes over the farm and rescues the flock of rival and neighbouring shepherd Caleb, who was conspiring with Ham to slaughter his flock. Rebecca learns that Beth, the innkeeper who seemingly disliked George, was actually in love with him, but he loved his wife (Rebecca’s mother), who was also called Lily. In heartwarming final moments, sheep Lily adopts the winter lamb and calls him George after their original shepherd, who had believed that every sheep should have a name, before she sees a cloud resembling Sebastian. Overall, The Sheep Detectives, despite its dark subject matter, is a fun tale for all the family with a feel-good summer essence that is told in a lighthearted manner and offers up a nice balance of intrigue, warmth and wit.

Published by Mason Oldridge, 30 July 2026 Last summer, two supernatural horror films were released just one week apart from each other. But which is the best of the two? Together Together takes the form of a body horror. A couple in a strained relationship (Dave Franco and Alison Brie) move to the countryside, only to find a mysterious force taking over them. The film opens with a man searching for a missing couple. His accompanying two dogs drink water from an underground cave and later start graphically merging together. In the present, Tim and Millie’s relationship is fractured, especially when Tim delays in answering Millie’s proposal. Tim is particularly distant following the deaths of his parents; cue the horrifying flashback in which Tim’s dad dies of natural curses but his mum suffers a psychotic break and sits in bed for days beside his decaying corpse. Out hiking, Tim and Millie fall into the underground cave and spend the night there, waiting out the storm, where Tim drinks the water. They then slowly find themselves partially stuck together, with Tim experiencing an uncontrollable desire for Millie on multiple increasingly disturbing occasions, culminating in the gruesome scene in which they have to saw their arms apart. It is revealed that the underground cave is a New Age church that collapsed and that its members would drink the water to cause them to merge together as one. Millie’s new colleague Jamie, who had spoken of his seemingly deceased husband, is actually the amalgamation of the two partners. Meanwhile, Tim returns to the cave for answers and finds a terrifying monster that is a merger of the missing couple, who suffered this fate as a result of resisting. Realising there is no other alternative, Tim and Millie eventually succumb and, in a chilling final scene, open the door to Millie’s parents as one combined person. Together is a good story idea but told in a boring way. The pacing fails as, even with a strong conclusion, it is not gripping throughout. Weapons Weapons is a mystery horror. It surrounds the event of a class full of children minus one going missing at 2:17am one night when they all run out of their homes. Security cameras capture some of them leaving the house but not where they went. The film adopts a non-linear approach in which elements of the story are told through different characters. First up is class teacher Justine (Julia Garner), who resorts to alcoholism and sleeps with her ex-boyfriend police officer Paul after the bizarre event leaves angry parents to blame her, assuming something must have happened in the classroom. She is targeted and someone spray paints WITCH on her car. She is known for being overly-attentive with her pupils and visits the house of Alex, the singular pupil not to disappear, only to find the windows mysteriously covered in newspaper and she peaks through a gap to find Alex’s parents sitting still. Alex’s mother later cuts a lock of Justine’s hair while she sleeps. The focus then turns to Archer, the father of one of the missing children, as he experiences nightmares and obsesses over finding his son. He confronts Justine, only for her softly-spoken boss Marcus to then maniacally attack her, prompting him to rescue her. Attention moves on to Paul as he has a run-in with homeless drug addict James when he is pricked by one of his needles. James then burglarises Alex’s house and finds the missing children in the basement. After seeing a mysterious woman in the woods where he camps, he informs Paul of his discovery. Paul then goes to the house to investigate and comes out hours later, attacking James. School principal Marcus is encouraged by Justine to carry out a wellbeing check on Alex. He is accosted in his office by the same mysterious woman from the woods, who introduces herself as Alex’s eccentric Aunt Gladys, claiming that Alex’s parents are ill and she is looking after them, though Marcus still insists on seeing them. She later visits him at his house under the guise of needing a glass of water and cuts a lock of his husband’s hair, ties it around a stick that she purposefully cuts herself on and snaps it, prompting Marcus to brutally murder his husband, all in a jaw-dropping WTF moment. The final chapter is on Alex. It is revealed that his Aunt Gladys is actually a witch who weaponises others to maintain her longevity, explaining the seemingly unrelated film title. She utilised Alex’s parents and scared Alex into secrecy and abeyance by showing him that she can control them to do anything. Realising that adults aren’t enough, she turned her attention to children and forced Alex to bring her belongings of all of his classmates, controlling all of them to come to her and stay in the basement. In a truly epic scene, Alex uses the totem to cast a spell on Gladys herself, unleashing all the children, who chase her through the neighbourhood and tear her apart. This frees all her captives and it is announced that some of the children eventually learnt how to talk again. Weapons is one of the weirdest films ever, yet this doesn’t stop it from being absolutely brilliant. The most chilling aspect is the terrifying posture of the spellbound characters running with their arms out in an unnatural and childlike manner, while Amy Madigan deserves praise for her haunting portrayal of Aunt Gladys. A genius element is how the reveal hides in plain sight throughout the majority of the film with the graffiti on Justine’s car. Another clever move is how Alex is never placed under a spell as Gladys controls him through fear alone. Furthermore, the complex storytelling method creates opportunities for different interpretations. Both films offer an intriguing plot, but only Weapons executes it perfectly. Weapons is compelling throughout, whereas Together lulls until the ending. Both deliver on a mindbending conclusion, though Weapons is a truly unique film in all aspects. Therefore, Weapons is undeniably the best of the two and actually one of the best horror films of all time.

Published by Mason Oldridge, 28 July 2026 We are transported back to 1870s Kansas for Netflix’s new adaptation of the famous book series. The Ingalls family, consisting of father Charles, mother Caroline, older daughter Mary and younger daughter Laura, along with pet dog Jack and horses Pet and Patty, move to the developing town of Independence to claim land and build a house for a new life out on the prairie. The series deals with themes of tension between the settlers and the Osage natives, financial struggles, alcoholism, friendship and love as well as class divides. The series is so wholesome and heartwarming. The bond between the family members remains strong in the face of uncertainty and adversity (minus a spot of sibling rivalry) and the townspeople form a generally close-knit community (bar a few character clashes). Furthermore, the simplicity of American Western life is presented with such heart and happiness. Each character complements each other perfectly to create such a likeable cast, though the breakout star has to be Alice Halsey for her enchanting performance of Laura lngalls as her mix of excitability, naivety, kind personality and fun-loving nature leads the feel-good aspect of the show. Additionally, Warren Christie gives a heartwrenching performance as John Edwards. A man struggling with alcoholism and mourning the death of his family, the pain in his eyes is so believable and the care he shows for the girls as he begins to rebuild his life makes for some truly tearjerking scenes. A highlight has to be the Christmas episode as the Ingalls welcome baby Carrie, Mr Edwards delivers presents to the girls after ‘finding Santa Claus out on the prairie’ and Dr Tann and Emily grow close over a candlelit dinner. The series delivers a dramatic ending too as the Founder’s Day festivities turn into a disaster when a prairie fire breaks out, resulting in the Ingalls having to leave town. As Mr Edwards joins them on their travels, here’s hoping the already-commissioned second season will bring just as much warmth. Little House on the Prairie is unwaveringly captivating, demonstrating a cutesy way of life from time gone by. 9/10

Published by Mason Oldridge, 24 July 2026 Following the commercially successful predecessor that spawned the Brat summer phenomenon, Charli departs from its techno-heavy sound and leans into rock music on this widely anticipated follow-up. Despite the assumptions born out of opening track and lead single Rock Music, this new record isn’t actually rock music, though guitars do feature much more prominently. However, as with Brat, the production feels messy and chaotic, resulting in an unfinished sound that feels more like a demo or something produced from a spontaneous jam session. Furthermore, there is not much variation between tracks and, with most adopting a short runtime and uncreative lyrics, it seems lazy. Despite this, the distortion is an electrifying pleasure to the ears and no song is necessarily bad to listen to. The artwork has been a large talking point as it is a greyscale star-studded photograph of singer John Cale, fashion designer Marc Jacobs and filmmaker Martin Scorsese, representing each element of the album title. Charli is no longer guessing the colour of underwear but jumping on a trampoline with no underwear on, continuing to demonstrate risqué sexuality as part of her appeal. This is further promoted on single Wink Wink, which is arguably the most cohesive offering of the album. Once again, Charli demonstrates huge potential, just falling short of something incredible. 5/10

Published by Mason Oldridge, 4 July 2026 The Summer I Turned Pretty is the teen romcom series that had everyone talking last summer. Now that it is the Fourth of July, the US holiday that features prominently in the series, we take a look back at the addictive show and analyse the talking points. The Amazon Prime Video series is based on the novel trilogy by Jenny Han, author of other teen romcom novel trilogy To All the Boys, which was adapted into a film trilogy on Netflix. Every summer, the Conklin family (mother Laurel, son Steven and daughter Belly) spend the season with close family friends the Fisher family (mother Susannah and sons Conrad and Jeremiah) at their beach house at Cousins Beach. The four children have been friends forever, with Belly having had a crush on Conrad since she was 10. Season 1 follows the titular Summer I Turned Pretty as Belly is turning 16 and has had a puberty-based glow-up, which the brothers both instantly notice. Belly begins a relationship with a boy she meets at a beach party Cam, but breaks up with him as she still has feelings for Conrad. The two nearly kiss, but Conrad rejects a relationship, fearing that his baggage could ruin it. The baggage in question is that he secretly knows that Susannah has cancer. Jeremiah admits to Belly that he loves her and they kiss. Throughout the series, Belly participates as a debutante on the encouragement of Susannah, despite initially being sceptical as she feels she doesn’t belong in the upper class society. However, she comes to enjoy it, befriending her fellow debutante girls. In the season finale, the truth about Susannah’s cancer is revealed, leading to confrontation and heartbreak. In the final scene, Belly and Conrad kiss on the beach. Season 2 fast forwards to the following summer. It’s the end of the school year, Steven is graduating as valedictorian, Belly’s relationships with both brothers are strained and Susannah is dead. Flashbacks reveal that Belly and Conrad began a relationship after Conrad begged Jeremiah for his blessing, but the relationship ended on Belly’s prom night as Conrad felt that he was disappointing her and would keep letting her down. At Susannah’s funeral, Conrad performed a song in what is one of the most heartbreaking scenes of the whole series, but Belly later found him being comforted by another girl and caused a scene. In the present, Belly slowly reconciles with the brothers as they fight to save the beach house, which is being sold by Susannah’s sister Aunt Julia. A highlight of the season is when Belly, Steven, Conrad and Jeremiah, along with Belly’s friend Taylor, Cam and Julia’s daughter Skye, all spend a fun-filled day at the pier. At the end of the season, Jeremiah kisses Belly, unbeknown that Conrad was planning to ask Belly back out, and Belly must choose between the two when they are forced to spend an awkward night in a motel; she ultimately chooses Jeremiah, breaking Conrad’s heart. In Season 3, Belly and Jeremiah are happily in love attending Finch together when Belly learns that Jeremiah hooked up with another girl while they were on a break. It turns out that Jeremiah did this because he was hurt after learning that Belly unintentionally spent last Christmas with Conrad at the beach house and lied about it. They reconcile and get engaged; the family are initially opposed to the marriage but eventually come around. Meanwhile, Conrad is in California as a medical student and recalls his heartache to his friend Agnes. When he gets fired from his job, he returns to the beach house and is reluctantly roped in to being Jeremiah’s best man and helping Belly plan the wedding, where he almost gives in to his feelings during the scene in which Belly eats peaches. This episode is narrated by Conrad and reveals that he made a deathbed promise to Susannah to look out for Jeremiah. Belly later almost gives in to her feelings when tending to Conrad’s surfing accident. Before the wedding, Conrad learns of Jeremiah’s betrayal and begs Belly to be with him instead, upsetting her. The day of the wedding arrives but Jeremiah calls it off as he can see Belly is still in love with Conrad. What then follows feels like a three-episode epilogue in which Belly escapes to Paris, even though Belly uprooting her life to start anew in the French capital, where her life is not that great, seems somewhat ridiculous. Steven and Denise quit their stable jobs to risk their own start-up company, which also feels somewhat irresponsible. However, in the finale, Jeremiah and Denise kiss and Conrad and Belly finally get together, before a final scene pans out on Belly and Conrad at the summer house, back where they belong. Looking at character types, Jeremiah is upbeat and outgoing, whereas Conrad inhabits a more sombre and brooding personality. Whether you’re rooting for Conrad or Team Jellyfish, it is undeniable that Belly is destined to be with Conrad, as Jeremiah admits “that connection was like a force field.” It is unrealistic that Jeremiah would cheat on Belly, but it served a purpose as it acted as the catalyst that allowed Conrad to intervene in the wedding. Jeremiah is bisexual, a change from the book in which he is straight. This feels like an attempt to make the series more woke as it serves no purpose to the storyline and doesn’t align with Jeremiah’s personality. However, Conrad’s panic attacks are particularly impactful as having a handsome young character represent mental health conveys a powerful and supportive message to any similarly suffering viewers. Despite the brothers regularly locking horns over Belly, they are ultimately close-knit and have a deep love for each other, particularly in the wake of their mother’s illness and death, something which is bittersweet to witness. A subplot sees Steven and Taylor engage in a turbulent relationship. However, a hard truth that must be confronted is that Taylor is not a good match for Steven. His love interest in the first season Shayla provides a much nicer storyline due to her acceptance of him despite his insecurities about their class difference and he is also much more suited to his love interest in the third season Denise. Another subplot explores the love life of Laurel. Laurel is a caring mother at heart but also strict and, at times, annoying, particularly nicknaming Susannah as Beck and Belly as Bean. She eventually reconciles with Belly and Steven’s father John, abandoning the nice storyline of her blossoming relationship with author Cleveland, who would have made a nice addition to the dynamic as he was friends with Conrad, following their sweet moments together on the boat in the first season. In addition to Shayla and Cleveland, other characters who don’t get their deserved happy endings and instead disappear from the show are Cam, Nicole and Agnes, who would all have made likeable additions to the dynamic. Instead, the third season introduces the unlikable characters of Belly’s college roommate Anika and Jeremiah’s fraternity brother Redbird. A disappointing element of the show is the relaxed attitude towards smoking marijuana, treating it like a casual act that everyone does rather than a major health concern. However, one of the most positive elements of the show is the setting; the beach house is an absolutely stunning property and the perfect backdrop to represent summer. With such raw emotion, The Summer I Turned Pretty is one of the best television series of all time. Particular praise goes to Christopher Briney and Gavin Casalegno for their strong performances. A feature film has been announced to serve as a continuation of the series; here’s hoping it features less drama and instead offers up a happy summer with the Fisher-Conklin clan in Cousins all together, reminiscent of the first season. But whatever route or form it may take, just remember… we’ll always have summer.

Published by Mason Oldridge, 1 July 2026 Harlan Coben’s latest Netflix thriller is full of the usual twists and turns, though this one takes place in his native USA. David Burroughs is five years into serving a prison sentence for murdering his own son Matthew. But he didn’t do it. When his sister-in-law visits and shows him a photo of a child who looks exactly like Matthew, David breaks out of prison to find him. The series is wholly entertaining throughout, from the jailbreak in the first episode to the standoff in the last. There are continuous developments which allow for no slacking in pace, which has been a problem at times in past Coben shows. It follows David on his mission as well as the FBI’s hunt for him, offering up an element of police procedural without keeping viewers in the dark. However, it is almost comical how easy David manages to evade law enforcement multiple times when he is the subject of a highly publicised federal manhunt. Following several leads, it is eventually revealed that Hayden is behind Matthew’s disappearance. This in itself is not so shocking as he did play a suspiciously helpful role in assisting David and Rachel, but it is rather the reason why that is particularly thrilling - he believed that he was Matthew’s father as he thought that Rachel was attending a fertility clinic (actually Cheryl) and ensured himself to be the donor. Furthermore, it is undeniable that the US production aided the series as this allowed it to keep its intended setting from the novel. I Will Find You is a fast-paced thriller that flies high up on the top tier of Coben adaptations. 9/10

Published by Mason Oldridge, 29 June 2026 Netflix’s new romcom comes with an element of mortality. Jill and Isabelle are inseparable sisters, though Isabelle suffers from cystic fibrosis. When she suddenly dies, Jill is distraught and starts leaving voicemails for her, unbeknown that her number has been reassigned to Wes, who, listening to the voicemails, falls for Jill. Although Isabelle’s death and the subsequent impact of this on Jill is very emotional, the film still manages to deliver a romantic albeit predictable narrative with a heartwarming story. It is sweet watching the two grow together, with a particular highlight being when Wes takes over as the bus tour guide, whereas Wes’ guilt over not telling Jill about the voicemails is well-portrayed. The film also succeeds with its comedy too, most notably Jill’s string of disastrous dates, including the guy with pink eye and her overly self-centred and emotional co-worker Arthur, who then hilariously hates her for rejecting him. Other funny moments include Wes being violently dominated in the bedroom by his girlfriend, Chef Bastien being called out by Jill in which he is exposed as actually being called Gilbert and the tour guide running away on his first day. The plot draws comparison to You’ve Got Mail, which is referenced within the film, but maintains enough of an original story to succeed by itself. Overall, Voicemails for Isabelle offers up a well balanced mix of rom and com, with a sprinkling of tragedy, to make for an enjoyable watch of both heart and humour. 8/10

Published by Mason Oldridge, 26 June 2026 Muse return with their tenth studio album, encompassing an overarching space theme through its artwork, sound and title. Thematically, The Wow! Signal is similar to Origin of Symmetry, though musically, it is closer to Simulation Theory thanks to its space-like synth. The Dark Forest opens the record and is somewhat of a rock opera in the vein of Queen, with touches of Knights of Cydonia and Resistance, and sees his son Bing contribute to its percussion. Nightshift Superstar incorporates funk reminiscent of Panic Station and contains a vocal style not heard from Bellamy before on parts of the chorus as well as backing vocals from his daughter Lovella on the bridge. Shimmering Scars and Be With You are slower ballads, with the former opening to piano and the latter beginning with organ, though both grow into a bigger space as they progress. However, Shimmering Scars is so beautifully harmonised along with its magical piano melody that it shines as the better of the two. Cryogen features a guitar riff that immediately recalls Plug In Baby, though the song itself is differentiable enough to stand on its own and is aided by distorted vocals. Hexagons rapidly ascends and descends the scale, The Sickness In You & I is innovative and draws comparison to Marilyn Manson, whereas lead single Unravelling is arguably the heaviest. Hush marks their first collaboration with another artist on an album, with Bellamy’s vocals working nicely against those of Ellie Goulding, before Space Debris closes the tracklist and will likely transport listeners to the deepest, darkest depths of outer space due to its sound effects. While rolling piano and screamo vocals of the band’s earlier days are still missed, The Wow! Signal features nice nods to their past work and is undeniably Muse at its core. 9/10

Published by Mason Oldridge, 25 June 2026 Looking for some laughs this summer? Here’s 10 of the funniest comedy films from the past 30 years! Austin Powers: International Man of Mystery (1997) Mike Myers stars as the sex-obsessed protagonist in this madcap spy comedy that parodies James Bond. Austin is paired with Vanessa Kensington (Elizabeth Hurley) and works to defeat his nemesis Dr Evil (also Myers) after having been cryogenically frozen since the 60s. Dr Evil endures a tricky relationship with his teenage son Scott (Seth Green), who is jealous of his father’s dwarf clone Mini-Me (Verne Troyer). The trilogy has spawned many hilarious moments, such as the epic three-point turn, the shit coffee, the mole, Dr Evil telling Scott to zip it and his emphasis on “laser”, Austin’s fight with Mini-Me, the character of Mustafa (Will Ferrell) and not forgetting the iconic line “you show that turd who’s boss!” There’s Something About Mary (1998) Ted (Ben Stiller) is encouraged by his friend Dom (Chris Elliott) to pursue his former teenage crush Mary (Cameron Diaz) and hires a private investigator (Matt Dillon) to find her. The film is likely best known for the scene in which an unfortunate incident results in Mary’s hair sticking up on end, though the hitchhiker element introduces some dark humour. However, the twist in which Lee Evan’s character Norm is revealed to be infatuated with her, sees the story take an unexpected turn as the number of men interested in her continues to grow. Road Trip (2000) When college student Josh makes a sex tape of him cheating on his long-distance girlfriend Tiffany and it is accidentally mailed to her, he and the womanising EL, stoner Rubin and nerd Kyle embark on a cross-country journey to retrieve it before she can see it. Tom Green stars as Barry, a tour guide at the University of Ithaca, who narrates and recalls the story. He also features in the tale, notably for his stunt in which he pretends to eat a mouse and is consequently bitten by Mitch the snake. Scary Movie (2000) Wazzup! Written by and starring the Wayan brothers with Anna Faris in the lead role, Scary Movie parodies horror films, specifically Scream and I Know What You Did Last Summer. Away from the spoof aspect, a recurring gag throughout is the closeted yet obvious homosexuality of Ray. It spawned a franchise of sequels, with the second film containing the famous scene in which butler Hanson (Chris Elliott) makes mashed potatoes with his malformed hand. Dude, Where’s My Car? (2000) The only way to describe Dude, Where’s My Car is that it is so bad that it is good. Two stoner friends (Ashton Kutcher and Seann William Scott) wake up hungover, unable to remember where they parked their car the night before, launching a search retracing their steps to get back to their twin girlfriends Wilma and Wanda for sex, uncovering a UFO cult conspiracy in the process. The bizarre film incorporates elements of sci-fi and has gone on to become a cult classic. Funny moments include discovering they got tattoos (“what does mine say?”) and ordering Chinese food (“and then…”) as well as their encounters with a transgender stripper and a Super Hot Giant Alien. The Girl Next Door (2004) High school student Matthew has a crush on his attractive new adult neighbour next door Danielle (Elisha Cuthbert) and learns that she is a former porn actress. The film deserves praise for moving beyond the stereotypical tropes of a sex comedy as Matthew convinces Danielle that she is worth more than reluctantly returning to the adult industry. However, the true defining glory is how the film abruptly shifts direction with the introduction of Kelly, of whom Timothy Olyphant delivers a compelling performance. The way he sways between respecting and betraying Matthew sees the film adopt an unpredictable narrative and therefore further challenge the expectations of its genre. Blades of Glory (2007) Will Ferrell and Jon Heder star as polar opposite ice-skaters Chazz Michael Michaels and Jimmy MacElroy who, following disqualification from singles skating, form a duo. With Craig T Nelson as their coach and Will Arnett and Amy Poehler as their rivals rounding off the cast, this sports comedy is flawless from start to finish. The film features comedy gold throughout, with funny moments including Chazz’s insistence to dancing to My Humps by The Black Eyed Peas, cheating on his diet and showing Jimmy his lone wolf tattoo, Jimmy getting friction burns while showing off in training, the fire and ice routine in which Chazz struggles with the more intimate moves, Chazz coaching Jimmy on how to talk seductively, the fatal previous attempt at the Iron Lotus move and the sex addict meeting, all before the epic finale. Superbad (2007) Jonah Hill and Michael Cera star as unpopular high school students who attempt to have a night of partying and lose their virginity before graduating, but things don’t go to plan. In an iconic scene, the nerdy Fogell insists that he can buy them alcohol with his fake ID, in which he uses the fake mononym McLovin. This is essentially where chaos ensues when he is caught up in a robbery and ends up on a wild night with irresponsible cops (Seth Rogen and Bill Hader) as the situation spirals further and further out of control. I Give It a Year (2013) Josh (Rafe Spall) and Nat (Rose Byrne) get married, but realise they might not be meant for each other as they both fall for someone else. Throughout the film, Josh grows closer to his friend Chloe (Anna Faris) and Nat is interested in businessman Guy (Simon Baker). Spall is one of the most versatile actors but Stephen Merchant is the true star of this romcom-with-a-difference thanks to his hilarious comedy performance as Josh’s best man. Laugh-out-loud moments include the coughing vicar, the best man speech, the wedding dance and the photo frame. We’re the Millers (2013) Jason Sudeikis stars as low-level drug dealer David, who enlists stripper Rose (Jennifer Aniston), geeky teen neighbour Kenny (Will Poulter) and feisty teen runaway-thief Casey (Emma Roberts) to pose as his family on a road trip in order to smuggle drugs across the border. Chaotic hilarity ensues, mainly through their interaction with The Fitzgeralds as they nervously attempt to hide the truth from the DEA agent father, before the teenage daughter that Kenny has a crush on walks in on Casey and Rose giving Kenny kissing lessons. Perhaps the funniest and most memorable moment is when Kenny is bitten on the testicles by a tarantula, with gross-out swelling. The film also delivers on a clever ending in which The Millers live together as the fake family when they are placed under witness protection. LOL!

Published by Mason Oldridge, 17 June 2026 The comedy drama led by Tina Fey returns following last season’s cliffhanger. In Spring, the group gathers to spread Nick’s ashes, in Summer, they hit the beach, in Autumn, they head to Anne’s for Thanksgiving and in Winter, everyone visits Danny and Claude’s new home in Italy for Christmas. Throughout, Jack struggles to come to terms with Nick’s death, putting a strain on his marriage with Kate, Danny and Claude discuss having children again and Anne reluctantly attempts to enter a new chapter in her life after throwing herself into helping Ginny with the new baby. As with the first season, the drama stems from grown adults arguing over things that people in long-term marriages should be mature enough to not even bat an eyelid over, once again proving the characters to be oversensitive and not in healthy relationships at all. Kate is spoken to awfully by both her husband Jack (who is annoyingly weedy) and best friend Danny (who is rudely sarcastic). Furthermore, Anne continues to be boring and miserable, seeming much older than the rest of the gang and therefore unlikely to attract the younger Mark Brett. Additionally, it is even more ridiculous that she strikes up a companionship with Ginny given their complicated connection tied by Nick; it appears Ginny is still the only likeable character. Things only get worse when Kate reveals her dark thoughts during the marathon. Generally, a series that focuses on a group of friends will make audiences wish they were part of the friendship group, but not this one. However, the season does something different this time in that the second Autumn episode is actually a flashback to their Autumn trip during covid, with Steve Carrell returning as Nick, which allows us to delve into their recent pasts. On another more positive note, the season showcases the stunning city of Trento in all its glory. The comedy is minimal, though there are a few glimpses, most notably when Danny’s aunt gets hand sanitiser in her hair due to unknowingly sitting under the automatic dispenser. The ending doesn’t deliver a shocking twist this time, but more of a slight meander in the expected narrative as Anne stays on in Italy and meets a potential new suitor (guest star David Tennant). The series may be easy-watching and offer up a range of different landscapes due to its interesting premise, but what we are ultimately left with is a group of unlikeable characters that are immature for middle age. 6/10

Published by Mason Oldridge, 12 June 2026 Pop royalty Olivia Rodrigo is back with her much-anticipated and long-awaited third album. Ditching one-word titles as with her first two releases, Rodrigo opts for a lengthy name which accurately embodies the vibe of the album musically and lyrically. The tracklist sees primarily a mix of synth, piano and acoustic guitar. Some of the synth songs include lead single drop dead, which adopts a fairytale feel, and expectations, which goes hard with its upbeat 80s-style synth. There’s a much higher proportion of slow songs this time; these include honeybee, the cure, less and closing track cigarette smoke. While these can be regarded as beautiful and raw, they can also be a bit boring and quite depressing at times. Unfortunately, there are hardly any rock songs, of which there is usually a handful, but there is one: my way. Rodrigo unleashes her inner punk here with vocals reminiscent of Avril Lavigne and Paramore, which work alongside an epic guitar riff to make for the highlight track. Furthermore, her duet with Robert Smith of The Cure is an unusual combo but one that works surprisingly well as Smith’s vocals are complimented by Rodrigo’s, making what’s wrong with me an enjoyable offering. Despite the rise in slow songs and lack of rock songs in comparison to the other records, you seem pretty sad for a girl so in love is a further example of the unmatched talent of this still young superstar. 9/10

Published by Mason Oldridge, 11 June 2026 Emma Myers is back as the teen detective in this second season of the BBC thriller series. Pip is dragged into a new investigation when Connor’s brother Jamie goes missing. Meanwhile, Max is on trial for his rape charges. The new investigation into Jamie’s disappearance is better than that of the first mystery as it is compelling to watch and makes progress throughout as opposed to the lulls felt in the earlier episodes of the first season. Furthermore, the case intensifies when it is learned that Layla is a catfish using Jamie to find Child Brunswick, the accomplice who helped lure the victims of his serial killer father as a child. Additionally, the Max subplot, particularly having Jamie as an intended witness at his trial, nicely maintains ties to the first season, even if justice still doesn’t prevail. A tough fact that must be faced here is that Pip is an unlikable character, a risky move when she is the protagonist. Her good girl persona is tainted by her obsession for solving the cases, which often sees her break the law to get what she wants, and, where her heart might be in the right place, it isn’t untrue to say she upends innocent people’s lives in her pursuit for the truth. Despite being good-natured deep down, she is cold and harsh on the outside and definitely prioritises her investigation over her relationship with supportive boyfriend Ravi. The season offers up a satisfactory ending as Charlie is revealed to be Layla and was hunting Child Brunswick because his sister was one of the victims. Charlie’s brief scenes portrayed him as suspicious, so this reveal doesn’t come as a massive surprise but still makes for an entertaining finale as Stanley is shot and the manor goes up in flames. The season ends somewhat unresolved as Max still hasn’t received his comeuppance and the one threatening Pip is still unidentified and at large, setting things up nicely for the commissioned third and final season. Season 2 is still nothing groundbreaking but well worth the watch and certainly outperforms the first run. 7/10

Published by Mason Oldridge, 9 June 2026 Curry Barker delivers his new horror film indirectly inspired by The Monkey’s Paw. When Bear is in love with his friend Nikki but she doesn’t reciprocate, he wishes upon a totem called One Wish Willow that she loved him more than anyone in the world. The wish comes true, but Nikki’s extreme obsession with him brings disturbing consequences. The main element throughout is Nikki’s erratic behaviour, leaving viewers uneasily anticipating her actions. This includes Nikki watching Bear sleep, moving creepily at night, making a memorial with his cat’s remains, taping the door up and maniacally smiling at him when he leaves for work and remaining in position until he returns home, having messed herself. Her behaviour grows increasingly concerning, such as when she stabs herself with a broken bottle at the party. There are particularly grotesque moments too such as Nikki making Bear a sandwich with his cat’s remains and brutally murdering Sarah by repeatedly smashing her face into a brick and keeping her mutilated corpse in their house. There are also shreds of humour within the dark scenes, such as Nikki moving Sarah’s chair during the game and Bear telling Nikki to not cook the cat. There is another chilling scene in which the customer service phone operator, voiced by Barker himself, informs Bear there is little that can be done in a nonchalant tone. An interesting point is the extent to which Bear stays with Nikki, despite Ian warning him that her behaviour suggests that she needs psychological help and that it looks like he is taking advantage of her and a lucid Nikki begging Bear to kill her. A great scene comes when Ian wishes for a billion dollars as he does not believe the wish is real, only for wads of cash to rain down on them, leaving Ian stunned as Bear realises that he is running out of options. The ending sees a desperate Bear commit suicide to end the wish, resulting in Nikki returning to her real self and hysterically screaming as she realises the horror around her. Obsession is unsettling in the best possible way that a horror film should evoke. 8/10

Published by Mason Oldridge, 3 June 2026 Kate Hudson returns as party girl-turned-girl boss Isla Gordon, president of basketball team LA Waves, in the sports comedy drama. Cam is back from his mandatory rehab and Isla fears that he is after his old job. Isla is marrying Lev but can’t stop thinking about her kiss with Jay, grouchy former Waves coach Norm is hired into the role again, Ali feels underappreciated and goes to work for the Toronto Trappers, Travis and Dyson find themselves in a love triangle, Marcus and Norm clash, new player Tommy White becomes Sandy’s new love interest and the team face financial difficulty. The first season of Running Point was disappointing given that it comes from the creator of Never Have I Ever, but this second season steps it up in terms of both comedy and story. However, it is no wonder that the team struggles financially as they fail to adhere to the capitalistic nature of business. Dyson sacrifices his loyalty to Isla and the team to hold out for a better paying contract and they concede to this, though their worst action is giving in to the dancers. Sofia publicly exposes their working conditions on TikTok instead of approaching Isla to discuss the matter, a sneaky move that should see her lose all respectability, though this too ultimately works. The comedy is again mainly provided by Ness and Jackie, though this time is heightened by the guest appearance of series co-creator and co-executive producer Ike Barinholtz, who puts in a stellar performer as the Gordons’ cousin Bennie. This helps see the episode in which the Gordon family unite to play against the McShays become the highlight. A strong ending is delivered as the Waves win the season and Marcus retires following his success, before a twist sees an outed Cam partner with Al to form a rival LA team, along with Jay as their new coach. Running Point builds on its established premise to tell a story of business, sport and people. 7/10

Published by Mason Oldridge, 27 May 2026 Netflix’s new psychological thriller delves into the world of an extremist religious community. The ways of a reclusive and strict cult called The Fellowship of the Divine begin to unravel with the arrival of an escaped convict from the outside world, known as an unchosen. The series delivers a gripping story with strong pacing throughout and no lulls along the stable narrative. The complexity of the characters see our feelings for the different members change along the way, with only one remaining constant: Rosie and Grace need to escape. Molly Windsor and Siobhan Finneran each demonstrate a saddening defeatist vulnerability as Rosie and Mrs Phillips both struggle with the oppressive nature of their culture, while Adam grapples with being the authoritative figure he believes that he must be. The uncomfortable scene in which he rapes Rosie as a punishment solidifies him as a villain, though his weak and feeble character leaves him susceptible to manipulation and at odds with himself, a layered personality that Asa Butterfield conveys perfectly. Fra Fee is chilling as the troubled Sam as he switches from misunderstood to violent, with frequent flashes of his true self between. It is such a clever move to introduce him as a Jesus-like figure with a saviour complex as this creates a subliminal message that he is to be trusted, especially to a questioning cult member like Rosie. At first, we are rooting for Rosie and Sam and against Adam, before Rosie’s doubts prove to be justified. What is perhaps most impressive is how we are left to wonder how much Sam is just using the cult as a hiding place and how much he genuinely wants to repent. Elsewhere, Christopher Eccleston portrays Mr Phillips well as he masters both the respected and fearful leader he is at first and the shamed and disregarded drunk he becomes by the end. Rosie and Grace get their happy ending as they go to see a similarly newly free Mrs Phillips, who is reunited with her son, while Adam is left to learn that Sam filmed their sexual exchange to manipulate him, all before a haunting final scene one year later reveals a menacing Sam is the new leader of the cult. Unchosen will leave you hearing the name Rosie in a slightly deranged Northern Irish accent. 8/10

Published by Mason Oldridge, 18 May 2026 This year, Eurovision headed to Vienna in Austria, following their win last year represented by JJ with his operatic ballad Wasted Love. As always, there was an array of different genres. There was female pop from the likes of Belgium’s Essyla with Dancing on the Ice, powerful ballads such as France’s Monroe with Regarde, dance from Sweden with Felicia’s My System and rock from Romania with Alexandra Căpitănescu’s controversial entry Choke Me. Elsewhere, Poland sent gospel and R&B with Alicja’s Pray, while Italy went disco and funk with Sal Da Vinci’s Per sempre sì. There was surprisingly a lack of novelty acts this year but more fun entries included Greece with Akylas’ energetic Ferto and the United Kingdom’s Look Mum No Computer with electro-punk song Eins, Zwei, Drei. Despite sending something more daring as opposed to staying safe, the UK still managed to come last with one point. Favourites this year were Finland’s Linda Lampenius and Pete Parkkonen with Liekinheitin and Australia’s Delta Goodrem with Eclipse, but it was fan favourite Bulgaria’s Dara who won the contest with her dance-pop banger Bangaranga, winning both the jury vote and public vote and marking Bulgaria’s first ever win. Once again, Israel’s participation caused controversy, with five countries withdrawing in protest this time, and they again came second, further highlighting the close possibility of what would be a nightmare for producers. Interval acts included past entrants performing past entries of others to celebrate the contest’s 70th anniversary and Cesár Sampson performing Billy Joel’s Vienna in honour of the host city. There was also mention of the recently announced upcoming Eurovision Asia, taking place in Bangkok in November. Vienna 2026 felt like a poor year of entries but the results sequence is always exciting to watch and the EBU always put on a good show. 8/10

Published by Mason Oldridge, 15 May 2026 Beef turns into an anthology series, delivering a whole new feud, this time between two couples rather than two individuals. Josh and Lindsay, a married couple in a turbulent relationship, run the prestigious Monte Vista Point Country Club, while Ashley and Austin, a loved-up Gen Z couple, work lowly jobs there. When the younger pair witness and record the elder pair in a heated argument, they blackmail them. Meanwhile, Chairwoman Park, the new South Korean owner of the club, uses the business to cover up a death at her cosmetic surgery clinic and the main four become embroiled in the illicit proceedings. The beef in question is much more tame in comparison to last season as there is not much retaliation from Josh and Lindsay. The main catalyst proves to be when Ashley loses one of her ovaries and sets about enacting revenge on Josh. When she accidentally leaves the door open, leading to the dog getting killed, the mind revels in what diabolical response Lindsay is going to execute, though this proves to be underwhelming. Additionally, the beef takes an unexpected turn when the males and females bond with each other. Another difference from the first season is how, this time, the plot primarily focuses on the couples becoming involved in Park’s corruption, rather than the actual beef. However, this still makes for a compelling storyline with a dramatic finale that keeps us guessing until the very end. One similarity though is the way things take a violent turn as the beef escalates, this time being the scene in which Lynsey brutally kills the coyote in an attempt to save Burberry. This season seems to be less a story of beef and more a story of change, this being Josh and Lynsey’s fall from power as their relationship improves in contrast to Ashley and Austin’s rise to power as their relationship faces tension. Ashley goes from being meek and mild-mannered to controlling and manipulative, which furthers Austin’s interest in Eunice, while Josh and Lindsay realise their love for each other amid the hardship they face towards the end. No justice is served as Park evades being caught, Josh is framed for the corruption and serves eight years in prison, Lindsay remarries but still thinks about Josh, Ashley becomes the new GM and Austin lives with his gutting decision to stay unhappy with her, creating a daunting conclusion. Despite the lack of pacing with the beef itself, this second season serves up a dramatic and gripping story that outperforms the first. 8/10

Published by Mason Oldridge, 13 September 2023 The vacation friends are back in this sequel to the Hulu original for more madness and mayhem. The film opens with Marcus and Emily reuniting with Ron and Kyla for a trip to the Caribbean, along with Maurillio to look after baby Marcus. The exotic holiday is dominated by Marcus’ business meeting and the arrival of Kyla’s criminal father, played by Steve Buscemi, with both of these driving the plot. Once again, it is John Cena who leads the comedy in the movie, which is similar in tone to the first, though perhaps has less funny moments. While it is nice to see the two couples getting along, it may be the comedy stemming from Marcus’ frustration at Ron that this sequel is missing. Furthermore, Buscemi’s character only introduces a villain to the story without providing even a smirk. However, Maurillio’s increased role offers up some laughs as he ends up babysitting another child after mistaking the encounter for a date. All in all, this comedy sequel is easy watching but nothing hilarious, much like its predecessor. 5/10

Published by Mason Oldridge, 11 September 2023 The Leto brothers are back, this time on their own, with their new studio album. Lyrically, the album is quite pessimistic and more in line with the first half of the juxtaposing title, though musically it is more upbeat and draws comparison to Post Malone and Glass Animals. The record opens with lead single Stuck, which is easily the standout. An absolute earworm, the hit song, which went off at Radio 1’s Big Weekend earlier this year, is based on an addictive bassline and post-chorus onomatopoeia that you can’t help but chant along to. Unfortunately, the same can’t be said for the rest of the album. While not necessarily bad in any terms, the songs are rather simplistic and typical of that which fades into the background of radio airplay, not to be remembered. It is refreshing to hear electronic influences on the collection though nothing constitutes a second listen. Thirty Seconds to Mars prove their potential, then fail to live up to it. The talent is there but not exercised. Perhaps Jared is best sticking to acting? 5/10

Published by Mason Oldridge, 15 June 2023 The Netflix-revived supernatural drama turns up the heat as NBC’s cancelled show becomes the streaming giant’s most watched. The first half sees Ben totally absorbed in finding his daughter Eden, before the second half takes a dystopian turn as the passengers are now detained. Apocalyptic signs arrive as a sedated Captain Daly inflicts plagues upon the detention centre and the group face one final push at saving the lifeboat, with Cal desperately solving everyone’s callings and Angelina and her ‘flock’ preparing for the end, believing themselves to be the selected few to enter the new world. We also learn a few things in the final season, including that the passengers were in a ‘divine consciousness’, omega sapphire could be the key to saving the lifeboat and the death date is not just for the passengers but for everyone. Highlights of the season include when Zeke, struggling with his empathic powers, feels Erika’s murderous rage and maniacally shoots her, threatening the lifeboat, and the mid-season finale in which Angelina emerges from the lava with the sapphire molten in her hand, leaving a trail of apocalyptic destruction in her path and creating a sense of impending doom. The end certainly feels nigh with these latest developments, but with several episodes covering the build up, viewers are likely to be left impatient for the death date to arrive. That said, the finale is nonetheless thrilling. After Cal sacrifices himself to create the sapphire beacon, the entire set of passengers arrive at the camp, including Angelina’s clan, who attempt to derail proceedings. The original plane emerges from the lava and everyone boards. There are some truly epic scenes as everyone faces their judgement, with 11 of them, including Angelina, burning before turning to ash. Eegan’s redemption arc is a heartwarming one as he offers to sacrifice himself for Adrian, resulting in them both surviving. The plane then flies into the glow in which they are returned to 2013. It may be justice, but only the passengers have memory of their alternate timelines, meaning Mick has to meet Zeke again and TJ can’t be with Olive because of their age gap. Manifest goes all out on its final batch, turning up the drama and ultimately delivering a worthy conclusion that the creators had to fight to bring to its fans. 9/10

Published by Mason Oldridge, 1 June 2023 Netflix’s new teen comedy drama is both heartwarming and heartwrenching, tackling love, deceit, sexuality and family. A spin-off of the To All the Boys film trilogy, the series follows Korean American student and self-proclaimed matchmaker Kitty Song Covey as she travels to South Korea, where she has enrolled in the KISS school to meet her long-distance boyfriend Dae as well as learn about her late mother, who was also a student there. However, upon arrival she is stunned to find that Dae is in a relationship with fellow student Yuri. This initial setup provides the show with a full season of drama. Dae’s fake relationship with Yuri, Kitty falling in love with Yuri, Q and Florian’s relationship, Yuri hiding her sexuality, Min Ho’s hilarious love-hate relationship with Kitty and the history surrounding Alex’s birth parents all contribute towards the interweaving storylines that leave viewers clueless as to where the story is going and how it will end. Love forms the primary concept as Dae and Yuri’s fake relationship and Kitty’s feelings for Yuri sees the creation of a truly complex love triangle. While it is sad to see Kitty’s heart get broken, it is equally as nice to see her develop many bonds with her fellow students and teachers. Anna Cathcart steps up to the plate in the titular role from Kitty’s excitement to meet Dae and find out about her mother’s history to her heartbreak at discovering Dae’s relationship with Yuri and her confusion about her sexuality. The finale leaves a lot of loose ends that will hopefully be tied up in a second season, particularly Kitty’s future at KISS and Kitty’s relationship status following Min Ho’s confession on the plane. There may be no major shocks in the series but XO, Kitty provides a delicate balance of drama and humour while sensitively touching upon difficult subjects too, seeing it excel on its own merit away from the films it arose from. 7/10

Published by Mason Oldridge, 13 January 2023 Italian rock band Måneskin release their third studio album amidst their Loud Kids Tour, following on from their international success after winning Eurovision 2021. David represents the voice of Gen Z with topics on sex and debauchery, as well as infatuation- heard on single Supermodel, loss- on the incredible closing ballad The Loneliest and war- on the track Gasoline, supporting Ukraine following Russia’s invasion. The quartet also bring new experimentation as promised with the new release, such as vocal distortion on opening track Own My Mind, which sets the energy for the rest of the album, sarcastic hatred on Bla Bla Bla and punk vocals on Kool Kids. We are also treated to three new Italian-language songs. Arguably the most romantic language in the world, these highlight David’s gravely vocals and incredibly skilled voice control. Not only does Damiano David have the charm and charisma of an excellent frontman but he is the best vocalist of a generation. With too many amazing songs to single any out, I don’t know what needs to be released this year for this to not be the best album of 2023. 10/10

Published by Mason Oldridge, 8 May 2026 Good evening Europe! It’s May, which can only mean one thing… it’s Eurovision season! Eurovision Song Contest is a European international music competition, organised by the European Broadcasting Union (EBU) and held annually since 1956. It is broadcast on the pan-European Eurovision network and watched by around 200 million viewers. Some of the most famous artists to feature in the contest include ABBA, Celine Dion, Bucks Fizz, Cliff Richard and two-time winner Johnny Logan. However, this article will focus purely on modern Eurovision of the last 20 years. So how does it work? Each member country sends an artist as their representative with an original song. The United Kingdom, France, Germany, Spain and Italy make up the Big Five (the five highest financial contributors to the competition) who, along with last year’s winning country, automatically qualify for the Grand Final. The rest of the participating countries are split into two groups, with each group performing at one of the two semi-finals held earlier in the week on Tuesday and Thursday, and 10 entries from each semi-final progress to the Grand Final. The winner generally hosts the following year’s contest. The Grand Final is an approximately four-hour long musical extravaganza and the single biggest event in the entertainment calendar. The final opens with an opening act, followed by the flag parade. The finalists, of which there are usually 26, then perform in a pre-determined running order intended to space out different song styles. When all acts have performed, the vote opens, as the hosts announce with the catchphrase “Europe, start voting now!” During the voting, interval acts perform. These are typically last year’s winner, previous entries, entries from the host country and music that celebrates the host country’s culture. During this point, one host will often visit the green room (the space in which the finalists and their delegation congregate whilst not performing) and check in with them. National flags, pride and enthusiasm are in full swing in this area and indeed around the rest of the arena. When voting closes and the votes have been counted and verified, the executive producer gives the go ahead for the results sequence. The results come equally from a jury vote made up of music professionals and a public televote. The hosts then go to each competing country’s designated spokesperson live from their country via webcam, who announce their country’s jury votes. The results work on a points system, with the top ten receiving 12, 10, 8, 7, 6, 5, 4, 3, 2 and 1 points, respectively. “Douze points” and “nul points” are common catchphrases used to refer to the maximum 12 points and the minimum 0 points, respectively. The hosts then announce the televote points, but each finalist is given their total televote points at once, starting with the country with the least jury points and working up. This replaced the old points system, where the winning country could be mathematically revealed earlier on, making for a more exciting results sequence. Once the winner is announced, they receive their trophy and perform their song again. Eurovision can always promise a wide array of genres at the contest, with pop being the frontrunner as a catchy hit is most likely to get stuck in heads and become favourites, for example Netta’s Toy (Israel 2018), Keiino’s Spirit in the Sky (Norway 2019) and Sam Ryder’s Space Man (United Kingdom 2022). Specifically female pop shines through too and can be seen as a display of feminine empowerment with Destiny’s Je me casse (Malta 2021), Stefania’s Last Dance (Greece 2021), Efendi’s Mata Hari (Azerbaijan 2021), Chanel’s SloMo (Spain 2022), Noa Kirel’s Unicorn (Israel 2023), Alessandra’s Queen of Kings (Norway 2023), Blanka’s Solo (Poland 2023) and Miriana Conte’s Serving (Malta 2025). Ballads are powerful and emotional so it should come as no surprise that they frequently appear on the Eurovision roster. Prime examples are Duncan Laurence’s Arcade (Netherlands 2019), Barbara Pravi’s Voilà (France 2021), Gjon’s Tears’ Tout l'univers (Switzerland 2021) and Slimane’s Mon amour (France 2024). Electronic and dance music is also popular, I mean, Eurovision is one big party after all. This includes Daði Freyr’s Think About Things and 10 Years (Iceland 2020/2021), The Roop’s On Fire and Discoteque (Lithuania 2020/2021), Käärijä’s Cha Cha Cha (Finland 2023), Baby Lasagna’s Rim Tim Tagi Dim (Croatia 2024) and Abor & Tynna’s Baller (Germany 2025). Sometimes, the electronic genre turns darker, such as Hatari’s Hatrið mun sigra (Iceland 2019), Luke Black’s Samo mi se spava (Serbia 2023) and Bambie Thug’s Doomsday Blue (Ireland 2024). Eurovision can always guarantee a novelty act as a staple of the contest. Arguably, the most famous example is Verka Serduchka’s Dancing Lasha Tumbai (Ukraine 2007). Little Big’s Uno (Russia 2020) proved popular before the contest was cancelled, as well as Subwolfer’s Give That Wolf a Banana (Norway 2022), Teya and Salena’s Who the Hell Is Edgar? (Austria 2023), Tommy Cash’s Espresso Macchiato (Estonia 2025) and KAJ’s Bara bada bastu (Sweden 2025). Rock is a less common genre heard at Eurovision, though has enjoyed some success at the event, most notably Måneskin’s Zitti e buoni (Italy 2021). Other examples include Blind Channel’s Dark Side (Finland 2021), The Rasmus’ Jezebel (Finland 2022), Voyager’s Promise (Australia 2023) and Lord of the Lost’s Blood & Glitter (Germany 2023). Where English language was once dominant, countries have reverted back to performing in their native tongue again, as well as honouring their nation’s musical heritage, such as Go_A’s Shum (Ukraine 2021), Konstrakta’s In corpore sano (Serbia 2022) and Ladaniva’s Jako (Armenia 2024). Spain, Italy and Albania regularly incorporate their own country’s sound into their entries. Although songs must refrain from being politically influenced, entries have been linked to war before, such as Jamala’s 1944 (Ukraine 2017) and Kalush Orchestra’s Stefania (Ukraine 2022). Winning Eurovision is one of the biggest titles that can be won in the music world but particularly notable winners include Lordi with Hard Rock Hallelujah (Finland 2006) for their monster aesthetic, Alexander Rybak with Fairytale (Norway 2009) for being the highest scoring winner under the old voting system, Loreen with Euphoria and Tattoo (Sweden 2012/2023) for doing the double and Conchita Wurst with Rise Like a Phoenix (Austria 2014) for appearing as a bearded lady. Innovative staging is key to catching eyes on the stage, as evident with Måns Zelmerlöw, who interacted with animated robots during Heroes (Sweden 2015), fan favourite Sergey Lazarev during You Are The Only One (Russia 2016), Kate Miller-Heidke, who appeared on a large swaying pole during Zero Gravity (Australia 2019), Rosa Linn, who performed in a paper house during Snap (Armenia 2022), Nemo, who performed on a rotating and seesawing disc during The Code (Switzerland 2024), and JJ, whose performance mimicked a tempest storm during Wasted Love (Austria 2025). With the 2026 contest fast approaching, there’s only one thing left to say: let the Eurovision Song Contest begin!

Published by Mason Oldridge, 21 April 2026 I Swear is a biographical drama film based on the life of tourettes sufferer and activist John Davidson. He has starred in the QED documentaries John’s Not Mad (1989), The Boy Can’t Help It (2002) and Tourettes: I Swear I Can’t Help It (2009). The film was released in October 2025 but encountered renewed interest a couple of months ago following an incident surrounding Davidson at the 2026 BAFTAs. Here, we take a look at the groundbreaking film. First of all, Scott Ellis Watson deserves the utmost praise for his portrayal of a younger John in the earlier scenes depicting his childhood in which the condition starts. He starts ticcing at home, messing up his chance of being scouted as a goalkeeper and leading to his father walking out on the family, and starts ticcing at school too, resulting in multiple whippings from his headteacher, getting into a fight and being expelled from school. This all culminates in a suicide attempt by walking into a river, but he is rescued. The heart breaks for the poor boy, who endured terrible suffering, particularly at the hands of his own confusion and others’ ignorance. I was stunned to find this now well-known condition was virtually unrecognised back in the 80s. The film then jumps to John at age 25, now portrayed by Robert Aramayo, who delivers a standout performance throughout. He lives with his mother Heather (Shirley Henderson), who struggles to understand and cope with his condition, and is medicated. The film fluctuates between heartbreaking and heartwarming scenes and the first of the more positive chapters comes when John’s friend Murray invites him round and Murray’s mother Dottie (Maxine Peake), a former mental health nurse dying of cancer who understands John’s condition, invites him to live with them permanently. She encourages him to come off his medication and tells him to never apologise for his ticcing as he cannot help it. The most heartwrenching moment is when John goes to eat on the floor in front of the fireplace, something his mother used to make him do after spitting. Watching Dottie support John results in one thought: what a remarkable woman she is. However, as John celebrates his new life, the happiness is short-lived as he and Murray go out to a nightclub, where John becomes involved in a brawl when a tic causes him to accidentally hit someone and he is arrested. A more upbeat scene then counteracts this as Dottie gets John a job interview at the local community centre, in which elderly caretaker Tommy (Peter Mullan) is kind to him, and he gets the job. The job interview is a particularly touching scene as, when John asks if the tourettes will be an issue, Tommy pretends to not know what John is talking about, showing it won’t be a problem for him. More good news then arrives as it turns out Dottie was misdiagnosed and her growth is benign. The mood then takes a dark turn though as John accidentally insults a woman while out getting a takeaway and is beaten up by two thugs and cries to Dottie in hospital in a rather heavy scene. John settles well into his job with Tommy and they discuss how the problem is not with John’s tourettes but the lack of awareness of the condition. Tommy also supports John in court after his outbursts lead him to be removed from the stand in a strong show of solidarity. Unfortunately, John soon after finds Tommy dead in his house; he is surprised when he is offered Tommy’s job. Dottie tries to help John become more independent and encourages him to find his own place to live. He gets a flat but so-called friends take advantage of him, using him unwittingly as a drug runner. He is arrested but the drugs turn out to be fake, used as a test run, and he returns to live with Dottie. This serves to prove that tourettes sufferers can be exploited too. John is approached by the parents of a young girl with tourettes and is able to talk to her openly about the condition from the perspective of someone who truly understands it. John then goes on to dedicate himself to raising awareness of the condition, giving tourettes workshops at the community centre and talks at schools and police stations, and is eventually made an MBE by the Queen for his activism. John is later contacted to be a test subject for a new medical device to help with the condition by the University of Nottingham. In an emotive scene, the device allows him to calmly visit the campus library and he finds newfound confidence talking to a woman on the train home. The film then ends with hard-hitting written words appearing on the screen about tourettes awareness. One of the things the film does perfectly is balance the difficulties of the condition with finding a light-hearted humorous side to it. The jokes were told really tastefully and managed with sensitivity. These include John revealing his hand during a card game, John painting his face while decorating his new room, John and Lucy both having a ticcing episode while Lucy’s parents concernedly look on and John proclaiming “fuck the Queen” at Holyrood Palace. Let’s address the elephant in the room: the incident at the BAFTAs. The real John Davidson was in attendance and shouted the N word while black actors Michael B Jordan and Delroy Lindo were on stage. Presenter Alan Cummings apologised for the strong language but referenced the incident being caused by tourettes and Davidson left voluntarily, yet black actors Jamie Foxx and Wendell Pierce criticised the incident, with Foxx even accusing Davidson of his utterance being intentional. Despite this, Aramayo went on to win Best Actor in a Leading Role. John Davidson is nothing short of a legend, having done more to raise awareness, going as far as transforming the perception of a condition, than many others have and I would suggest to Foxx, Pierce and any other ignorant individual to watch this film and educate yourself! I Swear is one of the most incredibly powerful films of all time, so emotional in a bittersweet manner, and handles tourettes in such a delicate manner that it could even be shown as an educational video in schools. Spunk for milk!

Published by Mason Oldridge, 5 May 2026 Schitt’s Creek star Dan Levy co-creates, co-produces and leads the cast on Netflix’s new crime comedy series. It follows dysfunctional siblings Nicky and Morgan as they find themselves in the world of organised crime after Morgan steals a necklace with more significance than she initially realised. A good first impression is gotten during the shenanigans retrieving the necklace. A continuously snowballing situation is always a winning formula and this is exactly what happens when Nicky resorts to grave robbing his own grandmother. The series is pleasingly fast-paced, consistently progressing as the siblings fall deeper and deeper into a dangerous world. Furthermore, the comedy is of significant quality, notably when everyone believes that Nicky’s fake mugging was a homophobic hate crime. The acting also proves to be strong, with particular praise to Levy for his balance of humour and emotion and Laurie Metcalf for her brilliantly funny mothering role. The comedy gives way to drama as the plot thickens and the seriousness escalates with an action-packed ending courtesy of the unexpected group shooting on the yacht. This is followed by the thrilling final twist in which it is revealed that Annette is the top boss in charge of the Italians, which perfectly ties the seemingly somewhat separate subplots of Morgan’s turbulent relationship with Max and Linda’s mayoral campaign with Natalie all together. The series ends with Nicky and Morgan fearing what they have gotten themselves involved in, similar to the ending of the first season of Breaking Bad. It also offers much potential for a future season too. Although not the most original premise, the series delivers on plot, pacing, comedy and acting, making for an overall easy-watching yet eventful hit. 8/10

Published by Mason Oldridge, 29 April 2026 The gang are back at KISS for senior year in this third season of the Seoul-based teen romcom. Kitty and Min-Ho begin a relationship but it’s not without its trials and tribulations. Q and Jin’s relationship is also tested when Q’s first love Marius arrives, stirring up trouble across the friendship group. Elsewhere, Yuri adjusts to no longer being rich, Dae pursues Eunice and Kitty’s cousin Jiwon starts teaching at KISS. Eunice’s pregnancy scare proves to be the catalyst in Kitty and Min-Ho’s relationship when Kitty assumes Min-Ho is the father. However, this later expands beyond just their storyline as, while Eunice is not pregnant, the positive pregnancy test is revealed to be Jiwon’s, who is in love with Alex, her baby’s father. Jiwon is unnecessarily harsh to Kitty despite being cousins but at least acknowledges this when the truth exposes her as a hypocrite and the situation creates a heartwarming moment between Alex and Professor Lee. The highlights are Episode 4 as the gang enjoy a fun-filled day out at Lotte World in which a softer vulnerable side to Marius is shown and Episode 9 as the friends rally together to support Yuri’s new fashion show. The season concludes with Kitty’s 18th birthday, which culminates in Min-Ho doing a cliched chase to the subway to confess his love for her before she leaves for America on break. Nevertheless, the scene is still emotive and sees a third successive season end with Kitty and Min-Ho embarking on some sort of travel together. Kitty is a self-proclaimed matchmaker and originally came to KISS to find love and relive her mum’s experience, all of which continues to happen in this third season, as she sets up Jiwon and Alex and pieces her friendship group back together, finds love with Min-Ho and attempts to recreate a photo with Yuri of their mums on a rollercoaster in a particularly sweet moment. Also, Kitty visits Lara Jean and vice versa in this season, which is a nice link to the original film series too. Three seasons in and the series has established a tight-knit friendship group that we have grown to love, all the while progressing interweaving storylines, elevating this season slightly above the prior two. 8/10

Published by Mason Oldridge, 27 April 2026 Samara Weaving is back as the badass bride, this time with her estranged sister (Kathryn Newton) in tow as she is once again hunted by a group of wealthy individuals in this horror sequel. It picks up immediately where the first film left off. Grace learns from The Lawyer (Elijah Wood) that surviving the Le Domas family triggered a clause which results in the heads of elite families, who form The Council, hunting her in another Satan-worshipping ritual, with the winner becoming the High Seat and earning a powerful ring. Again, she must make it to dawn. The hunt itself is rather similar to the first one, except this time Grace is handcuffed to her sister Faith. Initially proving a challenge, they manage to break the cuffs and form somewhat of a double team. Surprisingly, Sarah Michelle Gellar stars as one of the ruthless family heads hunting them down. It is satisfying to see the arrogant family members, who are heartlessly watching the game, panic as Grace and Faith perform better than they expected and realise they may have to join the game themselves when their relatives meet their demise. The highlight of the first film was the twist ending in which the Le Domas family realise that the ritual is real as they explode one by one. Obviously, this couldn’t come as a surprise this time, but instead excels with its own unexpected ending. Grace accepts a loophole in which she survives by marrying Titus, the sadistic head of the Danforth family. In a truly kickass scene, Grace repeatedly stabs him to death, therefore becoming the High Seat, denounces herself from the role and throws the ring into the sacrificial pit. All the attendees then jump in, fighting for the ring, and, when no-one is the winner at dawn, they all explode in an almighty bloodbath. Freed, Grace and Faith leave with a sacrificial goat, which makes for a nice touch. With another thrilling hunt and such an epic finale that sees Grace’s strong female character evolve into an iconic heroine, this sequel outperforms the first film and is totally compelling to watch. 9/10

Published by Mason Oldridge, 24 April 2026 Oliver Tree maintains his hip-hop sound, albeit this time things get a lot heavier, on his fourth album. My Only Friend opens the record with acoustic guitar, while I Need You turns punk-like towards the end with disc scratching and screamo vocals. Glow On is more upbeat and features whistling, whereas Hey Shorty contains heavy distorted bass placed over a trap beat. Fuck The Whole World includes a sick guitar riff before Superhero earns its role as lead single. Crazy arrives out of leftfield with its glitchy electronic sounds, as does Someone Else set to a truly epic dance beat, and Flowers contrasts happy music with violent lyrics. However, Joyride has to be the highlight. This high-energy single adopts a drum and bass backing with rap verses. Tree utilises and builds upon his unique sound. There may not be a whole lot of variations between tracks but there is not one bad song across the tracklist which, given the album contains a lengthy 17 tracks, is no mean feat. As sole producer, Tree demonstrates an undeniable talent on this album that you can rock out to. 7/10

Published by Mason Oldridge, 10 June 2022 Foals once again prove why they are at the top of the indie game right now with their new upbeat album Life Is Yours. The funk-infused seventh effort opens with the title track which delivers the positive message “life is yours, break away”. An awesome launch to the album, the track stands out as a highlight instantly, where lead single Wake Me Up does exactly what it says on the tin, with blaring rhythm from start to finish, aided by Yannis’ energetic vocals. 2am is lyrically darker, telling of a night out in which you’re desperate to meet someone and not sleep alone that night. This second single focuses on social anxiety within millennials, a popular theme of contemporary music right now, and has earned well-deserved frequent airplay on Radio 1. Furthermore, 2001 is another strong single that holds up. What then follows is a set of songs which, despite lacking variety between each other, are all still epic, culminating in Wild Green, which is somewhat dreamy, touching upon the psychedelic elements of Tame Impala. Ultimately, Foals demonstrate how the departure of two members hasn’t hindered them in any way and are still leaders of the modern indie scene. 7/10

Published by Mason Oldridge, 20 February 2022 As the debut album of indie rockers The Killers Hot Fuss turns 18 this year, we take a look at an album that soundtracks the Saturday nights that begin when you turn 18 (or perhaps younger) and start going out. Hot Fuss was released in 2004, a year undoubtedly one of the strongest in history. To take precedence of that year, The Killers had to fend off stern competition from the debut albums of Scissor Sisters, Keane, Franz Ferdinand and Maroon 5 as well as the greatest hits album of Robbie Williams. Despite this, Hot Fuss went on to become one of the greatest albums of the 00s and, indeed, all time. So what is the winning formula of the Las Vegas rockers? I would argue that The Killers unique selling point that sets them apart from the rest would be Flowers’ unique vocals and the delicate balance between rhythmic guitar and blaring synth, something glaringly obvious within this effort. The album opens on Jenny Was a Friend of Mine, which, despite never being released as a single, became a firm fan favourite. Pairing Stoermer’s slick bassline with Flowers’ aggressive vocals, Jenny introduces us to the sound that we have come to love. Mr Brightside is the lead single and signature song of the album and the band overall. Based upon the real life events of Flowers’ finding his girlfriend cheating on him, the anthemic hit details the unbearable jealousy of imagining your lover being intimate with another man, chronicled by the heartbreaking lyrics “now they’re going to bed and my stomach is sick” a situation that anyone who has experienced will know is all too painful. Despite the devastating subject matter, the track has become timelessly infamous and you’ll struggle to find a single dancefloor where this doesn’t play at some point on a Saturday night. Furthermore, its success is shown in the fact that it is still in the UK charts every week without fail, kicking around the 75 mark. Following Mr Brightside is its original B-side Smile Like You Mean It, which features what is quite possibly the greatest synth hook ever. Exploring what is hidden behind a fake smile, the track tells of someone struggling with growing older and missing their sentimental past. Everyone has some memories they desperately miss, giving a hard-hitting emotional impact to the song. Aided by the haunting use of the Echo Farm distortion in Flowers’ vocals, here is another example of a heart-breaking tune you can’t help but dance to. Somebody Told Me is a fast-paced rock song that offers no gap in vocals to breathe which quite nicely mirrors the shortness of breath one might feel when desperately trying to pick someone up in a bar to no avail, the focus of the song. This commercially-successful follow-up single is also highly relatable with the experience of swallowing your pride to give in to desperation that too features the trademark Killers sound that draws you up on the dancefloor. Third single All These Things That I’ve Done brings about a slowed change of pace with a piano intro that erupts into another Killers classic. Matched with a wild west-themed music video providing a patriotic nod to their Nevada background, this shows The Killers are proud of their roots, something that would be further seen in their videos and artwork. Mid-album track Andy, You’re a Star stops listeners in their tracks with a kick-ass bassline and makes excellent use of split-sound in a song full of homosexual undertones. It tells of a boy admiring a high school jock named Andy and feeling ashamed of homosexual feelings. These two elements are respectively represented in the lines “on the field I remember you were incredible” followed by the shameful denial “hey shut up”. Lyrics provide the narrator’s embarrassment before ascending to the chorus’ admission as he begs Andy to not choose the girl: “promise me she’s not your world, ‘cause Andy, you’re a star”. Reports claim Andy was a real jock at Brandon’s high school but differ in truth, with some stating the lyrics are ironic as a comment on Andy’s egotistical attitude where others claim they were actually friends. On Top sees Flowers give an incredible keyboard riff that defines the song. It could be argued this is left up to interpretation with the main subject said to be about drug use though can also be viewed as focusing on the band’s feelings of performing live. Alternatively, it is difficult not to hear the sexual undertones in the song with lyrics hinting at the anxiety and adrenaline felt over the intimacy of sex. Lyrics such as “some other DJ in some other town” point towards the subject of live performances where lyrics such as “I can’t crack, we’re on top” suggests the high of taking drugs. However, “the velvet sun that shines on me and you” hints at the euphoric feeling of sex and the adrenaline experienced in that setting, backed up with the sly comment “I don’t need to satisfy tonight, it’s like a cigarette in the mouth”. It is unclear whether being under the influence is helping the narrator feeling “on top” of the world or if it’s a more intimate situation that is creating this sensation or whether he is physically “on top” of someone else but either way it is a melodic insight into a wild night. The group went on to further success with hits such as the emotional “When You Were Young”, dance-orientated “Human” and the egocentric “The Man” but nothing quite like the Hot Fuss tracks of the band’s early days replicate that Saturday night feeling via a mix of experiences both good and bad including heartbreak, memories, nostalgia, desperation, sexuality and euphoria. It is the exploration of human experience mixed with The Killers’ nostalgic sound, alongside excessive airplay, that recreate the Saturday night out so perfectly. It can’t help but beg the question: are we human or are we dancer?

Published by Mason Oldridge, 23 April 2026 Channel 5’s anthology drama series in which each season follows a teacher caught up in a scandal returns, with Victoria Hamilton leading the cast this time. Drama teacher Helen Simpson clashes with student Cresida after Helen’s traditional approach to the syllabus and her misgendering of newly non-binary student Dee aggravates a woke Cresida. As with the second season, the pacing is rather slow considering this is only a short four-part series. Cresida consistently ramps up her vicious vendetta but only at the latter half of the final episode does the drama receive a real boost. Ultimately, the show is frustrating. First of all, all the woke nonsense is annoying as Shakespeare is an important part of the syllabus and Helen did apologise for misgendering Dee. Secondly, it feels as though Helen is unfairly villanised as, although she made mistakes, it was largely an unfortunate situation as a result of persistent goading from Cresida. Also, would Cresida really ruin the life of someone unrelated to her simply because she feels abandoned by her parents? Furthermore, Sam’s weedy and brooding personality is the worst of it. He lacks respect for his parents and the intimate scenes with Cresida are cringeworthy. As if he would enter into a relationship with his mum’s tormentor! As if his dad would let Cresida stay the night! As if Sam would believe the accusations of someone he has just met against his dad he has known all his life! Additionally, he leaves his mum held at gunpoint instead of trying to talk Cresida down and the shock twist in which Cresida is revealed to be pregnant is also the fault of Sam and his irresponsibility, bringing further stress to Helen’s life. However, praise must be given to Alice Grant as this relatively unknown actress delivers a psychotically evil performance as the malicious schoolgirl. On the whole, this season is irritable but still delivers on a story that fits within the anthology. 5/10

Published by Mason Oldridge, 16 April 2026 Netflix’s new horror series, produced by The Duffer Brothers, remains tight-lipped and intriguing. The series follows Rachel and Nicky on the week of their wedding, though Rachel has this awful feeling that something very bad is going to happen. Naturally, there is a sense of foreboding. Among the tense atmosphere, there is a mix of jumpscares and spooky moments throughout, such as Rachel and Nicky’s disturbing experience at the rest stop, the haunting Sorry Man tale, the creepy burning effigy hanging in the woods, Boris sickeningly taxidermying the dog, Jude finding Rachel’s dad, Rachel’s parents’ chilling close encounter with the sinister custard magnate serial killer, the gruesome circumstances surrounding Rachel’s birth, Rachel having her toe stomach-wrenchingly amputated and making the disgusting concoction to break the curse. Episode 4 proves to be a pivotal driving force in the story as the series takes a supernatural turn and switches to the theme of fate as it is revealed that Rachel has inherited a generational curse and must marry her soulmate. This theme is further explored when it is cleverly revealed that the story of how Rachel and Nicky met may not be all it seems, as well as the recurring use of the song You Are My Destiny. In the finale, there is an epic and cinematic bloodbath as the curse spreads to Nicky’s bloodline and kills everyone who doesn’t believe their spouse is their soulmate. Amid the gory chaos, there is a sweet moment as Jules survives, meaning that he believes that Nellie is his soulmate despite their turbulent marriage and divorce plans. The series ends with Rachel driving off alone, cursed to become the new witness yet ironically feeling free. The logistics of the curse prove to be more complicated than initially believed to be as various scenarios can be questioned. It feels like a ridiculous coincidence that a young Jules would just so happen to witness the birth of his future sister-in-law and it seems far-fetched that Rachel would go to all the trouble she does only to abandon the drink and rely on her faith that Nicky is her soulmate, though both can be excused as they link to the overarching theme of fate. Despite this, there is no way Rachel would be able to have sex and walk down the aisle so soon after having her toe cut off. However, the recurring motif of a fox, representing how Rachel is feeling at different stages of the week, is a nice touch. Despite some minor shortcomings, the series ultimately delivers a truly terrifying horror story. 8/10

Published by Mason Oldridge, 17 April 2026 Glen Powell leads on this black comedy thriller. Becket Redfellow is born into a wealthy family, but shunned for being born out of wedlock; however, he is still named on the inheritance. Living an underprivileged life, he follows his mother’s dying wish of achieving the life he deserves and sets about killing off his relatives one by one. This simple plot is a perfect example of utilising the dark comedy genre as each hit plays out in such an entertaining way, aided by Becket’s attitude towards the killings and how most of the family are entitled. The deaths are all the more comical as they are all followed up by a hilarious cut to their funeral at the family plot. Furthermore, Becket grows close to his uncle and so it feels fitting that he dies naturally instead, with Becket at his bedside. Additionally, the final killing is a thrilling battle between him and his grandfather who rejected him at conception. The film would have succeeded on this premise alone, but it is elevated by the twist as Becket’s childhood friend Julia blackmails him with evidence of his crimes and then frames him for the murder of her husband Lyle, who committed suicide, outlining the irony that he has gotten away with murders he did commit but imprisoned for a murder he did not commit. The ending excels in its unpredictability as he slowly realises that he is running out of time while talking to the priest, learns that Julia has the suicide note that could free him, signs over the estate to her and she releases the note in the nick of time. However, as Becket’s partner Ruth rejects him, the film ends in a somber mood as he reluctantly heads to the estate with Julia, having gotten away with murder but lost all he worked to gain. The film is no doubt strengthened by Powell, who delivers a standout charming performance as always, carrying that kickass likability akin to Walter White and Joe Goldberg. Simply put, How to Make a Killing is a truly enjoyable watch. 9/10