Derry Girls; Spreadsheet

“Can this really be the end of Derry Girls (Channel 4)? In the words of a Nineties banger: please don’t go. The extended finale had it all, even a musical number on the Derry Walls. It was poignant, heartwarming and hilarious. It took the elements that have always made up the show – the Troubles and the growing pains of teenage friends – to a higher level. Never did I think hearing a Corrs song would reduce me to tears, but here we are.”
Anita Singh, Telegraph

“Oh dear Mary, Mother of God. What a farewell. Derry Girls bowed out for ever in a finale special that was funny, profound, sharp, political, sentimental and pretty much perfect. Practically every beat of Lisa McGee’s comedy was exquisitely judged, balancing just the right amount of pathos with wit and a good dose of Uncle Colm, the world’s most boring man, who feels like a Father Ted character.”
Carol Midgley, The Times

“It took a while for Derry Girls to establish itself as that rare thing, a modern comedy classic, but now it feels like it has always been there. There’s a strong sense that though it will be missed, it hasn’t outstayed its welcome. Instead, it has been absolutely cracker.”
Rebecca Nicholson, The Guardian

“Lisa McGee’s life-affirming coming-of-age sitcom – the most successful Channel 4 comedy since Father Ted – has always dazzled most brightly when weaving global politics with everyday life. Its final hour-long special episode was no exception.”
Rachel Sigee, The i  

“I very much enjoyed it. Laughed out loud twice, which is rare for me. It’s a kind of a mucky Motherland and, like Motherland, not all the humour worked, but the cast — especially Katherine Parkinson as the libidinous Lauren and her assistant/friend Alex (Rowan Witt) — are funny enough to carry it through.”
Carol Midgley, The Times 

“Despite a handful of good lines in each episode, most of the script is slightly laboured (“A black and white [profile] picture can make a loaf of gluten-free bread look mysterious,” says Alex). And, overall, the feeling you’re left with is one of faint boredom, edging into depression. Is this really the best we can do where women and sex are concerned in the year of our lord 2022?”
Lucy Mangan, The Guardian

“Each episode starts with a vigorous sexual encounter with a stranger, played for mucky laughs — a knee-trembler outside a theatre, bondage in a hotel room. The camera angles are forgiving, but the grunt-and-groan dialogue is not. You might want to keep one finger on the mute button.”
Christopher Stevens, Daily Mail

“The best thing about the show is [Katherine] Parkinson, an adept comedy actress. Individual scenes and set pieces can be funny. But the writers, Darren Ashton and Kala Ellis, are trying too hard to marry their woman-has-lots-of-sex concept with Motherland, and the result is slightly desperate.”
Anita Singh, Telegraph