Grace; Austin

“John Simm inhabits Peter James’ creation so completely that it’s impossible to imagine him in any other role; his performance is, as ever, a masterclass in understatement. He’s supported by an excellent turn from Madalina Bellariu as Dren, whose arc from downtrodden slave to murderous avenger is startling to behold. Yes, the script is, at times, a smidge on the lazy side. But the tension stays high, and Brighton is as salty a backdrop as one might hope.”
Marianne Levy, The i

“There were more interconnections and double-crossings in this single episode than on Rod Stewart’s model railway. It papered over any cracks in credulity by throwing plot and more plot at the wall.”
Benji Wilson, The Telegraph

“I know TV cops must be ‘sad’ by law, but, jeez, how much misery is this man supposed to take? First his wife goes missing for years and years, then turns up only to die tragically and now his child has gone too. What does this heartbreak add, except more darkness, to already bleak plots? It’s beginning to feel fetishistic, all this unhappiness.”
Carol Midgley, The Times

“When you first met Mr and Mrs Ludlow, they were in their sitting room, with sashed curtains, matching furniture with silk upholstery and a glass cabinet full of books. They couldn’t have looked more English and middle class if the interview had been interrupted by their Ocado delivery. How does a couple like that become involved in modern-day slavery? Don’t the Albanians have any master criminals of their own?”
Christopher Stevens, Daily Mail

“Confusingly, despite being created by a team of Brits (including Ben Miller) and featuring many British reference points, Austin doesn’t seem to have been designed for UK viewers. They will immediately see through the show’s trite, twee depiction of Britishness. This lack of authentic perspective coupled with a heavily artificial plot means Austin never feels remotely plausible. It also fails to cash in on the premise’s tear-jerking potential – the standard conflict-resolution drama is in place, but the emotional climax never hits.”
Rachel Aroesti, The Guardian

“Aside from Austin’s fish-out-of-water adventures, we’ve seen it all before: the mannered comedy, the husband being self-centred and bungling while the smart and capable wife holds things together. The cancel-culture element is light touch, Austin nailing it when he says there is nothing wrong with retweeting a non-racist comment made by a racist. Lest anyone think that sentiment leans towards the right, however, there is also a gag suggesting that The Telegraph is a bit racist. A perfect example of BBC balance.”
Anita Singh, The Telegraph