Happy Valley; Right Here, Right Now; Clarkson’s Farm 2

“In truth, it was not the most gripping episode of this. But it showed everything we loved about Catherine Cawood: her toughness, her vulnerability, her sense of humour. Happy Valley sounds so bleak on paper, with its storylines about drugs, rape and murder. But at its core is the love that Cawood has for her family. Wainwright gave us what we wanted: a happy ending for a character who truly deserves it.”
Anita Singh, The Telegraph

“‘Don’t doubt Wainwright’ was the lesson of the finale. As surefooted as any fell-walker – and aided by a cast without a weak link – she took us through to neat but truthful resolutions to every part of the story. It had redemption, justice, bitter laughs and fire in its blood.”
Lucy Mangan, The Guardian

“With an extended 70-minute run time there was a lot to cover, but nothing felt rushed as Wainwright gave her big moments room to breathe.”
Rachel Sigee, The i

“It isn’t just a thrilling document of the event itself. The combination of what happened, and what might have happened but didn’t, turns Jak Hutchcraft’s film into a surprisingly intense experience, a rush powered by the euphoria of irresponsible adventure and the sweet sadness of distant youth.”
Jack Seale, The Guardian

“Right Here, Right Now sits in the same debauch-umentary section as the two Fyre festival films from 2019 and Netflix’s Woodstock ’99, but because things never descend in to proper seventh-circle-of-hell raft of the medusa-dom, it’s not as shocking. There would be no more, free, unticketed parties in the UK. But basically, everything was okay. As such, Right Here, Right Now is a Titanic story devoid of an iceberg.”
Benji Wilson, The Telegraph

“Clarkson’s Farm 2 touches all the bases that made the first series such an out-of-nowhere success. Clarkson’s macho voiceover remains a bit preposterous. Yet crucially there is a sincerity to the humour, to Clarkson’s admiration at very practical expertise. It’s what makes Clarkson’s Farm work. Meanwhile, the quips about his young sidekick’s unworldliness still provide laughs, even if they lack the surprise factor.”
James Jackson, The Times

“The series is unscripted but there are moments here when you suspect that subjects are being brought up, or lines being fed, at the producers’ request, which occasionally gives the Clarkson and Kaleb scenes a stagey feel; there is one particularly painful conversation about the difference between Genghis Khan and Gandhi. But it remains thoroughly enjoyable viewing.”
Anita Singh, The Telegraph