Rain Dogs; Naked Education; Highland Cops

“Rain Dogs’ comedy is so black at first it seems to obliterate any possibility of light or warmth. The stark opposite of funny. Despair-inducing, in fact. But I keep watching, and my ear starts to tune into the bracingly strong cadences of Cash Carraway’s Bukowskian voice. Beneath the ballast of shock, violence and bawdy language, she’s quietly skewering the grotesque realities of class and sex inequality like virtually no one else. It’s writing that pushes you to the edge, then holds your head over it so you can see how things really are.”
Chitra Ramaswamy, The Guardian

“Yes, Rain Dogs is a dingy view of survival in the capital’s underbelly, and may well become the latest ‘thing’ among viewers who have a discerning palate for dark funny-sad dramedy (see also Fleabag; I May Destroy You). But the dialogue is wryly scripted and, particularly whenever Costello and Selby share the screen, this is highly watchable.”
James Jackson, The Times

“To leap from shamelessly funny to desperately sad and back again is quite a tall order. It helps that this HBO co-production is a vehicle for Daisy May Cooper who, with those bird-of-prey eyes and that wobbling lower lip, flits with ease between teak-tough and pitiable, insouciance and victimhood.”
Jasper Rees, The Telegraph

“Rain Dogs is a co-production with HBO, an American broadcaster responsible for some of TV’s glossiest, most expensive shows: Succession, Game of Thrones, The White Lotus. But it wears its gritty Britishness on its sleeve, from its tongue-in-cheek, dirty sense of humour to its council-flat-tower grime. It’s a messy, brilliant, sharp drama with buckets of pathos and plenty of laughs to lighten the mood. Don’t miss it.”
Emily Baker, The i

“Director Richard Layton, writer Cash Carraway, and the rest of the team, deserve great credit and, in time, some awards, for this evocative but bleak sketch of life at the arse-end of Rishi Sunak’s Britain, a country grown too used to the gross indecency of poverty. It’s a fine memento of our troubled times.”
Sean O’Grady, The Independent

“Fans of Cooper’s rural sitcom This Country know what a strong actress she is, able to deliver coarse punchlines with such cynicism that her character’s misery becomes bitterly funny. But it’s hard to sympathise with her as part-time nightclub waitress and would-be writer Costello, who seems incapable of keeping her daughter safe. I can have sympathy for someone who’s fallen on hard times, but when they put a child at risk, my patience runs out.”
Christopher Stevens, Daily Mail

“Presented, like Naked Attraction, by Anna Richardson, the premise for copious on-screen nudity is here a sound one. Swathes of us are unhappy with how we look, but if they could only see what most people really look like – as opposed to what TV, movies, fashion magazines and Instagram would have you believe – then that body negativity might blossom in to body confidence. It is undoubtedly a noble aim. The only reservation is whether a magazine-type show like Naked Education is the best way to go about it.”
Benji Wilson, The Telegraph

“The sheer variety of the police work showcased in this eight-part series makes it an absorbing watch, and quite different to other detective documentaries.”
Christopher Stevens, Daily Mail