The New Look; Kin

“This series promises a lot but – like its accents – misses the mark too frequently. Never sure whose story it wants to tell – Christian’s, Coco’s or Catherine’s – The New Look feels like three wildly different garments sewn together.”
Rachel Sigee, The i

“An English-language production telling a very French story, The New Look is inevitably full of slightly hammy accents, with the cast committing to varying levels. Accent quibbles aside, though, this series is a beautifully made, nuanced exploration of two creative geniuses whose lives were far from black and white.”
Katie Rosseinsky, The Independent

“Look, as a drama it’s fine. Well-paced, lots of action, lovely to look at and really good central performances from Juliette Binoche – clearly relishing Chanel’s acidity and wit – and Ben Mendelsohn, treading a careful line between making Dior a gentle man almost overwhelmed by the world and a total drip. It’s just that, as a whole, The New Look doesn’t amount to enough. You could see it as escapism, but that requires accommodation of the fact that the Holocaust is essentially written out of the story in favour of a rivalry over tulle.”
Lucy Mangan, The Guardian

“As a slice of history for those of us not overly familiar with all this, The New Look is eye-opening. It makes you ponder to what extent Chanel’s collaboration can be separated from her fashion legend. As a drama, though, it feels off-kilter because it is billed as a biographical drama about Dior. Yet Chanel is given equal prominence. So is it a biopic or a tale of two rivals? Writer and director Todd Kessler can’t nail it down.”
Anita Singh, The Telegraph

“The writer Peter McKenna’s show works in spite of mining just about every cliché of the genre. It’s unchallenging, yes, but oddly gripping. And there are some original flourishes, not least in the beautiful visuals.”
Ben Dowell, The Times

“Kin is a series of violent gangland attacks with people shooting each other in the head, spread out between long, laboured plot explainers. The trouble is, it’s hard to see why we should care.”
Christopher Stevens, Daily Mail