​The Newsreader; Murder In Provence; Million Pound Motorhomes

“This concentration of action gives the series a frenetic energy, a sense of lurching crisis, yet also euphoria. The show is excellent at capturing the weird, restrained elation that a large-scale tragedy can bring to a newsroom – a place where the overlap between global disaster and personal opportunity is significant – and neatly sums up something decidedly murky about journalism in the process”
Rachel Aroesti, The Guardian

“The Newsreader was, is, a joy to watch, and this is mainly down to Anna Torv who plays with fabulous nuance Helen, a talented, takes-no-crap TV newsreader in an Australian newsroom in the 1980s, suffering sexism, male hostility and panic attacks. It is a complex performance that succeeds in making Helen simultaneously ball-busting and fragile; supremely confident and desperately needy, with ambitions even bigger than her bouffant hair. But it is the quickfire writing that works in this drama, which is also part comedy, part romance, but (almost) entirely realistic — not easy to pull off.” 
Carol Midgley, The Times

“But the shouting matches, the melodramas and the wobbly walls will be familiar to anyone who misses Mrs Mangel or Harold Bishop…The evocation of the 1980s verges on pastiche, with lots of power-walking down corridors. But as devotees of Neighbours know, that decade was permanently on the verge of pastiche.” 
Christopher Stevens, Daily Mail

“It’s otherwise a straightforward soap opera taking us behind-the-scenes in a TV newsroom, with its rivalries, office politics, pre-MeToo attitudes and – inevitably – a romantic relationship between the two leads. Stick with it and you may find yourself becoming quite invested in these characters – Robert Taylor is particularly good as the ageing newscaster Geoff Walters, who can see the writing on the wall but is doing everything he can to avoid being pushed into retirement. Plus, the 1980s setting can’t help but make you wallow in nostalgia.”
Anita Singh, The Telegraph

“Although few of the themes are new – rife sexism, casual racism, flippant homophobia, office politics and warring ambition – The Newsreader gently and engagingly subverts a few stereotypes. Where Dale could be an obnoxious upstart, he is kind and keen to learn. Where Helen might be flinty with self-preservation, she is passionate and principled but more fragile than she first appears. In a strong ensemble cast, both leads are excellent: while Reid has an endearing knack for rabbit-in-the-headlights comic timing, Torv is powerfully nuanced as Helen. Her performance in episode two, as she desperately tries to keep tears at bay and hold it together during a live bulletin, is especially heartbreaking.”
Rachael Sigee, The i

“Murder In Provence is still packing too much flab round its middle and is being carried almost entirely by the wonderful Roger Allam. But is it a nice escapist watch, full of rustic French aesthetic and everyone taking lovers? Yes it is. So you can overlook the fact that the plots — like last night’s offering where the crime scene was, quelle surprise, a lovely château — are looser than a fishwife’s tongue and many of the characters appear on castors.” 
Carol Midgley, The Times

“Murder In Provence (ITV) would be a great deal better for a dollop of pastiche. It never dares to send itself up, and is more po-faced than it has any right to be. Even the marvellous Roger Allam as Judge Antoine can’t do much with leaden lines”
Christopher Stevens, Daily Mail

“Sometimes these programmes cause me to wonder just how the researchers found the people to take part. Something about the Campbell family, who had taken a year out to travel the world, felt very slick; a Google search revealed that they have a professional-looking website and social media presence inviting donations, and had been hoping to convince Netflix or Amazon to invest in their story. I lost interest in their part of the programme.” 
Anita Singh, The Telegraph