Empowered significant female character or not – something alien to the Spartacus universe to date – this show retains its precedent for utter coarseness. Sure, vulgarity need not be shied away from, yet every angle of crudeness – language, nudity, violence, gore and more – is categorically over-explored, striving to invoke awe through the grotesque and superficially intriguing, rather than attempt to do so through such novel approaches as well-developed characters or an arresting narrative. The characters may actually say something if they’re not throwing in quite so many f-bombs.

The script is a particularly interesting case. These characters may favour deeds to words, but the profanity-strewn faux-Shakespeare dialect in which they talk is actually not that ineffective, and matches the surreality of the very evidently computer-assisted creation of the visual world. Additionally, the fight scenes, of which there are a fair few, are cinematically engaging and amusingly choreographed.

All matters considered, Spartacus: House of Ashur is as ridiculous as it is searingly earnest in its intent to portray the epic over all else. Whether the show’s creators intended for it to emerge as a greatly protracted 300 with all the bodies and brooding and battling, and of course the eternal dusk, that’s how this one has panned out, and it doesn’t lend itself to a miniseries.

Will Snell

Spartacus: House of Ashur is released on 6^th December 2025.

Watch the trailer for Spartacus: House of Ashur here:

Taking place about a year after the fourth season, the government has put Hawkins under lockdown. The gang is running a pirate radio station, delivering coded messages to El (Millie Bobby Brown) and Hopper (David Harbour) in hiding to coordinate their ongoing search for Vecna (Jamie Campbell Bower). However, events take a sudden, dramatic turn when their latest mission goes wrong, entangling them in more supernatural happenings. As the heroes work to make sense of what’s going on, they gradually uncover pieces of Vecna’s plan.

There’s no shortage of D&D references, 80s nostalgia, and monsters in these episodes. It’s par for the course for Stranger Things, but a tightly written script ensures the series remains as engaging as ever. The showrunners once again do an exceptional job of maintaining the suspense throughout each episode. The Duffers know how to balance each of the subplots once the characters split into smaller groups by strategically drip-feeding viewers new information. Although the first half of this season takes the overarching plot in fascinating new directions, the reframing of previous key moments makes the programme feel like it’s come full circle.

As gripping as the hunt for Vecna is, season five is still very much character-driven. Each returning cast member does an incredible job of reminding viewers why they fell in love with them in the first place. While Harbour shines in emotionally resonating moments and Nell Fisher makes a strong impression as Holly Wheeler, it’s Noah Schnapp who gets the spotlight. This season is Will’s story, and the fourth episode reinforces this during its stellar climax.

Visually stunning and wholly captivating, Stranger Things’ final season is on track to conclude the show as strongly as it started. With so many questions left unanswered, there’s no telling what will happen next.

Andrew Murray

Stranger Things season five, volume one is released on Netflix on 27^th November 2025.

Watch the trailer for Stranger Things season five, volume one here:

The Beatles’ adventure began in Liverpool, passed through Hamburg and resulted in the conquering of the world. With each chronological episode, we get to be a part of the voyage and embark on a magical journey through history, told by the four men themselves. An abundance of real footage makes this series transportive, while talking head interviews craft an intimate experience that makes you feel as though you’re sitting in the room having a cup of tea with band members. What sets The Beatles Anthology apart from any rival documentaries is this level of access and openness because it shows the band’s personalities in all their glory, reminding people once again that it wasn’t just their music that made them so popular, but the men behind it.

The addition of the brand-new episode is surely the primary selling point of remastering and rereleasing this series, and you can be forgiven for assuming that reselling this project is a cash grab, but in all honesty, rewatching every episode again before indulging in a never-before-seen addition is as much a joy today as it was 30 years ago. Every inch of the series stands the test of time because the story remains interesting and the contributors insightful. The Beatles’ story will forever remain engaging because they were a phenomenon, achieving so much in such a short amount of time. It truly is extraordinary that the musicians were only together as the “Fab Four” for seven years, and that is magnified in The Beatles Anthology.

It comes as no surprise that the 2025 release of the series is just as wonderful as before. In 1996, the team behind the project won a British Academy Television Award for Best Sound, and once again, the imperfections are few and far between. For fan and layman, The Beatles Anthology is one for all to enjoy and celebrate, and even if some band members recall key events slightly differently from others, doesn’t that just add to the intrigue behind one of the most legendary groups of all time?

Guy Lambert

The Beatles Anthology is released on Disney+ on 26^th November 2025.

Watch the trailer for The Beatles Anthology here:

Smith gives one of the best performances of his career. He oozes with so much charisma at the start of this six-part series that it’s hard not to fall for Bunny’s charm and buy into his sales pitches. As the show goes on, however, cracks begin to appear on the surface of his suave persona to gradually reveal the damaged person underneath. Smith handles the portrayal of this deeply flawed and tragic character brilliantly, resulting in some profoundly affecting moments in the final episodes.

Mathé is likewise extraordinary in what is his debut performance. Alongside processing the loss of his mother, Junior also wrestles with the realisation that staying with his dad may not be what’s best. The script’s portrayal of neglect is heartbreaking, but its focus on the genuine affection between father and son is what makes its emotional journey hit that much harder. Other notable performances include Johann Myers as Bunny’s friend and fellow salesman Poodle and David Threlfall as the ferocious Bunny Senior. While neither gets much screen time, they nevertheless make huge impressions.

There’s an intoxicating air of coolness to this show. From an ethereal soundtrack composed by Cave and collaborator Warren Ellis to the almost supernatural presence of the killer putting a surreal twist on the early 2000s setting, the mini-series has an atmosphere that sucks viewers into the wonderful strangeness of it all. There’s even a musical number complete with a cameo from Cave.

The Death of Bunny Munro is a darkly funny, intriguingly weird, and often devastating tale of grief that’s led by stellar turns from Smith and Mathé.

Andrew Murray

The Death of Bunny Munro is released on Sky on 20^th November 2025.

Watch the trailer for The Death of Bunny Munro here:

Thornton is unequivocally the best part of the show. From his gruff manner of speaking, complete with plenty of wry turns of phrase, alongside a snazzy suit and cowboy hat combination, he’s the quintessential image of the idealised, all-American family man. Tommy is in full control of every situation, and it’s a lot of fun to watch Thornton in his element. Moore is also sensational. Although she doesn’t get much screen time within the opening episodes, her fiery presence nevertheless makes a strong impression. Sam Elliott is another noteworthy addition to the cast as Tommy’s father, embodying the show’s western attitude.

Visually, Landman looks wonderful. The cinematography takes full advantage of the West Texas scenery to create some wonderful shots. However, its plot leaves a lot to be desired. Rather than continuing the narrative where things left off, the series prefers to spread its attention between various other subplots. Tommy’s daughter (Michelle Randolph) has enrolled in a new school to be a cheerleader, while his son (Jacob Lofland) deals with relationship and business problems of his own when he strikes big during his first drill. There are comedic and emotionally charged moments to be found here, but the script struggles to balance them. This leads to unintentionally hilarious instances like an aerobics session turning into a campy beatdown, to jarring tonal shifts such as an overblown family argument transitioning to a tragic bombshell.

Despite strong performances, Landman is a soap opera in a cowboy hat. While its romanticisation of oil drilling may also leave an unpleasant taste in viewers’ mouths, it’s the bizarre tone that’s ultimately this show’s downfall.

Andrew Murray

Landman season two is released on Paramount+ on 16^th November 2025.

Watch the trailer for Landman season two here:

Beginning with a foreboding scene of the girls cleaning up blood with their mothers, the plot gradually hints that something sinister is at play underneath the immaculately curated images the residents of the neighbourhood have created for themselves. Lecky carefully pulls at this thread as she shows how the characters find themselves in that situation. The intrigue comes at a steady pace, taking events in interesting directions to ensure that audiences stay engaged with the overarching mystery.

The script uses its central premise to touch upon a range of issues, such as cyberbullying, prejudice, classism and loneliness. While their inclusion raises some relevant themes, they come across more as window dressing that doesn’t have the depth required to make much of an impact on the plot. The show also acts as a social commentary on the ultra-wealthy. It fully leans into the characters’ extravagant lifestyles whenever the focus isn’t on the main story, showing off their lavish homes and frequently reminding viewers of their privileged status. Although some of this is intended to be comedic, it’s overblown to the point that it crosses into camp territory to become a posh Mean Girls.

With its myriad of interweaving plot points and clever pacing, Wild Cherry is a compelling mystery thriller. However, it’s one that’s wrapped up in a trashy teen drama.

Andrew Murray

Wild Cherry is released on BBC iPlayer on 15^th November 2025.

Watch the trailer for Wild Cherry here:

In this instance, the outsider is Adam, played by Jack Whitehall. He enters the lives of the wealthy Tanners, Nat (Carice van Houten) and Jamie (David Duchovny). Dissatisfied with their nanny while lazing in the Mediterranean sun, the couple starts looking to hire new help. In comes British nanny Adam, who at first appears charming, affable and happy to engage with the family on an intellectual level. The Tanners are impressed by his tales of his supposed time at university and his seemingly erudite manner. However, Adam goes Single White Female (or male) on the Tanners, dismantling their affluent idyll.

It’s Jamie who is the main target of Adam’s invective. He destroys some of his personal belongings and seeks to start a smear campaign against him at his workplace.

There’s something rather surreal about seeing Whitehall, who for the longest time was a mainstay on panel shows as the resident posh boy, in a dramatic role. He is surprisingly menacing while balancing on the precipice of becoming a cartoon villain. Duchovny is great at portraying Jamie’s progressively distraught mental state in the face of Adam’s relentless vendetta, the root of which eventually unravels. Always reliable, Van Houten offers her undeniable screen presence, subtly conveying her gradual apprehension about her new houseguest.

The first episode has a glossy, sun-soaked veneer not too dissimilar from The White Lotus. And perhaps this is its undoing. The series certainly isn’t anything new, reiterating familiar deception-by-psychopathy tropes. Adam’s behaviour also doesn’t appear to allude to any deeper message, which is a shame since the premise is ripe for critical commentary on the excesses of the super-rich. That being said, there is something undeniably moreish about witnessing Whitehall’s villain becoming increasingly unhinged by the end of each episode, and Duchovny and van Houten are superb at playing off against him.

Malice is ideal for anyone seeking an escapist thriller that doesn’t take itself too seriously. And, without giving too much away, watching the culmination of Adam’s malicious tirade might just be worth the wait.

Antonia Georgiou

Malice is released on Prime Video on 14^th November 2025.

Watch the trailer for Malice here:

As the host of fledgling reality show Love Island, Flack rapidly became a tabloid staple. But it was when she started dating Lewis Burton in 2019 that the scrutiny became relentless. There was even talk of the pair’s age gap (Burton was 27 and she was 39, a difference that would be inconsequential if the genders were reversed). The relationship spurred Flack’s tragic public (and ultimately personal) demise, after she was accused of assaulting Burton with a lamp. Two months later, she died by suicide.

A likeable lead, Christine is evidently traumatised by her daughter’s untimely death. For years, she has been collecting documents to clear her name; it’s shocking to hear of her findings, which contradict the initial narrative. Solicitor Paul Morris and CPS prosecutor Nazir Afzal argue that, contrary to public belief, there was no viable case against the presenter.

Though a little slow and repetitive in parts, the documentary is highly sympathetic in its portrayal of mental health and the consequences of online bullying. A diagnostic profile showed that Flack likely had bipolar disorder; though debilitating without treatment, symptoms can become non-existent with appropriate medication. Despite numerous public campaigns to spread awareness of the importance of discussing mental health, there was little empathy for Flack in those last few months of her life, from both the public and the tabloids.

The unfounded accusations against Flack elicited the ire of social media users, and the series features snippets of various YouTube armchair psychologists condemning her, a vitriol that didn’t stop with her suicide. It must be said that innumerable famous men have been accused of abuse, yet they are not cancelled or bullied; in fact, their conduct is invariably swept under the rug.

Christine does get to the truth, which paints an ugly picture of what it means to be “woman’d”, ie the drastic reversal of public opinion on a woman (Princess Diana is perhaps the most famous example). Caroline Flack: Search for the Truth is a sensitive and timely warning of the dangers of misogynistic social media witch hunts and the ongoing stigmatisation of mental illness.

Antonia Georgiou

Caroline Flack: Search for the Truth is released on Disney+ on 10^th November 2025.

Watch the trailer for Caroline Flack: Search for the Truth here:

The series opens with a street lined with Union Jack flags, a curt reminder that the guise of patriotism has long been used to divide and segregate. Cushla lives with her alcoholic mother, Gina (Gillian Anderson), for whom she has become a de facto carer since the death of her father. She finds solace in handsome barrister Michael (Tom Cullen), who precipitates her sexual awakening. The principled, defiant Michael becomes the target of ire due to his representation of Catholics accused of assaulting loyalists, and is deemed an IRA apologist by members of the insular Belfast community.

An interloper of sorts, his otherness is what attracts Cushla; he’s dark and enigmatic, a marked contrast to Gerry, a well-meaning, guitar-armoured teacher with an unrequited crush on Cushla. Amid the turmoil, Michael offers Cushla a safe space for the lovers to convene, and in which Cushla can explore her budding sexuality.

Newcomer Petticrew is superb as a woman conflicted between her sexual emancipation and self-preservation in an era of intense factionalism. Her chemistry with Cullen is electric, and the two are a joy to watch on screen (the latter, who is Welsh, also perfects a soft Irish brogue). In a challenging role that could have easily veered into crude stereotypes, Anderson imbues Gina with humanity; like Cushla, she is conflicted, alternating between embittered and nurturing. Meanwhile, Ailbhe Keogan, who adapted Kennedy’s novel, and director Dawn Shadforth do a fantastic job of capturing the discord and insularity of 1970s Northern Ireland.

Admittedly, the star-crossed lovers storyline feels a tad overdone at times. Likewise, it leans a little too heavily into tense scenes of Catholic-Protestant sneering and animosity. That being said, these clichés are grounded by a meticulously crafted recreation of the era, brought to life by a stellar cast.

A fresh, feminist take on Troubles-era Northern Ireland, Trespasses is a timely tale of division and the proliferation of reactionary politics. Staying true to its emotionally rich source material, it delivers a ray of hope in otherwise dark times.

Antonia Georgiou

Trespasses is released on Channel 4 on 9^th November 2025.

Watch the trailer for Trespasses here:

The show sees the world infected by an alien virus, dubbed “The Joining” since it’s spread through kissing and sharing bodily fluids. It has created a hive mind among the earth’s population, whereby civilians act and speak in synchronicity. Rhea Seehorn plays Carol, a popular romance author with a horde of eccentric fans (a fandom that appears to be a hive mind in and of itself) whom she despises. Despite her lightheaded prose, she is deeply jaded and strives for greater acclaim. She knows all too well that her works are, in her own words, “mindless c***”, and yet she soldiers through book readings and meet-and-greets with a gritted smile.

As the virus spreads, Carol finds herself unaffected, and as it turns out, she is just one of a dozen people in the world with immunity. The apocalyptic scenario is presented to her as a positive, since everyone has been absorbed into a perpetual state of contentment. For Carol, however, the prospect of being trapped in a world devoid of individual autonomy is hellish.

Part Twilight Zone episode, part 1970s dystopian sci-fi, it’s a juicy concept ripe with intrigue and the potential for armchair philosophical musings. Breaking Bad received some criticism for its portrayal of women, particularly Skylar, so it’s refreshing to see a strong female lead. Seehorn excels in a difficult role that requires heightened anxiety and emotional distress. Likewise, Karolina Wydra shines as Zosia, Carol’s guide, whose infected state may not be all that it appears.

In an age of ubiquitous social media hive mind, the themes of the series ring close to home (or close to our devices). A survivalist concept set against a seemingly utopian backdrop is a unique one, as expected from Gilligan, and it presents the audience with a pertinent thought experiment: Is uniformity the only solution to social conflict?

Much like his previous output, Gilligan has created a series that has all the hallmarks of a cult classic. With a fantastic lead and a tense narrative that will leave viewers wanting more, Pluribus is a worthy addition to the dystopian sci-fi cannon.

Antonia Georgiou

Pluribus is released on Apple TV+ on 7^th November 2025.

Watch the trailer for Pluribus here: