Emma Fisher

Every so often, a film comes along that seems designed to test the limits of how much second-hand embarrassment one audience can withstand. 'The Wrong Paris,' arriving on Netflix on September 12, is one of those films. It takes a promising premise – art school dreams colliding with the absurdity of reality television – and turns it into a rom-com that is equal parts frustrating, entertaining, and occasionally absurd.

'Wayward' is the sort of series that makes you want to shout at the TV (or whichever device you're watching it on). Not because it's bad - far from it - but because it's constantly dangling questions, twisting expectations, and leading its characters into situations that are so unjust you can't help but squirm.

'The Girlfriend' doesn't know if it's a domestic thriller, a social satire about class and motherhood, or a campy melodrama. At times, it seems to want to be all three, alternating between pop soundtracks, tense confessions, and moments of psychological terror. The result is muddled and exhausting.

In an era where politics can often feel like theatre, 'Hostage' reminds us of what is at stake behind the soundbites and headlines: lives, relationships, the Great British public, and the weight of responsibility. Charman's high-stakes storytelling masterfully delivers a sharp, breathless piece of television - one you’ll want to devour, even if you wish you had savoured it more slowly.

Romantic dramas often walk a fine line between sentiment and cliché. Prime Video’s 'The Map That Leads to You', directed by Lasse Hallström (Dear John, Safe Haven) and streaming August 20, plants itself in the former camp, though not without falling into the latter along the way. Based on J.P. Monninger’s novel, it promises a tale of love, destiny, and the courage to choose your path.

Overall, 'Fixed' is built entirely around one joke, and it’s not a particularly funny one. It’s crude, crass, and determined to shock, but the gags range from mildly amusing to deeply uncomfortable. The animation is colourful and energetic, and the voice cast throw themselves into the absurdity with admirable commitment, but the script’s single-minded obsession leaves little room for subtlety.