The first season of The Cleaner is the perfect binge on rainy weekends. At times totally wacky, always spectacularly gory and insistently puerile, this comedy series is enjoyable because each episode features a character whose transformation feels uplifiting, even though the narratives are sometimes hit and miss.
I think Sex in Japan: Dying for Company is a compassionate and insightful look at today's Japan. What I like most in this story is the reporting. Rather than talking to media savvy academics or commentators, The Feed team engage with 'ordinary' young Japanese.
All our stories belong to all Australians. All our stories should have equal value. That's why these three plays by South Asian diaspora playwrights Sonal Moore, Kevin Bathman and Roanna Gonsalves are so precious, and resonated with me.
GLOW is fabulous entertainment with crisp, witty dialogue and unexpectedly affecting poignant moments, like the emotionally intimate scenes between sleazy director Sam and the protagonist Ruth. Yet GLOW avoids being too earnestly up its own arse by being fun and just downright silly most of the time.
After watching three seasons of Transparent, I find myself envying the Jews. The transgressions of the self absorbed, upper middle class Californian-Jewish Pfefferman clan makes my own dysfunctional family seem so excruciatingly banal that I'm wishing I could wallow in all that Jewish trauma. Which is perverse of course, and that to me is the attraction of Transparent.
This book is, in my view, a return to McEwan's former storytelling brilliance (after Solar and Sweet Tooth) because he does what he does best - explore the emotional crevices between love and devotion, love and hate, love and sex, love and morality, love and virtue.
Written in a compelling dystopian tone, I appreciated the confidence author Charlotte Wood has in the reader to absorb her nuanced exploration of the complexities that make up the "female condition".