Spoilers for Virgin River season 7 ahead.

Every time a new season of Virgin River is in the offing, my mum and I have a collective, excited freakout until we can binge-watch all 10 episodes. Virgin River season 7 has been right on schedule — but this time, I'm left feeling slightly empty.

If I had to rank the hit Netflix show's existing six seasons, the latest (season 6) would be right at the top. It marked longtime lovers Mel (Alexandra Breckenridge) and Jack (Martin Henderson) finally getting married, and boy, did their friends and family bring the best drama along as wedding gifts.

We saw Brady (Ben Hollingsworth) declare his undying love for Brie (Zibby Allen) like the worst kept secret that it is, Brady's girlfriend Lark (Elise Gatien) steal thousands of dollars from under his nose, Brie fending off a marriage proposal from police chief Mike (Marco Grazzini), and Charmaine (Lauren Hammersley) going missing and, potentially, being killed off.

For the final 20 minutes of that epic season finale, I didn't know whether I was coming or going, and it might go down as one of my favorite TV moments of all time. Of course, Virgin River can't sustain that level of drama all the time (no show can), but the newly skewed stakes leave a somewhat sour taste.

The best way to describe it is eating an undercooked steak when you ordered it well done. You know that the potential to have exactly what you want is right there, but it's not fully materialized. While that's less than satisfying for season 7, I think it's a tactical decision — meaning that Virgin River season 8 is going to be explosive.

Don't get me wrong — Virgin River season 7 delivers what it needs to

Sure, there might not be the same level of fireworks in Virgin River season 7, but there are resolutions. This is easily the best year of Mel and Jack's relationship yet, settling into married life like a duck to water.

Between these two and the on-off again situationship between Brie and Brady, things certainly feel steamier than ever. Usually, Virgin River intimacy feels shrouded in wholesomeness, rose-tinted to the point that it hardly feels sexy at all. But in season 7, some seriously primal passion starts to take over, and I'm here for it.

While Mel and Jack are steadying the ship, Brie and Brady are daring to dream. If you've been a fan of theirs since season 1, you'll likely feel inclined to do a victory lap of your house soon enough, without giving too much away. They're both wearing their hearts on their sleeves and communicating well, and it finally feels like the entire town has nailed how to truly connect to one another.

As for the remaining season 6 cliffhangers, you'll get answers to all of them. There will be new problems that take their place, even if they currently feel lukewarm in comparison.

It's worth streaming Virgin River season 7 for Mel and Jack's honeymoon alone. It takes them almost 8 episodes to even decide where they're going to go, but the final decision is perfect (and likely one you can guess based on earlier filming location leaks).

The set change also proves that you can never truly run away from your problems... but you can get a tan and kiss a cute guy on a golden beach while being stressed. Frankly, it's the level of life I dream of.

The finale is season 7's biggest letdown, but I'm choosing to see the positives

Virgin River has me believing that fairytale-style love is possible, but that doesn't always mean that I'm falling for the show itself. I think the biggest issue lies with the season 7 finale, which falls impossibly short compared with what we were treated to last time around.

No spoilers here, but there are still two big twists to be unveiled at this stage. However, I'm pretty sure both are non-starters, with bad outcomes so unlikely to unfold in a fictional world where fatal scenarios are avoided like the plague.

Still, there's every chance season 8 could prove me wrong, but you see what I mean about these 10 episodes acting as a setup for something more exciting down the line. It's all verging on soap opera silliness, but it's what we've signed up for.

Then there are a few uninspired hitches in the current storyline itself. New character Clay (Cody Kearsley) feels like a rinse and repeat of Jack Schumacher's Yancy Grey in Ransom Canyon. In fact, they both have the same introductory narrative — a hot, closed-off outsider who clearly has family troubles and a gambling debt they need to pay off by entering a rodeo competition.

It's not an amazing sign that Netflix is borrowing ideas from itself, but it's also not the end of the world. It's textbook craft like this that feeds the people what they want, and who am I to deny what works?

Cast your mind back to 2022, when BBC smash hit period drama Peaky Blinders was wrapping up its sixth and final season. Loveable local gangster Tommy Shelby (Cillian Murphy) was tricked into believing that he was about to die from syphilis, making himself a recluse in the process.

However, this was all a lie, with Tommy tracking down the doctor responsible but failing to kill him. In this moment, Tommy learned the ultimate lesson of grace, and his legacy was forever changed (and more importantly, left on a high).

At least, this was the case until new Netflix movie Peaky Blinders: The Immortal Man. We've picked up with who's left of the gang in 1940, with Tommy's now grown-up eldest son Duke (Barry Keoghan) involved in a plot to foil the Second World War. In short, he's helping the Nazis distribute counterfeit money across the country, making him rich to the tune of £70 million in the process.

But never fear! It's Tommy to the rescue... well, at least after he's done dithering over whether it's the right thing to do. Duke's aunt Kaulo (Rebecca Ferguson) and Tommy's sister Ada (Sophie Rundle) are on hand to try and coax him back to Birmingham, and I bet they wish they hadn't bothered.

The biggest problem with The Immortal Man is how overwhelmingly depressing it is. The first half struggles to get itself going, with the second half abruptly ending in unnecessary tragedy.

If you're looking for jaunty fights, slick laughs and Tommy back on fighting form, you've come to the wrong place. Netflix has instead penned a funeral to the show we once loved, and simultaneously paved the way for an incredibly uninspiring sequel series.

I'm not joking when I say that I never want to watch Peaky Blinders: The Immortal Man again

It breaks my heart to be the bearer of such bad news after an agonizing four-year wait, but let's dig deeper into what's gone so wrong. More than anything else, it's the actual storyline that The Immortal Man has chosen to flesh out.

Fans have been waiting a long time for a spectacular Tommy Shelby comeback, wanting more of the same explosive energy that we got during the original series run. Instead, Tommy has become a man who is incredibly unsure of himself.

He's got good reason to be, as fans will find out in the first 20 minutes. But sadly, this all makes for incredibly drab viewing. It's easy to sum the entire movie up as this:

The first 45 minutes is Shelby continuous saying "No, I can't possibly go back to Birmingham" to the few people on hand to listen. The middle 25 minutes is Tommy at his best, punching and shooting layabouts who don't respect their elders. For the final 40-odd minutes, we're back to misery, as Tommy has all but given up the ghost.

Our original crew has practically dissipated before our eyes, too. By the time The Immortal Man closes out, we're largely left with new or B-plot characters, none of whom we actually give a damn about. That's not amazing news if the BBC does intend to develop a sequel series in the future…

In essence, it's out-and-out dread, which isn't exactly what you want to sit down and stream after a long week. Tommy's ending in season 6 was much more fitting too, and I really wish it remained his final hurrah. The Immortal Man ends suddenly, sadly, and with little resolution for the characters we dedicated almost a decade to.

Not everybody else is a great fit either

When we talk about period dramas, the term 'iPhone face' is sometimes bandied about. This describes someone who looks so modern that you just know they've seen an iPhone, therefore is not a successful fit for a story set in the past. Barry Keoghan suffers from something I'm going to term 'iPhone haircut'.

Sporting an on-trend fade and more sticker-style tattoos than I could count, Keoghan's styling completely takes us out of the 1940s moment. Thanks to Saltburn, Eternals, Master of the Air, The Banshees of Inisherin, Crime 101 and the upcoming four Beatles movies, the man is absolutely everywhere, so perhaps it was already going to be difficult to buy him as anyone other than a modern actor.

Even so, it speaks to the disjointed feeling that The Immortal Man hosts, a patchwork of old and new that sits in a no-man's land in between. There's light to be found in the dark, including multiple touching tributes to Helen McCrory's character Polly Gray and, ironically for something so bleak, the best lighting in a Netflix movie I've possibly ever seen.

On the whole though, these minor wins don't make up for the dull and depressing bigger picture. My advice? Watch The Immortal Man's trailer before binging Peaky Blinders season 1-6 all over again. Trust me, it's a much better use of your time.

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.

There has never been a better time to be Rachel Weisz, or indeed, a Rachel Weisz fan. Since The Favorite in 2019, she's been in a string of steamy TV sessions from Prime Video's Dead Ringers remake in 2023 to brand new Netflix show Vladimir, based on the hit novel of the same name.

I could wax lyrical about how refreshing it is to see a woman over 50 consistently and unashamedly explore her sexuality onscreen until the cows come home, but the projects Weisz is picking are so much more than that. For one thing, Vladmir is possibly the most uncomfortable binge watch of my entire adult life.

Let me explain. Weisz's character, simply know as The Protagonist (let's call her P for clarity) is a professor at a university with her husband John (John Slattery), who has been suspended after numerous sexual assault allegations against him have come to light.

At the same time, new professor Vladimir (Leo Woodall) arrives on campus — and despite them both being married, P becomes infatuated with him, fantasizing about the idea of Vladimir whenever she can.

It's a morally conflicting watch, making it something you can barely tear your eyes from. Much like P, we can't fight the pull of overwhelming desire, but we know what's unfolding is abhorrently wrong at every level. For that alone, I think Vladimir is the first truly unmissable TV show of 2026.

In Vladimir, sex has never been more sordid or scandalous

Netflix invites us to "descend into sexy madness" while watching Vladimir, and that's an incredibly apt summary. P is clearly an academically smart and well-educated woman, but when it comes to her moral compass, she's operates like a clueless teenager.

It's hardly a spoiler to say P throws her family, career and sanity out of the window in order to objectify and clamor over Vladimir while he shows very little signs of reciprocation. When we meet him, he's a true family man, putting his daughter and marriage to fellow troubled colleague Cynthia (Jessica Henwick) before professional ambition.

I like that there's no real reason for P self-sabotaging, as we often don't understand those who choose to in real life. She hates John for putting her in such a precarious position, but equally uses him as a vessel to act on her feelings for the version of Vladimir she's created in her head.

You might think this sounds like a modern feminist icon, shunning the conventions of marriage and professionalism in order to be fully liberated by sex and passion. However, her stance on the female complainants against her husband puts an end to this, with P making it clear that she believes the women in question are just as at fault.

We're left with a complicated soup of unadulterated mess to sift through, making us critically engage in ways we're normally afraid to... and this is our real breath of fresh air moment.

Content is arguably taking the safe route, trying not to ruffle any feathers or give viewers any pause for thought. There's a reason why the likes of Virgin River and Sweet Magnolias are championed by Netflix, and with Vladimir, it's going against the grain.

Don't get me wrong, it's an incredibly uncomfortable binge

Don't get me wrong, though... you'll likely find Vladimir an incredibly tough watch. Not just because the subject matter is morally dubious, but because the new Netflix show really turns up the spice.

Almost all of the 8 episodes feature a hot and heavy sex scene, and showrunner (and original author) Julia May Jonas has spectacularly nailed the spice. Nothing is gratuitous or unnecessary, and desires are explicitly explored with nothing off-limits. Honestly, it's all you could ever ask for.

By this point, it hopefully goes without saying that Weisz is completely mesmerizing, and she's head and shoulders above the additional cast. In a way that brings Notes on a Scandal, Misery and Fleabag together, she frequently breaks to fourth wall to talk directly to viewers, yet it remains difficult to understand exactly what she's going to do next.

Jonas frequently distorts P's imagination and reality, combining them into the same indistinguishable scene. Vladimir is an incredibly easy binge watch too, with all 8 episodes coming in under the 30-minute mark. It's all like taking a medicine you know isn't really any good for you.

Sure, John inserts himself too heavily into the story when he's the last thing we care about, but everything else about Vladimir is sexy from start to finish. Sexy is often unhinged when you take off the rose-tinted glasses, and this is truly a warts-and-all experience.

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course you can also follow TechRadar on TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.

Back in 2023, I had the pleasure of interviewing Lisa McGee on the BAFTA red carpet the night she won for Derry Girls season 3. It was one of the highlights of my career to date, but after watching her character Saoirse (Roisin Gallagher) flee for her life from the awards in new Netflix show How to Get to Heaven from Belfast, I'm starting to wonder if McGee felt the same way.

The Derry Girls creator was always going to have all eyes on her when it came to her follow-up show, and I'm pleased to report it's an absolute belter. This time around, McGee is blending eerie tragedy and crime-style mystery into her signature blend of Irish wit and charm, and together, it goes down like a spoonful of sugar.

At its core, best friends – screenwriter Saoirse, mum Robyn (Sinéad Keenan) and reclusive mummy's girl Dara (Caoilfhionn Dunne) – are told that an estranged friend from their school days has died after falling down the stairs. When they get to the wake and discover Greta (Natasha O'Keeffe) might not be dead after all, they open a can of worms bigger than they could ever have imagined.

When I say you are going to race through these eight episodes because they're so addictive, I mean you won't even move to get another drink. After a doozy of an opening episode, I almost resented the plans I had that meant I had to leave my TV screen unwatched. That's the power of McGee, people... it's almost witchcraft.

The critical eye in me has to really pick this apart... yes, it could have been easily condensed into six episodes and I'm not too sure how much I love one of the most significant sub-plots. But for the most part, I'm breathing a sigh of relief that great Irish telly is back once again (and this is possibly the most Irish show I've ever seen).

How to Get to Heaven from Belfast isn't Derry Girls, but it won't let you forget where Lisa McGee started

Think about Bad Sisters, Big Little Lies and Orphan Black all getting together and having a little Irish TV baby, and you've got How to Get to Heaven from Belfast. McGee's latest work has much darker undertones than we're used to, touching on everything from murder and the occult to witness protection and false arrests. Even the intro titles are creepy enough to send a shiver running down your spine.

While these are topics you'd rarely joke about, How to Get to Heaven from Belfast is teeming with natural laugh-out-loud moments. Our lead trio are just as hilarious as they are charismatic, making them the ideal characters to deliver McGee's exceptional script with the timing and wit it needs.

This is where it's most similar to Derry Girls – but if anything, the new Netflix show is almost an ode to it, ramming in Easter eggs wherever you look. Everything from subtle dialogue references to the cast mural that now sits in the center of Derry is there, and that's before you get to cast appearances from the likes of Saoirse Monica-Jackson, Art Campion and Father Ted legend Ardal O'Hanlon.

The comedy is strong enough to stand on its own, but I loved reminiscing on some of my favorite Derry Girls scenes as How to Get to Heaven from Belfast went along. Again, it's something that shouldn't work but does, and it's a testament to McGee's craft that she's managed to pull off intertwining the two shows.

As McGee said the night I interviewed her, "I'm Irish, so I can talk quickly." It's this snappy and dynamic pace of storytelling that makes any of her work feel so electric, meaning we can power through the scenes that don't quite work and not feel hard done by. It's such a creative leap that it was almost a given that there would be imperfections, but like all good things, the pros far outweigh the cons.

The soundtrack is any 2000s kid's dream – and almost a character in its own right

It took watching How to Get to Heaven from Belfast for me to realize that we've scarcely had any dramas centering on 2000s school culture. The 80s and 90s have been done to death, with the 70s not too far behind. Even the 2010s to now are well represented thanks to shows like Euphoria.

But for some reason, the 2000s has been a blind spot... until now. Much of Saoirse, Dara, Robyn and Greta's backstory takes place during their high school days in 2003, and boy has production paid attention to the all-important details. Classic McGee motifs like diary writing and shifting boys at house parties are all present and correct, but the day-to-day culture of the early naughties almost feels refreshing.

This best comes to life in the (frankly, exquisite) soundtrack that I hope somebody at Netflix eventually turns into a Spotify playlist. We've got Liberty X, 'The Ketchup Song', and copious plays of 'Sound of the Underground' by Girls Aloud in multiple episodes (though their featured discography is not limited to this).

In peak humor, we've also got B*Witched's 'C'est La Vie', which had me both roaring and subconsciously Irish dancing within seconds. How lucky are we to have a talented creator who doesn't take themselves or their work too seriously? Where else can we have a payoff that resembles Popstars: The Rivals?

I will go as far as to say that How to Get to Heaven from Belfast is my best TV show of 2026 so far. It's not perfect, but the smorgasbord of cultural and craft references we're getting are a feast for the eyes and ears, and I'm thrilled McGee's talents will be appreciated on a global streaming service. Let's keep funding her work until the money runs out, please.

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course you can also follow TechRadar on TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.

Sometimes, you're simply better off being a young and wild bohemian lothario, loitering in seedy bars and waking up with more than one woman in your bed. Bridgerton season 4 puts an abrupt stop to Benedict's (Luke Thompson) foolhardy days, and there's a part of me that wonders if things are best left the way they are.

Our first four episodes of the new season have a real 'if it ain't broke, don't fix it' energy to them, and not just because Netflix has annoyingly decided to split season 4 in half. While Benedict and new character Sophie (Yerin Ha) charmingly embark on a touch-and-go romance, everything else around them feels like more of the same.

Depending on how much you love Bridgerton, this is either a blessing or a curse. The fact that season 4 sticks so rigidly to its tried and tested format means that we're not really being offered anything new – if you've seen any of the past three seasons, you've seen this one.

Not only that, but Benedict and Sophie's courtship is a blatant rip-off of Cinderella (or perhaps more accurately, the 2004 movie A Cinderella Story). The creative move to a generic fairy tale feels like a low blow for a show that was once at the pioneering forefront of modern period dramas.

But don't worry too much, we're not being completely cheated out of seductive drama. As our four episodes progress, the chemistry between our love interests is undeniable, even if Benedict frequently acts like a total man-child. However, I don't think Queen Charlotte (Golda Rosheuvel) should have named him as the catch of the season, because that title clearly goes to Violet (Ruth Gemmell).

Benedict is not the beating heart of Bridgerton season 4, and he's messing things up with Sophie already

I don't need to explain too much story here if you know your Disney princesses. Violet is absolutely sick of the fact that Benedict makes no effort to find a wife, and she's determined to make him her project for the social season.

Across the way, maid Sophie works for fellow new arrival Lady Araminta Gun (Katie Leung), who immediately inserts herself into the story as a scheming new villain. Araminta functions as our wicked stepmother, stewing furiously when Sophie sneaks off to the first masquerade ball of the season. She steals Benedict's heart while she's there, prompting a town-wide search for the mysterious masked woman without a glove.

Despite it being completely obvious to anyone with eyes that Sophie was that girl, the initial search to bring Benedict and Sophie together is painfully laborious. It's a narrative we've seen in play thousands of times, and nothing about this version is remarkable or authentic. However, the payoff is worth it once they admit their feelings to one another.

Benedict and Sophie are from two completely different worlds, but when they're away from society, they've got all-timer potential. They truly bring out the best in each other, but the second someone else catches wind, the cracks start to show. It's astonishing how Benedict can bring himself up and let himself down in the same breath, and if I were Sophie, I'd be steering well clear of him.

But if all our girls chose to stay single, we wouldn't have a show, would we? Eloise (Claudia Jessie) has siloed herself to the metaphorical shelf, and I wish she could peacefully live the single girl life she's so desperately to cling onto. Francesca (Hannah Dodd) is sexually unfulfilled, while Lady Agatha (Adjoa Andoh) is embroiled in a seemingly pointless feud with Queen Charlotte.

Woe is to be a woman in Bridgerton, if you ask me... except for my new hero, Violet.

Violet is the real star of Bridgerton season 4 – season 5 better treat her amazingly well

All too often, the older woman is overlooked when it comes to being romantically viable. I'm not talking about the Samantha Jones, Sex and the City type of older woman, but the quietly doting mother who's been pigeonholed into her identity by her circumstances, not who she is. Lady Violet Bridgerton falls into the latter category, but season 4 is her chance to shine.

Even before Bridgerton started, Violet was a woman on the sidelines. A loyal widow to the husband she lost some years before, her life has been her children, even when it comes to her social standing. She throws lavish parties purely in the hope that she can marry her kids off, never stopping to exist as an individual.

But along comes Lord Anderson (Daniel Francis), intent on getting into Violet's heart and knickers. He's ever the gentleman, taking things as slowly as Violet needs while she comes to the gradual realization that life is indeed for living. Their hidden romance isn't the butt of an elaborate joke but a prize to be sought after, growing in importance as the episodes continue.

We can talk about Benedict, Sophie, or any other youngster until the cows come home, but that is where the real magic is happening. Dynamics that incorporate the effortless representation that you didn't know you needed is what creator Shonda Rhimes does so well. This is women writing for women, in a space where women feel seen, safe, and satisfied all in one. That, my friends, is priceless, no matter how mundane the big picture has become.

It's Violet alone who has me hooked for Bridgerton season 5, which has already been confirmed. I hope Netflix treats her the way that she should be treated, let alone Lord Anderson.

As for Sophie, she's still got the threat of Benedict's lewd behavior and Araminta's devious plans hanging over her head... but surely a girl will catch a break sooner or later, right?

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course you can also follow TechRadar on TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.

Light spoilers follow for The RIP.

I'm a big fan of movies where Ben Affleck and Matt Damon co-star. I've greatly enjoyed films in which just one of them appears, but there's no denying that projects they're both in – Good Will Hunting, Dogma, and Air to name three – have a certain magic about them.

Color me intrigued, then, when the first trailer for The RIP, the first movie in almost three years they share screentime in, dropped in late 2025. A crime thriller with a talented cast and seemingly twisty-turny plot, it bore the tell-tale signs of being Netflix's next hit movie.

Enjoyable as the ride is, though, The RIP is simply a serviceable film. While engaging up to a point, it lacks originality and the shock value storytelling necessary to stand out from the genre pack.

Are we the good guys?

Inspired by true events, The RIP introduces us to Lieutenant Dane Dumars (Damon) and Sergeant J.D. Byrne (Affleck), who spearhead a crime-busting taskforce known as the Tactical Narcotics Team – or T.N.T for short – in Miami, Florida.

When an anonymous stash house tip-off comes in one evening, Dane rounds up the troops – J.D, Mike Ro (Steven Yeun), Numa Baptiste (Teyana Taylor), and Lolo Salazar(Catalina Sandino Moreno) – to investigate. Arriving at a property where the skittish Desi (Sasha Calle) lives, the group soon discovers an eye-bulging $20 million haul hidden in the attic.

Considering the size of the stash, it's not long before trust and tempers start to fray over whether they should call it in or, for reasons that become clear later, pocket the money. And, when outside forces – the DEA, a local cartel, and another mysterious faction – become aware of what's been found, Dane, J.D., and co. must establish who they can rely on and if they'll even survive until morning.

So, The RIP is yet another examination of institutional corruption within the law enforcement service? In a nutshell, yes. As with any tale involving crooked cops, though, the suspicious nature displayed by each character is what'll keep you engaged throughout its near-two-hour runtime as you try to determine who'll betray whom.

That said, The RIP would've better sustained the momentum of this particular brain-tickler if it weren't hell-bent on positioning Dane as the officer who appears to be behind the money-stealing suggestion.

Indeed, The RIP's trailers and its first act go to great lengths to install him as the prime suspect. Spoilers notwithstanding, things aren't as simple as they appear. Nonetheless, I would've been more invested in trying to solve the mystery before the third act's grand reveal if The RIP had actively explored the duplicitous nature and motives of other T.N.T. members much earlier, and in more depth, than it does.

Whether it's through characters' actions or serpentine narratives, similar genre fare like Prisoners, Memento, and Gone Girl – ironically, the last of that trio also stars Affleck – and classic whodunits keep you guessing from the get-go and/or right up to their climax.

Try though it might to elicit the same sort of jaw-dropping response when its big twist happens, The RIP hasn't built up the necessary tension to draw such a reaction when the time comes. It doesn't fall flat per se, and I'm sure the unexpected turn will surprise some viewers, but I expected more from a movie whose primary intention is to entertain via the unpredictability and apparent unreliability of someone within the T.N.T's ranks.

Acting on impulse

So, The RIP is sorely lacking in the storytelling department, but what about the performance of its star-studded cast?

As if it were ever in doubt, Damon and Affleck's on-screen chemistry is as engrossing as ever. The effortlessly natural rapport they exhibit ensures that Dane and J.D's bond is as tight and magnetic as the actors' own relationship. The pair bounce off one another with ease throughout, as their testosterone-driven characters butt heads with their superiors – and each other – in spicy and dicey circumstances.

The RIP's leads are ably backed up by their fellow actors, with Yeun and Calle giving particularly compelling performances. However, other prominent supporting cast members, Moreno and 2026 Golden Globe winner Taylor, are underused, with their characters occasionally being sidelined by the direction of the plot.

Additionally, I wish there had been more scope to develop the dynamics between the group's ensemble. Doing so would've gone a long way to explain each individual's actions, and further ratcheted up the tension and melodrama when accusations begin to fly as near-total mistrust sets in.

In fact, barring The RIP's examination of Dane and J.D's brotherhood, it's J.D and his FBI-employed brother Del's (Scott Adkins) topsy-turvy relationship that's arguably scrutinized in more detail than Dane and/or J.D's associations with their fellow T.N.T members. That might not matter to some, but it's an oversight I struggled to look past.

If it's action you want alongside – or instead of – your crime-based thrills, The RIP is a tad undercooked in that department. Indeed, the first of its slim gun-toting and vehicle chase sequences doesn't materialize until an hour has passed. Even then, while they're undeniably adrenaline-fuelled, the gunplay and rubber-burning set-pieces aren't as chaotic or seat-gripping as I'd hoped.

My verdict

No matter how you slice it, The RIP feels like a star-powered movie that was tailor-made for the Netflix generation. That being, a safe, not-so-memorable film that its so-called 'second screen-viewing' fanbase will enjoy for what it is before moving on to the next thing the Netflix algorithm suggests for them.

It's certainly not the worst film I've watched on the world's best streaming service – far from it, in fact. But, whether it was down to my heightened expectations for the latest Damon/Affleck venture, or myriad other reasons, it just didn't click for me – and that is a crime in and of itself.

The RIP launches worldwide on Netflix on Friday, January 16.

There's been a murder – and I'm not just talking about the plot of Agatha Christie's Seven Dials. In fact, I'm talking about the Netflix adaptation itself. The infamous crime author has sold between 2-4 billion copies of her work, but somehow, the TV version of The Seven Dials Mystery feels absolutely criminal.

Not to brag, but I'm ordaining myself as an expert here. Back in the 2000s, UK TV channel ITV had the monopoly on Poirot and Miss Marple adaptations, and I've grown up watching them. Add in movie classics like Peter Ustinov's Death on the Nile and devouring her books from the age of 14, and I'm an application away from joining the Agatha Christie fan club.

If we're comparing Agatha Christie's Seven Dials to everything I listed above (and it would be pretty hard not to), its must-miss energy is down to two things: the original novel and the changes made to the streamer's adaptation.

But before we dig deeper into that, don't let my instant negativity put you off too much. With a star-studded cast and a three-episode runtime, there is some merit to binging it... perhaps when you're trying to do some last-minute ironing on a Sunday afternoon.

The only person who will likely be breathing a sigh of relief is Kenneth Branagh, whose trilogy of Poirot movies received a widespread panning from critics and audiences alike. Personally, I only thought A Haunting in Venice was an out-and-out disaster, but he definitely won't be a crime-themed punching bag after this.

The Seven Dials Mystery is the wrong Agatha Christie story to adapt for Netflix

I would confidently bet £10 (or $10 / AU$10 for my US and Australian friends) that you've never heard of The Seven Dials Mystery before. Not only was it not a big hitter like And Then There Were None or Murder on the Orient Express, but the novel it takes characters from, The Secret of Chimneys, was a much bigger success. The Seven Dials Mystery released to mostly bad reviews from critics, and all three of these points together aren't the best groundings for an adaptation.

Is the original book really one of Christie's best? I don't think so. It's definitely got a more light-hearted tone, but that only really comes across if you were actually from the 1920s. The overarching mystery doesn't really stick, and it's all a bit too complicated for its own good.

None of these things are Agatha Christie's Seven Dials' fault, more what it's got to contend with. There were a million better stories for the biggest streaming service in the world to choose for its own original content, particularly if it wants to build up a visual back catalog of Christie's work.

Sparkling Cyanide, Crooked House or Cards on the Table might have made for shrewd choices, especially given as their narrative structures are all a lot more sound. But here's when we begin to run into our other problem.

If you've seen any of the latest TV Agatha Christie adaptations over the last decade – which have either been for the BBC or direct to Britbox – you'll have noticed a subtle downward spiral of quality. From Kim Cattrall's Witness for the Prosecution to Anjelica Huston in Towards Zero, no new series has seemed to garner favor with anyone watching.

So, are the glory days of adapting Agatha Christie for the small screen over? It certainly feels that way for the standalone novels. I think a streaming service like Netflix could score some points with a Miss Marple reboot, but even that's a big ask.

The changes Agatha Christie's Seven Dials make to the original book don't work either

WARNING: spoilers for Agatha Christie's Seven Dials ahead.

When Murder, She Wrote and Columbo used to air in the 1980s, viewers quickly caught on that whoever was the biggest star in an episode was also the murderer – so much so that creators then had to change their casting tactics. Clearly, we don't learn anything from history, as the biggest stars in Agatha Christie's Seven Dials are the ones who give the game away.

Without giving the ultimate whodunnit away (although you could just read the book if you want an answer), Lord Caterham has been changed to Lady Caterham in this adaptation, and that's a huge problem. Frankly, casting executives could and should do anything to have Helena Bonham Carter in their production, and she's as dazzling and zany as you'd expect in the limited screentime she has.

However, she also gives away the secrets of the Seven Dials in a way that wouldn't have happened had our lady still been a lord. It's an incredibly silly blunder that knocks the central pins of storytelling to a ground, and I can't believe the decision came from the same man who made Broadchurch.

If you want to keep some mystery until the end, I'd almost recommend skipping episode 2 entirely. You can work out all the connections and logistics at play by the halfway point – something the Queen of Crime would never have let happen on her watch, even if it was one of her weaker stories.

So, what am I really getting from this streaming experience? A feeling of being let down and not seeing enough of Bonham Carter. Shoutout to Martin Freeman though, who's clearly having the time of his life playing make believe in a game of Netflix Cluedo.

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course you can also follow TechRadar on TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.

There's a running joke in the TV and movies industry that January is when studios release their 'clangers' (i.e. projects that will undoubtedly flop) – but just nine days into 2026, new Netflix movie People We Meet on Vacation is busting the myth.

If you've heard the title before, that's because Netflix is adapting the smash-hit 2021 romance novel by Emily Henry. However, if you're a diehard 'Vacationer' (that's what I'm going to call the fan base), you'll notice some major changes... but I promise the sizzling and playful romantic chemistry between Poppy (Emily Bader) and Alex (Tom Blyth) hasn't gone anywhere.

Even the core storyline itself feels refreshing as a rom-com concept. Wild and bashful Emily is the polar opposite of reserved and anxious Alex, but after meeting at university, the pair spend years of their friendship having adventures while traveling the world. They always try to spend one week of their summer vacation together no matter where life takes them... but as they get old, life makes things a lot more complicated.

Personally, I love that we're starting a new year with the energy that platonic love is just as important (if not more) as romantic love. People We Meet on Vacation does eventually inject the rom into rom-com, but the most of the storyline, we're following two people learning to love each other for exactly who they are, and that isn't confined to romance.

Yes, the dreaded homogenous 'Netflix look' that the streamer molds all of its project into is back, and there's nothing note-worthy in its construction. But frankly, I don't think we need any additional razzle dazzle here.

People We Meet on Vacation relies solely on its cast – and you'll fall in love with them

I cannot sing the praises of Bader and Blyth highly enough – even their surnames put together sound like the perfect double act. For Bader, it's a chance to shine in a leading role that could have been easily given to the likes of Sofia Carson or Zoey Deutch. Instead of taking the lazy route, Netflix has been more inventive and daring in its casting, and that has a colossal payoff.

As for Blyth, I think he's more than earned the right to have a bit of fun on screen. After Plainclothes, Wasteman and The Hunger Games: The Ballad of Songbirds & Snakes, it's almost as much of a holiday for us to watch him take on a light-hearted role. Blyth exquisitely toes the line between standoffish and fun-loving, letting his guard down enough to be open to what the world around him has to offer.

Together, they're dynamite. If I'd seen them filming a scene while walking down the street, I'd be fully convinced that the pair hadn't only known each other for years, but were truly head over heels. Chemistry isn't something that can be cast or manufactured, and that makes People We Meet on Vacation all the more special.

Everything comes together naturally, whether that's the budding relationship between our lead duo, the ease of following them around the globe or the ability to be fully invested in their fights and grievances. Combined with Henry's unique take on constructing a romance story, and you've got a mighty end product.

Book lovers, be warned of some changes

Now for the slightly less brilliant news: there are noticeable changes to the original book. It should almost go without saying that a lot has been left on the cutting room floor – transforming a 400-page book into a movie under two hours means there's going to be some casualties. It's nothing that impedes the storytelling... just don't be too disappointed if your favorite travel scene didn't make the cut.

Without giving the game away, the changes are mostly location-based. To a degree, this is logical, given that it might simply be easier to film in certain places than others. However, there's also a big change surrounding how Poppy and Alex eventually end up at David's (Miles Heizer) wedding.

Really, this is only going to bother those who loved the book, as objectively, you'd never be able to tell that anything is out of place. Still, at least we've got a hilariously-placed cameo from Lucien Laviscount (Alfie, for Emily in Paris fans), to smooth over any issues.

People We Meet on Vacation doesn't have wow-factor, but it doesn't need to. In the Netflix romance canon, it stands alone just by doing the basics incredibly well, with an original twist. Binge it this weekend under a pile of blankets while pretending you're on holiday, and you've got the picture-perfect weekend.

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course you can also follow TechRadar on TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.

Spoilers follow for Emily in Paris season 5.

The minute I heard Emily in Paris season 5 was actually going to be Emily in Rome season 1, I breathed a sigh of relief. After four seasons of Emily (Lily Collins) relentlessly chasing after Gabriel (Lucas Bravo), getting into relationships she shouldn't and making chaotic decisions at work that accidentally made her a PR success story, we needed a change of scene.

I was desperate for an injection of fresh energy and a feeling that the tried-and-tested format could be revamped in a way that still honors the show's foundations. But boy, how wrong I was. As the saying goes, if it ain't broke, don't fix it – and, after watching the entirety of this season, I feel as though I've accidentally manifested a crummier version of what we already had.

The worst part is that the show is now inferior because, rather than let the story evolve naturally, the decisions its creative team made instead are, frankly, baffling.

At the end of last season, Emily had met Italian beau Marcello (Eugenio Franceschini) and was ready to take her career to the next level by heading up the new Agence Grateau office in Rome. However, Emily in Paris 5 u-turns on its forebear's setup by unnecessarily shoehorning Sylvie (Philippine Leroy-Beaulieu), Luc (Bruno Gouery), and Julian (Samuel Arnold) into Emily's new Italian life. On top of that, Marcello is revealed to be the most repulsive and odious boyfriend since Logan (Matt Czuchry) in Gilmore Girls.

We stay in Rome for less than half of season 5, too, and the diabolical heavy handling of Emily's time there had me practically sobbing for more Gabriel screentime. How did things change so much during the show's year-long absence?

Emily in Paris' core concept has been ruined by bad creative decisions

It's not an easy thing to say, but I genuinely believe the fabric of Emily in Paris season 5 has been torn to shreds by misguided creative decisions. Not just in one area either, but across the board.

Let's start with Rome. In this season's premiere, Emily finds out that her season 4 finale dream of heading up Agence Grateau in Rome is nothing more than a sham. Instead, Sylvie decides to dispatch the entire team to Rome and resume her leadership there, which in turn undoes season 4's career step-up for the show's protagonist.

Not only is Emily unfulfilled at work (mostly because everyone around her is determined to make her feel inadequate or bulldoze their own dreadful decisions through), but her personal life isn't going too well, either. The Marcello we met in season 4 is sexy, mysterious and full of possibility. In season 5, though, he's selfish, flippant, and not overly interested in building a partnership.

By episode five, all of the above has fallen apart. What's the point in this colossal upheaval if you're not going to do the best by your main character? In hindsight, it all feels pointless and like a missed opportunity – but we're only just scratching the surface of those.

For instance, spoilers notwithstanding, best friend Mindy (Ashley Park) has a relationship with someone she shouldn't. When she lies about it to Emily, the two get in a massive albeit needless fight. With the pair each flitting between two men at any given time, the weary yearning is yet another sign of subpar storyline development.

Only Gabriel can save the day if Emily in Paris season 6 happens

Despite the fact I've fully signed off on suspending any belief before I've sat down to watch, there's only so much partner-swapping I can take in a Netflix series like this. Now that Mindy has joined Emily's romantically indecisive bandwagon in the worst way, investing in any kind of Emily in Paris relationship has never felt so superficial.

The pair's various romances, nor their friendship, offer anything of value, instead only delving further into shock factor that doesn't do anyone justice. Emily and Mindy used to have such a wholesome, nourishing relationship that has now dissolved into high school mean-girl meddling. Whatever happened to girls before guys?

The same can be said for Emily and Gabriel, who are in an uneasy lovers-to-friends middle ground, though Bravo hardly has any screentime. It almost feels like the show's creators know they've made a mistake sending Emily to Rome, and are now trying to furiously backpedal by shoehorning Gabriel into scenes that subsequently feel less coherent

Thankfully, there's potential for Emily in Paris season 6 (which is currently unconfirmed) to set this right. If it happens, I think season 6 would need to be the series' last – and you'll see what I mean when you watch this season's finale. If our end goal of Emily in Paris is for Emily and Gabriel to finally live happily ever after, it has one last shot to land it the proverbial plane.

Basically, I'm just desperately trying to retcon my own past thoughts and get Gabriel back in the thick of Emily's personal life. We thought a change would work but, after it was butchered, the only way up is for the show's creative team to give us what I initially thought I didn't want.

Even Sylvie, Luc, and Julien have veered too far from their start, with Sylvie's personal life becoming one preposterously stereotypical joke, while Luc and particularly Julian pale into existence. Emily's not being treated well, either, but at least she looks immaculate.

I promise that there are moments of light-hearted normality amid an otherwise subpar season. For the most part, though, Emily in Paris' latest chapter is très mauvais. That said, as long as Marcello never shows his face again, there's still enough reason for me to see any future seasons out...

Emily in Paris season 5 is out now in full on Netflix, aka one of the world's best streaming services.

Follow TechRadar on Google News and add us as a preferred source to get our expert news, reviews, and opinion in your feeds. Make sure to click the Follow button!

And of course you can also follow TechRadar on TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.