Colin Campbell-Austin

Scott & Bailey is British television at its best, sharp, intelligent, and full of that no-nonsense northern charm that makes it endlessly rewatchable. If Line of Duty is the high-stakes, adrenaline fueled long-haul, then Scott & Bailey is the equally compelling but slightly more relatable premium cabin experience—where the turbulence comes from office politics, personal drama, and the constant struggle to balance work and life. Lesley Sharp and Suranne Jones are phenomenal as Janet Scott and Rachel Bailey, two detectives with sharp minds, quick tongues, and personal lives that are often more complicated than their cases. Amelia Bullmore not only delivers as the brilliant but fearsome DCI Gill Murray, but she also had a hand in writing several episodes, giving the show an authenticity and wit that sets it apart. And Sally Lindsay, playing Rachel’s sister, brings warmth and realism to the family tensions simmering beneath the surface. What makes Scott & Bailey so brilliant is its balance, it’s got all the grit and intensity you want from a police procedural, but it also has heart, humour, and a refreshing focus on female friendship. The banter is razor-sharp, the cases gripping, and the characters feel real , flawed, human, and deeply likeable. I’ve watched every series multiple times, and it never gets old. It’s comfort viewing, but not in a cosy way, it’s smart, strong, and just a little bit fierce. If you haven’t boarded this particular flight yet, I highly recommend it.

First Class British Comedy More Please! BBC’s The Other One is a five-star, first-class, champagne and canapés kind of comedy, the sort that makes you want to press the call button and demand another round. Witty, brilliantly crafted, and packed with laugh-out-loud moments, it’s the kind of show that reminds you why British comedy is world class. The premise is delightfully bonkers. Two half-sisters, both named Catherine Walcott, discover each other’s existence after their dad’s sudden demise. Cue chaos, family feuds, and a comedy cocktail of mismatched personalities. Lauren Socha (Misfits) is absolutely hysterical as Cat, the loud, lovable wildcard, while Ellie White (The Windsors) plays Cathy, the highly strung, straight-laced sibling who’s permanently on the verge of a meltdown. Their dynamic is comedy gold, one part disaster, one part heartwarming sisterhood. Siobhan Finneran (Benidorm, Happy Valley) as Marilyn brings warmth and sharp comedic timing, while Rebecca Front (The Thick of It) shines as Tess, the brilliantly snobby, self-absorbed widow. Michele Austin (The Bill) as no-nonsense Angela, Caroline Quentin as the larger-than-life Auntie Dawn, and Shobu Kapoor as the ever-dignified Mishti Tandell round out a cast that delivers a masterclass in comedic performance. The attention to detail in the writing is impeccable. Every scene is packed with quick-fire wit, clever callbacks, and moments that are as touching as they are hilarious. It’s got heart, it’s got sass, and it never outstays its welcome. BBC, this show deserves a full upgrade. Bump it up to another series immediately! The Other One is proof that British comedy is still flying high. Five stars, no turbulence, and a guaranteed laugh-a-minute journey. More episodes please. Cabin crew and comedy lovers are ready for takeoff! ✈️

As an ex-cabin crew member, I couldn’t resist tuning in to Red Eye on ITV—a thriller set on a long-haul flight? Right up my aisle! With Lesley Sharp and Jing Lusi leading the cast (both brilliant in the final season of Scott & Bailey), I knew I was in for a gripping ride. And it certainly delivered on drama, tension, and some nail-biting moments. The storyline kept me hooked: a high-stakes extradition, a prisoner who may or may not be guilty, and a web of deception playing out at 38,000 feet. Sharp was fantastic as the no-nonsense officer, while Lusi brought intelligence and depth to her role. Their performances gave the show real weight, even when the plot started to veer into turbulence. But—oh dear—the aviation details. The gaping holes in airline procedures were big enough to taxi an A380 through. From the way the flight was operated to how the prisoner was handled, it was clear that no one had consulted actual airline professionals. At times, it was unintentionally laughable, and at others, it could have genuinely unsettled nervous flyers. A little realism would have elevated Red Eye from entertaining to outstanding. Still, if you can suspend disbelief (and if you’re not ex-cabin crew shouting, “That would NEVER happen!” at the screen), it’s a slick and suspenseful drama. But next time, ITV, maybe give a pilot—or even a humble ex-flight attendant—a call? We promise we don’t bite… unless the crew food is particularly bad!

Amandaland promised a hilarious spin-off from Motherland, and while it delivers plenty of laughs, it doesn’t quite reach the dizzying heights of the original. Amanda was a fantastic character in Motherland, all razor-sharp put-downs and immaculate passive aggression, but without the chaotic school-run energy of Julia, Liz, Meg, and Kevin to bounce off, she doesn’t land quite as strongly. Joanna Lumley is, as ever, absolute comedy royalty. The two together are a joy to watch, their scenes crackling with that clipped, upper-crust absurdity that Lumley does so well. There’s definitely a sense that the script borrows from the later episodes of Absolutely Fabulous. Some of the dialogue wouldn’t feel out of place coming from Patsy or Saffy—but that’s not necessarily a bad thing. The humour is still sharp, but it sometimes feels like it’s missing the grounded, relatable chaos that made Motherland so brilliant. Amanda works best when she’s in contrast to the harried, slightly unhinged world around her, and in Amandaland, she’s the one creating the chaos rather than reacting to it. It’s still a thoroughly enjoyable watch, with plenty of quotable lines and a stellar cast. But much like a PTA fundraiser without a fight over the raffle, something is missing. A fun, stylish comedy, but I can’t help wishing she had the gang back together.