Can You Keep A Secret?; Grantchester

“There is real heart here. [Simon] Mayhew-Archer’s dad, the Vicar of Dibley co-writer Paul, has Parkinson’s disease and his son’s work with the woman who played the Rev Geraldine Granger delivers a poignancy that isn’t always in evidence in the scene-setting first 30 minutes. So stick with this. It’s a surprising treat, sweet and butter-soft in places but with just the right note of astringency to delight even the fussiest chocophile.
Ben Dowell, The Times

“The script relies too often on toilet humour, and there’s a repeated gag about a petrol pump nozzle that wasn’t worth doing even once. But this is comedy with a novel storyline and a point to make, and it deserves to be given a good chance.”
Christopher Stevens, Daily Mail

“French is the star name, but is more than matched for comic timing by the actors playing her husband and son. William is gently resigned to this new state of affairs; the anxiety-ridden Harry, initially appalled by the idea that his dad is “hiding in the loft like a geriatric Anne Frank”, soon comes round after his parents hand him a bundle of cash with which to pay his rent and buy a pressure washer. It’s all pleasantly silly.”
Anita Singh, Telegraph

“Can You Keep a Secret? has charm, wit and warmth enough to work as soothing balm rather than riotously fun fare. Though if farce is your thing, you will probably find yourself edging more towards the latter and enjoy yourself very much. Happy 2026.”
Lucy Mangan, The Guardian

“Grantchester has certainly been blessed with some unusually handsome vicars in James Norton’s Sidney Chambers, Tom Brittney’s William Davenport and now “dishy Rishi” Nair’s Alphy. The Netflix comedy Nobody Wants This may have introduced the “hot rabbi” and Fleabag might have had a “hot priest”, but Grantchester has had a healthy turnover of hot vicars since 2014. Like Father Brown, the show has become a global hit – here, a seemingly irresistible combination of a handsome parish priest, lovely countryside and a bucolic Britain that overseas viewers may imagine still exists. British audiences have, however, halved since the drama’s debut in 2014, perhaps sated by the glut of cosy crime dramas jostling for attention.”
Gerard Gilbert, The i