I Will Find You; Dallas Cowboys Cheerleaders; Scamanda

“The gist is, as usual, this: somebody is missing. Somebody else is accused of a crime wot they did not do. The police are inept and/or corrupt, there is much scowling in expensive leisurewear, and everybody from stoic hero to snarling baddie speaks. Like this. To imply a sense of urgency. And gravitas. Whereas it merely makes them sound as if. They’re just back from. Zumba. In a startling break with Netflix-Coben tradition, I Will Find You is set not in Europe but the US, which means the breathlessness comes with bigger guns and the captions shout things like BOSTON rather than LONDON, ENGLAND. In every other respect, however, I Will Find You is classic small-screen Coben, which is to say: maddeningly watchable crap with bells on.”
Sarah Dempster, The Guardian

“It is not jeopardous TV. Plotlines in the new third series include one dancer who can’t bear to have her curly hair trimmed. The show’s consistent “star” has been Reece, a doe-eyed, pious brunette from Florida who spends 99 per cent of her screen time talking about how much she loves Jesus. (From her Instagram, where she boasts one million followers and does lucrative paid partnerships for everything from Snickers – let’s just say she doesn’t look like she’s munched a chocolate bar in the past decade – to fast-fashion clothing brands, I deduce that she loves money just as much.) The other dancers are mere bit-characters. This time around, presumably to widen the appeal for international audiences, Netflix has recruited British beauty mogul Charlotte Tilbury and country singer Kacey Musgraves as guest judges. Tilbury spends most of her time on-screen looking as if she’s woken up in a nightmare where everyone is pro-Trump and pro-orange spray tan, and Musgraves – who has a well-publicised love for smoking things that aren’t cigarettes – just smiles and waves, looking like the stoned high schooler in Dazed and Confused with thicker hair extensions.”
Poppie Platt, Telegraph

“As ever, I am not quite sure of the point of the documentary. To tell us that there are bad people out there? OK, but we know that. Are we not at a point now where giving them publicity is actually giving us a warped idea of how common they are and destroying trust rather than raising awareness? There is no real explanation given for why Riley did it. There’s no insight here. Just a good story. Is it enough? I’m not sure.”
Lucy Mangan, The Guardian