Nobody Wants This; Lazarus

“The chemistry between Adam Brody and Kristen Bell remains electric. With a respectable joke rate – though we’re talking smirk-inducing wisecracks rather than belly laughs – and a steady stream of keenly observed details, Nobody Wants This is easy to buy into and easy to love.”
Rachel Aroesti, The Guardian

“The show is good at skewering LA and its personality types. It also hits the romcom beats by running through the stages in a relationship: introducing two sets of friends and family to each other, the honeymoon phase giving way to little irritations. But the honeymoon phase could be over for viewers too, because the hot rabbi novelty has now worn off.”
Anita Singh, The Telegraph

“Nobody Wants This is the perfect example of why some series don’t need a follow up. The magic of the first season has been completely shattered by this disappointing, unnecessary second. Last year it convinced me that happily ever afters do really exist. Now I know it was all just a lie.”
Emily Baker, The i

“Creator Erin Foster writes the interplay between Joanne and Noah so well that even this meandering second season is endlessly moreish, the bouncy pop music making it feel like The Summer I Turned Pretty for embittered millennials. But the show still doesn’t feel entirely comfortable luxuriating in the space of a 10-episode series. It is both a compliment and a criticism to say that Nobody Wants This feels like a brilliant feature-length romcom, when it’s not.”
Nick Hilton, The Independent

“It’s deeply moronic, of course, but as with so much Coben stuff — though this isn’t based on a book and was co-written with Danny Brocklehurst — it’s strangely addictive, a bit like the sore tooth the comedian Bill Hicks said you cannot help probing with your tongue. You know it’s not going to enrich your life or do you any good, but it’s hard to stop.”
Ben Dowell, The Times

“Lazarus is completely bonkers, but it launches into the plot so fast, you won’t have time at first to question the premise. It’s only after the opening half hour that the story begins to get bogged down in themes of gloom and grief.”
Christopher Stevens, Daily Mail