Television series
RUN
A darkly comic cat-and-mouse game wrapped in a nostalgia trap. Ruby abandons her stifling suburban life to reconnect with an old flame, but the chemistry that binds them is as dangerous as it is electric. Gleeson and Wever's performances capture the intoxicating pull of past love—and how easily it can curdle into something sinister. For anyone who's ever wondered what would happen if you actually ran away with your college boyfriend.
Should you watch it?
Watch it if you like romantic comedies with a restless, slightly unhinged energy, where the ache of an old almost-love drives a road-trip plot that keeps shifting underneath you.
Skip it if you want a loose, feel-good romance, since this one turns tense and strange, and its quirks may feel like too much for a mild evening.
What it asks of you: Seven episodes of roughly half an hour each, so it is a quick binge, but it wants your full attention to track the tonal shifts.
Not sure? Find tonight's pick in a minute.
If you liked this
Killing Eve2018
A woman obsessed with a murderer, a murderer fascinated by her hunter. Twisted intimacy, jet-black humour, and the seductive danger of two people who understand each other too well. Sarah Parrish and Jodie Comer create something magnetic and deeply unsettling.
But Later seasons lose the razor-sharp tension that made the early ones sing, and the ending divides viewers sharply. Some find it unforgivable.
Fleabag2016
Phoebe Waller-Bridge's masterpiece about a woman sabotaging her own life while narrating her chaos to the camera. Funny, heartbreaking, and brutally honest about how we lie to ourselves and others. Six episodes of perfection.
But The fourth wall breaks take getting used to, and the emotional core might feel heavy if you're after pure comedy. Not everyone connects with the main character's selfishness.
Bodyguard2018
A protection officer and a politician spiral into obsession and mutual destruction across six taut episodes. Claustrophobic tension, moral ambiguity, and two leads who are equally culpable in their own downfall. Compulsively watchable.
But The final episode pivots into something divisive that alienates viewers who wanted different answers. Pacing can feel punishing rather than thrilling.
Not sure tonight? Get a pick in a minute, starting from RUN
The wildcard
Something you would not have found on your own.
Before Sunrise1995
Both use limited time and space to explore whether past attraction can be recaptured. Before Sunrise asks it as a question. Run asks it as a threat.
Two strangers meet on a train and spend one night walking Vienna, talking. That's it. Richard Linklater and his leads prove that genuine connection—intellectual and emotional chemistry—is the entire story. A counterweight to Run's obsession: how real connection feels like conversation, not possession.
But Nearly dialogue-only, no plot momentum, and deliberately paced for reflection. If you need incident to stay engaged, this will feel glacial. Some find the romantic idealism dated or saccharine.
More like this (8)
Undone2019
A rotoscope-animated series that dissolves the line between reality and delusion as Alma unravels a mystery while possibly losing her grip on sanity. Visually stunning and emotionally raw, with a lead character whose unreliability is the entire point.
But The animation style repels some viewers instantly. Slow-burn storytelling and a protagonist in crisis mode isn't everyone's comfort zone.
You2018
A man stalks a woman he becomes obsessed with, and the show makes you complicit in his perspective before systematically revealing the horror of his desire. Penn Badgley is terrifyingly charming. Twisted and addictive.
But The premise grows increasingly exploitative as seasons progress. Some viewers find the show romanticises the very stalking it claims to critique, which is fair.
Fleishman is in Trouble2022
A man's wife vanishes, leaving him to raise their kids alone while he navigates dating in a world transformed since his marriage. Funny and cutting about modern life, suburban ennui, and how little we actually know our partners. Smart and deeply human.
But The tone shifts between comedy and darker territory in ways some find jarring. Not a comforting watch, and the protagonist's perspective isn't always sympathetic.
MINDHUNTER2017
FBI profilers interview serial killers to unlock the architecture of their thinking. Methodical, cerebral, and quietly terrifying. Jonathan Groff captures obsession—the way work consumes you when you're chasing something unknowable.
But Cancelled on a cliffhanger after two seasons. Glacial pacing and lengthy interviews aren't for viewers craving momentum. The second season loses focus.
Ozark2017
A money launderer and his wife spiral into a criminal underworld after a catastrophic miscalculation. Jason Bateman and Laura Linney are electrifying as partners in escalating darkness. Gripping and beautifully shot.
But By season four, the plot relies on increasingly contrived coincidences. The ending feels rushed after so much careful setup. Character motivation sometimes bends to serve the plot.
Godless2017
A town run entirely by women hires an outlaw. A Western that rewrites its genre's assumptions with style, humour, and surprising warmth. Jeff Daniels is wonderful. A complete story told in seven episodes with nowhere to go wrong.
But The premise and tone might seem too quirky if you want serious drama. Violence can be sudden and brutal. Limited cast means limited replay value.
Marnie1964
Like Run, it's about possession disguised as devotion. Two people locked in a dance where safety and danger are indistinguishable. Both ask: what happens when nostalgia becomes a trap?
Tippi Hedren's compulsive liar and thief meets Sean Connery's obsessed employer in Hitchcock's most psychologically intricate film. A man collects and controls a woman; a woman performs versions of herself to survive. Stunning, dark, and morally rotten in ways that fascinate.
But Hitchcock's misogyny is baked in, even when the film critiques it. The film itself is complicit in the control it depicts. Slow by modern standards. The 'solutions' the plot offers are deeply uncomfortable.
Please Give2010
Both are about people who summon the courage to change their lives—and discover they've created their own traps. The real barrier isn't circumstance; it's themselves.
Nicole Kidman, Catherine Keener, and Amanda Peet navigate desire, mortality, and dissatisfaction in contemporary New York. Droll, observant, painfully funny. A film about people who are stuck—not through external circumstance but through their own choices and self-deceptions.
But Ensemble narrative with no clear protagonist. Plot is deliberately thin; the film is all character observation and mood. Bleak beneath the humour. Resolution is refusal rather than resolution.
People
Cast
Writing
- Vicky JonesCreator
Production
- Layla BlackmanCo-Producer
- Emily LeoExecutive Producer
- Jenny RobinsExecutive Producer
- Kate DennisExecutive Producer
- Lucan TohExecutive Producer
- Oliver RoskillExecutive Producer
- Phoebe Waller-BridgeExecutive Producer
- Vicky JonesExecutive Producer
- Kevin LaffertyProducer