
Mailman's Alex Irving has the numbers, the enemies, and the prime ministership within reach, and the show is ruthless about what each one costs.

Helen Fisk remains the worst person in every room she enters, and the show remains the funniest thing on ABC because of it.

Season two proves that the best Australian drama on television is the one most willing to look silly in a period wig.
The ABC made a miniseries about the Black Summer fires less than two years after the smoke cleared, and the question is not whether it was too soon but whether it was enough.

The show is loud, furious, and performatively woke in the way that only a genuinely smart comedy can sustain without collapsing.
Kendall plays a woman who faked her life in London and came home to Newcastle, and the show's best trick is that Newcastle does not care.

The ABC's forensic pathologist procedural is not trying to be prestige television, and its refusal to apologise for being a well-made genre show is its best quality.

Mailman plays an Indigenous senator thrown into federal politics, and the show is smart enough to make the Canberra corridors feel as dangerous as any outback.

A show about immigration detention centres premiered during a pandemic lockdown, and somehow the timing made it more urgent rather than less.

Aaron Pedersen's detective does not monologue, does not explain, and does not care whether you are keeping up.

The ABC has a political thriller, Stan has a Cate Blanchett immigration drama, and Foxtel has whatever Foxtel always has, which is good television nobody subscribes to watch.