
The third season of Australia's best romantic comedy discovers that its leads are no longer charming disasters, and the show does not know what to do with functional adults.

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

Amazon's Australian comedy traps a school reunion on a hilltop during a flood and lets the class dynamics do more damage than the water.

Celeste Barber's Netflix comedy is loud, messy, and allergic to likability, and the show is better for not trying to fix her.

Gracie Otto's debut puts a real estate agent in a rhinestone jumpsuit and dares the audience to take both the costume and the sadness underneath it seriously.

Renée Webster built a sex comedy about middle-aged women in Fremantle and treated the premise with more seriousness than the genre usually permits.

Katherine Parkinson plays a divorced lawyer who tracks her sexual encounters on a spreadsheet, and the show is funnier than the premise has any right to be.

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.