New to View: April 11 – 17
A weekly guide to what’s new of note on air and online
Monday
➢ Popstars TVNZ 2, 7.30
Premiere of the ’90s girl band reboot that is now inclusive of all artists — guys, duos, solo acts … TVNZ 2 will screen it Monday-Wednesday ahead of Three launching its version of The Masked Singer in what’s been dubbed “the TV music war”.
Tuesday
➢The Nevers SoHo, 8.30/Neon
“If you’ve heard anything about The Nevers, HBO’s overstuffed fantasy action series about a motley crew of supernaturally afflicted women in Victorian England, it’s likely in relation to creator Joss Whedon … Whedon departed The Nevers in November 2020, citing personal reasons (Philippa Goslett took over as showrunner) and HBO has since taken great pains to distance the series from its creator – a difficult task given that it’s Whedon’s signature which differentiates the show from similarly expensive Victorian supernatural dramas such as Amazon’s Carnival Row, the vast X-Men universe, or Showtime’s macabre horror staple Penny Dreadful.” — The Guardian.
➢ Shameless: Hall of Shame SoHo, 9.30
The final episodes launch the same week the 11-season series ends on Showtime in the US. How will it wrap up? According to creator John Wells, “We’re trying to give some hints about what could be next for the characters, but without resolving anything. We just wanted people to feel that if you were in Chicago and made a wrong turn, you might end up on the same street, and run into one of the Gallaghers. We really didn’t want to do anything where they win the lottery and they’re all going to live in Florida or something.”
Wednesday
➢ Bay Patrol Three, 7.30
Premiere of a Mount Maunganui spin on Bondi Rescue precedes new seasons of the latter at 8.00 and of Hawaii Five-O at 9.30 while The Rookie gets a new 8.30 beat.
➢ A Living Hell: Apartment Disasters Prime, 7.30
“Anyone considering buying high-rise real estate might want to delay signing on the dotted line until after they’ve watched A Living Hell: Apartment Disasters … The documentary’s producer, Rachel Stace, says the defective properties featured are not only just the tip of the iceberg, but that they can be found throughout the country.” — The TV Guide.
➢ Harlots Vibe, 9.40
Broadcast premiere of the period romp that first streamed here on Lightbox. Samantha Morgan and Lesley Manville play rival brothel owners in 1760s London. “The series has a surprisingly sharp perspective on the dynamics of pleasure and power.” — The Atlantic.
➢ Dad Stop Embarrassing Me Netflix
Having got his big break with In Living Color in the early 1990s, Oscar-winner Jamie Foxx returns to the small screen for this sitcom about a bachelor whose teenage daughter (Kyla-Drew) comes to live with him. Inspired by the diary of Foxx’s own daughter, Corrine, it co-stars In Living Color contemporary David Alan Grier as his pothead dad. “Heartwarming fare.” — TV Times.
Thursday
➢ Breeders SoHo, 8.30
Friday
➢ Guilt TVNZ 1, 11.10
If you haven’t devoured on TVNZ OnDemand this Jed (Line of Duty) Mercurio sensation about two brothers who try to cover up a hit-and-run, don’t miss its network premiere. “You know how some dramas are so yawningly predictable that you know what line is coming next? Well Guilt, BBC Scotland’s dark comedy, is not like that. You cannot tell whether the next bit of dialogue will be serious, funny or dripping in sarcasm, and that’s not something you can say often.” — The Times.
➢ Big Shot Disney+
Mega-producer David E Kelley’s latest stars Full House’s John Stamos as a men’s basketball coach whose temperamental behaviour forces him out of a top job to teach at a girls’ high school. “I was looking for this show,” Stamos says. “I was looking for a way to play an adult character that had layers and wasn’t just light and fluffy.”
➢ Earth Moods Disney+
Five-part series that transports viewers “to various locales around the globe for needed bouts of serenity … from blue glaciers and arid deserts to lush rainforests and bustling metropolises.” — TV Insider.
➢ Why Are You Like This? Netflix
“This comedy mocks the pretensions and self-righteousness of youth, and though the characters are awful they’re not awful to watch … Even when the storylines are a little too out there, the performances always keep one foot on the ground.” — ScreenHub.
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