This month, as the weather stays high and you’re likely to want to stay under the air-conditioning, our experts have a cornucopia of shows and films they’re watching to suit every mood.
There is Robert de Niro’s romp through politics which “stretches the bounds of credibility”, new seasons of The Traitors from both the United Kingdom and the United States, three new Aussie productions and a new comedy from Aotearoa New Zealand. There is a documentary about Cyclone Tracy for the history buffs – and to round it all out, the intriguingly titled Nightbitch.
Zero Day
Netflix
It seems appropriate that Netflix’s attempt to create a show that captures the state of US politics should be as absurd and troubling as the first months of the Trump administration. Zero Day stretches the bounds of credibility, but, like Trump, it is hypnotic viewing.
A former president, George Mullen (Robert de Niro) is called upon to track down the source of a cyber-attack which turns off all power for one minute, leading to multiple deaths.
Mullen’s own family story becomes central to the plot, involving both his wife (Joan Allen) and daughter (Lizzy Caplan) – who conveniently happens to be a congresswoman, clearly inspired by left-wing congresswoman Alexandria Ocasio-Cortez.
Zero Day is full of such references, from the current president (Angela Bassett), a nod to Kamala Harris, to a populist radio host and a sinister tech tycoon.
American reviews have complained the series tries too hard to appeal across partisan lines, to suggest woke calls from the left is equivalent to extremism on the right. Yes, there’s a fuzziness to the politics of Zero Day. But I saw it as a cry of despair at the state of American public life which is also highly entertaining television.
– Dennis Altman
Optics
ABC iView
What does it mean to tell the truth? And how do we, as consumers of media, differentiate truth from fabrication? Optics, a new comedy series from the ABC, asks these questions through the setting of a public relations firm.
The show expertly balances humour with quick-wit, social media vernacular, and a level of marketing wordsmithing that makes you question if the news has ever told you a true story.
The show is based in the PR firm Fritz & Randell and opens with the death of its aging CEO Frank Fritz (Peter Carroll), in a men-only board meeting no less.
After Frank’s death, the son of the cofounder, Ian Randell (Charles Firth) makes a bid for top spot. But the owner of the firm, Bobby Bahl (Claude Jabbour) is concerned with “optics”, so he puts two young women in charge instead.
Their young, spunky attitude and social media prowess is seen as a massive advantage. And it is. But it soon becomes apparent this move is much more than a feminist fresh-take for the firm – and is rather a bid to push some skeletons further back in the closet.
With outrageous lines such as “is there an emoji for miscarriage”, you are guaranteed an entertaining watch. The show will have you questioning the stories you yourself are presented through news outlets. Further still, it will make you wonder how many hands those stories passed through before they hit the papers and screens.
– Edith Jennifer Hill
N00b
Netflix (Australia), ThreeNow (New Zealand)
N00b is a coming-of-age story set in small town Gore, New Zealand, a proverbial “arse-end” of the world. Under show creator Victoria Boult, the series bristles with a vibrancy and edginess.
It’s a familiar story of rugby jocks (“boys”) and popular kids, geeks, misfits, and their witless teachers. It’s something of a modest, reality snapshot of the teen dramas it so confidently riffs on, shows like Laguna Beach and The O.C.
But what makes this a courageous entry in the genre is N00b’s willingness to be both uproariously funny and caustically cynical. This is a very funny teen comedy, and yet it is also dark and provocative in ways I found refreshing and quite surprising.
Boult cut her teeth on film studies at the University of Sydney and then went on to work with Jane Campion on The Power of the Dog. The sureness of vision and the deftness of the way in which Boult understands genre is so impressive. The production is based on Boult’s viral TikTok series of the same name (which I can highly recommend).
I sincerely hope that N00b finds a major audience and perhaps even garners a cult following. Highly recommend.
– Bruce Isaacs
The Traitors US and UK, seasons three
TenPlay (Australia), ThreeNow (New Zealand)
The third seasons from The Traitors UK and US are fantastic companion pieces, with respective hosts Claudia Winkleman and Alan Cumming guiding the plucky contestants with their camp prowess.
With their third seasons, the creative teams behind each version have realised that the more theatrical the better, with Winkleman and Cumming leading the charge with their sass and eccentric fashion choices. The setting of Ardross Castle (for both series) in the Scottish Highlands helps.
The premise is simple: a cast of contestants must complete challenges to earn money for the kitty. Hidden among the faithful contestants are traitors. If a traitor makes it to the end, they keep the money for themselves.
Each episode, the faithfuls must banish a contestant who they think is a traitor. That evening, the traitors also meet in their turret, wearing mysterious cloaks of course, to “murder” a contestant in their sleep.
The British season has a diverse cast of everyday contestants, with standouts being one person who gives herself away as a traitor within seconds of being chosen, and another faking a Welsh accent to appear more down to earth.
The US season is vastly different with a cast of former reality television show icons. Here, it’s fascinating to see how contestants from different franchises, such as RuPaul’s Drag Race, Real Housewives, Survivor and Big Brother all approach the game differently.
Both the American and British versions of The Traitors are fantastic viewing and it’s a genuine shame that the Australian version was let down with substandard casting choices and an aesthetic that was the antithesis of camp.
– Stuart Richards
Cyclone Tracy
9 Now
On Christmas Eve 2024, Australia remembered the 50th anniversary of the destruction of Darwin wrought by Cyclone Tracy. Fittingly, the 9 Now streaming service marked this anniversary by featuring the 1986 miniseries Cyclone Tracy, a vivid depiction of 1970s Darwin and the terrible impact of the cyclone.
Cyclone Tracy stars Tracy Mann as Connie, a widow and mother of two who has just paid off the mortgage of her hotel, which serves as the central stage for the drama.
The series captures the cultural diversity of Darwin (though some portrayals veer towards caricature at times), and the city itself is beautifully evoked through archival footage and great production design. The cyclone itself is frightening, and its destructive power is powerfully evoked (the series’ director of photography, Andrew Lesnie, would later win an Oscar for cinematography).
In the mid-1980s, when this series first went to air, many viewers would have still been coming to terms with this terrible disaster: it was an act of storytelling for the nation. Watching it in 2025, Cyclone Tracy reminds us of the importance of these nation-making television programs that were once such an important part of Australian culture.
– Michelle Arrow
Apple Cider Vinegar
Netflix
Apple Cider Vinegar tells the story of the elaborate cancer con orchestrated by Australian blogger Annabelle (Belle) Gibson.
For anyone who followed Gibson during her rise to fame in the 2010s – or her spectacular fall – the show feels eerily familiar.
From the clothing, to the makeup, to the food, Apple Cider Vinegar excels in set design and staging. Every effort has been made to ensure this true story, based on a lie, looks like it did when it was unfolding on our phone screens in the 2010s.
As someone who followed Gibson closely and spent months hunting down the recalled cookbook to see if the health claims were as outlandish as I’d heard (they were), this show was a treat to watch.
The scenes are cut with recreations of Belle’s stylised Instagram pictures of green juices, beaches and food with “no nasties”. Belle’s account was removed from Instagram after the massive public ousting of her hoax.
Apple Cider Vinegar has done an incredible job recreating this account and breathing life back into the deleted content.
Whether or not you are already familiar with Gibson’s story, Apple Cider Vinegar is a compelling watch. You’ll especially love it if you enjoy non-fiction productions that play with ideas of truth such as iTonya, the Tinder Swindler and Inventing Anna.
– Edith Jennifer Hill
Invisible Boys
Stan (Australia), TVNZ+ (New Zealand)
Stan’s new series Invisible Boys follows four young gay men as they understand and explore their identities while living in Geraldton, a regional town in Western Australia.
Charlie Roth (Joseph Zada), Zeke Calogero (Aydan Calafiore), Kade “Hammer” Hammersmith (Zach Blampied) and Matt Jones (Joe Klocek) represent four very different young men. Yet they share the experience of feeling invisible because of their sexuality.
An adaptation of Holden Sheppard’s novel of the same name, the story challenges linear narratives of progress and typical ideals of queer life. It also shows how such mentalities can lead gay and bisexual men growing up in regional Australia to feel invisible, as they often don’t fit the neat narratives associated with “progress”.
No previous teen drama has been quite as truthful in its representation of some young gay and bisexual men’s experiences.
As someone who grew up gay in regional Australia, it feels like an authentic representation of my own experience. There’s something universal about Charlie, Zeke, Kade and Matt’s stories of not fitting in, and of being invisible to be safe.
Most striking is the way the series captures the complicated mix of joy and fear – the clash of opportunity and consequence – that accompanies becoming visibly gay in these environments.
– Damien O'Meara
Nightbitch
Disney+
“Motherhood,” the beleaguered stay-at-home mother of Nightbitch tells us in contemplative voice-over, “is probably the most violent experience a human can have aside from death itself”.
The film sets out to show motherhood is also far more savage and feral than the anodyne images posted on social media by retrograde tradwives or mumfluencers would have us believe.
As Nightbitch puts it, it’s “fucking brutal”.
Mother (Amy Adams) is an unnamed installation artist who places her career on hold to raise her young son. Wrung out by the demands of motherhood and increasingly furious with the lack of support she receives from her incompetent and often absent Husband (Scoot McNairy), Mother starts to spiral out of control, morphing into a dog complete with tail, sharpened canines, extra nipples and a ravenous desire for raw meat.
Nightbitch takes the fear of the reproductive woman literally, drawing on magic realism and horror tropes to show the visceral and psychological metamorphosis women undergo on becoming mothers. Unfortunately director Marielle Heller’s refusal to lean into the body horror results in a neutered narrative with more bark than bite.
– Rachel Williamson
Read more: A new wave of filmmakers are exploring motherhood's discontents. Nightbitch makes this monstrous
Michelle Arrow receives funding from the Australian Research Council.
Bruce Isaacs, Damien O'Meara, Dennis Altman, Edith Jennifer Hill, Rachel Williamson, and Stuart Richards do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
