Fauda

You’d have to pay me an awful lot more than I get for this column to review Monster: The Jeffrey Dahmer Story. As I write, it’s the number one trending show on Netflix, but the most I’m prepared to stomach is that snatch of footage you get forced to watch (because of Netflix’s impertinent and intrusive automatic play function) if you linger over the title image for too long. It shows two cops at an interview desk gradually revealing to Dahmer’s increasingly aghast dad (Richard Jenkins) that his son Jeffrey might not be quite the straight upstanding citizen he imagined. Dahmer murdered – and often dismembered and sometimes ate –

If you love Fauda — and of course you do — you’re in for a long wait for season four, which isn’t due to arrive on Netflix till 2022. That’s why I had such high hopes for Tehran, which is written by one of Fauda’s co-authors Moshe Zonder. What, after all, could there possibly be not to like about a hot female Mossad agent struggling to survive after a botched mission in the hostile Iranian capital, where all Israelis are seen as emissaries of ‘Little Satan’? It starts promisingly, once you’ve got over the technical difficulties of signing up to Apple TV. (For some reason, my characters now speak with

Sweden is now properly celebrated as the Land that Called Coronavirus Correctly. But in the distant past, those with long memories may recall, it had a less flattering reputation as the Land Absolutely Ruddy Swarming With Jihadists. Caliphate — an eight part Swedish-made drama on Netflix — takes you back there in vivid and compelling detail. Partly, it’s an edge-of-seat thriller about a major terrorist attack on Swedish soil —from its conception in Isis-held Raqqa to its execution (or its foiling by the security services: I haven’t got there yet so I don’t know) by a mix of radicalised locals and hardened Isis killers flown in from Syria. Partly, it’s