World of the ‘situationship’

behind is Emmett J. Scanlan, possessor of the hardest-working beard on TV who plays Jimmy. Michael is the mostwanted. Turkish heavies try to kill him in his bed but he survives.

Frankly I’m becoming more and more bored of guns, molls, snarling and torture. Of black suits, blacked-out cars but zero black humour. Of blingy mansions, porno kitchens and bowls of fruit never touched. Eric’s revelling in his new-won freedom, enjoying knee-tremblers and, you can bet, kneecappings too. Though maybe the most offensive thing about Kin is the man’s horrible taste in tracksuits.

I’m appalled by them but am guessing they’d so disgust haute couture grande dame Coco Chanel she might want to declare war. She’s at war in The New Look (Apple TV+) or at least in exile because in 1943 the Germans rule Paris. Only then she returns and is immediately being wined and dined by Heinrich Himmler, chief architect of the Holocaust. But hasn’t she just accused her great rival Christian Dior of not downing sketchpads and scissors during the occupation, his frocks being eagerly seized by the Nazi wives?

This might work as dark satire but it’s not that. Rather, yet another, high-end, sumptuous drama where doubtless even the needles are historically spot-on, but can’t we have too much of a good thing? Chanel is played by Juliette Binoche who revels in the role. When actors are required to over-act, dramatic entrances and even more dramatic exits, they must love it. Her performance is in sharp contrast to that of Ben Mendelsohn as Dior, a troubled soul.

Chanel slagging off Dior’s style - it’s the woman who wears the dress, she asserts, not the other way round - and declaring she’s back to “save” couture are obviously not the most pressing issues around, no matter The New Look’s assertion at the start that it’s the story of “how creation helped return spirit and life to the world”.

And anyway, Dior works on because he has dependents including his sister who bicycles at night on dangerous missions for the French Resistance. And don’t read too much into Chanel making a stand because her refuge turns out to be the Ritz. She gets into bed with the enemy - literally - and laughs at Himmler’s jokes. I’m with Team Dior here though am not sure how long I’ll be sticking this, a case of Paris fiddling while the world burns.

Channel 5 are now the go-to network for more than just Jane Mcdonald, the captain’s table warbler. Current specialisms include talking-head tributes to other broadcasters’ comedies, talking-head tittle-tattle about the Royals and potboilers. Or maybe they’ve brought a new and contemporary twist to this genre - the air fryer drama.

Frankly I’m becoming more and more bored of guns, molls, snarling and torture

Too Good to Be True is the latest. Ex-eastender Kara Tointon is Rachel, a single mum who can’t find enough cleaning jobs to provide for her son Liam, especially when her abusive ex comes round and nicks the money for the lad’s school trip. She’s in desperate need of a break.

Enter Elliot who tells Rachel’s boss (John Thompson, mercifully not hamming it up like in a recent Silent Witness) he wants to recruit her for his mansion. “What does he want me to do?” she wonders. “Clean, and that’s all?” The opening scene before the story unfolds in flashback - Rachel and Liam running for their lives - confirms she’s right to have her suspicions. And that crackle you hear is C5 igniting the air fryer, all the way up to 11.

Alice & Jack (Netflix, Kin (BBC1), The New Look (Apple TV+), Too Good to Be True (Channel 5).