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A moving look at the attacks that changed everything 25 years ago, and a documentary about the Australian breakdancer who had a very bad day … while the whole world was watching
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Television & radio — Phil Harrison
At the time, the 9/11 attacks felt like the most significant geopolitical moment of most of our lives. As this wide-ranging documentary shows, that initial impression has largely been confirmed. Twenty-five years later, the events retain their power to shock, but here they’re taken as the starting point for an examination of modern America that encompasses gun control, community relations, conspiracy theories, national self-image and much more. It also doesn’t forget that there remains personal tragedy, as demonstrated by the moving contribution of the daughter of the co-pilot of United 93, the “fourth plane”, which was brought down by passengers and crew before it reached its target.
In the social media era, humiliation often happens on a global scale. Take the case of Australian breakdancer Raygun, whose singular routine at the 2024 Paris Olympics prompted worldwide hilarity. This documentary hears from the woman herself, as well as some of her domestic competitors who are, at best, cagey about her abilities – euphemistic adjectives such as “quirky” and “interesting” feature heavily. What emerges is a sympathetic portrait of someone who was arguably overpromoted but also unfortunate enough to have a bad day with the eyes of the world upon them.
This documentary, made by ABC in Australia, marks the latest attempt to make sense of the vast (yet still frustratingly elusive) scandal that is the Epstein files . Via survivors, legal experts, journalists and politicians (including, intriguingly, former Trump ally Marjorie Taylor Greene), it explores the catalogue of law enforcement failures and institutional dysfunction that allowed this seemingly vast web of moneyed depravity to operate unchecked for so long. Not pleasant viewing but perhaps another step towards a true reckoning.
Guy Ritchie’s modus operandi – stylised, cryptically comical, faintly nostalgic gangsterism – hasn’t really changed in 30 years. The second season of this slick, superficial romp is business as usual. Theo James’s Eddie Horniman, a smart, sexy, hard-as-nails member of the landed gentry, is still very much Ritchie’s spirit animal. Eddie’s crew are getting involved with Italian mafia types: buffoonish Cico Maldini, who we meet making a fool of himself on a partridge shoot, is the frontman for the much more serious boss, Marco Moretti, who represents big money but big risks too. PH
There are too many sports comedies doing the rounds but this eccentric tale of a disgraced American footballer rebuilding his career via prosthetics is one of the better ones , and is deserving of this second season. Chad’s disguise is starting to slip and a few insiders know his secret, including coach Ricky with whom the interpersonal dynamics are complicated. When Chad takes a heavy onfield hit that rearranges his nose, a full unmasking seems possible. Glen Powell’s lead performance is a masterpiece of revelation and concealment, and it carries the show.
This Spanish drama begins with a man working on a film shoot who sees a viral video of a Christian singing group. He’s so disturbed that he loses control of his bladder. The man is Enric – he endured a childhood shaped by religious fanaticism, and the group has unlocked something buried deep in his memories. He realises he needs to find his sister to solve the many mysteries of his youth. La Mesías is a thriller of sorts but it’s a lyrical, rich and strange one, full of existential confusion, magical realist flourishes and earthy sensuality.
Viewers expecting to see Clarkson, May and Hammond are in for a shock – the latest series of this petrolhead banter-fest introduces a trio of new hosts. YouTubers James Engelsman, Thomas Holland and Francis Bourgeois have taken the wheel, though we begin at Diddley Squat Farm to confirm an amicable passing of the torch. Given such a significant change and with a goofier, dorkier energy on show, fans will be reassured to learn that nothing else is radically different: there’s a scary road trip through the Angolan desert, and a cringe encounter with Jenson Button.
In the social media era, humiliation often happens on a global scale. Take the case of Australian breakdancer Raygun, whose singular routine at the 2024 Paris Olympics prompted worldwide hilarity. This documentary hears from the woman herself, as well as some of her domestic competitors who are, at best, cagey about her abilities – euphemistic adjectives such as “quirky” and “interesting” feature heavily. What emerges is a sympathetic portrait of someone who was arguably overpromoted but also unfortunate enough to have a bad day with the eyes of the world upon them.
This report is published with credit to The Guardian. Full available text from the wire is above. Read on The Guardian →
Source: The Guardian · Phil Harrison. Published 28 Aug 2026, 06:00 am.
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