Television Critic Offers Personal Take on Latest Shows, Highlights Sewage Scandal Documentary

Television reviewer Rachel Charlton-Dailey has launched a new weekly column for The Canary, providing viewers with personal insights on current television programming across various genres. In her inaugural “Canary Catch Up,” Charlton-Dailey shares her thoughts on several notable programs, ranging from hard-hitting documentaries to popular streaming dramas.

Among the standout programs highlighted this week is Channel 4’s “Dirty Business,” a docudrama examining the sewage scandal affecting British waterways. The program provides a critical examination of water companies and regulatory bodies, detailing how pollution has damaged rivers and coastal areas while putting public health at risk.

Charlton-Dailey, who identifies as disabled, was particularly moved by scenes depicting disability assessment challenges. She describes a “rage-inducing” sequence involving Reuben, a former surfer with Ménière’s disease, whose symptoms are downplayed during a Personal Independence Payment assessment despite causing paralysis three times weekly. “As a disabled person, I sobbed when he failed his assessment and told the assessor, ‘I don’t know what to do,'” she writes, calling the portrayal “a raw look at how much the DWP is failing those with chronic illnesses.”

The column also covers the latest season of Netflix’s hit period drama “Bridgerton,” which recently returned with new episodes. While only two episodes into the season, Charlton-Dailey expresses enthusiasm for character developments, particularly noting Cressida Cowper’s return as the new Lady Penwood. She playfully references the show’s alternate Georgian setting “where racism doesn’t exist, but also it does,” highlighting the program’s unique approach to historical fiction.

In a more critical segment, Charlton-Dailey takes aim at BBC’s Panorama special “The Rising Cost of Health Benefits.” She characterizes the documentary as “disability hate” and “another attempt to call disabled people scroungers.” The reviewer suggests the program relied heavily on think tanks like the Centre for Social Justice and Institute of Economic Affairs while expressing “contempt for disabled people” beneath a veneer of concern for taxpayers.

On a more positive note, Charlton-Dailey concludes with excitement about the announcement of “Ghosts: The Possession of Button House,” a film continuation of the popular BBC comedy series “Ghosts.” Having previously expressed disappointment when the show ended in 2023, she celebrates news that filming for the movie begins next week, describing the characters as her “emotional support, silly little dead people.”

The new column promises to deliver weekly roundups of notable television moments, including recommendations, criticisms, and commentary on cultural impact. Charlton-Dailey’s approach combines professional analysis with personal reaction, offering readers both critical assessment and emotional response to current programming across multiple platforms and genres.