Review: After Life season two, Netflix

There is certainly a lot going on in series two. This series overview barely scratches the surface and there are some crucial details we haven't revealed. Does it surpass the first series? I'm not sure. That made such an impact it was always going to be hard to beat. But there is no doubt that this sequel will grab you from the very start and keep you grabbed until the very end.

After Life Series 2 review

Given he's known for brutally direct stand-up, it's little surprise that Ricky Gervais doesn't do subtext.

Anna and the Apocalypse review

John McPhail's Christmas zombie musical comedy was warmly received on its festival debut and has picked up a solid following through its theatrical and DVD releases over the last couple of years.

Review: Channel 4's Year of the Rabbit is silly & smart

Essentially The Sweeney in Victorian times (in fact the show's original working title was Ye Sweeney), Year of the Rabbit proves to be a winning mix of smart but silly gags with a first-rate cast.

Sweary, mutton-chopped Victorian detective Eli Rabbit proves to be an ideal role for Matt Berry in this roistering police spoof. Alun Armstrong plays Rabbit's bewhiskered boss and Paul Kaye his nemesis as laughs meet Whitechapel-flavoured murder mystery. Heart-stoppingly funny.

Year of the Rabbit review

Matt Berry in superb form as drunken and incompetent copper .

After Life is the latest offering from Ricky Gervais, where he plays widower Tony, a man corroded by grief (staying alive only to feed his dog) who decides to be as obnoxious as he likes and then kill himself, behaviour that he thinks is "like a superpower."

The cast includes Penelope Wilton as a widow, Diane Morgan as Tony's gobby co-worker, and Paul Kaye as a self-satisfied therapist. Apart from videos left by Tony's late wife (a touching Kerry Godliman), the heart is mainly provided by Ashley Jensen as a care-home worker looking after Tony's dad (David Bradley), and Mandeep Dhillon's rookie journalist at the local newspaper where Tony works.

The problem is the wildly swerving tone - from obnoxious to sentimental to caustic to maudlin to pointlessly vile. At one point Tony helps a junkie (Tim Plester) buy enough drugs to kill himself. Ho and ho. This just won't cut it as edgy comedy in the era of Succession, Russian Doll and so much more. After Life worked better during the running joke featuring Tony covering hopeless local stories, such as a boy playing recorders with his nostrils: "Why would people rather be famous for being shit than not famous at all?" This is Gervais's true superpower - as a carping, eye-rolling everyman.

Review: After Life, Netflix

What is the new six-part Netflix series from Ricky Gervais? After Life is certainly funny but it is no sitcom. There is too much going on here that isn't funny to file it snugly under that genre. It's not that safety net catch-all "comedy drama" either though. It's something totally unique. And it deserves a category of its own.