The Critic's Guide: Your Essential UK Viewing for the Week of 20-26 October 2025

I. The Week in View: Sagas, Spies, and the Streaming Standoff

This week marks a fascinating inflection point in the ongoing evolution of British television, a period where the strategic battle lines between the "Old Guard" of terrestrial broadcasters and the "New Guard" of global streaming giants are drawn with remarkable clarity. The schedule presents a compelling narrative of counter-programming, with traditional channels leveraging legacy, nostalgia, and the unique power of national event programming. In direct opposition, the streaming services deploy their formidable arsenals of star-studded, high-concept genre pieces designed for a worldwide audience. For the discerning viewer, it is a week rich with choice but fraught with the paradox of abundance.

The terrestrial gambit is led by a particularly audacious move from Channel 5, which premieres its lavish, upmarket revival of The Forsytes. This is a clear and ambitious attempt to compete in the prestige drama space traditionally dominated by the BBC and ITV, a signal of the network's evolving identity. This prestige play is complemented by the BBC's confident reliance on its core intellectual brand with the return of the perennially clever comedy panel show QI. Meanwhile, Channel 4 executes a shrewd piece of event programming, tapping into a deep well of nostalgia with a special crossover event celebrating the 30th anniversary of Hollyoaks by reintroducing characters from the iconic, defunct soap Brookside. These are calculated moves, designed to reinforce a distinctly British cultural identity.

Facing this strategy is a formidable streaming onslaught. Prime Video enters the fray with Lazarus, a major new thriller from the globally recognised author-brand Harlan Coben, starring a heavyweight British cast. Netflix, never to be outmanoeuvred, delivers a powerful one-two punch. It serves its loyal subscribers with the much-anticipated return of the hit rom-com Nobody Wants This, while simultaneously aiming for cultural dominance with the global premiere of A House of Dynamite, a major political thriller from Oscar-winning director Kathryn Bigelow.

This week's schedule is, in essence, a microcosm of the UK's current media identity crisis. As the traditional, distinct identities of channels continue to erode in the face of on-demand culture, broadcasters are doubling down on what makes them unique: their "Britishness." Programmes like The Forsytes, The Pride of Britain Awards, and the Brookside crossover are rooted in a specific national context that global streamers often eschew. This is a direct reflection of competing business models. Terrestrial channels, funded by UK license fees or advertising, must primarily serve a domestic audience, making local relevance their unique selling proposition. Conversely, global streamers require content that travels. A high-concept thriller like Lazarus or a procedural franchise like 9-1-1 can be marketed with equal ease in Manchester, Munich, or Mumbai. This week, viewers are seated at the ringside of this strategic divergence, and this guide will serve as the essential companion to navigating the complex and content-rich landscape that results.

II. Critic's Choice: This Week's Unmissable Premieres

The week's schedule is punctuated by three major series premieres, each representing a distinct and dominant strategy in modern television production. From a legacy revival aiming to capture the prestige of the past to an author-led brand extension and a procedural franchise build, these launches offer a telling insight into how television executives are attempting to capture audience attention and mitigate financial risk in today's saturated market.

A. The Saga Reborn: The Forsytes (Channel 5)

Arguably the most significant terrestrial television event of the autumn, Channel 5's new adaptation of The Forsyte Saga premieres on Monday, 20th October. This is a bold statement of intent from a network historically associated with more populist fare. By reviving a cornerstone of British television history—a story famously adapted into acclaimed epics in 1967 and 2002—Channel 5 is making a serious play for cultural relevance and a new, upmarket audience demographic.

Helmed by writer Debbie Horsfield, this "sumptuous version" of John Galsworthy's novels stars Joshua Orpin as the ambitious Soames Forsyte and, in a particularly shrewd piece of casting, Millie Gibson as Irene Heron. Gibson, fresh from a high-profile role in Doctor Who, provides a crucial bridge between the story's historical prestige and a younger, contemporary audience. The production aims for gorgeous styling and a rich, cinematic feel, but the central challenge will be whether this new iteration can escape the long shadow of its beloved predecessors and justify its existence. It represents a high-stakes, brand-defining gamble for Channel 5.

B. The Coben Conundrum: Lazarus (Prime Video)

The name Harlan Coben has become a genre unto itself, a reliable brand synonymous with twist-laden, compulsively watchable thrillers, largely thanks to a multi-year partnership with Netflix. Prime Video's premiere of Lazarus on Wednesday, 22nd October, is therefore a major coup and a direct competitive manoeuvre. Uniquely, this series is based on an original story idea from Coben, co-written with the celebrated Danny Brocklehurst, rather than a direct adaptation of one of his novels.

The series stars Sam Claflin as a man who returns home following the suicide of his father (played by the formidable Bill Nighy) and finds himself entangled in a series of cold-case murders, all while grappling with disturbing, possibly supernatural, experiences. Described as both a "mind-bending thriller" and "cheerfully absurd," the production is elevated by its high-calibre cast. The core appeal, however, remains the Coben formula. The crucial question is whether this original concept can successfully launch a new, platform-defining franchise for Prime Video, further cementing the powerful trend of "author-as-brand" television production.

C. An Expanding Universe: 9-1-1: Nashville (Disney+)

The launch of 9-1-1: Nashville on Wednesday, 22nd October, is a textbook example of modern television's "franchise-ification" strategy. From the prolific creative team of Ryan Murphy and Brad Falchuk, this new series is not just another show; it is the expansion of a reliable, interconnected universe of content designed to ensure audience retention for Disney+.

The strategic brilliance of the launch lies in its timing. The spinoff premieres concurrently with the ninth-season debut of its parent show, 9-1-1, creating a formidable programming block that encourages viewers to commit to the entire ecosystem. The choice of Nashville as a setting is also astute, tapping into a rich American cultural milieu that promises a different flavour of procedural drama. While adhering to the successful, high-octane, and often outlandish formula of the original, the new location offers fresh narrative possibilities, demonstrating a sophisticated approach to building and sustaining a television franchise.

III. The Streaming Battleground: Highlights from the Digital Frontier

The global streaming services continue their relentless push for audience attention, each deploying a distinct strategy this week. From Netflix's dual approach of retention and prestige acquisition to Prime Video's unique hybrid model, the digital frontier is a hive of high-profile activity.

A. Netflix: The Double-Header of Comfort and Prestige

This week provides a masterclass in Netflix's content strategy, which is built on the twin pillars of serving the existing subscriber base while generating the cultural buzz needed to attract new ones.

For retention, the platform delivers the highly anticipated second season of Nobody Wants This, premiering on Thursday, 23rd October. The sparkling rom-com, starring Kristen Bell as a frank sex podcaster and Adam Brody as a "hot rabbi," was a word-of-mouth sensation, and its return provides a dose of familiar comfort for millions of fans, a key tool in reducing subscriber churn.

For acquisition and prestige, Netflix unleashes a genuine cinematic event on Friday, 24th October: A House of Dynamite, a new political thriller from Oscar-winning director Kathryn Bigelow. The film follows the US government's real-time response to a single, unidentified nuclear missile launched toward Chicago, with the narrative unfolding from multiple perspectives over the 18 minutes to impact. Starring Idris Elba as the President and Rebecca Ferguson as a key White House advisor, this is an "event movie" designed to dominate cultural conversation, generate headlines, and compete for awards. This two-pronged approach is supplemented by a steady stream of reliable genre content, including the new true-crime series Mob War: Philadelphia vs the Mafia and The Monster of Florence, both arriving on Wednesday, 22nd October.

B. Prime Video: The Power of the Hybrid Offering

Prime Video's strategy is fundamentally different from that of its main rival. By bundling exclusive, top-tier live events with its on-demand library, it creates a unique and "sticky" value proposition. This week, beyond the flagship drama launch of Lazarus, the key appointment-to-view event is live sport. On Tuesday, 21st October, Prime Video will exclusively broadcast the UEFA Champions League group stage match between Arsenal and Atlético de Madrid.

This is not merely another piece of content; it is a powerful incentive for millions of football fans across the UK to maintain their Prime subscription. This hybrid model, combining on-demand entertainment with the immediacy and passion of live sport, makes the service harder for households to churn out of. The launch of a major drama like Lazarus in the same week is a calculated move, designed to cross-promote and expose the platform's deep entertainment library to the massive, engaged audience drawn in by the football.

C. Disney+: Mastering the Demographic

Disney+'s strategy is one of focused brand reinforcement and meticulous demographic servicing. The week's schedule is headlined by the major 9-1-1 programming block on Wednesday, 22nd October, which sees the Season 9 premiere of the original series alongside the global debut of its spinoff, 9-1-1: Nashville. This two-hour event caters directly to its adult audience with reliable, popular, and high-stakes drama.

This is perfectly complemented by a direct appeal to its core family demographic: the premiere of the new animated special LEGO Disney Frozen: Operation Puffins on Friday, 24th October. The special, set between the events of the two films, sees Anna and Elsa contend with a flock of mischievous puffins and the scheming Duke of Weselton, leveraging two of the most powerful brands in children's entertainment. With new episodes of ongoing hits like the critically acclaimed Only Murders in the Building and the durable medical drama Grey's Anatomy also continuing, Disney+ solidifies its identity as the essential subscription for both family entertainment and popular American television.

D. Apple TV+: The Curated Boutique

Apple TV+ continues to pursue its distinctive "quality over quantity" approach, offering a highly curated slate that stands in stark contrast to the content firehoses of its competitors. This week's schedule perfectly illustrates this philosophy. On Friday, 24th October, the platform presents the season finale of Invasion, its ambitious, large-scale, and globe-trotting science fiction epic.

This blockbuster offering is balanced by a new episode of a very different kind of show on Wednesday, 22nd October: the critically lauded, character-driven British spy thriller Slow Horses. The service is not attempting to be everything to everyone. Instead, it is methodically building a brand associated with premium, well-crafted, and often critically acclaimed productions. By focusing on a smaller number of high-impact shows, Apple aims to attract a discerning audience that values curation over sheer volume. The season finale of a major production like Invasion serves as a key moment to drive conversation and new subscriptions.

IV. Terrestrial Television: The Best of the Box

Despite the dominance of the streaming narrative, the UK's main free-to-air channels demonstrate their continued relevance this week with a potent mix of intelligent entertainment, national event programming, and the unique, daily draw of the soaps.

A. BBC: Intellect, Drama, and Digital-First Strategy

The BBC's schedule showcases its crucial dual mandate: to serve a broad, traditional audience while simultaneously pivoting to a digital-first future. Representing the former is the flagship return of QI (QI XL) for its 23rd season on BBC Two, Tuesday at 9:00 pm. Hosted by Sandi Toksvig, the comedy panel show is a bastion of classic public service broadcasting—intelligent, witty, and enduringly popular, reinforcing the channel's unique brand identity.

Demonstrating the latter is the premiere of the new psychological thriller The Ridge, also on Tuesday. Starring Lauren Lyle (Karen Pirie), the series follows a woman drawn into a web of secrets at her sister's wedding in New Zealand. Crucially, the entire series will be made available on BBC iPlayer from its launch, a digital-first release strategy that positions the streaming service as a primary destination for new, edgy drama, not merely a catch-up platform. This twin strategy allows the BBC to compete directly with the streaming giants online while still serving its loyal broadcast audience.

B. ITV: Event Television and Soap Supremacy

ITV's enduring strength lies in its ability to create "national moments," and while the explosive third season of Trigger Point is set to return at the end of the week, the broadcaster's main event is the telecast of The Pride of Britain Awards 2025. Hosted by Carol Vorderman and Ashley Banjo, this emotional, star-studded ceremony unifies a mass audience in a way that on-demand streaming cannot easily replicate.

This is complemented by the relentless narrative engine of its soaps, which provide daily, appointment-to-view drama for millions. This week is particularly dramatic across the board. In Coronation Street, Roy is left shocked by events concerning Lisa and Becky. In EastEnders, a car crash spells disaster for Nigel, while Harry faces a chilling new threat in his long-running hostage ordeal. And in Emmerdale, Robert's double life is thrown into turmoil when Aaron sees everything. These two pillars—major national events and dominant, daily soaps—remain the foundation of ITV's power as a broadcaster.

C. Channel 4 & Channel 5: Niche Appeal and Nostalgia Plays

The schedules for Channel 4 and Channel 5 demonstrate how to compete effectively with smaller budgets but smarter, more targeted strategies. Channel 4's major talking point is the 30th-anniversary special for its teen soap Hollyoaks on Wednesday. In a masterstroke of event programming, the show will feature a crossover with the iconic but long-defunct Liverpool-based soap Brookside, bringing beloved actors like Sue Johnston and Ricky Tomlinson back to screens. This is a cost-effective yet powerful way to generate headlines and attract lapsed viewers through pure, unadulterated nostalgia.

Channel 5's entire week, meanwhile, is built around a different kind of gamble: the launch of its prestige period drama, The Forsytes, on Monday. This single, high-quality production is designed to elevate the entire channel's brand perception, attracting a more upmarket audience and, consequently, different advertisers. Both are focused, strategic moves designed to carve out a distinct identity in a ferociously competitive market.

V. Your Daily Viewing Guide: Monday 20th – Sunday 26th October

To help navigate the week's extensive offerings, here is a curated day-by-day guide to the most essential viewing across all major channels and streaming services.

The Week at a Glance

Daily Breakdown

Monday 20th October

Highlights: The week's soap operas kick off with significant drama. Coronation Street (ITV1) sees Roy left shocked by developments with Lisa and Becky. EastEnders (BBC One) features a disastrous drive for Nigel that ends in a car crash. In Emmerdale (ITV1), Robert is forced to question his double life.

Pick of the Day: The Forsytes (9:00 pm, Channel 5). This is the week's most significant terrestrial premiere and a landmark moment for its broadcaster. A lavish and ambitious reimagining of a British literary classic, it is a must-watch to see if this epic saga can be successfully reinvented for a new generation.

Tuesday 21st October

Highlights: Prime Video becomes the home of European football with the exclusive broadcast of the UEFA Champions League match: Arsenal vs. Atlético de Madrid. On BBC iPlayer, the new psychological thriller The Ridge premieres, available to binge from today. Disney+ subscribers can enjoy a new episode of the hit comedy-mystery Only Murders in the Building.

Pick of the Day: QI (QI XL) (9:00 pm, BBC Two). The return of this beloved institution is a welcome dose of intelligent comfort viewing. In a week packed with high-stakes thrillers and intense dramas, Sandi Toksvig, Alan Davies, and their guests provide a much-needed and reliably witty respite.

Wednesday 22nd October

Highlights: A monumental day for streaming premieres. Prime Video launches the anticipated Harlan Coben thriller Lazarus. Disney+ drops the season premiere of 9-1-1 and the series premiere of its spinoff, 9-1-1: Nashville. Netflix adds two new true-crime series, Mob War: Philadelphia vs the Mafia and The Monster of Florence. On linear TV, U&Alibi premieres the new crime procedural The Hunting Party at 9:00 pm, and E4 celebrates Hollyoaks' 30th anniversary with its Brookside crossover special.

Pick of the Day: Lazarus (Streaming, Prime Video). While the 9-1-1 block is a major event, the launch of a brand-new, original Harlan Coben thriller starring Sam Claflin and Bill Nighy is the day's most intriguing prospect. A potential new global hit is born today.

Thursday 23rd October

Highlights: Netflix launches the highly anticipated second season of its hit rom-com Nobody Wants This. Disney+ premieres the Spanish comedy series Entrepreneurs, which satirises millennial startup culture. The week's soap storylines continue to escalate on BBC One and ITV1.

Pick of the Day: Nobody Wants This (Streaming, Netflix). The return of what was a genuine word-of-mouth sensation. The chemistry between Kristen Bell and Adam Brody was electric in the first season, and this follow-up will determine if the show has the longevity to become a true Netflix classic.

Friday 24th October

Highlights: Apple TV+ delivers the dramatic season finale of its epic sci-fi series Invasion. On Sky Max, The Walking Dead: Daryl Dixon returns for its third season at 9:00 pm. For family audiences, Disney+ premieres the animated special LEGO Disney Frozen: Operation Puffins.

Pick of the Day: A House of Dynamite (Streaming, Netflix). The premiere of a major feature film from an Oscar-winning director is a rare television event. Kathryn Bigelow's tense, real-time political thriller promises to be the most cinematic, gripping, and talked-about piece of content released all week.

Saturday 25th October & Sunday 26th October

Highlights: The weekend is quieter for premieres, offering a perfect opportunity for catch-up viewing. On Sunday, ITV1 builds the tension with the return of its hit drama Trigger Point at 9:00 pm, starring Vicky McClure as a bomb disposal expert. Also on Sunday, Paramount+ premieres the fourth season of the gritty crime drama Mayor of Kingstown.

Pick of the Weekend: The Pride of Britain Awards (ITV1, time TBC). This is classic weekend viewing for a UK audience—emotional, uplifting, and star-studded. It is a prime example of the kind of unifying event television that traditional broadcasters can still deliver better than anyone else, bringing the nation together for a shared experience.

VI. Final Word: Defining Your Viewing Week

This week's television schedule presented a battlefield of competing ideas and strategies: the historical prestige of The Forsytes versus the modern, slick thrills of Lazarus; the unifying national sentiment of The Pride of Britain Awards against the global cinematic ambition of A House of Dynamite. It is a landscape that offers something for every taste, from the intellectual comfort of QI to the high-octane procedural drama of the 9-1-1 universe.

While the revival of The Forsytes is a significant cultural moment for British television, and the launch of Lazarus may well be the birth of a new global obsession, the single must-see event of the week is Kathryn Bigelow's A House of Dynamite on Netflix. In an age of algorithm-driven, often disposable content, the release of a major, politically charged thriller from one of the world's most vital and uncompromising filmmakers is a genuine cinematic event delivered directly to the living room. It promises not just entertainment, but a topic of urgent, necessary conversation, making it the single most essential piece of viewing this week.