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Tens of millions of voters have had their information run through the tool — a striking portion of the U.S. public, considering little has been made public about the tool's accuracy or data security.

(Image credit: Ronda Churchill)

Trump needs an extension from Congress to control D.C. police for more than 30 days. Some Republican lawmakers are focused on pursuing legislation that would exert power over D.C. in other ways.

(Image credit: Andrew Harnik)

People drink more sugary beverages when it's hot, researchers found, significantly increasing their sugar intake. That impact could grow as climate change raises the world's temperatures.

(Image credit: Spencer Platt)

Organizations in healthcare and education adopt advanced integrated security tech to detect threats faster and improve safety.

Of course The Girlfriend was going to be hot, but I didn't think Prime Video would go as far as it did... and nor did its cast.

Customers can save up to 80% on hosting plans from Bluehost

Want secure cloud storage? This Proton deal is the best we’ve seen.

Poland said Wednesday that it and its NATO allies had shot down Russian drones that violated Polish airspace in what it called an "act of aggression" as Russia launched aerial attacks on Ukraine.

(Image credit: Chancellery of the Prime Minister of Poland)

Agentic AI uses autonomous agents to decide, act, learn, and boost efficiency across businesses and organizations.

Chatbots answer questions, but AI needs to drive action where work happens, when it matters most.

We've spent hands-on time with the iPhone 17 – here are our first impressions.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: two-minute review

Having shot with the OM System 50-200mm F2.8 zoom, I'm now an even bigger fan of the Micro Four Thirds format for wildlife photography than I was previously. It's a fabulous lens in every regard, with superb build quality, excellent handling and top-drawer image quality.

Above all, its bright maximum f/2.8 aperture – which is a first for a 100-400mm equivalent lens – delivers super-fast shutter speeds and better light intake than cheaper alternatives, which levels up the kind of telephoto wildlife action it's possible to capture.

I tested the telephoto zoom with an OM System OM-1 II; together the IP53-rated weather-resistant pairing are impressively lightweight at just 59oz / 1,674g, and deliver incredible image stabilization and subject-detection autofocus performance, especially for birds – the lens's autofocus can continuously keep up with the camera's blazing 50fps burst shooting speeds.

I love how the lens balances with the camera, and I happily carried the pairing all day, rain or shine. Its internal zoom further protects against potential dust ingress over the long run, and I've no doubt it'll last for many years of heavy use.

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Detail is impressively sharp, even at f/2.8, which is the aperture I used the most. This setting also enables the use of the fast shutter speeds that are crucial for high-speed wildlife photography.

Bokeh at f/2.8 is smooth for the most part, though in some scenarios it appeared a little fussy. Close the aperture down and you lose the circular shaping, and get harder edges instead. Bokeh is fine overall, but this is probably the only real negative to mention regarding optical quality.

Close focusing impresses – just 0.78m at any focal length, for up to half-life-size macro capture.

I do have to get the small matter of the price out of the way at this point. At £3,000 (US and Australia pricing is TBC), the 50-200mm F2.8 IS Pro is less than half the price of OM System's other pro 'white' lens, the 150-400mm F4.5, but almost three times the price of the 40-150mm F2.8.

In fact, it's pricier than similar full-frame lenses – Nikon's 100-400mm f/4.5-5.6 VR S comes to mind. However, considering the features on board, the build and optical quality, and that maximum f2.8 aperture, it's still decent value, even if many will be priced out.

I can't fault the OM System 50-200mm F2.8 as an overall package. It's a superb telephoto zoom, and one that I can only dream will one day live in my gear bag. If you're a serious wildlife shooter, OM System has produced one of the best camera and lens pairing you can find.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro specsOM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro specs

Type:

Telephoto zoom

Mount:

Micro Four Thirds

Sensor:

Micro Four Thirds

Focal length:

50-200mm (100-400mm effective)

Max aperture:

f/2.8

Minimum focus:

0.78m

Filter size:

77mm

Dimensions:

91.4 x 225.8mm

Weight:

38oz / 1,075g (without collar)

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: Design

• IP53-rated weather-resistant design, internal zoom
• Relatively lightweight at 38oz / 1,075g
• 0.78m close focusing for 0.5x (equivalent) magnification

I can't find any fault in the 50-200mm F2.8's design. It's IP53-rated, and is weather-resistant and freeze-proof to -10C; its internal zoom – a feature you'll generally only find in high-end optics – is further evidence of its rugged credentials, as it's one less place for potential dust ingress.

Check out the images below, which show how the lens barrel remains unchanged as you zoom through the focal range.

Considering its features – particularly that focal length and maximum aperture combo – it's lightweight too, at 38oz / 1,075g (without the removable collar). Paired with an OM System camera like the OM-1 II, the total weight is only 59oz / 1,674g, making for a comfortable all-day carry.

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All the external controls you'd want in a telephoto zoom are here: optical stabilization, manual / autofocus switch, custom buttons, and a focus range limiter.

Focus range can be limited to 0.78-3m, which is handy for macro photography (for which the lens has that impressive minimum close-focusing distance 0.78m), or to 3m to infinity, which is the option I'd pick when shooting telephoto wildlife. A third option is the full focus distance range, which could increase the risk of focus hunting.

The lens is supplied with a tripod collar, and I tend to keep this attached even when shooting handheld, as it provides another point of contact or place to hold when shooting.

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There's no built-in teleconverter, which is a feature you'll sometimes find in high-end telephoto lenses, including OM System's own monster 150-400mm F4.5. However, I'd happily use OM System's 1.4x teleconverter with this lens – I've used it before, and I wouldn't expect to see any significant drop off in image quality.

Adding the 1.4x teleconverter extends the maximum reach of the lens at the cost of 1EV of light, effectively turning this into a 560mm f/4 lens. That's still seriously impressive, and a better reach for bird photography, where subjects tend to be small and tricky to get close to.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: Performance

• 100-400mm effective focal length with maximum f/2.8 aperture
• Optical and camera stabilization combine for up to 7.5EV stabilization
• Sharp detail and, for the best part, smooth bokeh
• Supports 50fps burst shooting with continuous autofocus

The OM System 50-200mm F2.8 is an impressive performer in every respect. Its autofocus speed and precision are top drawer; when paired with the OM-1 II, it quickly latched onto subjects such as birds, and was able to support 50fps burst shooting with continuous autofocus.

The lens's optical stabilization can also combine with the OM-1 II's in-body image stabilization to deliver up to 7.5EV of stabilization.

In real terms, OM System says you can shoot handheld at the maximum focal length, which is 400mm (effective), using shutter speeds as slow as 1/3 sec, and still get sharp results.

Of course, if the action is moving then 1/3 sec won't be of much use, unless you want to intentionally blur your subject, but static objects will indeed appear sharp based on my testing.

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I used the continuous high burst shooting to increase my chances of freezing the action at the right moment in these two scenarios. (Image credit: Tim Coleman)Image 2 of 10

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For me, what's even better to have than the superb stabilization performance is the bright maximum f/2.8 aperture. This enables fast shutter speeds to freeze action, which is personally what I'm looking for a lens like this to do – for wildlife, you can do so much more with a f/2.8 telephoto than, say, an f/5.6 one.

The 100-400mm effective focal length range easily covers a range of scenarios – it's my go-to range for grassroots sports like soccer, and for large wildlife. To give you an idea of the difference between 100mm and 400mm, I've taken pictures of the same scene at those extremes, and you can see some examples in the gallery below.

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I also explored macro photography with the 50-200mm F2.8, and you can see some of those pictures below. The 0.25x maximum magnification (which is 0.5x full-frame effective) is half-life size and super-versatile – there's no such full-frame lens with such a feature set.

It was while using the lens to shoot macro, including a dew-covered backlit spider's web at first light, that I started paying particular attention to the bokeh – the quality of the out-of-focus orbs of light.

At f/2.8 it's smooth and rounded, but there are scenarios, such as the cobweb shots, where it becomes a little fussy rather than smooth – stopping the aperture down to f/7.1 to increase depth of field revealed polygonal-shaped bokeh. For less extreme scenarios, bokeh quality is pleasant, but I wouldn't buy this lens solely for that attribute.

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I took this photo at f/7.1 to increase depth of field, and you see that the bokeh has hard edges and polygonal shape, produced by the lens's nine aperture blades. (Image credit: Tim Coleman)Image 2 of 10

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Here I've opened up the aperture and bokeh is rounder, but detail in the spider is softer because of the shallow depth of field. (Image credit: Tim Coleman)Image 4 of 10

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Where this lens shines is in its wonderfully sharp detail, no matter the focal length or aperture (f/2.8 to f/11, at least). I've been really impressed by the quality of detail in my subjects, and I've been able to shoot images that simply wouldn't be possible with cheaper gear, or even with full-frame lenses with darker maximum apertures, like the Nikon 100-400mm.

If anything is holding this lens back, it's the limitations of the Micro Four Third's sensor format, which is half the size of full-frame. It's less clean in low light, and dynamic range is a little limited in high-contrast scenes, like the sunrise shot in the gallery below (scroll past those adorable guinea pigs).

The maximum f/2.8 aperture mostly makes up for any sensor format limitations, though, and in its own right the OM System 50-200mm F2.8 is a top-quality telephoto zoom, with no real drawbacks.

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(Image credit: Tim Coleman)Should you buy the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro?Buy it if...

You want a versatile wildlife and sports zoom

The 100-400mm focal length is ideal for sports and wildlife photography.

You want a lightweight pro telephoto zoom

Compared to full-frame alternatives, the 50-200mm F2.8 is a fraction of the weight and size. Its internal zoom is an added bonus.

You also shoot macro

Micro Four Thirds tends to deliver better close-focusing distances than full frame, and the 50-200mm is a case in point; 0.78m at any focal length delivers up to 0.5x magnification.

Don't buy it if...

You don't often zoom beyond 300mm

OM System's 40-150mm F2.8 (80-300mm equivalent) is less than half the price of the 50-200mm – if you don't usually zoom beyond 300mm, I'd save the cash and go for the older lens.

You're on a budget

Considering its quality and features, the 50-200mm F2.8 is decent value, but it still costs in the thousands.

You're unlikely to shoot fast-moving action or in low light

The f/2.8 aperture is a real selling point if you need fast shutter speeds when shooting action at the telephoto end, or for that extra latitude when shooting in low light. View Deal

(Image credit: Tim Coleman)How I tested the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro

• Following an initial testing session with OM System, I used the 50-200mm extensively for an entire week
• I paired it with the OM System OM-1 II
• I took telephoto shots of wildlife, macro photos of spiders, and more

I first used the OM System 50-200mm F2.8 IS Pro at an event hosted by OM System at a wildlife trust in the UK, where I had some hands-on experience photographing exotic birds. I subsequently used the camera over a week-long loan period, paired with the OM System OM-1 II camera.

During my own time with the lens I've taken it out for sunrise shoots of birdlife on a common, been captivated by the macro world of insects including backlit spider's webs, and snapped my family's pet guinea pigs at last light.

I've made sure that all lens corrections are switched off in-camera, shot in both raw and JPEG format, used every key focal length and various apertures, then assessed image quality using Adobe Camera Raw, which has OM System profiles.

• First reviewed September 2025

The OM System 50-200mm is the world's first 100-400mm equivalent zoom lens with f/2.8 aperture. Together with a current OM System camera, it's a true wildlife and sports photography master.

We've spent hands-on time with the iPhone 17 Pro Max – here are our first impressions.

We've spent hands-on time with the iPhone 17 Air – here are our first impressions.

I spent hands-on time with the iPhone 17 Pro – here are our first impressions

Nikon ZR: two-minute review

The new Nikon ZR is the first in a new line of Nikon / RED cinema cameras, and instantly makes Nikon a major new player in this space, capable of going to toe-to-toe with Sony, Canon, Blackmagic and Panasonic.

Nikon only acquired RED Digital Cameras 18 months ago, and it's made fast work of producing the surprisingly polished and capable ZR, adorned with Z Cinema Camera and Nikon / RED branding, and available for a tantalizing price that significantly undercuts rivals.

It packs a bunch of Nikon Z6 III tech, including the same 24MP partially stacked full-frame sensor, 5-axis image stabilization, subject-detection tracking autofocus and more, into an extremely compact, weather-sealed cinema camera body.

We get 6K 60fps video with internal RAW recording, with any one of nine industry-favorite RED color profiles baked in – that's the Nikon / RED amalgamation truly bearing fruit – plus 4K 120fps and Full HD 240fps slow-motion recording.

Handily, shutter angle can be set automatically to 180 degrees, so there's no need to mess around with manual exposure settings, plus the shutter angle can be set to any position between five and 360 degrees manually, should you wish.

The Nikon ZR with new ME-D10 shotgun mic attached – the mic supports the camera's 32-bit float audio capture skills (Image credit: Tim Coleman)

We don't get open gate video recording as in some rivals like the Canon EOS C50, but the ZR has another trick up its sleeve: hold the camera vertically, and its UI automatically rotates, with the vertical orientation embedded in the video files and automatically detected in Nikon's editing software, delivering full-resolution vertical video.

The ZR is the first camera of its kind with internal 32-bit float audio capture, plus what Nikon says is the best-quality internal mics yet – a triple mic combo with Ozo audio and a choice of five directional pickup patterns, including binaural.

Alongside the ZR, Nikon has launched the ME-D10 directional mic (you can see it slotted into the camera's hotshoe in the image above), which is compatible with the camera's 32-bit float capabilities.

This is also the smallest cinema camera I’ve used, yet it still squeezes in a large, brightest-in-class 4-inch vari-angle touchscreen. Naturally, there's no viewfinder.

Nikon has put both its own and RED's branding on the ZR, together with Z Cinema Camera (Image credit: Tim Coleman)

Given its tiny size, there are compromises. We don’t get some of the pro connectivity found in other pricier compact cinema cameras – for example there’s only a micro HDMI port, not a full-size one. However, if you still feel the need to use an external monitor even with the large 4-inch built-in display, all you'll need is a micro-to-full-size HMDI adaptor to get connected.

Sadly, the ZR lacks mounting points for video accessories and, with no grip, you’ll definitely want to rig it up with a grip or a cage for a better hold. That means forking out for ZR-dedicated gear – Nikon outsources to leading accessory maker SmallRig.

However, at just £2,199 (US and Australia pricing is TBC), no other cinema camera comes close to the ZR for video features – and this aggressive pricing will soften the blow of any additional outlay on accessories.

I can see the Nikon ZR as a go-to b-cam for many pros, especially those already shooting with a RED camera, for whom the color profile matching will make for a seamless workflow. That said, this is a capable video camera in its own right too.

The Nikon ZR is an incredibly capable and polished compact cinema camera with world-first features, and an exciting first step into the filmmaking space for Nikon. Should video lenses soon follow (most Z lenses are designed primarily for photography), along with a higher-end cinema camera with pro connectivity to sit above the ZR, then Nikon will truly find its footing in this space.

The compact body is the smallest in this class of cinema camera, with a fairly simple control layout (Image credit: Tim Coleman)Nikon ZR: price and release date

• Costs £2,199.99 (US and Australia pricing TBC)
• There will be various accessory bundles, TBC
• Sales start in October

The Nikon ZR costs £2,199 (US and Australia pricing is TBC, but that coverts to roughly $2,980 or AU$4,500). At that price it significantly undercuts rivals – such a feature set is typically found in cameras that cost around 50% more, and more often in cameras closer to twice the price.

That said, there are no video accessories included, and you'll want to fork out for some in order to enjoy the ZR's handling and feature set to its full potential. These will likely include a grip and / or cage, plus Nikon's new ME-D10 directional mic, which is compatible with the camera's 32-bit float audio format.

Nikon doesn't make its own accessories such as grips or rigs, relying on third parties such as SmallRig to supply those. At the time of writing I don't have pricing for dedicated ZR accessories.

The Nikon ZR is due to go on sale in October 2025.

The ZR is compact cinema camera for run-and-gun filmmaking – an ideal b-cam (Image credit: Tim Coleman)Nikon ZR: specs

Video

6K up to 60fps, Raw internal

Photo

24MP full-frame

Lens mount

Nikon Z

Autofocus

Dual Pixel CMOS AF II

Screen

4-inch, 3.07m-dot, vari-angle

Viewfinder

N/A

Weight

19oz / 540g (body only)

Battery

EN-EL15 (same type as Nikon Z6 III / Z8)

Nikon ZR: Design

• Smallest and lightest cinema camera of its kind; weather-resistant
• Large 4-inch, 3.07m-dot touch LCD with brightest in-class display, no viewfinder
• No mounting points for accessories
• 3x internal mics, Ozo audio with five directional pickup patterns

As far as I know, the Nikon ZR is the smallest and lightest camera of its kind, weighing just 19oz / 540g (body-only). It's also weather-resistant, which is a rarity in the cinema camera world.

There are pros and cons resulting from the tiny dimensions. Drawbacks include enthusiast-level connectivity, like micro HMDI rather than full-size (though you only need an adaptor to remedy this), and the absence of a grip or mounting points for accessories. A camera like the Canon EOS C50 feels more high-end, given its pro-level connectivity.

It feels best to keep things simple with the ZR, making the most of its compact body and powerful features by minimizing the number of accessories in play. A grip is the one accessory I would absolutely look into buying, while if you want to rig up the ZR you'll need a cage, which will in turn allow you to attach accessories such as lights and mics – Nikon has partnered with SmallRig to create grips and cages for the ZR (pricing TBC).

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Despite its tiny body, the ZR packs a large 4-inch touch display. As such, I don't really see the need for attaching a bulky external 5-inch monitor. It certainly helps that the ZR's 3.07m-dot display is wonderful bright and vivid – the brightest in its class, says Nikon. Mind you, I've only used the ZR in a studio; a truer test will be the bright outdoors.

Other cinema cameras, like the Sony FX3 and Canon EOS C50, only have 3-inch displays, while the Blackmagic Cinema Camera 6K has a mega 5-inch unit. In the case of the Sony and Canon models, I'd absolutely want to add a monitor to my setup.

The camera's top plate is pretty simple: there's a photo / video switch (though sadly the UI remains the same whichever setting you're in, rather than there being dedicated menus for photo and video), record button with rocker, plus three buttons for accessing items such as display settings.

The rear is dominated by the large touch display, which when folded away reveals the Nikon / RED branding. Beside it are a joystick for controls such as autofocus point selection, a menu button (a quick press brings up the main menu and a long press brings up the quick menu, which is a nice touch) and a playback button.

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Battery life promises to be okay, given that the ZR uses the same EN-EL15 battery as the Nikon Z6 III and Nikon Z8. There are no vents or cooling fans, though, which would normally suggest that a camera of this type would be prone to overheating during long recording sessions.

I haven't recorded clips any longer than a few minutes, but I'll be sure to run the camera for longer during my in-depth testing. However, Nikon says the camera's magnesium alloy body is a natural heat sink, and promises that long record times are possible, and based on my experience with previous Nikon cameras I have no reason to doubt it.

There's exciting tech under the hood, too, namely a totally new Ozo audio setup, which comprises three mics. Together, these offer five directional pickup patterns, including front narrow (like a shotgun mic), front wide, rear and binaural 3D stereo.

Nikon says this Ozo system is the best internal mic setup of any camera, and it's supported by a world-first: in-camera 32-bit float audio capture. Nikon's new ME-D10 shotgun mic, released at the same time as the ZR, supports 32-bit float audio too.

Those are impressive audio features for any camera, let alone one at this price point, and I look forward to properly testing them out.

Nikon ZR: Performance

• 6K up to 60fps, 4K up to 120fps, Full HD up to 240fps
• Internal RAW recording and RED color profiles (up to nine in-camera at any time)
• Subject-detection autofocus and 5-axis image stabilization
• 24MP stills, partially stacked full-frame sensor

For the most part, the Nikon ZR has the same photo and video specs as the Z6 III (which we awarded five stars out of five in our in-depth review), which means a full-frame partially stacked 24MP sensor equipped with 5-axis image stabilization.

Add in decent subject-detection tracking autofocus and the ZR is a capable stills shooter, although while this is useful for on-set stills, the main focus of my testing is of course the ZR's video chops.

There's the partially stacked 24MP full-frame sensor and Nikon Z mount (Image credit: Tim Coleman)

Like the Z6 III, the Nikon ZR shoots 6K up to 60fps, 4K up to 120fps and Full HD up to 240fps. There's the option for shooting internal RAW with a 12-bit color depth, or keeping things simple and baking in the look at capture with 10-bit recording.

Given the array of creative styles and color profiles on board, which includes space for up to nine RED color profiles at any one time, you might just feel happy to skip shooting RAW, with its large file sizes and grading demands, and use one of the many baked-in color profiles instead to save editing time and space on your hard drives.

I shot a variety of video clips during a half-day session with a drummer in action inside a studio, including 6K RAW, a few of the RED profiles baked in, and 240fps slow-motion – see my sample video, above.

In this setting, the ZR delivered some superb-looking video. I'll be expanding this first impressions review with more detail about its video and audio quality, once I've had an extended time with the ZR.

The ZR is a decent camera for photos too, with 24MP stills (Image credit: Tim Coleman)Nikon ZR: also consider

Canon EOS C50

Canon announced the EOS C50 just a day before the Nikon ZR. It costs around 50% more, but comes with a top grip. In many ways the two cameras' video features are similar, including video resolution, maximum frame rates, internal RAW recording and autofocus. However, the Canon camera feels slightly more high-end with pro connectivity, while in the ZR's favor are its compact size, larger touch display and, impressively, its sensor-based stabilization.

See my Canon EOS C50 reviewView Deal

Blackmagic Cinema Camera 6K

The Blackmagic Cinema Camera 6K is pretty much the same price as the Nikon ZR, and in many respects has similar video features: a full-frame sensor with 6K video, 12-bit internal RAW recording and dual base ISO. It also packs a mammoth 5-inch display and has a solid choice of L-mount lenses. However, its slow-motion recording is more limited, while autofocus performance isn't a patch on Nikon's. It's also much bulkier and heavier.

See our Blackmagic Cinema Camera 6K reviewView Deal

Sony FX3

The Sony FX3 is an industry-favorite compact 4K cinema camera with superb low-light skills, thanks to its 12MP full-frame sensor. Like the ZR, it's designed to be rugged, with accessories such as its (bundled) top handle. It has the pro connectivity you'd hope for, excellent battery life, and a wide range of video lenses. However, its video recording feels somewhat dated compared to the ZR's 6K internal RAW, and it's practically twice the price. View Deal

(Image credit: Tim Coleman)How I tested the Nikon ZR

• I had just half a day with the ZR
• I paired it with multiple Nikon Z lenses and tried out the new ME-D10 mic
• No third-party accessories were available, so I used the camera handheld

I had the opportunity to shoot with the Nikon ZR for half a day ahead of its launch, using it for an indoor stage-lit shoot of a drummer in action.

Nikon supplied an array of Z-mount lenses for the shoot, of which I used a few primes and zooms. The new ME-D10 directional mic was also available on the day.

Nikon doesn't make its own rigs or cinema camera accessories, relying on third parties such as SmallRig instead. None of these accessories were available to me, so I shot with the ZR entirely handheld, without a grip or rig.

During my limited test time I made sure to shoot in 6K RAW, 240fps slow motion, and to try out various color profiles, focusing on the RED looks.

I have plenty of experience using rival cinema cameras such as the Sony FX3, so I'm well equipped to make an informed initial assessment of the ZR. That said, cinema cameras need to prove themselves as tools their users can rely on shoot after shoot, so check back soon for my in-depth verdict after I've spent more time with the camera.

• First reviewed: September 2025
• Read more about how we test

The ZR is the first in a new line of cinema cameras by Nikon, packing 6K video, internal RAW recording, RED color profiles, and in-body image stabilization.

Federal Reserve Governor Lisa Cook won a round in federal court in her bid to keep her job despite President Trump's effort to fire her.

(Image credit: Drew Angerer)

Wayward is the title you need to keep your eyes on most of all when looking at the line-up of everything new on Netflix in September 2025. Brought to us by Feel Good creator and comic Mae Martin, they've even bagged Toni Collette for her most explosive horror role since Ari Aster's Hereditary in 2022.

But this is just scratching the surface of why Wayward is so good. The new Netflix series tells the story of the small town of Tall Pines, Vermont, which is home to a school of delinquent teens that get shipped off to study under the watchful eye of Evelyn Wade (Collette). Leila (Alyvia Alyn Lind) and Abbie (Sydney Topliffe) are two teens caught up in the school's mysteries, alongside cop Alex (Martin) and wife Laura (Sarah Gadon), who return to Laura's home town to settle down before the birth of their new baby.

Their two points of view converge over the course of the eight-episode run, giving us a multi-dimensional look at what it means to be a brainwashed youth incarcerated against your will. The town's decisions (and I won't spoil what these are) aim to rebuild Tall Pines from the ground up, but instead break down and fracture every part of its infrastructure. Not that this seems to matter, though as Evelyn's got her metaphorical hooks into almost everyone around her.

Between Alex, Abbie and Leila, it's up to them to get to the bottom of what's actually going on in Tall Pines. As a result, we're taken on a journey that resembles something between Twin Peaks and Stranger Things, and boy, is the outcome satisfying.

Of course Netflix's Wayward is brilliant, Mae Martin created it

Viewers should have known Wayward would be an instant addition to their watchlist the minute it was clear the series was coming from Mae Martin. Feel Good is still regarded as one of the greatest comedy-dramas to come out of the last decade, and not just by me. Even though veering into sci-fi supernatural territory isn't an expected direction for Martin, it almost doesn't matter.

Why? Good TV comes from getting the basics right: we're talking structure, characters, setting, as well as peaks and pits to hold the audiences attention. It's Martin's craft that's always elevated anything they've been a part of, even though their character Alex could be seen as another extension of their own personality. But we're rooting for Alex every step of the way, and that paves the way for some effortless LGBTQIA+ representation.

Instead of overtly stating that Martin's character is a trans man, the ensemble use he/him pronouns without hesitation, and when they fumble it feels authentic, rather than clumsily wedging inclusion in to tick a diversity box. It's incredibly refreshing and makes us buy into Alex's personal experiences on a much deeper level. If you're looking for someone more shouty about their sexuality, Leila is your girl, with her blossoming bisexuality proudly worn as only a naive teenager can.

Then there's Toni Collette. As one of the most talented actors that seems to be continuously unappreciated (especially by the Academy Awards), I hope viewers will tune in merely to see her shine (though I already know they will). She raises the game of everything and everyone around her when she signs onto the project, and there's no doubt that Wayward is what it is because of her. It's Evelyn's world and we're just living in it, making even the most skin-crawling of scenes enjoyable.

Stick with Wayward after episode 1 – I promise the payoff is worth it

We even get a Toni Collette musical number in Wayward. (Image credit: Netflix)

For the most part, Wayward is well structured, holds its intrigue and has enough mystery wrapped in suspense to sustain us for the rest of the year. I'm a biased fan of anything to do with sketchy communes, strange towns and schools for dysfunctional children, but its subject matter is incredibly compelling even for the uninitiated. I should have felt as though I'd seen this play out 1000 times over (and better), but I came away from Wayward with a fresh perspective.

That said, there are a few minor downsides. With such a strange ensemble cast of characters in Tall Pines, not all of them get their backstories explained outright, particularly those relating to Laura's past. Laura's own journey has an ironic symbiosis with Evelyn's and it would have been helpful to see more of how she actually functioned in her alma mater.

Looking back, episode 1 was the biggest stumbling block, and that's not helpful when it's the make-or-break point of a viewer deciding if they'll stick or split to something else in Netflix's expansive back catalog. It's worth point out that all events that occur in Wayward are happening in 2003 rather than being split across different points in time, with it initially unclear how Abbie and Leila's story will cross paths with Alex and Laura's. It gets there pretty quickly after in episode 2, but the first 40 minutes require a bit of patience and push-through.

But these are small prices to pay for an ultimately satisfying and well-rounded eight-parter. Touching on themes of identity, motherhood, loss, community and trust, anybody who loves unpicking the crux of a story will be fed well-timed mouthfuls at every turn. There's an interesting feeling of pride that comes with working out the subtext of something, and that's a uniquely enjoyable experience in Wayward. Tall Pines has a lot of its own lore, both directly through the phases of the school, and hidden in plain sight among its residents.

If you want my advice: invest your time, trust nobody, and hope to God that you don't get selected for The Leap.

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