Sharon Horgan
- 54 years old
- Irish
- Actor, writer, producer and executive producer
Press clippings Page 11
Military Wives review
Feel-good underdog story hits all the expected notes.
Clarsse Loughrey, The Independent, 3rd March 2020Military Wives review
In the fine tradition of true British stories sculpted into engaging entertainment, this film's narrative structure is designed to make the audience smile while coaxing a tear.
Rich Cline, Shadows on the Wall, 2nd March 2020Review - Military Wives
Kristin Scott Thomas and Sharon Horgan tug at the heartstrings in Peter Cattaneo's triumphant comedy drama.
Allan Hunter, The List, 2nd March 2020Military Wives, review
Heartstrings tugged in treacly choir comedy.
Ed Power, The Telegraph, 25th February 2020Director didn't want Military Wives to be too slick
When Gareth Malone created his Military Wives choir, the effects were to prove far more enduring and profound than the resulting flurry of fame.
Rebecca Thomas, BBC, 25th February 2020Sharon Horgan: interview
Sharon Horgan's eviscerating self-awareness underlies some of the biggest cult comedy hits of recent years. But now she's going after mainstream movies and a directorial debut.
Tim Lewis, The Observer, 23rd February 2020HBO passes on Aisling Bea and Sharon Horgan comedy
Plans for a US comedy based on an idea by Sharon Horgan and Aisling Bea have hit the buffers.
Chortle, 28th January 2020The 50 best TV shows of 2019: No 9 - Catastrophe
A note-perfect portrait of division and dysfunction, it was the TV show for our times - and its finale was earth-shattering.
Chitra Ramaswamy, The Guardian, 9th December 2019Radio Times TV 100 2019: Phoebe Waller-Bridge tops list
The result is a rundown of 100 TV stars who've had a tremendous past 12 months. Fleabag co-stars Olivia Colman and Andrew Scott came 13th and 21st respectively.
Morgan Jeffery, Radio Times, 3rd December 2019The mighty Motherland continued; it's still gloriously funny, but now, also, irksome. In a good way. Because, just as we're now trying to include harried mums in all the causes screaming for our empathies, our antihero Julia suddenly behaves like the self-centred, entitled sod we all half-suspected, ramping up her "victimhood" to take huge advantage, again and again, of a kindly soul in a cafe (and never mind the poor owner, always down at least half a day's heating in exchange for one all-day latte).
Irksome in a good way because it denotes the supreme confidence of the script to dare to show Julia as several-dimensioned, and one of those dimensions (it turns out) is sweet-smiley manipulative bitch. It's probably no coincidence that there are no fewer than four writers involved, of presumably strong self-opinion and character themselves (one's Sharon Horgan); mimsier hands would have shied away from addling viewers' simple brains with such complexity. Is this, finally, Britain catching on to the US trick, employed in hit after hit, of dedicated writing teams?
Euan Ferguson, The Observer, 27th October 2019