From the opening moments of “Painkiller”, it’s clear the show will be no run-of-the-mill drama, writes “Streaming” columnist NICK OVERALL.

“PAINKILLER’, the new Netflix mini-series, starkly opens with a real-life victim of the opioid crisis, a mother who lost her son to the devastating drug.

“This program is based on real events, however certain characters, names and dialogue have been fictionalised for dramatic purpose,” she solemnly tells the camera.

It’s strange to get this disclaimer not in plain text as we’re so used to, but in the form of a real human being.

The choice makes for an attention-grabbing introduction to this limited series’ heavy subject matter.

“Painkiller” confronts the opioid epidemic head on, attempting to explain how the drug became overprescribed in the ‘90s and went on to kill hundreds of thousands of people around the world.

So how does one tell a story about such a far-reaching topic in six, hour-long episodes?

“Painkiller” recounts its (mostly) true tale through the lens of several key players in the crisis.

In a far cry from “Ferris Bueller’s Day Off”, Matthew Broderick plays Richard Sackler, the billionaire head of Purdue Pharma, the company that infamously produced OxyContin.

Also among the ensemble is Edie Flowers (Uzo Aduba), a shrewd district attorney who acts as a composite character to represent the many investigators who followed the disturbing trail of overprescription.

While “Painkiller” offers an intriguing look at a modern epidemic, it certainly doesn’t do so without flaws.

The show sporadically tries to inject doses of satire into its script in what I can only imagine is an attempt to lighten an otherwise gloomy tone, but does without any shred of finesse.

These attempts at some form of dark humour stick out like a sore thumb and heavily pull down an otherwise engaging piece of TV drama.

If this all sounds familiar it may be because of 2021’s Disney Plus drama series “Dopesick”, which also dived into America’s struggle with opioid addiction.

For interested viewers, both shows offer different angles to get caught up in and are worth a watch. For those who only have the time for one series on the depths of pharmaceutical evils, “Dopesick” is certainly the better script.

AS someone who considers themselves the most mild of basketball fans, it was startling to discover just how addictive HBO’s sports drama series “Winning Time” is.

Subtitled “Rise of the Lakers Dynasty”, this series on Binge goes behind the scenes of the game to recount how one of the most iconic teams of all time rose to glory.

From Kobe Bryant to Shaquille O’Neill to Magic Johnson and more, there’s been no shortage of talent to play in the Lakers side and the relentless quest to secure it makes for some compelling drama TV.

This month its scored another slam dunk with its second season on Binge.

Moving along at a break-neck speed, the series charts the personal and professional lives of those both on and off the court, with standout performances from John C Reilly as owner of the Lakers Jerry Buss and Quincy Isaiah as Magic himself.

Throw all that in with a glossy ‘80s backdrop, sharp script and slick soundtrack and you’ve got a three-pointer on your hands.

TV’s ultimate pay-out of true crime has returned to Disney Plus this month for a third season.

A mix of mystery, comedy and drama “Only Murders in the Building” is the story of three friends who host their own true-crime podcast and who accidentally become caught up in their own Manhattan murder conspiracy.

The show stars Steve Martin, Martin Short and Selena Gomez as the trio of out-of-their depth detectives, who end up incorporating their own investigation into the podcast.

If that wasn’t enough star power, season three has secured the talent of Paul Rudd and even Meryl Streep, who play actors cast in a Broadway production dysfunctionally spearheaded by Short’s character.

In a market oversaturated with true crime, “Only Murders in the Building” is a comical piece of catharsis.