Sabrina Barr
Sabrina Barr is TV editor at Metro, specialising in television coverage on the entertainment desk, from streaming hits and prestige dramas to reality formats and award shows. Her work combines fast-turn news, detailed reviews and longer features that track how audiences respond to the shows they watch. She focuses on television as an emotional experience, often writing in the first person to explain why particular scenes, characters or series resonate so strongly. Across her output she treats TV as both entertainment and culture, paying attention to how it reflects wider conversations around representation, trauma, sexuality and family life.
Prestige dramas and streaming hits
Barr’s reviews of major dramas and streaming series foreground story, character and emotional stakes.
Her Bridgerton bathtub scene review dwells on how the period drama makes her cry and swoon, linking iconic romantic moments to the series’ enduring appeal. In coverage of medical drama The Pitt, she calls it the “best show on TV” and a “phenomenon”, highlighting immersive pacing and intensity that set it apart from other series in its genre. On Netflix she singles out a harrowing Florence Pugh-led drama as the best TV to binge in October, positioning it among the standout offerings on the platform.
Her voice features beyond Metro as part of the critic chorus on The Last of Us season two, where her verdict that fans will not be disappointed is cited in a wider round-up of first reviews. Even news pieces about series cancellations, such as the axing of action-comedy Ride or Die after one season, are grounded in her viewing experience, noting it was the most fun she had watching a TV show in ages.
Reality formats and audience reaction
Barr devotes substantial attention to reality formats and shows that spark debate. Her reporting on Channel 4’s Virgin Island follows the series from screenings to on-air episodes, balancing acknowledgement of its controversy with discussion of why its exploration of intimacy and sexual insecurity resonates with viewers. She emphasises that the participants’ struggles are common yet taboo, and that the show can prompt viewers to recognise their own anxieties around body image and self-worth.
In comedy competition series Last One Laughing she notes both audience reactions and her own five-star assessment, describing it as joyous, silly fun and “one of the best shows on TV right now”.
Quick-turn coverage of formats like The Traitors and other social-game series tracks fan theories, cliffhangers and early eliminations, treating viewer speculation as part of the story. Beyond television, she brings a similar character-led approach to entertainment features, such as a lengthy interview with a former top male supermodel reflecting on life inside a cult, which dives into power, control and survival in the fashion world.
Awards, franchises and industry coverage
Awards coverage and franchise reporting make up another strand of Barr’s work.
At the National Television Awards she documents the win for Our Girls: The Southport Families as best authored documentary, describing the moment honouring the parents of three young victims of the Southport attack as deeply emotional and leaving attendees in tears. She follows family-focused reality projects such as the Rooneys’ Disney series, unpacking dynamics revealed in trailers and noting release plans across streaming dates. Long-running genre properties sit within her remit, including fantasy juggernaut The Witcher, where she writes about the recasting of its lead and her mixed feelings as a fan invested in the series reaching a proper conclusion.
Her stated specialisms in Marvel, Star Wars and RuPaul’s Drag Race add further franchise depth, signposting an interest in shows with passionate fandoms and expansive universes. These pieces show her as a critic who understands both industrial decisions and fan attachment, treating casting changes, viewership surges and boycotts as part of a larger conversation about how TV lives in public.
Role on the entertainment desk
Barr holds a senior editorial role on the entertainment desk as TV editor, overseeing the television team and output while continuing to write herself. Her responsibilities span fast-paced news, in-depth interviews, feature analysis and reviews of the latest streaming releases. She moves between pure criticism and service journalism, for example recommending programmes to watch after The Pitt or highlighting October’s must-binge series for streaming subscribers. She also contributes occasionally beyond TV, with appearances in lifestyle pieces and local features, which underline her presence across the broader Metro ecosystem. Across formats her tone is direct and conversational, rooted in her own viewing while attentive to how stories land with audiences, making her a fit for narratives that hinge on television, streaming and popular entertainment.
4 more entertainment journalists.
Abbie Bray
Abbie Bray reports on how television affects the people on screen and the viewers at home. She is acting head of Screen Time, working across national and regional titles on dramas, soaps, factual entertainment and live broadcasts. Her focus includes Death in Paradise, Beyond Paradise, Vera and Midsomer Murders, as well as Gardeners’ World, Our Yorkshire Farm, Countryfile, Garden Rescue and A Place in the Sun. She also covers presenters, long-running series, sports broadcasts, viewer complaints and Ofcom scrutiny. Before Screen Time, she was a TV reporter for Metro and the Daily Express, then held weekend TV editor, assistant TV editor and deputy showbiz editor roles. Her reporting links TV formats to grief, career changes, casting, audience reaction and the personal stakes behind live coverage.
Adam Bloodworth
Adam Bloodworth covers how culture, nightlife and luxury spaces shape modern entertainment and everyday life. He is a Features Journalist and Deputy Life&Style Editor at City A.M., where he has written and commissioned culture and lifestyle features since 2022. He is also Deputy Editor of City A.M. The Magazine. His beat includes film, TV, music, theatre, things to do, restaurants, hotels, members’ clubs, fashion and LGBTQ storytelling. He has written for The Telegraph, The Independent, VICE, Metro and HuffPost UK. He reviews gigs, theatre and restaurants, profiles venues and reports on live-music infrastructure. His work often combines criticism with first-person experience, judging places and performances by their atmosphere, stories and audience experience. He also interviews public figures and appears as an on-air commentator.
Adam England
Adam England stands out for linking celebrity news to wider trends in music, sport, health and everyday life. He is a writer-reporter on the news team at People, where he covers entertainment, culture and lifestyle through timely stories and evergreen explainers. His work has appeared in publications including The Guardian, The Independent, Vice, Dazed, Healthline and Verywell Mind. He writes about music, screen entertainment, celebrity careers, fan communities, sport, cultural history, mental health, travel, pets, relationships and social affairs. His explainers include the 2023 NFL Draft and Bruce Lee’s death. He also reports on sensitive celebrity health stories, such as Lionel Richie cutting a concert short after feeling dizzy. His reporting is clear, factual and service-driven. He strips back jargon and mythology, uses lived experience and expert input where relevant, and avoids sensationalism.
Adam White
Adam White is features editor across culture and lifestyle at The Independent. He writes and commissions long-form features, essays and interviews on film, television, music and entertainment. His work examines how fame, fandom and taste shape contemporary culture, from streaming thrillers and celebrity disclosure to festivals, live music and creative careers. His writing has appeared in Dazed, Huck, i-D, Playboy, The Telegraph, The i, Little White Lies, The Quietus and Nylon. He uses a strong, voice-led style that combines reporting, observation and personal immersion. His streaming coverage treats television as something experienced as much as watched. His celebrity essays connect star narratives to wider questions about privacy and public image. His festival writing focuses on audiences and live events as cultural rituals. His interviews with film-makers and authors rely on rapport, extended stories and reflection.