Comedy is not a fully convertible currency. One nation’s screamingly funny sitcom might be another’s American version of The Office. A similar problem seems to afflict Korean situation comedy So Not Worth It (Netflix, series one now showing), set in a Daehan International University dormitory, where misunderstandings and well-meaning gestures gone wrong seem to represent the entire meaning of life. Nominally in charge is Se-wan (played by Park Se-wan), a business major senior and resident adviser to a collection of foreign students. They represent Thailand, Australia, Sweden, the United States and Trinidad and Tobago, and all speak suspiciously good Korean. Over a barrage of constant yelling and slapstick it is difficult to discern a theme running through the series, although it may eventually prove to be one of romance, and probably amounts to more than the silly trainer envy that underpins episode two. Even worse than the intrusive graphics is the canned laughter, which seems to have been dropped in at random intervals using a computer program. Is this show worth the effort? You be the judge. Hunting monsters Welcome to the untold story of the untold story, also known as documentary Catch and Kill: The Podcast Tapes (HBO and HBO Go, from Tuesday). But wait. The original untold story here has already been told: one of rampant sexual abuse by former movie mogul Harvey Weinstein, which had gone unreported for decades. That story began in 2017 and ended with his conviction last year for rape and sexual assault. The second untold story is tangential to the first and is a “how we did it” tale of the journalism that went into snaring such a powerful predator. This is the basis of Catch and Kill , which looks and sounds like a convenient star vehicle for journalist Ronan Farrow. Based on his 2019 book and podcast, Catch and Kill: Lies, Spies and a Conspiracy to Protect Predators , this six-part series features lingering close-ups of the photogenic Farrow as he re-interviews other reporters, private investigators, whistle-blowers and former employees of Weinstein’s Miramax Films. They revisit the successes and setbacks on the potholed road to exposing the heavyweight player, long considered untouchable. Surveillance, stalking, intimidation and legal threats abound, making the seedy story sometimes sound like a thriller. But it’s difficult to escape the self-congratulatory air that infuses the production, or the feeling that, however loathsome and indefensible Weinstein and his actions were, the tale of this investigation is too one-sided, much like the HBO series Allen v. Farrow , in which Ronan – the son of actress Mia Farrow and filmmaker Woody Allen – also participated. Nevertheless, the documentary gives some of the comparatively unknown Weinstein victims, who might feel they never had their say when he was tried, a chance to exorcise their demons. These include British-born Chinese ex-Miramax assistant Rowena Chiu, who resigned in 1998 after Weinstein attempted to rape her during the Venice Film Festival. Laughs keep coming in Kim’s Convenience, show that made Simu Liu a star The lasting, traumatic effects of Chiu’s ordeal led to two suicide attempts and the “horrifying and suffocating” dread she felt after having to return to the company – albeit at a safe distance, in Hong Kong – because Weinstein’s industry influence meant she had effectively been blacklisted elsewhere. To his credit, Farrow, citing the numerous attempts to silence him and his contacts and to kill the story, widens the scope of the series to embrace the deepening predicament of the “new war on journalists”. We are, he says, “living in a precarious moment when it comes to the free press”.