Drama

For most of my adult life, clever, well-read, feminist women have told me how much they love Jilly Cooper. It therefore came as a bit of shock when I finally tried her novels for myself and found what they contained. There is, for example, no mistaking Jilly’s scorn for women who are fat and/or hairy, her belief that all female unhappiness can be cured by a damn good rogering, and the idea that not only is it fair enough for middle-aged blokes to lech after teenage girls, but that teenage girls rather like it when they do. (I was also slightly disconcerted by her favourite word for female genitalia –

I’m a bit disappointed – déçu, as we Francophiles like to say – with La Maison. When French TV drama is good it can be very, very good, as we saw with Spiral, Les Revenants, and, maybe the best series ever made about spies, Le Bureau. But La Maison is not in their league. This is a shame because its milieu is not one that has been explored that often in TV serials – and it’s something that a French production really ought to have handled brilliantly: haute couture. Judging by the fancy Parisian settings and general patina of Succession-style luxe, it hasn’t been short of a reasonable budget. What

Why Am I So Single? opens with two actors on stage impersonating the play’s writers Toby Marlow and Lucy Moss. You may not recognise the names but you’ve probably heard of their smash-hit, Six, which re-imagined the tragic wives of Henry VIII as glamorous pop divas. This follow-up show is a spoof of vintage musicals and it’s deliberately knowing and self-referential. That’s why the authors are played by members of the cast, and they start with a few disparaging quips about Mamma Mia! and other West End fare. They even call the audience at the Garrick ‘riff-raff’, which seems a little charmless. The actors then morph into two new characters,

Like many sitcoms, W1A featured a middle-aged man convinced that he’s the only sane person left in the world. Usually, of course, this merely goes to show how delusional the bloke is – but the subversive twist here was that Ian Fletcher, the BBC’s head of values, seemed to be right. Playing Ian, Hugh Bonneville therefore spent much of his screentime radiating a bemused dismay at the madness around him. The only question is whether the show will hold its nerve or whether Douglas will prove toxic after all Now, as the main character in the comedy drama Douglas Is Cancelled, Bonneville is at it again. When we first met

The most controversial aspect of Netflix’s new drama-documentary Queen Cleopatra – not least in Egypt – was the casting of a black actress, Adele James, in the title role. After all, one of the few things that seems certain about Cleopatra’s early life is that she was a Macedonian Greek. Luckily, though, the show had a powerful counterargument to this awkward and Eurocentric fact. As the African-American professor Shelley P. Haley put it with a QED-style flourish, back when she was girl, her beloved (if uneducated) grandmother once said to her: ‘I don’t care what they tell you in school, Cleopatra was black.’ Watching Queen Cleopatra felt alarmingly like witnessing

When TV makes shows about TV, it rarely has a good word to say for itself. In the likes of W1A, The Day Today and, savagest of all, Victoria Wood: As Seen on TV, the industry has looked in the mirror and ripped itself to shreds. What all these comedies say, in their own way, is that most TV is bombastic, brain-dead, two-star crap put together in a blind panic and a moral vacuum by idiots and monsters. Second only to politics, it’s the satirists’ biggest sitting duck, the gift that can’t stop giving. The Newsreader, a new newsroom drama, turns out to be cut from different cloth. It’s set

Grizzled police officers of the old school should probably avoid Channel 4’s Night Coppers for reasons of blood pressure. Like most documentary series with close access to the police, this one paints them in a light so favourable as to be almost comically sycophantic. The trouble for those grizzled types is that – the times being as they are – what’s now considered favourable is to make the rozzers who patrol Brighton after dark all seem like that pathologically liberal Dutch cop played by Paul Whitehouse in the late 1990s. Not that this is a reference which most of the officers featured in Wednesday’s opening episode would get – largely

Older readers may remember a time when people signalled their cultural superiority with the weird boast that they didn’t watch television. These days the same mistaken sense of superiority is more likely to rely on the equally weird one that they don’t watch terrestrial television. So now that the BBC and ITV find themselves in the historically improbable role of plucky underdogs, it’s pleasing to report that this week saw the launch of two terrific new terrestrial shows — one of which already looks set to be as good as anything on Netflix, Amazon or Disney+ (except for Get Back of course). The programme in question is The Responder. It

For people who like a good upper-class scandal (or ‘people’, as they’re also known), 1963 was definitely a vintage year. Even before the Profumo affair came along, the divorce of the Duke and Duchess of Argyll offered plenty to enjoy, with its courtroom tales of her 80-odd lovers and that famous Polaroid of her pleasuring a titillatingly anonymous man while still wearing her pearls. All of which presented something of a problem for BBC1’s three-part dramatisation, A Very British Scandal — and not just because it had to pretend not to be titillated itself. At a time when female blamelessness is such a dominant media theme, could it find a

BBC1 continuity excitedly introduced the first in the new series of Doctor Who as ‘bigger and better than ever’ — presumably because the more accurate ‘bigger and better than it’s been for a bit’ doesn’t have quite the same punch. Still, Sunday’s programme was a definite, even exhilarating improvement on those of recent years. Since Chris Chibnall became the showrunner in 2018, thrills have taken a firm second place to solemn lectures on how the most dangerous monster of all is human prejudice. Yet at no stage here did the Doctor (Jodie Whittaker) encounter some acknowledged hero of black and/or women’s history — and so allow us a self-satisfied bask

At one point in an early Simpsons, Homer comes across an old issue of TV Guide, and finds the listing for the sitcom Gomer Pyle, U.S.M.C. ‘Gomer upsets Sergeant Carter,’ he reads — adding with a fond chuckle, ‘I’ll never forget that episode.’ Even for British viewers unfamiliar with the show, the joke is clear: that’s what happens in every episode. Sad to say, this popped into my head while watching the first in the new series of Succession. The acting, script and direction are as brilliant as ever. Nonetheless, once Logan Roy began yet again to dangle the possibility of becoming the next CEO of his media empire before

‘The world is hell, and men are both the tormented souls and the devils within it.’ This was the cheery epigraph from Schopenhauer with which The North Water introduced itself — aptly, as it transpired. Certainly, BBC2’s starry new Victorian drama is not for those who prefer their television characters to be loveable. The first person we met was Irishman Henry Drax (Colin Farrell), who gruntingly concluded his business with a Hull prostitute before heading for the docks in a way familiar to viewers of Victorian TV dramas: shamble up the cobbles, straight on past the women in shawls, turn left at the urchins. Following a restorative dose of rum,

I’ve been looking at the reviews so far of Sky’s new Romans series Domina and none seems to have noticed the most salient point: it’s crap. This is almost more depressing than the fact that the series got made in the first place, for what it suggests is this: our culture is now so debased that even our arbiters of taste can no longer tell the difference between quality and mediocrity. Domina follows the story of Julius Caesar’s great-nephew Octavian, from when he was a member of the triumvirate to his apotheosis as Caesar Augustus. You’d think you couldn’t possibly go wrong with such fascinating historical material, rich with gore,

The Serpent is the best BBC drama series in ages — god knows how it slipped through the net — but I still think it most unlikely that I shall stick it through to the final episode. It’s not the style that’s wrong but the subject matter: do we really want to spend eight hours of life in the company of a smug, ruthless serial killer who murders at least 12 people — and more or less gets away with it? Up to a point The Serpent has addressed this problem by trying to make the central figure not the killer, Charles Sobhraj, but the persistent Dutch junior diplomat, Herman

Of all the times and places to have been on the wrong side of history, I can’t imagine many worse than to have been a Roman legionnaire in the Battle of the Teutoburg Forest in the year 9 AD. It was the Romans’ Isandlwana — a devastating defeat inflicted by native forces on what was theoretically the world’s most sophisticated, best trained, and almost insuperable military power. Over the years since I first learned about arrogant, tricked, doomed Roman commander Varus and his three legions (about 20,000 men, almost none of whom got out alive), I’ve often mused pityingly on how it must have felt: trapped in the gloomy forest,

A woman is eating a pie in her car as it gets an automatic wash. Careful to keep the pie out of shot, she then films herself on her phone pretending to have an orgasm, posts the clip online and drives to work. Once there, she’s constantly distracted by thoughts of domestic chores (‘Whites tonight, colours in the morning, hang them out before the school run’) — which mightn’t be so unusual, except that her work consists of having sex. But if the early scenes in Channel 4’s new porn-industry drama Adult Material suggested a cheeky, essentially light-hearted twist on female life-juggling, this soon proved deceptive. What followed was an