Television

Wednesday

Stephen Arnell

Ten underrated thrillers

As we are now well into the unwanted Lockdown sequel and winter approaches, time perhaps to enjoy an enforced home cinema experience with a selection of movie thrillers that you may have missed the first time round. Titles range from big budget star vehicles to smaller scale pictures that introduced us to some of the possible on and off-screen icons of tomorrow. The Coldest Game (2019) – Netflix I came across this Polish-produced Cold War thriller one night when searching for movies similar to Bridge of Spies (2015). Whilst not in the same league as Spielberg’s picture, The Coldest Game has enough twists and turns to engage the viewer, with

Robert Jackman

The best Scandi Noir to watch this winter

With the dark evenings rolling in and the headlines sounding gloomier than ever, what better way to enter winter than by getting stuck into a good Scandi noir? Once the preserve of late nights on BBC Four, the genre has become a bankable success for streaming services – and a source of friendly(ish) competition between the Nordic nations. Here are eight of the best recent offerings currently available on Netflix: Bordertown Brooding crime drama Bordertown has attracted praise from such luminaries as horror supremo Stephen King, as well as smashing viewing records in its native Finland. The plot follows a detective inspector, Kari Sorjonen, who relocates to a small town

Thursday

Lara Prendergast

In defence of Emily in Paris

A frothy new drama called Emily in Paris arrived on Netflix last month. Starring Lily Collins — daughter of Phil — it tells the story of a pretty social media ‘expert’ who moves from Chicago to Paris, where she manages to offend almost everybody she meets, and yet somehow triumphs. It is Eloise in Paris for the Instagram/Trump generation. The show is a croquembouche-esque fantasy of Frenchness. Anorexic-looking chicks eat croissants and pretend to enjoy them. There are pre-war apartments with parquet flooring, and windows decorated with twinkling fairy lights. The men are handsome bastards who know how to cook omelettes. This is television designed for women the world over

Thursday

Rod Liddle

Spare us David Hare

Having not watched television for nine months and already growing bored of the 1,000-piece jigsaw of General Alfredo Stroessner (part of the ‘Vigorous Leaders’ range from Waddingtons), my wife suggested — for a novelty — that maybe we should take in the new political thriller starring Hugh Laurie, called Roadkill. We have fond memories of Laurie from previous dramas and are both mildly interested in politics, so it seemed an agreeable idea. ‘What side is it on?’ I asked, with a note of warning. ‘BBC One,’ replied the missus, and we looked at each other glumly and I said: ‘Oh Christ. It’ll be a woke BAME-athon. Isn’t there an old

Thursday

Martin Vander Weyer

The end of the line for the rail franchise fiasco

Good riddance to the passenger rail franchise system which has finally been killed off by Covid, though a majority of the travelling public might say it should long ago have been put out of its — and, more pertinently, their — misery. The complex scheme to privatise British Rail launched by the Major government in 1993 defied those who said it couldn’t be done and was designed by the Treasury to maximise proceeds to itself. In doing so, it fractured the industry into a myriad of separate owners, operators and service providers that rarely worked in harmony or created competition for the benefit of users. The consequences of this structural

Thursday

Howard Jacobson

The bluff and bluster of Boris’s bland boy Brexiteers

From the balcony where I take my daily exercise there is a view of the commercial centre of London that is so susceptible to changes of the light you feel you are in a different city every day. When the dying sun is reflected in its glass towers, the city looks like Las Vegas burning. Under a dark sky it could be Pittsburgh. The other day was so louring that I saw Moscow. ‘I’m looking at the Kremlin,’ I shouted in to my wife. She’s been worrying about me. She thinks it’s time I relaxed the promise I made myself not to go out until the virus has gone and

Wednesday

Ellen Lister

There’s nothing normal about getting nude on set

I remember how I felt the first time I saw Daisy Edgar-Jones’ nipples. Sitting on my sofa at home during lockdown, watching the BBC Three adaptation of Sally Rooney’s prize winning novel, Normal People, my jaw dropped as Edgar-Jones casually stretched an arm above her head, her bare chest fully exposed towards the camera. “She’s so brave!” I shouted out of nowhere, at my boyfriend. “What?” he replied, eyes glued to the screen, lost in his own (potentially quite different) stream of thought. Whilst both Edgar-Jones and Paul Mescal appear in the nude throughout the series, it was Edgar-Jones’ full frontal nakedness in particular that shocked me.Having worked on film

Thursday

Peter Jones

Movie-makers should look to the Athenians before cashing in on this crisis

Covid-19 has not yet reached its peak but already the moguls of the small screen are plotting how to monetise, with exquisite sensitivity, of course, the tragic deaths of thousands of people. They would be wise to listen to the Athenian lovers of tragedy. In 499 bc the powerful Greek city of Miletus on the coast of western Turkey (Asia Minor) raised a revolt against its Persian overlords. It failed and in 494 bc Persia took its revenge: the city was sacked, its women and children sold into slavery, and most of its men slaughtered. Just a year or so later, the poet Phrynichus turned this historical incident into a

Saturday

Melissa Kite

How I fell out of love with the BBC

One of the many technological things I don’t understand is, how come I’m paying to watch television? I know why I used to pay. I used to switch on a box in the corner of the room and marvel at the choice of three quite interesting programmes and something slightly racy on Channel 4. It was all reassuringly underwhelming, with everyone doing as well as could be expected given the circumstances. The cardboard sets on a lot of the shows wobbled and we were happier for it, one could argue. There was an obvious balance of earnestly attempted light entertainment and archly presented informative content and I for one didn’t

Rory Sutherland Rory Sutherland

Why the BBC licence fee makes sense

A consensus seems to be forming that the BBC licence fee is for the chop. In a digital age, the reasoning goes, we should not be forced to subscribe to huge bundles of content, with no choice over what we pay for and what we don’t. This argument, intriguingly, is both true and false at the same time. It is worth remarking that Netflix and Spotify succeeded by adopting a very similar model to, er, the BBC What’s true is that technology has removed two constraints which made the licence fee necessary in the first place. At the BBC’s outset, the airwaves were limited, creating a monopoly. Moreover it was