The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Ever since the end of Gomorrah season four (Sky Atlantic) I have been bereft. I eked it out for as long as I could, going whole weeks without watching an episode — rationing it and savouring it as you do when you’re down to your last Rolo. But eventually I could put off the climax
Not much was clear in the opening scenes of The Pale Horse (BBC1, Sunday), which even by current TV standards were admirably committed to confusing us with a series of baffling fragments. One thing that did seem apparent, though, was that Mark Easterbrook (Rufus Sewell) wasn’t having much luck with the ladies. In one fragment,
SAS: Who Dares Wins (Channel 4, Sundays) is literally the only programme left on terrestrial TV that I can bear to watch any more. And I’m only slightly exaggerating. Where else, anywhere from the BBC to Channel 4, would you see a woman being punched in the face and made to cry by an ex-SAS
One of the many astonishing things about the BBC2 drama The Windermere Children (Monday) was that the real-life story it told isn’t better known already. In August 1945, 300 Jewish children, who just a short time before had been starving in Nazi concentration camps, arrived at a converted seaplane factory in the Lake District. None,
Sky’s latest bingewatch potboiler Cobra can’t quite make up its mind whether it wants to be an arch, knowing House of Cards-meets-The Thick Of It satire about parliamentary intrigue. Or a full-on post-apocalyptic thriller in the manner of Survivors or The Walking Dead. It ends up succeeding in neither. The premise is that a powerful
Victoria, a single mother in her early thirties, is getting her children ready for school — ensuring an equitable distribution of toast and issuing a series of determinedly patient instructions. (‘Listen to Mummy, you need to put your socks on.’) Once they’re gone, she then heads to a hotel to meet the first man that
For many people of a certain age (full disclosure: mine), punk has been a weirdly persistent presence. These days, we may not often be tempted to sit down with a glass of wine and an album by the Cortinas, Chelsea or Eater. We may even have belatedly realised that the most revolutionary record of 1977
The key to surviving the next couple of weeks of TV is to avoid like the plague anything that smacks of seasonal viewing. So, no Christmas specials (such as the semi-celebrity, elderly grown-ups version of University Challenge where the questions are even more laboriously PC than on the student edition), no Harry Potter, no adverts
Watching BBC1’s Elizabeth Is Missing made one of the more puzzling decisions of recent decades seem more puzzling still. Entirely her call of course, but why on earth did Glenda Jackson give up acting (something she was better at than pretty much everybody else in the world) to become an unremarkable Labour MP (something that
True to the Andrew Roberts rule that the only bearable series on TV these days are ones with subtitles, I’ve started watching Der Pass (Sky Atlantic). Not unlike The Bridge and The Tunnel, it starts with a dead body exactly straddling a border, thus requiring the intervention of detectives from two national jurisdictions. This time,
Anybody who watched the opening episode of The Baby Has Landed (BBC2, Wednesday) might have found themselves wondering if the patriarchy is quite as all-powerful as it’s cracked up to be. The programme follows ‘six families over six life-changing weeks’ as they welcome a new member — and on the whole features women who radiate
Edwardian England deserved everything it got from those killer Martian invaders. Or so I learned from the BBC’s latest adaptation of The War of the Worlds (Sundays). Everything about that era, apparently, was hateful, backward and ripe for destruction: regressive attitudes to women and homosexuality; exultant white supremacy (cue, a speech from a government minister
Some last taboos, it seems, can remain last taboos no matter how frequently they’re confronted. Grief, the menopause, masturbation, mental illness are all routinely described that way whenever they get depicted on television — i.e. quite often. But perhaps the sturdiest last taboo of the lot is that older women can have sexual feelings: something
‘Here’s your new Sunday night obsession…’ the BBC announcer purred, overintoned and mini-orgasmed, like she was doing an audition for a Cadbury’s Flake commercial, ‘… a dazzling drama with a stellar cast.’ My hackles rose. Did no one ever mention to her the rule about ‘show not tell’? And my hackles were right. His Dark
Older readers may remember a time when landmark BBC wildlife documentary series were joyous celebrations of the miraculous fecundity of the planet we’re lucky enough to find ourselves living on. Well, not any longer. In our more censorious age, they’ve become another chance to essentially tell us all off. So it was that Seven Worlds,
In an uncharacteristic fit of almost-robustness, Culture Secretary Nicky Morgan has said she is ‘open-minded’ about scrapping the BBC licence fee and replacing it with a Netflix-style subscription service. Good idea. What would we actually miss if we didn’t subscribe? Not an awful lot in my view. Some people cite David Attenborough’s nature documentaries but
One of the many great things about The Capture was that we could never be sure whether the British authorities’ capacity for virtually blanket surveillance was a nightmare vision of the future or a nightmare portrait of the present. Celebrity Hunted, though, suggests a third possibility: that virtually blanket surveillance is simply proof of how
I have never ever watched a TV series I have enjoyed more than Succession (Now TV). There’s stuff I’d put in the same league, maybe — Fauda, Babylon Berlin, Band of Brothers, Utopia, Gomorrah, Breaking Bad, The Sopranos, and so on — but absolutely nothing beats it. It is, quite simply, a work of pure,
It’s possibly not a great sign of a Britain at ease with itself that the historical character most likely to show up in a TV drama now seems to be Oswald Mosley. But the week after his starring role in Peaky Blinders ended, there he was again, right at the beginning of BBC1’s next Sunday-night
Sir Lenny Henry, the former comedian, is wont to complain to anyone who’ll listen that there isn’t enough ‘diversity’ on TV. Really, he should watch Top Boy (Netflix). Apart from the odd token walk-on whitey — skanky crack addicts, nasty immigration officers — it’s wall-to-wall BAME casting opportunities. The protagonist, Dushane (Ashley Walters), is black.
As a lifelong Catholic, I’ve often thought that two of the Church’s chief characteristics are a) how weird it is when you think about it; and b) how weird it is that so few people in it think how weird it is when you think about it. Happily, if a little smugly, I have to
Because the rise of the Nazis is a topic so rarely mentioned these days, least of all in schools, the BBC has produced a helpful three-part explainer of that title (BBC2, Mondays) showing why the story of Hitler is even more relevant today than it was in the 1930s. Back in the day, the BBC
How did the police ever solve any crimes before CCTV? That was the question which sprang to mind watching the first episodes of two highly promising new crime dramas this week. It’s also the central question now facing the detective in one of them. Part police officer, part career women, Rachel Carey in The Capture
Brassic (Sky One) feels like the sort of TV comedy drama they last made about 15 years ago but would never get commissioned now, certainly not by the BBC. Almost all of the main characters — apart from love interest Michelle Keegan — are white, male and heterosexual. And it’s set in the kind of
Professor David Scheel, the presenter of a BBC2 documentary on Thursday, instantly brought to mind that American scientist in The Fast Show: bearded, bespectacled, softly spoken and willing to try an experiment just for the hell of it. A marine biologist in Alaska, Scheel has been studying octopuses (his own preferred plural, incidentally) for 25
Jeremy Deller’s Everybody in the Place: an Incomplete History of Britain 1984-1992 (BBC4) began with some footage of kids queuing up outside a warehouse rave in Stoke-on-Trent in 1991. It was at once banal and extraordinary: everyone was white; nobody was overweight; none of the clothes were designer, expensive or branded; nobody wore facial hair.
My favourite epithet about my favourite TV series was the headline in a review by the Irish Times: ‘Gomorrah. Where characters die before they become characters.’ The review appeared to suggest that this was a bad thing. But I disagree. What made Game of Thrones so original and compelling, especially in the early seasons, was
BBC2’s How the Middle Classes Ruined Britain (Tuesday) began rather promisingly. ‘I’m a working-class comedian who voted Leave,’ announced presenter Geoff Norcott, ‘and I think it’s about time you lot heard some home truths.’ But then came the programme itself — which turned out to be the TV equivalent of a footballer who, faced with
I’m beginning to feel like Donald Sutherland in Invasion of the Body Snatchers: almost the last person on Earth who hasn’t been assimilated by the evil, shapeshifting, floral pod creatures from outer space. Losing my comrade Christopher Booker the other day didn’t help. Nor did turning to the once robustly sceptical Sun newspaper this morning
