James Delingpole reviews television for The Spectator.
When I lived briefly in Stamford Hill I was mesmerised by the huge fur hats (shtreimel) worn by the local Hasidic Jews, and the wigs worn by their wives, and the almost tubercular pallor of their children. I often wondered how such a remote, aloof and archaic sect could possibly relate to 21st-century London. The
The perfect mini series is an elusive beast. In the pre-Sky and Netflix era, you’d get the DVD and it would last you a few weeks (back then, reading books was still a thing), lend it to friends, and fawn over it at dinner parties for the next few months. Yet back then we were
Imagine rooting for the Australian cricket team. If you’re Scottish, Welsh or Irish — or Australian obviously — it might not be such a stretch. But for an Englishman, I suspect, it’s nigh on impossible. It would be like supporting Germany in the (football) World Cup. Or yearning for the All Blacks to win the
They pay you a lot of money to go on Have I Got News for You? Around £5,000, I think, which is a decent whack if you’re a starving hack. But still I turned it down when they asked me on a couple of years ago and I’ve never felt the slightest flicker of regret.
Welcome to part two of my personal guide to the absolute must-see TV shows of the last few years. It is, as you might have already guessed, very idiosyncratic. No The Wire? Nope, ‘fraid not. I found it dreary and unintelligible. No, The West Wing? Also no, for ideological reasons. I’m simply not interested in
Some years ago I was invited to the British Grand Prix at Silverstone courtesy of a watch manufacturer. As freebies go it was one of the best: endless champagne, overnight in a posh hotel near the track (wife invited too), then a trip by helicopter so as to avoid all the frightful traffic jams. All
Every cloud has a silver lining. Never again are you likely to have a better opportunity to catch up with those classic TV series your friends have been banging on about but which you’ve not had time to see. I’m not saying my own list is definitive, only that if you’re not blown away by
There’s an ongoing debate in the media as to whether or not president Trump is being ‘racist’ by repeatedly referring to Covid-19 as a ‘Chinese’ virus. ‘It’s not racist at all,’ Trump insisted at one press conference. ‘It comes from China, that’s why.’ This is at least objectively true – unlike the case with Spanish
The world may be going to hell in a handcart but some things remain reassuringly unchanged: Julian Fellowes period dramas about feisty dowager duchesses, social climbing and snobbery, say. I like and admire Fellowes so I don’t want him to take this the wrong way. But when I say that his new series Belgravia (ITV)
The BBC could scarcely have chosen a less auspicious time to release as its flagship Spring drama an adaptation of Malorie Blackman’s contentious, race-baiting Noughts + Crosses. For one thing, it is under increasing pressure to demonstrate that it is not purely the propaganda arm of the liberal, metropolitan elite. For another, a dystopian fantasy
Gomorrah (Sky) Life in the Naples Mafia (the Camorra) is nasty, brutish, short – and nothing like Goodfellas. Even when you’ve made your millions from the drugs trade, there’s nothing to spend it on save your fleet of armoured 4 x 4s and your gilded cage in some bleak, rundown suburb which it’s never safe
One of my perpetual gnawing terrors is that I’ll recommend a series that looks initially promising but turns out to be total rubbish, meaning I’ll for ever have thousands of viewers’ wasted lives and disappointment on my conscience. But my even greater fear is that I’ll peremptorily condemn something after one or two episodes which
If Jeremy Clarkson had lived through the Wars of the Roses he would have been neither a Yorkist nor a Lancastrian. He would have lurked in his castle, reassuring each side of his unswerving loyalty, till the moment came when Richard III lost his crown. At this point Clarkson would make his position absolutely clear:
What a brilliant idea the concept of Hunters (Amazon Prime) must have sounded after the third or fourth Martini. “So, like, it’s set in the 1970s and America is swarming with Nazis. Actual Nazis. They’ve infiltrated every level of society and they’re totally evil and powerful, like vampires with swastikas. And all that stands in
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
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
The river of death has brimmed his banks And England’s far and Honour’s a name But the voice of a schoolboy rallies the ranks ‘Play up! Play up! And play the game!’ Even as long ago as the first world war, men bitterly mocked the tritely jingo-istic sentiment of Sir Henry Newbolt’s poem ‘Vitaï
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
Just before Christmas our cat Runty died and I wasn’t in any rush to find a replacement. I like cats well enough but I wouldn’t consider them one of life’s essentials. You can’t ride them; they won’t come with you on walks or bark at burglars or gaze at you like you’re the most wonderful,
‘People trust us,’ claimed Lord Hall, recently. But like a lot of what you hear from the BBC these days I’m not sure that that is strictly accurate. The BBC’s shamelessly biased news coverage over Brexit was bad enough but what has really started in sticking in viewers’ craws is the way its relentlessly woke
