TV drama
Barney Harsent
If you’re going to go toe-to-toe with Daredevil and Jessica Jones, the first two series in Netflix’s supremely realised and blood-spattered depiction of Marvel Comic’s Hell’s Kitchen, it’s as well to do it with conviction. By hosting Preacher, based on the comic book series by Garth Ennis and Steve Dillon, Amazon went in swinging – low and hard, fighting dirty from the off.WARNING: HERE BE SPOILERS!The series concluded on the streaming service this week, but even before it had aired there were concerns about whether it could ever do the comics justice. In fairness, the story of a man of the Read more ...
Adam Sweeting
This new series by Ashley Pharoah is dramatically different from his previous efforts in Ashes to Ashes and Life on Mars, though he still likes travelling though time. His method here was to saw off chunks of Far From the Madding Crowd, stir in some shavings from Henry James's The Turn of the Screw, and then, having donned protective clothing, to squirt in a distillation of The Exorcist. All that remained was to stand clear and watch the concoction explode.The story so far: it's 1894, and Nathan Appleby (Colin Morgan), a man at the cutting edge of the new-fangled science of psychology, has Read more ...
Adam Sweeting
It's amazing that they've managed to sustain The Good Wife over seven series and 156 episodes which have, by and large, maintained a standard of writing and acting which can stand toe to toe with anything else on TV. Apparently it's now being dubbed "television's last great drama" in some quarters, not just because of its quality but also because it aired not on some boutique cable channel or on-demand subscription service but on the mainstream CBS network. You don't miss 'em until they're gone, and all that.That said, this final series has sometimes felt as though its creators were a little Read more ...
Adam Sweeting
Have psychologists analysed whether subtitles increase our enjoyment of TV drama, perhaps lending it an extra tincture of the exotic? They do no harm at all to this new Polish drama about border guards protecting the frontier between Poland and Ukraine. In Referendum week, it's a hot topic (these Polish guards, with an Alsatian tracker dog called Osama, don't favour a Merkel-esque open-door policy to refugees trying to slip through the forest). This opening episode offered plenty to whet your appetite while resisting the temptation to get too complicated or cram in too much plot. The Read more ...
Jasper Rees
The Disappearance, shown in France a year ago, was adapted from a Spanish drama. Both shows had a more gender-specific title: Desaparecida or Disparue. A less abstract translation into English might have been The Missing, but that title had already been taken by a recent BBC drama with which The Disappearance shared a dogged fidelity to a template (see also Broadchurch, plus a lot of Nordic noir): one fresh suspect per episode, enough false leads to set up a red herring factory, and then a big reveal to finish [spoiler alert: the denouement is discussed below].The titular absentee was Léa Read more ...
Adam Sweeting
Having enjoyed so many Scandinavian dramas created in their own homelands, it feels like taking a step backwards to return (for its final series) to Kenneth Branagh's Anglo-Wallander. Far worse was that this first of a three-part series, The White Lioness, was dull, undramatic and utterly implausible.Henning Mankell's original novel from which this was derived journeyed between Sweden and South Africa in 1992, and involved an elaborate international plot to assassinate Nelson Mandela during the last days of apartheid. A dark and ugly subject rooted in South Africa's existential political and Read more ...
Mark Sanderson
It’s not hard to see what attracted Nick Hornby to Nina Stibbe’s surprise bestseller: Love, Nina (BBC1) is about two boys who are mad about football. Set in the halcyon days of 1982 – no internet, no mobile phones – it fictionalises the experiences of a 20-year-old wannabe nanny from Leicester who enters the weird world of bohemian north London. Surveying the comfortable squalor and polished floorboards of 55 Gloucester Crescent, NW1, Nina (Faye Marsay) asks her future employer: “Have you just moved in?”Culture clash and class collision are staples of period drama. Think of dear Downton Abbey Read more ...
Adam Sweeting
Sometimes compared to Boardwalk Empire or The Wire, and raved over by the likes of Brad Pitt, Snoop Dogg and even Jose Mourinho, Peaky Blinders opened its third series by becoming positively Godfather-esque. Writer Steven Knight whisked us away from the satanic mills of Birmingham to Tommy Shelby's sprawling Warwickshire mansion, where the Peakies supremo was trying to celebrate his unexpected wedding to Grace.It was a fraught gathering of clans, set in a tenebrous anti-Downton. The extended Shelby brood, which teems with brothers and cousins and aunts like dynastic knotweed, is never more Read more ...
Mark Sanderson
Any drama in which a crazed crone stares silently at an urn containing the ashes of her murdered husband is not afraid of raising Shakespeare’s ghost. It doesn’t matter that Gunnar was a philanderer who foolishly went sailing with his lover’s husband – his widow still grieves for him even though he died at the end of the last century. Having scattered his ashes in the sea, Mildred the Mad (Johanna Ringbom) immediately ties herself to an anchor and goes overboard. Her companion in the boat, Jonna, who as a child witnessed her father kill Gunnar, once again does nothing.Ten weeks ago Thicker Read more ...
Mark Sanderson
Diversity has replaced perversity as a staple of modern drama. Whereas once upon a time an unenlightened viewer might cry – on seeing two men kiss – that they were going to leave the country before homosexuality became compulsory, a scene of mixed-race rutting can still ruffle a dodo’s feathers today. Monday’s episode of Marcella, for example, with Nicholas Pinnock’s bare buttocks pumping away on top of Anna Friel, ploughed a new furrow on peak-time ITV.The fifth episode of Blue Eyes opens with an idyllic scene in which a white mother, Asian father and two cute kids enjoy a sunlit breakfast. Read more ...
Adam Sweeting
If this were a British series it would be called 22.11.63, since the title refers to the date on which President John F Kennedy was assassinated in Dallas. Anyway, this is a TV version of Stephen King's hit novel, and its mix of historical conspiracy and time-travelling sci-fi is perfect fodder for its producer, JJ Abrams.You have to swallow a fairly hefty portion of disbelief to allow yourself to get into the story, namely that the homely neighbourhood diner in Maine run by Al Templeton (Chris Cooper) has a porthole through time hidden in the pantry. Every time you walk in there, you're Read more ...
Adam Sweeting
Can't get enough Scandi Noir? Then why not make your own? With the aid of Hans Rosenfeldt, creator of The Bridge and installed here as screenwriter, ITV has.Take one disturbed anti-heroine suffering from hallucinations and a disintegrating marriage, exhume a serial killer from the past who has apparently resumed his grisly activities, add a murky property development company happy to ride roughshod over planning regulations in pursuit of obscene profits, and season with gruesomely murdered corpses with plastic bags tied over their heads. Throw in a few shots of Blackfriars bridge and make a Read more ...