tue 08/07/2025

tv

Frankie, BBC One

Jasper Rees

Introductions, eh? When you make someone's acquaintance for the first time, you can never really tell if they’re going to  grow on you. They worry about this a lot when knocking up drama serials. So meet Frankie, district nurse, the new resident at nine on Tuesday nights on BBC One. Living with a copper but married to the job. Gap between her teeth, which is always a good sign. Wigs out to music in the car. On the minus side, she treats the voice of Ken Bruce as some kind of life coach.

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The Fall, BBC Two

Adam Sweeting

You have to wonder if there any alternative themes permitted in TV drama apart from murder (preferably multiple, committed by a serial killer) or paedophilia. New five-parter The Fall plonks itself down squarely in category A, with its story of DS Stella Gibson (Gillian Anderson) from the Metropolitan Police arriving in Belfast to shake up a stalled murder inquiry.

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The Suspicions of Mr Whicher: The Murder in Angel Lane, ITV

Lisa-Marie Ferla

The disgraced ex-cop turned private investigator has become such a trope of contemporary noir that the fate of the first great modern detective, following the events of his first televised outing, is not particularly surprising.

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British Academy Television Awards 2013, BBC One

Adam Sweeting

For a celebration of all that's supposedly best in British television, this year's telly-BAFTAs felt mysteriously flat and anticlimactic. Even perennial host Graham Norton seemed less fleet of foot than usual, though he did manage one caustic barb about the plank-like acting skills of Downton Abbey's Lady Mary. Perhaps he was distracted by his own dual nominations (he won for Entertainment Programme).

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Life of Crime/Murder on the Home Front, ITV

Jasper Rees

Another day, another murder to solve on ITV. Broadchurch, Endeavour and Foyle’s War all having recently ended, the channel has been in dire need of a fresh supply of corpses since, ooh, Monday morning. To the rescue, on consecutive nights, has come another brace of crime dramas. Both set in the past. With lady crime-solvers in play. All sorts of boxes ticked.

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Great Artists: In Their Own Words, BBC Four

Fisun Güner

After the marvellous Great Thinkers: In Their Own Words, the BBC has once again rummaged through its documentary archives, this time to see what artists have to say for themselves. Artists are often not the most loquacious breed, which is why they communicate best in the language of images and objects. But it can certainly be instructive to get the lowdown straight from the horse’s mouth, even if it ends up being all performance and no insight.

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Justified, Series 4, 5USA

Lisa-Marie Ferla

US drama is a funny thing. Given the obsession certain parts of the press have with the stuff, there are some shows whose names you will be familiar with regardless of whether you’ve ever seen an episode.

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The Apprentice, Series 9, BBC One

Veronica Lee

“My effortless superiority will take me all the way”, “I'm half machine. I can process things at a speed that is out of this world”, “I have the energy of a Duracell bunny, the sex appeal of Jessica Rabbit, and a brain like Einstein.” Yes, it's that time of year again when a bunch of deluded, fantastical egomaniacs line up to trouser £250,000 from Lord Sugar to invest in their business and jostle, connive and generally make themselves look silly for our entertainment.

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The Village, Series Finale, BBC One/Endeavour, Series Finale, ITV

Adam Sweeting

Although Peter Moffat's story of a Derbyshire village has been designed to evolve into a 100-year saga, this first series amounted to an extended requiem for the fallen in World War One. The monstrous thunder of the guns has reverberated incessantly throughout these six episodes, as the story has wound its way though a woefully predictable trajectory of patriotism, optimism, disillusionment, despair and bitterness.

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Dangerous Edge: A Life of Graham Greene, Sky Arts 1

Tom Birchenough

Early on in Dangerous Edge: A Life of Graham Greene, John le Carré remembers Greene telling him that childhood provides “the bank balance of the writer”.

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