tue 24/06/2025

tv

The Case for God?, BBC One

Russ Coffey

Sometimes you get the impression the Beeb wishes religion would quietly go away. You see it in the gradual transformation of the Sunday morning slot from the lightweight Heaven and Earth Show to Nicky Campbell’s lighter-weight Big Questions and now the heroically worldly Sunday Morning Live. General Synod noticed it earlier this year when complaints were made about the lack of religious programming.

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U Be Dead, ITV1

Fisun Güner

The difficulty with fashioning real-life events as drama lies in the temptation to turn the central players into characters that an audience will naturally warm to. But real life isn’t like that. Bad things can happen to people you wouldn’t necessarily feel much warmth towards, or sympathy for. But a drama, especially a prime-time television thriller, requires us to root for the protagonist. It’s not enough to simply know that a just outcome has been achieved. We have to be on emotional...

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Who Do You Think You Were? Channel 4

howard Male

“Do you realise what you’re letting yourself in for?” is surely the worst thing to say to someone in order to put them at their ease, especially when they are about to step into the subconscious unknown. But down-to-earth fireman Neil Clarke took these words from hypnotist Trevor Roberts in his stride. His main concern - if it turned out he had lived a previous life - was that he was “a nice bloke and not some sort of murderer”. But no, this wasn’t a Mitchell and Webb sketch.

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The King is Dead, BBC Three

Gerard Gilbert

It's not that I feel like a middle-aged fuddy duddy exactly - although I was even almost too old for The Word and I'm clearly not the target audience for BBC Three. But if I were still in the 16-34 age group - even at its most juvenile end - frankly I’d be insulted by a show like The King is Dead. Is it a valid criticism of a BBC Three show to call it puerile?...

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Waterloo Road, BBC One

Veronica Lee

New viewers begin here: even if you know nothing of the previous five series of Waterloo Road, you could start to enjoy the drama set in a failing comprehensive in Greater Manchester with the opener to series six, as the writers have rather winningly taken the precaution of barely mentioning anything that went on in previous years - not even the teen suicide pact that ended series five.

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The Tony Blair Interview with Andrew Marr, BBC Two: The Overnight Review

Fisun Güner

Tony Blair’s style of leadership was often mocked for being “presidential”, but last night it was Andrew Marr, in sober suit/ shocking orange tie combo, who gave off something of that self-assured “presidential” air. Standing outside No 10, Marr addressed the people in his smoothly measured, gently emphatic way.

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The Tony Blair Interview with Andrew Marr, BBC Two: The Twitter Review

theartsdesk

JasperRees Not long now till Tony Blair faces interrogation by A Marr. GraemeAThomson and I tweeting a live review

GraemeAThomson Nice to see they’ve scheduled it straight after Restoration Roadshow. Someone at the Beeb with a GSOH?

GraemeAThomson Marr's gone with the orange tie. Provocative

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I Am Slave, Channel 4

Jasper Rees

Television seeks out the stories thrown up by real life. On the one hand there is the obsessive interest in the private lives of the great and good (and not so good) from Margot Fonteyn to Tony Blair. Other dramatists eagerly accept the responsibility to hold a mirror up to society in all its ills from the Ipswich murders to the travails of 19th-century lesbians. But the task that all writers have to face, whoever’s story is being told, is to make the narrative dramatic.

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In Their Own Words: British Novelists, BBC Four

graeme Thomson

“The empire writes back” was Salman Rushdie’s pithy summation of the process that changed British literature during the late Seventies and early Eighties, a shift epitomised by his novel Midnight’s Children winning the 1981 Booker prize. It wasn’t just the empire.

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E Numbers: an Edible Adventure, BBC Two

Gerard Gilbert

Food writer Stefan Gates seems to have spent his whole life in wilder regions, whether clambering naked up a rain-swept Giant’s Causeway (yes, that‘s the six-year-old Stefan, with his sister Samantha, on the cover of Led Zeppelin’s 1973 album Houses of the Holy), or eating sheep's testicles...

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