TV reviews, news & interviews
The Essex Serpent, Apple TV+ review - tradition and superstition versus the march of progress
Tuesday, 17 May 2022
Sarah Perry’s 2016 bestseller The Essex Serpent has been described as “a novel of ideas”, which almost sounds like a warning to anybody wanting to televise it. Happily, director Clio Barnard and screenwriter Anna Symon picked up the gauntlet, and have wrought a kind of contemplative television in which the story’s historical and philosophical preoccupations are expressed through landscape and imagery as much as dialogue and action.
- Comment
Ozark, Series 4 Part 2, Netflix review - crumbling consciences and a last stand
Monday, 16 May 2022
As the final slew of episodes in the last series of Ozark begins, Marty and Wendy Byrde, ever more the Macbeths of Osage Beach, are “in blood stepp’d in so far” that we don’t much care about their fate.
Footnote: a brief history of British TV
You could almost chart the history of British TV by following the career of ITV's Coronation Street, as it has ridden 50 years of social change, seen off would-be rivals, survived accusations of racism and learned to live alongside the BBC's EastEnders. But no single programme, or even strand of programmes, can encompass the astonishing diversity and creativity of TV-UK since BBC TV was officially born in 1932.
Nostalgists lament the demise of single plays like Ken Loach's Cathy Come Home or Mike Leigh's Abigail's Party, but drama series like The Jewel in the Crown, Edge of Darkness, Our Friends in the North, State of Play, the original Upstairs Downstairs or Tinker, Tailor, Soldier, Spy will surely loom larger in history's rear-view mirror, while perhaps Julian Fellowes' surprise hit, Downton Abbey, heralds a new wave of the classic British costume drama. For that matter, indestructible comic creations like George Cole's Arthur Daley in Minder, Nigel Hawthorne's Sir Humphrey in Yes Minister, the Steptoes, Arthur Lowe and co in Dad's Army, John Cleese's Fawlty Towers or Only Fools and Horses insinuate themselves between the cracks of British life far more persuasively than the most earnest television documentary (at which Britain has become world-renowned).
British sci-fi will never out-gloss Hollywood monoliths like Battlestar Galactica, but Nigel Kneale's Quatermass stories are still influential 60 years later, and the reborn Doctor Who has been a creative coup for the BBC. British series from the Sixties like The Avengers, Patrick McGoohan's bizarre brainchild The Prisoner or The Saint (with the young Roger Moore) have bounced back as major influences on today's Hollywood, and re-echo through the BBC's enduringly successful Spooks.
Meanwhile, though British comedy depends more on maverick inspiration than the sleek industrialisation deployed by US television, that didn't stop Monty Python from becoming a global legend, or prevent Ricky Gervais being adopted as an American mascot. True, you might blame British TV (and Simon Cowell) for such monstrosities as The X Factor or Britain's Got Talent, but the entire planet has lapped them up. And we can console ourselves that Britain also gave the world Jacob Bronowski's The Ascent of Man, David Attenborough's epic nature series Life on Earth and The Blue Planet, as well as Kenneth Clark's Civilisation. The Arts Desk brings you overnight reviews and news of the best (and worst) of TV in Britain. Our writers include Adam Sweeting, Jasper Rees, Veronica Lee, Alexandra Coghlan, Fisun Güner, Josh Spero and Gerard Gilbert.
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