Channel 4

I have decided to set up a cult, which you are all welcome to join, especially those of you who are young and very attractive or stupendously rich. The former will get exclusive membership of my JiggyJiggy Fun Club™, while the latter will be essential in financing all the cool shit I need on my 500-square-mile estate, viz: hunt stables and kennels, helipad, private games room with huge comfy chair, water slides, grouse moor, airstrip, barracks for my cuirassiers, volcano with battery of rockets inside, and so on. What gave me the idea was this new Netflix documentary series everyone is talking about called Wild Wild Country. It tells the

These days, when it comes to people who used to be on the telly, the answer to the classic newspaper question ‘Where are they now?’ tends to be a fairly predictable one: they’re still on the telly — if, that is, you look carefully enough. They’re also quite likely to be travelling abroad with a few of their peers while wearing a large hat. The BBC started the trend — possibly even the genre — with The Real Marigold Hotel. ITV has provided the weirdest example so far, with Gone to Pot, in which the likes of Christopher Biggins and Pat Butcher from EastEnders investigated the legalisation of marijuana in

These days a genuinely controversial TV drama series would surely be one with an all-white, male-led cast that examined the problems of a bunch of middle-class people. (Just imagine the Twitter outrage!) But while we await that — possibly for a while yet — we’ve now got two highly promising new shows of the more approved ‘controversial’ kind: where racial issues are tackled in a thoughtful and scrupulously responsible way. Kiri (Channel 4, Wednesday) has the distinct advantage of starring Sarah Lancashire, whose character Miriam proves that TV mavericks needn’t always be doctors, lawyers or cops. They can, it seems, also be social workers. So it was that Miriam was

This week on Channel 4, we watched a cheery 58-year-old American engineer called James going on a first date. He was meeting Harmony, an extravagantly shapely blonde who was obliging enough to be wearing a low-cut crop top and tiny shorts, and who greeted him with a charming smile. After a spot of small talk and a dumb-blonde joke, she then alternated between assuring him how great he was and inviting him to masturbate over her. ‘You’re awesome,’ a visibly smitten James declared — apparently not at all bothered that Harmony was a robot. This scene — clearly regarded as a heartwarming one by Harmony’s maker Matt McMullen — provided

On Sunday night, Holliday Grainger was on two terrestrial channels at the same time playing a possibly smitten sidekick of a gruff but kindly detective with a beard. Even so, she needn’t worry too much about getting typecast. In BBC1’s Strike, she continued as the immaculately turned-out, London-dwelling Robin, who uses such traditional sleuthing methods as Google searches. On Channel 4, not only was she dressed in rags, with a spectacular facial scar and a weird hairdo, she was also living in an unnamed dystopian city, where her detective work relied on a handy capacity to read minds. This was the first and highly promising episode of Electric Dreams, which

No, The State (Channel 4) wasn’t a recruiting manual for the Islamic State, though I did feel uneasy about it throughout the four episodes. The fundamental problem is this: if you’re going to make a watchable drama about bad people doing terrible things, you inevitably have to humanise them. And from there it’s just a short step to making them sympathetic. Peter Kosminsky’s drama followed four British Muslims to Syria to join IS. Shakira, a black convert with a nearly-ten-year-old son, wanted to apply her skills as a doctor; Ushna was a teenager seeking to be a ‘lioness for lions’; Ziyaad was an amiable lunk looking for adventure; and his

Most new Netflix series are greeted not merely with acclaim, but with a level of gratitude that the returning Christ might find a little excessive two minutes before Armageddon. In this respect, then, Atypical is proving rather atypical. The reason for the mixed reception is that its 18-year-old protagonist, Sam, has autism — and, as we know, in these righteous times fictional characters are judged not on whether they’re convincing individual creations but whether they’re virtuous enough as representatives of an entire group. Happily for the bloggers, by that all-important criterion, Atypical was bound to fall a little short. (One especially righteous soul has duly pointed out that Sam is

Valkyrien (C4, Sunday) is the hot new Scandi-noir series, which is being billed as Norway’s answer to Breaking Bad. In this case, the anti-hero having his mid-life crisis is a brilliant surgeon called Ravn (Sven Nordin). He has become disenchanted with The System because the fancy hospital where he works won’t let him use the potentially life-saving treatment he has devised on his dying wife. (It might kill her, they say — which Ravn, quite understandably, considers a ridiculous, faux-ethical excuse.) So off he goes to sulk in his Batcave — a disused nuclear bomb shelter, accessible via an underground station — for what will no doubt be a series

Channel 4’s Catching a Killer offered the rare TV spectacle these days of a middle-aged white male copper leading a murder inquiry. Then again, it was a documentary rather than a drama. In its resolutely sober way, it also proved a riveting one, if at times piercingly sad. The programme followed the Thames Valley police as they investigated the killing of Adrian Greenwood in April 2016. The fact that Greenwood was an Oxford historian and book-dealer, and that the motive was the theft of a first edition of The Wind in the Willows, led one detective to suggest early on that ‘It’s like an episode of Morse.’ In the event,

‘Riviera is the new Night Manager,’ I read somewhere. No, it’s not. Riviera (Sky Atlantic, Thursday) is the new Eldorado — except, unlike the doomed early 1990s soap opera in which Tony Holland attempted to recreate the success of EastEnders on the Costa del Sol, it has at least been glamorously relocated to Nice, Monaco, New York etc. The settings are the best thing about it. Those Mediterranean palaces with sun-bleached brick-red plaster and bougainvillea and shimmery blue pools and the sun-loungers arranged just so by invisible but discreetly attentive staff: we’ve most of us had the experience at some time or another, either because we’ve lucked out and been

The other day I had a very dispiriting conversation with a TV industry insider. It turns out that everything you see on reality TV is fake. It’s the ‘everything’ part that really bothered me. Obviously, we all sort of know that most TV is faked: that close-ups on wildlife documentaries are sometimes filmed in zoos and that the meerkat they pretend is the same meerkat is actually three different meerkats; that the chance meetings with colourful characters and experts are all prearranged and that when they answer the door and act surprised it’s often the third or fourth take; that the glamorous parties and realistic, totally unstilted dialogue on Made

Psychological thrillers — or ‘thrillers’ as they used to be known — have become almost as ubiquitous on television as they are in the average bookshop. On the whole, this is now a genre where contented domesticity exists solely to be undermined, and where the chief function of the past is to come back and haunt people — which is clearly what it’s going to do in Channel 4’s Born to Kill, even if Thursday’s increasingly intriguing first episode was in no hurry to explain exactly how. To begin with, 16-year-old Sam (Jack Rowan) seemed to be on a solo mission to overturn all preconceptions about teenage boys. He started