Comedy

Because I’m a miserable old reactionary determined to see a sinister Guardianista plot in every BBC programme I watch, I sat stony-faced through much of Cunk On Britain (BBC2, Tuesdays). Philomena Cunk (played by Diane Morgan) is a spoof comedy character who used to appear on Charlie Brooker’s Weekly Wipe and has now been given a full series. Though the character is amiable enough — a heroically thick Northern woman in a smart jacket who goes around Britain making stupid observations and asking celebrity historians dumb questions — I can’t quite work out what the point of the joke is. Is it a send-up of dumbed-down Britain? Is it designed

Two films about women this week. One, Funny Cow, is about a woman who daringly takes on men at their own game while the other, Let the Sunshine In, is dressed up in French art-house garb but basically has Juliette Binoche tirelessly running round Paris in thrall to every fella she encounters. I certainly know which I preferred. However, if you look at review aggregate sites, like Rotten Tomatoes, you’ll see Sunshine achieves the far higher score. But then most film critics are male and probably wouldn’t mind Juliette Binoche tirelessly chasing them round Paris, or anywhere else. (I have just asked a man if this is so and he

BBC2 has a new drama series for Friday nights. The main character is a world-weary middle-aged police inspector with an unshakeable commitment to smoking. His work partner is a feisty female officer in her twenties who combines salt-of-the-earth irreverence with being a damn good cop. Between them, they’re investigating the murder of an attractive young woman who their colleagues immediately assumed was a prostitute, and whose death reminds the inspector of a previous investigation that continues to haunt him — which is why his boss is constantly trying to take him off the case. But if this makes you think that The City & The City is yet another identikit

As Bob Shennan, the BBC’s director of radio and music admitted this week, there are almost two million podcast-only listeners in the UK who never tune into BBC Radio. They’re captivated by specialist music (Heart, Absolute, etc), specialist talks (mostly religious such as Premier Christian) or specialist news and current affairs (the Economist, Monocle). And they never feel the need to cross over into Auntie’s sphere of influence. The BBC’s response, says Shennan, must be to produce ‘a revitalised audio product’ to meet the needs, or rather demands, of these new audiences. ‘Audio product’ seems a long way from Music While You Work or Down Your Way. Soon, Shennan envisages,

By common consent, including Bafta’s, The People v. O.J. Simpson: American Crime Story was one of the best TV dramas of 2016. Produced by Ryan Murphy, it laid out the story in a beautifully clear, largely chronological way that made us appreciate, all over again, just how strange the whole O.J. business was — not least thanks to the wider social forces at work. Now, we’ve got The Assassination of Gianni Versace: American Crime Story (BBC2, Wednesday), also produced by Ryan Murphy and also tackling an event from the 1990s that manages to seem both shockingly particular and neatly revealing of more general trends. At which point, all similarities end,

Geoff Norcott is lean, talkative, lightly bearded and intense. Britain’s first ‘openly Conservative’ comedian has benefited enormously from the Brexit vote and he’s popular with television producers who need a right-wing voice to balance out the left-leaning bias of most TV output. ‘It’s funny meeting TV types,’ he tells me. ‘They say, “We really want to hear alternative viewpoints.” And I’m thinking, “By alternative you mean majority,”’ Norcott, 41, was raised on a south London estate. ‘Both my parents were quite political. My dad was a trade unionist who got quite high up in the NEC [Labour’s national executive committee] and my mum ran as a Lib Dem councillor. So

Any readers of the Sun who excitedly tuned in to Howards End on Sunday night with their pause button at the ready will, I fear, have been in for a disappointment. Before the programme went out, the paper had assured them that this new BBC1 adaptation would ‘do a Poldark’, with ‘a hot cast’ providing ‘a sexed-up remake’ of the 1992 Merchant Ivory film. (The sub-editors may have missed a trick by not headlining the piece, ‘It’s E.M. Phwoar-ster!’) In the event, what they got was a quietly thoughtful exploration of Edwardian intellectual life. The first episode, in fact, didn’t differ very much from the non-sexed-up film version — and

It’s always odd to hear a familiar voice on a different programme, playing an alternative role. They never sound quite as comfortable behind the mike, as if they are wearing clothes that don’t quite fit. The voice has a different timbre, as it did on Sunday when Garry Richardson, who since 1981 has been keeping Today listeners updated on all the latest sports news, revealed his other passion. Since he was ten, when he was first taken to see the man from Knotty Ash at Blackpool in 1967, he’s been a fan of that extraordinarily tenacious star of the entertainment world, Ken Dodd. In Sir Ken Dodd: What a Beautiful

Armando Iannucci’s The Death of Stalin is nearly two hours of men in bad suits bickering, but if you have to sit through nearly two hours of men in bad suits bickering you would want it to be written (and directed) by Iannucci. So there’s that, but it’s still not up there with his previous film, In the Loop. It’s funny but not as funny, misfires in places, and by the end you are rather thinking: come on, one of you seize power, so we can all just get out of here. On this outing, Iannucci has substituted Whitehall and White House backbiting (The Thick of It, Veep) for Russia

Not many people can say they’ve transformed an entire art form, but Sean Hughes, who died yesterday, aged 51, did just that. His one man show, A One Night Stand With Sean Hughes, changed our preconceptions of what stand-up comedy should be – not by being strident or political, but by rejecting trite one-liners and letting his imagination run riot. I was lucky enough to see this ground-breaking show on its first run at the Edinburgh Festival in 1990. I’ve never seen anything quite like it, before or since. In the summer of 1990, so-called alternative comedy was all the rage – but though the style of stand-up had shifted,

The best episodes of Curb Your Enthusiasm are the ones that make you want to hide behind the sofa, cover your ears and drown out the horror by screaming: ‘No, Larry, no!’ I’m thinking, for example, of the one where our hero attends a victim support group for survivors of incest and, in order to fit in, decides to concoct a cock and bull story about how he was sexually abused by his uncle. This, of course, comes back horribly to haunt him when out one day with his blameless real uncle… But no, I shan’t try to elaborate, for the plots in Curb Your Enthusiasm are as convoluted as

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

I had planned to review David Mitchell and Robert Webb’s new Channel 4 sitcom Back without constantly referring to their last one Peep Show. Not only did it seem too obvious a way to go; it also felt a bit unfair to compare a deservedly revered programme that ran for 12 years with a single episode that went out on Wednesday. But then I saw that single episode. It’s possible, I suppose, that one day Mitchell and Webb may head in a completely different sitcom direction. Mitchell may not play an uptight, well-meaning loser, or Webb a preening, conscience-free charmer. For now, though, it’s pretty much as you were. Webb’s

Truman Capote should have been called Truman Persons. His father, Archulus, abbreviated his first name and introduced himself as Arch Persons. ‘And that,’ scoffed his son, ‘sounded like a flock of bishops.’ The young scribbler was thrilled when his divorced mother married a rich Cuban, Joseph Capote, whose zippy and eccentric name he gladly adopted. He got a job at the New Yorker and found the magazine’s celebrated wits, including Dorothy Parker and James Thurber, were embittered molluscs who hated each other. Capote’s literary life, as related by Bob Kingdom, is a parade of inspired bitchiness. He had the knack of getting to a character’s core problem. For Gore Vidal

Brexit the Musical is a peppy satire written by Chris Bryant (not the MP, he’s a lawyer). Musically the show is excellent and the impressions of Boris and Dave are amusing enough, but the storyline doesn’t work and the script moves in for the kill with blunted weapons. Everyone is forgiven as soon as they enter. Boris swans around Bunterishly, Dave oozes charm, Theresa May frowns and pouts in her leather trousers, and nice Michael Gove tries terribly hard to be terribly friendly. Andrea Leadsom, known to the public as a furtive and calculating blonde, is played by a sensational actress who belts out soul numbers while tap-dancing in high