Refugees

Flight has been hailed as a new form of dramatic presentation — prefab theatre. It’s great to look at. A set of model boxes containing stick figures and colourful landscapes slides past the seated viewer while a voiceover reads the narrative. No thesps are required, which may be a relief to producers and directors but the acting profession will be in trouble if this experiment catches on. The story, adapted from Hinterland by Caroline Brothers, follows two Afghan teenagers, Kabir and Aryan, who decide to walk to Europe in search of a better life. All they have is $2,000 in cash and a spare pair of trainers each. Along the

‘Put yourself in their shoes,’ says Zahra Mackaoui, a British-Lebanese journalist who has been following the stories of refugees from Syria for five years, catching up with them as they move on restlessly, searching for a place to settle. ‘Ask yourself, what would I have done?’ That question echoed through her series of documentaries for the World Service as we heard from those who have been exiled by a war in which they have played no part except as victims. What would I have done? In Beyond Borders (produced by Craig Templeton Smith), the open, frank honesty of Hani, Ayesha, Doaa Al Zamel and Fewaz gave us an opportunity to

Toby Jones shuffles into the café in Clapham where we are meeting. He’s wearing a duffle coat and a hat and carrying a rucksack. He looks just like one of those unsung characters that he specialises in, the kind of person you don’t take much notice of unless you have to. Today we are talking about his new ‘vehicle’ (sorry), Don’t Forget the Driver. It’s an everyday tale of an everyday coach driver (Peter Green) from Bognor Regis, his daughter Kayla, who turns ennui into an artform, and mother Audrey, who’s going downhill fast with Alzheimer’s. It is going to twang the nation’s heartstrings. What makes it different is that

The Lieutenant of Inishmore is a knockabout farce set during the Troubles. Like Monty Python’s dead parrot sketch it uses the expiry of a pet to examine human obsessiveness and self-delusion. But it takes two hours rather than three minutes to make its point. We meet a handsome terrorist, Padraic (Aidan Turner), whose adoration of his black cat symbolises his crazed devotion to republicanism. The cat is accidentally run over by Davey, an amiable twerp on a bike, who must find a new cat or face reprisals from the insanely brutal Padraic. Donny, Padraic’s dad, offers to help Davey and they borrow a ginger cat, which they blacken with boot

Anybody who wants to maintain a strong and untroubled stance against mass migration to Europe should probably avoid BBC2’s Exodus: Our Journey Continues. In theory, the case for limiting the numbers may be more or less unanswerable — but this is a joltingly uncomfortable reminder of what it can mean in practice. Any viewers suspicious of the BBC’s pinko tendencies will presumably have noticed that all the refugees we’ve met so far are completely lovely. Yet, faced with Thursday’s episode, even they might have found it tricky to preserve a steely primacy of head over heart. Or not to notice that these are people very much like us — only

‘You can’t lie… on radio,’ says Liza Tarbuck. The Radio 2 DJ was being interviewed for the network’s birthday portrait, celebrating 50 years since it morphed from the Light Programme into its present status as the UK’s best-loved radio station — with almost 15 million listeners each week. ‘The intimacy of radio dictates you can’t lie because people can hear it.’ She’s absolutely right. As she went on to explain, when you’re driving and it’s just the radio and you, no distraction, ‘You can hear things in my voice that I don’t even know I’m giving away.’ It’s what makes radio so testing for politicians, you can see right through