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There’s a delicious scene in the new season of Amazon’s superheroes-gone-bad series The Boys. The chief superhero Homelander (Antony Starr) is introduced by a minion to a potential new member of his elite superhero group, the Seven. Homelander watches this bright new talent performing wonders in a gym-style training zone: the young man is agile, eager, skilled with weaponry; but perhaps his most valuable features, the minion suggests, are that he is disabled and belongs to an ethnic minority. This could play really well with the youth demographic, who are into that kind of woke stuff, the aide suggests. The potential recruit approaches Homelander, sweet, modest and starstruck. Even though

Collectors of TV titles that sound as if they were thought of by Alan Partridge will presumably have spotted Danny Dyer on Harold Pinter. As Dyer himself understatedly put it: ‘This might seem an unlikely pairing: the likely lad and the Nobel Prize winner.’ Yet, what made the programme such an intriguing if undeniably peculiar watch is that the pairing in question wasn’t dreamed up by a desperate (or drunk) commissioning editor. In 2000, aged 22, Dyer auditioned for Pinter’s Celebration at the Almeida Theatre in Islington. ‘I knew the money would be rubbish,’ he told us, ‘so I didn’t care much.’ Nor, unlike his rivals, did he really know who

‘Art is dead,’ declared Mark Steyn recently. He was referring to the new rules — copied from the Baftas — whereby to qualify for the Oscars your movie must have the correct quota of gay/ethnic minority/transgender/etc people. This, he argued, will lead to the kind of leaden, politicised, phoney art we associate with communist regimes in the Soviet era and which, not so long ago, we used to find eminently mockable. If British and American producers want to lose money on TV shows and movies that no one wants to watch, then good luck to them. All that matters is that there’ll be enough brave dissenters out there to say:

‘You may think our modern world was born yesterday,’ said Simon Schama at the beginning of The Romantics and Us. If you do, though, I can only imagine that you’ve never seen any history documentaries on television — where, as a rule, the modern world is born in whatever period the documentary happens to be about, from Ancient Rome to the 1980s. After all, how can the past possibly be interesting if we can’t see ourselves reflected in it? As the title indicates, Schama’s choice, this time, of an era important enough to lead to us was the romantic movement. But as it soon turned out, the ‘us’ he had

Few things better capture the crazed cognitive dissonance of our age than this: that while we cower behind masks for fear of a virus so harmless in most cases that you don’t even know you’ve got it, we watch shows like World’s Toughest Race: Eco-Challenge Fiji and think: ‘That looks fun. Wouldn’t mind having a go at that one day, if I had the money…’ This year’s Eco-Challenge — don’t be put off by the name: like the James Delingpole Eco TV column, as it’s now officially called, it’s just a marketing device to gull idiots (not you obviously) — comprises a 416-mile, 11-day race by 66 teams around Fiji,

‘By the way, my name is Max. I take care of them, which ain’t easy, because their hobby is murder.’ Back in the early 1980s, when everything was lovelier, we were all so innocent that our idea of a brilliant and original new detective formula went like this: they’re sleuths — but they’re also rich and married! (Or, in the case of Magnum: he’s a sleuth — but he has a moustache and he lives on Hawaii! Or, with Bergerac: he’s a sleuth —but he lives on Jersey and is named after a region of France. Etc.) These days, we are a lot more jaded and knowing and series creators

If it’s a test of a good documentary series that it takes us deep into an unknown, even unimaginable world, then Inside Missguided: Made in Manchester passes with flying colours — especially for the more middle-aged viewer. Missguided, it turns out, is a fast-fashion company, which means that it spots what celebrities are wearing online and then designs, makes and sells much cheaper versions within days — all while indignantly denying the outrageous charge that ‘we just rip off other people’s designs’. The target market apparently consists of young women obsessed with Instagram and Love Island. And so, on the whole, does the staff, who have names like Treasure, Zee

Soon, very soon now — even sooner than I imagined, if A Suitable Boy turns out to be as lacklustre as some critics are saying — the only things left worth watching on the BBC will be old repeats and foreign buy-ins like The Last Wave. A bit like The Returned (Les Revenants), The Last Wave concerns the effect of a supernatural event on a small community, not in the Alps this time but in a seaside resort on the Atlantic coast famed for its surf. During a competition, ten surfers are enveloped by a mysterious sausage-shaped cloud and disappear in the sea for five hours. They re-emerge, apparently unharmed

For more than four decades I have been around Rupert Murdoch. In that time he employed me in both London and New York, invested in my business ideas and ultimately fired me. It was always rock ’n’ roll around Rupert and that’s the way I liked it. So you would have thought that when the BBC made its current three-part documentary on him, it might have come to me for my views. Oh no. I presume it didn’t want to take the risk I might say something warm and supportive. It did, however, film Trevor Kavanagh, the Sun’s political columnist, for hours on end. He was warm and supportive. But

It might seem a bit of a stretch to see deep similarities between Michaela Coel (young, female, black and currently very fashionable indeed) and the late Philip Roth (increasingly discredited as an embodiment of all those phallocentric white guys who once ruled American fiction merely because they were great writers). Nonetheless, this week’s television made it hard not to. On Tuesday night, as an adaptation of Roth’s The Plot Against America began on Sky Atlantic, Coel’s I May Destroy You was serving up a dazzling final episode that confirmed how Rothian the series has been. For one thing, the main character Arabella, played by Coel herself, was — like many

This week, BBC1 brought us a three-part dramatisation of an ‘unprecedented crisis’ in recent British life. Among other things, it featured a lockdown, an extensive tracking and tracing programme, much heroism from people on the front line, and much confusion among scientists as to how to provide the facts when they didn’t really know them. The Salisbury Poisonings (Sunday–Tuesday) was presumably made well before you-know-what. Yet watching the programme in the current circumstances, it wasn’t easy to decide whether the timing was good or bad luck for the makers. The obvious parallels did lend a haunting, drone-note resonance to proceedings. On the other hand, they sometimes threatened to overshadow what