James Delingpole reviews television for The Spectator.
Mark Millar, creator of series including Netflix’s forthcoming American Jesus, has a theory that movie and TV fashions work in 11-year cycles and that we’re just starting a new one now. If he’s right – and I think he is – then it would explain a lot about the second-most disappointing series currently on TV,
You’d have to pay me an awful lot more than I get for this column to review Monster: The Jeffrey Dahmer Story. As I write, it’s the number one trending show on Netflix, but the most I’m prepared to stomach is that snatch of footage you get forced to watch (because of Netflix’s impertinent and
The good news – apparently; I haven’t seen it yet so this may just be a false rumour – is that House of the Dragon episode 6 is really exciting, full of incident and drama and intriguing, well-drawn characters. But the bad news, as I can personally testify, is that in order to reach that
Three episodes in I think I’ve worked out the thing that’s most annoying about The Rings of Power. It isn’t the gratuitously diverse casting. It isn’t the saccharine tweeness of the hobbity Harfoots. It isn’t the ‘You go girl!’ tediousness of the relentless female character heroics. It’s that the entire series appears to have been constructed
I had been so looking forward to seeing The Rings of Power. For all the wrong reasons, of course. In the months leading up to its release on Amazon, it had been hailed – largely on the basis of rumours and trailers – as an epic disaster, perhaps the most cherishably dreadful travesty in the
House of the Dragon got off to a pretty uninspirational start, I thought: no major characters brought to a shocking and premature end; no bone-chilling spookiness like that White Walker opening scene in the frozen woods; far too much dreary, half-inaudible talking round long tables in ill-lit halls. If this hadn’t been the long-awaited prequel
About halfway through the first episode of House of the Dragon I found myself squirming in my chair, covering my eyes and muttering ‘Why the hell am I watching this vile schlock?’ I think this is probably a good sign. One of the main attractions of its predecessor Game of Thrones was that it kept
‘Diversity is woven into the very soul of the story.’ If those words of praise from a rave review in a left-leaning journal sound to you about as inviting as a cup of cold sick, then my advice would be to stay well clear of The Sandman. Neil Gaiman’s epic graphic novel series (launched in
About ten minutes in to Thirteen Lives, Boy came in and asked me whether it was any good. I said: ‘Well, it’s quite interesting, actually. I think they’ve got the actual cave divers playing themselves, so the acting is really dull and uncharismatic and a bit unconvincing but at the same time it gives the
It’s hard to imagine in the wake of GoodFellas, The Sopranos and Gomorrah but there was a time, not so long ago, when the very existence of the Mafia was widely dismissed as an urban myth. What changed was Mario Puzo’s 1969 bestselling novel The Godfather, which sold nine million copies in two years. You
Many years ago a man on the end of my cigarette stole my soul. Mr Migarette (for such was his name) wore a tall hat like the one in the Arnolfini Marriage portrait, he smoked a pipe and no matter how often I tried to flick away the glowing fag ash, his evil grinning features
‘The Terminal List is… a dated and drably made eight-part military thriller that offers little intrigue or excitement,’ says the Guardian’s ‘east coast arts editor’ in a corrosive one-star review. Eh? Can we have been watching the same series? Let me give you an example of this ‘little intrigue or excitement’ and allow you to
I don’t think it’s my imagination: it really is getting harder and harder to find anything worth watching on TV. But then, why should it be otherwise? Entropy has afflicted every aspect of our culture from holiday flights to the supply chain to the efficacy and integrity of our political and legal system to the
Just how edgy and dangerous is Ricky Gervais? There is no one more edgy and dangerous, we learn from no less an authority than one R. Gervais. He keeps reminding you of this at intervals in his latest stand-up special, for which he was reputedly paid $20 million (to go with the other $20 million
Having now watched it to the end, I would say that Slow Horses (Apple TV+) is by far the best TV drama I’ve seen in at least the last year: superbly acted and directed, ingeniously plotted, refreshingly free of annoyance. Oh, and I’d like to apologise to Mick Herron, author of the original novel series,
How thriller writers must miss the Cold War! Early John le Carré and Len Deighton had it easy when trying to create a convincingly menacing enemy: the Soviets, obviously. But their successors are forced to go through all manner of desperate contortions to generate their bad guy McGuffin. They can’t do Muslims because that’s Islamophobic;
Netflix’s share price has collapsed and a major factor, people are saying, is its relentless pushing of agendas. I think I have the solution. Perhaps it should follow the BritBox model and instead of making dramas it feels that audiences ought to like – e.g. the very creepy-sounding He’s Expecting, a Japanese series about a
The only impersonation I can do is my Jimmy Savile impersonation. This is not uncommon among people of my generation: if you were a child or a teenager in the 1970s and 1980s, Savile was quite possibly the most famous person in your entire world. His show Jim’ll Fix It was the most popular on
The iron law of TV these days is that if you want to avoid series that are suffocatingly right-on the only way to go is foreign. Any TV emanating from the Anglosphere is guaranteed to be chock-full of intrusive anachronisms. Bridgerton,which reinvents Regency England as a melting pot of diversity, is an extreme example of
The most disappointing pop performance I’ve ever seen – and in the course of my 15-odd years as a music critic I saw an awful lot – was Kanye West at Glastonbury in 2015. Perhaps he was making some kind of ironic statement on the nature of celebrity and fan expectation: blinding lights all focused
