sun 17/08/2025

tv

Pompidou, BBC Two

Veronica Lee

Judging by its early-evening slot and diddly-dee theme tune, Matt Lucas's latest project is aimed at family audiences – far removed from the wonderful ribaldry of Little Britain with his comedy partner David Walliams - something to stick the kids in front of while the adults snooze off their Sunday roast.

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Wolf Hall, Series Finale, BBC Two

Jasper Rees

Wolf Hall divided viewers from the off. It mesmerised many and left a vocal minority cold, for whom apparently - mystifyingly - it has all been a bit dull. The dialogue was too elliptical, the politics tricksy and convoluted (who is this Holy Roman Emperor anyway?), there was a surfeit of men called Thomas and women stitching in bay windows and big dresses.

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Picasso: Love, Sex and Art, BBC Four

Fisun Güner

So, Picasso’s last words turned out not to be, “Drink to me. Drink to my health. You know I can’t drink anymore” – yes, those famous last words that inspired a Paul McCartney dirge – but were, according to this TV biography looking at Picasso’s women and how each significant relationship informed the direction of his work, “Get me some pencils”. A more prosaic request, certainly, but he died in bed, aged 93, his pencils delivered and drawing to the last. It was a good and fitting end.

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The South Bank Show: Mark Rylance, Sky Arts 1

Adam Sweeting

Going into this programme, it dawned on me that I knew next to nothing about Mark Rylance's background – where he came from, who his parents were, what he does in his personal life. Having reached the end credits I was little the wiser, other than having learned that he has a wife called Claire, since none of it fell within the purview of Melvyn Bragg's interviewing.

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Hostages, BBC Four

Tom Birchenough

Hostages certainly whips along. We’re straight into conflict from the very start of the first episode, except it soon transpires that the real action will be taking place elsewhere. And it’ll be tighter, more excruciating than the bash-down-the-door atmosphere of the opening scene, which serves to introduce us to Adam Rubin (Jonah Lotan), a top operator in Israeli counter-terrorism who’s on his last day of service and concluding his final mission successfully.

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Reinventing the Royals, BBC Two

Adam Sweeting

It's the story they tried to ban! Reinventing the Royals was supposed to have been broadcast in January, but was yanked from the schedules when Prince Charles's staff at Clarence House withheld archive footage, apparently because of a behind-the-scenes battle between royal advisers.

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Saints and Sinners: Britain's Millennium of Monasteries, BBC Four

Florence Hallett

When in Hilary Mantel’s Bring Up the Bodies Thomas Cromwell exclaims in exasperation,  “to each monk, one bed; to each bed, one monk. Is that so hard for them?” he sums up the state of moral decay into which the monasteries had apparently lapsed by the time of their dissolution.

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The Romanians Are Coming, Channel 4

Tom Birchenough

The Romanians Are Coming was the immigration story from the other side. Bustling along with the wry, sometimes desperate comedy (and themed music) of a Balkan film, its characters said things about themselves that others would hardly get away with. “I’m going to tell you the stories of some of the arseholes like me who came to take your jobs,” said narrator Alex Fechete Petru at the beginning of James Bluemel’s revealing three-parter.

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UKIP: The First 100 Days, Channel 4

Florence Hallett

As worst-case scenarios go, the prospect of a UKIP government in a little under three months’ time is a frightening but unlikely one – isn’t it? That they have only two MPs, and leader Nigel Farage is yet to find a seat, has done nothing to stop UKIP setting the political agenda, bulldozing its way to centre stage to demand a place in the forthcoming televised election debates.

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The Casual Vacancy, BBC One

Jasper Rees

The broomsticks are back in the cupboard, wands are no longer at the ready, and no one is casting spells in cod Latin. JK Rowling’s first novel for adults has made its inevitable journey from page to screen. The first view of a picturesque Cotswolds village – a mannikin in erotic underwear provocatively on all fours in a shop window – says it succinctly: we’re not in Hogwarts any more.

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