sun 04/05/2025

tv

The Newsroom, Series Two, Sky Atlantic

Demetrios Matheou

When The Newsroom’s first season started in 2012 the unthinkable seemed to have happened: Aaron Sorkin, creator of The West Wing and Oscar-winning writer of The Social Network, had lost his mojo. Not even his previous, erratic show, Studio 60 on the Sunset Strip, cancelled after its first season, had moments as excruciating as this. 

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Rebuilding the World Trade Center, Channel 4

Markie Robson-Scott

“I see a lot of things up there, I get chills, see shadows. I don’t know if you call them ghosts or whatever, but you feel stuff. They’re trying to tell you something.” This is bolt boss Mohawk Joe “Flo” McComber, one of the many Mohawk iron workers rebuilding the World Trade Center. A tough guy, he’s not alone in sensing the spirits of the dead. “The site is being take care of in a different way. You feel it,” says Mike O’Reilly, another ironworker.

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Youssou N'Dour: Voice of Africa, BBC Four

Mark Hudson

You either get Youssou N’Dour, or you don’t. For millions on his home turf, the Senegalese singer is a major cultural figure: the street urchin-turned-superstar who almost became president. For large numbers of Western fellow travellers he’s the sexiest, most charismatic figure to emerge from the whole world music phenomenon.

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Martin Luther King and the March on Washington, BBC Two/MLK: The Assassination Tapes, BBC Four

Lisa-Marie Ferla

It was only today I learned that, for copyright reasons, it is impossible to use Martin Luther King’s iconic “I Have A Dream” speech in its entirety without paying a hefty licensing fee to his estate. That knowledge made it easier to understand why a new documentary to commemorate the 50th anniversary of the March on Washington seemed to gloss over its figurehead’s famous words.

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My Hero: Ben Miller on Tony Hancock, BBC One

Jasper Rees

Tony Hancock stopped producing the work on which his reputation rests the best part of half a century ago. He still casts a long old shadow. Many years before BBC Four embarked on its series of biodramas, a life of Hancock starring Alfred Molina captured some of that hulking self-disgust. More recently Paul Merton has become a one-man module in Hancock studies, even going so far as to re-enact some of the old Half Hours.

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Ancient Greece: The Greatest Show on Earth, BBC Four

Claudia Pritchard

Brush up your geography and dust down your history – Dr Michael Scott is investigating the sources of Greek drama and their influence on all theatre to the present day. But he isn’t going to make it easy. The opening instalment of Ancient Greece: The Greatest Show on Earth, a three-parter, was a giddying ride out of Athens to the farthest-flung regions of Google.

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What Remains, BBC One

Tom Birchenough

It’s a while since BBC One served us up for Sunday night primetime something with so much black humour as there is to enjoy in What Remains. The tone of the script from Tony Basgallop (Inside Men) is as sardonic as it comes, and the cast of characters he assembles around its south London location doesn’t look like it will be presenting the human race in its most redeeming light.

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Flamenco: Gypsy Soul, BBC Four

Ismene Brown

Here's an association test - what's next in the sequence: flamenco, gypsy, soul? Yes, you win the free tourist trip to Andalucía along with writer Elizabeth Kinder, with whom you will almost certainly enjoy weak sangria and tapas while stumbling amusingly in bad Spanish, and you won't be troubled by a single unfamiliar thought about this alluring form of dance, music and poetic song.

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How To Be A World Music Star, BBC Four

Peter Culshaw

This was a somewhat nostalgic look at the rise of “World Music” as a genre, starting in the Eighties when the term was first used, essentially as a marketing tool. As the ever ebullient Andy Kershaw put it, the problem was where in record stores “you could put a choir of Bulgarian tractor drivers next to some hot shot guitar slinger from Guinea-Bissau".

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The Man Who Collected the World: William Burrell, BBC Four

Claudia Pritchard

Had the wealthy William Burrell had a son, Glasgow might not have acquired the world-class art collection that the shipping entrepreneur amassed during his long life. But with the birth of a sole daughter came both ambitions and suspicion – he raised Marion to succeed to his art empire, then imagined every suitor to be a gold-digger, breaking off her third engagement with a public announcement in the newspaper that took even her by surprise.

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