sun 18/05/2025

tv

The Secret of Crickley Hall, BBC One

Jasper Rees

The horror, the horror. Primetime television tends to give a wide berth to things that go bump in the night. However reliable a low-budget option for budding indie filmmakers, the chills are not multiplying on the small screen. There’s no need to call in a special spookologist to work out why. Horror has its own demographic, which won’t tend to curl up on the sofa of a Sunday night for a cosy hour of creaks and shrieks.

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The Killing III, BBC Four

Kieron Tyler

Zipping her trousers while coming out of a toilet cubicle, Sarah Lund continues the phone conversation that was on-going while she was in there. Making for a sink to wash her hands, she ignores the puppyish man trying to attract her attention. Nothing is going to distract Chief Inspector Lund, whether it’s the call of nature or the new police kid on the block.

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Southland, Series Four, More4

Mark Sanderson

Each episode of Southland – the best American cop show since The Shield – begins frenetically and never lets up – except for a freeze-frame in the first minute which the rest of the show spools back to explain. In this first part of the fourth season, one of LA’s finest is out of his black-and-white and chasing a suspect within seconds as his partner careers down the back alleys of South Los Angeles.

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The Hour, Series 2, BBC Two

Mark Sanderson

The first rule of temptation is to yield to it slowly, says a sozzled roué surrounded by semi-clad lovelies, it’s much more fun that way… The Hour is back and, the silly conspiracy strand sewn up at the end of the first series, better than ever.

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The Paradise, Series Finale, BBC One

Jasper Rees

The BBC has other things on its to-do list at the minute. However, once all the newly installed acting heads have been replaced by actual heads, and the matter of the ex-DG’s severance pay sufficiently chewed over by the Corporation’s bosom pals in the Fourth Estate and the Conservative Party, perhaps someone at TV Centre could get around to other business. The search, for example, for a costume drama capable of giving Downton Abbey a bloody nose.

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Chateau Chunder: When Australian Wine Changed the World, BBC Four

Terry Friel

There was a memorable, very French moment in a television series hosted by the great British wine writer, presenter and Master of Wine Jancis Robinson. A French winemaker, asked to taste an Australian wine, swills in disdain and pointedly walks outside, on camera, to spit it out. It’s not good enough even to slosh the floor of his traditional wineshed.

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The Dark Charisma of Adolf Hitler, BBC Two

Thomas H Green

So, another programme about Hitler and the Nazis. They mock the Brits all over Europe for our obsession with this subject. During the summer, I worked on a project with Italian associates who found this intense interest roundly bemusing. They subscribed particularly to the old joke that to create the British market’s most successful ever book, it would need to include cats certainly but, most of all, Nazis.

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I'm a Celebrity Get Me Out of Here!, ITV1

Veronica Lee

The 12th series of the jungle fun is another gathering of micro-celebs, wannabes and has-beens, and a smattering of people you have never heard of - and indeed by the end of the series would still have difficulty identifying in a police line-up, so interchangeable and unremarkable are they.

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Maestro or Mephisto - The Real Georg Solti, BBC Four

Adam Sweeting

The one thing you can rely on when a programme is billed as "The Real" something-or-other is that that is exactly what you won't get. This film, commemorating the centenary of the birth of the great Hungarian conductor, did a thorough job of tracing his career through the great orchestras, concert halls and opera houses of the world, pulling in various stellar musical names and bags of excellent archive footage en route.

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Secret State, Channel 4

Jasper Rees

The political thriller may be alive and well but in recent years it has been spending time abroad. Elements of government conspiracy are intense flavourings of, for example, The Killing and Homeland, while back in Blighty there has been little to trouble the scorers since Paul Abbott’s State of Play nearly a decade ago. Why? British drama has been too busy scoffing at Blair and Brown, Cameron and Clegg to worry itself with shady Whitehall cover-ups.

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