thu 28/08/2025

tv

Ian Hislop's Stiff Upper Lip, BBC Two

Jasper Rees

Shouldn’t it be a stiff lower lip? When a person loses control of his or her emotions, and gives in to the instinct to blub, the telltale sign is not the unstiffening of the upper lip but the wobbling of the lower. In short, we have been saddled with a national characteristic that is an anatomical inaccuracy. It was an American who got it wrong in the late 19th century. But that’s not until next week.

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Monroe, ITV1

Thomas H Green

The screenwriter Peter Bowker won over viewers of all stripes with his wonderfully clever, musical serial Blackpool and sealed the deal with the chunky post-Iraq War drama Occupation. He demonstrated a deft narrative touch, an expert ability to spin a yarn and the right level of unpredictability to give him a reputation as something of a televisual auteur.

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Boardwalk Empire, Series 3, Sky Atlantic

Adam Sweeting

And so to the third series of HBO's panorama of the Prohibition era, where we joined the denizens of Atlantic City as they prepared to celebrate New Year's Day, 1923. In the finale of series two, we'd seen our chief protagonist, Nucky Thompson (Steve Buscemi), tying off some loose ends as he prepared to take the plunge into full-scale gangsterhood.

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Servants: The True Story of Life Below Stairs, BBC Two

Mark Sanderson

At boarding school in the mid-1970s Matron – a grey-haired, sharp-beaked stick of a woman who put the fear of God into us – would often remark: “Remember, boys, always be polite to the lower orders.” She was referring to the army of cleaning and kitchen staff who kept the lino lethally polished and our stomachs full of stodge. It was as if the swinging Sixties had never happened.

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Room at the Top, BBC Four

Jasper Rees

Do we really needed to hear more from Joe Lampton, the anti-hero of John Braine’s Room at the Top? His battle for social advancement and sexual self-expression has long since stopped holding up a mirror to society, you'd think. In fact we nearly didn’t hear more from him in this new BBC adaptation. Anyone turning on BBC Four one night in April last year expecting to watch would have been disappointed.

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The Paradise, BBC One

Veronica Lee

It's a reasonable assumption that Emile Zola would never have guessed his novel Au Bonheur des Dames (The Ladies' Paradise, part of the Rougon-Macquart series) would be the inspiration for a BBC costume drama. And it's an even safer one that he would have barely recognised his 1883 novel, an acute observation of capitalism and bourgeois life in mid-19th-century France, in Bill Gallagher's adaptation The Paradise.

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Cuckoo, BBC Three

graeme Thomson

The Special Relationship might be on a sticky wicket politically, but in telly at least it seems to be thriving. Spooks, Downton and Episodes have all recognised the sound commercial sense in bringing together marquee names from both sides of the pond. Now comes Cuckoo, a new six-part comedy series which pitches budding US film star and Saturday Night Live stalwart Andy Samberg against our very own comic giant Greg Davies.

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Leaving, ITV1

Adam Sweeting

The uproarious success of Downton Abbey, now firmly established as one of Britain's great national pastimes, seems to have had the happy effect of persuading ITV1 that it must make more drama. Thus, the autumn of 2012 has been ushered in by new ITV dramas swirling about our ears like tumbling leaves, from The Last Weekend and The Scapegoat to the comeback of Downton itself.

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Nigellissima, BBC Two

Josh Spero

There are two reasons I can often be found slumped on my sofa watching the 8.30pm cookery-show slot on BBC Two on a Monday evening: first, it has the perfect lead-in, University Challenge, after which nothing involving mental exercise is required; and second, I'm a greedy cook. Tonight saw the return to this slot of erotic gastronome Nigella Lawson with Nigellissima, whose cod-Italian title suggested exactly the food she would be cooking.

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Parade's End, Series Finale, BBC Two

Emma Dibdin

"There used to be among families...a position, a certain...call it 'parade'." So stammered Benedict Cumberbatch's rigidly principled, increasingly broken Christopher Tietjens at the climax of last week's penultimate Parade's End, echoing his own line from the series' first episode as he struggled to justify his fidelity to adulterous wife Sylvia (Rebecca Hall).

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