mon 28/07/2025

tv

The Scapegoat, ITV1

Mark Sanderson

The small screen has always been as much a mirror as a window into other worlds. Even when the picture-box is switched off it reflects the viewer. If light is both particle and wave, glass is both solid and liquid. It shows things and hides things. Now you see it, now you don’t.

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The Thick of It, Series Four, BBC Two

graeme Thomson

What tremendous sacrifice did Armando Iannucci lay before the comedy Gods in order to be offered the gift of the coalition? Labour post-Blair singularly failed to provide rich pickings for political satire; Gordon Brown and his hangdog posse were too obviously doomed for anyone to bother really sinking their teeth into. In the three years since the last series, however, democracy has served up the omnishambles to end all omnishambles.

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Dallas, Channel 5

Fiona Sturges

Praise be, they’ve kept the title sequence.

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Unforgettable: The Sweeney, ITV1

Thomas H Green

Sometimes when we reconnect with the television of our childhood it seems very different from what we recall, usually lesser in some way. This is certainly not the case with the physical violence of The Sweeney. ITV's hour-long special, to coincide with the release of a new feature film, showcased a mass of beatings, snarling assaults, and men taking limb-breaking leaps into quarries rather than face the actors who went on to play Inspector Morse and Minder.

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A Mother's Son, ITV1

Mark Sanderson

We have been here before: The Killing wasn’t the first crime drama to open with a damsel in distress. This time it’s a schoolgirl who is being chased across the sand dunes at night. She has been stabbed. She falls – conveniently backwards – to the ground. The pursuer is reflected in the dying pupil’s dilated pupil. “I’m sorry,” whispers the girl. Why?

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Who On Earth Was Ford Madox Ford?, BBC Two

Tom Birchenough

The verdict may still be out on the BBC’s lavish unfolding drama, Parade’s End, but it’s already done one thing: to bring the name of its writer, Ford Madox Ford, back from the (relative) oblivion where it has been since his death in 1939 (not least thanks to a script from Tom Stoppard).

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Doctor Who: Asylum of the Daleks, BBC One

Lisa-Marie Ferla

As everybody but the most casual of viewers knows, the titular character in a certain long-running BBC sci-fi series is not “Doctor Who” but merely “The Doctor”. Yet Steven Moffat - showrunner and second most talented writer to come out of Paisley - seems to be having a bit of a love affair with those two words.

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Good Cop, BBC One

Mark Sanderson

A sense of déjà vu strikes from the very first shot. It is a dark and stormy night. A lone man staggers down an empty street through the lashing rain. Once indoors we see he has blood on his hands. A minute has not yet passed but Warren Brown – for it is he – tears his shirt off. Before we can admire the size of the former cage fighter’s guns he produces a real one. Roll titles.

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John Barrowman's Dallas, Channel 5

Veronica Lee

John Barrowman's Dallas was a shameless ad for Channel 5's upcoming new series, an updated retread of the American soap opera, but an enjoyable pointer nonetheless to what pleasures await us - the amuse-bouche, if you will, to the meaty main course starting next week.

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Accused, Series Two, BBC One

Mark Sanderson

Jimmy McGovern’s one-man mission to boost the quota of Scousers seen on the small screen continues in “Stephen’s Story” – the latest bout of button-pushing misery otherwise known as Accused. Seventeen-year-old Stephen Cartwright’s beloved Irish mother is bedridden but this doesn’t stop him table-ending his girlfriend. McGovern and co-writer Danny Brocklehurst thus immediately raise the twin pillars of drama: death and sex.

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