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Imagine: Iraq in Venice, BBC Two

howard Male Tuesday, 26 July 2011

For 35 years, contemporary art in Iraq was a no-no unless it was grimly, dully figurative or a gaudy mural glorifying Saddam Hussein. But this year, six Iraqi artists were invited to the most prestigious annual contemporary art event in the world; the Venice Biennale. It may be of little significance that Alan Yentob’s parents came from Iraq, but last night’s Imagine was probably the best of the series so far. Its focus may have been these artists and their art, but its reach was...

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Holiday Hijack, Channel 4

Jasper Rees Sunday, 24 July 2011

Dan, a tall ginger streak of entitlement, had an issue with the hygiene. Channel 4 were about to lift him out of a five-star hotel in the Gambia and send him off to see how the other half lives. “They’re not going to be as clean as us,” he predicted nervously. Dan worried that he might have to survive sans moisturiser and hair gel. He hadn’t been warned about the lack of cutlery. And of loo roll. Nor that you approached each problem with the same manual solution.

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Regional TV: Life Through a Local Lens/ Britain Through a Lens - The Documentary Film Mob, BBC Four

Adam Sweeting Thursday, 21 July 2011

I was once shown around Anglia TV’s studios by the bloke who used to say, "And now, from Norwich - the quiz of the week!” by way of introduction to the immortal Sale of the Century. A tremendous thrill, as you can imagine.

The Hour, BBC Two

Adam Sweeting Wednesday, 20 July 2011

Although it's a period drama set in the dim and shadowy London of 1956, The Hour can’t help reminding us that the more things change, the more inclined they feel to do a brisk U-turn and fly back to hit us in the teeth.

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The Apprentice Series 7: The Final, BBC One

Fisun Güner Sunday, 17 July 2011

Just as we thought we were getting tired of the format, the BBC rang in the changes. It was no longer an apprentice Lord Sugar was after, but a partner in a business that he would invest a quarter of a million in. The candidates – 16 freshly laundered suits kicked us off – did the usual strutting and rustling of peacock feathers (a large...

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The Impressionists: Painting and Revolution, BBC Two

Fisun Güner Sunday, 17 July 2011

Who could argue that television isn’t a great medium for learning about art? In its pared-down, visually literate way it delivers what dull, theory-laden extrapolations often can’t (if only because artists don’t think that way when they make things, and we don’t think that way when we look at things). It can breathe renewed life and vigour into a subject we think we know well, and, as a medium for simplified, pocket-sized information, it can get straight to the heart of a matter. Perfect....

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First Cut: Double Lesson, Channel 4

Josh Spero Friday, 15 July 2011

If I'm being honest, I never saw the charm of Alan Bennett's Talking Heads. Too many quiet disappointments, too much capital-A Acting. They lacked naturalism in presentation and content, whereas Double Lesson, from Channel 4's First Cut series of quirky documentaries and quasi-documentaries, had naturalism to spare last night.

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Torchwood, BBC One

Adam Sweeting Thursday, 14 July 2011

The return of Russell T Davies’s second most famous creation arrives coated with a transatlantic sheen, courtesy of an injection of co-production money from the USA’s Starz cable network (home of Spartacus and Camelot). Happily, this has not obliterated the homegrown roots of the Doctor Who spin-off, since this opener cut fearlessly between portentous action scenes at CIA headquarters and a judicial execution in Kentucky to Cardiff city centre and...

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This World: Italy's Bloodiest Mafia, BBC Two

william Ward Wednesday, 13 July 2011

Programmes about Italian organised crime made by the foreign media are always hampered by the finnicky nature of the beast itself: there is so much background detail that needs to be staked out at the outset that your head is whirling from information overload. Like its mainstream political parties, high-street banks and national daily newspapers, Italy has three, four or five times as many of each as any other European country of similar size.

The Night Watch, BBC Two

Jasper Rees Tuesday, 12 July 2011

Sarah Waters’s highly praised novels have marched from the page to the screen with regimental regularity and no apparent sacrifice in quality. Tipping the Velvet and Fingersmith, with their big Victorian brushstrokes, were built for television no less than Dickens is. With The Night Watch, adapted last night, her subject was still the love that dare not speak its name. But two things were different.