fri 11/10/2024

Adam Sweeting

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Bio
Former features editor of Melody Maker, Adam has written on rock, classical music and television for the Guardian, Daily Telegraph and Sunday Telegraph, Independent on Sunday, Uncut, Classic FM and Gramophone, and on motor-racing for Motorsport. He co-founded The Virtual Television Company, which made Mr Rock'n'Roll (Channel 4), Pavarotti: The Last Tenor (BBC2 Arena) and Imagine - Nigel Kennedy (BBC One)

Articles By Adam Sweeting

Magpie Murders, BBC One review - zinging TV adaptation of Anthony Horowitz's bestseller

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Rabbit Hole, Paramount+ review - sabotage, subterfuge and corporate skulduggery

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Villeneuve Pironi: Racing's Untold Tragedy, Sky Documentaries review - a macabre slice of motor racing mythology

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John Wick: Chapter 4 review - is this the El Cid of shoot-'em-up movies?

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Infinity Pool review - it's like The White Lotus on bad acid

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Play Dead review - chills, thrills and stolen body parts

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Endeavour: The Final Episode, ITV1 review - the final bow for Oxford's finest

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MH370: The Plane That Disappeared, Netflix review - a field day for conspiracy theorists

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Daisy Jones & The 6, Amazon Prime review - hit rock'n'roll novel doesn't make great TV

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Liaison, Apple TV+ review - tangly Franglais thriller presses some hot buttons

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Drive to Survive, Season 5, Netflix review - fly-on-the wall F1 show may need a reboot

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The Gold, BBC One review - gripping dramatisation of the 1983 Brink's-Mat bullion robbery

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Fauda, Season 4, Netflix review - Israeli terrorism thriller gets darker and dirtier

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Women at War, Netflix review - contrasting stories entwine during the chaos of World War One

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Stewart, Sky Documentaries review - touching and insightful portrait of Scottish race ace

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Happy Valley, Series 3, BBC One review - tension mounts as the Yorkshire crime drama approaches its conclusion

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latest in today

Trouble in Tahiti/A Quiet Place, Linbury Theatre review - to...

Most of us have been there: an impasse in a marriage, a bereavement in a dysfunctional family. Leonard Bernstein certainly had when he composed...

London Film Festival 2024 - the Vatican, the Blitz, a trip t...

Conclave

Director Edward Berger won an...

First Person: Lindsey Ferrentino on the play that has led Ad...

I turn 36 this year, while living in London and rehearsing my new play The Fear of 13 at the Donmar Warehouse. The cast places a cake on...

Timestalker review – she's lost control again

Unlike the controversial Netflix show Baby Reindeer, which challenges many of the same attitudes towards sexual harassment, self-delusion...

Kanga, Manchester Collective, Singh, RNCM Manchester review...

Of all the inventive and enterprising things Manchester Collective do, it’s most often been the playing of a string ensemble led from first desk...

theartsdesk Q&A: Alice Lowe on 'Timestalker' a...

Before Alice Lowe wrote her first short film scripts, she was, despite success in television and theater, “terrified” of making a full-length...

The Lehman Trilogy, Gillian Lynne Theatre review - three bro...

Merchant bankers then eh? It’s not a slang term of abuse for nothing, as the middlemen collecting the crumbs off the cake (in...

Filumena, Theatre Royal Windsor review - Mozartian marriage...

Of all the ingenues in all the world of golden TV sitcom, Felicity Kendal was the most innocent, the most wicked, the most deceptive, with an...

Album: Immanuel Wilkins - Blues Blood

Immanuel Wilkins’s third Blue Note Album – Blues Blood – has a big concept behind it. According...

Brace Brace, Royal Court review - too slender to satisfy

Air travel is bad for us. Yes, yes, I know we need planes to take us long distances, but look at the downside: not only the carbon footprint, but...