Based on author Michel Faber’s best-selling romp of a novel, this lavish BBC Two adaptation presents Victorian London as a hellish, heady brew of filth, degraded innocence and hypocrisy.
That age-old question writers can’t help asking – what would you do for love – crops up again in this new two-part existential drama about a normal couple facing a terrible, life-changing decision.
The Walking Dead is a perfectly admirable stab at attempting to transfer superlative source material to our screens in as entertaining a way as possible, yet it just can’t compare to the comic.
Treme is one of the greatest TV shows that you don’t watch but really should do. The brainchild of David Simon, creator of The Wire and Generation Kill, Treme is a sprawling ten-part series focusing on the good folks of New Orleans in the aftermath of Hurricane Katrina.
One of the most truly entertaining shows of recent years, Spartacus: Blood And Sand is a blood-soaked boob fest from US cable channel Starz (new home to Torchwood) which mixes the best elements of sandals and swords in a gladiatorial arena.
“Cancer is not a gift; cancer is not a passport to a better life.” So says Laura Linney as Cathy, the lead in the US channel Showtime’s new dark sitcom, The Big C. Kinney’s line, in rebuke to some happy-clapping Bible support group members, could also be taken as a rejection of possible preconceptions about this show.
Something that seems to connect a lot of Peter Davison era Doctor Who is some reasonably intelligent, grown-up science fiction, a surprising amount of guest stars, and an equally surprising lack of the Doctor himself.
If you grew up any-time between the late sixties and the early nineties, the chances are you may remember a curious clutch of kitsch science fiction shows under the stable of the prolific TV and film producer Irwin Allen. No? Well, how about the names Lost In Space, Voyage To The Bottom Of The Sea and this release, Land Of The Giants?
There was a time when all live-action UK children’s TV shows were faintly disturbing with an oddly melancholic synth score. Or, at least from the success of ITV’s T-Bag, you could draw this conclusion.
It’s odd to see how much both Auton stories have dated in the past few years. Not since they were first screened, but in the last six years, since the return of the series. The reason for this is that both stories try terribly hard to be ultra-modern.