Three episodes into Series 2 and Psyschoville shows absolutely no sign of slowing down, with a healthy lack of respect for its own cast of characters, meaning that anybody runs the risk of being bumped off to further the story along.
BBC Two’s increasingly fascinating police drama reaches and passes its halfway stage in this episode, yet neither DI Jonah Gabriel (Chiwetel Ejiofor) nor Joseph Bede (Christopher Eccleston) appear much closer to accomplishing their respective goals than they were in the hours after the death of gangster Harvey Wratten.
After two episodes of stories written by new writers to the show, Life On Mars/Ashes To Ashes co-creator Matthew Graham returns to Doctor Who with a two-parter featuring some familiar faces. Question is, will we be asking for a double?
It may seem like sacrilege to some devotees of the late author, but not everything Douglas Adams produced was of the high quality as witnessed in the earlier instalments of The Hitch Hiker’s Guide To The Galaxy.
After two episodes of stories written by new writers to the show, Life On Mars/Ashes To Ashes co-creator Matthew Graham returns to Doctor Who with a two-parter featuring some familiar faces. Question is, will we be asking for a double?
Like the drugs at the heart of the late Harvey Wratton’s empire, The Shadow Line has become addictive in a slow, almost sneaky manner. After an unhurried, take-it-or-leave it start, it has insidiously built up to the point where now, three episodes in, it has become impossible to break free of its grip.
As many of you will know, this is one of the episodes fandom has been awaiting with some internet-beating excitement. The very notion of a Neil Gaiman Doctor Who story seems so perfect that we wonder why it’s taken just so long for this union to happen.
ITV1’s new female-led detective series, starring Suranne Jones and Lesley Sharp as Rachel Bailey and Janet Scott, detective constables in the Manchester Metropolitan police, promises a great deal but – on the evidence of this opening hour, at least – delivers very little.
Now that it’s been firmly established that more people than you might have expected survived the events at the end of Series 1, things are settling into the routine (well, as routine as it ever gets around here) of ensuring that this time round, no-one is safe from a grisly dispatch.
The principal problem with The Shadow Line is its identity crisis. At times, it’s a fascinating noir-ish thriller; at others, it feels like an unwieldy Shakespearian melodrama that has somehow lost its way en route to the RSC and found itself on the telly instead.