Defending the Guilty (BBC Two)
Started watching this because it had Will Sharpe in it, mainly, and he was so good in Flowers. Actually I figured he’d be writing this too, which was a big part of why I was interested (again, really, go and watch Flowers, he wrote it, it’s brilliant) – he didn’t write it, but he’s still great in it, so it balances out I think.
I liked it, anyway, and I’m definitely inclined to stick with it. It’s quite ostentatiously pilot-y in places, paying off lines from earlier in the episode right up until the credits, and you can definitely sense how specifically constructed it’s been – but, equally, there’s an obvious level of competence to it that stops it ever feeling grating. The cast are hugely charming, too, and this has clearly got the potential to develop into something pretty memorable.
Euphoria (HBO, Sky Atlantic)
What I like most about Euphoria is the moments when it realises it doesn’t have to be realistic. I mean, granted, it’s never that realistic – it thrives in the space that separates optimism and cynicism, fantasy and nightmare, never quite the parents’ worst fears nor the teens’ great expectations, injecting both with a note of scepticism and, lets be honest, deep pretension – but still. Recognising that it often already veers on the exaggerated, because stories about teenagers always do, leaning into that is where its most impressive – so sidestepping any obligation to realism to instead commit to a 70s crime drama spoof, or indeed a Larry Stylinson sex scene, is where Euphoria is at its best. (Although, that said, I’m never fond of those House-esque ‘inside the body’ medical shots. Don’t bother, they’re never worth it.)
It still isn’t perfect. (Well, Zendaya is, but everything around her somewhat less so.) I’m not sure if I’d like it to lean a little further into the almost anthology-esque style of the openings focused on each character, or to go the other way and integrate the plotlines a little more – or, indeed, if that’d make a difference at all. But it’s been a mostly strong if occasionally shaky series so far, and I’m interested to see how the finale ties that all together.
Stath Lets Flats (Channel 4)
I say this after every episode of Stath Lets Flats, but I think A Stressfully Date is the best episode of the series so far. I mentioned already how impressive Jamie Demetriou’s knack for physical comedy is, but so are all those idiosyncratic little word choices – “like a red metal” is basically meaningless, but in context, it’s sublime.
Succession (HBO, Sky Atlantic)
I would watch a Tom/Cousin Greg spinoff. Or, really, just more of them every episode. Consistently my favourite part of any given episode, alongside all my other favourite parts of any given episode.
The Cameron Years & The David Cameron Interview (BBC One & ITV)
Putting these ones together because in many respects they were functionally identical – actually, I wouldn’t be entirely surprised if Cameron’s sections in each were recorded on the same day, as part of the same press session?
Anyway, I wasn’t especially impressed – neither were anywhere close to interrogative enough, they were far too passive to be of much note. Specifically the BBC version, actually; I wasn’t especially impressed by the choice to remove the journalist’s side of the conversation, presenting it solely as Cameron’s own narration, straight to camera. Not a huge amount of room for insight – it’s probably the longest advert for a book I’ve ever sat through.
The Loudest Voice (Showtime, Sky Atlantic)
The second episode is where I started to understand The Loudest Voice better, I think – its 9/11 episode is an often frantic, at times chilling piece, and I think here starts to make the case for this series as something approaching a vital piece of drama.