No song seemed to fit the mood on Hayes FM.
On the pop culture podcast this week: we pick our TV and film highlights for the coming year, review the first episode of series 4 of Sherlock, and enjoy Sara Taylor’s short story collection The Shore.
The last episode where Sherlock and John just solved a crime was five years ago. How did such a brilliant show go wrong?
No! Not even in a good way!
True Detective was the equivalent of four movies bolted together and it held the viewer inexorably.
In The Wire, meaning catches up as you watch.
Very little screen entertainment nowadays is made with an adult audience in mind. Bloodline is for grown-ups - with the savage family dynamic to prove it.
Far from being the uninhibited, free-speaking woman we had imagined at the advent of the new feminism in the mid-1960s, Sarah is overburdened with worry.
The series is exceptional because it features a predominantly female cast who exist in a micro-universe of woman-centredness. But that's not the only boundary it breaks.
Deadwood is about uncomfortable things: the birth and death of capitalism, the queasy insistences of greed and ambition and the orgiastic sex charge of ultra-violence.
“It was a delightful visit;—” as Jane Austen wrote in Emma, “perfect, in being much too short.” In seven episodes, Generation Kill delivers.
The Zombie PM
The doomed premiership of Theresa May