Even gay subtext is enough to get you killed.
Children get the best TV this year, says Rachel Cooke.
You hear TV producers sometimes talking about the importance of having “strong female characters”. This is balls, particularly in comedy.
Lord Sugar’s rather laboured hunt for a new business partner finally finishes.
All was harmony, until Jon mentioned the legend of how people in the audience in 1896 had ducked when the train suddenly appeared on-screen.
The death of Rik Mayall in June 2014 quite rightly made the front page of every newspaper. There is no one better than the BBC to make a warm and loving tribute to a comedy hero.
The final five candidates are interviewed by people even more obnoxious than they are.
It’s become fashionable to disparage Sorkin’s later work, especially The Newsroom, and with good reason – the gender politics are terrible, for a start. But what if these problems were there all along, and we were just enjoying The West Wing too much to see them?
As the podcast tries to investigate whether Adnan Syed killed Hae Min Lee, a discrepancy emerges – it’s so much easier to spot the cultural misogyny when it is applied to race rather than gender.
A seducing documentary used recordings of Orson Welles speaking unguardedly over lunches in a restaurant in Hollywood between 1983 and 1985.
The candidates shovel saffron into some trifle.
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