Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.
Everyone is white, and everyone is rich – or about to be. Where’s the grit in that? But grit there is: it is stupid to assume that for a drama to be a hit, it must be filled with “people like us”.
A magazine peopled almost entirely by those who think Debrett’s New Guide to Etiquette and Modern Manners is full of genuinely useful advice.
I found it easy to keep my nostalgia in check. Tampering with evidence? Fitting up? Weird comments about “menopausal” shoplifters? No, thanks.
The Fall continues to be shot through with imagery that subtly (and often not so subtly) connects violence against women with sex.
It’s as if two sixth formers had watched a few old DVDs – The Dick Emery Show, Rising Damp, the odd episode of Bottom or Alan Partridge – then written down the first thing that came into their heads.
The plot reared up and hissed like a snake. Improbabilities. Coincidences. Unlikely connections. A frenzied cheesiness suddenly infected the storytelling.
Cruickshank seems unable to speak in anything other than an urgent whisper while Graham-Dixon has the kind of face that looks particularly good rounding the top of a stone spiral staircase on a cold March morning.
With its 1990s Cher wigs, glossy modern make-up and Disneyfied London, even a lustful Samuel Pepys can’t save ITV’s The Great Fire.
Do people really do this stuff? Apparently, they do.
For this programme, Channel 4’s team used 60 remote-controlled cameras and five roving crews to film what really goes on inside a police station.
No country has ever left the EU before, so there's no map for where we're going.
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