THE FAMILY PILE | MATERNAL | THE U.S AND THE HOLOCAUST

This article was originally published in The Courier on 14th January 2023.

NEXT WEEK’S TV

The Family Pile – Tuesday, STV, 9:30pm

The first episode of every sitcom has three imperatives: establish the premise; introduce the characters and their various dynamics; be funny. The Family Pile succeeds on every count. 

It pivots around four Liverpool sisters who are struggling to sell said family pile following the recent loss of their parents. The excellent cast share a natural rapport, they convince as siblings. 

Writer Brian Dooley, who created cult early ‘00s sitcom The Smoking Room, delivers a script packed with actual gags and acerbic warmth.

A likeable confection, The Family Pile is pleasingly traditional in that it unfolds in the manner of a televised stage play. There’s no studio audience, but it could easily thrive in that environment.

Maternal – Monday, STV, 9pm

This promising new medical drama follows three women on the post-pandemic NHS frontline. It begins with them returning to work after maternity leave. 

Maryam is a Paediatric Registrar, Catherine is a General and Trauma Surgeon, and Helen is a Registrar in Acute Medicine. 

As in all dramas of this nature, they’re struggling with the pressures of their job alongside various complicated personal issues. But what elevates Maternal above the norm is its sharp, witty script and sympathetic female-led focus.  

Much like This is Going to Hurt, it’s an unsentimental celebration of NHS workers. 

My only complaint is that it’s populated by unrealistically handsome male doctors, which rather undermines the fundamental integrity of the piece. Otherwise, yes: would recommend.

The U.S. and the Holocaust – Monday, BBC Four, 10pm

Chapter two of this remarkable six-hour essay from that peerless documentarian Ken Burns continues its rigorous examination of how the American people and their leaders responded to one of the most heinous humanitarian atrocities of the twentieth century. 

As World War Two begins, America is united in its opposition to Nazi brutality, but remains divided on whether to intervene. 

National hero Charles Lindbergh takes a controversial non-interventionist stance, while President Franklin D. Roosevelt lends a sympathetic ear to the plight of European democracies. Following Germany’s invasion of the Soviet Union, the Holocaust begins in secret. 

This, in typical Burns style, is a mammoth historical undertaking rich in granular, human detail. Its impact is profound.

Know Your S**t: Inside Our Guts – Tuesday, Channel 4, 8pm

What a charmingly titled series. Stay classy, Channel 4. If, however, you can ignore its tiresomely twee ‘tee-hee!’ trappings – it centres around a pop-up clinic called Poo HQ – then this is a fairly worthwhile advert for the importance of checking up on our intestinal health. 

The dieticians and medics we encounter are certainly more convincing and authoritative than, well, I won’t invoke her shamed name. You all know the Scottish ‘doctor’ I’m alluding to. 

In episode one, various people with gut issues seek some advice. It’s basically a more palatable and well-meaning version of Embarrassing Bodies. 

As twin hosts Alana and Lisa announce in their intro, it won’t put you off your dinner. 

India: The Modi Question – Tuesday, BBC Two, 9pm

Indian Prime Minister Narendra Modi has been in power since 2014, during which time his premiership has come under attack for its attitudes towards India’s Muslim population. This probing two-part series investigates those allegations. 

Episode one traces Modi’s rise to power and the controversy surrounding his response to the Gujurat riots of 2002. Those events were instigated by the burning of a train carrying a large number of Hindu pilgrims. 59 people lost their lives. Three days of rioting ensued, during which more than a thousand people, mostly Muslims, were killed. 

Modi was accused of failing to take sufficient action to protect the Muslim community. He has continually denied any direct responsibility for that tragic death toll.

Bradley & Barney Walsh: Breaking Dad – Tuesday, STV, 9pm

An affable tuft of fluff, this father/son travelogue is a welcome diversion at this forbidding time of year. 

The key to its appeal is the palpably affectionate relationship between our genial guides; they enjoy each other’s company, and the effect is rather contagious. Also, Walsh Sr. is nothing if not dedicated to his endearing comic role as a middle-aged man who appears to be terrified by the various stunts he’s asked to perform. It’s a winning piece of shtick. 

This week, the duo arrive in Guatemala. They have an ever so lovely time as usual, until dad is ‘surprised’ to learn that a scheduled bike ride will take place on a tightrope suspended 25 metres above ground level.

Travel Man: 48 Hours in Dublin – Friday, Channel 4, 8:30pm

Joe Lycett’s latest minibreak buddy is comedian Mawaan Rizwan. The centrepiece of their whirlwind trip to Dublin is a statue odyssey involving QR codes. Whenever they scan a code, a significant statue beckons. So that’s why, for instance, they end up in the company of rigid monuments to Oscar Wilde and Molly Malone. 

They also visit Dublin’s smallest restaurant and Ireland’s answer to Abbey Road studios. Pints of Guinness are enjoyed along the way. 

Travel Man, whether fronted by Lycett or original host Richard Ayoade, doesn’t really give you a rich flavour of its various destinations, but it’s always a breezy surface guide.

LAST WEEK’S TV

Happy Valley – Sunday 8th January, BBC One

Catherine’s greatest fear was confirmed last week: her grandson Ryan has been secretly visiting his father, the psychotic Tommy Lee Royce, in prison. Those visits have been facilitated by Catherine’s sister Clare. An unforgivable betrayal of trust? We’ll see. 

The final scene, in which Catherine caught Clare in her lie, was unbearably tense. 

You already know this, but it bears repeating: Sally Wainwright is a phenomenal writer. She’s created a hugely successful drama that confronts the brutal everyday reality of crime, corruption, poverty, addiction, toxic masculinity and domestic violence with the utmost authenticity. 

Catherine, one of TV’s greatest ever cops, is Wainwright’s compassionately caustic mouthpiece. It’s a hideous world, but we need to take care of each other somehow. 

Meet the Khans – Monday 9th January, BBC Three

Series three of this unabashedly structured reality series began with heavyweight boxing champ Amir Khan, wife Faryal and their children moving into a massive house in Cheshire. Nothing of any consequence occurred after that. 

I don’t mind this sort of show in theory, just as long as the protagonists are interesting and funny. Amir and Faryal are neither. 

Retired athletes have to make a living, we all need to get by. Good luck to ‘em. But who is watching this? And why? There’s no drama, no comedy, it’s pointless. You may as well watch a documentary about the boring housebound lives of myself and my cat, and God knows I wouldn’t wish that on anyone.

HAPPY VALLEY | WHEN MOTOWN CAME TO BRITAIN | STONEHOUSE

This article was originally published in The Courier on 31st December 2022.

NEXT WEEK’S TV

Happy Valley – New Year’s Day, BBC One, 9pm

Rightly regarded as one of the greatest British TV dramas of the last ten years, Sally Wainwright’s gripping magnum opus returns for its third and final series this week.

When series two concluded in 2016, that appeared to be the end of the line. However, Wainwright always had one more chapter in mind. 

Preview copies weren’t available, but here’s the gist: while investigating a local gangland murder, Sergeant Catherine Cawood (Sarah Lancashire) unravels a chain of events which lead her back to imprisoned murderer Tommy Lee Royce (James Norton). 

Happy Valley is so much more than a mere cop show, it resonates on a deeper level. It’s a major piece of work, a classic for the ages.

Stephen Sondheim’s Old Friends – Hogmanay, BBC Two, 5:35pm

Stephen Sondheim, who passed away towards the end of 2021, was one of Broadway theatre’s greatest ever composers and lyricists. His hits include West Side Story, Sweeney Todd and Into the Woods. 

Earlier this year, West End impresario Cameron Mackintosh produced an all-star tribute to the great man, the proceeds of which went to the Stephen Sondheim Foundation, a recently formed initiative for young writers. 

Spectacularly staged by a team of renowned choreographers including Matthew Bourne, the show practically heaves with talent: Michael Ball, Helena Bonham Carter, Rob Brydon, Petula Clark, Judi Dench, Damian Lewis and many more all share the spotlight. 

This is fabulous showbiz incarnate, folks, a real end-of-year treat.

Jools’ Annual Hootenanny – Hogmanay, BBC Two, 11:30pm

Jools Holland’s New Year’s Eve bash was, for obvious reasons, a more stripped-down affair in 2020 and 2021, but it’s back in full studio-packed swing this year. 

His guests are Cat Burns, George Ezra, Andy Fairweather Low, Fine Young Cannibals, Gabrielle, Ruby Turner, 1970s British soul group The Real Thing, and Mercury Prize nominee Self Esteem. And at the stroke of midnight, raise a glass in the general direction of the Pipes & Drums of the 1^st Battalion Scot Guards. 

Jools’ Hootenanny is a comforting thing, it exists only to ease us gently into another year, a year in which we’ll hopefully benefit from at least some good fortune. Enjoy yourselves, it’s later than you think.

When Motown Came to Britain – New Year’s Day, BBC Two, 10pm

It’s easy to forget that the first-wave legends of Motown were initially regarded as cult artists in Britain. Sure, they had occasional hits, but the average UK pop fan was generally more familiar with beat group cover versions than the sainted R&B originals. 

This charming documentary digs deep into Motown’s first package tour of Britain in 1965, when a relatively small group of multi-racial soul obsessives preached the gospel on behalf of their heroes. 

Your contributors include Claudette Robinson from The Miracles, Otis Williams from The Temptations and Ready Steady Go! producer Vicki Wickham. It also serves as a tribute to selfless soul proselytiser Dave Godin, an unsung hero in the grand scheme of things.

Stonehouse – Monday to Wednesday, STV, 9pm

In November 1974, the prominent Labour MP John Stonehouse attempted to fake his own death. A real life Reginald Perrin, except Reggie was far more sympathetic than this utter clown. 

Stonehouse, which stars that gifted comic actor Matthew Macfadyen, is presented as a sly farce about a pathetic, philandering opportunist and serial liar who grasped at every opportunity to satiate his selfish needs. Remind you of anyone? 

Stonehouse eagerly worked for the Czech secret police, not out of any moral imperative with regards to far-left politics, but because they paid him handsomely (despite being a terrible spy). He ended up mired in debt, hence his desperate hoax. 

This unforgiving and grimly entertaining satire is all the man deserves.

2022: The Year from Space – Tuesday, Channel 4, 7:30pm

The immense tumult of 2022 is surveyed in this ambitious 90-minute documentary, which feeds upon all-seeing satellite footage. It captures numerous stories of joy and terror, life’s rich pageant in all its contrasting shades. 

So, while we’re treated to feel-good images of, for example, hitherto undiscovered penguin colonies, we’re also confronted with terrifying evidence of our climate change catastrophe. The war in Ukraine looms large throughout; there are scenes of terrible destruction. 

I haven’t seen the programme, it didn’t turn up in time for my deadline, but the synopsis I’m working from makes it sound like the sad musings of a remote non-interventionist deity trying to make sense of an experiment gone drastically wrong.

The Light in the Hall – Wednesday and Thursday, Channel 4, 9pm

Joanna Scanlan stars in this new six-part drama about the tormented mother of a teenage girl who was murdered 18 years ago. 

One day she receives some news that she’s been dreading: the killer (Iwan Rheon) is being released on parole. He confessed to his crime, but claims – apparently in all sincerity – to have no memory of where he left the victim’s body. She’s never been found. 

Meanwhile, a journalist (Alexandra Roach) and erstwhile family friend mulls over whether she can in all good conscience cover this traumatic story. 

A ruminative study of grief, redemption and journalistic ethics, The Light in the Hall is intriguing. It’s also, by pure coincidence, a tangential thematic companion piece to Happy Valley. 

LAST WEEK’S TV

The Smeds and The Smoos – Christmas Day, BBC One

The latest animated Christmas missive from beloved children’s storytellers Julia Donaldson and Axel Scheffler was a lovely little rhyming parable about tolerance, kindness and the utter insanity of all forms of prejudice. 

Set on a far-off alien planet awkwardly cohabited by the red Smeds and the blue Smoos, it delivered its humane message in a sweet, funny and gently profound way. 

The Smeds and the Smoos disliked and mistrusted each other, despite not really knowing why. That was just the unquestioned way of their world. Thankfully, a star-crossed Romeo and Juliet-esque entanglement taught them all a valuable lesson, a lesson that children will hopefully absorb and put into practice throughout the rest of their lives.

Dogs in the Wild: Meet the Family – Wednesday December 28, BBC One

This irresistible series narrated by Chris Packham celebrates all 37 species of wild canid. Wolves, foxes, jackals and dogs, they all receive their due. It’s basically three hours of stunningly beautiful creatures going about their daily business. What more could you ask for at this forbidding time of year? 

It began in Tibet, before jetting off to the Sahara and South America. Somewhere, where e’er he may be, David Attenborough nodded approvingly. His legacy is in safe hands. The BBC, for as long as it’s allowed to exist, will continue to make great programmes of this nature. No pun intended. 

Happy New Year, fellow TV enthusiasts. Give your canid a hug from me.

TV Column: THE ACCIDENT + THE WALL

This article was originally published in The Courier on 19th October 2019.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

NEXT WEEK’S TV

THE ACCIDENT

Thursday, Channel 4, 9pm

Sarah Lancashire stars in this disquieting new drama about a small Welsh community struggling in the wake of a local tragedy. Scenes of a traumatic nature ensue when a group of teenagers break into a construction site for some recreational drug and spray paint fun. The Accident feels at first like an elaborate ‘80s Public Information Film, but it gradually reveals its wider meaning when writer Jack Thorne (This Is England; National Treasure) starts asking provocative questions about guilt, revenge and corporate accountability. Clearly influenced in part by the Grenfell Tower tragedy, it’s a timely piece. Lancashire, who excels as usual, is ably supported by a cast including Joanna Scanlan (The Thick of It) and Sidse Babbett Knudsen (Borgen).

THE BRITISH TRIBE NEXT DOOR

Tuesday, Channel 4, 9:15pm

This presumably well-intentioned series could easily come across as massively offensive. Preview copies weren’t available, so I can only hope against hope that Scarlett Moffatt and her Gogglebox family living in a replica of their terraced home in the middle of a Namibian tribal village – yes, really - turns out to be a sensitive study of vast cultural differences. Moffatt is an exceedingly likeable person, she’s smart, funny and nobody’s fool. That means, in theory at least, that the results of this gimmicky social experiment will be quite interesting. I’m nothing if not a cockeyed optimist. In episode one she’s forced to confront her body-image insecurities when asked to wear the traditional Himba dress. Meanwhile, dad introduces the locals to metal detecting. Hmm.

BILL TURNBULL: STAYING ALIVE

Thursday, Channel 4, 10pm

In November 2017, former BBC Breakfast presenter Bill Turnbull was diagnosed with advanced prostate cancer. It’s an incurable illness, he’s been told he has no more than ten years left to live, but he wants to know if it really has to be a death sentence. So, in this emotional documentary, he explores various potential methods of prolonging his life. Interviewees include a teenage cancer patient who is certain that cannabis oil, which is illegal in the UK, has kept him alive, and an altruistic man who provides free medicinal cannabis to seriously ill people. Turnbull tries some and gets the uncontrollable giggles, which isn’t something I ever thought I’d witness. He also examines the benefits of a meat-free diet.

K-POP IDOLS: INSIDE THE HIT FACTORY

Friday, BBC Four, 9:30pm

The biggest boyband in the world today aren’t, as history has taught us to expect, from Britain or the USA. They’re called BTS and they hail from South Korea. BTS are merely the tip of a slick, machine-tooled phenomenon known as K-Pop, which in recent years has managed the unthinkable and punctured the West’s long-standing dominance of the music industry. To find out how this happened, music journalist James Ballardie travels to South Korea to meet some of K-Pop’s top movers and shakers. Chief among them is Soo-man Lee, a Midas-like mogul who basically invented the genre. Over the last 30 years he’s produced a never-ending line of strictly-controlled, wholesome pop acts.

LAST WEEK’S TV

THE WALL

Saturday 12th October, BBC One

Hang on, what’s this? A Saturday night game show hosted by Danny Dyer? What a time to be alive. It’s a perfectly adequate crumb of nothingy filler dominated by a large pachinko-like pegboard and Dyer’s carefully honed, one-note personality. Contestants answer non-taxing general knowledge questions asked, for no reason I can fathom, by the disembodied voice of Angela Rippon. Balls drop down the board. Cash prizes are won. Dyer runs through his hammed-up glossary of cockney colloquialisms. There is nothing more to it than that, but it serves its modest and instantly forgettable purpose.

HIDDEN LIVES

Thursday 17th October, BBC One

This excellent new series, in which various writers explore overlooked aspects of contemporary Scottish society, began with a lyrical film from the estimable journalist Peter Ross. He visited the small coastal town of Burghead to celebrate an ancient fire festival known as The Clavie. This lively annual event, which involves hardy souls carrying a flaming barrel of tar on their backs, is a potent symbol of proud community heritage. As Ross observed, the tradition isn’t maintained for tourism or the local economy, it’s maintained “because it’s always been done and it must, and shall, always be done.” A delightful piece of television.

TV Review; KIRI + HARD SUN

This article was originally published in The Courier on 13th January 2018.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

KIRI: Wednesday, Channel 4

HARD SUN: Saturday, BBC One

Miriam is an experienced social worker who one day makes an error of judgement that leads to tragedy.

She arranges an unsupervised visit between foster child Kiri and her birth grandfather. While Miriam is gone, Kiri is apparently abducted by her ex-con father. A few days later, her body is found. The finger of blame points towards Miriam.

This is KIRI, a compelling new drama starring the great Sarah Lancashire. It’s written by Jack Thorne, author of the Yewtree-inspired National Treasure. Kiri is inspired by another explosive issue torn from the headlines, namely the unjust vilification of social workers.

Miriam becomes a convenient scapegoat. The media hounds her. The public turns against her. She’s thrown under the bus by her employers. She drowns herself in booze.

The murdered girl is black. Her adoptive parents are middle-class and white. This complicates matters even further. Within days of Kiri’s disappearance, yer actual John Humphrys is on Radio 4 chairing a debate on the ramifications of children being matched with families from different cultural backgrounds. Right-wing tabloids accuse social services of “ticking their lefty boxes”. It all feels depressingly real.

Thorne is fascinated by the ways in which the media manipulates, exploits and simplifies complex emotional issues. It constructs binary narratives blithely untroubled by shades of grey. It gorges on grief and enflames prejudices it helped to create in the first place.

Though his writing becomes slightly didactic when his passion and sincerity gets the better of him, for the most part he devises plausible scenarios, searching arguments and convincing characters. Miriam, with all her quirks and flaws, is a gift for Lancashire, who’s always at her best when suffering in a pool of anguish and gallows humour.

Thorne succeeds in his goal of humanising social workers. They are, after all, human. They sometimes make mistakes, but they also do a lot of good. You never read about that in the press, of course. Kiri shows what happens when social workers, who devote their professional lives to helping people, end up needing help themselves.

A nuanced polemic and compassionate character study, Kiri is a valuable piece of work.

“Nuance” isn’t in Neil Cross’ vocabulary. The Luther creator deals in heightened pulp fiction powered by graphic violence and a grim world view. He probably wrote Victorian Penny Dreadfuls in a previous life.

His obsessions reached some kind of crazed apogee in HARD SUN, a propulsive sci-fi conspiracy thriller which, like Luther, treads a fine line between entertaining largesse and outright nonsense.  

Blokey Jim Sturgess and the quietly charismatic Agyness Deyn are mismatched London coppers who discover that the Earth will be destroyed by an unspecified solar catastrophe in five years (yes, the Bowie song does appear). The governments of the world want to keep this rotten news under wraps, lest the human race goes bananas.

What’s more, Sturgess appears to be a dodgy copper up to his neck in all sorts of chicanery, while Deyn’s mentally ill son tried to kill her via stabbings and arson. She’s also secretly investigating Sturgess. What a carve up.

In typical Cross fashion, Hard Sun revels in audacious set-pieces and gore. In order to enjoy it you have to set your brain into the appropriate gear. Suspension of disbelief is key.

It is, by its very precarious nature, a show that could go either way, but episode one set things off in agreeably crackerjack style. I’m a sucker for paranoid dramas wreathed in apocalyptic futility, and Hard Sun doesn’t disappoint on that front.

TV Review: HAPPY VALLEY + ANNABEL'S NIGHTCLUB: A STRING OF NAKED LIGHTBULBS

A version of this article was originally published in The Dundee Courier on 13th February 2016.

http://www.thecourier.co.uk/lifestyle

Happy Valley: Tuesday, BBC One

Annabel's Nightclub: A String of Naked Light Bulbs: Saturday, BBC Four

If it's not too late, can we install Sally Wainwright as the new Doctor Who show-runner?

One of TV's finest dramatists, the writer/director behind multi-award-winning crime drama Happy Valley would be a better replacement for Steven Moffat than new boss Chris Chibnall, the journeyman writer who scored a fluke hit with series one of Broadchurch, before destroying that good will with its dreadful, superfluous sequel.

It's an apt comparison. After all, Broadchurch and Happy Valley both gripped the nation a few years ago. They each felt like self-contained pieces in no need of a sequel. In the case of Broadchurch, that was agonisingly true. But when Happy Valley returned last week, it was immediately clear that Wainwright wasn't treading water.

The grimly compelling saga of tough, compassionate police sergeant Catherine Cawood and her murderous nemesis, Tommy Lee Royce, is far from over. Unlike Chibnall's mess, this follow-up feels necessary.

The opening episode was a master-class in assured plotting and smooth exposition as Wainwright reintroduced Catherine and co, plus some promising new characters.

Set eighteen months after the traumatic events of series one, it found Catherine (the magnificently deadpan Sarah Lancashire) trying to get back to normal while Royce languished for life in prison. Inevitably, her peace didn't last longer than a blackly comic prologue involving acid-addled sheep rustlers, which climaxed with her discovering a decomposing human corpse in a garage.

This, it transpired, was what remained of Royce's alcoholic mother. There was no love lost between Catherine and the deceased, hence why she's now a suspect. That family haunts her, even in death.

Meanwhile, Wainwright skilfully established a new sub-plot involving a married senior police officer (Kevin Doyle, alias Molesley from Downton) trying to extricate himself from an affair with a woman (the always impressive Amelia Bullmore) who refuses to go quietly. Prediction: this mire of blackmail won't end well.

We also met the unsettling, birdlike presence of Shirley Henderson as a woman seemingly infatuated with Royce, who in the versatile hands of War & Peace heartthrob™ James Norton continues his reign as TV's most convincing psychopath. A shaven-headed knot of pent-up fury, his simmering intensity is far more frightening than the kind of swivel-eyed scenery-chewing one normally associates with characters of this type.

Wainwright's sensitive underlying themes of grief, trauma, family dysfunction and women being abused in an aggressively male-dominated world continue to elevate Happy Valley far beyond its cop show peers.

Why does it reside in the upper echelons? Because of its dry wit, sharp dialogue, strong performances from a host of interesting actors and the way it fuses understated, character-driven realism with taut thriller conventions. Any budding screenwriter would benefit from studying Wainwright's impeccable work here.

Apparently the only nightclub the Queen has ever visited, the forbiddingly sophisticated Annabel's in London has been a discreet haven for the filthy rich and famous for over 50 years.

Its utter fabulousness was celebrated in Annabel's Nightclub: A String of Naked Light Bulbs, an unquestioningly affectionate documentary seemingly aimed at the kind of cosseted toffs who'd consider it a badge of honour to frequent such a rankly elitist dungeon.

Still, I did chuckle at some of the colourful anecdotes peppered throughout this glistening tribute. The one about a roaringly drunk John Wayne causing borderline actionable mayhem was topped only by the one about Shirley Bassey being banned for life after kicking the maître d' up the backside.

As a forelock-tugging outsider, I found it impossible to feel the same warmth towards Annabel's as its staff and regulars – far easier to summon rancorous disdain – but despite my better judgement I can't deny that there's something vaguely charming about a ridiculous fantasy world where the five-star bathrooms once contained ticker tape machines spewing stock market info.

That's despite the fact that Annabel's 53-year-old guest list must surely include some of the worst human beings to ever draw breath. Viva le revolution. 

TV Review: HAPPY VALLEY and AMBER

This article was originally published in The Courier on 7th June 2014.

http://www.thecourier.co.uk/lifestyle

Happy Valley: Tuesday, BBC One

Amber: Tuesday, BBC Four

Paul Whitelaw

The time: May 2015. The place: London’s Royal Festival Hall. A noted luminary of stage and screen takes to the podium to make an announcement: “And the BAFTA for Best Drama Series goes to… Happy Valley!” Let’s face it, the bets are off. It’s a foregone conclusion.

This exceptional series, which ended last week, felt like a much-needed assault on the complacency of most mainstream TV drama. Relentlessly dark and unflinching, it’s hardly the sort of thing one normally associates with BBC One at 9pm. That’s why it was so refreshing. An intelligent adult drama, it combined social realist grit with the propulsive drive of a fine-tuned thriller. Hyperbole be damned: it was British TV at its best.

Writer Sally Wainwright has a proven track record with the likes of Last Tango in Halifax and Scott & Bailey, but here she surpassed herself with a tense, gripping triumph of impressive depth and assurance. Compassionate yet unsentimental, her scripts for Happy Valley were a master-class in story-telling and character development.

Despite a dramatic storyline involving kidnap and murder, it felt grounded in the real world. Its scenes of trauma and violence would’ve been stripped of their impact if Wainwright had treated Happy Valley as just another cop show full of gratuitous thrills. Instead she delivered an entirely believable, thoughtful treatise on nature vs nurture and the complex ties between parents and their children. That she did so while keeping viewers on the edge of their seats is testament to her prowess.    

She was aided considerably by faultless performances from all concerned. Sarah Lancashire is rightly considered one of our finest actresses, but her powerful performance as Sergeant Catherine Cawood was her strongest work to date. Despite her tough, sardonic exterior, Catherine was no idealised hero. She was a flawed, convincing, three-dimensional character: a sympathetic woman trapped in a world of conniving, violent men.

Here was a matriarch trying to do the best for her family under inordinately trying circumstances. Consumed with grief and anguish, her gradual descent into depression felt unbearably real in Lancashire’s sensitive hands. Nuanced female protagonists are still a relative rarity on TV, so Wainwright and Lancashire should be applauded for bringing Catherine so vividly to life. 

But it wasn’t simply Lancashire’s show. Steve Pemberton, who’s normally associated with darkly comic roles, was perfect as the pathetic worm whose desperate, selfish actions set the whole terrible ordeal in motion. And James Norton proved genuinely unsettling as a dangerous psychopath who was so much more than a one-note villain. Even the little lad who played Catherine’s troubled grandson held his own: he delivered one of the most affecting child performances I’ve seen in some time.

What a pleasure it is to heap such praise on a classy home-grown jewel.

Sadly, Amber couldn’t compete. Covering broadly similar territory to Happy Valley, it’s a four-part Irish drama about a missing teenage girl. Yet despite the emotive subject matter, it suffered from thin characterisation and rather stiff, quotidian execution.

With its muted tone, steely greys and overcast skies, it’s obviously indebted to Scandinavian dramas such as The Killing. Much like series one of that modern classic, it focused on the post-traumatic fall-out of the family concerned. But it's a curiously flat and empty experience.