TV series about the clergy are usually farcical, self-deprecating or just plain wet, so it's a pleasant surprise to find one that's prepared to slug it out with issues of good and evil. Compared to Rev, a wistful tragi-comedy about managing the terminal decline of the C of E, Midwinter of the Spirit wants to mount up and ride into battle against the Ungodly.
It’s been worth the wait.
Doctor Foster takes its name from a nursery rhyme, but don’t be lulled. From the moment its brunette protagonist finds a long blonde hair on her husband’s scarf, we are hurtling headlong into a revenge drama. Doctor Foster – known to her pals as Gemma and played by that nice Suranne Jones – is already Googling vengeance literature and taking her cue from Congreve: “Heaven has no rage like love to hatred turned,/Nor hell a fury like a woman scorned.” After one act, and four to go, it promises to get horribly ugly.
Axed by the BBC at the end of 2013 after its second series, ostensibly because of poor viewing figures, Ripper Street found a new home on Amazon Prime, where the third series began streaming in November last year. With a fourth and fifth series already commissioned by Amazon, the BBC is making up for lost time by airing Series Three. Perhaps the Top Gear bunch will be back on the Beeb yet.
London, 1905. For the Stephen siblings, setting up an independent household in Bloomsbury freed them – especially the sisters, Vanessa and Virginia – from Victorian familial conventions. It resulted in a heady mix of creative endeavour and endless conversation, especially about sex. As some wit commented, the Bloomsbury set was to be found living in squares, loving in triangles and talking in circles.
Adapted in two parts by Sadie Jones from her own 2008 novel, The Outcast (**) is a morbid tale of emotional sterility and many kinds of self-harm. Leaving his troubled childhood for an even worse young-adulthood, our "hero", Lewis Aldridge, carves a great gash down his forearm with a cut-throat razor. However, he's only the most extreme case in a whole gallery of weirdos.
Drama is all about secrets revealed, discoveries unfurled. Black Work was straight into that territory from the first scene. A man and a woman sat in a car, taking the solace from each other that they couldn’t find at home. As ever in such a scenario, you promptly wondered if or when they’d be caught in the act. This was especially so given that the woman was played by Sheridan Smith, who starred in just such an adultery drama not that long ago.
The fifth, and supposedly final, series depicting the adventures of the covert-action tough guys of Section 20 won't surprise anyone, but it won't disappoint its devotees either. Fast, brutal and violent, Strike Back is a slick mix of movie-like production values and infinitesimal demands on the viewer's intellect, a winning commercial formula if ever there was one.
A third series for Kay Mellor’s rags-to-riches series can herald few real surprises. We know, roughly speaking, what we’ll be getting: a cautionary tale – be careful what you wish for – populated by warm, well-drawn and big-hearted characters who are believably flawed and hiding secrets of the sort that fill the time and mouths of garden fence gossips across the country. That, and the reliable, solid ensemble cast that Mellor’s track record (Band of Gold, Fat Friends, In the Club) can command.
Perhaps only Sheridan Smith could have played the role of Lisa Lynch in The C Word [***], not just because of the no-messing directness she brought to the role, but because Lynch nominated her for the job. Lynch had attained a particular kind of celebrity as author of the blog, Alright Tit, about how she was coping with a diagnosis of breast cancer.