It’s a show that reminds us how very brave bomb disposal officers are. I’m just not sure yet if long sequences watching wires being snipped in bathrooms makes for very good telly. We’ll see. At least McClure, who I thought always got the worst lines in LoD, has centre stage here and, after a slow start, there’s enough to keep watching — for now.

This is intriguing.

Brazenly gorges on the Marvel fandom hype but which even this old fogey can see totally works as a TV show (although do note that I’m not a Marvel-comic reader. Purists may dislike its deviations from the source).

Yes, much of it is clearly scripted, but Flintoff, Harris and McGuinness seem genuinely to get on and find each other funny. When they repeatedly slapped each other's faces in a childish game of snap it felt spontaneous, a tiny bit fetishistic, and I did actually laugh.

The good news is that the second series came firing on all cylinders and teeming with quality awkwardness and filth.

The premise may not be totally original and the plot occasionally daft but Chloe feels crisp and new and Doherty is like a breath of fresh air.

This jaw-dropping series bringing dinosaurs to life is so immersive, so real, that you feel you are there, peering through a portal into an age that blows the mind.

It's an uneven watch, however, with some things working well (such as their domestic bickering) and others not so well.

The BBC adaptation is excellent and Whishaw is a joy to watch.

Gentleman Jack seemed intent on boring [viewers] to death. I like this show but, for the love of God, if I have to hear another word about railway shares or double canal locks or the Navigation Acts I will slip into a coma. How Suranne Jones remembers all these tedious lines and delivers them perfectly is a miracle. She could, though, do with dialling down the redoubtable marching, the gurning and the brusque checking of her pocket watch, because Anne Lister is in danger of caricature.

I struggled to care about this meandering story, which involved John Bishop looking as if he'd fallen on hard times and gone into panto in a pirate costume from Aldi.

Any writer who tackles Christie takes a risk, but Laurie's effort was classy and luscious, if a little lengthy at three hours. You could do far worse than lose yourself in this over the long Easter weekend.

What makes Ridley Road a joy to watch is not only the stellar cast, but the storytelling, and the great one-liners of Vivien's mother (played by Samantha Spiro).

I found the second of this two-parter the more compelling. Part one feels like an extended curtain-raiser.

The Split isn't perfect, often too polished for its own good, and many characters too cold to like much. ... But that teeth-itchingly awkward restaurant meal, in which Hannah clearly wanted to stab her smug love rival Kate with her chopsticks, was absolutely delicious. I don't blame her. Who calls children "little people"? I think this is The Split giving us clear permission to hate Kate.

It was not at all what I expected, which was a stats and sport-heavy “groin strain” of a drama from which I would frequently zone out like I do whenever someone mentions golf. It was the opposite: flash, brash, blowsy, cheesy, bosomy (literally), vulgar, “fun” — and extremely pleased with itself, the drama equivalent of a loud, busty barmaid in a seaside postcard.

While [A Very English Scandal] was an effervescent, almost feelgood trot through Thorpe's Old Bailey trial, this feels bleaker and sadder. ... [A] series which gets better with each episode.

The performances of Bailey and Ashley are good, and make the series more substantial. Let's not get carried away, though: it's still candy-floss flimsy much of the time and packed with frocks, froth and cliche, but it is moreish, a splash of jolliness, glam and colour in a grim world (its timing is excellent).

When Lesley Sharp stars in something it behoves you to watch. Although I'm not sure her character, weather-beaten detective Hannah, who was having an affair with Sean, is very convincing.

Now on series two and still a bit patchy, but with occasional nuggets of gold. There is quality black humour to be found here and few no-go areas.

A powerful, troubling documentary.

You may not feel much in the mood for comedy but it really is worth watching. Not least because it reminds us, both in fiction and fact, that "non-politicians" can make great leaders, and sometimes "populism" works.

Adele simply has an astonishingly good voice and seems nice along with it. And if you are a fan of her music then there is no question that this would have been a treat.

It is stunning, gorgeously acted and directed and, though it’s still early days, looks likely to be the best series yet. I would have given episode one five stars were it not for the fact that Lenu’s friend, Lila, played by Gaia Girace, wasn’t in it.

Seyfried did a good job of conveying the complex hubris of Holmes, who, while flouting the rules, did enough to be credible and show how her charisma convinced lots of rich people. ... The drama's tactics were less nuanced.

While it seems the right time to retire Peaky Blinders it still has that heavy stamp of quality, the unique mix of early 20th-century gangsterism set against modern music and reassuringly uncorny dialogue.

Extremely watchable, unfiltered trilogy (of which two episodes were available for review) is as much about the power of turbo-charged self-belief as it is about genius.

The best thing about it is Jabari Banks, who brings his own charisma to the Will Smith role. He is required to turn in a "deeper" performance. Also good are the action scenes the basketball games and gang scenes but whether that will be enough for former fans to watch a whole, morally earnest series spinning off a 30-yearold sitcom we'll see.