Television in 2018

A new year brings the promise of new resolutions, promises and the belief that this year will be the better than the last. This belief extends to the arts from cinema to music, painting to sculpture. But never more so than in television, is the leap made clearer than in television where channels propel new stellar productions to the forefront of the schedules in the hope for recognition and ratings.

From the return of stalwart shows Silent Witness to the BBC One and Vera to ITV, to the return of actors in new shows like Kiri on Channel Four starring Sarah Lancashire in a post-Happy Valley world to the high concept Hard Sun on BBC One.

There are changes a plenty not just in terms of the shows structure but how we watch them.  Last year the water-cooler show was Doctor Foster, the five-part second series was must-see television for one night a week showing the demand for such shows to get people talking about it the next day or immediately on Twitter and social media.

Hard Sun is an interesting case; a thriller with dystopian tendencies predicting the sun to explode in five years causing the end of our planet and how dealing with this world-ending event puts things into perspective. Yet the show premiered on a Saturday night at 9.30pm, with all six episodes of the series available on BBC iPlayer at once in a box set to allow viewers to watch the next episode immediately if they so wished.  The BBC attempted this at the tail end of last year with Gunpowder with relative success. The Corporation looks to be changing its ways with that of the audience needs and wants in the current climate.

McMafia is the stand-out show on offer though from British television. Reminiscent of The Night Manager, featuring a breakthrough role for a young British star to translate to the worldwide audience in a story with global reach wearing its expense on its sleeve. 

McMafia is an eight-part series which had a two-part show over New Year's Day holiday to entice the audience; it now sits at 9pm on Sunday for the water cooler effect.

Whilst it does not have the sheer wow factor of Tom Hiddleston's stab at a James Bond audition coupled with the telling adaptation of John Le Carre's source material, James Norton does embody the role of Alex Godman (has there ever been a more egotistical name) with relative ease sashaying from one suit to a tuxedo and jet to yacht as travel of choice; the supporting cast help with the reality of the world falling around him. The Night Manager had a glamorous cast of characters, whereas the Godman family and their rivals look more experienced at life and feel the pain and ache of having to leave their beloved Russia in exile.

As an audition for Bond, we have not yet seen Norton do necessarily atypical Bond things apart from fend off a choke-hold and wear a suit really well; whereas Daniel Craig has a ice-cold steeliness when he plays Bond, Norton has a somewhat laid back feel when he is smiling that would not translate to the iconic role of 007; but that does do a disservice to what he has done in three episodes of Alex - slowly he is getting warn down by the world he is step by step entering, becoming less and less of an investment banker and more an international money launderer to save his family's name and reputation, the hope being they can return to Russia.

Next of Kin began on ITV on Monday 8th January, a six-part global drama featuring a mixed-race marriage and the abduction of a British-Indian doctor in Pakistan against the backdrop of a terrorist attack in London.  Featuring a cast of talented actors, the series paints a multi-diverse London correctly but looks at well to do people in terms of class structure; both siblings are doctors, the female doctor's husband works with the government.

And that perhaps may be the one criticism of all these shows is that it focuses on middle-class individuals and not the problems that beset the working class population around the country. With all the series mentioned set predominantly in our capital city, London, there is a myopic window of the world being served to a licence-paying audience.

Kiri (Channel 4) is set around Bristol and deals with the sensitive issues of a mixed-race adoption and social services, written by Jack Thorne, it may well harken back to a gritty social realism more in common with Ken Loach and Alan Clarke than anything served up by the BBC in recent years; even Gunpowder is about upset middle class rebels wanting to blow up upper class people because they are against their policies.

It is indicative that the most socially political aware programme is based around characters outside of London; a city that is afraid to acknowledge people near the poverty line, whereas other cities do not have a problem with this awareness.