here is no guarantee that good original material will make for a good adaptation.

She is not Dan Brown, but as primarily a plot machine whose protagonists are ciphers in its service, she is closer to that end of things than the other. I loved pretty much every moment, and all performances (Bea has been quite the find this summer): roll on more seasons. What precisely is wrong in the unsettling Devlin household? But if we judge the first episode, as is probably fairest, as that of a police murder-mystery series, it is a sophisticated and slickly satisfying operation. Cassie (Sarah Greene) and Rob (Killian Scott) actually get on, sharing just-so dark humour and cheeky nips from a flask on harbour walls in 2006, when the Celtic Tiger was still all agleam with hubristic promise of gimcrack dockside flats.

On a spring afternoon last year, a 13-year-old boy called at the home of Ana Kriégel, a 14-year-old girl living in the Dublin suburb of Lucan. In Knocknaree, there’s only one local reporter/photographer. We look at the Southampton probation office, which is currently managing more than 600 high-risk offenders, leaving staff overwhelmed. Really? Dublin Murders finale review: A nerve-fraying crescendo ends in an anticlimax There’s a late, exposition-heavy survey of the clues you may have missed Wed, Nov 6, 2019, 21:00 But it is a fine one to curl up with and enjoy as the nights draw in.

International Football: France v Turkey 8pm, Sky Sports Main Event The Group H sides battle it out. This much we do know: a third season is already commissioned, so Waystar Royco will survive congressional scrutiny in some form. Graeme Virtue, In the event I was prettily surprised: producers had split the tiers into segregated sections (a tip for Question Time?) The chosen … and the rest of us aren’t lucky at all?” “We won’t see each other again,” she replies, and leaves. Ellen E Jones and She was right, as was the prof, but, as with the thing itself, pointing out “the wrong question was asked in the first place” seldom makes for a scented bower of unity. Dublin Murders review – a breathless whodunnit with more dread by the minute A 13-year-old girl is found dead in the woods in the new BBC thriller based on Tana French’s hit novels. As for who will be CEO? Largely by-the-book stuff, although Ed Balls, Cherry Healey and Ade Adepitan are enthusiastic hosts, balancing facts with current realities. And if it stirs in you the urge to devour the French originals, too, I promise you will find something even more richly delicious there. Howard?

Why is Cassie adamant that she and Rob cannot investigate this case past the preliminary stage? No less terrifically human is Greene. It is a tasty slice of cut-and-come-again cake, even if the relationship between Cassie and Rob – upon which the credibility of the story turns (or will, if faithful to the books) – is not yet sufficiently close or well-drawn. That is not a fault; it is innate to the two mediums: one primarily visual, the other not. Also, when a young girl disappears, even in 2006, it’s kind of a big thing. Available for everyone, funded by readers. We then rewind to four months earlier and begin the meat of the thing. All rights reserved. One sizable trap was that, yes, yawn, the first body found was that of a 13-year-old girl, found in the woods on an ancient stone altar (the second that of a pretty, half-naked student) and I wonder when writers will grow weary.

Ann Widdecombe spat at Heidi Allen, Heidi spat at Widdy, and there was an intriguing spat, partly off camera, about the very poll itself. the overnight tweets of Prof John Curtice.

In reviewing the big Channel 5 Wednesday-night Jeremy Vine thing – Live Brexit Debate: Deal or No Deal?, in which they’d polled 26,000 souls, biggest snapshot since June 2016 – I’d prepared the phrase “thick to the back teeth with Brexit”. (At least the writers here are female.) The key word there was “flawed”: Rob Reilly is hugely compromised. If Poirot had been planning not to unveil a murder suspect but to throw a high-flying “blood sacrifice” of kith and kin to media and shareholders, and if those gathered had been encouraged to bitch and fornicate and swear with exuberant inventiveness throughout.

The last one I covered was in Soham (2002), and I can still recall vividly the international media caravanserai haring late that hot Saturday to RAF Lakenheath, then filing on the run at 5.40 and having too many slow hours after my burbled cliches to reflect on the true enormity.
Truly, one for both old-Hollwyood aficionados and, pertinently, the selfie, Instagram age. In TV, perhaps the most consistent proof of the pudding has been in the many successful adaptations of Agatha Christie there have been – most notably and recently by Sarah Phelps, whose rich, dark versions of the murder mysteries have become a much-anticipated Christmas treat. They are the first (and best) two thrillers in her Dublin Murder Squad series, and are among the most intricately plotted, beautifully written and psychologically acute examples of the genre that you will find. Personal quibbles apart, it’s still a winner. There is little to be added to such fine-grained work – and much to be lost. A 13-year-old girl is found dead in the woods in the new BBC thriller based on Tana French’s hit novels. That’s anyone’s guess. “What if the killed are the lucky ones? “Gone under the hills with the old ones,” as an old lady who knew them says, is all the explanation they have. The stylish anime flashbacks are a welcome addition to primetime drama.

Here’s what to watch this evening, Ammar Kalia, No, it was the guests who were the problem: Michael Howard, who tellingly spoke of the “1916 referendum”? It’s violent, uncompromising and squirrelly, and Kenzo will, despite his corseted persona, find redemption in the outliers: rent boy Rodney (Will Sharpe), douce Sarah (Kelly Macdonald). It’s the age-worn story of boy marries girl, boy becomes ground down by weary failures in lifelovework etc, boy clones self in dodgy Korean Top Happy Spa for $50k, happy best-he-can-be clone saunters home to impress wife, boss etc with newfound joie de vivre.
Nor, more inspiringly, will a second-rate work necessarily result in something second-rate in another medium. Group B qualifying clash. Ellen E Jones, The “mad” is dialled up to 11 in George Miller’s ferocious reboot of his post-apocalyptic epic. By dint of humour, heft and that old-fashioned Scottish dichotomy of blending artsy creativity with hard-boned financial viciousness, he has made Roy his own, and made us root for, care about, a family which, in usual circumstances, I wouldn’t stop in the rain to scrape off my boot. Hannah J Davies, This week’s episode takes aim at the dangerously underfunded and understaffed National Probation Service, which has undergone massive upheaval in recent years. Adam was never able to tell anyone what happened or where they might be. Succession ended with a gleeful setup for the third series. Tom Hardy takes over the lone-wolf Mel Gibson role, combining with Charlize Theron’s one-armed gladiator Furiosa to administer explosive justice to sadistic gang chief Immortan Joe and his bestial crew. Is Mr Devlin’s connection to the protesters against the coming motorway that will destroy the woods significant? Hannah J Davies, The Debate Channel 5 Dublin Murders fell into a few traps, but rolled away from all of them, bloodily nicked but unbowed, to rise tall above ditches, below that grey perma-sky, and shine. All I’m trying to say is: this sort of thing really, and thankfully, is not that common. Who is the man prowling around Cassie’s flat, and what are we to make of Rob’s dreams of wolves hunting him through forests at night? It’s a rare thing, to see such onscreen chemistry, the chemistry of strong, flawed friendship, probably last witnessed between Cormoran and Robin in Strike. The BBC’s intense detective drama is just right for the darkening nights. Much, perforce, goes on, yet nothing feels hurried. Graeme Virtue, There are the murky shades of True Detective in this adaptation of Tana French’s revered Dublin Murder Squad novels. Plus: the Succession finale is here at last. It is, honestly, as good as everybody’s telling you.


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