Churchill's Secret

'Elderly man isn't all that well' isn't really a revelation, but when the man in question is Prime Minister Winston Churchill (Michael Gambon), symbol of British Bull-doggedness in WWII, the news is not to be bandied about.  Loyal members of his cabinet want the PM's stroke kept under wraps, lest there's an unseemly scramble for power in the absence of both Churchill and likely successor Anthony Eden (Alex Jennings), who was having gall bladder surgery abroad.  Mrs. Churchill, the redoubtable-in-her-own-right Clementine (Lindsay Duncan), wants Winston away from the temptations of Westminster and brings him back home to the Kent countryside home of Chartwell.  To nurse him, they contract Nurse Millie Appleyard (Romola Garai) but their peace is short-lived when the in-fighting Tories - plus ca change! - and the equally quarrelsome younger Churchills flock to Winston's bedside.

One of those 'rather nice' dramas that will go down well in America, this is a bit of a curio.  The storyline runs in a similar way to 'The Madness of George III': statesman brought low, struggles of his family and the succession, slow recovery, lessons learned etc.  It's beautifully filmed, some of it at Chartwell itself, now a National Trust gem, and is directed solidly by Charles Sturridge.  Overall though, it's rather a byway in the great man's life, and not that one that really altered the course of his remaining decade or so.  The addition of a fictional character to nurse him, who of-course happens to be from a Labour family, seems an unnecessary addition to proceedings, and merely a cypher in whom Clemmie can confide about the grief of losing her young daughter Marigold some thirty years earlier.  Things only really spring to life when the children arrive and, facing their father's death, are candid about the drawbacks of growing up with parents who were almost always otherwise engaged.

The Body Farm

And the prize for the daftest programme currently on British television goes to...!

The premise: four scientists led by Eve Lockhart (Tara Fitzgerald) from ‘Waking the Dead’ are such über-geeks that they share a remote farmhouse–cum-high-security-lab where they, umm, do their stuff.  Judging from the first episode, that stuff seems to be responding to calls from DI Hale (Keith Allen) involving particularly gruesome organic matter.

The plot: a bathroom in a derelict tower block has been turned into a charnel house, with the floor, walls and ceiling covered with exploded flesh and feeding flies.  What happened?  Enter the above Fantastic Four to find out.  They’re not cops, you understand, they’re just the cheaper alternative to sending samples to Germany, now that swingeing cuts have closed the official UK labs.

The characters: sensible, moral, sultry-voiced lead who narrates an introduction about making a promise to the murderers to find them, and the victims to find out what happened; sensible, moral man who cooks and is in love with above; rash young crusader; mentally disordered agoraphobic with a thing for flies; grumpy cop.

The verdict: this first episode revolved around three teenagers in a sex triangle, a deaf man who used to work for the MoD and... not much else.  In tone it appears to be striving for something dark and offbeat, but the bookending narration – the closing voice-over was a preachy line about revenge not equalling justice and justice not always being what you expect – made it feel like ‘Lark Rise to Candleford’ with a large dose of ‘Midsomer Murders’.  Only the seediness was all its own.