To its critics, it is a British Fox News; to its creators, it is a vital correction to a liberal London-centric media. Can Andrew Neil’s upstart news channel change the face of British broadcasting?
After Meloni abruptly left the show in 2011 following a contract dispute, Law and Order: SVU continued with Benson as its anchor, and in its 22nd season is now the longest-running live-action primetime series in history. Stabler became, for many, the problematic “zaddy” of past TV, a staple of Netflix binges and unceasing cable marathons. His line-crossing vigilantism has only grown more queasy in the ensuing decade, as more and more evidence of systemic police brutality collects in the public sphere. Nevertheless, Stabler is back on TV, on both the new season of SVU and his own spin-off, Law and Order: Organized Crime, which premiered in a two-hour crossover event last week. (Both series are produced by Dick Wolf, maestro of a whole law enforcement procedural TV universe that includes NBC’s Chicago Med, Chicago Fire and Chicago PD.)
‘The canary in the coalmine for cosmetic procedures’ . Kylie Jenner. Photograph: Charles Sykes/Invision/AP
‘The canary in the coalmine for cosmetic procedures’ . Kylie Jenner. Photograph: Charles Sykes/Invision/AP
Thu 1 Apr 2021 08.30 EDT
Last modified on Thu 1 Apr 2021 10.03 EDT
When it comes to reality TV stars, there is a distinct and long established look. It’s the one that graces Instagram, and makes the cast of Love Island, Geordie Shore and Towie all look related, with their filler-plumped lips, filler-pumped cheeks, taut foreheads and ski-slope noses. It’s a look that means the casual viewer might confuse Geordie Shore’s Chloe Ferry with Kylie Jenner of Keeping Up With the Kardashians (KUWTK), but she also eerily resembles the singer and star of Braxton Family Values, Tamar Braxton.
Thu 1 Apr 2021 17.00 EDT
Like the virus itself, the programmes about it have moved from localised subjects to a slightly wider field and now have expanded to take in a global view. It hasnât been a perfectly linear progression, of course, but most of the first documentaries were composed largely of footage recorded by medical professionals themselves, at work and then â exhausted and tearful â at home.
After that came socially distanced films recording the impact on local communities and bereaved families, the experiences of survivors and the long-term consequences for those who do not make a full recovery. Alongside that have come considerations and critiques of the UK response to the crisis and comparisons â not generally favourable â with that of other countries.