8 Feb '10

“Widdecombe compiled an even weaker argument for the law of Moses.”
Andrew Billen, The Times

“She’s so cross about so many things – secularism, scepticism, the ­scientists who question whether there ever was an exodus of Israelites from Egypt (where’s the archaeological ­evidence?), the modern world, the lack of respect for elders, the end of morality, the breakdown of families and of society, teenage pregnancies, Christopher Hitchens and Stephen Fry.”
Sam Wollaston, The Guardian

“Enough to warn anyone off starting an argument with [Widdecombe]… I do hope this fiery, defiantly traditional figure will keep on making documentaries for a long time to come.”
Matt Baylis, Daily Express

“The addendum was a passing young woman, who jabbed a thumb contemptuously at Widdecombe as she passed and then made the universal gesture for “doolally”, circling her index finger at her temple as she walked away. The cameraman saw it and didn’t suggest a retake. Then the director and the editor saw it – many times over – in the editing suite. And they left it in. I think that’s what you call scriptural commentary.”
Tom Sutcliffe, The Independent

“Son et lumière television, full of heritage pomp and artful chiaroscuro and tiresomely obedient to certain clichés of telly historiography.”
Tom Sutcliffe, The Independent

“He’s very good at this romping through the art of the middle ages, tying it all together with events of the time.”
Sam Wollaston, The Guardian

“Dimbleby’s essay on chivalry was neatly done, but at its least convincing when he talked to a long-married couple beneath the statue of Eleanor of Castile in Geddington erected by her devoted widower Edward I.”
Andrew Billen, The Times

“The beauty of this account by historian Dan Snow has always been its few, well-chosen examples and nothing better summed up the weakness of the Navy at this time than the disaster that befell the British Mediterranean fleet.”
Matt Baylis

“A proper piece of reporting by Katya Adler.”
Sam Wollaston, The Guardian

“It was an oddly touching portrait of a loving but dysfunctional family still talking to itself against some odds.”
Andrew Billen, The Times