TV Critics: I Know Who You Are; Poldark; Imagine: Chris Ofili

“It looks fabulous. Not just the Elias family home (is it on Airbnb?), but everything. The colour dial has been turned down; it’s subtle, classy, cool. And – unsurprisingly – very Spanish… Even the old chestnut, the amnesia one, has a twist that makes it more interesting.”
Sam Wollaston, The Guardian

“As with a lot of foreign import crime thrillers there’s a strong chance of flaws being overlooked, along with everything else. You’re half reading the words, half looking at the screen and in the gaps between the two much passes by unnoticed.”
Matt Baylis, Daily Express

“While fast-moving and glossy, [it] imbues the trope with thoughtfulness. It turns “I know who you are” into a very menacing sentence… How we love these BBC4 serials, with their expensive interiors, glamorous actors, tolerant attitude to nudity and expansiveness.”
Andrew Billen, The Times

“One stone. Many birds. No toe left unsucked. And a woman who saved the life of the man she loved by marrying a man she never will – and who has a very greasy face. What a belter. There was less action and more psychological game-playing than last week, but an excellent episode nonetheless.”
Viv Groskop, The Guardian

“We may think we know Poldark inside out but last night offered a startling mix of toads, toe-sucking and talking cures. It may be a safe bet for a Sunday but Poldark is never predictable.”
Matt Baylis, The Express

“Poldark has had a wobbly few episodes, what with all the French Revolution swashbuckling and the jailbreak subplot. The show is best when confined to Cornwall’s country houses and sea-swept clifftops… Confiscate Poldark’s passport — this show mustn’t be allowed out of the country again.”
Christopher Stevens, Daily Mail

“I’ve no wish to stereotype creative geniuses, but they’re seldom like Ofili. What a lovely bloke. Modest, too… The Caged Bird’s Song was unveiled at the National Gallery in April, and will be there until the end of August… This stimulating programme should be viewed as an extraordinarily detailed picture caption, succeeded, if possible, by a visit to the gallery itself.”
Jasper Rees, The Telegraph

“So leisurely it sometimes felt as if we were watching the process in real time… This film was in closely woven praise of Ofili. With the trend against art criticism on the BBC now rampant, I suppose it was for us to decide whether to unpick it.”
Andrew Billen, The Times