Poldark; Germaine Bloody Greer; Hidden

“This barnstorming fourth-series opener brims with passion and incident, politics and social history, some of which may even reflect the reality of the late-18th century.”
Sam Wollaston, The Guardian

“More eventful than Downton, less reverently nostalgic than Victoria or The Crown, Poldark is establishing itself as one of the best period dramas of recent years, largely avoiding the danger of slipping into unconscious self-parody – though I do wish they’d let Mr Turner keep his shirt on against the cold a bit more.”
Jeff Robson, The i

“Poldark couldn’t have been more predictable, or perfect – depending on how you felt about it, and him. Its return for a fourth series was virtually a Greatest Hits list of all the familiar, popular, ingredients from previous years.”
Jim Shelley, Daily Mail

“The episode didn’t disappoint. Scriptwriter Debbie Horsfield never fails to wrestle big, true emotions from the Poldarks’ romantic troubles, even at their most potentially absurd.”
Gerard O’Donovan, The Telegraph

“But why did Ross wait until the nooses were around their necks before he did his man-of-the people speech? Bit risky, that. Ah, yes I forgot: it’s telly. Hammy, but entertaining telly and it plays us like a Cornish fiddle.”
Carol Midgley, The Times

“As an hour of TV this was, for this female viewer at least, compulsive and a reminder, even if you don’t always agree with her, of how eloquent and fearless Greer was, and is.”
Carol Midgley, The Times

“Director Clare Beavan’s Germaine Bloody Greer was a terrific portrait of a born contrarian whose life’s mission, it seems, has been to challenge every word that comes out of anyone’s mouth. Beavan brilliantly captured both the power and restlessness of Greer’s spirit and intellect in a balanced blend of then and now.”
Gerard O’Donovan, The Telegraph

“Modishly shot and fussily lit, it looks like something that might win prizes in Lithuania, a very European work of television rather than a British show. That works well for Wales, though – the language and the landscape stressing the distinctiveness of the place and people and perhaps even the crimes that happen there.”
Matt Baylis, Daily Express