The South Bank Show; The Great; Trainwreck: Woodstock 99; Code 404

“Acosta is fascinating to listen to. The camera frequently cut to Melvyn Bragg smiling dreamily as Acosta talked, revealing how when he first came to London he was overwhelmed just to have a bank account. He was a good talker, a generous interviewee who gave proper answers, which meant that Bragg needed to do little prompting.” 
Carol Midgley, The Times

“The most remarkable part of his story was his journey from Cuba, where the family barely had enough to eat, to the world of international ballet. Invited to join the English National Ballet at 18, the culture shock was immense: “I realised that they pay you via this thing called a bank. They make a transfer and give you a credit card – things you take for granted, but for a Cuban guy it was another galaxy.”  Bragg’s questions were concise – “Can you talk a bit about the power of your father?” or “Do you miss dancing?” – yet he elicited lengthy, sincere answers from his subject.”
Anita Singh, The Telegraph

“It packs more energy, wit and filth into one episode than many dramas do in an entire series. Perhaps it wasn’t quite as funny as last week but you have to love an episode entitled Dickhead…Some dramas use farce and swearing to make up for lack of substance, but The Great is meatily substantial, even if much of it is anachronistic or invented.” 
Carol Midgley, The Times

“This works to good advantage in The Great (C4), the high-camp costume drama starring Elle Fanning as Catherine II, the Empress of all the Russias. The first season was often cluttered and confused, crowded with too many actors fighting for the camera’s attention in outlandish costumes. But this time round, a smaller cast with plenty of space between them evokes the grandeur of a royal court.”
Christopher Stevens, Daily Mail

“There are obvious villains here, though their shocking lack of self-awareness makes it debatable whether they would see themselves that way. There is a lot of finger-pointing and blame-shifting, from one organiser to another, from the organisers to the crowd, from the crowd to the organisers. Was it the fault of the nu-metal acts who stirred everyone up, or the bookers who didn’t vary the tempo of the acts on the stage? Was it the kids who interpreted those old 60s notions of free love as a licence to maraud, or the profiteering managers who failed to provide even the most basic infrastructure that might have placated 250,000 “high as balls” attenders? Was it the culture, or the environment? Was it greed, or naivety? One of the most telling slogans, sprayed on what barricades were left standing, reads: “Down with Profitstock”. This is where Trainwreck, though largely enthralling, reaches its limits. It does an impeccable job of laying out the story, but doesn’t venture far below the surface.”
Rebecca Nicholson, The Guardian 

“Code 404 pushes the humour completely over the brink. One extended joke concerns Major’s computer-aided knowledge of the history of the Now… That’s What I Call Music! compilations.“What have I done to deserve this?” complains Carver as they trace the murderer to a gloomy lock-up. “Pet Shop Boys featuring Dusty Springfield – 1987,” replies Major. It’s the sort of groaner many modern comedies regard as beneath them. However, it hits the spot, propelled by the visible glee with which Mays delivers the line.”
Ed Power, The i