Titanic In Colour; House of the Dragon; Piglets; Vienna Blood

“The Titanic In Colour is far more compelling when freed from its blinkered premise. It is crammed to the rafters with weird and wonderful detail. It also does a sterling job of explaining why the ship was an era-defining cultural behemoth even before it sank. The Titanic ends up being the perfect catalyst for a fascinating and far-reaching history lesson – whatever colour the carpet was.”
Rachel Aroesti, The Guardian

“Colorising the film and building the programme’s title around it seemed a little gimmicky. Which was unnecessary, because this was otherwise a well-structured and well-presented documentary, managing to breathe new life into the story.”
Anita Singh, The Telegraph

“There were some good moments. Chess pieces were moved about and we got some decent comedy — the absence of which in the first series was another justifiable viewer gripe. But for the most part it was a giant throat-clear.”
Ben Dowell, The Times

“After a bright beginning, the prequel to the Westeros blockbuster has signed off with an underwhelming series two finale sure to draw comparisons with the dreadful fizzling out of Game of Thrones in 2019.”
Ed Power, The Telegraph

“The cast is a combination of eager newcomers and seasoned players, headed by Sarah Parish and Mark Heap as the incompetent, vain, scheming instructors. And the comedy is a broad range of slapstick, puerile scatology, wordplay, one-liners and running gags. So why isn’t it funny? Not even scattershot, hit-and-miss or wide of the mark — just endless misfires? The simple answer is: its jokes are rubbish. The script is compiled by a committee of five writers, but it sounds as though it’s been generated by AI.”
Christopher Stevens, Daily Mail

“It’s been decided to finish the show with a bang: just one storyline covered over two feature-length episodes. Perhaps it’s a format it should have adopted earlier, because ‘The Mephisto Waltz’ was a marked improvement on earlier series. The dialogue still sounded like it had been translated from German (it hasn’t), but with the relationship between Oskar and Max more established there was no time wasted on boring exposition. The plot was unusually ambitious too, likely due to the advantage of having three hours of run-time to play with.”
Gerard Gilbert, The i