It took two years, but another Sherlock instalment is finally on its way - and not a minute too soon. Cleverly scripted and brilliantly acted, this is one of the best dramas to grace our screens.
Fresh from the launch of his debut solo album, Entanglement, I speak to veteran TV and film composer Michael Price about stepping into a new musical world
It's a golden age. A purple patch. A triumph of style and substance. Ring out the cliches, because UK telly drama is the cat's pyjamas right now. You don't need to be Sherlock to recognise the quality of the scripted stuff on our screens last year.
These days I've become increasingly bored of television formats and much prefer the company of my laptop, the neighbours cat (who wanders through my conservatory in a daily escape bid from captivity) and a mug of beef tea.
The new Sherlock Holmes exhibition at the Museum of London is an incredibly dynamic, evocative display that brings to life the man and his city. A stunning and diverse range of rarities have been brought together for this show on the world's most popular fictional detective.
Tony Hall has recognised that this model is unsustainable, old fashioned and just wrong. In an increasingly fragmented media world none of us can rely on audience brand loyalty, we have to always do the very best we can.
Birdland is a warning on the perils of fame. That makes it very much a tale of our time but though the bold, exciting presentation from director Carrie Cracknell and the star casting of Andrew Scott catches the eye, this play doesn't really bring anything new to this well-worn subject.
Three years ago, a group of school-children scrawled political graffiti on a wall in the remote Syrian town of Daraa. Their subsequent arrest and torture was the spark that ignited the civil war now ravaging Syria and devastating the lives of so many of its 22 million people. This civil war is now thought to have spawned the world's worst humanitarian crisis.
Last week we heard that BBC Director General Tony Hall was expected to axe either BBC3 or BBC4. And now we discover that it's BBC3 that's got the chop.
The Cumberbitches. That's what the most devoted fans called themselves. I actually liked it. I thought it was great word play, sharp, instantly recognisable and just a little bit in your face. And as soon as the term was coined, it went viral as quickly as 'credit crunch.'
I LOVE Sherlock. The energy, the sense of humour, the casting, the writing, that coat - seasons one and two have been my happy place on many an idle evening and nursed me through more than one sick day. So, like about 98% of the internet, I was waiting with bated breath for series three. And you know what? It was rubbish. Sorry, but it was.
The fictional consulting detective can never be conclusively diagnosed but an increasing number of people seem to take it as read that he's autistic, even those who should know better.
Where I can appreciate the fact that this episode was meant to be a grand monologue of Sherlock's perspective on conventional ceremony and traditional banalities, it loses substantial credit for it began to just assume that it was ground-breakingly clever.
We're enticed by the world of these detectives who inevitably catch the bad guy through a series of calculations (with the help of a loyal sidekick). But are they really that different from the rest of us?
Come October The IT Crowd will come to a close. Graham Linehan, writer of Father Ted and Black Books, is bringing his third successful sitcom to an en...
I've spent the first part of the year digging away at his life to write the new biography Benedict Cumberbatch: Behind the Scenes. I found someone who's got a class-defying desire to succeed. A man whose job very nearly got himself killed in a South African car-jacking. And a man who's professional life hides a very real sadness at home.