Kiri (UK, 2018)

Home sweet home?

This Jack Thorne scripted four-parter (Rachel De-Lahay co-scripted one episode) touches a number of bases and bravely ends unhappily. Sarah Lancashire is her usual mesmerising self as a social worker who makes a human error with fatal consequences; the cast is uniformly strong, especially Lia Williams and Finn Bennett as mum and son in a family torn apart by Kiri’s murder. In addition to how the press cover social workers, which tends only to happen when it goes wrong and then they sit on a high horse and condemn, race is key as Kiri is black and her estranged father, an ex-drug dealer, is unsurprisingly a key suspect.

Of course not all is what it seems which could be a motto for middle class values and Thorne steers the focus toward the collapsing bourgeois family. The final scenes, where the son Si is taken to a private boarding school, show the true corruption at the heart of the narrative. The entitlement of the upper middle classes poisons public discourse (in the UK) in the press and politics; the ridiculous smear campaign against Labour leader Jeremy Corbyn this last week is the latest example. Corbyn’s politics do present a challenge to the status quo and those in power, both the press owners and conservative (of all parties) politicians, will do everything they can to hang on to it at the expense of everyone else.

Thorne, and director Euros Lynn, present the press as an undifferentiated pack that chase its prey for a story and not because they are interested in the truth. In a powerful scene Kiri’s foster mother (Williams) walks into their centre and gives them all photographs of the young girl reminding them of humanity. A powerful series.

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