Faking It; The British Blood Scandal

“TV revivals are often lazy, and tend to rely on nostalgia rather than quality to attract an audience. That may well be the reason people tune in, to begin with, but Faking It is such a solid idea that it still has plenty of the old charm left to spare. In fact, it may work even better now, in the fractious 2020s, than it did in the optimistic glow of the early 00s.”
Rebecca Nicholson, The Guardian

“While this show seemed more interested in the comic set pieces than in getting under the skins of the participants in the way the Channel 4 original managed, it was the decency of everyone involved that carried the day. Being a class-conscious country hasn’t done us many favours over the centuries, but the sheer kindness and warmth of British people can be cheering. And it certainly made this work.”
Ben Dowell, The Times

“Rex presented the programme-makers with a problem. He was just so bloody nice. He threw himself into life as a market trader with gusto and zero ego, showing respect and humility to his mentors, and generally being a good egg, despite seeming to lack any of the credentials to succeed. Where was the narrative arc? But contrived storylines are for the other reality TV shows – Faking It refuses to fake it.”
Chris Bennion, The Telegraph

“Faking It may pivot on social and regional differences, but in a big-hearted, unresentful way. This is escapism, not class warfare. And as long as you don’t take it too seriously, the almost stereotypical extremes make for rich entertainment.”
Gerard Gilbert, The i

“ITV1 is becoming the market leader in fuelling national outrage, and all power to it. Anyone who hadn’t known much about this national disgrace will have been left dumbfounded by The British Blood Scandal: Poisoned at School, a film unearthing the human story within this national scandal.”
James Jackson, The Times

“It’s a dull cliché to compare every national scandal to Mr Bates vs the Post Office, but The British Blood Scandal: Poisoned at School had enough jaw-dropping moments for a Gwyneth Hughes or a Jack Thorne to spin out half a dozen establishment-shaming mini-series.”
Chris Bennion, The Telegraph

“Every line was powerful, but the victims’ statements, at the end of a public inquiry which concluded last year, were especially telling. ‘It’s hard to avoid the conclusion that we were deemed expendable, collateral damage,’ said Richard.”
Christopher Stevens, Daily Mail