Roadkill

Not every detail of the series’s social and political intrigue makes sense, especially with regard to the newspaper business. The human side of the equation mostly adds up, though, and Laurie nails the contradictions of Laurence, who tries kindness on for size but only to see whether it fits with his consuming ambition.

Laurie, hugely popular to both Brits and Americans, might be the initial draw for audiences but can’t sustain on his own. The show simply isn’t written that way. Helen McCrory, Sarah Greene and Iain De Caestecker, as well as the rest of the cast, give performances as well-acted and important as Laurie’s.

Laurie does what he can with playing up the charade of a political conman whose almost always good for a selfie opp and a sound bite. ... Another bright spot is Harry Escott’s haunting score for the series, and the Saul Bass-inspired main credit sequence, which are both addicting.

The fact that it is set in an alternative universe where neither Brexit nor the pandemic dominate each character’s every thought gives this unspooling tale of greed, weakness and corruption a generic or pleasingly retro mood, depending on your take. So far, I would plump for pleasingly retro. It is good to be reminded of the enduring truths.

Written by playwright/screenwriter David Hare ("The Hours"), "Roadkill" has an understated quality to it, with Laurie at his best as the oily politician.