The ITV drama told the story of the beleaguered sub-postmasters and mistresses who were falsely accused of – and in some cases imprisoned over – stealing theft, fraud and false due to a computing error. It deserves recognition for its storytelling, its acting (particularly in the case of Toby Jones) and the sheer impact it had in the real world. But you already know all that. For months, Mr Bates vs The Post Office was inescapable and over 9 million of us watched.
Toby Jones as Alan Bates in Mr Bates vs The Post Office (Photo: ITV)
Mr Bates vs The Post Office wasn’t the only series that made the Baftas feel hopelessly dated. Jessica Gunning won the Best Supporting Actress for her role in Baby Reindeer, Netflix’s stalking drama, which shook the world until we all – quite frankly – got sick of discussing who the “real” Martha was. The second series of Northern Irish police procedural Blue Lights won Best Drama, despite premiering over a year ago. Even the musical performance – from early 2010s has-been Jessie J – was obsolescent.
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TV moves far too quickly for the Baftas to keep up. The series of The Traitors that was nominated wasn’t the most recent third series, but the one before that – the one with Diane’s “Ross is” revelation and won by ultimate Traitor Harry. That was on BBC One in January 2024 – a year and five months ago in normal terms, but a decade in TV time. Not only do we not remember it, but we certainly don’t care if it wins a Bafta or not.
A Bafta is the highest accolade a British television show can hope to achieve. But if it insists on continuing to recognise the programmes that we all grew tired of a year ago, a win will soon become meaningless.
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