All in The Best Possible Taste (C4, 10pm)
Joely Richardson on Shakespeare’s Women: Shakespeare Undressed (BBC4, 9pm)
CSI: Crime Scene Investigation (Channel 5, 9pm)

IF you’ve ever muttered the words “I don’t know much about art, but I know what I like,” then Grayson Perry would probably quite like to meet you.

Not only is he one of Britain’s bestknown contemporary artists, he’s also fascinated by the subject of taste.

In particular, he wants to know what makes us buy what we buy, wear what we wear, and what signals we think our possessions send out about us.

As his three-part series All in The Best Possible Taste has discovered, the way we decorate our homes and stock our wardrobes may not only be down to our individual likes and dislikes.

He says: “The relationship between our taste and our social background is the elephant in the room of British social life, and I wanted to explore this in an inclusive and non-judgemental way.”

To prove he will not be sneering at anyone, Perry is happy to admit that even his famously individual sense of style has been shaped by his background.

“I came to art from a working-class culture.

I spent 30 years building up and honing my north London middle-class prejudices about other people’s bad taste.

“Now I have taken those prejudices on safari with me to meet the various tribes that make up the British class system.”

So far, he has visited Sunderland and Tunbridge Wells to get a taste of working and middle-class culture, and now he turns his attention to the upper classes.

He feels that upper-class taste still has a strong hold over the British imagination.

He freely confesses that he’s a “sucker for a crumbly old stately home”, but wonders if the reverence for tradition, inheritance and appropriateness makes it difficult for their owners to put their mark on them or to develop their own aesthetic sense.

Perry meets aristocrats such as the Marquess of Bath and Longleat, as well as the “new money” incomers who have acquired some of the Cotswold’s most impressive stately homes, and asks whether we assume the latter will have the worst taste.

Those featured in the series will then have the chance to find out if Perry’s work is to their taste as he invites them Tonight’sTV By Steve Pratt email: steve.pratt@nne.co.uk to the unveiling of his six imposing tapestries, The Vanity of Small Differences.

The pieces have been inspired by his journey, which Perry feels has given him the opportunity to learn more about himself, as well as the fashions of 21st Century Britain.

“Taste runs deep and it’s been a fascinating and often emotional experience for me. Everywhere, I have encountered unconscious facets of myself, in a sublime country house view, on a bourgeois kitchen shelf and on a night out with the girls in Sunderland.”

LAST year, actress Joely Richardson was seen in Anonymous, Roland Emmerich’s film suggesting that it wasn’t William Shakespeare who wrote his classic works, but Edward de Vere, 17th Earl of Oxford.

In Shakespeare’s Women: Shakespeare Undressed, she examines the female characters of Twelfth Night and As You Like It. She delves into Shakespeare’s early career, discovering how a tragedy may have influenced one of his most famous works. Richardson is ably assisted by her mother (and fellow Anonymous co-star) Vanessa Redgrave as they reflect on the Royal Shakespeare Company’s 1961 production of As You Like It.

AMNESIA is one of the most wellworn plot devices in drama and it’s a key problem for Wes Clyborn, a character in this week’s CSI: Crime Scene Investigation.

While enjoying a rare break, Nick and Morgan are stunned when they see a speeding car plough into a parked truck.

Racing to the scene, they discover the driver, Wes, has been shot.

The car’s owner is Elena Perez, who was evicted from her apartment a month earlier and has since gone missing. With a bullet in his head, it looks like Wes’ amnesia could continue as doctors try to save his life.

DB (Ted Danson) hopes former colleague Julie Finlay (Elisabeth Shue) can help crack the case before it’s too late.