Murphy's Law (BBC1)

Mandela: Beneath The Halo (C4)

The most dangerous thing you can do in a detective series is fall in love with the leading man, especially if his name features in the title.

The minute you start getting all lovey-dovey with the top cop or superior sleuth, your card is marked. The odds are you'll end up lying on a slab in the mortuary.

So it was with poor Annie in Murphy's Law. Note the title: Murphy's Law, not Annie's Law. She barely lasted beyond the opening credits of the new, darker, grittier, post-watershed Murphy's Law - stabbed by a modern day Jack the Ripper.

Her murder drove maverick cop Murphy to drink. All in the course of duty, you understand, as he went undercover as a sozzled tramp to investigate the murder of homeless women.

None of this was particularly novel or, indeed, interesting unless you like watching grisly stabbings. The presence of Antony Sher as the prime suspect, a coke-snorting actor starring in a Jack the Ripper musical at a theatre near the murder scene, led you to believe this would be more than a run-of-the-mill serial killer drama. It wasn't.

James Nesbitt was watchable enough, but hardly stretched, as Murphy. In its favour, the story was done and dusted in 60 minutes rather than stretched out over two consecutive nights, as is the fashion on TV these days.

Peter Hitchens wasted no time attacking the reputation of "the patron saint of world liberalism" in Mandela: Beneath The Halo. This was no balanced examination of South Africa a decade after the arrival of the "new rainbow nation" but a determinedly lop-sided appraisal of what Mandela's done wrong.

While no one wants the old South Africa back, Hitchens maintained that uncritical admiration is the last thing the country needs. He found much to criticise in Mandela's behaviour, although much was guilt by association as he was described as "a figleaf for a government that's nothing like as nice as he is".

His record in power, Hitchens said, took in arms dealing, Thatcherite economic policies, and embracing some of the world's worst despots. The special strength of character and achievements of the man who spent 27 years in prison for his principles shouldn't be denied. But he questioned decisions made since his release, and found people to back up his claims.

Far from being a fairer and freer society, economic policies mean South Africa is becoming more unequal than during apartheid. The new rich elite, comprising 11 million black and four million white people, account for 85 per cent of the national income. The 15 million strong underclass, almost entirely black, get five per cent. That makes South Africa one of the most unequal societies on the planet.

There was nothing for which Hitchens didn't blame Mandela, including alarming rises in crime and the increase in Aids. He might have done better to let others defend Mandela and allow viewers to reach their own conclusion, but that's clearly not his style.

Titanic: The Musical,

York Theatre Royal

WHATEVER the merits of the production, York Musical Theatre Company deserves full marks as well as full houses for its enterprise in presenting the UK premiere of this show.

The idea of a musical based on the tragic sinking of the Titanic on her maiden voyage may seem absurd, but works well in reality.

Quite why the show - with music and lyrics by Maury Yeston and book by Peter Stone - never crossed the Atlantic is a mystery. After winning five Tony awards, including best musical of 1997, you'd have thought producers would have been fighting to stage it over here.

Good on the York company for spotting its potential and producer/musical director Paul Laidlaw for captaining a smooth-sailing show.

The film may have had the benefit of special effects plus Leo and Kate as the star-crossed lovers, but the musical has much more heart and soul as the ship of dreams embarks on its nightmare journey.

The lives of a dozen or so passengers - both the millionaires and the poorer folk - along with the captain, crew, ship's owner and designer are interwoven and contrasted as the voyage proceeds.

Many passengers dream of a better life in America, while conflict on the bridge comes as the ship's owner insists on pushing the new ship to its limits for commercial reasons.

The musical style is more Sondheim than Rodgers and Hammerstein, with several songs achieving the emotional impact to reflect the momentous events unfolding.

Maury Yeston is travelling over from the US to see the production this week - I think he'll approve.

l Until Saturday. Tickets 01904 623568.

Steve Pratt