HOUSE OF DAVID (Prime, all episodes available since 27 March) returns after a phenomenally successful first series last year. This biblical drama, which chronicles the story of the shepherd boy’s rise to become King of Israel, has, to date, been watched by 44 million people worldwide.
I enjoyed it immensely when I reviewed it last year (Media, 7 March 2025) and was pleased to get stuck into another eight episodes as the story continues with, quite literally, the fall of Goliath. This series is concerned with the aftermath of that battle against the Philistines, and with David’s ascent to the throne.
The action adheres to many of the cinematic conventions set by traditional biblical films, particularly in its set and costume design and its stirring score. The overall feel of it, though, is very much Moses-meets-Marvel: the technological trickery gives it a gloss, but it has enough hammy performances, beards, and dusty sandals to keep it securely within its genre. As a fan of biblical epics, I think this is strongly in its favour, as one really does get a sense that the producers were inspired by Hollywood’s golden era, which makes it feel momentous rather than lightweight.
It begins with the usual disclaimer about the creative liberties that have been taken in service to the drama, but there are attempts to be faithful to the text, in spirit if not always historically or narratively. House of David is a production rooted in Christianity, but the writers drew on rabbinical traditions to augment the plot.
The themes are heroic, but also touch every human soul: loyalty and betrayal, bravery and cowardice, and, through it all, the struggle of remaining faithful to God. It was an excellent series to dig into over the Easter break.
Focusing on far more prosaic themes is Babies (BBC1, 30 March), a new six-part drama exploring the heartbreak of pregnancy loss. This is beautifully written, with naturalistic, endearing performances by the co-leads, Paapa Essiedu and Siobhán Cullen. They star as Stephen and Lisa, a young couple who are dealing with the pain of miscarriage and the cyclical roller-coaster of repeated negative pregnancy tests.
The process by which this emotionally flays a couple is depicted with humour and sorrow — a devastation that will be instantly recognisable to anyone who has had similar struggles. The scene with the ultrasound scan and no heartbeat features the play of emotions on the actors’ faces transforming in real time from excitement to dawning horror and is unbearably real.
Sad and hopeful viewing about love, it proves that the person with the power to get you through the tragedies of life is the one who shares them with you.
