Call the Midwife (BBC One, 2012-present) is the best drama series of the decade: one of contemporary television’s toughest, most consistently socially-concerned programmes. It is often misunderstood: despite a few perceptive pieces such as Emily Nussbaum’s description of the devastating fifth series as ‘sneaky radicalism’ in the New Yorker, many critics have passed over it as twee or nostalgic or have omitted it from drama-of-the-year polls.1 These critical tendencies say less about the programme than about perceptions of the timeslot: Sunday night, 8.00pm, on BBC One. Therefore, my post, the first of an occasional series on one of my favourite dramas, looks at the current status of the series, taking as a starting point critical responses to its Sunday night slot.
The makers of Call the Midwife themselves had reservations when the BBC proposed that slot. In 2012, Heidi Thomas, the creator of the series (developed for Neal Street Productions from the books by Jennifer Worth), recalled that: