Black Ops

It’s the sort of comedy that lives or dies by its delivery, and these two [Gbemisola Ikumelo and Hammed Animashaun] are pitch perfect.

[Dom and Kay's] path from quiet contempt to acceptance and friendship is beautifully written and exceptionally well performed. It’s also consistently funny, as is Black Ops as a whole. Mainly this is because the thriller element – will the drugs gang rumble the keystone cops? – remains thrilling.

The first two episodes, which were the only ones made available for review, do a solid job of drawing you in as Dom and Kay's predicament lurches from one extreme to another. If you're able to suspend your disbelief and lean into the chaos, Black Ops does more than enough to keep you entertained.

The comedy ends up somewhere between the slapstick of The Wrong Mans and the dialogue-driven farce of Nightingales. For a show whose premise is predicated on systemic racism, police corruption and drug-fuelled murder, it lacks a bit of bite. And despite a clever title, which conjures images of brutal hitjobs and nerve-jangling interrogations, Black Ops always plays it safe.