Gone

Critics are mesmerized by David Morrissey's "haunting" and "mesmeric" performance as a man whose unnatural calm feels deeply unsettling, while The Killing Times praises the show's deliberate pacing as "carefully constructed" rather than rushed. Radio Times and Daily Mail both fixate on Morrissey's dual nature—the way he displays one persona while letting viewers glimpse something darker underneath. Even skeptics like The Times call it "a great drama of misdirection." Audiences are far less charitable about the supporting cast. While they agree Morrissey "is as brilliant as ever," they're brutal about Eve Myles, with one viewer groaning that she's "playing a really annoying character who breaks protocol" and another dismissing her as doing "her usual argumentative chippy, with of course a stereotypical broken marriage." The victim's daughter gets called "especially wooden spending each scene sulking." If you're drawn to psychological slow burns where one magnetic performance carries the entire show, Gone delivers exactly that. You'll get Morrissey doing what he does best—being quietly, compellingly unnerving—while everyone else fades into familiar British crime drama background noise.