Lockerbie

I thoroughly enjoyed the first two episodes of this miniseries. The attention to detail, from the set design to the wardrobe, and especially the acting, is truly impressive. The performances feel authentic and grounded, which helps convey the emotional weight of the story. While it's understandable that those with a deeper connection to the tragedy or more knowledge of the facts may notice certain inaccuracies or dramatizations, it's important to view this as a dramatized retelling, not a documentary. Given the passage of time and the nature of television storytelling, some creative liberties are expected. That said, the series treats the subject matter with a great deal of care and sensitivity. It manages to be both informative and emotionally resonant, drawing viewers in without sensationalizing the events. So far, it strikes a thoughtful balance between drama and respect, and I look forward to seeing how the rest of the story unfolds.

The Bombing of Pan Am 103, broadcast by the BBC in spring 2025, is a gripping and respectful dramatisation of one of the most tragic and far-reaching acts of terrorism in modern history. While the series is fictionalised, it remains rooted in fact, offering a detailed and emotionally resonant account of the investigation that followed the downing of Pan Am Flight 103 over Lockerbie, Scotland, in December 1988.

The series wisely centres on the joint effort between the Scottish police-who had jurisdiction over the crime-and the American law enforcement and intelligence agencies. Rather than sensationalise, the drama methodically follows the slow, painstaking process of piecing together a complex international puzzle from fragments of evidence scattered across miles of Scottish countryside. From wreckage analysis to diplomatic wrangling, the story never loses sight of the monumental challenge investigators faced in identifying those responsible.

Amid the procedural elements, The Bombing of Pan Am 103 thoughtfully weaves in human stories that bring heart to the investigation. Characters like Steven Flannigan and Moira Shearer provide windows into the lived trauma, grief, and resolve that shaped the response to the bombing. The script gives room for emotional truth without detracting from the seriousness of the investigative narrative.

The drama also honours the long struggle to bring the perpetrators to justice, a battle that spanned from 1988 to 2001 and, remarkably, has only seen two men brought to trial. That ongoing sense of partial closure is handled with care, never overstated but always present.

Kathryn Thurman's advocacy for a more compassionate, people-focused disaster response is a welcome thematic thread, underlining the birth of a new model in dealing with such large-scale trauma-where empathy is just as critical as efficiency. The relationships that form between the people of Lockerbie, the victims' families, and those from the various agencies involved lend an unexpected warmth to the story, revealing a quiet solidarity forged in the aftermath of unspeakable loss.

The most haunting and powerful moment comes at the end, with a display of all 270 names of those killed-three solemn columns of 90 names each. It's a stark reminder of the scale of this tragedy and a fitting tribute that underscores the series' message: that behind every headline, there are hundreds of stories, families, and lives forever altered.

A respectful, humanised portrayal of a global tragedy, The Bombing of Pan Am 103 succeeds as both a compelling drama and an important memorial.

The small Scottish community of Lockerbie was rocked when a Pan Am flight carrying over 250 passengers crashed into a housing estate; all on board the flight were killed, as well as a number of locals. This details the subsequent investigation and the relentless fight for justice.

I worry about docudramas from the BBC these days; they have a habit of focusing on things other than the story. Credit where it's due, though; in this instance, it tells the story very well. As an eight-year-old, I remember watching the news, with Michael Buerk announcing the disaster on the BBC; it was harrowing. It's a shocking story, one that will never be forgotten. When the name Lockerbie is mentioned, the crash is remembered.

It's sensitively handled; I felt they managed it all with a degree of respect. At no time did they opt to sensationalise or over-dramatise it. If I had one criticism, I felt it could have been cut down to four or five episodes. Very well made, with some great visuals and on-point period details.

I thought Connor Swindells was particularly good; he's terrific from start to finish. Peter Mullan and Tony Curran were also excellent.

8/10.

It's been said this has strayed from the train of events somewhat, and may even have factual inaccuracies. Maybe so. However, I feel it has captured the essence of this awful tragedy - with a strong cast, well-written screenplay and thoughtful direction. I would like to know what the people of Lockerbie thought of it, as well as those (still with us) who were involved in the aftermath of the disaster - police, FBI, forensic experts and other professionals - as well as families of the victims. Arguably it might bring back memories which many would best not wish to have resurrected, but these views would surely be authentic.

Why is this filmed in the dark?

This BBC version works hard to be different from the ITV version shown 4 months earlier. This version takes a different perspective, that of the investigation, which has drawn criticism from other reviewers. This may not mean much to those not in the UK, so look for the Lockerbie drama with Colin Firth.

It's hard to not compare the two especially as they are broadcast so close together. Both highlight how poor security was and leaves questions hanging.

It's a solid docudrama, let down by poor production and awful accents by some usually great actors. And sadly that's all that really matters.