Exasperated by BBC1 Wales’ Pitching In? Thankfully, it is now the exception to the rule when it comes to contemporary Welsh television drama. What would have once been seen as a godsend – alleviating the problem of non-representation, if only briefly – is now seen as an affront to the people of Wales. We’re better than this. The last few years has seen an explosion of Welsh drama. Not only in the number of series’, but in the quality of these series’ too. From Hinterland to Bang, Parch to Keeping Faith, there has never been a better time for Welsh-set, Welsh-made drama. A Golden Age, as I’ve been inclined to call it.

At the start of 2019, there is another drama to be added to this growing roster: 35 Awr. Fflur Dafydd’s new series sees a 12-person jury assemble after a court case to consider their verdict. But finding the defendant guilty or not guilty of murder proves far less straight-forward than some were expecting. And when it comes to light that they could be in danger if allowed home, they are taken to a local hotel for their protection, until they can come to a decision. But not all is as it seems.

Across this 8-part series, the lives of these characters begin to slowly, tentatively, and intriguingly unfold. As they do, Dafydd begins to entangle them in a dark and sinister web. Connections are made, alliances formed; the power play between the different characters is always fascinating, never simple. The game of poker in episode three becomes the perfect metaphor for this psychological murder mystery. Even where their conversations seem mundane, or rather superfluous, one need only dig a little deeper, beneath the surface, to discover the ulterior motives, selfish motivations, and hidden desires at play. These aren’t always obvious at first. Which is what keeps the drama interesting. Dafydd slowly feeds us with tit-bits of information; now and again she surprises us with a big reveal. Such revelations come at steady intervals throughout; gradually increasing the tension, which bubbles gently until the final episode when it finally boils over, with pulsating twists and numerous turns.

It is the intimate characterisation which makes Fflur Dafydd’s scripts always so enjoyable. To see the characters of 35 Awr brought to life in such fine detail, and with such fascinating complexity, by the ensemble cast was a real treat. From the awful masculinity of Carwyn Jones’ Peredur to the nonchalant behaviour of Gillian Elisa’s Val (to name but two), Dafydd succeeds in creating a memorable set of well-rounded characters that become instantly recognisable long after the programme is over. Indeed, the excellent editing of Dafydd Hunt and the cinematography of Alwyn Hughes helps to give this drama a look that feels fresh and original even as it employs fairly standard techniques and tropes. This is no easy feat. Yet, somehow, they manage to do so; perhaps, in part, down to Dafydd’s original screenplay.

If you’re looking for a darker, more subversive murder mystery than your typical Agatha Christie, then 35 Awr should satisfy your needs. In fact, it should exceed them, for it is also much more than that. Part psychological thriller, part crime drama; it contains as much humour as it does menace. Writer Fflur Dafydd has assembled a fine cast of characters whose personal lives slowly seep out and intertwine with one another, creating a gripping narrative which culminates in a superbly arresting final episode. This is what great Welsh drama is. It is no longer defined by the likes of Pitching In. Pitching In is now the exception. Fflur Dafydd’s 35 Awr represents the rule.

Click here to watch the series now.