03/03/2023

The fact that Stuart Lubbock’s death has been left unexplained for almost 20 years has left his family frustrated beyond measure. In this Channel 4 programme, police officers, journalists and those who worked with Barrymore are interviewed to try to get close…

Channel 4s documentary about the unexplained death of Stuart Lubbock is a desperately sad affair. For those unfamiliar with the episode, Lubbock was a healthy, young (31) Essex man who was found unconscious in a swimming pool at the home of Michael Barrymore at about 5.40am in the early hours of 31 March 2001. Lubbock died during or after a late-night party at the address, hosted by Barrymore, then the biggest name in British television. Lubbock and others had met Barrymore at a nightclub in Harlow, and were invited back. At 8.23am, Lubbock was officially pronounced dead.
Those are about the only universally acknowledged facts in the whole business. For Barrymore: The Body in the Pool, Channel 4 obtained extensive and impressive access to members of the Lubbock family, various lawyers, no fewer than four forensic pathologists who worked on the case, police officers, journalists, Barrymores ITV boss, and even the taxi driver who drove Lubbock and Barrymore to the party. Yet the mystery remains as disturbing as ever.   
At one point, Paul McMullan, the tabloid hack who worked on the story for the News of the World, asks one of the most disturbing questions of all: if it had been some pretty young woman who had died that night, rather than a man allegedly part of a gay orgy, would the death remain unexplained to this day? 
Download the new Independent Premium app
Sharing the full story, not just the headlines
Download now
left
Created with Sketch.
right
Created with Sketch.
1/30 30. Homeland (season 1, 2011)
Few dead horses have been more flogged, but if you stretch your mind back enough, it is possible to remember a series with a fantastic premise that kept us guessing for 12 whole episodes. The question: had returning war hero Sgt Brody (Damian Lewis) been radicalised in a foreign jail cell? CIA officer Carrie Mathison (Claire Danes) thought so, but she had plenty of problems of her own. I still think it would have been better if he’d detonated at the denouement. Twisty, compelling, briefly essential. (EC)
2/30 29. Mum (2016-2019)
The slow-burning relationship between Cathy (Lesley Manville), a widow and mother of superhuman forbearance, and her late husbands best pal Michael (Peter Mullan) elevated what could have been a run-of-the-mill suburban comedy into a beautifully composed portrait of friendship, grief and mid-life romance. (FS)
3/30 28. Handmaid’s Tale (2017- )
Hulus adaptation of Margaret Atwoods 1985 novel, set in a pious patriarchal state, lost its way in the second series, but the first, which arrived a few months after Trump entered the White House, was a triumph. As Offred, Elisabeth Moss seethed under her mask of impassivity, while the rich palette gave us a dystopian nightmare as imagined by the 17th-century Dutch school. (FS)
4/30 27. Money Heist (2017- )
Perhaps the trashiest show on this list, but trash of the highest grade, Money Heist is Netflix’s most popular non-English series, a hit across Europe and South America, with 34m accounts watching this year’s Part 3 in its first week of release. A mysterious mastermind known as The Professor gathers together a crew of misfit criminals to execute a robbery on the Royal Mint in Spain. Tense, funny, clever and often completely preposterous, La Casa del Papel has only been held back by its off-putting English title. (EC)
5/30 26. Rick and Morty (2013- )
It unfortunately inspired some of the worst fans on the internet, but that shouldn’t detract from Rick and Morty’s inventiveness. Ostensibly a parody of Back to the Future, about the adventures of a young boy and his alcoholic, mad scientist grandfather, the cartoon uses its set-up to put its heroes in an endless number of frenetic, frequently insane situations. Blink and you miss a gag and two pop-culture references. (EC)
6/30 25. The Returned (2012-2015)
This exquisite French series is about the dead trying to return to their old lives in a secluded mountain town dispensed with the usual gory zombie tropes, instead dwelling on the human instincts of these confused beings specifically their desire to love and be loved ­ and the grief experienced by those they left behind. (FS)
7/30 24. Catastrophe (2015-19)
Sharon Horgan and Rob Delaney were a masterful double act in this sitcom about a holiday fling resulting in an unplanned pregnancy. The pairs attempts to build a life together yielded scabrous gags about sex and post-partum leakage, a cameo from the late Carrie Fisher and an underlying tenderness that resisted spilling into sentimentality. (FS)
8/30 23. Killing Eve (2018-)
A wicked cocktail of comedy and humanity, shock and gore, the first series of Killing Eve, written by Phoebe Waller-Bridge, was a subversive joy. Sandra Oh and Jodie Comer played, respectively, a spy and an assassin whose continental game of cat-and-mouse was a blood-spattered love story for the ages. Sadly, when Waller-Bridge handed off writing duties in the second series, the magic wasn’t quite the same. (FS)
9/30 22. Borgen (2010-2013)
The Killing may have started the Scandi craze, but it aired in Denmark in 2007, so it doesn’t count for these purposes. Borgen was everything The West Wing wasn’t: a cliché-resistant drama that showed politics in grating reality, with plenty of plausible schemers in slick outfits and a wonderful central performance by Sidse Babett Knudsen as Birgitte Nyborg, the Prime Minister trying to balance principles with power. (EC)
10/30 21. Detectorists (2014-17)
Following the exploits of Lance (Toby Jones) and Andy (Mackenzie Crook), dedicated treasure hunters and members of the Danebury Metal Detecting Club, Detectorists was about people and their passions, community and camaraderie. Its a wonderfully tranquil meditation on male companionship. (FS)
11/30 20. The Americans (2013-2018)
Where other series burn brightly and fade after a couple of years, FX’s Cold War spy drama took its time. Matthew Rhys and Kerri Russell, married in real life, shone as the Russian couple working as spies in suburban Washington DC. The tension built over six seasons to a magnificent finale, rewarding those who stuck with it. (EC)
12/30 19. The Leftovers (2014-2017)
The premise is one of the most intriguing in television: people struggling to come to terms with something called the “Sudden Departure”, a mysterious event in whichtwo per cent of the world’s population simply disappeared. Damon Lindelof and Tom Perrotta’s drama received iffy reviews at first, but its reputation grew through its second and final outings, with writing and performances that explored the full depth of the setup without losing the pervasive air of mystery. (EC)
13/30 18. The Crown (2016- )
The third series is a noticeable drop-off in quality, but for two series The Crown achieved a number of unexpected feats. It made viewers genuinely interested in the Royal Family, and not in a Prince Andrew “should they go to prison?” kind of way. With sumptuous sets and costumes and some excellent performances, especially Claire Foy as the young monarch, this remains the high-water mark of Netflix polish proof that money can, sometimes, buy you love. (EC)
14/30 17. The Great British Bake Off (2010- )
Reports of the death of TVs baking behemoth have been greatly exaggerated: despite host departures, a channel move and the off-screen antics of a certain perma-tanned judge, this big-hearted competition in which friendships are forged and adults weep over sagging soufflés remains the ultimate feel-good reality show. (FS)
15/30 16. The Trip (2010- )
Two men bicker over bottles of fine wine. Steve Coogan and Rob Brydons low-key, semi-improvised and implausibly funny tours of high-end European restaurants saw the pairs insecurities deliciously laid bare as they discussed sex, ageing and ambition. Michael Winterbottom directed. (FS)
16/30 15. Happy Valley (2014- )
This Yorkshire-set, Bafta-festooned series gave us Catherine Cawood (Sarah Lancashire), a pleasingly complex, no-nonsense police sergeant up to her neck in rapists, murderers, addicts and the odd ailing sheep, together with some superbly earthy dialogue courtesy of writer Sally Wainwright. (FS)
17/30 14. Girls (2012-2017)
Without Girls there is no Fleabag or Adam Driver, and it would probably merit inclusion on those two facts alone. But Lena Dunham now attracts as much opprobrium as praise, and it’s easy to forget how new her breakthrough comedy felt in its naturalistic depiction of young women in New York. This was Sex and the City for people who spent more time on Instagram than at work, created by people the same age as those they were portraying. Its look and feel have cast a long shadow. (EC)
18/30 13. Sherlock (2010- )
Witty, inventive and dazzling to look at, Steven Moffatt and Mark Gatisss relocation of the Arthur Conan Doyle stories to the present day worked beautifully, as did the casting of Benedict Cumberbatch as the high-functioning sociopath Holmes and Martin Freeman as the put-upon army veteran Watson. While later series would drift, the first three were unbeatable. (FS)
19/30 12. Chernobyl (2019)
A five-part drama about a nuclear disaster in 1986 is not the most promising prospect for a night in with a bottle of wine. It is a tribute to the writer, Craig Mazin, and director, Johan Renck, as well as its cast, especially Jared Harris, that Chernobyl managed to be totally gripping, with frequent moments of stark, horrendous beauty. (EC)
20/30 11. Atlanta (2016- )
At first, the musician and comedian Donald Glover’s series about struggling rappers in Atlanta looked like a familiar, safe kind of sitcom about loveable losers. But it quickly evolved into something fresh: a smart, occasionally surreal examination of life at the margins of America, whose angry heart never spilled into preachiness or got in the way of the jokes. (EC)
21/30 10. Love Island (2015- )
Who could have anticipated a dating show in which twenty-somethings sit around in microscopic swimwear would tell us so much about the human condition? Gaslighting, bromances, the complexities of girl code Love Island delved beneath the spray tans and schooled the nation on modern manners. (FS)
22/30 9. Patrick Melrose (2018)
An electrifying study of addiction, trauma and the corrupting power of privilege, based on the autobiographical books by Edward St Aubyn. Benedict Cumberbatch played the feckless antihero grappling with his past and trying (and mostly failing) to be better than the wretched aristos that raised him. (FS)
23/30 8. The Vietnam War (2017)
Ken Burns’s epic 10-part documentary followed up his other conflict opuses, on The Civil War and The War, with a detailed story about Vietnam. Using new interviews from both sides as well as archive footage, the documentary shows in unrelenting detail a catastrophe that unfolded in slow motion. Some critics accused it of underserving the experience of the Vietnamese civilians. But it left viewers in no doubt that not only did the US leadership pursue it long after it was a lost cause, but they knew from the start it was unwinnable. (EC)
24/30 7. Black Mirror (2011- )
Charlie Brooker sent every other TV critic, or at least one of them, into a spiral of envy by proving not only that it was possible to cross over into creation, but to do so in style. Black Mirror’s taut near-future tales of techno-dystopia are almost always interesting, even if they sometimes fall short of their ambitions, as with the high-concept recent film, “Bandersnatch”. The best episodes, like 2016’s tour de force, “San Junipero”, are gripping examinations of human connection in a world where interactions are increasingly by screens. (EC)
25/30 6. Blue Planet II (2017)
The first of the Attenborough documentaries to speak directly of the human impact on the natural world, this kaleidoscopic ocean odyssey provided a visual feast of clam-cracking tuskfish, alien-looking pyrosomes and anthropomorphic ­dolphins, while reminding us how it could all be lost. (FS)
26/30 5. BoJack Horseman (2014- )
Only in a world of Netflix budgets can you imagine a concept as wild as BoJack Horsemans getting off the ground. It’s a cartoon set in LA, ostensibly a comedy about celebrity, except half the characters, including its lead, are anthropomorphised animals. Halfway through its final season, which has been split into two, its initial zaniness has given way to something darker and more interesting. Lurid colours and visual wit dress one of the most humane explorations of depression, addiction and cycles of abuse. (EC)
27/30 4. Fleabag (2016-19)
What began, in its first series, as an enjoyably acid-tongued portrait of modern womanhood became a fully fledged masterpiece in the second. Written by and starring Phoebe Waller-Bridge, Fleabag gave us perfectly calibrated scenes of familial dysfunction and sexual longing the latter memorably culminating in the Priests simple, thrilling instruction: Kneel. (FS)
28/30 3. This is England (2010-15)
The first spin-off series from Shane Meadows 2007 film, about a gang of ex-skinheads from the Midlands, was set during the 1986 World Cup, and remains one of the great British dramas, depicting working class lives with humanity and humour. This is England 88 and 90 followed, both of them similarly infused with heart and soul. (FS)
29/30 2. Succession (2018- )
Said to have been a decade in the making, Succession is worth every minute spent on it. Brian Cox enjoys a dream of a late-career role as Logan Roy, the ageing media tycoon unwilling to relinquish control of his company to any of his ungrateful and talentless children. There’s oblivious eldest son Connor (Alan Ruck), troubled addict Kendall (Jeremy Strong), scheming daughter Shiv (Sarah Snook) and abrasive youngest Roman (Kieran Culkin), along with a host of hangers-on, partners and support staff. None of them seem to have the right stuff. It’s an intriguing set-up, but Succession is lifted by its script, performances, locations, costumes, music and direction, which place it firmly in a tradition of laughing at our rulers, where the mirth comes tempered with the knowledge that these are really the people in charge. (EC)
30/30 1. Game of Thrones (2011-2019)
Yes, the final series went a bit weird. Maybe the final two series. A case could be made that the TV adaptation was never as emotionally resonant when it went beyond George RR Martin’s novels. The final series were only disappointing compared to what had come before, which was a fantasy on an unprecedented scale that managed to be grandiose without slipping into melodrama. An invented universe with necromancers, dragons, magic swords and ice zombies was notable for its plausible realpolitik. At a time when viewing tastes were meant to be becoming more atomised, Game of Thrones was global event TV, which made household names of the Starks, Lannisters and Greyjoys and provided a whole generation of English character actors with a regular income. (EC)
1/30 30. Homeland (season 1, 2011)
Few dead horses have been more flogged, but if you stretch your mind back enough, it is possible to remember a series with a fantastic premise that kept us guessing for 12 whole episodes. The question: had returning war hero Sgt Brody (Damian Lewis) been radicalised in a foreign jail cell? CIA officer Carrie Mathison (Claire Danes) thought so, but she had plenty of problems of her own. I still think it would have been better if he’d detonated at the denouement. Twisty, compelling, briefly essential. (EC)
2/30 29. Mum (2016-2019)
The slow-burning relationship between Cathy (Lesley Manville), a widow and mother of superhuman forbearance, and her late husbands best pal Michael (Peter Mullan) elevated what could have been a run-of-the-mill suburban comedy into a beautifully composed portrait of friendship, grief and mid-life romance. (FS)
3/30 28. Handmaid’s Tale (2017- )
Hulus adaptation of Margaret Atwoods 1985 novel, set in a pious patriarchal state, lost its way in the second series, but the first, which arrived a few months after Trump entered the White House, was a triumph. As Offred, Elisabeth Moss seethed under her mask of impassivity, while the rich palette gave us a dystopian nightmare as imagined by the 17th-century Dutch school. (FS)
4/30 27. Money Heist (2017- )
Perhaps the trashiest show on this list, but trash of the highest grade, Money Heist is Netflix’s most popular non-English series, a hit across Europe and South America, with 34m accounts watching this year’s Part 3 in its first week of release. A mysterious mastermind known as The Professor gathers together a crew of misfit criminals to execute a robbery on the Royal Mint in Spain. Tense, funny, clever and often completely preposterous, La Casa del Papel has only been held back by its off-putting English title. (EC)
5/30 26. Rick and Morty (2013- )
It unfortunately inspired some of the worst fans on the internet, but that shouldn’t detract from Rick and Morty’s inventiveness. Ostensibly a parody of Back to the Future, about the adventures of a young boy and his alcoholic, mad scientist grandfather, the cartoon uses its set-up to put its heroes in an endless number of frenetic, frequently insane situations. Blink and you miss a gag and two pop-culture references. (EC)
6/30 25. The Returned (2012-2015)
This exquisite French series is about the dead trying to return to their old lives in a secluded mountain town dispensed with the usual gory zombie tropes, instead dwelling on the human instincts of these confused beings specifically their desire to love and be loved ­ and the grief experienced by those they left behind. (FS)
7/30 24. Catastrophe (2015-19)
Sharon Horgan and Rob Delaney were a masterful double act in this sitcom about a holiday fling resulting in an unplanned pregnancy. The pairs attempts to build a life together yielded scabrous gags about sex and post-partum leakage, a cameo from the late Carrie Fisher and an underlying tenderness that resisted spilling into sentimentality. (FS)
8/30 23. Killing Eve (2018-)
A wicked cocktail of comedy and humanity, shock and gore, the first series of Killing Eve, written by Phoebe Waller-Bridge, was a subversive joy. Sandra Oh and Jodie Comer played, respectively, a spy and an assassin whose continental game of cat-and-mouse was a blood-spattered love story for the ages. Sadly, when Waller-Bridge handed off writing duties in the second series, the magic wasn’t quite the same. (FS)
9/30 22. Borgen (2010-2013)
The Killing may have started the Scandi craze, but it aired in Denmark in 2007, so it doesn’t count for these purposes. Borgen was everything The West Wing wasn’t: a cliché-resistant drama that showed politics in grating reality, with plenty of plausible schemers in slick outfits and a wonderful central performance by Sidse Babett Knudsen as Birgitte Nyborg, the Prime Minister trying to balance principles with power. (EC)
10/30 21. Detectorists (2014-17)
Following the exploits of Lance (Toby Jones) and Andy (Mackenzie Crook), dedicated treasure hunters and members of the Danebury Metal Detecting Club, Detectorists was about people and their passions, community and camaraderie. Its a wonderfully tranquil meditation on male companionship. (FS)
11/30 20. The Americans (2013-2018)
Where other series burn brightly and fade after a couple of years, FX’s Cold War spy drama took its time. Matthew Rhys and Kerri Russell, married in real life, shone as the Russian couple working as spies in suburban Washington DC. The tension built over six seasons to a magnificent finale, rewarding those who stuck with it. (EC)
12/30 19. The Leftovers (2014-2017)
The premise is one of the most intriguing in television: people struggling to come to terms with something called the “Sudden Departure”, a mysterious event in whichtwo per cent of the world’s population simply disappeared. Damon Lindelof and Tom Perrotta’s drama received iffy reviews at first, but its reputation grew through its second and final outings, with writing and performances that explored the full depth of the setup without losing the pervasive air of mystery. (EC)
13/30 18. The Crown (2016- )
The third series is a noticeable drop-off in quality, but for two series The Crown achieved a number of unexpected feats. It made viewers genuinely interested in the Royal Family, and not in a Prince Andrew “should they go to prison?” kind of way. With sumptuous sets and costumes and some excellent performances, especially Claire Foy as the young monarch, this remains the high-water mark of Netflix polish proof that money can, sometimes, buy you love. (EC)
14/30 17. The Great British Bake Off (2010- )
Reports of the death of TVs baking behemoth have been greatly exaggerated: despite host departures, a channel move and the off-screen antics of a certain perma-tanned judge, this big-hearted competition in which friendships are forged and adults weep over sagging soufflés remains the ultimate feel-good reality show. (FS)
15/30 16. The Trip (2010- )
Two men bicker over bottles of fine wine. Steve Coogan and Rob Brydons low-key, semi-improvised and implausibly funny tours of high-end European restaurants saw the pairs insecurities deliciously laid bare as they discussed sex, ageing and ambition. Michael Winterbottom directed. (FS)
16/30 15. Happy Valley (2014- )
This Yorkshire-set, Bafta-festooned series gave us Catherine Cawood (Sarah Lancashire), a pleasingly complex, no-nonsense police sergeant up to her neck in rapists, murderers, addicts and the odd ailing sheep, together with some superbly earthy dialogue courtesy of writer Sally Wainwright. (FS)
17/30 14. Girls (2012-2017)
Without Girls there is no Fleabag or Adam Driver, and it would probably merit inclusion on those two facts alone. But Lena Dunham now attracts as much opprobrium as praise, and it’s easy to forget how new her breakthrough comedy felt in its naturalistic depiction of young women in New York. This was Sex and the City for people who spent more time on Instagram than at work, created by people the same age as those they were portraying. Its look and feel have cast a long shadow. (EC)
18/30 13. Sherlock (2010- )
Witty, inventive and dazzling to look at, Steven Moffatt and Mark Gatisss relocation of the Arthur Conan Doyle stories to the present day worked beautifully, as did the casting of Benedict Cumberbatch as the high-functioning sociopath Holmes and Martin Freeman as the put-upon army veteran Watson. While later series would drift, the first three were unbeatable. (FS)
19/30 12. Chernobyl (2019)
A five-part drama about a nuclear disaster in 1986 is not the most promising prospect for a night in with a bottle of wine. It is a tribute to the writer, Craig Mazin, and director, Johan Renck, as well as its cast, especially Jared Harris, that Chernobyl managed to be totally gripping, with frequent moments of stark, horrendous beauty. (EC)
20/30 11. Atlanta (2016- )
At first, the musician and comedian Donald Glover’s series about struggling rappers in Atlanta looked like a familiar, safe kind of sitcom about loveable losers. But it quickly evolved into something fresh: a smart, occasionally surreal examination of life at the margins of America, whose angry heart never spilled into preachiness or got in the way of the jokes. (EC)
21/30 10. Love Island (2015- )
Who could have anticipated a dating show in which twenty-somethings sit around in microscopic swimwear would tell us so much about the human condition? Gaslighting, bromances, the complexities of girl code Love Island delved beneath the spray tans and schooled the nation on modern manners. (FS)
22/30 9. Patrick Melrose (2018)
An electrifying study of addiction, trauma and the corrupting power of privilege, based on the autobiographical books by Edward St Aubyn. Benedict Cumberbatch played the feckless antihero grappling with his past and trying (and mostly failing) to be better than the wretched aristos that raised him. (FS)
23/30 8. The Vietnam War (2017)
Ken Burns’s epic 10-part documentary followed up his other conflict opuses, on The Civil War and The War, with a detailed story about Vietnam. Using new interviews from both sides as well as archive footage, the documentary shows in unrelenting detail a catastrophe that unfolded in slow motion. Some critics accused it of underserving the experience of the Vietnamese civilians. But it left viewers in no doubt that not only did the US leadership pursue it long after it was a lost cause, but they knew from the start it was unwinnable. (EC)
24/30 7. Black Mirror (2011- )
Charlie Brooker sent every other TV critic, or at least one of them, into a spiral of envy by proving not only that it was possible to cross over into creation, but to do so in style. Black Mirror’s taut near-future tales of techno-dystopia are almost always interesting, even if they sometimes fall short of their ambitions, as with the high-concept recent film, “Bandersnatch”. The best episodes, like 2016’s tour de force, “San Junipero”, are gripping examinations of human connection in a world where interactions are increasingly by screens. (EC)
25/30 6. Blue Planet II (2017)
The first of the Attenborough documentaries to speak directly of the human impact on the natural world, this kaleidoscopic ocean odyssey provided a visual feast of clam-cracking tuskfish, alien-looking pyrosomes and anthropomorphic ­dolphins, while reminding us how it could all be lost. (FS)
26/30 5. BoJack Horseman (2014- )
Only in a world of Netflix budgets can you imagine a concept as wild as BoJack Horsemans getting off the ground. It’s a cartoon set in LA, ostensibly a comedy about celebrity, except half the characters, including its lead, are anthropomorphised animals. Halfway through its final season, which has been split into two, its initial zaniness has given way to something darker and more interesting. Lurid colours and visual wit dress one of the most humane explorations of depression, addiction and cycles of abuse. (EC)
27/30 4. Fleabag (2016-19)
What began, in its first series, as an enjoyably acid-tongued portrait of modern womanhood became a fully fledged masterpiece in the second. Written by and starring Phoebe Waller-Bridge, Fleabag gave us perfectly calibrated scenes of familial dysfunction and sexual longing the latter memorably culminating in the Priests simple, thrilling instruction: Kneel. (FS)
28/30 3. This is England (2010-15)
The first spin-off series from Shane Meadows 2007 film, about a gang of ex-skinheads from the Midlands, was set during the 1986 World Cup, and remains one of the great British dramas, depicting working class lives with humanity and humour. This is England 88 and 90 followed, both of them similarly infused with heart and soul. (FS)
29/30 2. Succession (2018- )
Said to have been a decade in the making, Succession is worth every minute spent on it. Brian Cox enjoys a dream of a late-career role as Logan Roy, the ageing media tycoon unwilling to relinquish control of his company to any of his ungrateful and talentless children. There’s oblivious eldest son Connor (Alan Ruck), troubled addict Kendall (Jeremy Strong), scheming daughter Shiv (Sarah Snook) and abrasive youngest Roman (Kieran Culkin), along with a host of hangers-on, partners and support staff. None of them seem to have the right stuff. It’s an intriguing set-up, but Succession is lifted by its script, performances, locations, costumes, music and direction, which place it firmly in a tradition of laughing at our rulers, where the mirth comes tempered with the knowledge that these are really the people in charge. (EC)
30/30 1. Game of Thrones (2011-2019)
Yes, the final series went a bit weird. Maybe the final two series. A case could be made that the TV adaptation was never as emotionally resonant when it went beyond George RR Martin’s novels. The final series were only disappointing compared to what had come before, which was a fantasy on an unprecedented scale that managed to be grandiose without slipping into melodrama. An invented universe with necromancers, dragons, magic swords and ice zombies was notable for its plausible realpolitik. At a time when viewing tastes were meant to be becoming more atomised, Game of Thrones was global event TV, which made household names of the Starks, Lannisters and Greyjoys and provided a whole generation of English character actors with a regular income. (EC)
The film has a suitably sombre tone for most of the time, but there are moments when the producers decide to insert some sensationalist thumpy music to up the dramatic pace quite jarringly. Despite some hype along the way, the main scoop seems to be the release of a recording of the original phone call made to summon an ambulance. The question, then, remains: who, if anyone, killed Stuart Lubbock at Barrymores party?
Like most popular mysteries, conspiracy theories and high-profile unsolved crimes, there is plenty of speculation and expert opinion. Every person who watches Barrymore: The Body in the Pool is invited to weigh these up, and play amateur detective. It is hard to resist.
The forensic scientists, for example, agree that Lubbock suffered a serious injury to his anus, one thats consistent with it being the subject of a violent penetration by some object or other. Might it be the pool thermometer, which has since gone missing? Or some other weapon? Was the injury acquired in some other way? Was Lubbock conscious at the time? Why was there little evidence of restraint or struggle injuries? Could, as Barrymore suggested, the injuries have occurred after Lubbock left his home, at the hospital, say?
Was Lubbock gay? His family vehemently deny the notion, though the tabloid reporting of the time consistently said it was a gay binge gone wrong. Why did he accept an invitation to go to Barrymores home? How did the cocaine and MDMA end up in Lubbocks bloodstream (as well as the alcohol)? Could Barrymore swim (and thus might have saved Lubbocks life)? Why did Barrymore leave his home soon after the ambulance arrived? How did vital pieces of evidence go missing?
Watch more
And, most of all, why does no one who was there seem to have any compelling explanation to the satisfaction of all concerned about what went on? Barrymore, in his latest interview with Piers Morgan last year, still maintained that the death had nothing to do with him, that it was a tragic drowning.
So they do, and it is distressing to witness the pain and suffering that Lubbocks untimely death still inflicts on those closest to him. His ex-wife (they had divorced before he died) testified to what a charming young man he was, though a little too wayward for their marriage to survive. We see his father Terry, and his brother Kevin, both apparently in poor health, still struggling to come to terms with what happened.
Though it is never spelt out, you come away with the impression that they will be gone before they have found the answers to their questions about Stuart Lubbocks fate. Although the Essex police are confident someone murdered Lubbock that night and they have their views on who that might be there has never been a trial for any offence, and the sincerity of their beliefs does not in itself constitute a guilty verdict. DCI Stephen Jennings, currently in charge of the inquiry, states in the film: I believe very much that Stuart Lubbock was raped and murdered. But he cannot (thus far) prove it.
The pool in which Stuart Lubbocks body was found (Channel 4)
There have been coroners enquiries, arrests and various prosecutions, but nothing that resembles justice or resolution of the matter. The Lubbock family are frustrated beyond measure at the authorities failure to discover the truth.The anger is palpable, and prompts the same feeling in the viewer. 
This is no ancient mystery from before the dawn of forensics since it happened in the 21st century. Huge amounts of material were collected at the scene at the time and most of the relevant parties are still alive. Three of them, including Barrymore, were once arrested on suspicion of sexual assault and murder, though the matter was later dropped on the advice of the Crown Prosecution Service. It is a literally pitiable display of official incompetence, partly admitted by the police. 
Whatever happened, it seems Barrymore will never strike it lucky again. Though few people under the age of about 35 have ever heard of him nowadays, Michael Barrymore was once the most ubiquitous man on British television. He did everything gameshow host, songndance man, chat show favourite. His catchphrase Awight?was instantly identifiable. Now, despite sporadic attempts at a comeback, including Celebrity Big Brother in 2006 and a recent appearance on Dancing on Ice, he is an obscure figure, from a time before Ricky Gervais and Jimmy Carr, before the F-bombs started raining down.
Try as I might, I find it hard to feel all that sorry for Barrymore, despite his troubled past and the undoubted trauma of coming out as gay late in his life (in 1995, during a drag night in an east end boozer, as it goes). Im just someone who can never separate the on-screen lovable, chirpy, cheeky Barrymore persona with the body in the pool. No mystery there.