The Past Month on TV #15

It’s been a busy old month in front of the TV here at 100 Films HQ, and I’m not even going to cover all of it (I find myself with nothing to say about the five episodes of Arrow and The Flash I watched this month). For some kind of semblance of order to what follows, it’s split into “new stuff” and “old stuff” (plus the usual “other stuff” and “missed stuff” at the end).

24: Legacy (Season 1 Episodes 1-4)
24: LegacyPreviously on Twenny-Four… There may be no Jack Bauer, the new font for the clock may be bizarrely wrong, and the on-screen text may have abandoned the familiar golden yellow for a soft blue, but everything else about Legacy is same old, same old. If you remember it from 24, it’s here: the suspicious bosses, the scheming associates, the moles, the people accused of doing something bad who are obviously going to be innocent, the heroes going rogue and having to sneak around under the noses of people who are probably good but can’t be trusted right now, the implausible use and abuse of real-time, the unrelated subplots that are obviously going to be related eventually… even CTU’s ringtone is the same. So too is how its directed: split screen is kind of baked into the format, but everything’s hand-held and shot as if people are being spied on. Once upon a time 24’s look was innovative, but that was over 15 years ago. It’s not quite dated looking yet, but it’s no longer slick and modern either. Much like the entire show, to be honest. It’s nothing new, and nor is it a return to form — it’s just more of the same, but without the old leading man. Personally I don’t miss Bauer all that much (for me the format was always the star), but I do lament the complete lack of any attempt at innovation.

Broadchurch (Series 3 Episodes 1-3)
Broadchurch series 3DI David Tennant and DS Olivia Colman (or whatever their characters are called) return after the much-criticised second series for a third run that represents a blazing return to form. Nearly every police drama on TV is always about murder, but here our committed coppers are faced with something that seems harder to prove, and all the more distressing and divisive for those involved: a sexual assault. The series was apparently put together with extensive advice from expert organisations, which means on occasion it almost tips a little too far into factual territory, like a “this is how it’s done in real life” dramatisation. Fortunately screenwriter Chris Chibnall is better than that, quickly focusing on how it affects the characters, and on building the mysteries that will fuel eight whole episodes. Suspicion abounds, but if Broadchurch’s first series proved anything it was that everyone can guess the culprit before the end without it undermining the effectiveness of the drama. I think we’re a ways from that point yet, though…

The 89th Academy Awards
The Oscars 2017Best. Oscars. Ever! Oh, I bet it was horrendous actually being there having to deal with that ending, but my goodness, as a viewer it was fantastic. It couldn’t’ve been more dramatic if you’d scripted it. Imagine how terrible it could have been, though — if Moonlight had been forced to cede the win to La La Land, for instance (that would’ve sent #OscarSoWhite into overdrive), or if it had been in a category with a sole winner, who in the middle of their no-doubt-tearful acceptance speech was informed they hadn’t won after all and had to embarrassedly hand the statuette over to someone else… But no, it turned out OK. Well, not so for the La La Land guys, but for everyone else, yeah. And the rest of the ceremony wasn’t half bad either. Jimmy Kimmel was the most confident and capable host for bloody ages (and I say that as someone who enjoyed the likes of Neil Patrick Harris and Hugh Jackman) — if the show’s producers know what’s good for them, he’ll be the new regular host.

Luther (Series 4)
Luther series 4The recent news that Fox have scrapped plans for a US remake of Luther (because they couldn’t find a lead actor good enough to replace Idris Elba) reminded me that I never got round to watching the original version’s last series, this two-parter that aired back in December 2015. I can see why feeling unable to cast anyone as engaging as Elba would lead them to abandon their remake, because there’s not all that much special about Luther outside of its lead. Some people talk about it as if it’s among the forefront of the Quality TV era that we’re currently blessed with, but that’s just a bit daft — much like the programme itself. It doesn’t know it’s daft — it’s all very serious — but it is daft, really. Sure it’s dark, and sometimes kinda scary, and certainly grim, but its realism quotient is way low. It has much more in common with the overblown heightened world of, say, Sherlock than it does with, say, Elba’s previous great TV drama, The Wire. Anyway, the fourth series (if you can call two episodes a series) continues in much the same vein, as Luther’s dragged away from a leave of absence to help track a cannibal serial killer, while also trying to ascertain who committed the supposed murder of his super-villain girlfriend. Yeah, what a grounded and gritty show this is. Still, if you can stomach its gory pessimism, it’s largely entertaining.

Peaky Blinders (Series 1)
Peaky BlindersI’ve been meaning to get round to this since it first aired back in 2013, and for whatever reason now was the time (partly it was brought to mind by writer Steven Knight’s new dark period drama, Taboo). For thems that don’t know, it’s the saga of the eponymous gang, who ruled the streets of Birmingham in 1919, and their plans for expansion into other forms of business, both legitimate and otherwise. There’s a compelling lead performance from Cillian Murphy as the gang’s feared war veteran leader, but he’s surrounded by a strong ensemble, including the likes of Helen McCrory as his formidable aunt, who ran the business while all the lads were off in the trenches, and Sam Neill as the Northern Irish copper sent to Brum to retrieve some stolen munitions. It functions by turns as both a gripping underworld thriller and character study of violent men, on both sides of the law. I hear future series are of even higher quality, which is something to look forward to indeed.

Twin Peaks (Season 1)
Twin Peaks season 1“She’s deadwrapped in plastic!” With those immortal words (not the first lines, but never mind) a TV phenomenon was born, and a whole new era of television slowly began. Buffy the Vampire Slayer turned 20 this month and the Guardian ran a piece on how it (not, say, The Sopranos or The Wire) was the birth of TV-as-art. I love Buffy, but c’mon — even if we limit ourselves to ongoing US network drama series, Twin Peaks definitely got there first. Leaving aside its place in TV history, it’s a mighty fine drama, with co-creator David Lynch operating at his most accessible, yet still undoubtedly odd, in a story of an ordinary-looking small town with innumerable dark secrets lurking just out of sight. It’s at times hilariously funny, nightmarishly scary, unashamedly trashy, and absolutely gripping. At least so far — season two is notoriously less-good. Well, I’ve never watched it before, so I’ll find out for myself next month.

Also watched…
  • Death in Paradise Series 6 Episodes 7-8 — the first episodes with new lead Ardal O’Hanlon seemed divisive, but I like him. Hopefully next year they can come up with some fresh new plotting to match their fresh new star.
  • Elementary Season 5 Episodes 10-13 — by the end of this season there’ll be exactly twice as many episodes of Elementary as there are canonical Holmes stories.
  • Let’s Sing and Dance for Comic Relief Series 1 Episodes 1-2 — oh, no. Despite everyone’s best efforts, the format just isn’t as good as plain ol’ Let’s Dance for Comic Relief.

    Things to Catch Up On
    The Americans season 5This month, I have mostly been missing the penultimate season of The Americans, which is two episodes in Stateside (no idea if there’s still a UK broadcaster; at this point I’m not sure it matters). Long-time readers may recall I like to save up The Americans and watch it binge-ish-ly once the season ends, which is a very rewarding way to watch such an intricately-constructed programme. The downside is that means I’m still a couple of months away from getting to find out what happens this year in “the best drama on television”. I bet it’ll be good, though.

    66 days until new Twin Peaks

    Next month… the final Defender: Iron Fist is released tomorrow. I’ll review it next month (obviously — I mean, this is the “next month” section.) Also! The first episode of the new series of Doctor Who.

  • 100 Films @ 10: Favourite TV Series of the Last 10 Years

    This may be a film blog, but you’d be a fool to deny the rise in quality and significance of TV series in the past couple of decades, to the point where a lot of mainstream TV is arguably of higher quality than mainstream movies. So it seemed only appropriate to include it in my celebration of the last ten years.

    We’ve all heard about how we’ve reached ‘peak TV’, and with so much television we’ve all missed something we should’ve caught — many things, probably (my list of “stuff I haven’t seen any/enough of” would probably be longer than this one). Nonetheless, here are ten of my favourite TV series that were on at some point during the last decade.

    10
    The Great British Bake Off

    There are all sorts of prestigious dramas I could’ve put in this position — things I’m much more likely to revisit, too — but there’s more to TV than that. Just because we’re not going to buy something in a box set and critically (re)analyse it for years to come doesn’t necessarily mean it has no value. Of course, if you don’t get the appeal of Bake Off then I’m not sure anyone can explain it to you. I mean, who could’ve predicted that a bunch of people in a tent baking cakes while a pair of comediennes make gently naughty puns would become the biggest thing on British TV? If that makes it sound undramatic… it is. Well, apart from bingate. But that’s actually why it works so well (and why so many people actually hated all the fuss provoked by the aforementioned dumping of a baked Alaska) — it’s just lovely. And surprisingly entertaining with it. Or it was until the producers got greedy and shuffled off to Channel 4, potentially shattering the alchemical mix that made the show work. Oh well.

    9
    Detectorists

    This understated BBC Four sitcom about the lives of a group of people who enjoy metal detecting (a hobby whose participants are not “detectors”, they’re detectorists) is quietly one of the best comedies on TV in recent times, both very funny and rather touching. Starring, written, and directed by Mackenzie “Gareth from The Office” Crook, it’s nothing like that series and all the better for it. It also includes a great performance from co-star Toby Jones, whose Lance starts as a somewhat-pathetic supporting turn but reveals many layers by the end.

    8
    Mad Men

    The critically-acclaimed story of ad men in ’60s New York, Mad Men is a rich and frequently abstruse drama that on the surface looks almost soapy but quite clearly is nothing so shallow. It works best in the long run, slowly accumulating character moments and events in ways that pay off down the line, resulting in some stunning scenes and episodes. It’s only so low on this list because it seemed to waver a bit in later years, and I’m still not sure how I feel about its ending. (On the bright side, it didn’t go thoroughly off the rails like, say, Dexter.)

    7
    Outnumbered

    At the risk of sounding like one of those music groupies who are all “I liked their early stuff, before they got famous,” I remember when Outnumbered was buried late at night and it seemed like no one watched it, but those of us who did hoped against hope for a second series because it worked so well. It later morphed into a mainstream staple, but deservedly so — its semi-improvised “kids say the funniest things” format created a veracity that even the best scripted sitcoms fail to match. As the kids have grown it’s become more traditional, I suppose, but retained a smart eye for the absurdism of real life.

    6
    Romanzo Criminale

    Little seen in the UK (or anywhere outside Italy, perhaps) because it was buried on Sky Arts just as the craze for European crime TV was taking off, this Italian gangster saga is consequently an underrated specimen of quality continental drama. Telling one epic story across two seasons and 22 episodes, like many of the best series its effectiveness comes less from individual episodes and more from the way events and complexities build over time. Fortunately Arrow have released it on DVD, so anyone with curiosity (and a spare £30) can see what they’ve been missing.

    5
    Sherlock

    Apparently Benedict Cumberbatch’s interpretation of the Great Detective is the most popular British TV character in the world now. I guess that’s in spite of the criticism the series has regularly attracted across its last two runs. Of course, the ratings continue to be massive, so it must be doing something right. The idea of updating Holmes and Watson to the present day seemed foolhardy at first, but with a clever attention to the canon, a raft of cinematic visual tricks, and a top-drawer cast, they made something that worked really rather well. There are a couple of duff episodes, true, but I think they’re more than outweighed by the successes. Hopefully said success — which has helped propel the leads into the realm of movie stardom — won’t prevent us getting more in the future.

    4
    Torchwood: Children of Earth

    Doctor Who’s ‘adult’ spin-off had a rocky start when it first launched in 2006, with a series that had been rushed into and through production and resulted in a few… iffy decisions. The second season improved its consistency, and those two original runs certainly have their fans, but it really got good when it changed its format for this third run. Children of Earth is an almost-standalone five-episode miniseries about an alien race coming to Earth and demanding we hand over all our children, with a fantastic performance from future Doctor Peter Capaldi as a politician embroiled in the discussions about whether to appease them. Torchwood would return to its muddled quality with the attempt at a follow-up miniseries, US co-production Miracle Day, but for five nights in the middle of 2009 it was one of the very best sci-fi miniseries ever produced.

    3
    Doctor Who

    Every era of Doctor Who has its ups and its downs, its fans and its detractors. For example, every five-or-so years Doctor Who Magazine runs a reader survey to rate every story in the show’s history out of 10, and every single story gets at least some 10s, and all but one or two get some 1s as well. Nowhere are these extremities better exemplified than season 21, which ends with The Caves of Androzani (the #1 story in DWM’s 2009 poll) followed by The Twin Dilemma (perpetually placed last in pretty much every poll ever). But for the purposes of this list we’re talking about the revived show’s third series (the first one without Billie Piper) through to the most recent Christmas special (the one with a superhero). That encompasses the beloved and divisive second half of the David Tennant/Russell T. Davies era, as well as most of the divisive and beloved Matt Smith/Peter Capaldi/Steven Moffat era. For my money, any series that can produce the likes of Human Nature/The Family of Blood, Blink, the climax of Utopia, Time Crash, Voyage of the Damned, Midnight, Turn Left, The Waters of Mars, The Eleventh Hour, The Time of Angels/Flesh and Stone, Amy’s Choice, Vincent and the Doctor, A Christmas Carol, The Doctor’s Wife, The Girl Who Waited, Hide, The Crimson Horror, The Day of the Doctor, Listen, Mummy on the Orient Express, Flatline, The Zygon Invasion/The Zygon Inversion, and Heaven Sent deserves a spot in my top ten.

    2
    The Americans

    A couple of weeks ago, US network FX released a trailer for The Americans’ forthcoming fifth season that unashamedly celebrated its increased critical standing, with quotes from half-a-dozen or so media outlets expressing the same fundamental sentiment: it’s “the best show on television”. It’s about a pair of Russian spies operating undercover in the US in the ’80s, who also try to maintain some kind of normal family life with their two teenage kids — who don’t know their parents are spies. Oh, and the FBI agent who’s hunting for them has just moved in over the road. Sounds kind of hokey put like that, but in practice it’s anything but. And like several other shows on this list, it works best in the long term, as things build, echo, and characters have to deal with long-brewing consequences. It works as a spy thriller, but also as a character-driven exploration of what makes people tick. There are just two seasons left to go, both commissioned (thank goodness), and if they can just stick the landing it’s surely destined for a place in lists of all-time greats. So why isn’t it my #1? Well…

    1
    Game of Thrones

    Here’s another show whose place in the all-time pantheon is sure to be claimed or dashed by how it ends, a point which is also exactly two seasons away — what are the odds? Of course, even if it ballses it up, Thrones’ legacy is assured in some ways: it’s basically the biggest TV show in the world right now, certain to remembered as a cultural touchstone of the 2010s. I’ve given it the edge on my beloved Americans primarily for two reasons: the penultimate episode of the last season, and the last episode of the last season (which I wrote about at greater length here). To summarise, they’re two of the greatest individual episodes of TV ever made. Thrones does all the long-brewing cumulative stuff too, but there’s nothing else on TV that can pull off a satisfying Big Moment in quite the same way.

    Tomorrow: back to the movies… the bad, bad movies…

    The Past Month on TV #14

    After last month’s bumper-bonus TV review (with three major series to review, plus a couple of big specials), the past four weeks have been pretty quiet. I’ve certainly watched stuff, just very little of it feels worthy of comment.

    Nonetheless, there was this:

    The Missing (Series 2)
    The Missing series 2While everybody’s busy fawning over Happy Valley (never watched it) and Line of Duty (series one was quite good; I need to catch up), I reckon The Missing is one of the best dramas British TV has produced in a good long while. The second series (which aired towards the end of last year over here and, coincidentally, started last Sunday in the US) is every bit the equal of the first, and possibly even better — and considering how good the first was, that really is an achievement.

    Featuring a brand-new case (what with the first one having been resolved), sibling screenwriters Harry and Jack Williams have this time made their story and scripts even tighter, partly in awareness of the scrutiny fans exacted upon the first run. What that means in practice is every mystery has an answer; nothing is thrown away, nothing is a mistake. That’s even more impressive given some of the audacious twists they pull off, which I shan’t spoil here.

    As well as the enjoyable plot theatrics, the emotional lives of the characters are as on point as ever. Maybe none are quite as effective as the toll exerted on James Nesbitt’s character in series one, but the cast is arguably more well-rounded beyond a sole lead. Talking of which, the only major returning character, Tchéky Karyo’s detective Julien Baptiste, is even more central this time, which can only be a good thing because he’s a top character expertly brought to life. The writers agree: while a third series of The Missing is contingent on them having a good idea for a story, they’ve talked about potentially conjuring up a Baptiste spin-off instead.

    I’ve recently been thinking about my favourite TV series of the last ten years. There are rather a lot of contenders, considering the golden age of “peak TV” we’re currently living through. Frankly, I’m not sure if The Missing will quite crack the top ten, but it’s definitely in the conversation.

    The British Academy Film Awards 2017
    The BAFTAs 2017aka the BAFTAs, obv. I have to say, I thought it was a pretty dull show this year. For starters, Cirque du Soleil — impressive, but what’s it got to do with the last year in film? Why did no one write Stephen Fry some good material for his opening monologue? Then there were the awards themselves. Short on surprises — the big prizes went where expected, the smaller ones erred British. None of the American winners are committed to giving a decent speech here because they’re saving it all for the Oscars. Well, apart from the Kubo guy — he knows his award is going to Zootropolistopia next fortnight and so he gave us his best stuff. Good on him.

    Also watched…
  • Death in Paradise Series 6 Episodes 2-6 — Caribbean murder.
  • Elementary Season 5 Episodes 4-9 — Sherlockian murder.
  • The Flash Season 3 Episodes 10-11 / Arrow Season 5 Episodes 9-11 — not much need to investigate the murders here, as the heroes are doing them half the time.
  • Who Dares Wins Series 9 Episodes 5-6 — they’ve had to cut out the National Lottery bits now they’ve dropped that from TV, and they’re shunting it around the schedule like an unloved heirloom they’ve committed to display but really rather wouldn’t… and it is a kind of terrible show, really… but the lists, man, they keep me coming back. #addict

    Things to Catch Up On
    LegionIt must be a slow time for TV — I don’t even feel like I’ve been missing all that much. Well, X-Men spin-off Legion recently started and I haven’t got round to that yet, and 24 spin-off / sequel / continuation 24: Legacy started in the UK last night, so I’ve barely had a chance to watch it (I’ll have something to say about that next month, then). So I really have no excuse for not watching Westworld yet. Oh, and I need to get on with starting my long-planned re-watch of Twin Peaks, because there are only…

    94 days until new Twin Peaks.

    Next month… the final series of Broadchurch begins.

  • The Past Month on TV #13

    When I started this TV coverage almost a year ago I promised short reviews, but with three major releases falling under its purview this month — plus a big crossover and the best thing that was on TV this Christmas (and sundry other bits to mention too) — I find myself with quite a bit to say…

    A Series of Unfortunate Events (Season 1)
    A Series of Unfortunate EventsI’ve never read A Series of Unfortunate Events, the 13-book cycle of faux-gothic novels by Lemony Snicket that recount the terrible lives of the Baudelaire orphans as they are stalked by the scheming Count Olaf. I am, however, a verified fan / defender of the 2004 movie adaptation (I even included it in my 100 Favourites series last year) — one of few, it seemed, because the movie wasn’t a huge hit and, though it only adapted the first three of the books, no sequels were forthcoming. So I was most excited when it was announced Netflix were re-adapting the books for the small screen — and, fortunately, the new version turns out to be (aside from a few wobbles) a veritably fine drama.

    The biggest of those wobbles is getting started. The series has a very particular tone and style, and that does take some getting used to. Indeed, some people will never click with it. You may well have already heard it described as “a cross between Wes Anderson and Tim Burton”, a summation which I’m afraid can’t be improved upon or reasonably substituted with another because that is precisely what it is like. If you do decide to sample the programme (assuming you haven’t already, because if you already have then any advice about what you should consider doing if you do watch it would be inherently pointless because you already have), I would recommend treating the first two episodes as a feature-length double-bill. Although delightfully structured to serve as individual segments (there’s a nice surprise at the end of episode one, even if you’re familiar with the story from other media, and a cleverly staged recap/flashback at the top of episode two), I feel like it might take the full opening story to completely settle into the tone and style the show is shooting for and — I think, on balance — hitting.

    One of the big points in its favour are the scripts, which are infused with wit — not just gags in the dialogue, but at times the very structure and construction of the piece.* It also makes good repeated use of one of my favourite comedic techniques, unnecessary repetition, as well as making good comedic use of one of my repeated favourite techniques, unnecessary repetition. I suppose one might describe the style as arch, and that will not be to all tastes, but it was to mine. A lengthy sequence in episode two dedicated to explaining the difference in meaning between “literally” and “figuratively” certainly helped sway me. It’s delivered by Snicket himself, who, in the form of Patrick Warburton, regularly appears on screen to elucidate and comment upon events. I wasn’t sure of Warburton’s casting at first, but he leaves behind the kind of likeable dullards he usually plays to nail Snicket’s verbose, florid declarations and keen intelligence.

    Creepy Count OlafAs Olaf, Neil Patrick Harris has the difficult task of being both comically inept and genuinely menacing, as well as appearing in any number of disguises (well, four). Opinion seems divided on whether he manages this better than Jim Carrey in the film, but, well, that’s opinions for you. Personally, I thought he was very good. The extra screen time here (what was done in 108 minutes of film is granted 299 minutes of TV) means he has to work at a different level and pace to Carrey, and I think there are multiple moments where he nails it. Similarly, some may think the child actors are guilty of vigorously flat delivery of their lines, but I think this is just another aspect of the Wes Anderson-esque style — as the viewer (and, possibly, the cast) become more accustomed to the material, so the quality of the performances (and/or the perception thereof) improves.

    Another thing I want to mention is its pacing as a TV series. Netflix’s usual all-at-once release strategy encourages binge-watching, this we know, but it also encourages what I’m going to call “binge storytelling” — that is, series that are designed to be viewed in their entirety, like very long movies. Maybe it shouldn’t be surprising that Unfortunate Events breaks this mould (it’s adapted from four novels, so not being one long story is inherent), but a viewer might naturally expect the season’s eight episodes to consequently play like four movies split into halves. Not so. Rather, it plays like a series made up of two-parters. That’s a very fine distinction, perhaps, but there is a difference. To try to explain what I’m getting at from another angle: it isn’t structured as four movies that have had to be split in two to fit the format, but as eight one-hours where each pair present a change in location and guest cast, even as several narrative threads flow across them all. See? Well, don’t worry if not. Instead, just enjoy the theme song — which changes slightly every episode, therefore encouraging that episodic viewing. I’ve found it to be a total earworm. Look away! Looook awaaay!

    The sorry seafrontI think most would’ve thought A Series of Unfortunate Events was dead on screen after the film, but this series (and the reaction to it) suggests Netflix have been vindicated for deciding to revive the property. Let’s hope they have the common sense to do the right thing and commission the two more seasons needed to complete this sorry tale. In the meantime, I’m very favourably disposed to read all the books…

    * Incidentally, fun game on social media / comment sections: spot the people who are utterly baffled why both screen adaptations of Unfortunate Events have treated it so comically. Seems some people didn’t get the joke when they were kids. ^

    Sherlock (Series 4)
    Sherlock series 4Sherlock comes to an end (for now) with another variable and divisive series. That’s actually the way it’s been received ever since the start (for all the people who think it only lost its way in the third run, there were plenty who slated various parts of it during the first and second series too), so I don’t think we should be so surprised. For my part, I enjoyed it on the whole.

    Opener The Six Thatchers seems to be widely despised, though for the life of my I can’t work out why. Okay, there’s the death at the end, but that was a somewhat inevitable eventuality and it’s fairly well handled. If you’re going to write off something just because it kills off a character you like… well, you need to grow up, frankly. I’m sure that’s not the only reason there are people who dislike the episode, though. Personally I enjoyed all the espionage action stuff. Sherlock has always been about adventures rather than cases and this is surely in-keeping. Anyway, it’s not a perfect episode, but it’s certainly not worse than, say, series one’s The Blind Banker.

    The Lying Detective also has its detractors, but on the whole was much better received (seems to be people who hated Six Thatchers enjoyed Lying Detective and vice versa, as a rule). Between Toby Jones’ excellent, creepy performance, the riffs and reflections of certain real news stories, and the well-done adaptation of a memorable Conan Doyle original, plus the series’ visual and narrative tricks being executed just about as well as ever, I’d actually argue it’s one of the programme’s very best episodes.

    But then we come to the finale, The Final Problem, which is (if you’ll excuse the pun) a problematic tale. Bits of it work magnificently, like Moriarty’s arrival and the Molly scene, but other sections are severely lacking in logic (even allowing for the heightened world of the show) or are inert — ironically so: Sherlock, John, and Mycroft spend the middle of the episode moving, but as they’re just being led from game to game it comes to very little end. It feels like it needed a good script editor to give it a going-over and give it a clearer impetus. And as for the finale, with the magically-timed arrival of another DVD from Mary… ugh. The idea behind the final montage is nice, but why not have, say, Mrs Hudson narrate it?

    Rathbone PlaceSherlock’s commitment to being a fast-paced, audience-challenging adventure drama that strives to be constantly engaging and entertaining is definitely commendable, and a welcome contrast to much of the slow, dour TV drama we tend to produce over here — even if the end result is sometimes messy or unpopular. With events in-show leaving our heroes reset to a more familiar Holmesian situation, here’s hoping the big-name cast can be tempted back for a few more adventures in a couple of years.

    Gilmore Girls: A Year in the Life
    Gilmore Girls: A Year in the LifeNine years on and Gilmore Girls graduates from being considered a twee comedy-drama on disparaged network The WB to a major cultural event, thanks to it being produced for the arbiter of all modern televisual culture, Netflix. Instead of 22 42-minute episodes of network TV we get four feature-length instalments, though it’s still very much a series: the pros and cons are shared across the board.

    Pros: at its best it’s still funny, quick-witted, kooky, and sometimes even emotional. It’s a nostalgic visit to old friends, with a nice line in surprise cameos from old characters (even if you know they’re in it, most of them suddenly appear in a scene, hence “surprise”). Cons: at its worst its hero characters aren’t wholly supportable and its narrative choices come overburdened with thematic tin-eared-ness. I’ve always liked that the characters aren’t as perfect as they think they are, but I’m not sure the show knows the characters aren’t as perfect as it thinks they are. It’s hard to know exactly how deep the delusion goes: character-deep, which is kinda clever and maybe even more sophisticated than some people give the show credit for; or writer-deep, which is a little… sad? Unfortunately, there’s plenty of evidence it’s the latter (we’re constantly told of Rory’s prior success but see little evidence to suggest she’s actually capable of it).

    Still, what the show sometimes lacks in realism (be that social or psychological) it makes up for with its fast-paced pop culture banter (not always as on display here as normal, I must say) and delightful kookiness. In the latter camp, an extended selection of songs from Stars Hollow: The Musical seems to get a lot of flack, but I thought it was a consistently amusing highlight. Yes, it’s an over-long aside from the main action, but that’s the kind of thing you can do when you’re given double-length episodes and creative freedom. Conversely, the finale goes overboard with this increased liberty.

    Final four wordsBizarrest of all is the problematic ending. Thematically, A Year in the Life begins to look like it might be about moving on, new horizons, that kind of thing — indeed, I kind of expected it to end with Lorelei moving out of Stars Hollow. But the climax — the infamous final four words… well, you could see the development as a signal of a fresh start (very literally, new life), but it doesn’t play that way. Given Rory’s personal story (her career and relationships falling apart) and situation (single, living at home), it’s less a new path forward and more a depressingly regressive loop. If you’re interested in a fuller dissection of these issues, allow me to recommend this review and, in particular, this discussion at The Verge, which both have a pretty good handle on it in my opinion. And if you want a way to reconcile the early cute perfectness with the divergent behaviour of characters as the series rolls on, this fan theory from Cracked is imperfect but fun.

    A Year in the Life is never Gilmore Girls at its best (there are highs, but most work thanks to “its fun to have them back” nostalgia), but it does reflect the show at its worst. Flawed characters are great for drama, but only if the show is aware of their flaws. Lost amongst all its zany fun, I’m not convinced Gilmore Girls actually understands its protagonists as well as it thinks it does.

    Peter Pan Goes Wrong
    Peter Pan Goes Wrong
    Christmas seems so long ago now, doesn’t it, but it’s okay: the best thing that was on TV during the festive season isn’t all that Christmassy, and if missed it and you’re in the UK it’s still available on iPlayer for a little while yet. If you’re outside the UK, I don’t know if there’s anywhere you can see it (legally), but it’s worth seeking out. Based on the stage show, it does what it says on the tin: it’s about an amateur production of Peter Pan that goes wrong. Farcically, hilariously wrong. It’s the kind of thing that’s far, far funnier than you feel it should be — and I know I’m not alone in saying this because it went down a storm on Twitter too. And the theatre company that originated it have several other shows — here’s hoping the BBC make them a Christmas fixture.

    The Flash / Arrow / Legends of Tomorrow Invasion!
    Arrowverse - Invasion!
    The Arrowverse’s three-night crossover masquerading as a four-night crossover (Supergirl had one scene, which they repeated in Flash anyway) was certainly a hit for The CW in terms of ratings. Quality-wise… well, it was about on a par with the individual series as a whole, which is to be expected I suppose. It was quite neat that the episodes of Flash and Arrow managed to feel like instalments of their own show as well as part of the crossover — especially Arrow, which was also marking its 100th episode — though that was to the detriment of the overarching story: the alien threat that drove the piece was occasionally sidelined, then hurriedly wrapped-up in a frantic final episode. That last part was ostensibly an instalment of the less-popular Legends of Tomorrow, but their regulars only had a little something to do before being shoved aside in favour of characters from the more popular shows. As I don’t watch Legends anymore I can’t say it bothered me, but I almost felt bad for them. I presume there’ll be another such crossover next season, but hopefully next time they’ll fully embrace it: focus on giving adequate time to the story that brings them all together, rather than trying to concurrently maintain the series’ individuality.

    Also watched…
  • Elementary Season 5 Episodes 1-3 — you can never have enough Sherlock Holmes.
  • Outnumbered 2016 Christmas Special — another contender for the best comedy of the season. I liked that it wasn’t a big-fuss return, just another vignette from the lives of the Brockmans.
  • Vicious Series Finale — conversely, this was as odd and kind-of-funny / kind-of-terrible as it always has been. A fitting way to end, then, I guess.

    Things to Catch Up On
    TabooThis month, I have mostly been missing Taboo, the BBC’s dark new period drama starring Tom Hardy and written by Steven Knight. I’m sure I’ll get round to it soon, but then I’ve been saying that about Peaky Blinders (you know, the BBC’s dark period drama written by Steven Knight and sometimes starring Tom Hardy) for years and still haven’t even started it. Its scheduling on BBC One on Saturday nights feels thoroughly at odds with how it looks (surely midweek BBC Two?), but putting a proper drama on our highest-profile channel on its highest-profile night seems to have been a popular move, so what do I know?

    120 days until new Twin Peaks

    Next month… Studio Ghibli’s first TV series comes to Amazon Prime… but it’s quite long and it doesn’t look that good, so I’m not sure I’ll bother.

  • The Last Dragonslayer (2016)

    2016 #195
    Jamie Stone | 101 mins | download (HD) | 2.00:1 | UK / English

    The Last DragonslayerI’m not sure whether to commend or condemn Sky1 for having the balls to schedule a light family-friendly fantasy drama against Doctor Who on Christmas Day — that seems like damning yourself to low ratings. But then Sky never exactly stands at the pinnacle of the charts, and, in the catch-up-driven landscape of modern TV, does it even matter? I mean, as if to show their disregard for schedules, the premiere broadcast was actually at 3am the night before.

    Anyway: adapted from the novel by Jasper Fforde (the first in a series, as will eventually become clear), The Last Dragonslayer is the story of Jennifer Strange (Ellise Chappell), a teenage orphan living in the Ununited Kingdom (a name never uttered on screen, perhaps for fear of looking like political commentary in the current climate). This is an alternate-world Britain where magic exists but is on the wane — it’s powered by dragons, but they’re dying out; besides which, the public have become more enamoured with things like technology and supermarkets. Adopted by the kindly wizard Zambini (Andrew Buchan), Jennifer learns about the importance of magic, and the importance of dragons to magic, which is a bit of a problem when the country’s seers have a mass vision that the last dragon will be slain on Sunday, and shortly thereafter Jennifer discovers her long-prophesied role as the last official dragonslayer.

    Jennifer StrangeAbout now you’re probably thinking The Last Dragonslayer is completely derivative of every other major young-adult fantasy franchise of the last… well, forever. It’s hard to deny that the plot is, at least in its broadest thematic strokes, a pretty familiar affair. What makes the enterprise worthwhile is its humorous execution. This isn’t a spoof of the genre, more a satirical mash-up of familiar fantasy building blocks and modern life. So, for example, the king’s chief knight is also a pop star, followed around by a gaggle of adoring female fans; when Jennifer finds herself in need of money, her dragonslaying assistant signs a sponsorship deal with soft drink brand Fizzipop that requires her to film an advert, make at least two promotional appearances, and wear a branded T-shirt until the dragon is slain. It’s this whimsical slant on our world that is arguably Dragonslayer’s most successful aspect.

    Another would be its characters. Chappell makes Jennifer a capable hero without having to resort to the kind of self-serious moping that dogs so many current young adult leads (Katniss, I’m looking at you). Buchan also gets to move away from the moping that’s so often called for in series like Broadchurch, making the affectionate, skilful Zambini an easily likeable character within just a few deceptively simple scenes. Without meaning to spoil the plot, he’s not in it enough. The slack is taken up by the likes of Pauline Collins and Ricky Tomlinson as a pair of batty magicians, Matt “Toast” Berry as the immature monarch, and Anna Chancellor as the smarmy corporate head of supermarket giant Stuff Co. The only weak like for me was Richard E. Grant as the voice of Maltcaisson, the last dragon — it just didn’t feel like he had the vocal presence to be playing a huge majestic beast. But not everyone can be John Hurt or Benedict Cumberbatch, I suppose.

    Dragon breathI guess The Last Dragonslayer’s irreverent, sometimes silly tone won’t be to all tastes, but I enjoyed it very much. Unsurprisingly (all things considered) the book is the first in a series, and so not everything is fully resolved by the film’s end. Let’s hope that, in spite of their scheduling, it’s done well enough for Sky that sequels are forthcoming.

    4 out of 5

    The Past Christmas on TV

    Christmastime: it’s all about family, food, presents, sweets, more food, alcohol, a bit more food, some kid who was born a while ago, and also food. But most of all, it’s about TV. Oh dear Lord, so much TV.

    Is it just me and my insanely broad and forgiving interests, or has there been more TV to watch this Christmas than normal? Every day in our copy of the Radio Times’ “legendary” Christmas issue seems alight with highlighter markings, an endless parade of visual entertainment to… well, to add to the list of stuff to watch later on catch-up, mainly. But I did actually watch some of it, and here is what I thought.

    Doctor Who The Return of Doctor Mysterio
    Doctor Who: The Return of Doctor MysterioThe controversial Steven Moffat era of nuWho is headed towards its end, but before his final full series next year there’s this penultimate Christmas special. There have been 12 of them now and they’re always divisive: some people think they’re too Christmassy, some that they’re not Christmassy enough; some like that they’re standalone adventures suited to a broader audience, but other times they’re not standalone enough… Each year presents a different mix of these elements, pleasing some and alienating others.

    This year, Doctor Who taps into the zeitgeist by finally tackling superheroes, with a riff off classic-styled Superman. Personally, I thought it was the best Christmas episode for years — a fun, exciting, witty, entertaining romp, that captured the tone of the superhero genre but gave it Doctor Who’s typical gently-irreverent spin. The tone was perfectly suited to Christmas day.

    But was there too much or too little Christmas in it? Well, I’ve seen critics put it in their top five Who Christmasses purely because there wasn’t much Christmas, and Letterboxd fans write it off purely because there wasn’t enough Christmas. When you’re the showrunner of Doctor Who, you literally can’t win.

    The Great Christmas Bake Off
    The Great Christmas Bake Off“Proper Bake Off” came to an end with what felt a little like a joyous celebration of the series’ unique charms, as well as its highs and lows. Considering the two festive episodes were shot before the controversial move to Channel 4 took place, that’s almost impressive. It’s hard to imagine GBBO without the alchemical mix of Mel, Sue, Paul and Mary, and these episodes showed the format on fine form. And then the BBC went and snuck in that perfectly-edited 60-second tribute to the whole thing. Who knew a programme about baking cake could be so good? Or make some people so emotional

    Bob Monkhouse: The Last Stand
    A few months before his death in 2003, Bob Monkhouse gave a one-off gig to an invited audience of fellow comedians which has apparently gone down in comedy legend. I’d never heard of it before, but there you go (I had the same thing with the joke in The Aristocrats and its alleged notoriety, so I won’t say I’m surprised). This was the first time that gig has been televised in a full form, and I confess I’d paid it no heed until it was trending on Twitter. Thanks for that recommendation, Twittersphere, because it’s a very good show: Bob tells jokes, tells stories, and interviews Mike Yarwood in front of an admiring audience who aren’t aware it’s probably his last gig — but, with that hindsight, the themes of sharing a lifetime of wisdom and finding contentment are obvious.

    Grantchester
    GrantchesterThe problem with Christmas specials of on-going shows is you’re sometimes left with on-going plots that must be acknowledged, and Grantchester has a particularly major one with its hero’s life-long love leaving her husband while pregnant. If you don’t watch, it’s set in the ’50s, so this kind of behaviour is the greatest scandal known to man. The special leaps into this without even the by-your-leave of a “previously on”, so I pity any non-regular viewers made to sit down in front of it on Christmas Eve. But it’s an immensely popular show with big ratings, apparently, so who can blame ITV for wanting it in their always-underpowered Christmas schedule? I imagine it fared better than Maigret did the next night…

    Revolting Rhymes
    Revolting RhymesThe team behind previous Christmas specials The Gruffalo, Room on the Broom, and Stick Man returned this year with a two-part adaptation of Roald Dahl’s retold fairy tales. Dahl’s individual tales have been intelligently remixed into a pair of stories (one per part, of course), with a framing narrative that actually contains a neat cliffhanger twist at the end of part one. Maybe it just caught me unawares because I wasn’t expecting it, but I thought it was very effective. Anyway, Dahl’s witty rhyming couplets are retained, delivered by a well-chosen cast, not least Dominic West as a smooth, charming, suspicious Wolf. The claymation-ish visual style of the CG animation is familiar from the makers’ previous films, but as polished and well-applied as ever, with some beautiful details. It makes for a visual treat to equal the excellent words they have to work with.

    The Witness for the Prosecution
    The Witness for the ProsecutionI thought And Then There Were None was one of the highlights of last year’s Christmas schedule, turning Agatha Christie’s most popular novel into a dark, slasher-movie-esque thriller, the first English-language adaptation to remain faithful to the original’s glum ending. I don’t know if this year’s Christie is faithful to her original short story, but it isn’t to the play adaptation (at least as I know it from the excellent film version). It seems to have deliberately followed in And Then There Were None’s tonal footsteps, shooting for a bleak tale about the fundamental darkness of human nature. Instead it’s diluted the satisfying mystery and removed the tension, with a two-hour running time feeling ponderous and its cinematography trying for atmospheric but instead hitting murky. Some people don’t approve of Christie-esque narratives that make a guessing game out of murder, but if you want you can always write your own gloomily realistic meditation on the nature of evil rather than co-opting her work into a grim treatise.

    Comedy round-up
    WILTYThere’s always a lot of special episodes of comedy shows on over Christmas, with varying degrees of success. I thought this year’s Live at the Apollo was woeful, with Romesh Ranganathan the only truly bright spot in 45 minutes of flat observations and unfunny daftness. Conversely, Would I Lie To You? proved to be as good value as it always is, thanks to the quick wit of the regulars plus Tom Courtenay’s affected (I presume) dodderiness. Mock the Week’s clip show format was perhaps improved by the fact I didn’t watch the most recent series, while the imperfect Insert Name Here makes a nonetheless welcome return. In the comedy gameshow sub-genre, Alan Carr’s 12 Stars of Christmas was the kind of trash I’d never watch at any other time of year yet stuck with for all five hours and kind of enjoyed (helped by watching on catch-up and fast-forwarding the really repetitious bits), while the David Walliams-fronted Blankety Blank revival provided as much charm as the format ever has. And normally it wouldn’t count as comedy, but this year’s run of Celebrity Mastermind began with CBBC puppet Hacker T. Dog as a contestant. At least he didn’t win.

    Also watched… (stuff that wasn’t Christmassy)
  • Castle Season 7 Episodes 22-23 — the last episode feels very much like someone thought they might get cancelled. After the quality of this season, I don’t blame them.
  • Class Series 1 Episode 8 — it’s been an uneven series, but the tease for season two’s big plot is very intriguing. Fingers crossed for a recommission.
  • The Grand Tour Season 1 Episode 3 — in which they actually do a version of the Grand Tour.

    Things to Catch Up On
    OutnumberedMy list of Christmas TV to get round to remains pretty extensive. There are all those regular series that insert a seasonal episode — The Grand Tour (that’d be the episode with Richard Hammond’s ice cream comments that you might’ve heard about), Paul O’Grady: For the Love of Dogs, Yonderland (not that I’ve watched any of the latest series), QI, Inside No.9 (which I’ve never watched before, but the special sounds good)… And there are series coming back for one-offs too, like Outnumbered and Jonathan Creek (which I loved during its original run but have been surprisingly lax about watching in the last few years). I’ve also not yet caught a couple of this year’s animated adaptations, Michael Rosen’s We’re Going on a Bear Hunt and Raymond Briggs’ Ethel & Ernest (which I figure will count as a film). Documentaries like Lego’s Big Christmas and West Side Stories also sit on my list, likely to get forgotten. There’s Sky1’s big Christmas Day drama, The Last Dragonslayer (which I wager I’ll also count as a film); Eric Idle’s comedy musical science thing, The Entire Universe; and Charlie Brooker’s 2016 Wipe, which apparently manages to make 2016 funny (I’ll believe it when I see it). Finally, I always save Channel 4’s The Big Fat Quiz of the Year for either New Year’s Eve or New Year’s Day, because that just seems more appropriate.

    Whew!

    (And to think: this doesn’t even mention all the big specials for things I don’t watch.)

    Still To Come
    Sherlock series 4Things are beginning to wind down now… but as far as TV schedulers are concerned “Christmas” lasts until at least January 1st, so there are a couple of big hitters left. The biggest of all is a new, potentially final, run of Sherlock. No idea what the quality will be like, but expect lots of handwringing on social media and huge ratings either way. On New Year’s Eve there’s stage adaptation Peter Pan Goes Wrong, which I’ve heard such good stuff about it’s probably going to be a disappointment, and a Winnie-the-Pooh documentary that I’m going to watch even though it’s presented by Alan Titchmarsh. Next week (which you could argue is still part of Christmas if you have very forgiving holiday leave) sees lots of police shows kicking off, if that’s your thing: Death in Paradise, Endeavour, Midsomer Murders, No Offence, Silent Witness, Unforgotten… even Brooklyn Nine-Nine. And in the sphere of movies on TV, tonight you can choose between the network premiere of Captain America: The Winter Soldier on BBC One at 8:30pm and the subscription premiere of Captain America: Civil War on Sky Cinema at 8pm, an almost-double-bill (I mean, you can’t watch them both live) that I only note because of the “huh, well there you go” factor.

    Next month… Sherlock returns.

  • The Past Fortnight on TV #11

    As discussed yesterday, I’m out of the country for a fair chunk of December, including when my regular monthly TV review is due. So to placate the ravenous need for my opinions about television that you will surely feel if such thirst goes unquenched for six-to-eight-weeks, here’s what I watched in the fortnight since my last TV post.

    Crisis in Six Scenes
    Crisis in Six ScenesWhen Amazon started making a serious effort to challenge Netflix in the field of streaming original series, one of their early moves was the headline-grabbing signing of Woody Allen to create his first TV series. As has since become clear, Allen didn’t know what he was letting himself in for. To summarise his comments from various interviews (and read between the lines a little), it seems he had a view of TV that’s about 20 years out of date, and thought he’d be able to dash off something suitable between two of his annual movies. At some point he obviously realised how much more sophisticated TV has become, and coopted a movie idea he’d had on the back-burner to expand into a short TV season. Allen’s been vocal about how miserable he found this process, but I’m not sure if he’s aware that he made a rod for his own back: he essentially made three movies in two years instead of his usual two. It probably would’ve been wise to swap out one of the films for the TV series, but you get the sense that, despite having been shown TV’s burgeoned respectability, Allen’s still something of a film snob. Rather than the potential of TV coming as a revelation to him, he’s declared he won’t be making any more.

    On the evidence of the single six-episode season we did get out of him, that’s neither here nor there: Crisis in Six Scenes is just a slightly-longer-than-average Woody Allen film split into instalments. The first episode is the worst offender in this regard — it doesn’t reach a climax of any description, it just stops. The rest of the episodes aren’t as blatant (episode five’s ending even feels like it’s genuinely meant to be the end of an episode!), but none of them are particularly satisfying as a discrete segment. I’m not really one for binge-watching — I get fidgety and want a change; or if a show’s too good, I want to savour it rather than race on — but I watched all of Crisis in one sitting, because at heart it’s just a chopped-up movie. Some characters or events are confined to a single episode, but you get the impression that’s almost incidental rather than a deliberate attempt to make six finite units. The main storylines flow between episodes like the boundaries are artificially imposed — which, in a medium without the constraints of broadcast time slots and where all the episodes are released at the same time, they are.

    A scene of CrisisBut enough of the form — what of the content? This is not prime Allen, that’s for sure. At times it makes for uncomfortable viewing, when it’s hard to tell if it’s half improvised or if half the cast are just a bit doddery (and I suspect it’s the latter). Other bits do work, though, and while it isn’t massively rewarding it is amusing at times. Even less assured are some broadly political points that it seems like Allen is trying to tap into, or maybe it’s just incidental. He appears to be using the series’ 1960s setting as a mirror of the present: the plot concerns a twenty-something anti-government protestor, and there’s lots of talk about unnecessary wars, campus demonstrations, young people staging protests, rights for women and black people, etc, etc. At first blush these parallels are all well and good, but I’m not sure they develop into much more than wry observations. The best I can take from it is a result of the particularly farcical last episode, where it may be that he’s trying to say people in general should be more aware and active, like the young are — to walk the walk of political change rather than just talking the talk.

    If he was trying to spread such a message, it’s a bit buried. Maybe he was just picking on some low hanging fruit. Considering Allen’s half-arsed attitude to the whole endeavour, I guess that’s more likely. Oh well.

    The Grand Tour (Season 1 Episodes 1-2)
    The Grand TourAnother big gun in Amazon’s streaming mission, their £160 million “Not Top Gear, Honest” original series kicked off last month to widespread positive reviews and, apparently, big ratings (relatively speaking). I’m not really a ‘car person’, but like millions of others I wound up watching Top Gear during the height of the Clarkson / Hammond / May era for all the other hijinks. I thought it was going off the boil a bit even before their semi-enforced departure — I didn’t even get round to watching their last series. They come to Amazon after a short break (a long break for us, but it takes time to film these things, so, short break), and I think reinvigorated — possibly by the rest, possibly by the change of management, possibly by the huge budget.

    There’s no denying that this is their Top Gear with just a few tweaks… unless you’re an Amazon lawyer, in which case it’s a completely different show. But the freedom from being a motoring programme on a public service broadcaster means they’re not quite so constrained by that remit. Episode 2, for instance, is half given over to them attacking a military training course in Jordan, a riff on Edge of Tomorrow in which they get to play at being action movie stars, and which features cars because action movies feature car chases, not because they’re actually reviewing how the motor performs while in a high-speed chase. There are still genuine car reviews, and they’re as dull / interesting (delete as applicable) as they always were. At least they’re excitingly shot and scored (still using cues from film music, as they always have).

    Some bits are improved: the famous Star in a Reasonably Priced Car segment was always one of the weakest parts of the show (the track times were fun, but Clarkson is no interviewer), but here the need for celebrity guests is neatly pilloried. Conversely, a couple of things are weaker: their blatant attempt at a Stig replacement, The American, doesn’t really work. It’s also one of the bits that most feels “changed just enough to avoid a legal challenge”. I imagine there are only so many different ways to do a car show, so of course there are going to be similarities, but you could imagine them having done this as their next run of Genuine Top Gear (well, aside from the expense) without people thinking, “wow, they’ve completely changed the show!”

    Still, it is what it is, and if you liked it before I can’t imagine you wouldn’t like it now, maybe even a little more.

    Class (Series 1 Episodes 6-7)
    ClassThe Doctor Who spin-off that no one’s watching continues with two of its strongest episodes. A two-parter that isn’t, the first is a “bottle episode”, with most of the cast stuck in detention and forced to confess their secret feelings by an alien rock. Cue arguments. Not Class’ strongest instalment — it’s a good idea, but the characters haven’t amassed quite enough secrets over just five episodes to make it feel as cathartic as it should — but it’s considerably better than the weaker ones. Even better is the next episode, which shows what Quill was up to while the kids were bickering. A world-hopping quest (presumably paid for by saving so much money on episode 6), it has several good ideas that it burns through like they’re going out of fashion. It feels most like Doctor Who, too, which provokes no complaints from me.

    Next time: the Shadow Kin are back, again. Ah well.

    Also watched…
  • Castle Season 7 Episodes 16-21 — by sheer bloody coincidence, the night before flying from London to the US I watched the episode where Castle flies from the US to London and has to deal with a murderer and possible terrorist on his flight. Super timing.
  • The Flash Season 3 Episodes 3-5 / Arrow Season 5 Episodes 3-5 — the much-anticipated four-way crossover between The CW’s superhero shows finished last night in the US, which means it’s at least a few weeks away over here. I’ll say something about it next time, then. Or the time after.
  • Junior Bake Off Series 4 — the main thing I take from this is that all kids are incredibly clumsy and slapdash.
  • The Moonstone — the recent BBC adaptation of Wilkie Collins’ novel, which is generally regarded as the first full-length English-language detective novel. This decent miniseries version was produced for daytime, and was the kind of series certain viewers proclaimed was good enough for prime time. It wasn’t.

    Gilmore GirlsThings to Catch Up On
    This fortnight, I have mostly been missing Netflix’s Gilmore Girls revival, subtitled A Year in the Life. Rather than race through the four feature-length instalments between their release last Friday and our departure yesterday, we decided to save them for when we’re back, like a Christmas treat. Maybe we’ll just watch them in four days then instead, but at least we’ll feel like we have a choice.

    Next time… a festive special, looking at what seasonal delights the tellybox has provided us with this year. As far as December 29th or so, anyway.

  • The Past Month on TV #10

    If there’s something strange in your neighbourhood, who ya gonna call? Three middle-schoolers on their bicycles, apparently…

    Stranger Things (Season 1)
    Stranger ThingsHype — it’s a funny old business. It’s hard to have avoided hearing something about Stranger Things, Netflix’s summer hit that went down like gangbusters, its ’80s nostalgia perfectly calibrated to target the kind of people who run entertainment news websites these days — just to be cynical about it. Or truthful. Then there came the backlash, which attested there was nothing more to the show than those callbacks and tributes; a hollow experience of copying and “hey, remember this? That was good, wasn’t it?”

    So, I confess, I approached the first chapter with the thought in mind that I might be about to watch the most overrated thing since sliced bread. The opening instalment did little to sway me either way — as with many a ‘pilot’ episode (it’s not a pilot if it goes straight to series, but anyway), it’s got a lot of establishing to do: teaching us the normality of this world, introducing us to the players, setting up a mystery, teasing where that might be going… Stranger Things does all this well, but not exceptionally. It’s good, it makes you want to stick with it, it has promise, but it’s not one of those first episodes where you come away thinking, “Holy moly, this is gonna be great!” (First example of that that comes to mind: Game of Thrones. Another: Firefly. I’m sure you have your own.)

    Like so many streaming series, produced with an awareness that they’ll be released all at once like a really long movie, it’s a little slow-going at times, but it’s kept ticking over with some exceptional elements. Yes, it’s bedded in the style and tone of many beloved ’80s genre classics — primarily Stephen King tales and films produced (not just directed) by Steven Spielberg — but that’s just the execution. In storytelling terms, it has its own mythology, and it feels like there’s a rich vein of originality there. Or possibly it’s just references and riffs I’m not familiar with, who knows. Even better than that are the performances. Winona Ryder is incredible as the mother of a missing boy, her raw feelings and frantic actions forming a core of plausible emotional reaction in the centre of fantastic events. Millie Bobby Brown is also excellent as the mysterious Eleven, conveying so much personality and internal conflict with very little dialogue.

    Stranger haircutsWithout wanting to get into spoiler territory (despite what the media would have you believe, not everyone has Netflix all the time and not everyone watches every new zeitgeisty series immediately. Apologies if you write for an entertainment site and I’ve just given you palpitations), everything comes together nicely for a barnstorming pair of climactic episodes. For my money, the penultimate chapter is the best one: with a bunch of revelations out of the way (some of them easily guessed but finally confirmed), the series kicks off a run of long-awaited fan-pleasing events (as in many a drama, it takes this long for everyone to finally start talking to each other; also, the bit with the van!) The finale is less accomplished, with some characters wandering around for a bit in away that feels designed to pad the running time. Still, it’s a satisfying conclusion… to season one, anyway.

    As an outsider for most of the summer, the endless and ever-increasing handwringing over whether there would be a second season was actually kind of amusing — and the punchline came when it was revealed Netflix had actually commissioned season two before season one was even released, they’d just decided to keep it secret for a bit. Here’s the thing: Netflix has never not recommissioned one of its original series. Even Marco Polo, which apparently no one watched or talked about, got at least a second run. And here you have a show which everyone’s talking about, and presumably most of them are actually watching too, and you think Netflix aren’t going to bring it back? I mean, it wraps itself up quite well, but there’s a whole pile of blatant teases for future storylines. C’mon, people!

    Anyway, I’m happy to report that Stranger Things by and large lives up to the hype, especially by the time it reaches its climax. Bring on season two! Between that and all the Marvel series, maybe I’m going to end up with a year-round Netflix sub after all… You win, Netflix. You win.

    Class (Series 1 Episodes 1-5)
    ClassTen years to the very day since the launch of the original dark, sexy BBC Three Doctor Who spin-off, Torchwood, we got this dark, sexy BBC Three Doctor Who spin-off. Playing as much like the other 21st century Who spin-off, CBBC’s The Sarah Jane Adventures, it concerns a bunch of Sixth Formers battling alien threats coming through cracks in time and space that occur around their school. And also having sex with each other at the drop of a hat, because that’s totally what life is like for all teenagers. So yes, Torchwood + Sarah Jane x Skins = Buffy, pretty much. I really liked the first episode (as pilot-type episodes go, it’s a strong’un), and the third, Nightvisiting, was also a great concept well executed; but the other three instalments were run-of-the-mill and/or awash with niggles. Plus the two-parter in episodes four and five suffered from having too little story to fill two whole episodes. So it’s a mixed bag, but Torchwood was the same at the start and eventually produced one of the best miniseries ever made (Children of Earth), so you never know.

    The Flash (Season 3 Episodes 1-2)
    Arrow (Season 5 Episodes 1-2)
    The Flash season 3The CW’s raft of superhero shows restarted on UK TV this month. I’ve given up on Legends of Tomorrow and am still not joining Supergirl (though I got hold of the opening episodes, co-starring Superman, to maybe make time for at some point); but, five seasons in, Arrow has me suckered for the long-haul, and The Flash tempted me back with the intrigue of adapting Flashpoint. I’ve never got on the bandwagon with Flash, which attracted a lot of praise during its first season that I simply didn’t agree with, leading it to outshine Arrow in ratings and people’s affections. Arrow has long been off the boil, and season five certainly hasn’t got it back up to temperature so far, but The Flash had plenty of issues of its own. It’s not problem free now, but I actually really liked the first couple of episodes of the new season. It’s still a long way from the top tier of TV superheroes (Netflix have that sewn up), but it’s likeable.

    Also watched…
  • Castle Season 7 Episodes 2-15 — it feels like the quality takes a nosedive with this season, and, sure enough, as I suspected, it turns out this is when they changed showrunner. Halfway through it’s beginning to pick back up a bit, at least.
  • The Crystal Maze Stand Up To Cancer Celebrity Special — I used to love this as a kid. As an adult… eh. I’m sure it’s a lot of fun to actually do, though.
  • The Great British Bake Off Series 7 Final — bye bye, Proper Bake Off. Whatever Channel 4 do in 2018, it won’t be the same.
  • The Musketeers Series 2 Episodes 8-10 — in which everything is wrapped up… and then left open-ended. Good thing there’s a third series.
  • The National Lottery: Who Dares Wins Series 9 Episodes 1-4 — I don’t waste much time on gameshows, but naming as many things as you can think of from semi-obscure lists? Right up my street. An impossible show to watch live, though — you need to fastforward the filler and pause the answers.
  • The Rocky Horror Picture Show: Let’s Do the Time Warp Again — full review here.

    Things to Catch Up On
    The CrownThis month, I have mostly been missing the most expensive TV show ever made*, Netflix’s much-discussed The Crown. I don’t know if they’ve been pushing it as much in the rest of the world as they did in the UK, but it certainly felt like it was everywhere… for about a week, as is usually the way with Netflix series. Also missed: the equally-discussed Netflix-exclusive new run of Black Mirror. Both of these are because I don’t keep up a permanent Netflix subscription, but between them, the forthcoming Gilmore Girls revival, and the Series of Unfortunate Events remake in January, I will be signing up again late in December (using the free month voucher they had in the Radio Times, hurrah!)

    * Apparently it isn’t, actually.

    Next month… I’ll be out of the country when the next update is due, so it may be a little later than normal — perhaps a ‘Christmas special’.

  • The Rocky Horror Picture Show: Let’s Do the Time Warp Again (2016)

    2016 #165
    Kenny Ortega | 88 mins | download (HD) | 16:9 | USA / English

    The Rocky Horror Picture Show: Let's Do the Time Warp AgainWhen this TV movie kicks off with Ivy Levan sashaying her way around a cinema while she mimes to a pre-recorded and over-produced backing track of Science Fiction/Double Feature, full of licks and runs and finding four notes to hit where there used to be one, like a desperate X Factor wannabe who has no concept of the meaning of the lyrics she’s warbling but is ever so desperate to show she can saaang (that’s like singing but with added Cool), you get a pretty fair idea of the terrible experience about to be unleashed upon you by the not-so-catchily titled The Rocky Horror Picture Show: Let’s Do the Time Warp Again. That’s to say it’s been modernised, Americanised, and sanitised.

    If you know the original then you know the plot, and if you don’t know the original then you have no business watching this so-called tribute version, which premiered on Fox in the US last week and makes its way to the UK on Sky Cinema from today. “Tribute” is the latest word someone has co-opted to avoid saying “remake”, a marketing strategy that was presumably settled upon after they realised they’d produced a witless, regressive clone of material that, though over 40 years old, is still more subversive and boundary-pushing than this plastic Disneyfied tosh.

    Sweet transgender womanThe interpretation of the songs is appalling. The recordings are all overworked, full of needless warbles and added “oohs”. They’ve been modernised in such a way that, when current popular fads for over-singing things (“licks” or “runs” or whatever else they call them) have passed — as they surely will — these new versions will sound even more dated than the already-40-year-old originals, which have a certain timelessness. The lyrics are sung with the same amount of attention to what they mean as you get from a computer’s text-to-speech function, including or echoing parts of the original without understanding why they’re there or what function they perform; or if it does know the function, it doesn’t know how to replicate it.

    To say its performances are like a bad am-dram production would be an insult to am-drammers everywhere. Almost everyone is miscast. It was, perhaps, a nice touch to include Tim Curry, but his limited scenes are uncomfortable to watch because it’s painfully obvious that the poor man is still labouring under the aftereffects of his stroke. As Brad, Ryan McCartan overacts as if he thinks that’s the whole point. Reeve Carney makes Riff Raff a leering creep, and his needless affected British accent is awful. As Magenta, Christina Miian’s is worse. As Frank, Laverne Cox’s imitative mid-Atlantic twang is even worse again. Why did they do it?! Presumably because, as I said, it’s all a thoughtless copy of the original.

    The casting of a transgender woman as a transvestite is its own kettle of worms — either she’s a woman doing radical things like fancying men and being jealous of another woman stealing her guy, or you’re saying she’s not actually a woman but still a man and… well, like I say, it’s a mess. A commenter on the A.V. Club’s review summed up the cumulative effect quite succinctly: “Fox was actually able to pull off a pretty conservative casting choice while appearing uber progressive… By casting Cox, who identifies as female, in the role of Frank-N-Furter the seduction scenes actually became far less risqué”.

    Well, it's certainly been warpedEverything is blunted further by Kenny Ortega’s ineffective direction. The camerawork is flat and uninteresting, the shot choices unimaginative. Some of the choreography looks interesting — it’s certainly more elaborate than in the original film — but the camerawork seems to be actively trying to obscure it. The editor must have struggled, unable to generate any additional excitement due to a shortage of options. At times it looks as if it was filmed live, under which circumstances its weaknesses might be understandable, if not excusable… but it wasn’t.

    Occasionally there are cutaways to a cinema audience — not a real one, but a gaggle of extras, sat in a theatre watching what we’re watching. These moments are pathetic and pointless. I get that it’s meant to be a nod to the interactive midnight showings that have made Rocky Horror the phenomenon it is, but they demonstrate none of the wit or verve that make those screenings so popular. Plus the original film is good entertainment even without such intrusions; this isn’t. You might think that makes the asides necessary to liven it up, but there are so few of them, and they’re so lacking in imagination, or any discernible content whatsoever, that they just feel like they’re dragging the experience out even further.

    Believe it or not, it’s not all bad. There’s one new gag in the dinner scene that’s actually pretty funny. It’s delivered by Faye Marsay lookalike Annaleigh Ashford, who makes a good fist of Columbia. Rounding out the leads, Victoria Justice has all the necessary charms to make a pretty fair Janet. Victoria Justice's omnipresent cleavage. May also be omnipotent.I refer partly to her omnipresent cleavage, but also her acting. It’s not great by any means, but she’s suitably sweet and twee at the start, then manages to sell Janet’s near-instantaneous transformation from uptight goody-two-shoes to sex-mad strumpet using just a handful of expressions and line deliveries in the slight gap her character has between Over at the Frankenstein Place and Touch-a Touch-a Touch Me. The latter is one of the film’s rare highlights, for various reasons. One of those is actually Staz Nair as Rocky — undoubtedly the least challenging role in the piece, but at least he gets it right, and his musclebound chest counterbalances Justice’s for those of the other persuasion. The only downside are his tattoos: he was supposedly just grown in a tank, how does he have tattoos?!

    More than the ’75 film, Let’s Do the Time Warp Again brings to mind the 2010 episode of Glee that essayed the same musical. If you suffered through The Rocky Horror Glee Show, as I did, you’ll know it was a travesty. Is this even worse? Well, that’s a bit like someone forcing you to eat a dog shit and a cat shit before asking you which tasted nicer. That’s a little unfair: the Glee version was meritless; this one has a couple of minor plus points — so maybe it’s like someone making you eat a very small shit while occasionally showing you a picture of a sexy half-naked person. But unless someone forces you to choose between only this and Glee, there’s no earthly reason to do this particular Time Warp again.

    1 out of 5

    The Rocky Horror Picture Show: Let’s Do the Time Warp Again is available on Sky Cinema from today, screening on Premiere at 12:25pm and 8pm.

    It featured on my list of The Five Worst Films I Saw in 2016, which can be read in full here.

    The Past Month on TV #9

    There’s so much TV right now! And that’s before you consider all the old stuff to catch up on (and by “old” I mean “anything aired before the past month”).

    Still, here’s a selection of what’s been gracing my eyeballs in the last 35 days…

    Luke Cage (Season 1)
    Luke CageThe third series in the Marvel/Netflix stable wins points for boldness, much as Jessica Jones did this time last year. Where Daredevil is a well-done but ‘standard’ superhero show, leading to it being somewhat demeaned by the Cool Kids of the critical world (but much higher-rated by us plebs on the likes of IMDb), Jessica pushed into dark psychological territory, and now Luke Cage brings black culture and life into the fold.

    In truth, I still think Daredevil is the best produced of the three. Maybe that’s because it’s operating in more familiar territory, but it seems to know how to construct its storylines to fit the time given, and pace them to really kick off that “just one more episode” feeling that Netflix binge-watching is so famed for. Conversely, Jessica didn’t have enough story for 13 episodes, spinning its wheels and going in circles in the second half. Luke Cage doesn’t suffer from that exact problem, but it spends a lot of time finding excuses to keep its near-invulnerable hero out of the action.

    But, for its plot-related flaws, it’s not a bad show. It has three strong villains — it’s just a shame it’s the fourth who becomes the focus for the back half of the season. Its use of music is unusual and brilliantly executed, though as it’s employing genres and styles, indeed a whole culture, that I’m not exactly au fait with, it’s like watching as a fascinated outside observer rather than someone fully embedded or engaged. That’s not necessarily a negative, just a different way of relating to it. And even with those storytelling faults I mentioned, there’s at least one huge and unexpected twist, which really livens up the show… for a bit. It also gives Rosario Dawson the biggest role she’s yet had in one of these Marvel series, and that’s no bad thing either.

    Indeed, the best thing about Luke Cage is its characters. Mike Colter is an appealing leading man — when the character is allowed to do something, anyway — and the supporting characters on both sides are fantastic (with that one unfortunate exception I already mentioned). This bodes well for when they join up with everyone else in The Defenders next year, and also leaves season two with plenty of potential…

    …if Netflix commission it, of course. Surely they can’t be intending to have 6+ Marvel shows on the go?!

    Ripper Street (Season 5)
    Ripper StreetIt feels like only yesterday I was writing here about season four (it was, in fact, February and March). I think it was assumed this final season would be coming next year, but then Amazon announced it almost out of the blue just before the BBC’s run of season four ended, and made the unusual-for-them decision to dump the whole season at once, Netflix-style. It benefits this particular group of episodes because it really is one long story — when the show moved to Amazon for its third season it got more heavily serialised, but often with “case of the week” plots alongside that; the end of season four and all of season five throw that almost entirely aside for one long, developing storyline.

    Nonetheless, they’ve done a good job of making a TV show rather than a really long movie in six parts. The third episode, in particular, sets our heroes aside almost entirely to spend an hour with a villain who’s barely done more than grunt so far, digging into his psyche and his hopes (if any) of redemption. It almost felt more like an arty drama film than an episode of a period police procedural and proves that, even after five years, a quality programme can still push at and explore its form.

    The final episode, however, is a certified oddity. After wrapping up the season’s primary plots with relative haste, it moves on to an odd, somewhat lethargic non-story. It is, in its way, bold for what started as a police procedural to end with an episode that focuses on the drama of its characters’ lives, but it does so with an almost perverse fixation on setting up certain expectations only to dash them. It is tough to call the episode either satisfying or unsatisfying as a conclusion, though I imagine some will come to the latter opinion purely because it is so uncommon. It’s titled Occurrence Reports, and that seems apt, for it seems to merely report a series of occurrences; but they do at least, in their way, bring all of the series’ parts to their respective ends.

    Leaving aside the finale’s forays into structural experimentation, this is a good final season, that has moments to count among the programme’s very best. I still reckon season three is the best individual run, however.

    Black Mirror (Series 2)
    Black MirrorWell, it’s only taken me 3½ years to get round to this (seriously, where does time go?!) This bunch really represents the series’ highs and lows. On the one hand, Be Right Back — in which Hayley Atwell signs up for a company who create a virtual version of her deceased partner using his contributions to social media — is an exploration of broadly-plausible near-future-tech with a focus on its potential emotional effect. That’s what Black Mirror does best, I’d argue: look at stuff that may, perhaps, be in the pipeline, and how that would actually play out for us. On the other, there’s The Waldo Moment, which is also sickeningly plausible — as Charlie Brooker himself has said, it’s more or less come true, though with the likes of Boris Johnson and Donald Trump instead of a blue cartoon bear — but as an episode it doesn’t quite seem to know where to go with its concept or what it might ultimately signify. The episode just stops rather than ends, until a flash-forward coda that’s a bit silly in its extremity. Even Brooker, while doing press for the third season (released tomorrow), has said he’d go back and re-do that episode if he could. Still, full marks for effort.

    Red Dwarf XI (Episodes 1-5)
    Red Dwarf XIThis latest series of Red Dwarf (which airs its fifth episode tonight, with the sixth available on demand from tomorrow) seems to have gone down rather well, with some reviews even hailing it as a “return to form” — that form being “the good old days” of Red Dwarf VI (or thereabouts), over 20 years ago. Personally, I didn’t dislike Red Dwarf VII or Back to Earth, and I even have a soft spot for Red Dwarf VIII, so what do I know? Nonetheless, I would concur that this Dwarf represents a fine vintage, hitting the series’ unique mix of accessible mainstream-ish comedy and proper science-fiction concepts. Red Dwarf XII is already in the can for 2017, and I wouldn’t be surprised to see Dave commission more episodes beyond that.

    Star Trek The City on the Edge of Forever
    Star Trek: The Animated Series Yesteryear
    Star Trek - The City on the Edge of ForeverThe entirety of TV Star Trek is available on Netflix, so I took the chance to watch the most acclaimed episodes of both The Original Series and The Animated Series — which happen to be connected, something I didn’t realise until afterwards. Er, I mean, which I totally planned. Both are pretty fine uses of science-fiction to explore relatable issues. Well, not many of us have to deal with disruptions to reality caused by time travel, or knowledge of the future creating dilemmas about what we do next, but they work the relatable stuff in around the surface plots. And they both still seem pretty bold for network TV episodes even today, almost half a century later, as (spoilers!) Kirk lets a good woman die to retain the correct timeline, and a kids’ cartoon deals with the subject of euthanasia.

    Also watched…
  • Castle Season 6 Episode 8-Season 7 Episode 1 — almost always a nice, light, entertaining show, but the season 6 finale is a mess. Well, the bulk of it’s fine, but the premise is illogical and the cliffhanger is weightless and unneeded.
  • The Great British Bake Off Series 7 Episodes 5-9 — this series has seen Bake Off’s charms firing on all cylinders, I think, which just reminds you what we’re about to lose.
  • Line of Duty Series 1 — as this is on Netflix I thought I’d finally see what all the fuss is about. I think it’s the second run where it really took off, but this has its moments.
  • The Musketeers Series 2 Episodes 6-7 — quite a few grim crime shows in this month’s viewing, so a bit of quality swashbuckling is a welcome change of pace.
  • Scott & Bailey Series 5 — not the strongest run (the “darknet serial killers” case was a little too outlandish for a show that has often thrived on its more-plausible-than-your-average depiction of murder investigation), but still a quality police drama. Shame there won’t be more.

    Things to Catch Up On
    WestworldThis month, I have mostly been missing loads of stuff. Probably the most talked about is HBO’s adaptation of Westworld, which has apparently pulled in even bigger ratings than Game of Thrones. Over here there’s the second series of The Missing, which if it’s half as good as the first will be a real must-see. Then there’s Woody Allen’s first (and last) TV series for Amazon, Crisis in Six Scenes. Reviews have been mixed to poor but I still intend to get round to it. And finally Hooten & the Lady, which may be the worst title for anything in the history of ever, but a globetrotting adventure series inspired by the likes of Indiana Jones and Romancing the Stone sounds right up my alley.

    Next month… the latest Doctor Who spin-off comes to iPlayer; brand-new Black Mirror comes to Netflix; and I’ll finally watch Stranger Things, I promise.