Once again it was another busy festive period on the tellybox, and here’s what I thought of what I watched.
Doctor Who Resolution
Now, that’s more like it! After the damp squib of alleged-finale The Battle of [Mashes Hand on Keyboard], this New Year’s Day special does a much better job of putting a capstone on series 11. Despite its status as a separate “special” episode, it’s hard to deny that it’s actually part of the last series (despite what BBC Worldwide would have us believe, with their cash-grab move of leaving the episode out of the series box set, which isn’t even released for another fortnight): Ryan’s dad finally turns up (after being mentioned multiple times during the main series), while the primary storyline does a more subtle and effective job of mirroring series premiere The Woman Who Fell to Earth than Battle of Thingy-Wotsit did by just having a returning villain.
Resolution has a returning villain too, of course: the Daleks! Or, rather, one sole Dalek. Like 2005 episode Dalek, Resolution seeks to make a single Dalek a world-threatening force, and largely does a bang-up job. As has been thoroughly demonstrated by now, current showrunner Chris Chibnall isn’t half the writer that Russell T Davies or Steven Moffat are (and he only proves this harder by trying to emulate their styles so often), so Resolution doesn’t have as much freshness or innovation as some Dalek tales from Davies’ and Moffat’s eras. But, saying that, the Dalek ‘riding’ a human via some kind of icky telepathic link is a new idea, which makes for some effective horror moments, especially given the creepy cephalopod-influenced design of the creature. There’s plenty of exciting running about too, making this the most blockbuster-like version of Who we’ve yet seen from Chibnall’s era.
It still wasn’t perfect (as glad as I was to see Ryan’s dad turn up, the lengthy heart-to-heart scenes crippled the pace, and his inevitable redemption was narratively unearned; plus, Yaz continues to get shafted with “generic companion” duties), but overall it was a fun treat for
Christmas New Year’s Day. More episodes with this kind of ambition when the series returns in 2020, please!
The ABC Murders
Once upon a time it seemed implausible that anyone would ever try to play Poirot ever again, given how iconically (and thoroughly) David Suchet had embodied the Belgian detective during the 25-year series in which he starred. But I suppose it was inevitable that it would happen someday, and so following Branagh’s go at the end of last year, this year ends with another pretender to the throne: John Malkovich. Where Branagh stuck to tradition, with a flamboyant and fastidious embodiment of the character that seemed in-keeping with how Agatha Christie wrote him, Malkovich and regular TV-Christie scribe Sarah Phelps (she’s written all of the BBC’s new adaptations to date) have gone more revisionist. This Poirot is quiet, unassuming, ageing, almost embarrassed to be butting into the police investigation, especially as they would rather he pushed off, and he lives in a 1930s where fascism is ascendent and foreigners are despised, so he feels compelled to hide his Belgian roots as much as possible. It all feels psychologically plausible (and the mirroring of Brexit Britain are obvious), but it’s also a big set of changes to take in one go, which understandably angered some fans. I confess, I’ve never read a Poirot book, but I was a fan of the Suchet series. Nonetheless, I enjoyed this take on the character as an alternative — it may not be faithful, but it is believable.
The same could be said of the plot. Poirot and/or Christie are best remembered for country house-type murder mysteries, with a bunch of upper-class suspects in a confined location, who Poirot interviews one by one before bringing them all together to explain what happened. This was the format that Branagh used to reassuring effect in his film (and, presumably, will continue to use in his next one, if my memory of its structure serves me right). The ABC Murders doesn’t go that way, however, with Poirot on the hunt for a killer who taunts him via letters. The suspect pool is limited not by confined location, but by how sophisticated the viewer wants to be at guessing — the structure is that of a howcatchem rather than a whodunit, as we witness the murderer going about his deeds while Poirot attempts to find him out. But this is Christie, so there’s a twist in the tail. Look, I’m trying not to spoil it for anyone who’s not seen it yet, but everyone I was watching with figured early on that (last spoiler warning!) the guy who was Obviously The Murderer was not the murderer, and so it turned into the usual guessing game of “which recognisable guest star did it?” Well, at least one aspect of this was reassuringly familiar, then.
The BBC and Netflix teamed up for this £30 million CG animated adaption of Richard Adams’ children’s novel, perhaps most (in)famous for its 1978 film adaptation that is said to have traumatised all who saw it (I never have). I guess most of that money went on the all-star cast (seriously, the number of well-known names is mad — far too many to list here, so you can check out this list if you want), because it certainly doesn’t seem to have been spent on the animation. Frankly, much of the series looks like an unfinished animatic; the stuff you sometimes see on animated movies’ DVD release as deleted scenes or work-in-progress versions. And yet, there are occasional flashes of polish: look closely at the rabbits’ fur in many scenes and you’ll see high levels of detail.
Cheap production values are not the be-all-and-end-all, though — such things can be easily overlooked if there’s a good story or characters. But Watership Down’s animation is so poor that it scuppers that, too. Most of the characters are visually indistinguishable, made worse when there are so many of them to get to know, and very little screen time is invested in delineating them. It’s not even something you get used to or work out for yourself — the longer the series went on, the more confusing it became to follow who each rabbit was and what was meant to be happening to them. It’s frustrating and distancing, getting in the way of you caring about the characters or the story, which literally ruins the entire production. We stuck with all four hours of it because of a bloody-minded “we’ve started so we’ll finish” attitude. I’d recommend not even starting it.
Not Going Out Ding Dong Merrily on Live
Normally I’d fold this into the comedy roundup (see below), but I enjoyed it so much I’m singling it out. As the title implies, this was a live edition of the long-running sitcom. What inspired that, I don’t know, but it paid off with the series’ best episode for years. The storyline didn’t necessitate the live-broadcast format in the same way as 2018’s other live comedy special, Inside No.9, but writer-star Lee Mack built in various sequences to push what was possible live. And, naturally, some things went wrong — golden opportunities for a quick-thinking comic like Mack, who got to throw in plenty of improvisations and fourth-wall breaking. It may not be sophisticated, but it was funny. Indeed, I enjoyed it so much that I watched it twice within 24 hours.
Also tickling my funny bone this season were a new Upstart Crow Christmas special, given a prime Christmas Day slot. It riffed off A Christmas Carol, which was unfortunate because I saw rather too many version of that this year (see below for another). I can’t say Crow’s take was particularly special, but I’m fond of the sitcom anyway so another episode is always welcome. The night before that (Christmas Eve, for those not keeping up), BBC One had one-off comedy-drama Click & Collect, with Stephen Merchant as a dad who must travel to the other end of the country to collect that year’s most-wanted toy for his daughter, accompanied by his irritatingly over-friendly neighbour. It’s the kind of fluff that would feel a bit too daft most of the time, but hits the right light-entertainment note at Christmas. A bit more cutting edge was Goodness Gracious Me: 20 Years Innit!, marking the 20th anniversary of the groundbreaking British-Asian sketch show with a special that used some of the series’ funniest sketches as examples to discuss what made the show so important. It was a subtly clever way to be both “greatest hits” clip show and retrospective documentary at once. Sadly, the repeat of an overlong old Christmas special that followed wasn’t quite as vintage. And, as I’m rounding things up, there were also seasonal editions of panel shows Mock the Week (the usual clips and outtakes), Have I Got News for You (more compiled clips), and Insert Name Here (actually a new edition! I’m fond of it and was happy to see back on our screens). Several others I’m yet to catch up on (Would I Lie to You, The Imitation Game), though I did see both new episodes of Mrs Brown’s Boys. I know I “should” hate it, but the Christmas Day one, at least, made me laugh.
Things to Catch Up On
This Christmas, I have mostly been missing A Series of Unfortunate Events season three — the final one! Okay, it only came out yesterday, but I was with family and couldn’t watch it (ugh!) Not that I’d want to rush through it, anyway. By the time you’re reading this I’ll have made a start, and it’ll be reviewed next month. The same is true of Luther season four, which also started yesterday and which I’ll watch sometime later.
Next month… look away, if you can: it’s the final series of Unfortunate Events!