The Past Month on TV #58

The flipside of watching a tonne of films during lockdown is that I haven’t watched much TV — I’ve still not even finished Picard, ffs. But I did make time for Quiz (which, as a three-parter, was basically just a movie anyway), another animated Doctor Who, a season of Archer (“a season” sounds like a lot, but it’s only 13 easily-digestible 20-minute chunks), more of the worst of the original Twilight Zone, and a few other bits and bobs — including Benedict Cumberbatch and Jonny Lee Miller in Danny Boyle’s stage production of Frankenstein, which the National Theatre made available on YouTube last week (sorry if you didn’t know; it’s gone now).

Quiz
QuizAdapted by James Graham from his own West End play and directed by Stephen Frears almost as if it were a movie (note how only the first episode has a proper title sequence), Quiz is the story of Major Charles Ingram, who in 2001 went on Who Wants to Be a Millionaire? and — allegedly — cheated his way to winning the million-pound jackpot with the help of his wife and someone in the audience coughing to indicate correct answers. But Quiz takes its remit wider than this, showing how Millionaire was born and spawned a nationwide community of quiz enthusiasts determined to game the system and make it onto the programme — and once on there, cheat in their own ways.

Obviously I knew the basic story of ‘the coughing major’ from all the news coverage, but I had no idea about all the stuff with the networks of dedicated fans. Quiz only touches on it as a side element in the Ingrams’ story, but it’s a fascinating aspect. The Ingrams were only passingly involved with it, but it makes you wonder: did that organisation cheat more successfully? Were the Ingrams caught and prosecuted because the programme had been driven to be hyper-vigilant but, in fact, were not cheating? They protest their innocence to this day. And while Quiz doesn’t come down on one side or the other, it throws enough doubt on the accepted narrative that you wonder how they were ever convicted.

The enthusiasts’ network; the lengths people went to get on the show; the media storm around the Ingrams… it’s all a reminder of what a phenomenon Millionaire was at the time (at its height, it was watched by a third of the UK population). The best thing about the first episode is how it digs into that, with the backstory of the show itself, the pitches and its early success. This stuff could be seen as an aside to the main story — as padding to make Quiz a three-parter — but it really isn’t: it was that very uniqueness, the specialness of the programme, that led to the ‘cheating’. It also makes for a fun drama, pillorying the behind-the-scenes world of television. Respect to ITV for commissioning a programme that takes so many potshots at ITV itself.

Chris Sheen played by Michael Tarrant… wait…Indeed, even as there are serious events (watch out for the undeserved fate of the Ingrams’ pet dog), Quiz is consistently very funny. There’s a gag in the closing seconds of episode two (punctuated by a smash cut to black) that is golden. Michael Sheen’s uncannily spot-on impersonation of Chris Tarrant will also tickle anyone familiar with the man — i.e. UK viewers, but I guess it won’t translate internationally. Matthew Macfadyen is more understated but also excellent as Charles Ingram, while Helen McCrory burns up the screen as their barrister later on. Those are the obvious standout performances, but the whole cast are on form, in particular Mark Bonnar as one of Millionaire’s exec producers. He’s consistently superb in everything I’ve seen him in (if you haven’t, you should definitely watch Unforgotten series 2), and here adds a lot of nuance to what could’ve been an inessential bit part.

Ultimately, this is a pretty excoriating examination of what went on. Very few people come out if it well — certainly not ITV, the show’s producers, the media, the police, the general public, the jury, the British legal system… Maybe only the Ingrams. Did they do it? Possibly. But the evidence of their guilt is rather thin and, in some cases, ludicrously biased. Quiz itself doesn’t come down firmly on one side or the other, but it certainly seems to have convinced a lot of viewers of their innocence.

In the UK, Quiz is available on ITV Hub for another few days. In the US, it airs on AMC from Sunday May 31st.

Frankenstein
National Theatre Live: FrankensteinAs theatre goes, this is a blockbuster: directed by Danny Boyle and starring Benedict Cumberbatch and Jonny Lee Miller, with the actors alternating who played Victor Frankenstein and his Creature for each performance. One of each was filmed for the National Theatre Live cinema screenings, and for the lockdown National Theatre at Home release they also made both available.
Cumberbatch-as-the-Creature came out first and consequently attracted the most YouTube views, but the consensus seems to be that Miller-as-the-Creature is the better version, so that was the one I watched (I’m curious to see both, but watching it twice in a week isn’t really my way).

Now, frankly, I’m not the biggest fan of Frankenstein. I like the concept a lot — it endures for a reason — but I found the novel an interminable slog, and faithful adaptations fare similarly. Fortunately, this one jumps right to the birth of the creature, thereby improving things considerably by getting to the meat of the issue. It also serves to almost completely refocus the narrative away from Frankenstein and onto his creation. After a brief appearance at the start, it’s another 45 minutes before Frankenstein enters the story properly. This feels like a very modern choice — siding with the downtrodden and oppressed, making him the protagonist rather than the genius inventor. Of course, the Creature is not without his crimes, and the production plays up the mirroring of creator and creation — as if the fact they’re played by the same actors alternating roles didn’t clue you in to that theme.

It’s an impressively theatrical production (a reason why, like One Man, Two Guvnors last week, I’m not counting it as a film), with some clever and effective staging, in particular a rotating multi-level centrepiece. That said, being able to view it from different angles via camerawork does add to the production at times, in particular with one or two moments that seem to have been staged for a bird’s eye view; but then, at others we’re clearly missing something of the atmosphere created in the physical space (for example, sometimes we get to see the massive lighting rig made of hundreds of individual bulbs, but some of its uses and effect is lost by not being in the room). Also, this YouTube release has been censored at one particular moment for the sake of a wider audience, which is a shame. It’s clear enough what’s happened, and some will be pleased not to see that depicted, but unfortunately the edit is wholly unsubtle and therefore completely jarring.

Whatever its other qualities, this production will remain best known for its role-switching gimmick. Some people do think it was just a gimmick — a way to show off and stand out, but not worth much else. I’m not sure that’s fair. If you only watch it once then obviously you’ll only see the actors one way round, even the mere existence of the alternative is somewhere in your mind, informing how you view the play, the notion that these two characters can be played by the same actor in the same production. It’s a neat way to underscore the connection between the two character, which, as much as they would both like to sever it, is seemingly unbreakable.

Doctor Who  The Faceless Ones
The Faceless OnesThe most recent missing story to be animated (see last month for the history of all that) has the Second Doctor, Ben, Polly, and Jamie arrive at Gatwick airport in 1967, where there are mysterious things going on around the offices of airline Chameleon Tours, including young people flying off on holiday but never coming back…

The Faceless Ones gets off to a strong start, with suspicious alien-connected murders, disbelieving authority figures, Polly seemingly mind-wiped, and the Doctor and Jamie playing at Sherlock Holmes and Dr Watson — a bit of mystery, companions in peril, the TARDIS team on the back foot as they have to investigate while dodging the authorities. Unfortunately, this is a six-parter. There are many great Doctor Who six-parters, but there are at least as many (especially in the early days) where they seem to have commissioned six episodes by default and the writers didn’t really have enough story to fill them. The Faceless Ones is among the latter: as it heads into the second half, you can feel the plot begin to stretch itself out. There are some great cliffhangers to perk things up, at least.

Nowadays Who fans have a tendency to watch whole stories in one sitting, almost like a movie — most of them are about that length, after all. But someone once observed that a lot of overlong, awkwardly-paced serials suddenly make more sense if you watch them one episode at a time; that each part works as a 25-minute chunk of TV, and when you watch them in one go you don’t see the trees for the wood. The Faceless One is almost a case in point, because each of the earlier episodes are enjoyable in isolation, and the later ones have their moments; but, with hindsight, there is a lot of back-and-forthing, and I can well imagine that, watched all in one go, it feel long, slow, and spread thin.

The last two instalments are the worst culprits. The writing’s quality dive-bombs in the penultimate episode as other characters basically explain the plot to the Doctor and Jamie, while episode six offers a rather sedate finale, with a bit of drama early on giving way to a lot of protracted business to resolve the situation. It also features the most bored-sounding delivery of the line “you fools, how can you trust him” imaginable. To cap it off, this is Ben and Polly’s last episode, and they’re written out poorly. It’s nice that they decide it’s time to return to their own lives, rather than being forced to go or stuck with a thin romance or something (as other companions would be), but it’s terribly handled: they’ve not been in it for weeks, then suddenly realise it happens to be the same date they first joined the Doctor so, hey, why not leave now? And the Doctor’s goodbye speech: “Ben can catch his ship and become an admiral, and you, Polly… you can look after Ben.” Eesh.

As for this animated reconstruction, it looks a lot stiffer and flatter than Macra Terror, which feels like a disappointing step back. Some of the animation models are quite poor, suffering from Thunderbirds syndrome (i.e. too-big heads) or with odd posture, and sets are basic in places. I don’t know the behind-the-scenes details — maybe it was made on a reduced timescale or budget, or maybe it’s the strain of having to do 50% more episodes, or maybe they were trying to be more faithful to the live-action originals (two episodes of Faceless Ones survive, although they’ve been animated too, for consistency), or maybe it’s just that a ‘60s airport is visually duller than a far-future colony. Whatever, it does nothing to enliven the mediocre script. Still, I personally find these animated visuals better than nothing (others disagree), and I’ll happily buy every one they produce.

Archer  Season 6
Archer season 6When I watched Archer’s fifth season (aka Archer Vice), I was picking it back up after years away and was set to continue it. That was in 2018. Although I was quite positive in that initial review, I was less positive by the end, and that was my enduring memory of it. Well, I’m happy to report I found season six to be a return to form.

I observed of Archer Vice that the change of setting from spy agency to drug dealers was immaterial because it was the characters not the situation that mattered. That’s true to an extent, but I suspect not entirely, because here they’re back to being spies and it all seems to have sparked back to life. That’s kind of ironic because, as anyone who follows the show will know, they eventually moved on from spies to rotate through a different setting/genre every season, which was because they’d run out of spy stories to tell; and yet comedic spy stories are clearly what these guys do best. So, I’m wary of where it’s going to go in seasons I’ve not yet got to, but, for the time being, I’m enjoying it again. This time I don’t think it’ll be years before I watch the next season.

The Twilight Zone  ‘Worst Of’
The Mighty CaseyIn last month’s initial selection of The Twilight Zone’s worst episodes I found one or two that weren’t wholly terrible. I’m not sure this selection fares even that well…

Going from worst to ‘best’, the episode placed 155th (of 156) on my consensus ranking is The Mighty Casey. It’s a very silly story about a robot baseball player, which substitutes loopy sound effects and the incredulous expressions of onlookers for its lack of special effects, and I guess also to cover for its lack of adherence to the laws of physics. The only interesting aspect of the story is the reactions — or lack thereof — from characters when they learn Casey is a robot. It appears to be set in the then-present of 1960, but no one’s like, “holy shit, you built a lifelike robot who can pass for human and play baseball!” No, they’re only concerned with whether his roboticness needs to be reported or kept secret. That dilemma ultimately leads toCasey needing to be given a heart, but once he gets one he’s too compassionate to keep playing. So the ultimate message is… you need to be heartless to be a sportsman? I mean, I don’t care for sports much myself, but even I think that’s stretching it. Maybe baseball fans would get a kick out of this episode, but for the rest of us it’s just rubbish.

Equally as daft is Black Leather Jackets, in 154th. A trio of young bikers move in next door to a nice all-American family, but there’s more to the lads than meets the eye. The kindest thing I can say about this episode is that some of it is nicely lit. Unfortunately, the script is pretty crap, with the dialogue being particularly awful. “Do you know the word… love?” Seriously. It’s like a spoof of bad ’50s sci-fi, but it’s real and it was made in 1964. ScreenCrush’s Matt Singer says it’s “arguably the most dated of The Twilight Zone’s 156 episodes” and I think he might be right. And after 20 minutes of uncomfortable ludicrousness, it comes to an entirely unearned bleak ending. Twilight Zone may be most famous for its last-minute surprise reveals, but when they were bad, they were really bad.

The Whole TruthIn 153rd is The Whole Truth, which is about a car that’s been haunted since it came off the production line — although this one’s considerably less threatening than Christine. Instead of a murderous machine, this ‘haunted’ car merely compels its owner to be completely honest at all times. Unfortunately for used car salesman Harvey Hunnicut, he only learns this fact after he’s bought it. It’s an obvious idea — forcing a used car salesman, that most dishonest of individuals, to tell the truth — but it doesn’t go anywhere particularly interesting with it, other than a totally far-fetched and implausible finale. Yes, far-fetched and implausible even by Twilight Zone standards! Singer calls it “the dumbest twist in the history of The Twilight Zone” and, again, I’m inclined to agree.

In the episode titled The Chaser, the eponymous character is a young man in love with a woman who doesn’t reciprocate his affections, but through a coincidental contact he meets a fellow who sells him a guaranteed love potion. The scene where he purchases the potion is really quite good, but on the whole it’s painfully obvious that this is going down a “be careful what you wish for” pathway, and all we can do is wait for it to play out. They’re not even nice characters to spend time with — he’s a pathetic obsessive and she’s a bitch. And after he gets what he wished for and doesn’t like it, he considers a spot of murder. It’s a bit… much. And the morals of it all are a little foggy, to say the least — as many commenters observe, it’s dated into being uncomfortably sexist. There’s an angle that could make this storyline worked (critical of the guy trying to drug a woman into loving him), but that’s not what’s played here.

The Incredible World of Horace Ford is one of The Twilight Zone’s most interesting failures thanks to its production history: the script was previously performed as an episode of a different show in 1955, and by the sounds of things it was just restaged wholesale for TZ. That’s probably why it doesn’t feel like it quite fits in properly — it’s something broadly Twilight Zone-ish that’s been recycled rather than a bespoke episode. It’s about a 37-year-old manchild toy designer who constantly reminisces about stuff he did when he was 10… and yet somehow he’s managed to find himself a caring wife, friends, and hold down a job for 15 years. Maybe we’re supposed to think he wasn’t always so stuck in the past, but the way other characters indulge him makes it seem like he was, even if he’s getting worse as the episode begins.

The Incredible World of Horace FordThe lead actor is Pat Hingle, of Commissioner Gordon in Batman ’89 fame. He gives a convincing performance… if this was about a Big-style situation of a stroppy 10-year-old boy trapped in a 37-year-old’s body, but that isn’t what’s actually happening. There’s an equally misaligned performance from Nan Martin as his wife: it constantly feels like she knows more than she’s letting on about what’s really happening, like the twist might be she’s responsible for, or at least knows, what’s going on… but she isn’t and she doesn’t. Honestly, I don’t blame the actors for struggling with how to play their roles, because it’s not like the story makes it clear for them what’s meant to be going on. At first it seems like another of the series’ “you can’t go home again” episodes about a man in love with nostalgic memories of his childhood, but then it turns out it’s some kind of time-loop thing… or… not. The resolution is maddeningly, deliberately inexplicable. And, yeah, turns out it is just another version of “you can’t rely on your memory of good times”. To compound the problem, it’s a season four episode, so of course it takes its sweet time playing out a storyline over 50 minutes when it only needs the 25 minutes of other seasons; and the time loop factor makes it literally repetitive.

Finally for now, Four O’Clock, which is about a mentally deranged man who wears a far-too-tight waistcoat — and, more importantly, arbitrarily decides he’s going to eradicate all evil in the world at 4pm that afternoon… he just hasn’t worked out how yet. You see, he’s spent his days investigating bad people (i.e. those whose lifestyle choices he personally disagrees with) and trying to rat them out to their employers and the like, but he’s not really getting anywhere. Naturally, it comes to an appropriately ironic ending. Paste’s Oktay Ege Kozak reckons it’s “like lazy Twilight Zone fan fiction: it exploits every pattern the series had developed so far and executes it without much originality or flair”, which is a bit harsh, but also kinda fair. Aside from the predictability of the ending, the episode’s only real problem is that it’s like spending 25 minutes in the company of an internet troll. It might be an accurate portrait of a self-righteous busybody, but that doesn’t mean it’s pleasant to be around him.

Also watched…
  • The Big Night In — The UK’s two big charity telethons, Children in Need and Comic Relief, teamed up for the first time ever in aid of charities who help the most vulnerable at this difficult time. The three-hour event attracted a lot of unnecessary bile on social media. Okay, it wasn’t the greatest TV programme ever made, but it was alright (not significantly worse than these things normally are, I didn’t think), and had a few genuine highlights. The best bits were probably a new Blackadder-adjacent sketch guest starring Prince William, and Catherine Tate’s Lauren being homeschooled by her teacher, played by David Tennant (reprising the role from an old Comic Relief sketch) — “Are you or have you ever been a doctor? Are you a member of the WHO?”
  • Farewell, Sarah Jane — The tie-ins to Doctor Who Lockdown events have only become more elaborate since I wrote about them last month. This is probably the highlight, though: a new, final story for spin-off series The Sarah Jane Adventures, written by creator Russell T Davies and performed by a host of cameos, all to pay tribute to the late, great Elisabeth Sladen via her iconic character, Sarah Jane Smith. You can watch it on YouTube here.
  • Star Trek: Picard Season 1 Episode 7 — I only watched one more episode all month?! Oh dear. Three to go…

    Things to Catch Up On
    Killing Eve season 3This month, I have mostly been missing Killing Eve, the third season of which is currently airing between iPlayer and BBC One. For the first two seasons we had to wait until after it had finished in the US so they could put the whole lot up on iPlayer at once, which no one noticed during season one but drew a lot of criticism during season two (you can work out why, I’m sure). Consequently, I binged those first two seasons (indeed, I came to it late, so went straight through them both), so I wasn’t sure about watching it weekly now. Also, Devs, the latest work from Alex Garland, which frankly I wasn’t even aware existed until it popped up over here (when it had already almost finished in the US). I’ve seen very mixed reviews of it, but I still intend to watch it. But, as noted above, I still haven’t finished Picard, and I’m determined to get that done before I start anything else. Hopefully next month.

    Next month… hopefully I’ll finish Picard and get on to some of the stuff I’ve been missing. Also, I’ve got my eye on more classic Doctor Who, plus a third (and, I think, final) selection of the worst of The Twilight Zone.

  • The Past Month on TV #57a

    I get the impression many people have been using their newfound homebound status to watch lots of TV. I’ve mostly been focusing on films, however, so this month’s TV update doesn’t actually have a whole lot of different things to cover (certainly not when compared to, say, last month). Even though I’m finally posting this about a week later than I originally intended, I still haven’t had much to add to it.

    That said, what I have been watching is the kind of stuff I write a lot about — mostly, classic Doctor Who and The Twilight Zone — so much so that I’ve actually decided to split this update into two posts, because it was getting unwieldy. Today: Doctor Who stuff. On Friday: everything else.

    Doctor Who  Rose
    Doctor Who series 1If you’re active (or looking in the right places) on social media, you may have noticed that there have been a bunch of Doctor Who watchalongs happening recently — you know, where people from around the world all watch the same thing at the same time and tweet about it. Organised by Doctor Who Magazine’s Emily Cook to provide something nice for Whovians in these trying times, they’ve been rather a big success — they’re always all over the trending topics on Twitter, and big names from the show have been persuaded to sign up and join in. The most recent one, to mark the 10th anniversary of Matt Smith’s debut episode, saw all three of its stars (Smith, Karen Gillan, and Arthur Darvill), plus writer/showrunner Steven Moffat and director Adam Smith, sharing thoughts and memories during the episode. Plus some of them have been accompanied by new fiction or stuff dug out from the archive.

    Personally, the only one I’ve joined in with was the 15th anniversary rewatch of nuWho’s first episode, Rose. I say “joined in” — I watched the episode, then went on Twitter afterwards to catch up. I mean, you can’t watch TV and tweet along, can you? I know people think they can, because they do, but they’re wrong — you can’t. Not properly, anyway. While you’re busy tweeting, you’ll inevitably miss something — lots of somethings, even. And as I hadn’t watched Rose in about 13 or 14 years, trying to read the thoughts of thousands of other people at the same time seemed a daft idea. So I didn’t. But, weirdly, even watching it alone but with the knowledge that other fans around the globe are doing the same thing, there’s an old-fashioned sense of community — a feeling you used to have every week, when watching a TV programme live was The Way We Did TV; a feeling that’s dissipated considerably in the modern streaming era, where even traditional-TV shows are on iPlayer or whatever and many people happily choose to catch up later.

    Still, the best bit was the surrounding tie-ins written by Russell T Davies, including a non-canonical prequel about the end of the Time War (I love The Day of the Doctor with all my heart, but good golly can RTD write epic mythic Time War stuff better than anyone) and a gently satirical sequel that revealed Boris Johnson is, in fact, an empty plastic clown. I do so miss the days when RTD was in charge…

    Aside from the watchalongs, I’ve personally been digging even further back into Who history…

    Doctor Who  Animated Missing Episodes
    Like silent cinema before it, early television was viewed as disposable, its value lying in the moment of its airing. The only reason to keep a TV programme after broadcast was to sell to other territories, or possibly to archive a handful of episodes as an example of what was produced. In the 1960s and ’70s, the BBC began to junk some of their archive, to reuse resources and make space for newer things. Many programmes fell victim to this destruction, but one of the highest profile has been Doctor Who. That’s what happens when there’s a dedicated fanbase who want to hang on to every second of something.

    By the time the junkings stopped, 152 episodes of Doctor Who had been lost. Over the years there have been extensive efforts to recover these missing editions. There have been many successes, but 97 episodes remain missing. (For far more detail on all this, you could do worse than this Wikipedia page.) But thanks to the efforts of a few determined fans who recorded the programme’s audio as it was broadcast, the soundtracks for every single episode survive. Over the years, these have been used to help plug the gaps in various ways — released on cassette and CD; paired with photographs to form slideshow-like visualisations; and, most recently, used as the soundtrack for animated reconstructions. I’ll spare you another potted history of those, but after a faltering start they’re turning into a regular drip feed.

    Now, during the most recent series of Doctor Who (reviewed in these three posts) I came to the realisation that I hadn’t watched any of the classic series in a long time — five years, in fact, back to when I paired up one classic serial to every new episode of Peter Capaldi’s first series. What better way to get back on the wagon than with the animated reconstructions, most of which have been released in that five year gap? So I’m beginning with the first of the current wave of animations, and more should follow.

    The Power of the Daleks

    The Power of the DaleksThe first of the current wave of animations was The Power of the Daleks — a good place to start anyhow because it’s Patrick Troughton’s debut serial in the lead role. As he was just the second (canonical) Doctor, that makes the serial significant for the ground it was breaking — it’s the first time we’re introduced to a new actor taking over the series, something that’s become a staple of the programme (to the extent that the major plot lines and revelations of the most recent series were about the Doctor’s ability to regenerate). Sensibly, the production team paired their new leading man with the thing that had ensured the series’ popularity: the Daleks. And while the Doctor is dealing with a change of face and attitude, so are his enemies: these Daleks are keen to act as subservient aids to a human colony who have discovered their long-buried space capsule. Surely the evil fiends can’t’ve turned good?! (Spoiler alert: of course they haven’t.)

    Away from such juxtaposition of temperament, it’s a good chance for the new Doctor to prove his mettle. It worked, too — obviously so in the case of ensuring the series’ longevity, but also as a story in its own right: in the last Doctor Who Magazine poll, this was voted the 19th greatest Who story ever (which, out of a list of 241 stories at the time, is no small achievement, especially for a missing black & white adventure. Indeed, if you limited the poll to just black & white stories, it came 3rd). It’s easy to overlook now, when we’re so used to regeneration, but Troughton comes in and makes the role his own, plays it his own way, isn’t even vaguely an emulation of Hartnell. It would’ve been the easiest thing in the world to cast someone like Hartnell and have them behave like Hartnell, but changing the character up so much is a braver, more interesting choice — and probably really helped the programme in the long run.

    As for the story itself, as well as the mystery and threat of the Daleks it has a nice line in the petty political squabbling and machinations of the human colony’s leadership. Almost as much time is spent worrying about rebels, sabotage, and plots to rule as there is about the Daleks. I feel like that’s the kind of extra angle that often gets overlooked in Who nowadays, what with the need to deliver fast-paced 45-minute blocks of entertainment. (Maybe that’s unfair — almost everything of interest gets overlooked in Who right now, and previous eras of the revived show certainly weren’t averse to a little commentary on the pettiness of humanity.) There are some great performances too, especially Robert James as the scientist Lesterson, who has the most prominent character arc of anyone across the serial. His ultimate fate is particularly well written and acted, his final moments tragic and hilarious and barmy all at once.

    As for the animation, it’s understandably a bit basic (these are not big-budget productions) and at times unsure what to do with itself — there’s the occasional bit of ‘dead air’ in the original soundtrack, probably where someone was just walking across a room or giving a reaction shot or something, and the animation isn’t quite up to filling the gap with something of interest. There are definitely times when it feels like you’re missing a little bit of business that was deemed too difficult or vague to animate. It would’ve been nice if they could’ve invented something to happen during those moments, instead of just holding on shots of literally nothing going on. But that’s probably nitpicking. As a visual to accompany the soundtrack, it’s more than adequate. Given the choice between this, a slideshow of rarely-changing photos, and audio-only, I’ll take the animation, thanks.

    The Moonbase

    The MoonbaseNext up by the series’ original chronology is The Moonbase — in terms of animation, Power was released in 2016 while The Moonbase was done in 2013; and half the serial survives, so it’s only half animated. It’s actually this older effort that looks better, the animation feeling much smoother and more realistic than Power, and making that look even more stilted and Flash-y by comparison. Apparently production on Power was incredibly rushed, and obviously they had to complete six episodes vs just two for The Moonbase, but the visual style is also slightly different; less obviously cartoonish.

    As for the story itself, we move from one iconic Who monster to another: the Cybermen. And it’s another landmark in Who history: the first base-under-siege story, a subgenre that would become a staple of the Troughton era and keep popping up in the decades to follow. It’s also only the second Cybermen story, and they show off a sleeker redesign, which sets a precedent — whereas the Daleks have looked fundamentally the same since their first appearance, the Cybermen are redesigned almost every time they appear. Personally, I love the Cybermen, but this is not their finest hour.

    The serial’s biggest problem is that it seems slow and uneventful. It begins with the Doctor and friends having a jolly holiday on the Moon, which I actually quite liked — bear in mind this was made in 1967, two years before man actually walked on the Moon, and you can see why the very fact of our heroes being there would be worthy of such emphasis. But it sets the tone for the story to come — Episode 2, for example, mostly revolves around the base’s crew spouting technobabble while they run checks to repair a machine. This came 113th in the aforementioned DWM poll, and with time wasting like that it’s easy to see why. At least the cliffhangers are effective, even if they don’t always make sense — but you can see how that would build the series’ reputation for them. It’s a shame such a defining aspect of the show has mostly been lost in the modern era.

    The serials was written by the Cybermen’s co-creator, Kit Pedler, an actual scientist who was brought on to bring “scientific rigour” to the programme. These scripts do feel like they come from someone with a keen interest in science — there’s plenty of jargon thrown around; the Doctor runs medical tests and experiments (rather than just waving his sonic screwdriver around as he would nowadays); Ben and Polly cooking up a plan to defeat the Cybermen with a solvent cocktail, based on Polly’s nail varnish remover…! It’s easy to joke about “defeating Cybermen with nail varnish remover”, but it’s a scientific way of problem solving, which is quite good really for a show that was still very much aimed at children and with some degree of an educational remit. It’s just a shame that the narrative around it is so sluggish. Maybe they were going for “atmospheric”. I don’t think it worked. Shame.

    The Macra Terror

    The Macra TerrorMuch more successful in that department is The Macra Terror. No full episodes survive of this serial, so it’s back to 100% animation, and once again we have a change in style. It’s in widescreen, and it’s in colour, and the locations are bigger and more varied than they would’ve been on ‘60s TV, and the audio is so clean and clear it could’ve been recorded yesterday. It makes for a surreal viewing experience at first — are we sure this is a genuine Second Doctor story from over 50 years ago, not some recreation with perfect impressionists? After the previous animations tried to emulate the style of the original episodes, it’s a definite change of pace, but why not? It certainly brings some added dynamism to a few of the scenes — like Power, there are some all-but-silent sections; unlike Power, many of them now have some interesting visuals, which is most welcome. They had to make some trims here and there, I think for budget reasons (stuff that is inessential to the main narrative and would’ve been time consuming to animate), which is a shame (it would’ve been particularly fun to see the whole TARDIS crew dance a jig to escape at the end), but it is what it is.

    As for the story itself, it offers an intriguing setup, with a good setting (a colony of happy workers) and mystery (what was seen by the ‘mad’ man they want to hush up?) It unfolds at a much better pace than The Moonbase, with a regularly developing and shifting plot. For example, many penultimate episodes of classic Who serials devolve into running around in place to delay the ending by another week. The Macra Terror is the antithesis of that, introducing brand new locations and plot points to genuinely further the narrative and mystery. There are exciting cliffhangers, too — again, probably much more so in animation than it was in the original live action. The Macra themselves benefit in particular. They’re basically giant crabs, which was a bit overambitious for the series to attempt in the ’60s. The originals have the look of an awkward primary school art project and aren’t actually that big, whereas the animated versions are huge and genuinely threatening. When one attacks Polly in Episode 2 it’s epic and exciting and scary… in animation. This is one of the few parts that survives from the original (thanks to censors in Australia) and… it ain’t that. The Macra is so much smaller and so much less manoeuvrable that you can see Anneke Wills and Michael Craze working overtime to convince you their escape requires any more than just getting up and wandering away. It’s a perfect example of how the artistic licence taken by the animators has paid off in dramatic terms.

    I’ve always got the impression that The Macra Terror has a pretty poor rep among Whovians. I hope the animation has caused it to be re-evaluated, because I think it’s really rather good.

    The Wheel in Space: Episode 1

    Finally for now, an abridged version of The Wheel in Space: Episode 1, which was created for the BFI’s annual Missing Believed Wiped event about missing TV. The Wheel in Space is a six-parter, meaning it runs approximately 150 minutes, but here we get just 11 of them. The animation itself is about the same quality level as the others, and it’s a nice little bonus in its own way, but ultimately it feels rather pointless; like an extended tease for a full-length animation that isn’t coming. The serial may well be animated in full someday (if they’re happy to do The Faceless Ones and Fury from the Deep, which have no obvious hooks to interest casual / on-the-fence viewers, then surely something with the Cybermen is a no brainer), but if they do then what purpose will this have served? I expect they’d want to do these 11 minutes again rather than make the remaining 139 to match. And if they don’t ever do it in full, well, the serial is still left with three-and-a-half episodes visually missing. But, like I say, it’s enjoyable enough for what it is.

    In Part 2… new Red Dwarf; Mark Kermode’s Secrets of Cinema; the worst of The Twilight Zone; and quickies on McDonald & Dodds, The Rookie, Star Trek: Picard, and National Theatre’s YouTube stream of One Man, Two Guvnors — which, I’ll tell you now, is great fun, worth your time, and you only have until 4pm tomorrow to start watching. It’s here.

    The Past Month on TV #56

    This TV column is over a week later than I intended it to be, meaning there’s loads to talk about — half a season of Doctor Who; two new ITV dramas; more Picard and Twilight Zone; I finally watched Good Omens, and got back to The Good Place; there’s even the Oscars; plus a bunch of other stuff. It’s an epic — over 5,500 words if you read the whole thing — so let’s crack on…

    Doctor Who  Series 12 Episodes 6-10
    PraxeusMost of the Doctor Who chatter of late revolves around what happened in the finale — no surprise there, given major revelations were teased in previous episodes this series. But before I natter about that, there’s a handful of other episodes to cover.

    After a rocky opening to this 38th run of Doctor Who, with episodes varying wildly in quality, I think it settled down pretty well in the middle. That doesn’t mean it was a classic series by any means, though. Praxeus is a perfect case in point: it’s a solid episode, with a decent storyline, a few nice scenes, a handful of broadly well-drawn characters, and a reasonable amount of important-message delivery. As the second environmentally-themed plot in as many months, it suffers somewhat from the repetition, but how this handles its messaging about plastic pollution vs how Orphan 55 battered us around the head about climate change is a good example of how to do such things fairly well instead of very, very poorly. But there are also a handful of plot holes and character inconsistencies to niggle away at you. It’s as if they didn’t bother to employ script editors or continuity checkers this series — though the oversights are so glaring, anyone should’ve spotted them. So if all of this sounds like damning with faint praise… well, it is. In any other recent era of Who, this would be a middling-to-poor midseason filler; in the current era, it’s one of the better episodes.

    There were more Issues on hand the next week in Can You Hear Me?, to the extent the BBC even put up their Action Line phone number at the end. It’s clear showrunner Chris Chibnall wants to Say Something with at least a couple of episodes every season, but he’s once again clashing with the past: Vincent and the Doctor already did mental health better. In itself, how Can You Hear Me handled the issues it raised was a mixed bag. Yaz’s backstory came out of the blue — it’s not even been vaguely alluded to before, and how it’s depicted in the episode left a lot up in the air. The consensus on social media is we were meant to think she was intending to commit suicide, but the episode soft-balls this in order to avoid triggering terms or visuals — a commendable aim, especially in a family drama, but it left the point entirely unclear. And the end of the episode, where the Doctor seems dismissive of Graham trying to open up about his cancer, drew actual complaints and the BBC having to issue a statement. If you have to explain the intent of your drama in a statement released afterwards… well. But ‘Issues’ aside, as a sci-fi adventure it was another solid attempt.

    The Haunting of Villa DiodatiAll of which means that the series’ penultimate story, The Haunting of Villa Diodati, was on a whole ‘nother level. For me, this might be the first genuine classic of this era. (If you’ve not seen it, spoilers ahead.) The first half is like a proper horror movie, complete with jump scares and other creepy effects (the dead-eyed little girl behind the door, but only when the lightning flashes… brr!) Naturally there’s a sci-fi explanation for it all, but even that was thrilling and chilling in its own way. It was the best use of the Cybermen since… er, their last story, because that was really good too. But the Cybermen are sometimes underserved by Who, wheeled out and disregarded as second-tier baddies after the Daleks, so I delight in seeing them used so well more often. Throw in a well-researched and depicted historical atmosphere, some good comedic asides (I thought the butler was superb), and a genuine sense of jeopardy (the Doctor stuck between a rock and a hard place with the decisions she has to make, and the lone Cyberman a towering presence), and you’ve got an all-round great episode.

    Which leads us to the two-part finale. The first half, Ascension of the Cybermen, went down well with many, but I thought it was no great shakes. Like most episodes this seasons, it was solid mid-range Who, which ticks certain boxes whilst never in any way excelling. As epic finales go, seven humans vs three Cybermen is hardly a grand setup. And why do three Cybermen require two (quite large) spaceships, anyway? Was one full of those Cyberdrones — which looked thoroughly daft, so maybe they should’ve left that ship at home. The rest of the plot is a lot of faffing about to get us to the real point: the cliffhanger. Only, it’s not much of a cliffhanger, because it’s just the Master popping back up (which was inevitable) to say “now I’m going to tell you that thing I wouldn’t tell you earlier!” Wow. J.J. Abrams, you have a lot to answer for.

    The Timeless ChildrenSo the real point of it all comes in The Timeless Children, where the Masters finds some new sources to rewrite the Doctor’s Wikipedia entry, then reads that revised version to her. I’m only half joking. Chibnall has managed to rewrite Doctor Who mythology in a way that both angers fans with its radical changes, and fundamentally makes no difference whatsoever. The Doctor used to be a mysterious alien from another planet who travelled the universe helping people. Now, she’s a mystery alien from another dimension who travels the universe helping people. Instead of being “just another Time Lord” who rejected the rules of their society and ran away to interfere, the Doctor is now a Special / Chosen One — the originator of the Time Lords’ ability to regenerate; her DNA copied and pasted into every other Time Lord… and then her memory wiped, so she grew up as just another Time Lord who rejected the rules of their society and ran away to interfere… but, y’know, was secretly special. I feel I should hate it, but, honestly, it was so guessable and so fundamentally immaterial that I just can’t muster the energy to care enough to hate it. It may yet go the way of “half-human” anyway, i.e. we’ll all just ignore and/or rewrite it as soon as someone other than Chibnall gets in charge.

    As for the story of the episode itself — because it did kind of have one, away from the Doctor getting that massive info dump — it was, predictably, an adequate middle-of-the-road knockabout, with an underwhelming finale. When someone on Twitter can knock up an infinitely better resolution in comic strip form within hours of the episode ending (which is exactly what this is), you’re once again left questioning he actual ability of the current showrunner. They can’t even do a very good copy of a Russell T Davies-style cliffhanger/Xmas special tease. The Judoon imprison the Doctor… as a tease for a special starring the Daleks? “What?!” indeed.

    Star Trek: Picard  Season 1 Episodes 2-3
    Picard: engagingI’m a good few episodes behind on Picard now (episode 7 arrived this week), which is not because I’ve given up on it, but because it hasn’t engaged me quite enough to especially make time for it. It seems to have garnered quite the mixed reaction: the critics’ scores on Rotten Tomatoes are very strong; the user ratings on IMDb aren’t bad at all; but every time I see someone write about the show, on Twitter or another blog or what have you, it seems to be in criticism. I fall in between all these stools. There are things the show is doing well, or at least passably, but other bits that are awful; that feel like the worst of cheap made-for-syndication ’90s sci-fi, rather than the peak TV ‘prestige series’ it clearly wants to be.

    I read one of the execs or writers or someone say that they consider the first three episodes to be their pilot, and that’s indicative of one of the show’s major problems. It’s not unique in that regard — it’s an attitude that’s become ubiquitous in this “we’ve really made an X-hour movie” era of TV making. Netflix series get away with it a bit because of their all-at-once model — if the makers say “the first three episodes are the pilot”, you can find two or three hours to sit down and watch all three as your first chunk. But Picard is coming out the old fashioned way, i.e. weekly, and so it takes three weeks to get through what should be the first hour or so. Even within the episodes, it’s paced like treacle. I don’t necessarily expect them to get through all the necessary setup in just 45 minutes — because it does establish a fair bit across these three episodes — but the same material in a double-length opener, instead of spread thin across three weeks? I think that would’ve been fine. Plenty of shows before now have had double-length pilot episodes — including, pertinently, TNG.

    I’m currently wondering if Patrick Stewart regrets signing up to this. It took a lot to lure him back, and presumably it was the general shape of what they were aiming to do (rather than the specific qualities of the individual scripts) that got him there. And he’s committed to multiple seasons too, with a second already commissioned and strong rumours of at least a third. Perhaps the grand plan will become clearer as things go on. Or perhaps it is just another paced-for-streaming modern TV show, which obviously works for some people.

    Flesh and Blood  Series 1
    Flesh and BloodBetween its short length (four parts), quality cast (Imelda Staunton, Stephen Rea, Russell Tovey), and condensed broadcast schedule (it was on four consecutive nights), this looked like a miniseries… until a last-second cliffhanger (plus some dangling plot threads) suggested there’ll be more to come. I watched it on that back of that cast and some strong reviews, which it only somewhat merited. It’s a decent family drama, about a 60-something widow getting into a relationship with a man her three grown-up children think might be conning her, with the added spice of a friendly/nosey next-door neighbour who might be a proper weirdo herself; but decent is about the extent of it — the cast elevate the material, which is fine but didn’t excite me otherwise. I expect I’ll keep watching if it comes back.

    McDonald & Dodds  Series 1 Episode 1
    McDonald & DoddsNormally I’d give a new ITV crime drama a miss, but this one is set and filmed in Bath (they got in my way one day by filming in the park I wanted to sit in for lunch, the bastards), so I had to see. It was… adequate. It’s about a hot-shot London detective who relocates to Bath, and lines like “that may be how things are done in London, but you’re in Bath now” were repeated to the point of absurdity. And don’t get me started on the accents (one local review derided the programme for thinking we all speak like Hobbits). Yet, inexplicably, it seems to have gone down quite well with viewers, which just goes to show you can’t trust the general public to judge anything. It’s only two episodes, so I’ll watch the second (if only to see what other recognisable locations they trot out — it makes a real point of showing off where it was filmed), but that might be my limit.

    Good Omens
    Good OmensThis six-part adaptation of the beloved fantasy novel by Terry Pratchett and Neil Gaiman debuted on Amazon last May, and by rights I should’ve been all over it from day one — I read the book as a kid, and loved it enough that I used to cite it as my favourite novel (the only thing that changed that was the fact it’s been decades since I last read it). But, as regular readers will know, life has got in the way of my viewing choices over the past year or so, and it was in fact that level of attachment that stopped me watching it — it needed my full attention. Obviously, that time has come.

    The downside of all the waiting is that I perhaps built up expectations the series couldn’t hope to match. To say it was a disappointment would be going too far, but it didn’t blow me away in the manner the book did when I was ten-ish. It couldn’t, shouldn’t have been expected to, really. But there’s an awful lot to like here. In the lead roles of an angel and demon, respectively, Michael Sheen and David Tennant are fantastic, both individually and as a double act. There is much quirkiness and craziness to revel in, and while it’s not often laugh-out-loud funny, it regularly tickles your amusement centres with its absurdity. There are some bravura touches as well, like the 30-minute pre-titles to episode three. On the downside, at six hours it seems a little long, and there’s way too much voiceover narration — Gaiman’s true calling as a novelist rather than screenwriter showing through, I feel.

    Maybe it’s a case of “the book is better” (as I say, I haven’t read it for yonks), but there’s still an awful lot to like about the adaptation. Those without a preexisting attachment to the novel may get more out of it than I did thanks to not bringing baggage. Personally speaking, someday I’ll watch it again, and hopefully having watched it once will mean it’s less weighed down by my expectations and I’ll enjoy it even more.

    The Good Place  Season 3
    The Good Place season 3“Holy fork,” I said to myself when I saw that the series finale of this had aired at the end of January — I’d forgotten how much time had passed since I last watched it. If you’ve still not seen any of the show yourself, look away now — it’s the kind of series you want to experience knowing as little as possible, and if you read about later seasons before you’ve seen earlier ones it’s just gonna ruin stuff. (I know that sounds self-evident, but it applies to some shows more than others, and this is very much one it applies to.)

    So, the third season picks up where the second left off (duh), with the gang back in their lives on Earth trying to prove they’re good people at heart. As I found with season two (which also started with a new status quo), these early episodes are okay — during this phase I like the show, but I don’t necessarily love it; I feel “it’s not as good as it used to be”, but it still entertains me, even while it seems to tread water a bit. But then, halfway-or-so through, the plot kicks into gear, and the season’s second half is a run to the finish line through an array of surprising and hilarious situations. The “back on Earth” premise robs something special from the show, I think — it’s only once they’re on course back into the afterlife that things pick up. Not that the early part of the seasons is a washout — like most of the best sitcoms, the joy is more in the characters than the exact situation they’re in, and the characters are still around — but something didn’t quite work for me (as I said, it’s not bad, just less good), and it’s only once they’re getting stuck back into the fantastical side of things that it really comes to life. It all builds to a finale that hits a surprisingly emotional note. And, knowing the next season is the final one, I’m looking forward to seeing where this crazy journey is going to end up.

    Lucifer  Season 3 Episodes 16-24
    Lucifer season 3So, I’ve finally caught up on the Fox years of Lucifer — it was here that its original network cancelled the show (Netflix picked it up for a fourth season, recommissioned it for a fifth and supposedly final season, added more episodes to that fifth season, and now are reportedly lining up a sixth season too). I can see why fans were particularly enraged — the season ends on a massive change of circumstance that would’ve been a terrible place to leave it forever. Indeed, the most intriguing thing here is where it will go next, especially given the network change: Lucifer is an old-fashioned network procedural, as much concerned with case-of-the-week crime stories as it is with arc plots and the supernatural goings-on of its angels-and-demons universe; and that was to be expected when it was on an old-fashioned network, but now that it’s on Netflix, the home of bingeing, will it shift its emphasis?

    That’s a question for next season, anyway. As for season three, it suffered a different fault familiar from network series of old: struggling to pace an arc plot across a mammoth 24 episodes. It actually went rather well at first (even if certain revelations were glaringly obvious), but by this final stretch it’s spinning its wheels a bit, trying to delay the finale-sized events for, well, the finale. I mean, one minute Chloe and Pierce are on course to get married, then he’s calling it off, then it’s back on, then she’s calling it off… pinging back and forth, one episode to the next; swinging from one major-life-choice extreme to the other from week to week. That’s something else the more concentrated Netflix runs (season four is ten episodes, season five will be two halves of eight each) will hopefully improve upon.

    The Twilight Zone  ‘Best Of’
    The DummyJordan Peele’s new version of The Twilight Zone belatedly made it to UK screens a week or two back, almost 11 months after its US airing. I still haven’t watched any of it, but I am still going with cherrypicking the best of the original series.

    I started my exploration of The Twilight Zone by watching the top ten episodes according to a couple of different websites. After that, I found more lists to create an average ranking (see last month), but I didn’t complete those new lists’ top tens — so that’s what I’ve done for this month’s selection. There were four new lists and, interestingly, all but one of their top tens contain episodes I hadn’t seen — you’d think that, between completing three top tens and a consensus ranking up to #16, I’d’ve seen every top-ten-worthy episode. That’s where personal preferences come in, of course, but it also shows how many great episodes of The Twilight Zone there are. Across the seven top tens there are 29 different episodes, and the only two that are included in every one are The Monsters Are Due on Maple Street and Time Enough at Last. 15 episodes appear on just one list, including all six I’m reviewing today.

    Anyway, enough of my statistics preoccupation — some episodes! The highest ranked among these is The Dummy, which is #2 on Buzzfeed’s list. It’s about a ventriloquist who thinks his dummy is talking to him — is it, or is it his inner demons? A sentient ventriloquist’s dummy is a none-more-creepy idea, and the episode does an interesting line in “is it real or is it in his head?”, but it didn’t quite come together in a satisfying enough way for me. Sure, there’s a somewhat chilling final beat, but I didn’t feel like the rest of the story quite got there, more jumped to it. The second best episode of the entire show? Not even close. Though it does have one of host Rod Serling’s coolest on-screen intros.

    Next up is also from Buzzfeed: their 6th place choice, Long Distance Call. Five-year-old Billy loves his grandma, and she loves him, somewhat to the chagrin of his mother. But then grandma dies, her parting wish that Billy could come with her. He starts to spend a lot of time playing with a toy telephone she gave him… and who’s he talking to? Grandma, of course. It seems like it’s just a child’s way of dealing with grief… until Billy runs in front of a car, saying someone told him to do it. It’s a strong idea for an episode, with some neat developments along the way, but it feels in need of a closing act — a final plot beat to resolve Billy and his telephone. We can extrapolate one from what happens (spoiler: by the end, grandma isn’t on the line any more), but it would be nice to see Billy realise this. And it would be effectively Twilight Zone-y as well, helping to underscore the magical realism with a final question: has Billy finished grieving and is ready to move on, or were the father’s pleas answered and grandma stopped calling? Add that final scene and this would probably be one of my most favourite episodes. As it is, it’s a very strong almost-but-not-quite.

    The Big Tall WishMoving on to TV Guide’s 50 Essential Episodes now for three picks. First, their #4, The Big Tall Wish. It’s a significant episode in the history of television because it features a nearly all-black cast in a story that isn’t predicated on their race; consequently, it was awarded the Unity Award for Outstanding Contributions to Better Race Relations. Critics rank this one fairly well — it’s also 18th on Screen Crush, 32nd on Paste, and 33rd on Buzzfeed — but on audience-ranked lists it’s much lower: 127th on IMDb; 119th on Ranker. The racism of audience rankings, so regularly visible on new releases, truly knows no bounds. Anyway, it’s about a beat-up ageing boxer hoping for one last shot at glory, and the young kid who believes in him — and who also believes his wishes come true, so he uses one to help the boxer win his fight. I really liked the setup, which plays as thoughtful and groundedly dramatic, with the suggestion of magical realism as opposed to outright fantasy. It’s well directed by Ronald Winston (one of three contributions he made to the series, including The Monsters Are Due on Maple Street), from an interesting use of a mirror in the opening, which helps to enliven what would otherwise just be a scene of two people chatting, to a striking way of visualising the fight sequence. At first I was unimpressed about where the episode eventually goes story-wise, but after a bit of thought I’ve come round to it more. It is, of course, metaphorical, rather than merely following some made-up rules of magic, and therefore has something to say about belief.

    Right after that in 5th is Deaths-Head Revisited, the story of a former Nazi captain going for a nice little holiday to Dachau, where a nostalgic wander around the old concentration camp turns into something he didn’t anticipate. It’s easy to forget nowadays, but this was made just 17 years after the end of the war. That sounds like quite a long time, but it isn’t really — it’s like something now relating to events from 2003. In fact, just look to a recent cinema release: that exact period of time gets you from Bad Boys II to Bad Boys for Life. I know that’s an insanely trivial comparison, but hopefully it makes my point: 17 years can be no time at all. Indeed, on the audio commentary by author and TZ expert Marc Scott Zicree and his mate Neil Gaiman (yes, that Neil Gaiman), they note how contemporary this issue was at the time: Judgment at Nuremberg had just been in cinemas; Eichmann had been tried but not yet sentenced. And this bit of trivia from IMDb: “due to religiously-inspired antisemitism that existed in the US at the time, none of the prisoners are shown wearing the yellow Star of David, which the Nazis made Jewish prisoners wear at Dachau.” Just 17 years after the Holocaust, and antisemitism was that present again. Chilling, isn’t it? And, today, we have our own problems with the resurgence of the Far Right, rendering these kinds of stories timely once again. This is as strong an example as any. As Gaiman says on the commentary, “it has real content. It’s something that leaves you with an emotion. It leaves you feeling something. It leaves you thinking.” Gaiman rationalises the events of the episode as being that “on some deep level he [the Nazi] had enough of a soul that he went back to the place of his crimes, realised what he’d done, and went mad.” Perhaps, but I think it’s more about the Nazis’ unending hubris: he thinks he can revisit the camp with impunity, to revel in the glorious memory of his deeds; but instead he is punished, and he’s not been hunted down for this punishment — it only happens because he has the gall to return.

    Twenty TwoOn a lighter note, in 9th place at TV Guide is Twenty Two. I say “lighter” — the subject matter isn’t as heavy, but this is a creepy episode. It’s about a woman in hospital who has a recurring nightmare about visiting the morgue, but she’s convinced it’s not a nightmare, it’s happening. It’s the enactment of her nightmare that is genuinely creepy (just imagining having to ‘live’ it gives me chills), and the idea of not being sure what’s dreams and what’s reality is a very Twilight Zone concept. Unfortunately, some of the specifics are weak. Whether it’s a nightmare or not would be easy to disprove, considering it includes details like her breaking a glass every night, or that the morgue is room number 22 — if it is, how does she know that? (Her doctor does eventually realise this… after days of hearing about it.) And as there’s nothing else wrong with her, why not discharge her — the nightmare is so location-specific that it couldn’t happen at home. Eventually there’s a twist, and it’s a good’un, pushing the concept somewhere logical (within the bounds of paranormal ‘logic’, anyhow) and retaining the creepiness. (There’s also a question about whether it inspired a much later film series, with which it shares many notable similarities, but to say more would be a whopping spoiler.)

    Another point about Twenty Two is that it’s one of a handful of episodes they shot on video to save money. Well, it may’ve saved some dough, but it looks like crap, even by the standards of video productions — it looks like it was transferred from a VHS copy. Maybe tape was really crummy back then (I swear other ’60s taped productions, like Doctor Who for example, don’t look this bad), or maybe it’s been poorly preserved, or maybe it’s just a shoddy transfer on the Blu-ray. In the end, only half-a-dozen episodes were made this way because they weren’t happy with the results — understandably! Sometimes money isn’t everything. But it’s interesting how much it’s shot like a video production. The shot choices aren’t like a normal film episode but on videotape; instead, it’s got all the kinds of camera moves and slight adjustments and whatnot you almost subconsciously recognise from live / minimally-edited TV. (Incidentally, Long Distance Call is another videotaped episode, but I watched that after this one so had fewer thoughts on the technical presentation.) And yet, the underlying episode is so good that it overcomes the technical limitations. No, the problem is the logic gaps. They may seem minor quibbles, but if they were ironed out it would improve the whole episode. For me, fixing them would make this a 10-out-of-10, but as-is it’s more of an 8.

    A Game of PoolFinally for now, the one outstanding top-ten-er from Thrillist’s ranking — their 8th pick, A Game of Pool. It’s about a pool shark who thinks he’s better than the player everyone else considers to be the greatest, but that guy’s dead so he can’t prove it… except, of course, he’s in the Twilight Zone. Some episodes save their Twilight Zone-ness for midway or final-minute reveals, but others put it front and centre, and this is one of them: a game of pool with a dead man! But it still has one of the show’s trademark ironic twists at the end, to teach us a lesson. That said, I didn’t think it landed as well as some other episodes, because it’s a bit of a fantastical warning rather than a pure morality play. There’s an alternate ending (included on the Blu-ray as both a narrated screenplay and a clip from the ’80s remake, which used that ending instead), which was screenwriter George Clayton Johnson’s original and preferred conclusion, and it’s that alternative conclusion that’s stuck with me more. Of course, the advantage of things like special features is we kind of get to have both versions; we can pick our favourite, or even consider both, like alternate timelines — how very The Twilight Zone.

    The 92nd Academy Awards  and
    The British Academy Film Awards 2020
    The 92nd Academy AwardsOn Twitter in the run-up to the ceremony itself, there was a general acceptance that (a) Parasite was the best picture of the year, and (b) Parasite was not going to win Best Picture. As far as I could see, there was a sort of genial acceptance of these facts, which made a nice change from Film Twitter’s usual condemnation of everything. But then, blow us all down, Parasite did actually win! It’s noteworthy for all sorts of reasons — primarily because it’s the first ever non-English-language film to win Best Picture at the Oscars. It was also only the third time that the Palme d’Or and Oscar have gone to the same film. And director Bong Joon Ho became only the second individual to win four awards at one ceremony (after Walt Disney, and he did it across four different films). As for the rest of the ceremony, most of the other gongs went where expected, leaving 1917 the major victim of Parasite‘s surprise success. But it still took home three well-deserved technical trophies, whereas Netflix’s The Irishman (which had the same number of nominations, ten) was shut out entirely.

    There were even fewer surprises at this year’s BAFTAs. Maybe Klaus winning Best Animated Film, but then the British Academy are always more resistant to the dominance of Disney/Pixar in this category than our American cousins (I think of Kubo deservedly winning a couple of years ago, for example). Of course 1917 won Best Picture — it was the favourite anyway, but it was also British, and that does sometimes sway the local vote. Not so in the acting categories, which went to the expected sources. I thought Graham Norton was a good host, too. He’s a natural fit for this kind of thing, and so while not every line quite landed, his hit rate was much higher than other recent hosts. I hope he returns next year.

    Also watched…
  • Death in Paradise Series 9 Episode 3-8 — The back half of this run introduced a new lead detective (the show’s fourth), played by Ralf Little. His quirk is that the island’s heat / animals / etc cause him all sorts of irritations and rashes. I can relate. Other than that, it’s business as usual for the sunny, silly murder mystery.
  • The Goes Wrong Show Series 1 Episode 6 — A final recommendation for this most excellent comedy, which went out on a high with one of its best episodes: 90 Degrees, which refers to the heatwave occurring during the story, but was “misinterpreted by the set builders” so one of the main sets is on its side. Hilarity ensues. The whole magnificent series is still available on iPlayer, it’s also out on DVD, and a second series has been confirmed. Hurrah!
  • My Dad Wrote a Porno — A one-off HBO comedy special spun off from the popular podcast. I’d vaguely heard of said podcast (I don’t really do podcasts), and apparently it’s very funny, so this seemed worth a punt. And I did enjoy it, overall. I’ve read that it’s not as good as the real thing, though, so maybe I should get onto that.
  • The Rookie Season 1 Episodes 1-6 — I remember being interested in this when it was first announced, because it starred Nathan Fillion (so enjoyable in both Firefly and Castle) and had an interesting-enough premise (middle-aged man joins LAPD as their oldest ever rookie), but then I kind of forgot to keep an eye out for it — it’s on season two now and I’m just getting started. It’s an above average police drama, I’d say, and it’s a nice change that it’s not about detectives solving a murder of the week.

    Things to Catch Up On
    Noughts + CrossesThis month, I have mostly been missing Noughts + Crosses, the BBC’s high-profile adaptation of Malorie Blackman’s beloved alternate-world young adult novels. It seemed to go down very well on Twitter when the first episode aired, and the whole series is already available on iPlayer, so I’ve no excuse not to make time for it next month (other than all those Picards I have to catch up…)

    Next month… Disney+ finally comes to the UK on March 24th, and with it The Baby Yoda Show The Mandalorian. Plus, a different tack in my viewing of both The Twilight Zone and Doctor Who.

  • The Past Month on TV #55

    It’s SF/F-agogo in this month’s TV update, with new Star Trek, new Doctor Who, old Twilight Zone, and I’ve finally finished His Dark Materials too.

    Doctor Who  Series 12 Episodes 3-5
    Doctor Who series 12Well, it certainly has been an eventful first half to this series of Doctor Who! Never mind bringing back the Master and destroying Gallifrey (again) in the opening two-parter — showrunner Chris Chibnall has much bigger continuity-bothering ideas on his mind. But before that, two standalone episodes.

    The first, Orphan 55, is currently the worst-rated episode of modern Who according to IMDb voters, with a score almost as low as the much-maligned Game of Thrones finale. But whereas I defended that episode, unfortunately I have no love for Orphan 55. I know a lot of people’s issue with it is that it’s a bit of a climate change polemic — some people just hate Who engaging with contemporary ‘political’ issues. Sorry, but it’s been doing that since at least the Pertwee era. It’s normally a mite more subtle than this, though. I mean, The Happiness Patrol is a blatant analogy for Thatcher, but at least it’s an analogy. So Orphan 55’s problem isn’t the content, it’s the delivery: an on-the-nose lecture, practically delivered straight to camera, stapled on the end like an afterthought. But it doesn’t exactly ruin the episode, because the rest of it isn’t much cop either: a logically-dubious runaround with a shopworn twist (one that Doctor Who itself has done before, in fact). But is it actually worse than previous “most despised” editions, like Fear Her and Sleep No More? Um, actually, I think it might be.

    Thankfully, the week after things swung back in the right direction. In previous years Nikola Tesla’s Night of Terror would probably have been regarded as a solid midseason bit of fun, but in the current era it virtually amounts to a classic. There were undeniable overtones of the Racnoss in the creature design, and Vincent and the Doctor in its depiction of an unappreciated-in-his-time historical genius (I half expected them to take Tesla into the future to show him there was a car named after him), but plenty of Who is like other parts of Who (it is 57 years and 879 episodes old, after all, not to mention the uncountable spinoff novels, audio dramas, comic strips, etc). All in all, it was fun enough.

    But the real belter was the most recent episode, Fugitive of the Judoon. It’s most impressive as a bit of show-running stagecraft: foregrounding a popular returning monster in the title and publicity (the Judoon, obv) in order to hide the long-awaited return of a popular character (Captain Jack), which was a big surprise that in itself is designed to distract you from the real twist: another incarnation of the Doctor, played by Jo Martin.The two Doctors Social media and fan forums and whatnot have debated and analysed that revelation to death, so I won’t bother digging too much into all the possibilities of what it means — only time can tell. I will stake out this opinion, though: I am not a fan of the theory that she’s a pre-Hartnell version of the Doctor. The idea there were incarnations before the one we know as the first has always seemed disrespectful to me, somehow. Yeah, the Daleks ‘made’ Doctor Who, but Hartnell gave it his all too — without him week to week, and the effort he put into public appearances and the like, would the series have survived those early years? He’s not the only thing responsible for its success, and certainly not for its longevity, but he was The First — leave that be, thanks.

    But, as I say, we’ll find out in time. More interesting to me, for now, is how showrunner Chris Chibnall is going about his job nowadays. Comparing his two seasons so far, Chibnall’s attitude to reusing stuff from Who’s past seems to be — very literally — all or nothing. Last season, he made a point of not using any continuity — no returning characters or villains, no significant references to the Doctor’s past or previous adventures. This season, he seems to be using all the continuity. I can’t remember a Doctor Who story so loaded with references to not-recent previous adventures as this one. Even the Chameleon Arch gets an outing, a thing that mattered in two stories that aired 13 years ago. It feels like Chibnall is an RTD-era fanboy revelling in bringing back stuff from a time when the show was at its peak of popularity. Maybe that’s what it needs right now. Though, in a broader sense, I feel like last season was Chibnall trying to copy RTD-in-2005 (fresh! new! start watching here!), while this time he’s doing his best to be Moffat-in-2011 (complicated mysteries! revisionist continuity! wibbly-wobbly timey-wimey explanations!)

    Whether these additions to the mythology are interesting and productive, or whether it’ll be like “half-human” and fans ignore it ASAP, will depend on what’s to come. Either way, it’s the most exciting the show’s been in a good few years, and that’s something in itself.

    Star Trek: Picard  Season 1 Episode 1
    Star Trek: Picard season 1The Star Trek series boldly goes where it’s never gone before: into the Prestige TV market. (Despite initial appearances, based on things like the reviews I’ve read and variably-sized season orders, I’m not sure Discovery was really “prestige TV” in the end.) Is it up to competing with the big boys of this peak TV era?

    Well, after just the first episode, I’m going to hang fire on answering that — on the evidence of this one instalment, it could go either way. It can certainly walk the walk: it looks very nice, with plenty of lush cinematography and expensive visuals (both globe-hopping locations and swish CGI), and it certainly wants to appear weighty, with themes of ageing and decay (not only of people but also institutions). But can it talk the talk? Does it actually have things to say beyond “Picard is old now, and Starfleet’s a bit shit”? Once upon a time I’d’ve said the fact it’s heavily (heavily) embedded in existing Trek continuity was a barrier, both to entry (“only fans will know enough to follow the plot”) and quality (“it’s so busy looking to the past it doesn’t do anything new”) and acclaim (“I’m not a Trekkie so I didn’t care”) — but that’s not necessarily the case anymore, as HBO’s Watchmen only just proved: you can reuse and remix and lean hard on previous texts, and still produce a high-quality work. That said, while Picard does invest energy in making sure newbies have all the continuity stuff explained, I feel like the show already shows signs of wavering towards Trek’s usual habits, for good or ill. But there’s an interesting enough set of mysteries just getting underway, and it’s always great to see Patrick Stewart, so I remain optimistic it’s going to go somewhere good.

    His Dark Materials  Series 1
    His Dark Materials series 1I reviewed the first three episodes of His Dark Materials in my previous regular update, just over a month ago, but I’d actually watched them much earlier, so when I returned to the series in the new year I decided to restart from the beginning. That improved my opinion of them considerably, I must say, but then a second viewing always has the ability to help clarify things you were unclear of before. Still, I got much more invested this time, and was swept along for the ride and the mysteries the show unfurled. Like the two series I’ve reviewed above, there’s plenty of mystery and intrigue here — some of it answered, much of it left hanging for future seasons (there’s two whole books to come, intended to be adapted across four more seasons). But even in this first salvo, events and characters move in interesting directions. It’s a very dark show at times, especially for something adapted from what are ostensibly children’s books, but that at least creates a genuine sense of jeopardy and unpredictability. So too the way it handles its characters — there’s not just simplistic twists of “hero turns out to be villain” or vice versa, but definite shades of grey. With the promise of whole new worlds to come, I’m definitely excited to see what’s next.

    Also, I bloody love the theme music now.

    The Twilight Zone  ‘Best Of’
    The Midnight SunIt’s been six months since I did one of my “best of The Twilight Zone” roundups, but I always intended to continue them, so here we are again.

    Having already reviewed the top ten episodes as ranked by several different sources (IMDb voters, ScreenCrush, and Paste), I decided to resume my journey through the original Twilight Zone by producing an average of various different lists to identify which instalments are acclaimed by consensus (because that’s the kind of thing I do). To help broaden the range of opinions, I added a bunch of new lists to my calculations — namely, Ranker’s The Best Twilight Zone Episodes of All Time as sorted by voters; Buzzfeed’s Ranking Every Episode by Arianna Rebolini; TV Guide’s 50 Essential Episodes Ranked by Joal Ryan: and Thrillist’s The 50 Best Episodes by Scott Beggs.

    This new average ranking gave me a fresh top ten with a couple of episodes I’d not seen. The first of those was in 9th place (also, for what it’s worth, it’s now in IMDb’s top ten too, having moved up from 11th to 8th since I last looked). That’s The Masks, which I think is one of the series’ best-paced episodes. I’ve found that even some of the greatest episodes can feel a little thin, with a singular concept that only just fills 25 minutes, but this one doesn’t overstay its welcome by a second — and yet it’s as simple and clear a concept as any. That’s perhaps when TZ is at its best: simple but effective concepts, cleanly executed. And there’s a moral lesson too, of course.

    I was slightly less impressed by The After Hours, which finishes off the consensus top ten. It’s an effectively creepy edition for the most part, with some genuine scares, but for me it was slightly undermined by the final explanation, which I don’t think quite hangs together with what’s gone before. A definite case of “it’s about the journey not the destination”, then, because up ’til that point it’s superb.

    Number 12 Looks Just Like YouMoving beyond the top ten to complete the top 10% (i.e. the 16 best episodes), next is Number 12 Looks Just Like You (which, by-the-by, comes 10th on Thrillist). This is what some people might call “proper sci-fi” — an idea of the future spun out of what’s possible in the present, using it to present an analogy for the times we live in. And what is the analogy? In this case, there’s a few things you can read into it: mental health; conformism; the transition from childhood to adulthood; maybe all of the above; maybe something else. The only real downside is the episode hints at a wider world that isn’t explored. It’s mentioned in passing that the writing of Shakespeare, Keats, and others has been banned. Why? By whom? And while a bunch of middle-class white people are choosing which generic model they want to look like, what about other races? Class is less of an immediate issue because it seems this is a government-backed thing that everyone must undergo — but then, why do the lower classes get to look just the same as their ‘betters’? Surely there’d be different models depending on your social station? Never mind a 25-minute episode, someone could spin an entire series out of this… Still, having so much to ponder is one mark of a very good episode.

    The Midnight Sun is the penultimate episode in the top 16, and also is another one that’s 10th on one list, this time Ranker’s. I’d probably put it even higher — this is definitely one of my favourite episodes so far. It takes a massive world-altering event and shows it to us from the point of view of two ordinary women; and not even from when the event happens or is discovered, but from a month into the new status quo, when it’s become a fact of life rather than some revelation. It’s a different way to approach such a story even today, and it works all the more for it. And, of course, there’s a twist (spoiler to come!) — one of the very, very few times “it was just a dream” works.

    Robert Redford invites you to The Twilight ZoneFinally for now, the last episode in the top 16 (and the only one of today’s episodes not in anyone’s top ten), Nothing in the Dark. Probably best known for staring a young Robert Redford, it’s about an old woman who’s paranoid and agoraphobic due to her fear of meeting Death; but when Redford’s cop is shot right outside her door, she has to let him in to save his life. It’s a nice idea for a story, but (to loop back to what I was saying about The Masks) it feels a little slight in the execution. Half of the second act is taken up in a diversion with a demolition guy which is just that, a diversion. Still, there are very good performances from the two leads, and it comes with a well-meant little message by the end.

    Also watched…
  • The Goes Wrong Show Series 1 Episodes 3-5 — I love this show with all my heart. Episode 3 was perhaps the best yet (even the title, A Trial to Watch, is a gag). So this is a friendly reminder that the series so far is available on iPlayer and the sixth (and final, *sob*) episode is on tonight.
  • The Great British Bake Off Series 1 Episodes 1-3 — I joined Bake Off before it was an all-encompassing phenomenon, with series two. So I’ve always meant to go back and see the one season I’d missed, especially since the whole lot became available on Netflix. It’s funny watching it now, though, because so much of it is familiar as Bake Off, but it’s early days and it’s unrefined. It’s a bit like watching a version of the show made by someone who pretty much remembers how it works but not exactly.
  • Star Trek: The Next Generation — I’ve never seen all of TNG (far from it), so as Picard is expected to be heavily indebted to existing continuity, I sought out a few likely-to-be-relevant episodes. The first was season 5 episode 23, I Borg, which is regarded as one of the series’ very best, and deservedly so. The other was the season 6 finale / season 7 premiere, a two-parter called Descent, which I guess was decent. There’s some good stuff in the first half about Data dealing with the possibility of experiencing emotion, but the second half is a bit too pulpy in a way I’m not sure fits Trek (or at least my idea of it). If any Trekkies reading this have other episodes they’d recommend (for relevance to Picard, not just because they’re good), I’m open to suggestions.
  • Twin Peaks in UHD — The recently-released Twin Peaks: From Z to A box set includes a bonus disc with two episodes in 4K Ultra HD. Yeah, just two. Why they didn’t do the full series, who knows. Expense, I guess. Some people reckon this is testing the waters for a full-series UHD release, but I dunno — considering they’ve already released the whole series on individual season DVDs, then a complete box set DVD, then Blu-ray, now a collector’s edition Blu-ray, do they think they’ll manage to sell it to people again? Sure, there’ll be some customers, but enough? Anyway, the two episodes here are the original pilot and season 3 / A Limited Event Series / The Return (whatever you want to call it) Part 8. The latter looked pretty great, even without HDR enhancement; the former… I’m counting as a movie, so will write about in January’s Rewatchathon segment.

    Things to Catch Up On
    Good OmensThis month, I have mostly been missing Good Omens… again! I didn’t get round to it on Prime Video when it premiered last May, and now it’s airing weekly on BBC Two but I still haven’t started it. I read the book as a kid and absolutely loved it (for a very long time I would’ve said it was my favourite novel), so when they announced a miniseries adaptation I was excited — especially as it was being managed by Neil Gaiman himself and starred a bunch of my favourite actors, not least Michael Sheen and David Tennant in the lead roles. That’s almost the problem: I want to watch it properly; I can’t just bung it on. Maybe I’ll get to it before next month’s column.

    Also missed: The Trial of Christine Keeler (I hear it got pretty good, but only after a couple of episodes); White House Farm (I’m interested in the case, but apparently the series is overly slow and long-winded); Deadwater Fell (David Tennant again); and probably a tonne of other stuff that’s slipped my mind for the moment…

    Next month… more Doctor Who, more Picard, more Twilight Zone. As for new stuff, Locke & Key finally makes it to the screen via Netflix… but that’s about all I can foresee for now. Maybe I will finally do Good Omens

    P.S. If you’re an attentive regular reader who’s thinking, “hold on, did I miss #53 and #54?”, the answer is no, you didn’t — the mistake is mine. A whole year ago, I forgot to count the 2018 Christmas post towards the numbering, which is the way I’d previously done things, so I am belatedly correcting for it by ‘hiding’ the jump alongside the one for 2019’s Christmas post. If you think that’s terribly confusing, just remember: it doesn’t really matter anyway.

  • The Past Christmas on TV

    Continuing the spirit of publishing things about ten days late, here’s my Christmas TV review, about ten days after the season ended. (And if you’re thinking, “um, Christmas was 18 days ago,” well, the TV ‘Christmas’ season goes on until at least January 1st here, so there.)

    Santa Goes Wrong
    Here’s Santa to rekindle your festive spirit.
    With alcohol.

    This is now my fourth annual Christmas TV post, would you believe. I still feel like TV reviews are a fairly recent addition to this blog, but nope, it’s been four years. And this is, in a way, a vintage year, what with the Gavin & Stacey revival becoming the most-watched Christmas Day broadcast in something like 17 years; and, even more impressively, it was the only scripted programme to make the top ten TV broadcasts of the decade (the rest going to sporting events and one random episode of The X Factor).

    As for whether it was any good, and what I thought of other stuff that was on… well, read on…

    Doctor Who  Spyfall
    Doctor Who: SpyfallFor the first time in 14 years, since the series returned, there was no Doctor Who Christmas/New Year special. Gasp! At least we got the first episodes of a new series, though — two slightly-longer-than-normal instalments (at 60 minutes each, which doesn’t feel that special when regular episodes are 50 minutes now). And a two-parter, too — the first of those since 2017. And a big two-parter at that, with big-name guest stars and big action sequences and big overseas locations.

    Yep, this is Doctor Who with a bang — a marked contrast to last series, which mostly went for understated. Well, as understated as modern Doctor Who gets, anyway. But whereas series 11 had no two parters and no returning monsters and, as I say, a markedly calmer pace and tone, series 12 begins with the antithesis of all of that. In case you’ve not seen it I shan’t spoil the end-of-part-one reveal, which was a massive delight that I did not see coming (I guess someone learnt a lesson from last time that villain returned, when the production team basically spoiled it themselves before anyone else could). That was the highlight of an episode that moved at a mile a minute, not pausing to let you consider the logic of what was going on (which, yeah, was not faultless). But while it may not have been perfect, I’m glad to see a return for this fun, exciting version of the show. I didn’t find series 11 a total washout (I think my reviews as it was airing were mostly positive, even), but overall I felt like something wasn’t quite working.

    Well, let’s be honest, what wasn’t working is showrunner Chris Chibnall. His episodes under previous showrunners Russell T Davies and Steven Moffat were never the very best (and I say that as someone who likes them more than most), but without their oversight to guide him, he seemed a bit lost. He’s a long-time fanboy of the show (somewhat famously, he appeared on a viewer feedback show in the ’80s to slag off the quality of the writing), and at times last series it felt like he was writing for the show as he’d loved it as a kid (that is to say, a bit slow-paced and old-fashioned). Now, possibly taking some of the criticism on board (or possibly just trying to mix it up), he’s attempting to emulate the whoosh-bang blockbuster-but-quirky style of RTD and Moffat. What he can’t grasp is their effortless-seeming slickness — when they rushed over something it was usually because “it makes sense if you think about it”, whereas Chibnall is trying to cover a logic gap; conversely, when there’s no gap to be hidden, he has characters mercilessly over-explain everything, I guess for the sake of anyone who’s just walked in.

    So, not perfect, but I thought Part 1 was a blast nonetheless. Sadly, I was much less enamoured with Part 2 — a virtually nonsensical runaround through time, which didn’t seem to know what to do with everything that had been put in play, just throwing “more” at us until the Doctor basically said “time for the story to end now”, and so the baddies disappeared and that was that. Apart from an epilogue, which was quite intriguing — and dove head first into full-on mythology territory, something the series studiously avoided last year. Whether Chibnall’s got anywhere good to go with what he’s teasing, God only knows (I fear not, based on the evidence), but it’s a welcome bit of business that will hopefully jazz up the season to come.

    Gavin & Stacey  A Special Christmas
    Gavin & Stacey: A Special ChristmasI won’t recap Gavin & Stacey’s ratings success (what with already having mentioned it at the start), nor will I touch on the controversy around its use of Fairytale of New York (I kind of get why people complained, but also, the song is the song). As for the episode itself, well, I thought it was masterful. It may be nine years since the last episode, but it was like they hadn’t been away. Not that they tried to ignore the passage of time — clearly, the best part of a decade had passed in the characters’ lives, and naturally changes had come with that — but the characters and performances felt true to their old selves, as if they’d never stopped playing them, with the rhythms and comedic style of the show fully intact. Some decade-later revivals feel like new shows — the writers have forgotten how to write it properly; the cast have forgotten how to play it right — but not this one. This was bang on what it should be. Tidy.

    Dracula
    Dracula“From the makers of Sherlock”, declared the publicity for this new adaptation of the Victorian novel — so you’d be forgiven for thinking it was a present-day reimagining. But it wasn’t. Well, until it was.

    This new Dracula is very much a tale of three parts, and not just because it was in three 90-minute episodes. While undoubtedly a serial, each episode was almost a standalone instalment, which was a structural trick I quite liked — it doesn’t feel like you’re watching one four-and-a-half-hour work broken into three by the necessities of the schedule, but rather three separate-but-connected works. And I really, really liked the first two.

    The Rules of the Beast is what you most expect of Dracula: a spooky Transylvanian castle; “I don’t drink… wine”; mild little Englishman Jonathan Harker discovering terrible secrets… Of course, writers Steven Moffat and Mark Gatiss didn’t shy away from bringing a few affectations and twists to the piece, but I thought they all worked well. Claes Bang makes for a fantastic Dracula (a comment that holds true throughout the series), the rest of the cast were very good as well, and there were some proper horror bits — this adaptation was not, ahem, toothless.

    The second instalment, Blood Vessel, dealt with Dracula’s voyage to England aboard the Demeter — a part usually more or less glossed over in other adaptations, as far as I know. But here Moffat and Gatiss spin it out into a full 90-minutes, kind of like a slasher movie set in a confined location, albeit we know whodunnit — so, naturally, there are other twists to be found. Again, I liked this a lot — the way it felt respectful to the source while also expanding and refreshing it; the interesting supporting cast; some very impressive production work (they built the entire ship on a soundstage!)

    Then we get to episode three, The Dark Compass. There’s no way to talk about what happens here without spoiling it, so if you haven’t watched the series yet and are intending to, look away now. If you have watched it, you’ll know this episode jumps the action forward 123 years to 2020. And you also probably hated it, because it seems almost everyone did. My feelings were slightly more nuanced. In my opinion, its biggest mistake is that it’s a completely different show. Sure, we still have Claes Bang playing Dracula (and he’s still excellent), and we still have Moffat and Gatiss’s recognisable stylings in the dialogue and whatnot, but the entire setup has shifted. Judged in isolation, as a present-day-set reworking of the Dracula story as told in the novel, I don’t think it’s that bad. Maybe it’s a tad too cheesy (the scenes in nightclubs and whatnot do have a feel of “how do you do, fellow kids”), but it’s workable as a modern-day adaptation of the character and plot. The problem, as I say, comes from placing it as part of a whole alongside the reenvisioned-but-fundamentally-faithful adaptation we got in the first two episodes. In doing so, Moffat and Gatiss undermine the whole enterprise — it robs the first two-thirds of a fitting finale; and, by being so radically different to the style we’ve spent three hours getting used to, it doesn’t give itself a fair shake either.

    And so many have judged the overall result to be a failure. Personally, I enjoyed enough of it that I was still entertained, but if they’d given us a ‘proper’ third episode to round it out then I think I may’ve loved it.

    The Goes Wrong Show  Series 1 Episodes 1-2
    The Goes Wrong Show - The Pilot (Not the Pilot)Oh my, what a treat! Regular readers will remember how much I loved Peter Pan Goes Wrong at Christmas 2016 (“the best thing that was on TV during the festive season”) and its 2017 followup, A Christmas Carol Goes Wrong. When the gang missed Christmas 2018 I feared we wouldn’t be getting any more, possibly thanks to the negative-nelly reception in some quarters. But oh no, for 2019 they’re back with a vengeance: not a one-off hour, but a whole series of half-hour Plays Gone Wrong. Reader, I am cock-a-hoop with delight!

    The first episode was another Christmas special; the second a historically-inaccurate WW2 thriller (set in 1961); the third aired on Friday but I’m currently saving it. It’s a half-hour parade of utter silliness — slapstick, wordplay, entirely predictable tomfoolery… but sometimes the total predictability of what’s about to go wrong is part of the fun (episode one begins with a blatant setup for a joke that isn’t paid off until the very end of the episode). And it’s exactly the kind of thing the whole family can watch and enjoy, whether you’re 6 or 66. I genuinely can’t remember the last time I was driven to tears of laughter. Actually, I can — it was Peter Pan Goes Wrong. Long live the Cornley Polytechnic Drama Society!

    Also watched…

    A mix of Christmas scheduling and non-Christmas stuff we just happened to catch up on.

  • Criminal: United Kingdom Season 1 — Netflix’s high-concept cop show wasn’t quite as classy as the publicity would have you believe (it still indulged in the old staples of office politics, breaking from the tension of the interrogation to faff around with romance subplots and whatnot), but the guest stars still gave it their all — I don’t think I’ve ever seen Hayley Atwell like that before, and David Tennant was superb as always. Good enough that I’ll check out some of the international versions.
  • In Search of Dracula with Mark Gatiss — This felt like it was planned as a promo for the BBC’s new Dracula, but aired after it. Weird. Anyway, Gatiss has fronted several great documentaries on horror before, and while this wasn’t quite in their league (the others are exceptionally good) it was still a solid and interesting look at the history of the Count. And it made me want to see a load of previous Dracula films, which I always think is the mark of a good movie documentary.
  • Miranda My Such Fun Celebration — I know the sitcom Miranda wasn’t to everyone’s taste, but I loved it, as did lots of others, hence this one-off special to mark its tenth anniversary. It’s a bit of an oddity — a mix of cast reunions, sketches, clip montages, and song and dance. Yes, song and dance. It was well-meaning but, well, I found it a little strange. But for those people whose lives have been positively impacted by the series (and, genuinely, hurrah to it and them for that), I’m sure it was a delight.
  • Vienna Blood Series 1 — A new crime series from “that other guy who wrote some episodes of Sherlock”, this adaptation of a series of novels set in Vienna c.1907 did feel a bit like Sherlock Lite, with its Freud-influenced genius consulting detective and some stylish visuals. But it lacked the innovation that marked out Sherlock, especially in its early days. You can tell this has half an eye on being an easy sell to international markets, able to sit comfortably alongside all the other 90-minute crime dramas the UK TV industry churns out. So, it was a bit predictable and formulaic, but decently done and reasonably entertaining. This Guardian article echoes my feelings on it pretty well.

    Things to Catch Up On
    A Christmas CarolThis month, I have mostly been missing the BBC’s new adaptation of A Christmas Carol, written by Peaky Blinders creator Steven Knight. I know it went down with some degree of controversy, but its revisionist, horror-tinged style looked right up my alley. Unfortunately, it was stripped over three nights, and because I knew I was going to be away for the third evening I didn’t start it. By the point I had enough time to make room for it, it was so long enough after Christmas that I wasn’t sure it was appropriate. Now, it’s January 12th and it’s definitely too late. Guess I’ll have to try to remember to watch it next year, then.

    Next month… it’s a new year, so I’m sure there must be plenty of new TV. Although I kind of hope not, because I’ve still got tonnes and tonnes from last year to catch up on.

  • The Past Months on TV #52

    I didn’t post a TV column again last month, so this roundup is thoroughly overdue. So before the Christmas TV season gets properly underway (it kind of already has, but shh), here’s my final regular TV review for 2019. (I still intend to post my usual Christmas-TV-focused one at some point.)

    His Dark Materials  Series 1 Episodes 1-3
    His Dark Materials series 1If I’d posted this column on time, this series would’ve just been getting underway. As it is, the final episode airs tonight. And, obviously, I’m quite far behind. I do intend to catch up, but I’m not entirely sure what I make of it.

    Philip Pullman’s novels are acclaimed and beloved, of course; there’s a starry and talented cast, naturally; the production values are sky high; there are plentiful interesting ideas and threads to be explored… but the execution is a tad confusing, offering little quarter to those of us who are pretty new to this world (I have seen the film, but that made significant changes) and need it explaining to them — well, aside from a text prologue that feels like it was a late addition when someone realised they hadn’t explained things particularly clearly for newcomers. Even if you get a handle on it all, though, it feels like there’s an indefinable spark missing that would really bring it all to life as an engrossing drama.

    Or maybe I’m just expecting too much — this has been a long time coming, with an attendant amount of hype. Perhaps it’ll all cohere as it goes on. As I said, I do intend to stick with it to find out, but I don’t feel it hit the ground running in quite the way I’d hoped.

    Watchmen  Season 1 Episodes 2-9
    Cause for celebrationWhen I reviewed the premiere episode of this last time, I said “there’s a lot of promise and potential here.” Well, reader, I do believe the series lived up to that and then some — it just got better as it went along, with a lot of the very best stuff coming in the final third.

    Last time I also wrote about how it was both a sequel and a so-called ‘remix’ of the original novel, and that only became more apparent as the season went on. For the former, there’s no denying this is a follow-up to the book — it explicitly references and builds out of events and characters from Alan Moore and Dave Gibbons’s original work. But it also takes a lot of the iconography, themes, and storytelling devices from the book and rearranges them to help support its own narrative. That kinda makes it sound like just a remake, but that undervalues it — creator Damon Lindelof and his team of writers have brought a lot of other ideas to the table too, mixing those with what’s taken from the book to make a work that is new. So, whereas a traditional sequel would just be “the next adventure of the same characters”, maybe this is more of a companion piece. Whatever you want to call it, I think it’s a worthy addition. But it’s definitely an addition — I dread to think how this plays if you haven’t read the book.

    And just like the book, there’s an awful lot more that could be written about what this series has to say and how it says it. I’ll leave that to others — there’s plenty of writing out there about it already. Some of that is a bit clickbaity (well, when isn’t stuff nowadays?), in particular with reference to the ending, which some sites have taken to calling a “cliffhanger”. It isn’t. Indeed, there may not even be a season two — not because HBO don’t want one, but because Lindelof doesn’t necessarily have a story to tell. It’s admirable that they’re not forcing it to happen just because season one has been a success (learning their lesson from True Detective, I suspect), but I also hope Lindelof does alight on an idea for more — if it can equal this, it would certainly be worth seeing.

    Indeed, some commentators have been calling Watchmen a late entry for best TV series of the decade, or even one of the very best TV series of all time. Well, I don’t know about that, but it is very good — certainly better than it has any right to be, considering its provenance. That’s an achievement not to be undervalued.

    World on Fire  Series 1 Episodes 3-7
    World on FireThis is good enough that it probably would’ve been A Major Series if it had been made 15 to 20 years ago; heck, maybe even 10 years ago. Today… well, as my previous comment implies, it just doesn’t feel slick enough in the modern TV landscape. It has its plus points (the recreation of Dunkirk was suitably epic, at least compared to the low-key-ish earlier episodes, and Lesley Manville is always magnificent), and it’s done well enough to get recommissioned (thank goodness, because the finale left a tonne of stuff dangling as if it was a midseason episode), but I’ll be surprised if it ends up in the zeitgeist in the manner of, say, Downton Abbey. (Brief thoughts on episodes 1 and 2 last month.)

    Shetland  Series 5
    Shetland series 5This ITV-produced BBC-aired crime drama is so popular that they recently recommissioned it for both a sixth and seventh series. Originally it took the form of two-parters adapted from novels, but for the past few series they’ve done original season-long six-episode storylines. For this run, the gang find themselves up against human traffickers, using Shetland as a waypoint to get slaves into the UK. Overall it’s not as engrossing or remarkable a story as the ones told in the last two series, but it remains a more-than-solid cop show bolstered by a likeable regular cast. That double series recommission is welcome news.

    Also watched…
  • Comedians Giving Lectures Series 1 — Dave’s latest comedy concept is to give comedians the titles of real scientific lectures and have them deliver their own version, judged by an actual expert and a studio audience. Some go for all-out laughs, some actually deliver surprisingly decent lectures with gags thrown in. As with all mixed-bill standup, the overall result is variable depending on the skill of the performers, but it’s a nice little format.
  • Death on the Tyne — Comedy murder mystery sequel to Murder on the Blackpool Express, which aired back in 2018 but I’ve only just got round to watching (because they’ve recently aired a third). My review of Blackpool Express sounds quite dismissive, but I did enjoy it overall. Sadly, this follow-up is quite a bit worse. I’ll still watch the third one, though it may yet take me another year to get round to it…
  • Doctor Who Series 12 Trailers — At the risk of getting ahead of ourselves, the new series of Who looks like an attempt to move away from the slower-paced, kinda-serious Series 11 and back into the action-packed monster-stuffed fun that made the show a hit on its return in 2005 (almost 15 years ago now! Jeez…) It begins with a Bond-parodying two-parter in the new year.
  • The Great Model Railway Challenge Series 2 — A fabulously nerdy show. As this is a film blog, I have to recommend the second semi-final (episode 7), in which the teams created magnificent layouts based on Jurassic Park, Harry Potter, and James Bond.
  • There’s Something About Movies Series 1 — This Sky comedy panel show about (you guessed it) movies passed me by when it was on back in April, only coming to my attention by coincidence when the second series started. Unsurprisingly, it’s daft and aimed at general audiences — nothing special for avowed film buffs.
  • World’s Most Scenic Railway Journeys Series 1 Episodes 3 — No offence to the featured people of New Zealand, who all seem thoroughly lovely and likeable, but this travel doc kind of plays like a Taika Waititi mockumentary.

    Things to Catch Up On
    Jack Ryan season 2This month, I have mostly been missing Jack Ryan season 2 — perhaps not the most high-profile show I could mention here (it’s on Amazon Prime, which never gets the same buzz as Netflix, however hard they try), but I enjoyed the first series a lot so I really do want to make time for this. Speaking of Netflix, they’ve just released The Witcher, which they clearly hope is going to do for fantasy what, er, Game of Thrones did for fantasy — i.e. be a much-talked-about series that brings big ratings. They’re pushing it hard, which for a company that claims to only use word of mouth and let the cream of their output rise naturally… well, it certainly suggests it cost a pretty penny. One show that has generated plenty of word-of-mouth self-promotion is The Mandalorian. Okay, it’s a Disney-produced Star Wars spinoff, it hardly needs the help, but you can’t’ve missed everyone going on about Baby Yoda. It’s not out on this side of the pond until Disney+ launches in the UK on March 31st, but where there’s a will there’s a way… And that’s without mentioning the BBC’s new War of the Worlds (which was poorly received but, as a sci-fi fan, I still feel compelled to watch); or thriller Giri/Haji (which was well-reviewed and sounds right up my street); or… oh, loads of stuff!

    Next month… Diddily-dum diddly-dum diddly-dum ooo-weee-ooo, it’s Doctor Who.

  • The Past Christmas on TV

    Once again it was another busy festive period on the tellybox, and here’s what I thought of what I watched.

    Doctor Who  Resolution
    Doctor Who: ResolutionNow, 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
    The ABC MurdersOnce 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 is 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.

    Watership Down
    Watership DownThe 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
    Not Going Out LiveNormally 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.

    Comedy roundup
    Upstart Crow: A Crow Christmas CarolAlso 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.

    Also watched…
  • Black Mirror Bandersnatch — Was it a film? An episode of TV? Something else? I’m still not 100% sure, but I went with “film” and reviewed it in full here.
  • A Christmas Carol — A filmed version of Simon Callow’s one-man show, and another production that sits on the film/TV divide. They released it in cinemas before it was on TV, though, so I’ll be reviewing it as a film at some point. The only reason I mention it now, then, is because I thought it was very good and wanted to point out it’s still on iPlayer.
  • The Dead Room — Simon Callow reading again, this time in Mark Gatiss’ latest attempt to revive the beloved-by-some “Ghost Story for Christmas” format from the ’70s. It was an effectively creepy little tale while it lasted, but it seemed to stop before the story was over.
  • Mark Kermode’s Christmas Cinema Secrets — A festive edition of the series that entertainingly explains the inner workings of genre. In this case, we learn that pretty much every Christmas movie is basically A Christmas Carol.
  • Les Misérables Episode 1 — OMG there woz no singing!!!! (Proper review in a future post, when more of it has aired.)

    Things to Catch Up On
    A Series of Unfortunate Events season 3This 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!

  • The Past Month on TV #41

    Christmas is on the horizon, with the usual glut of seasonal specials and high-profile miniseries/one-offs crammed into a couple of weeks. But that’s for my next TV column — this time, here’s a bit more of the usual stuff.

    Doctor Who  Series 11 Episodes 8-10
    It Takes You AwayThe most recent season of Doctor Who went out, not with a bang, but with a whimper, in perhaps the most underwhelming “finale” the show has ever done. It wasn’t really a dramatic and exciting culmination of this year’s run of episodes, which is what a true “finale” is. Rather, it was just the last episode shown before the season… stopped. Fortunately, before that were two more episodes that proved this new era’s best stuff comes from its guest writers rather than its showrunner.

    The Witchfinders saw the TARDIS Team head into the past for the third time this season, and once again brought up a heavy theme: after racism in Rosa and religious division in Demons of the Punjab, now it’s the misogyny of 17th century witch hunts. Fortunately it wore this somewhat more lightly than the previous two episodes, which meant it lacked their emotional weight. Instead, it was a fun adventure, revolving around an alien race reanimating the dead, and a broad, camp, but occasionally nuanced performance from Alan Cumming as King James I. I thought he was a lot of fun.

    It Takes You Away set its scene as a “monster lurking near a remote cottage” tale, but pulled off a couple of twists to reveal something entirely different. It was an episode rich in science-fiction ideas — almost too rich, arguably, as the emotional impact they led to was powerful but perhaps not given enough screen time to be fully processed. But with some typically Doctor Who quirkiness thrown in, this was one of my favourite episodes of the season. Even if the execution sometimes faltered, I admired its ambition.

    Which brings us back round to the finale, the stupidly titled The Battle of Ranskoor Av Kolos. It’s such a dumb, unpronounceable title that I don’t think I was alone in suspecting it was a cover for something else (in the same way the classic series used to hide the return of the Master by crediting the actor by an acronym in the Radio Times, for instance). But no, that sadly was the title. Even worse, it had barely anything to do with the episode itself — the titular conflict is over, with the Doctor and co arriving to help the few remaining survivors defeat the big bad. Or, rather, get a bunch of exposition from the survivor (with a few hoops jumped through to make sure that exposition is gradually doled out rather than received all at once), then virtually ignore him while they set about some other storyline.

    The Battle of Ranskoor Av KolosTypically for showrunner Chris Chibnall, it was a half-thought-through tale, with regular logic gaps and narrative dead ends, and none of the impact you expect from a season-ender. Kinder viewers may say that’s because there’s a New Year’s Day special imminent which is the real finale, but I think that’s just being optimistic. Certainly, the BBC haven’t seen fit to include the special in the season box set (even though it’s released a fortnight after the special airs), which I’m sure is partly a shameless cash grab, but also indicates its separate status.

    With that in mind, we can already take an overview of the season as a whole. It’s been a mixed one for me, with a lot of stuff I really liked, but frequently undercut by dodgy execution. I’m not at all convinced Chibnall has the necessary skills to be in charge of the show — even the best scripts exhibit a lack of polish that Russell T Davies or Steven Moffat would’ve brought. And considering there are niggling faults across the board (the direction is rarely terrible, but pretty much every episode has some odd shot or editing choices), the blame must surely lie at his door. The next season won’t materialise until sometime in 2020 — hopefully that’ll be long enough to get things more in order. But with pretty strong ratings and praise in some quarters, I’m not convinced the production team will see where they need to improve.

    Crisis on Earth-X
    I ended up finally quitting all Arrowverse shows just before this crossover event aired last November, though I’d intended to make it through these episodes first (I fell behind and just never picked them back up). The crossover itself seemed to go down well, and with a new one having recently aired that I also intend to watch (to see how they’ve handled Batwoman), I thought I’d first catch up on last year’s.

    Crisis on Earth-XWhereas the previous four-show crossover failed to really coalesce into a successful single narrative, Crisis on Earth-X manages to lose the sense of hopping about across different series to play more like a single four-part story. I suppose that’s not the only way to do a crossover, but for someone tuning in just for the event who isn’t interested in the ongoing storylines of each individual series, it’s more entertaining this way. That said, it’s not as if those elements go away: the story is kicked off by everyone coming together for the wedding of Barry Allen (aka the Flash) to his longtime love Iris West. The nuptials are eventually interrupted by Nazi doppelgängers from another dimension (I do love how outright comic booky these shows can be), but it takes most of the opening episode to get there — I’d forgotten how much time these shows spend on soapy stuff like weddings and relationship woes. In that regard, they’ve certainly been designed to fit their US network (The CW, more associated with teen-girl content until these series came along). From there it goes full superhero show, with large-scale action sequences and dimension hopping antics. It may not transcend its genre roots to be objectively high-quality premium TV, but it’s pretty fun.

    Agatha Christie’s Poirot  Series 2 Episodes 4-6
    Poirot series 2One day I’m going to watch all of Poirot from the start, but I happened to see these few episodes this month. They’re from the series’ early days (obviously), when episodes were an hour long and based on short stories (as opposed to the feature-length novel adaptations they did later). What’s remarkable is how different they are, structurally and tonally, from those later episodes, with which I’m more familiar. The feature-length ones each feel like a standalone movie, whereas these early episodes do feel like a TV series, with “case of the week” plots. For example, there’s a regular recurring cast (alongside the titular detective there’s his sidekick Captain Hastings, his housekeeper Miss Lemon, and trusty Inspector Japp), who all appear every week and each get some kind of subplot, even if it’s not tied to the main storyline — in one episode, while the other three are away solving a jewel theft, Miss Lemon has to hunt for her missing keys. And that’s another thing: there’s not always a murder. And there’s not always a pile of suspects, either — none of these episodes feature the famous “gather all the suspects in one room and explain what happened”-style finale, so synonymous with the series. So, in many ways it feels quite strange, but still entertaining.

    Also watched…
  • Great News Season 2 Episodes 1-7 — See last month for my comments on season one, which still apply (they tried adding Tina Fey as a guest star for a few episodes at the start of season two, which doesn’t massively change things). This little run ended with a Christmas episode (a fun riff on A Christmas Carol), which seemed a good place to pause for now.
  • The Royal Variety Performance 2018 — I haven’t bothered to watch one of these since 2012, but somewhat accidentally caught this year’s. It turned out to be rather good on the whole, I thought. Not so much the song-plugging music acts, but the comedians and circus turns, yeah.
  • Would I Lie To You? Series 12 Episodes 5-6WILTY is regularly superb, but sometimes it outshines even itself. There was one such moment back in episode three this series; there’s another in episode six, when regular panellist Lee Mack says he had to turn down an invitation to the Royal wedding to film that episode. It sounds like an obvious lie… but the other regulars, who didn’t receive invites, are worried it might just be true…

    Things to Catch Up On
    Death by MagicThis month, I have mostly been missing Death by Magic — not a high-profile show, maybe, but a new Netflix thing that seems up my street. Other than that, I’ve been conspicuously failing to get around to a bunch of “box sets” (I hate calling digital collections “box sets” — there’s no “box” involved) that I’ve been meaning to get to for varying amounts of time: The Little Drummer Girl, Killing Eve, The Haunting of Hill House, Lost in Space, the Netflix years of Black Mirror, Ash vs Evil Dead, Chilling Adventures of Sabrina (which even added a new Christmas episode), Riverdale, Mindhunter, Inside No.9… Not to mention everything that’s on my long-term back-burner, like Breaking Bad, The Wire, The Sopranos, The Shield, The X Files, things that don’t begin with a definitive article… There’s no doubt many more that are currently slipping my mind, anyway. With an abundance of Christmas specials incoming, I guess whichever series I dive into next will have to wait until January.

    Next month… is January, but expect an overview of Christmas telly before that.

  • The Past Month on TV #40

    In the fast-moving world of television nowadays (where whole seasons appear at once, daft uber-fans burn through them in a single sitting, and the conversation around them is over in a weekend), it’s easy to forget that the latest instalment of Netflix’s ever-shrinking Marvel offering — season three of Daredevil — came out within the last month. (Well, month-and-a-bit — this column’s a week later than usual.) Anyway, that’s where I’ll begin.

    And there’s plenty more to cover after that, including a bunch of new Doctor Whos, the Inside No. 9 live Halloween special, the unusual finale of Upstart Crow, the latest Derren Brown special, and sundry episodes of other series too. So, as the Bard himself might say, without much further ado…

    Daredevil  Season 3
    Daredevil season 3For the 11th season of Marvel Cinematic Universe TV shows on Netflix, we make a long-awaited return to the hero who started it all: the Man Without Fear… the Devil of Hell’s Kitchen… Matt Murdock, Attorney at Law… Daredevil.

    And “return” is a good word to describe this season, which sees Daredevil’s nemesis, crime boss Wilson Fisk, aka Kingpin, negotiate a semi-release from prison in exchange for informing to the FBI. While Daredevil’s second season veered off into more fantastical storylines from the character’s comic book adventures, which continued into team-up miniseries The Defenders, season three returns to the street-level, almost-real-world, grittily-toned world of organised crime of the show’s first season. It makes sense: season two didn’t go down that well (I loved it, personally, but it clearly wasn’t for everyone), and it seems The Defenders was pretty much a flop, but Daredevil’s first season remains one of the most popular instalments of the Marvel/Netflix collaboration. Returning to its playbook seems to have panned out, because season three has been getting strong notices across the board.

    There are a lot of reasons for that, I think. Some are obvious: the show has always received acclaim for its superbly choreographed and filmed action sequences, and season three doesn’t drop the ball. Indeed, to mix metaphors, it raises the bar again, with an 11-minute single-take prison escape that is all kinds of impressive — and was done 100% for real, no hidden cuts (you can read more about that here). That may be the standout one this season (although there’s a four-way fight in the finale that’s a doozy), but there are numerous stunning sequences throughout all 13 episodes. They really put effort into making the action inventive and original, and that effort is appreciated. I guess if action sequences do nothing for you then it doesn’t matter either way, but seeing it be so well-executed is better than samey action-for-the-sake-of-action.

    Back in blackThere’s a lot more to this season than that, though. New showrunner Erik Oleson has crafted a narrative for his 13 episodes that is better formed than most Marvel Netflix shows — heck, than most streaming series fullstop. It doesn’t seem to drag things out or go round in circles just to fill its episode count, but has a clear sense of pace and purpose. Okay, it’s still a streaming series — it still feels it can afford to devote entire episodes to things a network show might dash through in a one sequence — but often that works to add depth. Spending a whole episode on Matt’s convalescence at the start of the season might seem indulgent, but it’s also important to his mindset for the rest of the season, which makes a big point of his morality, his religion, and his relationship with God — always a key aspect of the character, and foregrounded here without becoming objectionable to those of us with a less Catholicly inclined view of the world. The structural accomplishment really pays off in the final few episodes, too, with an array of surprising and game-changing twists and developments. My notes for later episodes were full of things like “shocking climax” and “oooh, twist!” and “ohhh shit!” At times Fisk feels genuinely unbeatable and you actually wonder how the heroes can win this one.

    The return to gritty street-level criminal enterprises is more than just an aesthetic move, too. Well, that’s partly the joy of it — it makes for a refreshing change after multiple seasons of magic and mysticism if you watch all the Marvel/Netflix shows, after that side of the MCU even invaded the theoretically-grounded worlds of Luke Cage and Jessica Jones, never mind Iron Fist. But it also allows Oleson to bring more genuine depth to his characters. He’s spoken about being driven by psychological realism — what would these characters really want and need, and therefore do? That might sound like Writing 101, but I think it’s easy for writers of comic book material to fall back on comic book tropes.

    Hitting the BullseyeA good example of this is FBI Agent Benjamin Poindexter, who will turn out to be the villain Bullseye. Sorry if you think that’s a spoiler, but one of his first scenes shows off his mind-blowing marksmanship, so you ought to guess, really. In the comics, Bullseye has no backstory — he’s just a psychopathic killer — which is the kind of shit you can get away with if you’re being cartoonish. In the interests of psychological realism, however, Oleson wanted to give him one, to explore his origins, and they were basically free to do what they liked. They even spoke to psychiatrists and the like to make it genuinely realistic. I guess some may think this is unnecessary detail for what is still fundamentally a superhero-action show, but it has its rewards. It’s the same with giving the season a thematic weight to consider. According to Oleson, that was “fear” — how we’re all constrained by our fears and can’t be free until we face and overcome them. This applies to every character, hero and villain alike. Well, it’s a particularly pertinent choice for Daredevil, considering his sobriquet of “the man without fear”.

    If I have one complaint about the season, it’s the lack of crossover with other Marvel Netflix shows — not just for the sake of fan service, but for genuine reasons of in-universe plausibility. Oleson has said crossovers aren’t his style, because he’s focused on his characters and not shoehorning in others for the sake of it, but that adherence to the realism of the characters is why it’s silly that certain others don’t turn up. The most glaringly obvious omission is Frank Castle, aka the Punisher — who, in this iteration of the Marvel Universe, started out as a Daredevil supporting character (as one of the main threats in season two). The real-world reason he doesn’t pop up is probably that he’s now got his own show now, so I guess scheduling didn’t work out. But (as this Collider article points out) it makes no sense that Castle wouldn’t turn up to help Karen, especially as the danger to her life is literally headline-making news. As that article summarises, “Frank Castle’s absence doesn’t ruin the season, not even close, but it’s a burden an otherwise Who WOULDN'T come to her rescue? I mean seriously...well-told story shouldn’t have to bear, and one that could have been easily remedied.” With Punisher season two on the way it’s possible this apparent plot hole could still be explained and/or retconned (whether they’ll bother is another matter, although Karen was a major character in Punisher season one so they ought to at least reference it), but it’s a shame it went unexplained in Daredevil itself.

    Still, that’s the only major complaint I have about this whole season. Many are seeing it as a return to form — as I said, I loved season two, so for me it’s just Daredevil continuing to be excellent, just in a different way. Normally this would absolutely bode well for a fourth season, but with Iron Fist being cancelled (presumably due to ratings) and Luke Cage also canned (over bizarre creative differences, despite the season being half written), it seems like Marvel and Netflix don’t get along so well at the minute (might be something to do with that forthcoming Disney streaming service…) I really hope they don’t throw the baby out with the bathwater, because in my opinion Daredevil is still one of the best things to come out of the whole MCU, on the small or big screen.

    Doctor Who  Series 11 Episodes 3-7
    Doctor Who - RosaI let this post slip a week, so there are five episodes of Doctor Who to look back over. First up, the new team’s first historical adventure, Rosa (whew, it feels like more than a month since this aired!) I wrote last month about how there seemed to be a conscious effort to take Who back to its roots; to do things in a way perhaps not seen since the William Hartnell era of the mid-’60s. Rosa continues this. Back then, historical adventures didn’t have alien threats for the Doctor & co to battle, instead taking a genuine(ish) trip into the past. Rosa does give them a time-travelling criminal to battle, but he’s a relatively slight element in how things play out: he’s trying to alter history by nudging it out of place with small acts, so the TARDIS Team have to nudge it back. Mainly, the episode exists to be a timely commentary on racism. Co-written by acclaimed author Malorie Blackman, it was mostly a success… though, like episodes one and two, it saw the villain less being defeated, more just teleporting away.

    Arachnids in the UK was more of a typical Doctor Who romp, as the supporting cast’s hometown of Sheffield was threatened by giant spiders, Trump-ish businessmen, and some dodgy thematic plotting (why is the villain bad for shooting an animal that was going to slowly die of asphyxiation otherwise?) Also, the villain is allowed to wander off at the end, like in episodes, one, two, and three. Continuing this less-revolutionary seam was The Tsuranga Conundrum, which saw the TARDIS Team trapped on a medical ship being torn apart by a metal-eating little critter. Strong design elements (the set looked great, as did the CGI monster) did little to hide some round-the-houses plotting and a cast too big to get enough adequate screen time. Also, it ended with the monster being set free into space, similarly to episodes one, two, three, and four. Was this a deliberate pattern?

    TARDIS TeamEpisode six and seven say “no”. Well, a bit — the actual villain did survive the first. I still hope they’re going somewhere with this, because otherwise it’s very sloppy. Anyway, episode six itself, Demons of the Punjab, was one of the highlights of the season. Like Rosa, it sees the Doctor and co going into history and facing up to the real issues of the day, with the aliens popping in to add some spice rather than properly drive the story — like Rosa, you can imagine a not-that-different version of this episode without them. Preventing the Doctor from interfering and being ultra-heroic is certainly a change of pace from the “heroic god” version of the character we’ve had since the 2005 revival, but it’s not an unheard of vision — again, it harks back to the Hartnell era.

    Finally for now, Kerblam! is the first-ever Who story with an exclamation mark in the title. Truly groundbreaking, this season is. I also thought it was the most successful sci-fi episode of the season thus far, feeling like the kind of excitement-filled runaround that would’ve fit in the Eccleston, Tennant, Smith, or Capaldi eras. Its satirisation of Amazon was quite fun, the design work was once again superb, and there was even a budget-busting action sequence. And the villain didn’t escape to live another day! Although, did they really deserve to die? Even when an episode succeeds this season, it still leaves you with questions…

    Inside No. 9  Dead Line
    Inside No. 9: Dead LineI’ve never watched Inside No. 9 before, though I’ve always meant to get round to it. For those equally in the dark, it’s a comedy-horror anthology series from writers Steve Pemberton and Reece Shearsmith, aka half of the League of Gentlemen, with each half-hour episode a self-contained tale. The reason I’ve jumped in here was because this was a live Halloween special. For some reason I’m always intrigued by live TV drama (I even watched episodes of Eastenders and Coronation Street just because they were going out live), and Inside No. 9’s standalone nature made just dropping in feasible. Anyway, the episode itself was a typically playful endeavour — many fans switched off halfway through, genuinely duped by one of the episode’s tricks. The episode also managed to genuinely integrate the fact it was live, roping in a news broadcast from another channel and having one of the characters tweet. That means it played better live than it would, say, on iPlayer (where it’s still available), though it’s still worth a watch as an effective piece of drama — the way it played with the form of live TV was the best bit, but alongside that it snuck in an interestingly-constructed narrative. You can also view it as a half-hour homage to infamous BBC drama Ghostwatch, which is no bad thing. (That also reminds me I’ve still not got round to watching Ghostwatch…)

    Upstart Crow  Series 3 Episode 6
    Go On and I Will FollowI always wondered if this day would come. As many (though I would guess not all) viewers must know, Shakespeare’s son Hamnet died in childhood. Not exactly traditional material for a multi-camera sitcom, so I wondered if the series would just never go there; equally, it’s by Ben Elton, co-writer of the famously tragic final episode of Blackadder Goes Forth, a work of unequivocal genius. And so in the final episode of this series, Go On and I Will Follow, Upstart Crow does go there… eventually, in the final moments of an episode that’s mostly fluff about theatre awards. It makes for a somewhat bizarre ending. Hamnet was never much of a character in the show, so while his passing’s effect on the characters is obvious, it has little meaning to us viewers. Then there’s the dedication to him at the end, which just reads like a spoof. The only bit that truly worked for me was the final lines: read in solemn voiceover, a passage by Shakespeare himself about grief. Perhaps that’s fitting. Perhaps if the whole episode had been about it in some way, then it would’ve worked — it’s part of why that Blackadder finale is so effective: the whole episode is about going “over the top”, or trying to avoid it, and so the unity of plot and theme and character and historical fact builds to an emotional gut punch of an ending. But rather than do that, Hamnet’s untimely end is just one scene tacked onto the end of some achingly obvious satire about something inherently vacuous. Well, maybe that was Elton’s point, but I don’t think the contrast was sharply enough drawn if so. Without that consistency across the whole episode, the ending just feels… odd. Ah well, at least we know there’s definitely a Christmas special to look forward to.

    Also watched…
  • Batman: The Animated Series Heart of Ice, Deep Freeze, Cold Comfort / Batman Beyond Meltdown — Watched these specific episodes to accompany my viewing of the film Batman & Mr. Freeze: SubZero. Heart of Ice may be one of the show’s best episodes, but the other two suggest it was in serious decline by the end. Meltdown is pretty good, though.
  • Children in Need 2018 — I used to watch the BBC’s annual charity telethon religiously, but I’ve lapsed in the last few years. I unintentionally caught some of it this year, which just confirmed it’s continued downhill. What I saw was mostly either trailers for forthcoming (BBC) shows or pop singers just singing — where have all the original sketches and specials gone? There were still a couple, and they were the highlights.
  • Derren Brown: Sacrifice — Derren’s third Netflix “Original” is the first that’s actually new. In it, he tries to programme an anti-immigrant American to stand between an illegal immigrant and a gun-wielding biker. It’s not his best special (it feels like a recombination of previous techniques to an ending that’s only new in its specifics), but it’s not a bad one either. I imagine if you’ve not seen what he can do before, it’d be more impressive. Assuming you believe it, that is; which you should, because what would be the point if it was fake?
  • The Great Model Railway Challenge Series 1 Episodes 3-6 — Reader, I did end up watching the rest of the series. My review of the first two pretty much covers it all. It’s not a hobby I’d ever take up (I was never much good at arts & crafts or building model kits or any of that kind of stuff), but for some reason I’ve always liked miniature things (love a model village) and the creations here are often very impressive.
  • Great News Season 1 — This newsroom sitcom limped to two seasons on network TV in the US, but recently made its way to UK shores as a Netflix “Original” — but only after it had already been cancelled in the US. That’s a shame, because once it settles into its stride its often pretty funny, and one of those “save our show, Netflix” campaigns might’ve been warranted. Oh well, at least I’ve got season two to look forward to.
  • Mars Season 1 Episode 1 — There’s been a spate of dramas about mankind’s first mission to Mars in recent years, but this was one of the most high-profile: produced by Ron Howard, it mixes documentary footage with the drama to show the present-day reality behind what we’re seeing in the fiction. Unfortunately, the fiction part is bloody awful, at least on the basis of this first episode. I’ve had the series on Blu-ray for years and finally started watching it because season two was beginning, but I’m not sure I’ll even make it on to episode two.
  • What Do Artists Do All Day? Peter Jackson — Despite the general-sounding title, this is a straight-up behind-the-scenes about the making of They Shall Not Grow Old. Well worth a look if you’re interested in how they did it. (They Shall Not Grow Old was also on TV this month, of course. My review is here.)

    Things to Catch Up On
    The Little Drummer GirlThis month, I have mostly been missing The Little Drummer Girl, the BBC’s new John le Carré adaptation from the makers of The Night Manager, their last (and very successful) John le Carré adaptation. As regular readers may know, I have a proclivity for saving series like this up and watching them back-to-back over about a week once they’re done — truly, I am of the Netflix generation. Dammit. Anyway, I’m looking forward to it, so expect me to get right on it and review it next month.

    And speaking of Netflix, I’ve still not got round to the new Sabrina or the much-discussed and recommended Haunting of Hill House. Whether I’ll be able to make time for those once Christmas TV ramps up, who can say. Oh God, and I’ve just remembered there’s still Killing Eve on iPlayer, too. Eesh.

    Next month… the final few episodes of Doctor Who, and an Arrowverse crossover or two.

  • The Past Month on TV #39

    Travel through time and space, into dreams and memories, and along miniature railways in this month’s TV review…

    Doctor Who  Series 11 Episodes 1-2
    Doctor Who series 11The 37th season of Doctor Who begins with the show’s biggest soft-reboot since at least 2010; arguably, since 2005; arguably, ever. With a new showrunner comes a new broom, and so we have a new Doctor, a new TARDIS, a new set of companions — sorry, they’re “friends” now — new locations, new monsters, and a new style (thanks to a raft of behind-the-scenes changes, including a new effects company, swish new cameras and lenses, and a new aspect ratio). It’s the perfect jumping-on point… and it worked, with the premiere achieving the show’s highest ratings for a decade; or longer, depending how you count it.

    Oh, and the Doctor’s a woman now, too. “It’ll kill the show,” cried a vocal minority. Hahaha, nope!

    But what of Jodie Whittaker, anyway? As with any new Doctor, I feel she needs a little time to find her feet — something that lies in the writing as much as the performance. There are some lines which would seem more at home in the mouths of David Tennant or Matt Smith, which Whittaker gamely tackles but don’t quite feel natural. But at other times the material and her performance click in perfect synchronicity, and we can see the promise that lies within. Hopefully as the writers become more familiar with her mannerisms, what works and what doesn’t for this particular incarnation, then it’ll all become smoother. There’s no reason to doubt she’s up to the task.

    Some question the new man in charge of running the show, though. Chris Chibnall’s TV record is… patchy. For every Broadchurch series one there’s a Broadchurch series two; for every Broadchurch series three there’s a Torchwood series one; and so on. He acquits himself decently with this opening pair of episodes. The first, The Woman Who Fell to Earth, may owe an obvious debt to Predator with its alien-hunter storyline, but Who has always liberally borrowed from other places and made the material its own.

    TARDIS TeamIndeed, even as it’s open-armed and newbie-friendly, Chibnall’s era already seems as Who-literate as you’d expect from such a long-time fan (somewhat (in)famously, as a teenager in the ’80s Chibnall appeared on TV criticising the then production team). His sense of what Who should be is at once indebted to the modern era (in particular the years of Russell T Davies, who I suspect may’ve been something of a mentor to Chibnall at one point) and also seeks to reintegrate elements long absent. For example, there’s the expanded TARDIS team, which calls to mind that of the series’ very first group of travellers; though whereas 1963 gave us a teenage girl and two middle-aged teachers, 2018 offers two teenagers and one middle-aged bloke. Such are the changing times. And for dedicated Whovians, the plot of episode two, The Ghost Monument, also had an air of early Hartnell serials, with its episodic trek across a danger-filled alien world. It was a brisk, entertaining 50 minutes, but stop and think about it too much and the cracks begin to show (read Andrew Ellard’s tweetnotes to see how it could’ve been polished up, for example).

    Still, two episodes into a new era is no point at which to make generalisations about it (despite what some people have been trying). This is a reasonably promising start, though: there’s a good cast in place, and a clear sense of purpose — this feels like a production team making the version of the show they want on screen, not one rushing headlong to get out anything so long as it meets the broadcast deadline (something that afflicted both RTD’s and Steven Moffat’s eras at times). Only the weeks ahead can really tell how consistently they’ve achieved this. Personally, I’m more excited for each new episode to come around than I have been for some time.

    Maniac
    ManiacNetflix continue to blur the line between movies and TV with this limited series starring Oscar winner Emma Stone and Oscar nominee Jonah Hill, co-created and directed by Cary “director of the next Bond film” Fukunaga. Well, I mean, it’s a line that other TV producers have blurred plenty in the past — movie stars on TV is far from a new thing at this point, and there’s no doubting this is a TV series rather than a movie (it’s 6½ hours long, for one thing) — but, still. And they bend the rules of TV, too, with individual episodes running everywhere from 26 to 47 minutes. (Does that matter when Netflix’s release-it-all-at-once strategy means you choose how much to watch at any one time? Maybe not. But if you’re the kind to still watch one episode at a time, a word to the wise: I recommend double-billing the ultra-short should-be-one-episode pair of episodes 7 and 8.)

    Anyway, Hill stars as the paranoid and delusional son of a business magnate who enrols in a drug trial, where he meets Stone’s addict in search of a fix. The trial is a new method for treating past trauma, something both of them have plenty of; and when the AI that’s a vital part of the procedure malfunctions, the pair find themselves in each other’s dreams and fantasies. It’s kind of like Inception made by someone with a kookier imagination than Christopher Nolan.

    In fact, an even better point of reference would be X-Men-adjacent TV series Legion: it has the same preoccupation with mental health, with mysterious possibly helpful / possibly evil institutions, with can’t-trust-reality trippiness, with retro-futuristic design… It’s certainly a heavily stylised series, which is half the charm. The other half is all the dreamworld stuff, which takes a few episodes to rock up but is worth the wait. And the other half — because this is the kind of show that would definitely have three halves — is the chemistry between Stone and Hill, which is unexpected but palpable.

    Kooky chemistryA significant amount of the series’ offbeat likability is down to idiosyncratic direction by Fukunaga, I suspect — the way he’s shepherded the visual creation of this world, the leftfield performance choices across the cast, and so on — but Emma Stone is definitely the MVP. While the aforementioned chemistry between her and Hill is important, and a lot of the rest of the cast get to excel at being quirky and funny, it’s Stone who really brings heart and emotion to the piece, making it more than just a zany fantasy.

    Maniac throws you in at the deep end, with a first instalment that’s densely packed with information and alternate-world building, which it races past and through, sometimes with two or three things going on at once, making it feel a bit like hard work. But, really, that’s all incidental detail. Once you settle into it, an inventive and kooky journey awaits. How much it all adds up to is debatable — though, for the characters, it definitely reaches a worthwhile place — but it’s the kind of trip where the journey’s worth at least as much as the destination.

    The Great Model Railway Challenge  Series 1 Episodes 1-2
    The Great Model Railway Challenge
    Long-time readers of this column with exceptionally good memories may remember that I once watched two episodes of Shed of the Year merely because one episode featured a Doctor Who-themed shed and another featured a cinema-themed shed (I’m still jealous of the latter, and you should be too — see photos at the aforementioned link). Well, here we have another show that wouldn’t normally be up my street… but episode one was all cinema-themed builds, and episode two featured a Doctor Who-themed build.

    As for the programme itself, well, the format follows the template established by Bake Off and since copied ad infinitum for almost every hobby TV producers can think of: a pair of affable, pun-delivering hosts; a mixed-gender pair of expert judges; well-practiced amateur contestants, who compete in a series of tasks and challenges over a period of three days — in this case, to build model railways. It comes across as being as nerdy a hobby as you’d think (and with one team choosing to do the Who themed setup, it’s like nerd²), but I don’t mean that as a criticism — the stuff they produce is, at its best, astonishing and a lot of fun. I think I’m going to end up watching the rest of the series.

    Also watched…
  • Upstart Crow Series 3 Episode 4 — It’s funny how this era of catchup TV can lead to both binge-watching and spreading stuff thinner than intended (or is that just me?) Anyway, the sole episode of Upstart Crow continued the quality run I commented on last month, this time with an amusing episode-long riff on Much Ado About Nothing.
  • Would I Lie To You? Series 12 Episode 1 — The best panel show on TV is back and as on form as ever, particularly with the ever-unguessable Bob Mortimer popping in for the first episode. A treat.

    The Not-So-Immortal Iron Fist
    Colleen the Iron FistHaving just last month written about how improved Iron Fist was and how I was actually looking forward to season three, Netflix went and cancelled it last weekend. That’s the first of their Marvel shows they’ve outright cancelled (it doesn’t look like The Defenders is coming back, but that was technically always a one-off miniseries anyway). There are lots of options for Iron Fist’s future, however: could be they’re planning to team up some of the characters into a new show; could be it moves to Disney’s forthcoming streaming service, which is set to have other MCU-related series. I figure the latter is unlikely — it’s tarnished goods now — but it would seem a shame to not pay off the second season’s cliffhangers/teases somewhere, somehow.

    Things to Catch Up On
    InformerThis month, I have mostly been missing Informer, BBC One’s new thriller. Well, it only started on Tuesday, so that’s fair enough, right? I guess I’ll save it up and see how it goes down — I’ve managed to avoid wasting time on a few initially-promising-but-ultimately-poorly-received series with this method; though, equally, it led to Radio Times spoiling Bodyguard for me, so you take your chances… And as the lack of review may’ve told you, I’ve yet to start Killing Eve. With a bunch of stuff popping onto Netflix over the coming weeks (see below), it’ll be lucky to make next month’s column either.

    Next month… after a 2½-year wait (which has included seven seasons of other Marvel/Netflix shows), it’s finally time to give the Devil his due — that being, a third season.

    Plus! Netflix’s spooky Riverdale spinoff, Chilling Adventures of Sabrina, and more new Who.