The Past Fortnight on TV #20

Like some kind of Walder Frey impersonator, I’m having two feasts in a fortnight — two feasts of TV reviews, that is!

It may’ve passed you by (don’t think I’ve seen any coverage of it anywhere at all), but Game of Thrones is back, so that’s where I’ll begin…

Game of Thrones  Season 7 Episode 1
Game of Thrones season 7Season premieres of Thrones are typically concerned with re-establishing where all the major characters are, and maybe moving their stories on a few baby steps to indicate where they’ll be headed this season. Dragonstone is no exception. So where Arya had arrived in Westeros to kill the Starks’ enemies, now she’s slaughtering them by the hallful; where Bran and Meera were headed for the Wall, now they’re passing through it; where Jon and Sansa were taking charge in the North to be ready for war, now they’re preparing for war; where Sam had headed to the Citadel to research important stuff, now he’s in the Citadel researching important stuff; where Cersei had taken the Iron Throne and Jamie had his doubts, now Cersei’s preparing to defend her kingdoms and Jamie has his doubts; and where Dany was sailing for Westeros with her hodgepodge military, now she’s landed in Westeros. The wonder of Thrones is that it can take such scene-setting and turn it into riveting television.

That’s because everything about the show is so well put together. Each sequence offers one or more out of sharp-witted dialogue, sublime direction, surprising emotion, or badass mass-murder, alongside consistently stellar performances. David Bradley, Rory McCann, and Sophie Turner were the particular standouts this episode, I thought, with special mention for all that John Bradley had to endure in the name of a montage. Although some scenes only left us with more questions about the future, others were satisfying vignettes in their own right. It’s a good mix.

Ed SheeranIn fact, the only thing letting the side down was the well-publicised cameo by Ed Sheeran. If you have no idea who Mr Sheeran is then perhaps his appearance was fine — his acting was no worse than dozens of other bit players they’ve had on the series before now. But if you do know who the singer-songwriter is, his appearance was like being served a cheese board accompanied by cheese crackers with a glass of melted cheese and extra cheese on the side. After devoting what felt like a significant chunk of time (but was probably mere seconds) to him singing a song, Arya trots over to him and goes, “I don’t know that one,” and he says, “it’s a new one,” which he may as well have followed up with, “which you can hear in full on my new album, available now everywhere music is sold.” I have no idea if he has a new album out, or if that song would be on it if he did, but that’s how it felt.

Anyway, maybe next week Arya will murder him in his sleep. Things to look forward to…

Twin Peaks  Season 3 Episodes 9-10
Happy times in Twin PeaksSlowly, very slowly, the disparate strands of Twin Peaks Mk.III seem to be coalescing into a coherent, connected story… which is almost more frustrating, in its own way. By that I mean: when it was wilfully obscure, you just kind of went with it — it was Lynch being Lynch, and you had to let it wash over you and allow your feelings to do the deduction about what it was supposed to signify. Now that the plot is beginning to crystallise into something your rational brain can make sense of, it feels a mite slow in getting there. I mean, while Dougie Jones is less annoying than he used to be (helped in no small part by the brilliance of Naomi Watts), I still miss real Coop, and we’re running out of episodes to spend time with him again. Was MacLachlan just feeding us a red herring when he said he’d “almost forgotten how to play him”? Because he hasn’t played him yet! Ach, we’ll see. It remains defiantly its own thing, and at least we can trust Lynch is going somewhere with it — even if we may never be able to work out precisely where that somewhere was…

Automata  Season 1
AutomataBased on a webcomic from the creators of Penny Arcade and funded through Kickstarter (so far it’s only available to backers), this miniseries-cum-pilot (the five short episodes total 58 minutes) takes place in an alternate Prohibition-era America, where “Prohibition” instead refers to the ban on production of automatons — sentient robots. Ex-copper Sam Regal (Basil Harris) and his partner Carl (voiced by Doug Jones), an automaton, now make ends meet as PIs, doing the usual PI thing: photographing cheating spouses. Only this time the run-of-the-mill case leads them into a murderous web that encompasses speakeasies, robo-gigolos*, underground automaton-hating gangs, and a twist ending (natch).

There are two particularly striking things about Automata. The first is its interesting alternate history. From this opening season (which, as I alluded to earlier, is equivalent to a single episode really) it’s tricky to get an idea of how fully imagined it is, but this is a promising start. Secondly, it has really strong production values, especially for something on such a low budget. In particular, the CGI used to create the automatons is exceptional. But it’s also very nicely shot, with the deep shadows so evocative of noir. It was made available in 4K, so it’s the first thing I’ve bothered to properly watch in that quality since I got my new TV. I must say, I’m not sure it looked any better than a good 1080p transfer. That said, I didn’t watch it side by side with its lower-res version, and my screen is on the low end size-wise of those available in 4K, so maybe it wasn’t the fairest test of the format. When I finally get round to American Gods, or when The Defenders comes out, then I’ll give it a longer trial.

Anyway, personal technological observations aside, Automata is a well-made proof-of-concept that should satisfy anyone who thinks “Prohibition-era noir story, but with robots!” sounds like a good pitch. And if you’re still not sure, you can watch an atmospheric trailer here. Whether this’ll lead to a full-blown series, or even just further miniseries like this one, it’s too early to say, but I’ll be there to watch them. (And I’ll try to remember to mention when this one becomes available to non-backers, too.)

* That’s not what they call them, I just thought it sounded good.

Also watched…
  • Line of Duty Series 3 Episodes 1-3 — with the tennis over, it’s time to dive back into series the other half also cares about. This is the season of Line of Duty, apparently, so it should be a corker. More thoughts on this one next month when we’ve finished it, but that first episode… must’ve been great for those who hadn’t had the twist spoiled!
  • Wallander (UK) Series 4 Episode 1 — it’s been yonks since this final series was on, but we’re finally making time for it. The first episode upped sticks for a South African setting, and so did the production — and they clearly wanted us to know it, with tonnes of truly stunning location photography. It was almost worth watching for that alone, but I also thought the episode had a strong, weighty (if ultimately predictable) story.

    In other news…

    The 13th DoctorThe biggest TV news this fortnight was undoubtedly the BBC’s announcement of the 13th actor to take the title role in Doctor Who. (Well, the 14th. Well, the… oh, let’s not get into that.) As you surely can’t have missed, it was Jodie Whittaker, who is a woman! Gasp! Naturally, there was some outrage. After all, it makes no sense whatsoever that an alien being who can travel in time and changes his whole body every time one gets worn out could possibly, during that change, switch from being a man to a woman, even if it’s been established multiple times within the series itself that such a change is possible. It’s just not plausible, is it?

    It’s difficult to tell whether the loonies who actually believe that groundless claptrap are in the majority, or if the day instead belongs to the many who were mightily pleased by the news. Hopefully the latter. There’s certainly a lot of positive word of mouth, so hopefully the naysayers will be converted. Even most of the media were on side, though some of our pathetic excuses for ‘newspapers’ reverted to predictable type and ran articles on Whittaker’s previous roles that featured nudity. Apparently one paper accompanied it with photos of previous Doctors topless, as if that somehow justified it. On a more intelligent note, Variety ran a piece about the importance of the casting: “Coming from one of the biggest media franchises on the planet, the news that the new Doctor Who is female is huge — and almost completely delightful.” (Emphasis my own, because it pleases me.)

    Anyway, I guess the proof will be in the pudding — in this case, the “pudding” being the ratings. I hope it’s a success. I mean, I always hope Doctor Who is a success, but there is extra weight on this particular incarnation, like it or not. New showrunner Chris Chibnall doesn’t have the strongest track record on the show, but he’s done first-rate work elsewhere, so fingers crossed — at the end of the day, it’ll be the quality of the writing as much as the quality of the performance that will make or break the first female Doctor.

    Things to Catch Up On

    The Handmaid's TaleThis month, I have mostly been missing The Handmaid’s Tale. It belatedly started airing on this side of the pond at the end of May, but it slipped my mind so much that I didn’t even mention it in the May post. Ironically, it’s no longer fully available on demand so I’ll have to get hold of it (at some point) in the same way I would’ve before anyone bothered to air it here. Meanwhile, in “things I’ve actually started”, I’m three episodes behind on Preacher. This happened last year, too. I’m sure I’ll catch up on some or all of it before next month’s column.

    Next month… Cannes hit miniseries Top of the Lake: China Girl.

  • The Past Month on TV #16

    Another busy month on the box round these parts, so I’ve once again divided my comments into new stuff (i.e. what was actually on TV this month), old stuff (i.e. anything older than four weeks), plus the usual round-up of quick thoughts.

    Doctor Who (Series 10 Episode 1)
    Doctor Who: The PilotThe 36th run of Doctor Who kicked off with an episode titled The Pilot — no coincidence, that. This is the most newcomer-friendly episode of Who for 12 years, an episode finely calibrated to establish everything for a first-timer but also function for regular viewers too. A lot of that effectiveness can be attributed to Pearl Mackie as Bill, the new companion to Peter Capaldi’s Doctor. After a run of oh-so-special companions running back years, Bill is just an ordinary young woman; but of course she’s extraordinary in her own way: ready to learn, eager to help, full of both inquisitiveness and caring. This is surely the birth of both a fan-favourite companion in Bill and a star in Mackie.

    It’s also a rejuvenation for Peter Capaldi’s Doctor. They arguably tried too many different things all at once when he joined the series a few years ago, making him old and irascible in contrast to the young and friendly Doctors that had preceded him throughout the revived series. He was gradually softening anyway, but freed of the burden of Clara he seems able to fully revel in his kooky kindliness. It’s perhaps the most Doctor-ish he’s ever been, and for Capaldi, a life-long fan of the show, that must be a real delight. It’s already a shame he’ll be leaving us this year, but at least we have 12 (or 11, if some rumours turn out to be true) more episodes to enjoy before then.

    As for this episode in itself, it was more solid than incredible, though that perhaps does it a disservice. No, it’s not going to sit alongside the likes of Blink and Heaven Sent at the pinnacle of all that modern Who can achieve, but it set out the series’ stall well: it’s sci-fi, but a little quirky, a little scary, and full of heart and emotion. It was almost like a Russell T Davies-era episode, but with an unmistakable Moffat-ness about it too — he may be trying to dodge the “fairy tale” mode he adopted for most of his time on the show, reasserting the “this is based in the real world” aesthetic that RTD relaunched the series with back in 2005, but, frankly, Moffat does the former better than the latter, and there’s an edge of that heightened unreality here nonetheless.

    But I think those are niggles and nitpicks. This is a strong opener that establishes a very likeable new TARDIS team to guide us through the season of adventures about to come. Fingers crossed the rest of the run can fulfil its promise.

    Iron Fist (Season 1)
    Iron FistThe last of the Marvel/Netflix series before the Defenders team-up, Iron Fist has certainly divided critics and viewers. It doesn’t begin well: the opening episode is possibly the worst thing yet released as part of the MCU, and I only say “possibly” because I never bothered with Agents of SHIELD after the poor reaction to season one. It’s needlessly slow, repetitive, the characters behave implausibly, and the fights are terrible, looking like a first rehearsal filmed with one take. Things do improve — there are more engaging characters, some interestingly developed arcs, and better realised fights — but it still doesn’t come together as well as it could. For one thing, it makes the running of Rand Enterprises a major element, but has a very vague-seeming understanding of how business actually works. It’s just too simplistic.

    One of the series’ strongest aspects is the unpredictable loyalties of its characters. I don’t mean that they’re inconsistent, but aside from Danny (who’s the title character, so of course he’s a good guy) and Claire (who’s been in every other Marvel/Netflix show, so she’s a known quantity), the trustworthiness and allegiance of almost every character changes at some point; for some of them, at multiple points. Heck, there are even scenes when you can’t be sure whose side to be on, because both have aspects of right and wrong, good and bad. There are better shows than Iron Fist that never manage that level of shading in their characters. I imagine there’ll be a second season, because when doesn’t Netflix commission more of anything, so hopefully they can build on what worked going forward. And maybe add a business consultant to the writers’ room or something.

    The Flash Duet
    The Flash: DuetAmongst the eight Arrowverse episodes I watched this month was this: the much-anticipated musical crossover between The Flash and Supergirl, which star Glee alumni Grant Gustin and Melissa Benoist respectively — hence why (some) people called for a musical episode, which caused the producers to decide to do one. Somewhat ironic, then, that it seemed to go down well with critics (at least per Wikipedia) but less so with fans: its IMDb rating is just 6.0. I find myself in agreement with the latter. It wasn’t bad, as these things go, but it was overloaded with niggles, Like, why cast another former Glee actor as the villain but then not have him sing with the stars? Why is there a plot hole whereby they call said villain the Music Meister even though it was Barry and Kara who picked the musical fantasy? The guy’s powers seem to be hypnotism-based and nothing to do with music. There were only two original songs, one which was quite fun and one which was overlong and a tad cheesy. Neither came close to the delights of the Music Meister’s original appearance, which also managed five new songs (and a reprise) in an episode that was half the length. The episode’s guest cast seems to have been selected purely on the basis of “anyone from an Arrowverse show who likes to sing”. All in all it came across as half-arsed; like they felt they should do it because people demanded it, but didn’t assign enough time or energy to doing it properly.

    The Crown (Season 1)
    The CrownThe most expensive TV programme ever made (or not, whatever) certainly has its budget plastered all over the screen, which hopefully didn’t distract most viewers in the way it did me. It shouldn’t, really, because this is a good drama about the humanity behind the public faces. Its adherence to fact is apparently variable, which I imagine is very irritating to historians of the period, but it works for the fiction. There are great performances all round, with John Lithgow in particular disappearing into Churchill to the point that I forgot I was watching an actor more than once. There’s an interesting plot thread early on about the position of Philip (Matt Smith) relative to Elizabeth — how his role as a husband is challenged by her position as Queen, etc — which goes a bit awry as the series goes on and has other plots to focus on. It’s left quite open-ended, so hopefully it’ll be completed in the second season.

    Line of Duty (Series 2)
    Line of Duty series 2I devoted just 32 words to Line of Duty series one when I finally got round to watching it last October. In summary, it was pretty good but not really great, and the unadulterated adulation that follows the programme around nowadays seemed unmerited. Now I get it, though, because — in a similar fashion to how, say, Mad Max is a decent Ozploitation flick but Mad Max 2 is a reputation-earning action classic — series two is where it’s at. There was much praise for Keeley Hawes’ performance as a downtrodden copper under suspicion of organising a violent ambush of a witness protection convoy, and it’s deserved, but the real star is the writing. There are huge, attention-grabbing twists and surprises, and a mystery that keeps you revising your opinion on what happened right until the end, but perhaps most impressive are the lengthy, intensely procedural interview scenes that could come across as factual and dull but instead are completely gripping.

    Twin Peaks (Season 2 Episodes 1-9)
    Twin Peaks season 2I first saw the debut season of Twin Peaks many years ago during a repeat run (it was a ‘classic series’ even then, though with hindsight it can’t’ve been a decade old at the time), then watched it again when the DVD came out, but this is my first time watching season two (legal complications delayed its DVD release for what felt like forever, and by the time it finally came out I just never got round to it). The second season is infamous for representing a steep decline in quality, though that isn’t yet evident from this batch of episodes, which covers up to the revelation of who killed Laura Palmer and their capture. I’d say it lacks the pure concentrated genius of the first season, having ramped up the quirkiness quotient and, at the behest of the network, rushing the resolution of the Laura Palmer mystery, but it ain’t bad by any means. There’s certainly much to like in the off-kilter characters, the folksy mysticism, and some fantastic performances — Kyle MacLachlan is a constant delight as Agent Cooper, but Ray Wise is frequently incredible as the grieving Leland Palmer. But I guess it’s mostly downhill from here…

    Also watched…
  • 24: Legacy Season 1 Episodes 5-8 — everything I said last time still applies: this is little more than 24-by-numbers. Episode 6 was a particularly irritating example, as a major subplot was hurried to its climax presumably because the writers just got bored with it. Why else rush the plot so massively, in a way that practically ignored the series’ real-time gimmick? I miss the days when the makers cared about maintaining that illusion.
  • Broadchurch Series 3 Episodes 4-8 — it handled its treatment of the issues well, but as a drama Broadchurch 3 couldn’t quite reach the engrossing heights of the first series. Still, it’s a shame there won’t be further cases for the brilliant Tennant and Colman to investigate.
  • Unforgotten Series 1 — ITV’s police drama recently aired a second series, with a third commissioned. This cold case-focused first run features powerhouse performances from a bunch of quality elder thesps (Tom Courtenay won a BAFTA for it, but for my money Gemma Jones as his wife was just as good), plus nicely understated turns from the ever-excellent Nicola Walker and Sanjeev Bhaskar as the coppers on the case.

    Things to Catch Up On
    Car Share series 2This month, I have mostly been missing series two of Peter Kay’s Car Share, which is a couple of episodes in on the telly or available in its entirety on iPlayer. I nearly didn’t bother with the first series (two years ago now!) because I’m not a huge fan of Peter Kay, but someone recommended it and it turned out to be hilarious. I’m sure I’ll make time for the new one soon.

    31 days until new Twin Peaks

    Next month… more Doctor Who, more Twin Peaks, and probably more stuff dredged up from the “must get round to” pile.

  • The Past Month on TV #9

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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