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 #57b

    I’ve blathered on so much this month that, for the first time, I’ve split the TV post in two for ease of reading. It’s all about what’s best for you, my dear readers.

    For this month’s introduction and a bunch of Doctor Who stuff, look here. For everything else — Red Dwarf: The Promised Land; Mark Kermode’s Secrets of Cinema series 2; the worst of The Twilight Zone; odds & ends, and what I’ve missed this month — continue…

    Red Dwarf  The Promised Land
    Red Dwarf: The Promised LandThe 13th iteration of Red Dwarf eschews the normal episodic format for a single 90-minute special, in turn ditching the expected Red Dwarf XIII moniker for a subtitle. Well, the show has form in this: for its 21st anniversary revival we got Red Dwarf: Back to Earth instead of Red Dwarf IX, which wasn’t a whole series but instead a 90-minute single story (in that case split into three half-hours, but still).

    Indeed, despite the feature-length format, The Promised Land is not “Red Dwarf: The Movie” — it still very much looks and feels like the show has in its Dave era, not least because it was still shot in front of a studio audience. Fortunately, it does still justify its running time by being more than just three episodes strung together. Writer Doug Naylor probably could’ve separated ideas from the plot out into three separate storylines if he’d wanted, but as it stands it just plays like a super-sized normal episode. That’s not a criticism — everything’s on form, making this at least as good as any other episode the show has had recently (and, if you go looking through my previous reviews, you’ll see I enjoyed most of those too).

    The feature-length shape does allow for some variety in tone, including a strikingly emotional scene between Lister and Rimmer. As I saw someone say on social media, “I didn’t know this show was capable of that.” It leans on the fact these characters have an onscreen relationship lasting over 30 years — not explicitly, but you do feel the weight of that time spent together. It’s actually quite a beautiful moment, with a lovely analogy that has a part to play in the equally emotional finale.

    Talking of those 30-odd years, in so many ways this feels like an anniversary special. Not just because it’s a feature-length one-off (for which, as I mentioned earlier, the show has form), but in the way its plot calls right back to the very first episode of the programme, delivering on story elements not seen since that first series, and with a ton of nods and winks to episodes throughout the years too. It makes me wonder if it was written for the 30th anniversary (which was two years ago), but it took longer than intended to get the gang back together. Certainly, if it had been pitched as a 30th anniversary special, I don’t think anyone would’ve been disappointed.

    Indeed, they weren’t disappointed now, with the reaction on social media looking overwhelmingly positive. I don’t think that’s a given, nor newness bias — I remember Back to Earth facing a mixed-to-negative response — so I think The Promised Land can be judged a success all round. Personally, it’s made me want to dig out all the old DVDs (or perhaps upgrade them to Blu-ray) and rewatch the whole series.

    Mark Kermode’s Secrets of Cinema  Series 2
    Mark Kermode's Secrets of Cinema series 2Mark Kermode’s insightful deconstruction of cinematic genres returns for a full second series (following a few occasional specials last year). I say “full” — three episodes. Whereas the first series took on a fairly random selection of enduringly popular genres, this batch somewhat follows the example set by last year’s specials by being particularly timely. Those were themed around when they aired (Christmas movies at, obviously, Christmas; Oscar winners just in time for, obviously, the Oscars; and disaster movies ahead of, obviously, the current crisis. No, I jest, it was for Bank Holidays), whereas these episodes tackle the genres du jour: superhero movies (can’t get more top-of-the-zeitgeist than that), British history movies (including modern history movies like Bohemian Rhapsody and Rocketman, both recent hits), and spy movies (which would’ve coincided perfectly with the release of No Time To Die if that hadn’t had to be postponed).

    In typical BBC Four fashion, the series if both educational and entertaining. Even if you’re a well-read movie buff, Kermode (plus writer Kim Newman) are likely to draw out at least some connections or comparisons you haven’t thought of it, but are always on the money and enlightening. But as well as being information, they make for an entertaining overview of the genres in question, working both as a kind of clip show to relive each genre’s highlights, and, with their relative comprehensiveness, to suggest some films you might not have seen yet. For example, British history is such a broad catch-all kind of subject (as Kermode acknowledges in the programme, each time period is really its own subgenre) that I came away with a list of 17 films I wanted to watch or rewatch. I always think that’s a mark of a good film documentary: one that makes you want to see the movies it’s talking about.

    (Series 2 and the Oscars special are currently available on iPlayer. Kermode said on Twitter that they’ll be putting the older episodes back up too, but they haven’t yet.)

    The Twilight Zone  ‘Worst Of’
    Cavender is ComingFor the past year I’ve been working my way through episodes of The Twilight Zone that are considered to be among its very best. But if I carried on like that, my overall experience of the show would be to see its quality gradually tail off, and someday my time with it would end by watching its weakest instalments. That doesn’t seem a fitting fate for such a classic series. It’s too late for me to save some of the very best for last, but I can jump the gun a little and watch some of the most poorly-regarded episodes now. Naturally, I’ve used the lists I compiled for a consensus ranking to curate this selection. I’ve taken the last-place choice from each full-series ranking, and that also happens to include the episode with the lowest average score across all the lists.

    First up, the episode with the lowest rating according to IMDb users, Cavender is Coming. On average it comes 107th (out of 156), the highest of these five, with TV Guide even placing it in their top 50 (at #38), but clearly IMDb users have something against it. It stars Carol Burnett as a klutzy lady who keeps losing her job, so she’s assigned a guardian angel to make things better. Said angel is last-chancer Cavender — if he fails this task, he’ll be kicked out of angel school… or something. I don’t know. The Twilight Zone is notoriously bad at comedy, and this is probably the most outright sitcom-y episode of them all — it even aired with a laughter track originally. Nearly everyone reserves some praise for Burnett, which I guess is to do with her being an iconic figure of American TV or something. Not that she’s bad, but she does little to elevate a message-less episode. Even after watching the next four, I tend to agree that this may be the very worst episode of them all.

    Proceeding down the average rankings, next is ScreenCrush’s pick, Execution (135th overall). It’s an odd little story with a kinda daft premise: in the Old West, a criminal is about to be summarily hung, but he disappears into thin air… and appears in the present day, courtesy of a ‘time machine’ that randomly scoops a random individual randomly out of the past. How? Why? Who cares! No spoilers, but the unwitting time traveller finds the modern world all a bit much, and someone ends up being transported back. The point of the story is… cosmic justice? Or something? I guess? Getting into spoiler territory now, the episode almost poses an interesting moral question: “if a murderer deserves to be hanged, does the murderer of a murderer deserve to be hanged?” Unfortunately, it doesn’t actually engage with that at all. In fact, it seems to take it as read that the modern-day criminal who gets accidentally sent back to the 1880s deserves his fate. But, as far as we know, he only murdered another murderer — so, by that moral standard, don’t the rest of the “neck tie party” (as Serling repeatedly calls the group of hangmen) also deserve to be hanged? Food for thought. Unless you’re a brainless supporter of the death penalty, I guess.

    The JungleThe worst episode according to Buzzfeed is The Jungle, which comes 148th overall. It’s about an American engineer who’s just returned from a trip to Africa where his company is planning to build a hydroelectric dam, and he may’ve been cursed by natives opposed to the project. As you’ve probably guessed, the episode’s biggest problem is some old-fashioned kinda-racist stereotypes about Africa and its people. I mean, the episode doesn’t even bother to say which country he’s been to, it’s just “Africa”. It’s not overtly racist, I don’t think, but it’s certainly tone deaf. There’s a scene where our hero discusses the project with the board of directors that juxtaposes the idea of witchcraft, which they all laugh at, with the irrational superstitions they all practice (not walking under ladders, etc), which is kinda neat, basically saying that “you laugh at their beliefs because you think of them as simple folk, but it’s no worse than our superstitions,” which is truthful and borderline enlightened. But that’s about all the episode has going for it. By the time he’s travelling home through the implausibly empty nighttime streets of New York City and being haunted by jungle sounds, it all seems pretty silly; and then his cab driver just drops dead, and a tramp appears and disappears out of thin air, and you wonder what all that’s got to do with anything. The only moral the episode can offer is “maybe some superstitions are right”, which is poppycock.

    So far I’ve watched nearly a quarter of all episodes of The Twilight Zone, but I’d only seen one from its fourth season before today. That’s probably because I’ve been focusing on the show’s best episodes, and everyone seems to agree that season four is its weakest. Nonetheless, there’s only one episode from that season among this initial batch of bad episodes: I Dream of Genie, Paste’s pick for the very worst and 152nd on average. It’s about a downtrodden clerk who’s presented with the opportunity to wish for anything he wants, and considers carefully via a series of imagined alternate lives — which conspire together to pad out the episode’s running time, of course. In his first imagining he fails to conceive of a world in which he’s not being pushed around, and if that had continued through his other fantasies we might’ve been on to something here — a sad examination of how being so mistreated can seep into your very way of being. But it’s not aiming for that, because this is A Comedy One and so tragic insight is out of the question. The whole thing is half arsed in conception, and also flabby — Serling could definitely have told the same story in half the time without losing anything of value, which I think is a consistent problem with the season four episodes. I didn’t hate it — it’s probably the best of these five — but it’s far from a great episode.

    Sounds and SilencesFinally, we end as we began, with an episode voted on by the public: at the bottom of Ranker’s list, and last on average too, is Sounds and Silences. It’s about an excessively-loud, domineering blowhard who gets some measure of comeuppance when he begins to be bothered by everyday sounds like a dripping tap or ticking clock. And then it goes the other way and he can’t hear loud noises at all. It’s poorly written and terribly performed — in the lead role, John McGiver is overacting something rotten. Some criticise the undercurrent of misogyny in the storyline, but I don’t know about that. He blames his mother and his wife for all his problems, but he’s an unlikeable sod so surely any misogyny is his rather than the episode’s — we’re not being asked to agree with him. The character’s ironic fate may be some form of poetic justice, but it’s too long coming to be entertaining, and too obvious to be satisfying. Whether I disliked this or Cavender is Coming more, I’m not sure, but they both merit their places at the bottom.

    Also watched…
  • McDonald & Dodds Series 1 Episode 2 — The second episode (of two) in this (very short) series was slightly better than the first, but not by a huge amount. I’ll probably keep watching if they make more, mainly to spot filming locations that I recognise. If it weren’t for that I wouldn’t bother.
  • One Man, Two Guvnors — This isn’t really TV, but nor is it really a film (although it was released in cinemas, so I could’ve counted it if I wanted). What it is is a filmed stage production, which the National Theatre released on YouTube for free — but only for one week, so I’m afraid it’s gone now. It was really good. Sorry. Currently available is a 2015 production of Jane Eyre (their channel is here), with more to follow every Thursday (more info here.
  • The Rookie Season 1 Episodes 7-15 — Churned through a pile of this in next to no time because it’s relatively easy viewing but with enough bite to keep it interesting. One of those shows that will never be a classic or top of the zeitgeist, but is highly watchable.
  • Star Trek: Picard Season 1 Episodes 4-6 — Way behind on this because it never engages me enough to choose to put it on. That said, I’ve found these middle episodes a bit better — I quite enjoyed the silliness of episode five, Stardust City Rag. But it’s the series’ lowest-rated episode on IMDb, which suggests other Picard viewers and I may be at odds about what makes good TV…

    Things to Catch Up On
    Westworld season 3This month, I have mostly been missing Westworld season 3, which is now four or five episodes in. I’ve not seen anyone talking about it on social media, so I’ve no idea if it’s good or bad, but I am inferring that not as many people are talking about it anymore, which is its own kind of criticism. One show I have heard mentioned is Tales from the Loop, Amazon’s new anthology sci-fi series. That’s been picking up good notices, and I thought it looked interesting anyhow, so I must make time for it.

    Next month… more animated classic Doctor Who; more of the worst of The Twilight Zone; and maybe I’ll even finish Picard or watch The Mandalorian, too…