tag:blogger.com,1999:blog-39449884390305299612024-03-12T18:31:38.532-07:00Nobody Ever Lends Money to a Man with a Sense of Humour: Paul Whitelaw's BlogAnonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.comBlogger34125tag:blogger.com,1999:blog-3944988439030529961.post-6608190756519294732013-05-11T05:07:00.000-07:002013-05-11T05:07:09.877-07:00Scotsman TV Preview: THE FALL, FRANKIE, and THE SUSPICIONS OF MR WHICHERThis article was originally published in <i>The Scotsman</i> on 11th May 2013.<br />
<br />
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-the-fall-frankie-the-suspicons-of-mr-whicher-1-2925907">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-the-fall-frankie-the-suspicons-of-mr-whicher-1-2925907</a><br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
FALL</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
BBC2, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>FRANKIE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
BBC1, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
SUSPICIONS OF MR WHICHER</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
STV, 8pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">Hello.
Is that J. Jameson Spotlight, big-shot representative of famed
actress Gillian Anderson?”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">Yeah.
Whaddya want?”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">I
have a part she may be interested in. It's an aloof, icy, enigmatic
professional whose emotional distance causes...”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">She'll
do it.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Now:
I'm not suggesting that Anderson is a one-note actress. Her ethereal
performance as Miss Havisham in the BBC's 2011 adaptation of <i>Great
Expectations</i> proved she's more than capable of playing something
other than emotionally withdrawn maidens. But it's true that she's
frequently typecast as glacial beauties who shrink from matters of
the heart. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
so it is in <b>THE FALL</b>,
an absorbing five-part thriller in which she casts her inscrutable
gaze over the gloomy streets of Belfast, in search of an elusive
serial killer. Yet despite initial suspicions that this is Anderson
on autopilot, she gradually reveals an enjoyably arch and self-aware
approach to the role of DSI Stella Gibson. It's an astute match of
performer and part.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Called
in to review an ongoing investigation into an unsolved murder, Gibson
quickly connects it to the subsequent death of another young
professional woman. So far, so-so. But the twist in <i>The Fall</i>
is that we know who did it. Like <i>Columbo</i>, it reveals the
identity of the killer upfront, thus turning it into a suspenseful
“Howcatchem” rather than a traditional “Whodunnit”. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Our
villain in this case operates along the Norman Bates principle: a
good-looking, outwardly normal young man who happens to be a
psychopathic murderer. Married with two young children, Paul Spector
(a subdued, intensely creepy performance from Jamie Dornan) is an
unsettling creation who feels far more dangerous than the zany
lunatics who usually dominate this landscape.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">While
the director is perhaps slightly overfond of darkly ironic
juxtaposition, the switching back and forth between Gibson's
investigation and Spector's double-life plays out very effectively.
Both desensitised and diligent - “You and I are very much alike, Mr
Bond!” - they're a compelling double-act who never share the
screen. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
some fleetingly silly moments – the serial killer genre practically
demands them – this a relatively understated production boasting a
ring of authenticity. The minimal use of incidental music is a
notable, welcome touch. However, the suffocating scenes of violence
against women are arguably gratuitous, and I can't say I feel
entirely comfortable with them. That they appear in a largely
female-led drama (written by a man) merely compounds the sense of
unease.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">That
caveat aside, its an addictive, twist-ridden study of grief,
obsession and identity (or: a grisly thriller that's read a few
books). Boosted by uniformly fine performances, it's Anderson's
subtly eccentric turn as the outwardly emotionless, alpha-female
Gibson which suggests <i>The Fall</i> has the potential to run beyond
a mere five episodes.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
female protagonist in <b>FRANKIE </b>is practically Gibson's polar
opposite. Indeed, it's possible to glean whole seconds of fun from
imagining these two characters awkwardly attempting to relate to each
other (Gibson wouldn't bother, Frankie would overcompensate). Played
by <i>Torchwood </i>star Eve Myles, she's a winsomely fun-loving
district nurse who gets her kicks from singing along loudly to her
car radio, and dancing around sassily in the kitchen. She may as well
have “I'm mad, me!” stencilled on her forehead.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Like
one of those <i>Here Come the Girls</i> Boots ads with added medical
trauma, <i>Frankie</i> combines excruciating whimsy with
well-intentioned attempts to explore human dilemmas via the dedicated
exploits of an overworked NHS professional. And that's partly the
problem: would even the busiest district nurse deal with so much
dramatic incident over the course of a few days? I'm all for
suspending disbelief, but Frankie comes across as a sort of feisty
superhero with a heart of gold.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Its
main saving grace is the charm of Myles, an appealing, believable
actress whose natural warmth tends to compensate for the material
she's lumbered with. This, remember, is a woman who survived ghastly
episodes of <i>Torchwood </i>written by Chris “Redeemed himself
with <i>Broadchurch</i>”
Chibnall. But even she can't override supposedly funny yet
cringe-inducing lines such as “I laugh at cutbacks! I sneer at
them!” At one point a loveable old man with Alzheimer's says her
profession is a funny one. “Well, I'm a funny sort of woman,”
she winks. True, Frankie, you're bonkers.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In
fairness, the Alzheimer's storyline is handled fairly well, and
Frankie isn't depicted as <i>entirely</i> perfect. Her saviour
complex is shown to have a detrimental effect on her private life,
although her boyfriend, played by Dean Lennox Kelly, is such a
nuisance, she'd be better off in the arms of her male nurse colleague
(Scots actor Derek Riddell, with whom Myles shares an engaging
chemistry).</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
criminally underexposed Olivia Colman crops up in <b>THE SUSPICIONS
OF MR WHICHER</b>, the second candlelit drama based on the real-life
exploits of the pioneering Victorian detective. Paddy Considine is on
reliable form as the troubled, upstanding Whicher, as he investigates
the murder of Colman's runaway niece in Jack the Ripper London. It's
a mildly diverting mystery, marred by a ludicrous contrivance in the
final act. Also, fans of the Olivia Colman Crying Game are advised to
imbibe sensibly.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-53692534163483713242013-04-29T04:51:00.002-07:002013-04-29T04:51:51.258-07:00TV Preview: VICIOUS and THE JOB LOT<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 27th April 2013.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-vicious-the-job-lot-1-2911304">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-vicious-the-job-lot-1-2911304</a></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>VICIOUS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
STV, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
JOB LOT</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
STV, 9:30pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">No-one
would've believed, in the early years of the 21<sup>st</sup> century,
that human credulity would be stretched to breaking point by the
arrival of a sitcom power-hour on primetime ITV. But it's true, it's
here. It's happening. In a turn of events so shocking and bizarre
it's actually quite frightening, the notoriously laughter-shy
broadcaster – whose pantheon of classic sitcoms amounts to piddling
single digits – has decided to take comedy seriously again.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Given
the BBC's total domination of the field, it's long felt as though ITV
were simply unwilling to compete, preferring instead to concentrate
on glum thrillers, cloying dramas, and Ant & Dec's pension plan.
But the huge mainstream success of BBC sitcoms such as <i>Miranda,
Outnumbered</i> and <i>Mrs Brown's Boys</i> has obviously spurred
them into belated action.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">What's
even more remarkable – staggering, even – about this dedicated
comedy offensive is that one of their new efforts, <b>VICIOUS</b>, is
actually very funny. You may wish to take a moment to process that
information.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
studio-bound, single-set, multi-camera sitcom, it's a gratifyingly
old-school farce in which thespian deities Ian McKellen and Derek
Jacobi have a char-grilled whale of a time as an incessantly
bickering homosexual couple. Sealed within their sepulchral Covent
Garden abode – they shriek like vampires when the curtains are
accidentally opened – pompous actor Freddie (McKellen) and retired
bar manager Stuart (Jacobi) tussle waspishly over decades of
perceived slights, while never missing an opportunity to mock each
other's supposed decrepitude. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Now,
these are hardly original comic creations – the vituperative, hammy
old queen has long been a staple of popular culture - and there is
nothing especially notable about the premise. But that simply doesn't
matter when the execution is as strong as this.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Resembling
a startled, wounded guinea pig, Jacobi squeals and frets amidst a
knowing flurry of camp mannerisms, while McKellen booms fresh insults
in that oak-lined voice of his. He also pulls some of the funniest
“Why, I've never been so insulted in my life!” expressions this
side of imperial phase Frankie Howerd. It's an impeccable dual
assault of seasoned comic timing.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Enjoyment
is magnified by the addition of Frances de la Tour as their dotty,
man-hungry pal. Famously, she starred in <i>Rising Damp</i>, one of
ITV's few great sitcoms, and it's tempting to view her presence here
as a deliberate nod to the past. Not that her involvement is merely
symbolic – she's a peerless comic actress – but you could argue
that she's essentially playing lonely Miss Jones thirty years on.
Even the dingy brown set recalls her most celebrated role.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Broad
and boisterous in the best possible sense (i.e. it's nothing like
that aforementioned avalanche of horror, <i>Mrs Brown's Boys</i>),
<i>Vicious</i> is jam-packed with gags, hitting the ground running
with an impressive opening episode which establishes set-up,
character and backstory with consummate ease. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
co-write between acclaimed playwright Mark Ravenhill and Gary
Janetti, a former executive producer on <i>Family Guy</i> and <i>Will
& Grace</i>, it revels in its camp bluster with such benign
relish, I doubt it'll get into too much trouble for reinforcing
stereotypes. It's obvious that Freddie and Stuart are blissfully
happy in their enmity, and it's that undercurrent of warmth – the
spoonful of sugar beneath the barrel-load of bile – that make these
characters so engaging. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">I'm
no soothsayer – I've never said “sooth” in my life - but I
predict that <i>Vicious</i> will be huge. A hit sitcom! On ITV!
Nurse, the smelling salts...</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
madness continues with <b>THE JOB LOT</b>, which, while nowhere near
as sharp as <i>Vicious</i>, is a perfectly amiable and amusing sitcom
set in a drab job centre (is there such a thing as a bright,
welcoming job centre?).</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
being a single-camera comedy with no laugh-track, it's essentially a
traditional sitcom populated by dysfunctional characters and daffy
situations. It is, however, blatantly influenced by <i>The Office</i>,
not because it's a workplace comedy – Gervais and Merchant didn't
invent that genre – but because of the exceedingly Tim-like lead
played by Russell Tovey. A bright, likeable everyman trapped in a job
he detests – his feelings for an attractive female colleague stop
him from leaving - the similarity is compounded by the fact that
Tovey appears to have partially based his acting style on Martin
Freeman.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">While
Tim-bot 2000 is mildly distracting, he doesn't detract overall from a
show which, given the danger inherent in its recession-fuelled
premise, mercifully refrains from sneering at the unemployed.
Granted, one of the regular job-seekers is portrayed as a harmless
oddball, but it's significant that the villain of the piece is a
rude, sadistic and actively obstructive job centre employee played by
the excellent Jo Enright.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This
character has an obvious antecedent in the monstrous Pauline from <i>The
League of </i>Gentleman. She also
shares a few genes with <i>Little Britain</i>'s “Computer
says 'No'” grotesque. And yet despite these visible origins,
Enright imbues her with a distinctive, deadpan venom.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">What
this all adds up to is a derivative yet serviceable sitcom with a
smattering of potential. But it undoubtedly succeeds in being an ITV
sitcom that's Not Appalling. I still can't quite believe it and
<i>Vicious</i> exist at all.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-59950661951896545312013-04-14T11:43:00.000-07:002013-04-14T11:43:08.610-07:00TV PREVIEW: Endeavour/The Ice Cream Girls/Doctor WhoThis article was originally published in <i>The Scotsman</i> on Saturday 13th April 2013.<br />
<br />
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-endeavour-the-ice-cream-girls-doctor-who-1-2894604">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-endeavour-the-ice-cream-girls-doctor-who-1-2894604</a><br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>ENDEAVOUR</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
STV, 8pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
ICE CREAM GIRLS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Friday,
STV, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOCTOR
WHO</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC1, 6:15pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Try
as I might, I've never quite managed to adjust to the meandering
tempo of ITV detective dramas. The peerless <i>Cracker </i>aside,
they've never captured my interest. Even the much-loved <i>Inspector
Morse</i>, which continues in perpetuity via afternoon repeats,
failed to grab me. An indisputably classy production, it's something
I always admired from afar, but never fell in love with as so many
others did. Call me a blundering philistine – you wouldn't be the
first – but I just can't engage with melancholy detectives solving
crimes slowly.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
it's hardly surprising that I was underwhelmed by <b>ENDEAVOUR</b>,
the 1960s-set prequel in which the precocious Constable Morse first
makes his mark on the death-caked streets of Oxford. Again, there are
aspects of it I admire, from Shaun Evans' subtle, well-observed
evocation of John Thaw's distinctive speech patterns, to the
understated chemistry he shares with the great Roger Allam as his
pipe-smoking boss. Indeed, any drama which unites Allam and that
other fine character actor, Anton Lesser, must have something going
for it. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
the interminably convoluted storyline, involving the mysterious death
of a young woman and the murder of a doctor in a public lavatory, is,
while mildly diverting, hardly the stuff of great drama.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Recently
promoted, with his deductive genius and antisocial quirks already in
bloom, Morse uses the case to prove his abilities to Lesser's
sceptical commanding officer. I actually find this aspect of
<i>Endeavour</i>, the character-driven plight of an alienated young
man, more interesting than the cases themselves. There's nothing
more frustrating for a critic than reacting to something with
indifference, but <i>Endeavour</i> doesn't excite me in either
direction.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Following
a successful pilot last year, this inaugural series will almost
certainly do well. It's not for me, but it's there if you want it.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">What
is it with ITV and murder mysteries? They're like the broadcasting
equivalent of the serial killer-obsessed David from <i>Psychoville</i>,
forever offering up stabbed and strangled corpses for our morbid
delectation. They're at it again with <b>THE ICE CREAM GIRLS</b>, a
drab thriller which, a la <i>Broadchurch</i>, takes place in yet
another picturesque coastal community. But whereas <i>Broadchurch</i>
compels with its addictive central mystery, <i>The Ice Cream Girls</i>
is just another middling ITV potboiler.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
po-faced saga of guilt and retribution (coming soon to ITV: Lynda La
Plante's <i>Guilt & Retribution</i>), it begins with Serena, a
successful middle-class woman, moving her family back into the house
she grew up in, so as to care for her sick mother. Haunted by a
terrible incident from her past – “It was seventeen years ago!”
bleats her sister, helpfully – she's terrified of the police, as
well as the prospect of her husband and daughter discovering her
secret. “I think this move might be a good thing for me!” beams
the former, betraying a tragic ignorance of ironic foreshadowing. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Meanwhile,
another woman, Poppy, is released from prison – after seventeen
years – and returns to the same town. Her life in tatters, she's
determined to track down Serena. So what's their connection? Told via
conveniently prominent newspaper cuttings and intermittent flashbacks
to the 1990s, the story introduces a slimy schoolteacher played by
Scots actor Martin Compston, and his inappropriate relationship with
the doe-eyed young Serena. Suffice to say, things don't go well.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
pedestrian nature of <i>The Ice Cream Girls </i>is enlivened somewhat
by an arrestingly unsettling performance from Compston, and Jodhi May
playing the vulnerable Poppy as the physical manifestation of a
repressed scream. Their combined screen presence holds the attention,
even while the story trundles along familiar lines.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Last
glimpsed in 1974 adventure <i>The Monsters of Peladon</i>, classic
<b>DOCTOR WHO </b>baddie The Ice Warriors make an effective comeback
in Mark Gatiss' <i>Cold War</i>. Guest-starring a curiously underused
David Warner as – wait for it – an Ultravox-obsessed scientist
(the episode is set in 1983), it finds the Doctor and Clara landing
inside a nuclear-armed Soviet submarine harbouring something
potentially far more dangerous in its belly. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Making
good use of its claustrophobic setting, it's an <i>Alien</i>-esque
thriller which also recalls the base-under-siege yarns of the Patrick
Troughton era. Of course, <i>Alien</i> was itself influenced by the
classic 1950s sci-fi film <i>The Thing From Another World</i>, which
in turn inspired classic-era <i>Doctor Who</i> stories such as <i>The
Seeds of Doom</i>. Gatiss, who is famously a <i>Doctor Who</i>
uber-fan and horror aficionado, is clearly having fun with this
never-ending feedback loop in an entertaining – and somewhat
surprising – addition to the canon.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Talented
chap though he is, the former <i>League of Gentleman</i> star and
<i>Sherlock</i> co-creator is hardly one of the most inspired authors
of 21<sup>st</sup> century <i>Doctor Who</i>.
But <i>Cold War</i> is
undoubtedly his strongest effort since <i>The Unquiet Dead</i>
back in 2005. And the fact that the imposing appearance of the Ice
Warriors has barely been altered since its first appearance in 1967
(their leader played by Bernard Bresslaw, fact-fans) is testament to
one of the most distinctive creature designs in <i>Doctor Who</i>'s
history. </span>
</div>
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-73115647854023279452013-03-31T11:50:00.000-07:002013-03-31T11:50:20.137-07:00TV PREVIEW: Doctor Who/The Voice UK/The Village/Life's Too Short<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on Saturday 30th March 2013.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="https://www.blogger.com/goog_1257053432"><br /></a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-doctor-who-the-voice-uk-the-village-life-s-too-short-1-2866239">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-doctor-who-the-voice-uk-the-village-life-s-too-short-1-2866239</a></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOCTOR
WHO</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC1, 6:15pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
VOICE UK</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC1, 7pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
VILLAGE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC1, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>LIFE'S
TOO SHORT</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC2, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
problem with previewing new episodes of <b>DOCTOR
WHO</b> is that, because it thrives on shock and surprise,
you're left with little to say beyond a few gentle hints. To go into
any more detail would be like telling a child what it's getting for
Christmas. Which I might actually do one day as a social experiment,
but that's another story.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So,
what I <i>can</i> tell you is that as series seven resumes, the
Doctor is brooding over the bizarre ongoing mystery of Clara Oswald,
a young woman who, on the two occasions they've met, has died in
different periods in history. How can this be? This being Steven
Moffat's <i>Doctor Who</i>, the eventual answer will probably be
convoluted and disappointing, but I'll gladly be proven wrong. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In
any case, the Doctor is now obsessed with tracking down yet another
version of Clara, only this time with a view to keeping her alive.
And sure enough, as anyone with even a passing interest in <i>Doctor
Who</i> already knows, he meets Clara Mark III in Moffat's<i>The
Bells of Saint John</i>. It's one of
those purely entertaining episodes best described as a romp, as the
Doctor sets himself up as Clara's galactic guardian while struggling
to save humankind from being enslaved by alien Wi-Fi.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This,
of course, is a standard Moffat trick: take an everyday facet of
existence and invest it with horror. He must spend his days wandering
around thinking of ways to make door knobs and carpets scary. Here he
takes our real-world concerns about internet identity theft, chucks
in one of his other favourite tropes, the creepy child, adds a
possible reference to <i>The Exorcist</i> and a fan-pleasing nod to a
former companion, and voila! 45 minutes of fun, pacy Moffat <i>Doctor
Who</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Matt
Smith is a note-perfect delight as usual, although the day he stops
being a note-perfect delight as the Doctor is the day he regenerates
into the unfortunate thesp who has to follow him. After Clara's
introduction in last year's <i>Asylum of the Daleks </i>and
the most recent Christmas special, Jenna Louise-Coleman
continues to impress with her likeable, charming, understated
performance (she's far less annoying than she was in her sass-talking
début). She and Smith make for an endearing team.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Also,
watch out for a surprise cameo from John Simm's Master and classic
series baddies the Zygons.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Dear
internet forums and fellow media outlets: please note that this last
statement is an outright lie, humorously pertaining to the dilemma
established in my opening paragraph. Thanks.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Also
returning to BBC1's Saturday night line-up is <b>THE VOICE UK</b>,
the torpid <i>X Factor</i> clone that drew flack last year for its
repetitive, drawn-out format and excessive overuse of Jessie J doing
that thing with her head. But the producers have apparently made some
game-changing improvements to the format, despite retaining the same
set of judges. So expect another billion weeks of Tom Jones looking
like he'd rather be at home having a nap, and will.i.am standing on
his chair whenever he feels he's not getting enough attention.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
big week for TV dramatists called Moffat continues with <b>THE
VILLAGE</b>, in which Peter Moffat (<i>Criminal Justice; Silk</i>)
abandons his usual peregrinations around the legal system for an epic
trek across the entire 20<sup>th</sup> century. Or at least, that's
the plan. Moffat has declared that <i>The Village</i>, which is
entirely set within a rural community in the North of England, will
unfold over 42 episodes. So that's seven series in as many years. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This
ambitious concept automatically confers upon <i>The Village</i> the
sort of “event TV” buzz one doesn't normally associate with
Sunday night period dramas. It's frustrating, then, that episode one
feels like little more than a flat, silly parody.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Leaving
no trope unturned, it begins in 1914 by introducing a sadistic farmer
(John Simm – genuinely this time – glowering for all his worth)
who brutally torments his cowering wife (Maxine Peake) and children,
one of whom tops and tails each episode as a centenarian reflecting
over his life. There's also a sadistic schoolteacher who is, of
course, directly countermanded by a kindly schoolteacher. Meanwhile,
up at the <i>Downton</i>-esque big house, the conversation at dinner
is preoccupied with the suffragette movement and dark rumblings about
war with Germany. It practically writes itself.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Although
it's clear that Moffat is trying to do something interesting here, he
struggles to settle on the right tone. The unrelenting misery
actually becomes funny after a while, a problem hardly alleviated by
the persistently mournful brass and harmonium soundtrack. It feels at
times like a deranged Hovis advert. However, the more idiosyncratic
elements of <i>The Village</i> begin to click into place in part two,
with part one feeling in retrospect like a formally self-conscious
introduction. So it may be worth sticking with. Over seven years, if
need be.</span></div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Finally,
Gervais & Merchant's dismal sitcom <b>LIFE'S TOO SHORT</b>
returns unbidden for a one-off finale. Drab and mean-spirited, it
sidelines its nominal star, Warwick Davis, in favour of the
supposedly hilarious spectacle of ha-ha-has-beens Keith Chegwin,
Shaun Williamson and Les Dennis making fools of themselves. It's
truly desperate stuff.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-92139879595048438412013-03-25T09:58:00.000-07:002013-03-25T09:58:18.816-07:00Doctor Who: 50th Anniversary Celebration<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>Scotland On Sunday</i> on 24th March 2013.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/scotland-on-sunday/scotland/doctor-who-why-we-still-love-the-doctor-1-2854439">http://www.scotsman.com/scotland-on-sunday/scotland/doctor-who-why-we-still-love-the-doctor-1-2854439</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOCTOR
WHO: 50</b></span><sup><span style="font-family: Tahoma, sans-serif;"><b>th</b></span></sup><span style="font-family: Tahoma, sans-serif;"><b>
ANNIVERSARY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">On
23</span><sup><span style="font-family: Tahoma, sans-serif;">rd</span></sup><span style="font-family: Tahoma, sans-serif;">
November 1963, the day after the assassination of John F. Kennedy,
the BBC launched a new Saturday tea-time adventure serial ostensibly
aimed at children.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Enigmatically
titled </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">,
and swathed in an eerie electronic theme tune, episode one, </span><span style="font-family: Tahoma, sans-serif;"><i>An
Unearthly Child</i></span><span style="font-family: Tahoma, sans-serif;">,
introduced a pair of inquisitive schoolteachers who, concerned by the
strange behaviour of a brilliant young pupil, followed her home to
solve the puzzle. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">What
they discovered, much to their understandable alarm, was that the
girl lived in a junk yard. Not only that, she lived in a police box
in a junk yard. Except it wasn't a police box at all, but rather a
bigger-on-the-inside alien spacecraft capable of travelling through
time and space. Its pilot, a crotchety old man known only as the
Doctor, wasn't best pleased that his teenage granddaughter had
unwittingly led a pair of meddling apes into his secret world.
Fearing discovery by the rest of humankind, he saw no choice but to
kidnap the teachers and exit the Earth post-haste.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
episode ends with the TARDIS – an acronym for Time and Relative
Dimensions in Space – materialising on a barren, forbidding
landscape, as the ominous shadow of a misshapen figure falls into
view. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
one of the most arresting introductions to a television drama in the
entire history of the medium. Over the space of just 25 minutes, the
craftspeople responsible for this curious new programme managed to
establish a premise so original, strong and bewitching, it has
endured practically unchanged for fifty years. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Without
access to a time machine themselves, they could never have foreseen
that in 2013 we can say, without much fear of contradiction, that the
ever-regenerating Doctor is one of the greatest heroes in all of
fiction. And yet here we are, with the world's longest-running
science-fiction television series still reigning supreme.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
why has it endured for so long? Is its quirky character in some ways
a reflection of our own national identity? Of our affinity with
underdogs and loveable eccentrics? </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">One
of the things that's interesting about </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
as a cultural phenomenon over the whole fifty years is that its
selling point has really been its Britishness,” says Dee Amy-Chinn,
a senior lecturer in Media and Culture at the University of Stirling.
“The Doctor has always in some way embodied a kind of quirkiness
that's specifically British. When it started in the 1960s it was
reflecting Britain's back-room boffins who'd won the war through
Bletchley Park and building the bouncing bomb. Britain had never been
able to chuck troops at the Second World War in the way that America
had, but it could do something that was something just a little bit
different and British.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
Doctor is a classic hero. Decent, honest and brave, he despises
intolerance in all its forms and stands up for the oppressed wherever
they need saving. Sure, he's made mistakes. You don't traverse the
farthest reaches of the universe for over a thousand years without
cracking a few eggs and causing the odd rip in the fabric of time and
space. But, as current show-runner Steven Moffat says, “H</span><span style="font-family: Tahoma, sans-serif;">e's
such a moral man. He's a good, clever man, that's all he is. I think
that's about as positive a message as you could possibly give.”</span><span style="font-family: Tahoma, sans-serif;">
</span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Conceptually,
the show is unique in that the periodic replacement of its lead actor
is actually ingrained within its fictional lore. When first Doctor
William Hartnell became too ill to continue in the role, the
production team came up with the inspired idea of having him
physically regenerate his appearance into that of Patrick Troughton.
It was a risky move which ultimately paid off, and an enormous factor
in </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">'s
longevity. The fundamental genius of its infinitely flexible format
is another major component. What other TV show can hop across so many
genres – horror, comedy, western, period drama, space opera etc. -
with such ease every week? “</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Today
regarded as a cultural institution, it can attract guest stars of the
calibre of Simon Callow, Penelope Wilton, Timothy Dalton and – both
in the role of the Doctor's arch-nemesis The Master - Derek Jacobi
and John Simm. Notable writers during the current era include Richard
Curtis, celebrated fantasy author Neil Gaiman, and </span><span style="font-family: Tahoma, sans-serif;"><i>Men
Behaving Badly</i></span><span style="font-family: Tahoma, sans-serif;">
creator Simon Nye.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
it wasn't always so feted. After reaching its peak of popularity in
the '70s under the stewardship of the dashing Jon Pertwee and the
incomparable Tom Baker – viewing figures frequently peaked between
an impressive ten and twelve million – its popularity declined
following the early 1980s tenure of Peter Davison. It became </span><span style="font-family: Tahoma, sans-serif;">the
butt of tired jokes about wobbly sets (they didn't actually wobble)
and cheap monsters (they maybe had a point there).</span><span style="font-family: Tahoma, sans-serif;"><i>
</i></span><span style="font-family: Tahoma, sans-serif;">Even
its fans </span><span style="font-family: Tahoma, sans-serif;">were
derided as sad spotty virgins laughably obsessed with a tatty kid's
show. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
yet to be a fan in 2013 simply means you're an ordinary viewer who
enjoys one of the most treasured jewels in the BBC's crown. No longer
the niche concern that it was during the twilight years of Colin
Baker and Sylvester McCoy, it's now a shiny bauble of block-busting
Saturday night entertainment: the space-hopping yin to </span><span style="font-family: Tahoma, sans-serif;"><i>Strictly</i></span><span style="font-family: Tahoma, sans-serif;">'s
fox-trotting yang. It's finally won the widespread respect it always
deserved.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Of
course, this is something of a double-edged sword for long-time fans
such as myself. While we're thrilled that it's now one of the UK's
most popular TV shows – and it's finally gaining a significant
audience in the US too – one can't help bristling at the fact that
many of those now praising it were once only too eager to dismiss it
out of hand. Vintage </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
couldn't boast the Hollywood-standard special-effects of the revived
series – no TV show could in those days – but it was basically
always the same wonderfully imaginative and unique show that critics
and awards panels adore so much today. So what took them so long?</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">One
explanation is that in the last ten years, the sort of paraphernalia
enjoyed by “geeks” – computer games, sci-fi, superheroes,
comics etc. – has been assimilated into the mainstream. So there's
no longer any stigma attached to watching </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">.
As Steven Moffat has often said, it's a show which “fetishises”
intelligence. Thankfully, today's audience responds to that in
droves.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
remarkable to consider that if you were born in Britain before, say,
1985, you'll have been aware of </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
for most or all of your life. “It's part of a series of shows today
that appeal to both children and adults,” says Dee Amy-Chinn. “But
I think </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who </i></span><span style="font-family: Tahoma, sans-serif;">does
that better than other dramas in that slot, things like </span><span style="font-family: Tahoma, sans-serif;"><i>Merlin</i></span><span style="font-family: Tahoma, sans-serif;">,
because adults remember it from their own childhood.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Even
if you've never seen a single episode, you'll recognise the TARDIS
and know what a Dalek is. That, it must be said, is one powerful
cultural imprint for a television programme to leave behind.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Similarly
remarkable is that no-one seriously expected </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
to be in this position in 2013. After being quietly dropped in 1989,
ostensibly due to dwindling ratings – although the BBC essentially
killed it off by scheduling it opposite </span><span style="font-family: Tahoma, sans-serif;"><i>Coronation
Street</i></span><span style="font-family: Tahoma, sans-serif;">
– it mainly continued to exist on home video, the convention
circuit and in a teeming range of spin-off novels, some written by
the very people associated with the series today. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
1996 TV movie starring Paul McGann, while greeted favourably at home,
failed to spark the hoped-for comeback when the US co-producers
pulled out due to its poor performance over there. And that, it
seemed, was that. Generations would grow up without the comforting
presence of the Doctor by their side. He was yesterday's hero.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Except,
as we know, he wasn't. You can't confine a Time Lord to the past,
after all. As much of a pioneering hero in his way as the people
responsible for creating </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
back in 1963, lifelong super-fan Russell T. Davies – who also
happened to be an award-winning TV writer of huge renown – revived
the show in 2005 to spectacular effect . Casting “proper actor”
Christopher Eccleston as the Doctor came as a surprise to some, but
it also helped to convince sceptics that this revival meant business.
Since then it's gone on to win five BAFTAs, six Hugo Awards, and
fourteen National Television Awards. It's also been credited with
reviving the phenomenon of communal family viewing.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">As
media consumption becomes more fragmented,” says Dee Amy-Chinn,
“anything you can do to bring people together in the way that
</span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
does, with something for everybody because it works on so many
different levels, then that show is doing something quite rare and
unusual. It's success says that audiences are interested in good
storytelling, well drawn characters, high production values, and
something that can be a shared family experience.” </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Not
everyone loves it, of course. It's been criticised for being
emotionally manipulative, over-complicated, inappropriately
sexualised and self-important. Some say it's changed too much. And
they're right, as well as wrong. It has endured because it has
constantly evolved over the decades, but without ever losing sight of
its fundamental reason for being: to inspire and entertain. Like the
Doctor himself, it's changed several times, yet always remained the
same.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">That
simple yet inspired idea, cooked up fifty years ago in the corridors
of the BBC, about an eccentric alien in a time machine has travelled
farther than even the Doctor's wildest dreams. Why? Because at its
heart, it's a triumphant celebration of inquisitive knowledge and
heroic rebellion, of loyal endeavour and noble sacrifice, of liberal
morality and the thwarting of evil. Plus it's got loads of crazy
aliens and explosions in it.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Few
cultural artefacts have managed to cover so much ground in a way that
appeals to such an enormous, disparate audience. It's an incredible
achievement. Happy birthday, Doctor. Long may you roam.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-69172259177054142742013-03-17T12:44:00.000-07:002013-03-17T13:40:20.690-07:00Scotsman TV preview: IN THE FLESH/THE LADY VANISHES/THE CHALLENGERThis article was originally published in <i>The Scotsman</i> on 16th March 2013.<br />
<br />
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-in-the-flesh-the-lady-vanishes-the-challenger-1-2841220">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-in-the-flesh-the-lady-vanishes-the-challenger-1-2841220</a><br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>IN
THE FLESH</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC3, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
LADY VANISHES</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC1, 8:30pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
CHALLENGER</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
BBC2, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Q:
What's the best way of surviving an onslaught of zombies? A: Refusing
to engage with popular culture on any level.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">More
ubiquitous and malignant than even Sue Perkins, zombies are bloody
everywhere at the moment. From <i>The Walking Dead</i> to <i>Warm
Bodies</i> and practically every piece of modern horror fiction in
between, the brain-guzzling undead are second only to vampires in an
over-saturated market of zeitgeisty ghouls. So you'd be forgiven for
rolling your eyes in anticipation of BBC3's new zombie drama <b>IN
THE FLESH</b>. But wait! This one comes with a novel twist! And it's
a rather good one.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Taking
place in the aftermath of a zombie uprising, it depicts a world in
which, having being cured of their nasty affliction, reanimated
corpses attempt to reintegrate into society via a government-backed
rehabilitation scheme. The focus rests on Kieren Walker (his surname
an in-joke for zombie fans), a wan young sufferer of Partially
Deceased Syndrome who's tormented by harrowing flashbacks to his
untreated past. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">After
being released from hospital – where patients partake in support
groups and restore their human appearance with contact lenses and
flesh-tone mousse – Kieren returns to the bosom of his family in a
northern village riven with anti-undead feeling. Given that zombies
almost always function as an allegory for something or other, here
they're depicted as victims of knee-jerk prejudice, epitomised by <i>Rev</i>
star Steve Evets' hate-spewing militia, the Human Volunteer Force
(basically the EDL/BNP with guns). Naturally, they're as rabidly
single-minded in their crusade as the zombies were in theirs.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
this sounds heavy-handed, writer Dominic Mitchell actually succeeds
in exploring his premise with bleak wit and intelligence. A
satirical social-realist take on familiar horror territory, it echoes
the recently departed <i>Being Human</i> in its efforts to explore
the hardships of unfairly vilified “monsters” living on the
margins of society. Its ruminations on bigotry also recall HBO's
vampire romp <i>True Blood</i>, although stylistically they couldn't
be more different.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Bathed
in mistily desaturated colours, its persuasive depiction of a world gone
mad is anchored by a sensitive performance from Luke Newberry as
Kieran, whose fake tan and forlorn demeanour suggest a human
mannequin at a closing down sale. Ricky Tomlinson also turns up as a
nosy neighbour, thus adding to the general Ken Loach via George A.
Romero feel. Watching Jim Royle coping with a thwarted zombie
apocalypse is pleasingly absurd and disturbing.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
being gilded in the moody emo trappings that every youth-skewed
fantasy drama must come with these days, <i>In The Flesh</i> rarely
feels earnest or corny. My only major qualm is that, by referring to
his zombies as “rotters” throughout, Mitchell makes his
characters sound like sub-par Terry-Thomas impersonators whenever
they're mentioned. Mind you, they are a bunch of cads, that zombie
shower.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Why
bother remaking a Hitchcock classic? It's not as if you'll feasibly
improve upon his work. Although its based on an obscure novel, <b>THE
LADY VANISHES </b>is to all intents and purposes a Hitch original.
And yet the BBC's latest adaptation surgically removes everything
that was good about his 1938 film – mainly the droll humour,
amusing characters and sparkling sense of playfulness – and turns
it into the sort of dull, bland, turgid thriller he would never have
dallied with in his prime. It's like painting over the Mona Lisa with
a pencil sketch of Emma Bunton.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
superfluous as Hammer's failed 1978 remake, it takes the bare bones
of this familiar story – spoiled young socialite searches for a
missing spinster on a train full of people who appear to be
conspiring against her – and locks them into a dreary parable about
British xenophobia and entitlement. Tuppence Middleton and Tom Hughes
– recently seen to greater effect as the psychotic Julian in
<i>Dancing On The Edge</i> – make for a pair of colourless, pretty
leads, while the surrounding glut of character actors deliver the
sort of “Who's just blown off in my pantry?” performances
familiar from countless make-weight Agatha Christie adaptations.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Better
by far is <b>THE CHALLENGER</b>, a solid co-production between BBC
Scotland, the Science Channel and the Open University in which the
magnificent William Hurt stars as Nobel Prize-winning physicist
Richard Feynman. Tracing his determined quest to uncover the truth
behind the 1986 Challenger space shuttle disaster, it's a classic
David versus Goliath tale in which our irreverent, dishevelled hero
takes on the stonewalling mendacity of the authorities who
desperately tried to evade responsibility for this tragedy. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
thorn in the side of the Presidential Commission tasked with
investigating its causes, Feynman is a tenaciously independent spirit
who refuses to accept the pussyfooting excuses offered in NASA's
defence. And thanks to his tireless studies, he eventually helped to
make the space programme safer.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
would be very easy for a story of this nature to descend into a
quagmire of Hollywood cheese. And yet despite a couple of hokey
eureka moments, <i>The Challenger</i> tackles its fascinating subject
matter with a satisfying degree of control and charm. And Hurt's wry,
understated, entirely believable performance is an absolute delight.
As far as studies of ethical and political dilemmas in which
brilliant boffins investigate engineering data are concerned, it's a
lot more compelling than most.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-19920621426048507292013-03-17T12:36:00.000-07:002013-03-17T12:36:24.312-07:00KEVIN ELDON interviewThis article was originally published in <i>The Scotsman</i> on 7th March 2013.<br />
<a href="https://www.blogger.com/goog_129556096"><br /></a>
<a href="http://www.scotsman.com/news/it-s-kevin-kevin-eldon-is-out-on-his-own-1-2822594">http://www.scotsman.com/news/it-s-kevin-kevin-eldon-is-out-on-his-own-1-2822594</a><br />
<span style="font-family: Tahoma, sans-serif;"><br /></span>
<span style="font-family: Tahoma, sans-serif;">Kevin
Eldon's CV is so festooned with riches, it borders on the ridiculous.
His instinctively funny bones have blessed practically every
outstanding British comedy of the last 20 years, including </span><i style="font-family: Tahoma, sans-serif;">I'm
Alan Partridge, Brass Eye, Blue Jam/Jam, Big Train, Spaced, Fist of
Fun, Look Around You, Nighty Night </i><span style="font-family: Tahoma, sans-serif;">and
</span><i style="font-family: Tahoma, sans-serif;">Stewart Lee's Comedy Vehicle</i><span style="font-family: Tahoma, sans-serif;">.</span><br />
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
yet despite his reputation as one of the most versatile comic actors
in the business – and the only person ever to nail a stunningly
accurate impersonation of Beatles producer George Martin - only in
the last couple of years has he decided to tip his malleable fizzog
into the solo limelight. The putsch began with his critically
acclaimed, sold-out live show, <i>Kevin Eldon is Titting About</i>,
followed by his début TV starring vehicle, the delightfully silly
sketch extravaganza <i>It's Kevin</i>. So what took him so long?</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">I
did the [live] show in 2010 as a bit of a personal challenge,” he
explains, “just to see if I could. It was to stop me being so lazy
for a whole year. And because it was actually quite scary, I thought
it might therefore be worthwhile trying to get it right. I was very
nervous about doing it, and very relieved when it generally went down
okay.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
having his name in the title, he's keen to stress that his
show is a collaborative effort. Indeed, it's rather heartening
that, having given invaluable support to so many great
writer/performers over the years, he was able to call upon many of
them to support <i>him</i> for a change. With a cast including such
luminaries as Julia Davis, Simon Day, David Cann and Simon Munnery,
not to mention core script assistance from <i>Father Ted/Big Train</i>
co-creator Arthur Mathews, <i>It's Kevin</i> is delirious catnip for
comedy nerds.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">It's
just a marvellously fortunate coincidence that some of my friends
happen to be really good comedy actors,” he smiles. “But I never
took it for granted that they would say yes. They're certainly not
doing it for the dosh.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
naturally self-effacing sort, Eldon is happy to let his co-stars
dominate certain sketches. “I didn't want everyone to be staring at
my stupid mug for half an hour non-stop every week. It's about giving
the audience some time off. Tomato coriander soup is very nice, but
you wouldn't want three courses of it. Not that I'm saying I'm a
soup.” </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Like
most comedy of a surreal, offbeat nature, <i>It's Kevin</i> is
unlikely to become a huge mainstream hit. But does he worry that a
starring vehicle on BBC2 will still manage to compromise his relative
anonymity? “I honestly don't know if it'll slip under the radar or
whether it'll do brilliantly,” he says. “I think it'll probably
do okay. I don't think it's going to be a complete life-changer. The
recognition thing is a double-edged sword - I have a number of
friends who are instantly recognisable and quite famous, which can be
very nice. But from what I've seen it can also be very intrusive and
wearing.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Although
born in Chatham, Kent, Eldon spent much of his childhood in
Dunfermline, where his father worked in nearby Rosyth Dockyard.
Following three years at drama school in England, he quietly emerged
on the early 1990s stand-up circuit, mostly in the guise of his
pompous, deluded poet character Paul Hamilton (a Hamilton book is in
the pipeline, which Eldon regards as another late-flowering personal
challenge). It was there that he became friendly with comedy duo Lee
& Herring, who harnessed his talents as a prominent supporting
player in their cult radio and TV vehicle <i>Fist Of Fun</i>. And
from there he's never looked back, having caught the eye of every
major British comedy player from Armando Iannucci and Chris Morris,
to Simon Pegg and Graham Linehan.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">He
concedes that his impressive body of work is largely thanks to his
careful selectiveness. “I do think that good comedy is hard to get
right, and that's why it's fairly rare, in my opinion. So I've got to
really like it to be in it. I've made a few mistakes along the way,
but I think mostly I've done a pretty good call on it. If it doesn't
get me at script stage, then I usually knock it back. Or if it isn't
my style, because there's certain stuff that is funny but just isn't
really me. So I am quite selective. I think I'm a bit of a snob
actually.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Welcome
to the club. So does it upset him when he sees the art of comedy
being mistreated?</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">I
get furious about it,” he says, without hesitation. “I get very
angry about lazy comedy. But when it comes down to it, it's
absolutely a matter of taste. It's very easy to judge, but it's a
subjective thing. Stuff that I'd label as lazy gives brilliant,
genuine pleasure to lots of people, and you can't knock that. If
people are enjoying it, then fair enough, I'll just sit and brood in
a corner. But I've got be careful, as there's no mileage in being
negative. And yet weirdly enough, there's a lot that I feel extremely
negative about! But brilliant stuff is being made all the time, which
makes me a happy man. As long as there's stuff like Charlie Brooker
or <i>Rev</i> or <i>The IT Crowd</i>, then everything's fine.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
hardly surprising that his high standards and passion for comedy
bleeds into his creative process. “I'm a perfectionist to the
point of slight obsession,” he admits. “It's almost bordering on
OCD. So my poor girlfriend, if I'm getting ready for one
particularly intricate bit, she will hear it said around the house
literally hundreds of times. Especially if it's word-based and fast
delivery, you first of all have to learn the muscle memory, and then
you have to get the comedy out of it. And you can't really relax
until your mouth and brain know it off by heart. Otherwise I feel
uneasy. But that doesn't always work in a positive way. By
over-rehearsing you can sometimes wring the life out of it.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">All
artists are neurotic to a degree, and while the avuncular Eldon
hardly embodies the bogus “sad clown” cliché, he's clearly aware
of his faults. “I'm rarely completely happy with what I've done,”
he says. “But I've tried to change that because someone formed the
theory that that's actually a form of massive egotism, that you have
this need to be absolutely perfect. But why should you be perfect?
Not many of us are perfect. So I've tried to transform that into just
doing the very best I can.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><i>IT'S
KEVIN begins on Sunday 17<sup>th</sup> March on BBC2 at 10:30pm.</i></span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-15267549286693988142013-03-03T02:42:00.001-08:002013-03-03T02:42:27.160-08:00TV PREVIEW: Mayday/Broadchurch/Bluestone 42<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 2nd March 2013.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>MAYDAY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday
to Thursday, BBC1, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BROADCHURCH</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
STV, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BLUESTONE
42</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
BBC3, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Typical.
You wait ages for a British drama blatantly influenced by series one
of <i>The Killing</i>, and two come along at once. In a shattering
week for fictional close-knit communities, independent production
company Kudos stands back and watches as BBC1 and ITV pitch their
thematically identical Whoddunnits up against each other. Who will
win? YOU decide. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Putting
aside the curious question of why Kudos produced two such similar
dramas simultaneously, we first come to <b>MAYDAY</b>. Stripped
throughout the week for maximum “event TV” impact, it's a
broiling cauldron of grief and paranoia in which a picturesque
English village fails to adequately keep it together following the
abduction of its teenage May Queen (She's abducted on May Day. Hence
the distress signal “Mayday”. Clever, no?). </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Given
the pagan trappings, it's inevitably doused in flecks of <i>The
Wicker Man</i>. Written by the team responsible for <i>Whitechapel</i>,
it also boasts a slightly heightened, skewed atmosphere, milking the
underlying dread of the balmy British sunshine for all it's worth. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Like
<i>The League of Gentleman</i> without the (intentional) laughs, it
delves forensically into a rural community full of dysfunctional
locals, including an unhappily married middle-aged couple, a teenage
“weirdo” in love with the missing May Queen's emo sister, a
cruel, smarmy git played by – who else? - Aidan Gillen (I swear he
gets these parts based on his smirk alone), and a man with mental
health issues who enjoys climbing trees.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Within
hours of the girl's disappearance, the latter's blowhard brother
inevitably gathers a vigilante posse – consisting of Phil Mitchell
and Hairy Biker lookalikes - and it's not long before escalating
torrents of suspicion are aroused behind twitching
curtains and the surrounding woods. Why are the menfolk behaving so
strangely? What's their connection to the missing girl? Why does the
wine-guzzling misanthrope have a hugely symbolic model village in his
attic? What's going on?!</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
over-egged moments of contrived weirdness – dismembered doll parts
and leering slow-motion feature heavily – <i>Mayday</i> is a
sharply-written, atmospheric pot-boiler bolstered by high-calibre
performers such as Sophie Okonedo, Peter Firth and, especially,
Lesley Manville.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
its flaws, <i>Mayday</i> outdoes its close cousin, <b>BROADCHURCH</b>,
in which David Tennant's taciturn beard and Olivia Colman's soggy
orbs investigate the murder of a child in a sleepy Dorset community
riven with suspicion. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Written
by no-one's favourite <i>Doctor Who </i>scribe
Chris Chibnall, it makes good use of its coastal location, with the
camera sailing ostentatiously over precipitous cliffs, and vast blue
skies gazing down at the despair below. Like <i>The Killing</i>, it
focuses – albeit rather thinly – on a grieving family and the
emotional involvement of the investigating officers. It also tries to
say something meaningful about the importance of faith and trust in a
Godless universe. If anyone can carry that off, it's Chris Chibnall.
</span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">New
in town, Tennant's troubled character is strictly by the book,
whereas Colman's local police officer is warm and empathetic to a
fault. Why, it's almost as if they're a deliberate study in
contrasts. The friendly locals, meanwhile, aren't as they seem, which
is par for the course in dramas of this nature. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Stretched
over eight episodes, <i>Broadchurch</i> does tend to dawdle at times,
whereas <i>Mayday </i>assaults the same subject matter with more pace
and precision. And with a cast which includes the likes of Pauline
Quirke, Vicky McClure, Andrew Buchan, Arthur Darvill and David
Bradley, it sometimes feels like a star-studded tourist video for its
Dorset setting (tragic murder element notwithstanding, obviously). </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Is
the war in Afghanistan a suitable topic for comedy? Well, of course.
Everything is a suitable topic for comedy, depending on how its
handled. The problem with <b>BLUESTONE 42 –</b> a new sitcom about
a British bomb disposal unit based in Helmand Provence – isn't that
it's offensive, it's that in going out of its way to avoid causing
offence it ends up as just another bland, obvious, middling sitcom.
That is, unless you're deeply offended by the very idea of an
apolitical comedy about an illegal war. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
if eager to get the troubling issue of death out of the way as
quickly as possible, it kills off a character within the first five
minutes. But he's very deliberately portrayed as a roaring idiot who
the rest of the team don't really know or like, thus fudging the
issue of whether we're supposed to acknowledge the horrors of war or
not. Otherwise, <i>Bluestone 42</i> is a determinedly light affair
focusing on the team's efforts to amuse themselves while stationed at
camp. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
amiable <i>Gary: Tank Commander</i> has been here before, of course,
as has the estimable <i>M*A*S*H</i>. Suffice to say, <i>Bluestone 42</i>
isn't <i>M*A*S*H</i>. The lead character is a hapless, cocky Prince
William/Ben Fogle clone who thinks nothing of exploiting his rank and
supposed hero status to clumsily woo the attractive new female padre.
A sweary Scotsman and a tough, straight-talking woman are also
involved. It all adds up to very little. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
given that it fails to portray “Our Boys” as selfless saints, it
will doubtless upset <i>Daily Mail</i> types across the land. So
that's something, at least.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-25662112063116460332013-02-17T06:15:00.001-08:002013-02-28T04:01:26.122-08:00Scotsman TV Preview: Complicit/Meet The Izzards/Funny Business<span style="font-family: Tahoma, sans-serif;">This article was originally published in </span><i style="font-family: Tahoma, sans-serif;">The Scotsman</i><span style="font-family: Tahoma, sans-serif;"> on 16th February 2013.</span><br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-meet-the-izzards-complicit-funny-business-1-2795687">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-meet-the-izzards-complicit-funny-business-1-2795687</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>COMPLICIT</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
Channel 4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>MEET
THE IZZARDS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday
and Thursday, BBC1, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>FUNNY
BUSINESS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC2, 11:30pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
I asked you to imagine <i>Homeland</i> with a steadier grip on
reality, I'd essentially be asking you to imagine a different show
altogether. It'd be like trying to imagine <i>Doctor Who</i> without
the sci-fi and time-travel elements (that would be quasi-surrealist
daytime soap <i>Doctors</i>, by the way). </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
yet I found myself unable to avoid that strained comparison while
watching <b>COMPLICIT</b>, a solid standalone thriller inspired by
the (obviously true) allegations that Britain secretly sanctions the
torture of terror suspects on foreign soil. Like <i>Homeland</i>, it
revolves around a troubled government agent and their obsessive
pursuit of a suspected terrorist supposedly planning an imminent
attack on home soil. It explicitly questions the dangers of following
a fanatical creed. And it endeavours to explore the mindset of
opposing forces, both of whom believe they have objective morality on
their side. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
whereas <i>Homeland</i> embraces these themes with enjoyably deranged
brio, <i>Complicit</i> slowly coils around them with the crushing
intensity of a boa constrictor at feeding time. Abandoning the need
for gunfights and explosions, it instead focuses on what one can only
presume to be the real world of counter-terrorism: interminable,
sleep-deprived hours of painstaking investigation, and the
frustrating lethargy of every maverick agent's ultimate nemesis,
meddling bureaucracy.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">At
its centre lies the thought-provoking question of whether, in times
of national crisis, our saviours might be forgiven – or at least
understood – for compromising their ethics to protect the greater
good. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">David
Oyelowo stars as Edward, a taciturn MI5 agent who's spent years on
the trail of Waleed, a fanatical British Muslim played with
electrifying charm and intensity by Arsher Ali. Convinced that Waleed
is planning a ricin attack in the UK, he convinces his initially
hesitant bosses – who, in his view, have ostracised him due to his
ethnicity – to follow him to Egypt. When David first interviews him
in local police custody, Waleed alleges that he's been tortured, much
to the consternation of Stephen Campbell Moore's curiously
obstructive embassy bod. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Furiously
intelligent and cognisant of international human rights laws, Waleed
protests his innocence and runs rings around his hands-tied captors.
Fearing that the risin has already been shipped to the UK, David
gradually succumbs to desperate measures to secure the information he
needs. But has his own paranoia and persecution complex compromised
his outlook? </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
deliberate pace of this nuanced polemic may be too testing for some.
But I was captivated by its oppressively slow burn, which is
dramatically punctured by some explosive confrontations between
Oyelowo and Ali. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
a noble addition to Channel 4's sporadically laudable history of
pointed political dramas; indeed, it's precisely the sort of thing
they should be making more of. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Eddie
Izzard is going on a journey. Why? Because ever since TV decided that
we cud-chewing dimwits couldn't tolerate matters of science and
history unless they're filtered through a celebrity on an emotional
quest, that's what the likes of Izzard do. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
fortunate, however, that Izzard is more witty, charming and
inquisitive than most, thus transforming <b>MEET THE IZZARDS </b>into
one of the more tolerable examples of the genre. Never less than
fiercely ambitious, the cross-dressing, multi-lingual,
multi-marathon-running comedian is on a mission, not only to trace
his personal ancestry using his own DNA, but the global migration of
humankind as a whole.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In
an effort to vaguely locate ourselves towards the ancient African man
and woman who begat us all – as he says, there's one in the eye for
yer racist silly-billies – he zips around the globe at tremendous
expense, amusing Kalahari bush-people with his nail polish, chatting
with a man who's sired 93 children, and dancing with pygmies in the
forests of Cameroon. You know, as travelling UK TV presenters are
contractually obliged to do.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
feels like a sprawling miscegenation of a survivalist documentary, an
extended Comic Relief segment, and an episode of <i>Who Do You Think
You Are?</i> that's sailed wildly out of control. But Izzard's
laid-back charm undermines the project's rather inflated sense of
self-importance, and further amusement is provided by his
enthusiastic sidekick, Dr Jim Wilson from Edinburgh University, who
appears to be angling for a starring vehicle of his own. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Izzard
crops up again in the delayed second episode of <b>FUNNY BUSINESS</b>,
in which the machinations of comedy agents and promoters fall under
scrutiny. But the focus is largely on the rise during the last
30-years of stand-ups earning ludicrous sums of money from sell-out
mega-tours, thanks in part to the heavily monopolised likes of <i>Live
at The Apollo</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
most fascinating portion of the programme by far is when a comedy
historian delves into the BBC's Written Archive – housed in a
modest bungalow in Berkshire, believe it or not – to contrast the
earnings of today's top comics with those of the heroes of
yesteryear. One particularly sobering revelation is that when Ernie
Wise died, he left behind an estate worth over just half a million
pounds. In 2011 alone, Peter Kay earned an estimated take of over £20
million from touring and DVD sales. As the formerly funny Boltonian
might himself remark, what's all that about?</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-73554070749479449162013-02-04T13:25:00.000-08:002013-02-04T13:25:12.464-08:00TV Preview: Dancing On the Edge/BeingHuman<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 2nd February 2012.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-dancing-on-the-edge-being-human-1-2774766">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-dancing-on-the-edge-being-human-1-2774766</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DANCING
ON THE EDGE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday
and Tuesday, BBC2, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BEING
HUMAN</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC3, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Listen.
Can you hear it? That hushed collective murmur. That crackle of
furrowed brows. It can only mean one thing: maverick auteur Stephen
Poliakoff has descended from the heavens with yet another lofty drama
heaving with prestige. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">One
of British television's only prominent writer/directors, Poliakoff is
renowned – and in some quarters, reviled – as an idiosyncratic
purveyor of discursive narrative and mannered style. His dramas are
often wilfully opaque and burnished with a sort of straight-faced
eccentricity which, for me at least, makes him one of the medium's
most intriguing artistes (for make no mistake, the man is an
artiste).</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
yet despite having worked in TV for over 30 years, Poliakoff has
never created a drama series. That is, until now. Spread over six
episodes, <b>DANCING ON THE EDGE</b> focuses on a fictional black
jazz band caught in web of dangerous intrigue in early 1930s London. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
begins arrestingly with the suave yet hunted figure of band-leader
Louis Lester (the strikingly charismatic Chiwetel Ejiofor) seeking
desperate refuge at the headquarters of a popular music magazine
edited by rogueish critic Stanley (Matthew Goode, seemingly
channelling the winning, edgy charm of a young David Bowie). It then
flashes back to eighteen months earlier, where we discover how they
met amidst an aristocratic circle of seemingly well-meaning white
liberals who, despite professing a sincere love of Lester's
thrillingly modern music, appear to be partially attracted by the
shock-waves it causes throughout sniffy high society. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
more enigmatic members of the group include a powerful American
tycoon played by John Goodman, whose ambiguous motives drive much of
the plot, and a benevolent playboy played by Anthony Head. The
impressive cast is rounded out by Jacqueline Bisset, Mel Smith,
Caroline Quentin and new <i>Doctor Who</i> companion Jenna
Louise-Coleman. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">One
of the more interesting things about <i>Dancing On the Edge</i> is
how it merges thriller fiction with little-explored historical fact,
as The Louis Lester Band, under the auspices of the ambitious
Stanley, suddenly find themselves rubbing shoulders with royalty (in
reality, Edward VIII was friendly with the Duke Ellington band) while
struggling against ingrained prejudice and Britain's fierce
immigration policies. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
also interesting to see Poliakoff attempt a drama with a potentially
more populist appeal – indeed, it's vaguely redolent of <i>The Hour</i>
- although the downside of this is that some of his more distinctive
traits are compromised in the process. His approach at times is
clumsily heavy-handed, with characters prone to articulating their
inner motives in unnecessarily helpful detail (in episode one alone,
Head's character seems to spend most of his time excitedly looking
forward to Britain's future. Oh, if only he knew, eh viewers?). It
feels rather condescending, as if the great artiste doesn't trust his
audience with nuance of meaning. And having watched the entire
series, I can report with some authority that he spreads too little
story over too many episodes.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Furthermore,
it's little wonder that the first two episodes are screening over
successive evenings, given that very little of note actually happens
in part one. It's only in part two that the stakes are ramped up,
thus drawing you in for more. Because once it gets going its central
mystery exerts a fairly solid grip – the gnawing question of who
Lester can really trust among his new friends is effectively
sustained throughout – and the cast never put a foot wrong. The
original period score by Adrian Johnston is appropriately lively, and
Poliakoff has lost none of his knack for creating unsettling moods
within the artfully oppressive confines of grand houses and hotels.
That's one of his “things”, dontcha know.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Similarly
obsessed with the horror of hotels, albeit of a tattier three-star
persuasion, is writer Toby Whithouse, who delivered a memorable
episode of <i>Doctor Who</i> in 2011 which owed much to Kubrick's <i>The
Shining</i>. He's at it again with the fifth series of <b>BEING
HUMAN</b>, which positions two of its central characters – Hal the
vampire and Tom the werewolf – as lowly employees at a hotel in
which all manner of blood-caked supernatural mayhem inevitably
ensues. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This
is the first series of this black comedy-drama in which the original
trio of house-sharing ghouls don't appear at all. Fortunately, actors
Damien Moloney, Michael Socha and Kate Bracken – a Scottish actress
who would've been a far more effective Amy Pond in <i>Doctor Who</i>
than Karen Gillan ever was – are capable, likeable replacements.
But the problem now with <i>Being Human</i> isn't that the cast has
changed, but that the format feels tired. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
personal (if you will) demons and emotional dynamic between the
three characters are essentially identical to those of the original
line-up. It feels like we've seen it all before. Also, the conceit of
introducing a powerful new antagonist every year, who must always be
bigger and badder than previous foes, now feels rather rote and
strained. All ongoing dramas are bound by formula to an extent, but
<i>Being Human</i> appears to have exhausted itself. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">You
know it's getting desperate when even the addition of Phil Davis in
his grizzled, scowling pomp can't add much juice to proceedings. I'd
like to be proved wrong, but I don't hold out much hope. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-43276485286138095512013-01-25T10:08:00.001-08:002013-01-25T10:08:14.740-08:00DEREK: The latest project from Ricky Gervais<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 24th January 2013.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio/derek-might-be-worst-thing-ricky-gervais-has-done-1-2759890">http://www.scotsman.com/lifestyle/tv-and-radio/derek-might-be-worst-thing-ricky-gervais-has-done-1-2759890</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DEREK</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
pseudo-documentary based in an old people's home, Ricky Gervais'
</span><span style="font-family: Tahoma, sans-serif;"><i>Derek
</i></span><span style="font-family: Tahoma, sans-serif;">caused
something of a stir when the pilot aired last year. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Following
on the heels of a much-criticised incident where he used the word
“mong” on Twitter and denied all knowledge of it being a
disablist term, the controversy was compounded by his new project, in
which he appeared to be playing a man with learning difficulties.
Gervais, of course, stubbornly denied that he was.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">To
be fair to his creator, the shambling Derek – a voluntary carer –
is never presented as an object of ridicule. Indeed, he's innocent
and kind to a fault. Gervais says he wishes more people were like
him.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
Derek's physical appearance - jaw permanently jutted, hair flattened
over his forehead - is practically identical to the face Gervais
pulls in the countless pictures he Tweets of himself to cruelly mock
the supposedly idiotic fans of Susan Boyle and </span><span style="font-family: Tahoma, sans-serif;"><i>Britain's
Got Talent</i></span><span style="font-family: Tahoma, sans-serif;">.
Coincidentally</span><span style="font-family: Tahoma, sans-serif;">,
they're also two of Derek's favourite things. So what's he trying to
say here? I don't think even he knows.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Make
no mistake, </span><span style="font-family: Tahoma, sans-serif;"><i>Derek
–</i></span><span style="font-family: Tahoma, sans-serif;">
a series written and directed by Gervais alone -</span><span style="font-family: Tahoma, sans-serif;">
is one of the most embarrassingly inept concoctions you're ever
likely to see. Indeed, I actually feel quite sorry for the befuddled
auteur. He's a thin-skinned, insecure superstar who wants to be seen
as a great artist and deep thinker. And his heart appears to be in
the right place with </span><span style="font-family: Tahoma, sans-serif;"><i>Derek</i></span><span style="font-family: Tahoma, sans-serif;">.
In theory at least, it's</span><span style="font-family: Tahoma, sans-serif;">
a (painfully) sincere attempt to say something meaningful about human
kindness and the way society marginalises the elderly.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
Gervais' efforts are so horribly forced and heavy-handed. It feels
more like a cynical exercise in emotional manipulation than the
heart-warming – and potentially award-winning - piece he's aiming
for. The pathos in his only great work,</span><span style="font-family: Tahoma, sans-serif;"><i>The
Office</i></span><span style="font-family: Tahoma, sans-serif;">,
felt relatively effortless, but here it's delivered with a
sledgehammer. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
soundtrack drowns in overbearing “FEEL SAD NOW” piano, as Gervais
pits his merry band of outsiders against crudely-rendered men in
grey. And despite good performances from his core cast – including
regular sidekick Karl Pilkington – Gervais is still problematic in
the lead role. You never believe in Derek as a consistent character.
It's just millionaire comedian Ricky Gervais shuffling about in a
cardigan and pulling a face. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
a comedy-drama, it's almost fascinatingly dull, repetitive, shallow
and unsubtle. The dramatic elements are overdone and the comedy
barely existent. A tonal train-wreck, its abject failings are
crystallised in the hilariously ill-conceived montage that closes
episode two. Scored to Radiohead's tenderly triumphant </span><span style="font-family: Tahoma, sans-serif;"><i>Bones</i></span><span style="font-family: Tahoma, sans-serif;">
(clumsy literalism ahoy!), images of happily dreaming elderly
residents are spliced with grainy footage of them supposedly in their
youth. It's truly jaw-dropping in its deranged efforts to yank the
heartstrings. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
that wasn't jarring enough, it's immediately preceded by a scene in
which Derek vomits into a toilet, an old man soils himself, and
another character emits an explosive fart. It's like someone
earnestly lecturing you on the poetry of existence while throwing
bricks through your window. Time and time again you'll ask yourself:
“What the </span><span style="font-family: Tahoma, sans-serif;"><i>hell
</i></span><span style="font-family: Tahoma, sans-serif;">were</span><span style="font-family: Tahoma, sans-serif;">
you thinking, man?!”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Quoted
in the official press release, Gervais actually says – </span><span style="font-family: Tahoma, sans-serif;"><i>of
his own creation</i></span><span style="font-family: Tahoma, sans-serif;">
– that he's never seen anything quite like it. Fair dues, Ricky,
I'm with you on that.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><i>DEREK
airs from Wednesday 30</i></span><sup><span style="font-family: Tahoma, sans-serif;"><i>th</i></span></sup><span style="font-family: Tahoma, sans-serif;"><i>
January on Channel 4 at 10pm.</i></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-22293858749059372652013-01-19T03:17:00.001-08:002013-01-19T03:17:11.893-08:00TV PREVIEW: The Following, Louie, Bob Servant, Call the MidwifeThis article was originally published in <i>The Scotsman</i> on 19th January 2013.<br />
<br />
<a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a><br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
FOLLOWING</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
Sky Atlantic, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>LOUIE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
FOX, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BOB
SERVANT, INDEPENDENT</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
BBC4, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>CALL
THE MIDWIFE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC1, 8pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Serial
killers are such overweening nuisances, aren't they? So tiresomely
theatrical, and the mess they leave! Thank goodness, then, that the
likes of mobile network hawker Kevin Bacon are on hand to clean up
after them. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In
Sky's latest US import, <b>THE FOLLOWING</b>, the
six-degrees-of-himself icon plays Ryan Hardy, a former FBI agent and
world-weary alcoholic who's hoisted back into service as an expert
consultant when his arch nemesis, Professor Joe Carroll, escapes from
prison. A flamboyant serial killer obsessed with Edgar Allan Poe –
aren't they all? - this smirking lunatic regards his crimes as a
poetic work in progress, which comes in incredibly handy when one is
tasked with piecing together his helpfully scattered clues. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
matters are complicated somewhat by Hardy's damaged disposition.
Saddled with a pacemaker after being stabbed in the heart, he then
went on to muddy the waters by becoming romantically involved with
Carroll's wife. Dammit, Hardy, don't you know you should never make
things personal? He's also haunted by guilt, hence his frenzied
determination to protect the endangered women who escaped Carroll's
previous attacks. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Created
by Kevin Williamson (<i>Scream; Dawson's Creek</i>), <i>The
Following</i>'s sole original hook is that Carroll has accrued a
devoted fan-base eager to do his bidding. If you were feeling
charitable, you could argue that, in its entirely ham-fisted way,
it's trying to say something meaningful about society's unhealthy
obsession with serial killers. And what better way to make that point
than with a knuckle-headed drama feeding into that very obsession? </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Generic
to a fault – it's essentially Charlie Brooker's cop show spoof <i>A
Touch of Cloth</i> played straight – this gratuitously nasty tumult
of hokum gobbles up the dregs of every post-Hannibal Lecter serial
killer thriller and vomits them violently across the wall.
Waterlogged with cheap jump-scares, borrowed visuals and clunky
exposition, it's a slick, silly mess. What's most baffling is that
Williamson, who famously subverted the tropes of the horror genre in
<i>Scream</i>, has gone on to create a TV show almost entirely
composed of clichés. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Sticking
with Murdoch's evil empire for a moment, we come to the belated UK
début of <b>LOUIE</b>. This sitcom starring the comedian's comedian
Louis CK first aired in the US three years ago, but it's been more
than worth the wait. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">One
of the few stand-ups who can drive me into hysterics – indeed, I'd
place him up there with the sainted likes of Richard Pryor – CK is
a devastating craftsman whose unique combination of brutal frankness,
casual charm and acute intelligence is given free reign in this
self-penned and directed vehicle. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
melancholy misadventures of a balding, overweight, middle-aged
divorcee with two young daughters, <i>Louie</i> takes the brazenly
autobiographical strains of his stand-up routines and harnesses them
into a loose series of vignettes. Vaguely redolent of an indie cinema
<i>Curb Your Enthusiasm</i>, albeit more understated and with flashes
of surrealism, it benefits from being an authored piece from an
artist with the inner confidence to move at his own sweet,
uncompromising pace. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
you're unfamiliar with CK's work, then his winning brand of cheerful,
filthy fatalism might take a bit of getting used to. But if and when
he clicks, you may find you have a new hero. Personally, I could
happily wallow in his uncomfortable world for hours.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">From
New York to Broughty Ferry, the picturesque suburb of Dundee that <b>BOB
SERVANT, INDEPENDENT </b>calls home. The TV début of a character
previously established in a BBC Radio Scotland series and a popular
range of books, this likeable and amusing sitcom stars Brian Cox as a
vain, deluded, self-serving businessman who decides to stand in a
local by-election. The only drawbacks are his political ignorance,
his egregious personality, and his exceedingly dim view of the
electorate.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Having
previously played Servant on radio, Cox is clearly having a whale of
a time in the role, and his relish is infectious. An idiotic, roaring
blow-hard, Servant is a welcome addition to our rich history of
sitcom monsters. He may even do for Dundee what Alan Partridge did
for Norwich. Please don't ask me if that's a good thing or not. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
may have been one of the biggest TV hits of 2012, but simpering
period drama <b>CALL THE MIDWIFE</b> leaves me colder than a bucket
of stale gruel. Back for a second series, it strikes me as incredibly
contrived and cynical in the way it dutifully embodies all the
requirements of a mums-and-grannies-focused Sunday night drama. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Not
that its curious recipe of cloying sentimentality and screaming
misery isn't distinctive. I certainly can't think of another TV
equivalent of a blood-smeared Hallmark greeting card. But while it
doesn't shy away from the harsh realities of its era – indeed, it
almost revels in them - it also can't hide its underlying sense of
idealised nostalgia.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
also doesn't help that it's rigidly formulaic. The latest episode is
the usual dreary hodgepodge of glacial calamity, as everyone gets
used to the introduction of anaesthetic gas, and the monumentally
bland lead comes to the aid of a battered wife. But it all turns out
fine in the end, you'll be pleased to hear. </span>
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-15342625027656452372013-01-14T08:18:00.001-08:002013-01-14T08:18:52.266-08:00Scotsman interview with STEVEN MOFFAT<br />
<div class="western" style="margin-bottom: 0cm;">
This article was originally published in The Scotsman on 20th December 2011.
</div>
<div class="western" style="margin-bottom: 0cm;">
<a href="https://www.blogger.com/goog_2060192087"><br /></a></div>
<div class="western" style="margin-bottom: 0cm;">
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/preview_doctor_who_the_doctor_the_widow_and_the_wardrobe_1_2015336">http://www.scotsman.com/lifestyle/tv-and-radio/preview_doctor_who_the_doctor_the_widow_and_the_wardrobe_1_2015336</a></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
tireless overseer of the multi-award-winning </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
and </span><span style="font-family: Tahoma, sans-serif;"><i>Sherlock,</i></span><span style="font-family: Tahoma, sans-serif;">
two of Britain's biggest – and in the case of the former, most
globally successful – TV dramas, Steven Moffat's pre-eminent
position within the cultural firmament is at once impressive and
unenviable. “I never find any time to relax,” he sighs. “At
this very moment I'm supposed to be at a big lovely, boozy lunch that
I had to call off because I haven't finished this </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
script that I'm very late on.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Not
that he's necessarily complaining, you understand. Like his
predecessor on </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">,
Russell T. Davies, the Paisley-born writer has been a devoted fan of
the series since childhood, so it's little wonder that his slight
edge of weariness pales in comparison to his evident enjoyment of the
job. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Although he admits there are days
when he wants to run screaming from the room, he claims it's not
because of the programmes themselves as such. “All the stuff that
surrounds it can be... not so much bad as relentless. I have one of
those jobs that a lot of people have, where I check my emails in the
morning with trepidation. You know, is there a bomb in here, what am
I unwrapping today? But in the main I wouldn't be here if I didn't
love it.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Although Moffat can often come across
as rather prickly in interviews, the man I speak to makes for
amusing and avuncular company. At the risk of sinking into armchair
psychology mode, he exhibits that not uncommon combination – at
least among creative types - of shyness, self-deprecation and bolshy
confidence. The latter is hardly surprising, given that he's one of
the most feted screenwriters of his generation, renowned for his sly
wit, quicksilver dialogue, vibrant imagination and ingenious
plotting. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
it was that very audacity which led several of your actual adult
critics to complain that the most recent series of </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
– Moffat's second in the showrunner chair – was far too
complicated for children. Unsurprisingly, he's having none of it. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">When
you say 'adult critics', there's about three,” he chuckles (he
chuckles a lot). “The truth is we don't have any audience feedback
about it being desperately hard to follow. </span><span style="font-family: Tahoma, sans-serif;"><i>All</i></span><span style="font-family: Tahoma, sans-serif;">
the kids got who River Song was, </span><span style="font-family: Tahoma, sans-serif;"><i>all</i></span><span style="font-family: Tahoma, sans-serif;">
the kids knew that the little girl regenerating would turn out to be
River. It really isn't that hard to follow. Because it was
momentarily more arc-based they decide to say it's too complicated.
Because Russell was gay they had to say it was all far too gay. No it
wasn't! If anything, I think Russell should be credited as the man
who made the Doctor definitively heterosexual. But it's just finding
something to say about it, they'll do it every year and you never
know what it's going to be.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">There
has been some confusion lately surrounding the scheduling of the next
series, with conflicting reports suggesting that not all of the 14
episodes will be shown in 2012. Can he clarify? “I can clarify that
we start shooting in mid-February, but literally I can't tell you
what the schedule is. What headlines are you planning for that time
of year? I've only just found out what the transmission schedule is
for </span><span style="font-family: Tahoma, sans-serif;"><i>Sherlock</i></span><span style="font-family: Tahoma, sans-serif;">,
and I've finished making that. I've barely started writing </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">.
Loads of things about that are in flux, all for good reasons
actually.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">He
can confirm, however, that it's part of his grand-plan to remove
</span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
from its usual Spring/Summer slot and back to the Wintry habitat it
enjoyed when he was growing up. “It's done very well in the Summer,
it's not like we've ever suffered from it, but it's almost like an
aesthetic thing. If you're having to close the curtains so you can
see the screen, that's not a good time to be watching a show that's
largely about tunnels and torches. Somehow I think it's a show you
watch in the dark.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
for the 50</span><sup><span style="font-family: Tahoma, sans-serif;">th</span></sup><span style="font-family: Tahoma, sans-serif;">
anniversary in 2013, Moffat has already promised an appropriately
special episode, although when pressed he teasingly replies, “Why
talk in the singular? Again, genuinely, the plans are at an early
stage, but we have some very clear ideas about some of the things
we're doing, and I think </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
fans and kids will think it's the best thing ever. We've got a load
of very big plans – the mere fact that we're talking about this two
years before the event should tell you how seriously we're taking
it.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Fans are obviously clamouring for an
anniversary special featuring current incumbent Matt Smith alongside
many of the previous Doctors. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">Apparently,”
he shrugs, and chuckles again, with absolutely nothing more to say on
the matter. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Extracting
new information about the revived </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
has never been easy. A magnet for rumour and misinformation, </span><span style="font-family: Tahoma, sans-serif;">the
series attracted confusion</span><span style="font-family: Tahoma, sans-serif;">
again recently when Harry Potter director David Yates claimed he was
making a rebooted movie version with an entirely different cast and
mythology. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">It's
completely inaccurate!” hoots Moffat, “there's nothing there! I
mean it would be lovely, yes. If anything, the only good bit about
this is that it might actually focus our minds on thinking that we
actually should do [a film]. But to state the bleeding obvious, it's
not going to be a different version of </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
with two different Doctors at the same time. Of course not, we're not
that silly. That would be no way to run a franchise, would it? I'd
love it to happen, but that version you heard was just a guy getting
cornered on the red carpet and not really being on-message.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">When asked what it is that attracts
him to such flamboyant characters as the Doctor and Sherlock Holmes,
he unequivocally cites their mutual brainpower and thirst for
knowledge. That's perhaps hardly surprising coming from a former
schoolteacher. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">The
thing that unites both those shows is that they absolutely fetishise
intelligence. It's about being clever, and that being clever is a
good thing. In the Clarkson-isation of television I think it's rather
good that we have two very popular drama series that expect the
audience to be intelligent, and are right in that expectation. The
only superpower those two heroes have is the fact that they're
smarter than anybody else in the room. It says you don't have to be
the fastest, the best-looking, the sexiest, you can just be smart.
You don't often get the message, especially in American movies, that
smart is good, that smart doesn't have to be geeky and silly, it can
actually be amazing and powerful. And particularly in the case of the
Doctor, he's such a moral man, he's a good, clever man, that's all he
is. I think that's about as positive a message as you could possibly
give.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The Doctor and Holmes aside, Moffat
also previously reinvented the tale of Doctor Jekyll and Mr Hyde for
the BBC, and recently wrote the Tintin movie for Steven Spielberg and
Peter Jackson. Are there any other iconic fictional characters he'd
like to get his hands on?</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">When
Mark [Gatiss, co-creator of </span><span style="font-family: Tahoma, sans-serif;"><i>Sherlock</i></span><span style="font-family: Tahoma, sans-serif;">]
and I get together we discuss </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">,
Sherlock Holmes and James Bond, and I keep saying, 'Oh we can't do
James Bond, because there has to be something left that's still
fiction for us!' I love those films, but I think I shouldn't write
that because then I'll ruin James Bond for myself.”</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's probably just as well, as he
wouldn't have the time. Nevertheless, it looks as though he'll be
steering the adventures of the Time Lord for at least a while yet. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">I
genuinely haven't got a plan,” he claims, “except I'll probably
have to stop at some point or I'll die. And dying would be bad. But
my main concern is not so much how long I do it, but that I
absolutely, definitely am going to be handing it on to somebody else.
I want it to be in great shape, and some day I want somebody else to
come in and knock my socks off with what they do with it. You don't
want to be the last person in the relay race, do you?”</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-76743370630776600002013-01-05T04:30:00.000-08:002013-01-05T05:02:33.807-08:00Scotsman TV Preview: SPIES OF WARSAW; BORGEN<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 5th January 2013.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="https://www.blogger.com/goog_263136274"><br /></a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>SPIES
OF WARSAW </b></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
BBC4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BORGEN</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
probably fair to say that, unless you're terminally befuddled, <b>SPIES
OF WARSAW</b> isn't a title that implies a great deal of ambiguity.
It's a drama about spies, set in Warsaw. Of course it is. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">That
this blunt, say-what-you-see title hovers over a work penned by
legendary comedy partnership Dick Clement and Ian La Frenais is
perhaps surprising. After all, <i>Porridge</i> never traded under the
name of 'Prison Men'. <i>Auf Wiedersehen, Pet</i> wasn't called
'Geordie Builders in Germany' for good reason. <i>The Likely Lads</i>
wouldn't be so fondly remembered if it was called 'Actors Speaking
Comedy'. I could go on. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
<i>Spies of Warsaw</i> is an inherited title, taken from a novel by
Alan Furst, who specialises in atmospheric, detailed evocations of
Second World War espionage in Eastern Europe. Shown over two
feature-length parts, this unyieldingly dramatic piece also doesn't
contain a shred of the wit that Clement and La Frenais are renowned
for, although you could argue that its sense of slightly heightened
realism is a droll joke in itself. Because make no mistake, this is a
spy drama that's seen lots of other spy dramas. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Set
in the late 1930s, with Hitler's invasion of Poland hovering
malignantly on the horizon, it contains all the elements you'd
expect: furtive conversations at lavish embassy balls; pinch-faced
Nazis brandishing barking wolfhounds; tense border-checks with
barbed-wire trimmings; glamorous women smoking cigarettes
seductively; solemn spies drinking reflective brandies; drunken
Russian poet dissidents railing against the system; ominous knocks on
the door at midnight; and impressively choreographed covert missions.
At one point there's even a leather-gloved Gestapo officer stroking a
cat (I kid you not). </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
these familiar motifs actually add up to a fairly absorbing whole,
with David Tennant on taciturn form as an impressively decorated war
hero working as a military attaché/undercover spy. Whenever he isn't
floating through polite diplomatic functions, he spends most of his
time spying on Nazis – they're up to no good in the Black Forest -
and trying to protect his various informants. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Something
of a cold fish, he's nevertheless honourable and ethical, at one
point refusing to murder a teenage Nazi assailant because war has yet
to be officially declared. Yes, he's a damn good oeuf. But as a
character he isn't especially fascinating, so although, as a tale of
heroism and intrigue, <i>Spies of Warsaw</i> gradually exerts its
grip, one never feels particularly engaged with Tennant's underlying
heartbreak – his beloved wife dies of consumption before the action
gets underway – nor his burgeoning romance with a beautiful,
brittle Parisian lawyer.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">You
may also have to get used to the curious spectacle of a Scottish
actor adopting an English accent to play a Frenchman, although
perhaps we should be thankful that he didn't opt for the full
Clouseau. Few things are more distracting than actors earnestly
intoning dialogue of the “ah wuz pizzing on mah boocycle”
variety. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
co-production with BBC America, it's clear that little expense has
been spared here. The whole thing gleams with a richly textured,
cinematic hue. And the soundtrack – swathed in mournful brass,
woodwind and plucked piano strings – is an almost too fitting
accompaniment to the prevailing mood of paranoia, contempt and fear. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Oh,
and for no good reason – other than, I suppose, to show off his
character's war wounds – Tennant removes his shirt quite
frequently, which will doubtless curry favour with fans who enjoy his
work in “that way”. And that, I think, is one of the most
important pieces of information I've ever imparted in a preview. No
need to thank me for it. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
you're mourning the loss of the recently departed <i>Forbrydelsen</i>
(aka <i>The Killing</i>), then you may be comforted by the return of
Danish political drama <b>BORGEN</b>, especially as the actor who
played the troubled Prime Minister in the most recent series crops up
as a grieving car salesman. Oh, there's literally seconds of fun to
be had imagining he's playing the same character, after deciding to
leave politics for a quiet life in the motor trade.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
begins with female PM Birgitte Nyborg – the sort of principled,
liberal, uncorrupted and sympathetic politician who only really
exists in fiction – visiting Danish troops in Afghanistan. Forced
to flee following a Taliban attack, she returns home to a frosty
reception from all sides when an unprecedented number of soldiers are
killed in one day. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Meanwhile,
her ambitious spin doctor Kasper is on the verge of moving in with
his new partner, following the breakdown of his relationship with
principled, liberal, uncorrupted and sympathetic journalist Katrine.
The latter is used – quite effectively – as a device to explore
media ethics with regards to dealing with the bereaved during times
of tragedy, while Nyborg's conflict over whether to withdraw from
Afghanistan is handled with the thoughtful nuance typical of this
series. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Sure,
some of the exposition is a tad heavy-handed – those explanatory
news reports are awfully handy, are they not? - but this is so much
more than merely a Danish version of <i>The West Wing</i>. It's
mercifully lacking in suffocating piety and schmaltz, for a start.
And don't worry if you missed series one, as it more or less starts
afresh. Tak!</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-72163129881690745592013-01-03T09:28:00.000-08:002013-01-03T09:33:18.204-08:00The Best and Worst of Christmas TVThis article was originally published in <i>The Scotsman</i> on 24th December 2012.<br />
<a href="https://www.blogger.com/goog_175909211"><br /></a>
<a href="http://www.scotsman.com/lifestyle/tv-and-radio/yule-either-love-or-hate-it-christmas-tv-guide-1-2705383">http://www.scotsman.com/lifestyle/tv-and-radio/yule-either-love-or-hate-it-christmas-tv-guide-1-2705383</a><br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's Christmas time, and there's no
need to be afraid. Not my words, but the words of Messrs Geldof and
“Ure”, who evidently didn't have the <i>Celebrity Juice</i>
Christmas special in</span> <span style="font-family: Tahoma, sans-serif;">mind when they spoke so rashly back
in 1984. No, they were thinking about famine in Africa. And </span><i style="font-family: Tahoma, sans-serif;">Celebrity
Juice</i><span style="font-family: Tahoma, sans-serif;"> wouldn't be invented – or rather, torn from the bowels of
Hell - for another 24 years. But the point still stands.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">I love Christmas. I also love TV. You
don't have to be Einstein or Daphne from <i>Eggheads</i> to arrive at
the implied conclusion of that statement. But Christmas TV is often
about as much fun as an armed tax audit. Then again, it can often be
wonderful. Would you like me to scratch my brains to present a few
examples of both? Oh, all right then. Seeing as it's Christmas. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BLACKADDER'S
CHRISTMAS CAROL</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The key things to remember when
making Christmas specials are A) Please don't make one if your show
is appalling at the best of times, B) For our Lord Baby Jesus' sake,
don't forget to set it at Christmas, and C) When in doubt, give
Dickens a shout. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Chaz's immortal <i>A Christmas Carol</i>
has weathered so many adaptations and wacky permutations, you'd think
it'd be as knackered as Marley's ghost by now. But unless it's placed
into the hands of a maniac, I honestly think you can't go wrong with
a lively variation on the story of Scrooge. Just ask Bill Murray,
<i>Doctor Who</i> and The Muppets. And spare a kindly thought for
Richard Curtis and Ben Elton, who in 1988 hit upon the inspired idea
of subverting <i>A Christmas Carol</i> and their notoriously
foul-hearted Blackadder character. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The conceit is simple yet delightful:
unlike every other member of his lineage, Victorian moustache
proprietor Ebenezer Blackadder is the kindliest man in the world. So
naturally, everyone he meets takes advantage of him. In an attempt to
enliven Ebenezer's lonely existence, Robbie Coltrane's Spirit of
Christmas tries to remind him of how wonderful he is by showing him
the wretchedness of his relatives throughout history. Inevitably,
however, Ebenezer gradually comes to admire their wit and cunning,
and ultimately reverts to egregious type. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Then at the height of their powers,
Curtis and Elton were astute enough to realise that the best comedy
Christmas specials give the viewers something a little bit different
and, well, special. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's all too easy to assume that
everyone at home will be too sozzled and indulgent to notice or care
about a drop in quality. Just setting the action at Christmas and
chucking in a few tired cracker gags won't do. And that's why
<i>Blackadder's Christmas Carol</i> is easily as funny as any of the
more celebrated episodes – it was made by people who, in those days
at least, always put quality first. It feels like a real Christmas treat,
while losing none of the sharp wit that made the regular series the
classic that it is. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">You can enjoy it for the first or
umpteenth time on Christmas Day on BBC2 at 8pm. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>MRS
BROWN'S BOYS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In a way, this defiantly
old-fashioned adult panto is TV's brightest emblem of the true spirit
of Christmas, seeing as the only reasoned response to watching it is
a solemnly uttered “Jesus Christ.” </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The argument in favour is that it
appeals to an audience who've been ignored for too long, namely those
overlooked millions who shriek with mirth at the very idea of a man
in drag saying rude words and brandishing a vibrator. I can't argue
with its popularity, but I can argue that it's a crass, depressing,
lazy shriek of badly written garbage.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The only thing that could do more
damage to our beloved comedy tradition of cross-dressing is if George
Osborne personally demolished a trail of orphanages while dressed as
Carmen Miranda.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Anyway, the BBC, in an extraordinary
act of cruelty, have foisted not one but TWO Mrs Brown Christmas
specials on us this year (Christmas Eve and Boxing Day, BBC1). And
wouldn't you know it, they're atrocious.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">I'll give Mrs Brown's
limelight-hogging alter ego Brendan O'Carroll one grudging point for
at least trying to make them as Christmassy as possible. So, Mrs B
writes a nativity play in which she stars as the Virgin Mary. There's
a bit of slapstick business with a Christmas tree, which is
practically de rigueur. It's not at all funny, of course, but it's
there. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Otherwise it's dismal business as
usual, with every piss-weak gag painfully signposted from miles away,
before the whole thing degenerates into a horribly cynical puddle of
forced, fake, unearned pathos. The Christmas Eve episode actually
ends with Mrs B eulogising her dead dad to the sentimental strains of
a music box. And this following 25 minutes of crude slapstick and
fecks-a-plenty during which she's portrayed as a thoroughly
unsympathetic ratbag. It doesn't make a lick of sense, this show:
they'd be better off calling it <i>Mrs Brown's Schizoid Circus of
Doom</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Fundamentally, I'd like to see
Brendan O'Carroll introduce the Christmas institution of announcing
your retirement from comedy. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>OUTNUMBERED</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The family sitcom is, of course,
perfectly suited to a Yuletide makeover. Shows such as C4's <i>Friday
Night Dinner</i>, which is set almost entirely within the confines of
a single family home, practically demand that at least one episode be
set at Christmas. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The inaugural special from <i>Friday
Night Dinner</i> (Christmas Eve, 10:30pm) is pretty successful, in
that it's consistently amusing – it too involves a bit of comic
business with a Christmas tree – and revolves around an awkward
extended family gathering where everything goes pudding-shaped. This
is practically a staple of Christmas-themed sitcom episodes, used in
everything from <i>The Royle Family </i>(back on Christmas Day) to
<i>Peep Show</i> and <i>Outnumbered</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Sadly, our sole visit to the Brockman
household this year (Christmas Eve, 9:35pm) suggests that the
inevitable has finally happened: the young actors who play Ben and
Karen are now too mature and self-aware for the comedy to work. Ben
is alarmingly deep-voiced and large, and Karen – one of
<i>Outnumbered</i>'s most vital components – has hardly any screen
time at all. </span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">When she does appear,
she comes across as petulant and aloof, rather than the deadpan
sprite of yore. If you remove the maddening charm of Ben and Karen
from the equation, then <i>Outnumbered</i> doesn't have much of a
reason to exist. I suspect the fifth series next year will be the
last. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Speaking of disappointing
Christmases...</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>EASTENDERS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">That Walford is at its most miserable
at Christmas has become such a cliché, the most subversive thing
they could do now is present a festive episode where everyone has a
thoroughly lovely time and nothing bad or dramatic happens at all.
Why, they could even fill it with loads of those hilarious comedy
set-pieces the show is renowned for.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Every year the writers try to outdo
the gloom and catastrophe of years gone by. The ultimate <i>EastEnders</i>
Christmas would probably involve the residents of Walford being wiped
out in a nuclear attack, except for lone survivor Phil Mitchell,
who'd spend the entire episode wandering around the square in a
charred paper hat screaming “WHY?!” while swigging from a bottle
of contaminated vodka. Closing shot: Phil gently sob-singing <i>God
Rest Ye Merry Gentlemen</i> to himself while rocking back and forward
on his haunches in the remains of the Queen Vic. The closing credits
play out over eerie, howling silence. BBC announcer: “And now on
BBC One, time for some Christmas cheer with <i>Miranda</i>!” </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Is that what you want? Because that's
what you'll get one day.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-8529912041000045762012-12-22T05:30:00.000-08:002012-12-22T05:30:19.080-08:00CHRISTMAS TV PREVIEW: Loving Miss Hatto, Doors Open etc.This article was originally published in <i>The Scotsman</i> on Saturday 22nd December 2012.<br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>LOVING
MISS HATTO</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC1, 8:30pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>RESTLESS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Thursday
and Friday, BBC1, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOORS
OPEN</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Boxing
Day, STV, 9pm </b></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOCTOR
WHO</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Christmas
Day, BBC1, 5:15pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>CALL
THE MIDWIFE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Christmas
Day, BBC1, 7:30pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOWNTON
ABBEY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Christmas
Day, STV, 8:45pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If history's taught us anything, it's
that if you stick Alfred Molina in a cardigan and ask him to play a
hapless, well-meaning man, the pathos he exudes will make a mountain
weep. Support him with a script written by Victoria Wood, and, well,
resistance is futile.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In <b>LOVING MISS HATTO</b>, Wood's
captivating account of the biggest fraud in classical music history,
Molina plays William Barrington-Coupe (aka 'Barrie'), an ambitious
dreamer who fooled the world into believing that his terminally ill
wife, Joyce Hatto, was one of the greatest living concert pianists.
And all of this orchestrated from a semi-detached in Hertfordshire.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">His ruse – achieved simply by
passing off doctored recordings of other pianists as works by Hatto –
was eventually exposed following Joyce's death in 2006, although he
maintains to this day that she had no involvement in the scheme. Wood
understandably opts for a different view - how could Joyce not have
known what was going on? But although she depicts them as complicit,
she never passes cruel judgement. Instead, she delivers a
sympathetic, nuanced portrayal of an ordinary couple who resorted to
desperate measures in order to gain the recognition they felt they'd
been denied. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Joyce was actually a promising
concert pianist in her youth, with Barrie – despite his propensity
for getting into what he called “muddles” - an idealistic and
committed supporter of her fledgling career. But, for various
reasons, fame never arrived – at least not until decades later when
Barrie discovered the hoodwinking potential of the internet. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Wood
frames this remarkable story as a touching love affair between two
thwarted people with nothing to lose. Barrie, who's still alive,
should be pleased with her depiction of him as a decent man who only
broke the law out of love for his frustrated wife. And Wood's witty,
poignant, thoughtful screenplay, together with charming performances
from Molina and Francesca Annis - and Rory Kinnear and Maime McCoy as
their younger selves - ensure that their scam never feels like
anything more damaging than a romantic “muddle” that got out of
hand. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Adapted
by William Boyd from his own novel, <b>RESTLESS </b>is perhaps the
most aptly titled thriller I've ever seen. It doesn't so much test
one's patience as suffocate it. Curiously inert and stilted, it
charts the interminable saga of a female Secret Service agent, both
during World War Two and in the 'present' of the 1970s: so that's two
stubbornly paced and flabbily plotted narratives running
concurrently. It's supposed to be a compelling puzzle. It feels like
an endless, boring game of <i>Risk</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
problem may be that Boyd is so attached to his source material, he
was loath to cut it (both episodes are feature-length). He also fails
to invest his central character with an interesting inner life; he
simply gives us no reason to care about her. It also doesn't help
that her daughter – who plays a key role in the '70s segments –
is played by Michelle Dockery, alias Lady Mary from <i>Downton</i>,
an actress so stiff she makes the average corpse look like a whirling
dervish on a hotplate. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
very definition of an insubstantial, middling bit of fluff, <b>DOORS
OPEN</b> is an Ian Rankin adaptation which couldn't be further
removed from the gritty world of <i>Rebus</i> if it was set in
Atlantis. Produced by Stephen Fry and Sandi Toksvig – she also
co-writes – it follows three friends as they undertake a benign art
heist. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Millionaire
Mike (Douglas Henshall) is doing it for memories of his ex-lover
(<i>Being Human</i>'s Lenora Crichlow, in a thankless role); Allan
(Kenneth Collard) because the paintings are owned by the heartless
bank he's just been sacked from; and Professor Gissing (Fry) believes
he's liberating the ineffable soul of art from the clutches of
commerce. Bathed in a vaguely knockabout, overbearing sheen, it tries
desperately to pass itself off as an Edinburgh-set Hollywood romp.
But it's the sort of thing you forget about even while you're
watching. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Preview
copies of this year's <b>DOCTOR WHO </b>Christmas special were
unavailable at the time of writing, but as fans such as myself have
come to expect little from these invariably underwhelming festive
outings, maybe this year we'll be pleasantly surprised. I know, I
know, forever the optimist. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
I'm being charitable, the cloying sentiment of <b>CALL THE MIDWIFE </b>is
slightly more palatable in a festive setting. But only slightly.
Inevitably, the Christmas Day edition of this mechanical period drama
serves up the heavily symbolic spectacle of a baby being born in a
lock-up, and shoves the midwives-as-angels angle further down our
throats than ever before. Oh, and hapless Miranda is involved in a
sub-plot involving the local nativity play. Of course she is. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
we're talking about sumptuous Sunday period dramas, then <b>DOWNTON
ABBEY </b>obviously<b> </b>can't be beaten. But whereas <i>Midwife</i>
is earnest, <i>Downton</i> is a frantic conga-line of ludicrously
watchable toot. Previews weren't available, but we're promised a
Christmas trip to Scotland during which, I dunno, Carson and a stag
get stuck up a chimney. Probably, it doesn't matter. Merry Christmas,
everyone! </span>
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-26900985841146307492012-12-09T06:55:00.001-08:002012-12-09T06:55:45.893-08:00TV PREVIEW: The Poison Tree; This World: Cuba with Simon Reeve<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 8th December 2012.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-the-poison-tree-this-world-cuba-with-simon-reeve-1-2682766">http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-the-poison-tree-this-world-cuba-with-simon-reeve-1-2682766</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
POISON TREE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
STV, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THIS
WORLD: CUBA WITH SIMON REEVE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
BBC2, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
broadcasting equivalent of an airport page-turner, the world of ITV
drama is traditionally home to psychopaths, murderers and terrorised
middle-class families. Martin Clunes' son has been kidnapped by a
lunatic! Sarah Lancashire is being stalked by a pervert! Trevor Eve
has only gone and got himself involved in a deadly game of cat and
mouse! You know, that sort of thing. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
you won't be shocked to learn that their new two-part drama, <b>THE
POISON TREE</b>, is yet another psychological thriller in which
things go from bad to worse for a troubled household of desperately
unlucky sods. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Produced
by STV, it stars MyAnna Buring as Karen, a woman who's spent twelve
years waiting for her partner, Rex (Matthew Goode), to be released
from prison. With a sentence as lengthy as that, it's obvious the
Rex's crime was – to put it mildly - rather serious, and the
central mystery of exactly what it was is sustained quite effectively
throughout the opening episode. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Desperate
to move on from this dark chapter in their lives, Karen, Rex and
their teenage daughter – who thinks daddy was banged up for tax
evasion – begin life anew in a remote cottage by the sea, because
that's the sort of moodily atmospheric setting one requires in dramas
of this nature. Alas, their hopes are dashed almost immediately, as
Karen starts to receive a series of sinister phone calls and texts of
the “I know what you did” variety, and their guilty secret
threatens to explode.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Most
of the action unfolds in extended flashbacks to 1999, when mousy
Karen (who hasn't aged a day since) abruptly befriends an irritating
free-spirit called Biba (yes, really) who brings her out of her shell
during an evening taking fashionable '90s drug “Ecstasy”. Biba
also introduces Karen to her brother and housemate Rex, and together
they enjoy a bohemian lifestyle subsidised by the family's seemingly
inexhaustible independent wealth. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Inevitably,
it all goes horribly wrong once Biba reveals herself to be a complete
fruitcake – I could've told Karen that the moment she met her –
and the drugs and company she keeps grow harder and more dangerous.
Her conspicuous absence from the scenes set in the present day
certainly suggests that things didn't exactly pan out well for this
overstated hippie stereotype.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
climaxing with two unlikely dramatic bombshells in rapid succession,
part one suggests <i>The Poison Tree</i> is a perfectly serviceable,
entertaining pot-boiler. Unfortunately, as is so often the way with
these things, part two degenerates into unmitigated bullshit, as
the already thinly-drawn characters start behaving implausibly simply
to serve the mechanics of the shoddy and nonsensical plot. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Goode
wanders through the production looking remarkably sanguine for a man
who's just spent twelve hellish years in prison. But with such an
underwritten part, there's not much else he can do. Buring fares
slightly better, delivering a competent portrayal of the same
character at two very different stages in her life. But <i>The Poison
Tree</i> is ultimately a crashing waste of time. It doesn't even have
a tree oozing poison in it. What a swizz. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
“<span style="font-family: Tahoma, sans-serif;">Buenos
dias!” Ah, look, it's that nice Simon Reeve, the hale and hearty
travel presenter whose ability to get on famously with the peoples of
the world is central to the appeal of his programmes. In his latest
adventure, <b>THIS WORLD: CUBA WITH SIMON REEVE</b>, he investigates
the sweeping economic reforms that have transformed one of the
world's last Communist strongholds into a burgeoning crucible of
grass roots capitalism. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">With
Cuba's economy in ruins, its government has been forced to cut one
million public-sector jobs and – by Castro's beard! - actually
encourage self-employed entrepreneurs in the hope of generating
urgent tax revenues. Reeve dives enthusiastically into this brave new
world of private enterprise, where he meets ordinary citizens – he
was only allowed into the country if he promised not to interview any
prominent political dissidents – to discuss the second most
significant revolution in Cuban history. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">His
many new friends include a qualified doctor paid so little by the
state he now moonlights as a plumbing supplies salesman; a former
cheese-trader currently earning a fortune on Havana's emerging
property market; and the owner of a nascent McDonald's-style fast
food franchise. He also discovers that the legendary Bay of Pigs –
a symbolic site central to the tenets of the revolution – is now
surrounded by privately-owned guest houses. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
point of all of this, of course, is that – healthcare and
arts-funding aside - Castro's system has failed dismally, and that
for too long Cuba's population has been forced to endure appalling
living conditions under the oppressive gaze of a totalitarian regime.
But now that the iron fist is loosening its grip, for how much longer
can the government square its Communist manifesto with the
unstoppable influx of western consumerism? </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">While
the overall mood is cautiously optimistic, it's constantly undermined
by images of abandoned sugar mills and crumbling houses. And the fact
that few of Reeves' interviewees are prepared to say anything
remotely negative serves as a grim reminder of Cuba's atrocious human
rights record. It's a commendably clear-eyed and revealing report</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-39646831223864292102012-11-24T04:04:00.001-08:002012-11-24T04:04:19.909-08:00Scotsman TV preview of PEEP SHOW and BBC4's 'WHY POVERTY?' SEASON<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in The Scotsman on Saturday 24th November.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>PEEP
SHOW</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
Channel 4, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>WHY
POVERTY? STORYVILLE: GIVE US THE MONEY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
BBC4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>WHY
POVERTY? STORYVILLE: STEALING AFRICA</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Monday,
BBC4, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>WHY
POVERTY? STORYVILLE: PARK AVENUE - MONEY, POWER AND THE AMERICAN
DREAM</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
BBC4, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Unless
you're the sort of person who cracks up at the mere sight of Micky
Flanagan, the clinically housebound and gypsies, Channel 4, 30 years
young this year, is no longer synonymous with comedy of quality and
distinction. Indeed, were it not for prolific scriptwriting duo Jesse
Armstrong and Sam Bain, they couldn't honestly boast any good comedy
at all. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
it's little wonder that <b>PEEP SHOW</b>, which begins its eighth
series this week, is by far the channel's longest running sitcom.
While it could never claim to be much of a ratings winner, this black
farce about a pair of co-dependent thirty-something losers has
attracted a loyal cult and consistent critical acclaim. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Winner
of numerous awards, it is, alongside Armstrong and Bain's enjoyable
student comedy <i>Fresh Meat</i>, Channel 4's only reliable source of
mirth. And while it's to their credit that they've stuck with it for
so long, you get the sense of them gratefully clinging on to it for
dear life, in the eager hope of deflecting attention from their
otherwise moribund cache. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
here it is, back again, in its new Sunday evening, post-<i>Homeland</i>
slot, presumably in the further hope of picking up new viewers in
need of a laugh after an hour of teeth-clenched suspense. Not that
that strategy really worked in the case of recently departed sitcom
<i>Friday Night Dinner</i> (it's got Friday in the title, for God's
sake, it shouldn't be shown on a Sunday), but I suppose it's worth
another punt. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">For
those of you new to the <i>Peep Show</i> universe, the premise
couldn't be simpler. Portrayed respectively by comedy duo David
Mitchell and Robert Webb, Mark and Jeremy are former student chums
who, despite having practically nothing in common, have somehow found
themselves sharing a flat well into adulthood. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In
classic odd couple style, Mark is fastidious, square and neurotic,
while Jeremy lives a feckless, irresponsible lifestyle fuelled by
soft drugs and the erroneous belief that he will one day be
recognised as a talented musician. They don't particularly like each
other; indeed, their only fleeting joy in life comes from petty
one-upmanship. But, like so many sitcom couplings before them, in a
perverse way they need each other. Their strained mutual dependency
is probably preferable to the terror of forming a normal relationship
in a functioning society that neither feels comfortable in.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Distinctively
filmed from each character's subjective point of view, and peppered
with inner monologues which often provide the biggest laughs, <i>Peep
Show</i> is a comedy of anxiety and discomfort. But unlike most
post-<i>The Office</i> shows in that vein, it is at its heart a
traditional British sitcom full of sharp, funny dialogue and deft
comic performances.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
that's yer <i>Peep Show</i>.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
series eight begins, Mark is finally on the verge of kicking Jeremy
out, in the hope of achieving the hitherto unimaginable feat of
living conventionally with his girlfriend, Dobby. Typically, however,
Jeremy is dragging his heels and Dobby seems more concerned with
looking after her sick friend – and one of Mark's many nemeses –
Gerrard. In a desperate attempt to oust Jeremy – and partly for his
own amusement – Mark pays for him to take a potentially
life-healing course of therapy, with inevitably ridiculous and
far-reaching results.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">As
a <i>Peep Show</i> fan, I wouldn't rate this as one of the strongest
episodes, but it certainly doesn't signify a drastic drop in quality.
Indeed, episode three of this series, in which the team go
paint-balling, is up among its best in a while. But its weirdly
comforting having these spiteful, awful idiots back in one's life for
a while. And if you're new to the show, it may well mark the start of
a beautiful relationship. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">An
earth-quaking shift in tone now as we enter BBC4's new <i>Why
Poverty?</i> season, consisting of several <i>Storyville
</i>documentaries in which the BBC, together with over 70
broadcasters around the world, probe into the shameful issue of
global poverty.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Bono
and Bob Geldof, who despite their best efforts have so far failed to
make poverty history as promised, are the subject of <b>GIVE US THE
MONEY</b>, which examines their epic campaign to bring aid to Africa.
Commendably even-handed, it features several dissenting voices who
argue that, despite their undoubted sincerity, these messianic
musicians have actually achieved more harm than good, although Bono
and Bob themselves – both on self-deprecating and, yes, likeable
form throughout – unsurprisingly beg to differ. It's a
thought-provoking rumination on the moral complexities of charity and
the cult of celebrity. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Preview
copies of <b>STEALING AFRICA </b>were unavailable at the time of
writing, but it promises to uncover the tax avoidance schemes
employed by western multinationals operating in poverty-stricken
Zambia. It sounds like the kind of thing to make you despair of the
human race.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Similar
selfishness abounds in <b>PARK AVENUE: MONEY, POWER AND THE AMERICAN
DREAM</b>, a despairing film contrasting the game-rigged comfort of
New York's wealthiest residents with the hopeless poverty of the
South Bronx neighbourhoods which lie just ten minutes away.
Capitalism, eh? It's a million laughs.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com1tag:blogger.com,1999:blog-3944988439030529961.post-76918148186553756622012-11-10T02:41:00.000-08:002012-11-15T08:39:37.037-08:00Scotsman TV preview: EVERYDAY and THE HOUR.This article was originally published in <i>The Scotsman</i> on 10th November 2012.<br />
<br />
http://www.scotsman.com/lifestyle/tv-and-radio<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>EVERYDAY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Thursday,
Channel 4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
HOUR</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
BBC2, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Proving
the old adage that a stopped clock will be right at least twice a
day, Kevin Bishop – an otherwise perfunctory footnote in the
collected works of television comedy – once produced a memorable
sketch presumably titled 'Gritty BAFTA'. Specifically inspired by the
then inescapable hype surrounding Channel 4's heavyweight adaptation
of <i>Red Riding</i>, it took an amusingly blunt swipe at those
ostentatiously prestigious TV dramas seemingly designed to reduce
BAFTA voters to quivers of admiring jelly.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Striding
around an artfully photographed rain and blood-lashed North, Bishop
and his cohorts, playing intense TV character actors for whom the
craft is paramount, starred in a spoof trailer muttering nothing but
“Gritty BAFTA” in a variety of dramatic timbres. “Coming soon,
to Channel 4,” whispered the ersatz announcer with maximum faux
portent. Not the most sophisticated satirical attack, perhaps, but it
made its point cheekily and succinctly enough.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">I
mention this, not to automatically discredit Michael Winterbottom's
latest opus, <b>EVERYDAY</b>,
nor, heaven forbid, to suggest some sneaking admiration for the work
of Kevin Bishop. But I can't deny that, if ever a C4 drama had
“Gritty BAFTA” stencilled through its core, it's this ponderous
slice of dour social realism. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Now,
I'm all for unflinching British dramas that hold up a mirror to the
harsh realities of society. But I'd rather they achieved that while
telling an engaging story stocked with three-dimensional characters.
<i>Everyday</i> resolutely fails on the second count. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">One
of the most versatile British auteurs of recent times,
writer/director Winterbottom has given us such idiosyncratic comedies
as <i>24 Hour Party People</i> and the powerful dramas <i>Welcome to
Sarajevo</i> and <i>A Mighty Heart</i>. He's a maverick talent in
the cross-wired vein of Ken Loach and Julien Temple. But his
willingness to experiment is occasionally a weakness, as evinced by
the dreadful <i>9 Songs</i> – live footage of Franz Ferdinand
spliced with unsimulated sex scenes, what could possibly go wrong? -
and the meandering <i>Everyday</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Filmed
sporadically over five years, it strives to examine the impact of the
British penal system on a prisoner and his wife, portrayed by John
Simm and Shirley Henderson. The action, such as it is, is divided
between home and prison, as Henderson struggles to raise their four
kids – portrayed by actual siblings – while awaiting her
husband's release. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Incarcerated
for an unspecified crime, he lives for their staggered visits.
Watching his kids grow up in fits and bursts, he hears about missed
Christmasses and birthdays, offers banal enquiries - “How's
school?”, “Have you been good?” - and, whenever they're out of
earshot, expresses to his wife his sexual frustration. And that's
about it.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Shot
in grainy pseudo-documentary style, it certainly captures the
loneliness, angst and monotony of such an existence. But
Winterbottom's dogged unwillingness to impose any dramatic
embellishments on his deliberately spare and repetitive saga results
in a film almost entirely composed of the boring bits we wouldn't
normally see. I appreciate what he's trying to do, but it's like
staring at a stranger's home movies. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Henderson
and Simm are fine actors, but they can't do much with such
thinly-sketched characters. As for the conceit of filming over five
years, the only vaguely noticeable result is that the seasons change
and the children age. But so what? Was that really worth the time and
effort? </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Possibly
aware that his experiment wasn't working, Winterbottom attempts to
broaden the canvas with painterly landscapes (Henderson and co
conveniently live near picturesque fields and woodlands) that
contrast heavy-handedly with the claustrophobia of Simm's cell. And
Michael Nyman provides a pastoral score that tries in vain to make
the film feel more profound than it actually is.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Even
the most forgiving (gritty) BAFTA voter would struggle to stay awake
during this well-intentioned misfire. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Incidentally,
I'm aware that my opening analogy implies that Kevin Bishop has been
responsible for at least two funny sketches in his career, rather
than the paltry one. But I think you'll find that technically a
stopped clock is right only once a day, equivalent to the time that
it originally expired. Believe me, I'm tremendous fun at pub quizzes.
</span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
first series of Abi Morgan's '50s period thriller <b>THE HOUR </b>was
flawed, implausible and naggingly anachronistic, but as a piece of
winningly performed, suspenseful entertainment, it ticked along quite
effectively. But with its threads tied up in the final episode, it
felt like a self-contained piece unburdened by the need for a sequel.
So where can it go from here?</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
1957 and, against the increasing tumult of the Cold War, our
crusading BBC news team face fresh competition from an ITV rival.
Hector is now a complacent star, Bel is undermined by her superiors,
and maverick journalist Freddie returns from his travels with an
unconvincing bohemian beard (that's not a euphemism). Meanwhile,
crime is on the rise in London, but the government are more concerned
with pumping money into the nuclear arms race. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Dominic
West, Romola Garai and Ben Whishaw are as solid as ever, and Peter
Capaldi is a welcome addition as the taciturn new Head of News. But
there's little in the first episode to suggest that another bout of
<i>The Hour</i> is entirely necessary. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-29136337961675254862012-10-27T04:48:00.000-07:002012-10-27T04:48:50.635-07:00TV PREVIEW: Horror Europa with Mark Gatiss, The American Road Trip: Obama's Story, Family Guys? What Sitcoms Say About America NowThis article was originally published in <i>The Scotsman</i> on 27th October 2012.<br />
<br />
<a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a><br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>HORROR
EUROPA WITH MARK GATISS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Tuesday,
BBC4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>THE
AMERICAN ROAD TRIP: OBAMA'S STORY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
Channel 4, 7pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>FAMILY
GUYS? WHAT SITCOMS SAY ABOUT AMERICA NOW</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Saturday,
BBC2, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Halloween
is almost upon us, which can only mean one thing: Mark Gatiss, on
BBC4, looming from the shadows in the manner of a suave undertaker to
tell us all about his favourite horror films. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
luxurious 90 minute special devoted to cult cinema classics, <b>HORROR
EUROPA WITH MARK GATISS</b> follows in the wake of his well-received
series from 2010, <i>A History of Horror</i>, in which he took a
potted journey through the broadly familiar landmarks of the American
and British branches of the genre. Bathed in clotted streams of
crimson blood, his latest essay pays tribute to a “distinctive,
diverse horror tradition” which both influenced and absorbed
developments in cinema beyond continental Europe. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Encompassing
every relevant 'ism' from German expressionism and Belgian
surrealism, to sombre post-war realism and nightmare ruminations on
fascism, it presents a sort of alternate history of horror cinema, or
at least one that will doubtless prove unfamiliar to non-aficionados.
</span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">But
therein lies the frustrating, albeit probably unavoidable, rub with
Gatiss' horror documentaries: partly intended as an introductory
overview, they do tend to spoil the twists and denouements of the
very films he's encouraging us to seek out. His knowledge and
enthusiasm are commendable, but this uneasy compromise between
introduction and broad analysis does confuse the issue of who these
programmes are aimed at exactly. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Nevertheless,
it's still an enjoyable, witty and handsomely shot tribute to
flamboyant horror titans such as Mario Bava and Dario Argento, and
the expressionist pioneers of early German cinema. One of Gatiss'
more interesting points is that the latter group were, in the wake of
Germany's catastrophic defeat in World War One, intent on restoring
their nation's pride by establishing cinema as a respectable art
form. It's perhaps surprising that they chose to do so within a genre
so often dismissed – at least by high-falutin' critics – as cheap
and disposable. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Gatiss
further explores the after-effects of war via the bitter,
guilt-ridden pseudo-realism of French classics such as <i>Les
Diaboliques</i>, and argues that the many grotesque characters played
by the great silent actor Condrad Veidt essentially functioned as
allegorical representations of German post-war trauma. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Not
that European horror filmmakers were always ignited by such lofty
aspirations. Gatiss is in his lip-smacking element when discussing
the lurid exploitation flicks that emerged from the Italian horror
boom of the '60s. These stylish, quasi-psychedelic fantasias resemble
nothing so much as a contemporaneous Hammer chiller shot through the
prism of a deranged mind. Your Lovefilm list may be heaving with this
stuff by programme's end.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Arch
of eyebrow and tailored of suit, Gatiss is an engaging guide to a
rich, varied, eye-catching subject of which – lest there be any
doubt – he's clearly hugely passionate about. </span><span style="font-family: Tahoma, sans-serif;">Any
programme that devotes time and respect to fantastically titled
curios such as </span><i style="font-family: Tahoma, sans-serif;">Who Can Kill a Child?</i><span style="font-family: Tahoma, sans-serif;"> and </span><i style="font-family: Tahoma, sans-serif;">The Living Dead at
the Manchester Morgue</i><span style="font-family: Tahoma, sans-serif;"> is more than deserving of your rapt
attention.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Four
more years? That's the question at the heart of <b>THE
AMERICAN ROAD TRIP: OBAMA'S STORY</b>,
in which, ahead of next week's closely fought US election, Channel
4's Washington Correspondent Matt Frei travels through the swing
states of the Midwest and the South to canvas the opinions of
ordinary voters.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">With many Americans feeling that
their country is in terminal decline, Obama's chances of winning a
second term are hardly set in stone. Frei meets middle-class (or what
we would term working-class) people on the edge of destitution, who,
despite Obama's promises of sweeping upward change, have come to
realise that the American dream is a hopeless myth. “We were sold a
line,” sighs one man, “and the line is a noose.” </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And yet despite this widespread
disappointment, it's fortunate for Obama that his Republican
opponent, millionaire Mormon gaffe-trumpet Mitt Romney, currently
looks about as electable as a rabid mongoose (he says, fingers crossed). No wonder the nutzoid
Tea Party movement, who Frei drops in on, are so terrified and
confused. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Unfortunately, despite the
potentially interesting subject matter, Frei's report is superficial
and unrevealing. He wastes time mocking a Mormon elder for the sacred
underpants worn by those of faith, and, in one bizarrely irrelevant
sequence, argues with his Sat-Nav while driving through Kentucky. I
blame the heat. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Nevertheless,
a portrait does emerge of America as a divided, messed up nation. But
is that entirely accurate? In <b>FAMILY
GUYS? WHAT SITCOMS SAY ABOUT AMERICA NOW</b>,
historian Tim Stanley argues that TV comedies provide a more accurate
illustration of American society than the ragingly polarised
bickering of mainstream political debate. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Using as examples the likes of <i>Modern
Family</i>, with its gay fathers and interracial marriage, and <i>The
Middle</i>, about a recession-hit middle-class family, he shows how
sitcoms throughout the ages have reflected and consolidated shifting
attitudes. But even in these supposedly more tolerant times, subjects
such as abortion and religion are still considered dangerously
divisive.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Featuring insightful contributions
from leading writers, directors, executives and critics, it's an
interesting programme that proves, if any more proof were needed,
that comedy remains one of the world's most valuable, risky and
challenging art forms. </span>
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-52696029435167628002012-10-20T07:29:00.000-07:002012-10-20T07:30:19.056-07:00Book review: MICK JAGGER by Philip Norman<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 20th October 2012.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<a href="http://www.scotsman.com/lifestyle/books/features/book-review-mick-jagger-by-philip-norman-1-2589474">http://www.scotsman.com/lifestyle/books/features/book-review-mick-jagger-by-philip-norman-1-2589474</a></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>MICK
JAGGER</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Philip
Norman</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>HarperCollins,
£20</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">When
Michael Philip Jagger, corporate head of the Rolling Stones empire,
was asked to deliver his autobiography in the early '80s, the
ghost-written results were deemed so irredeemably dull that the
publishers were forced to cancel the £1 million advance and scrap
the entire project. His exasperated editor quipped that it should've
been titled </span><span style="font-family: Tahoma, sans-serif;"><i>The
Diary of a Nobody. </i></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Contrast
that with the colourful – if not always reliable – content of
fellow Stone Keith Richards' best selling memoir, </span><span style="font-family: Tahoma, sans-serif;"><i>Life</i></span><span style="font-family: Tahoma, sans-serif;">,
from 2010, which, in between hair-raising anecdotes and scholarly
ruminations on open-G tuning, functioned as a kind of frustrated
public letter to his estranged old friend. The Stones are celebrating
their 50</span><sup><span style="font-family: Tahoma, sans-serif;">th</span></sup><span style="font-family: Tahoma, sans-serif;">
anniversary this year, with another mega-tour rumoured to follow in
2013, but Richards claims he hasn't set foot in Jagger's dressing
room in over 20 years. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So what happened? How is it possible
that a legendary figure such as Jagger, who's lived a life liberally
festooned with dramatic incident, could think of nothing interesting
to say about himself? And how did it get to the stage where he barely
communicates with the man with whom he wrote some of the world's
greatest rock songs? </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Philip Norman's hefty, even-handed
biography seeks to dig behind the studied public façade and bore
into the heavily guarded heart of this paradoxical icon. That he
succeeds in presenting a rounded portrait of such a slippery
character is doubly remarkable given Jagger's predictable refusal to
have anything to do with the book. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And yet, despite this glaring
Jagger-shaped hole, Norman may well have written the only biography
of a living entertainer to actually benefit from the absence of its
subject. After all, the author argues, when have you ever read a
remotely revealing interview with Mick Jagger? From the moment he
strutted onto the world's stage in the mid-'60s, his public
pronouncements have always been couched in feigned indifference and,
in later years, a maddening insistence that he's forgotten the finer
details of his past. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A highly intelligent, shrewd
professional, this is clearly a convenient avoidance technique honed
over the years to reveal as little of himself as possible. Famously,
Jagger is a song-writer who, despite penning countless lyrics, has
provided barely a hint of autobiography in his work. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This diplomatic narcissist obviously
cares deeply about how he's perceived, but his unwavering commitment
– to borrow ex-paramour Marianne Faithfull's choice phrase – to
The Tyranny of Cool prohibits him from ever suggesting otherwise in
public. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Norman repeatedly returns to the
Tyranny of Cool motif throughout the story, as a persuasive way of
deciphering Jagger's often self-defeating and callous behaviour.
Despite pushing 70, this still limber force of nature is arguably the
most vainglorious exponent of the perpetual adolescence enjoyed by
pampered rock stars.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Although Norman rightly celebrates
Jagger's immense talent and historical impact, a portrait emerges of
a selfish, charming, controlling man who's had his every whim,
whether fiscal or carnal, indulged almost without question throughout
his long career. And yet despite his keen sense of self-awareness,
Jagger doesn't seem to realise that his endless series of affairs
with women less than half his age has transformed a one-time cultural
powerhouse into an increasingly pathetic parody of himself. That, I
suppose, is what happens when the word you've heard least in your
life is “no”. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Norman has assembled an addictive
narrative mired in sex and, to a lesser extent, drugs (Jagger was
always too sensible to overindulge), but thankfully he isn't
interested in salacious gossip. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">An
esteemed biographer of, among others, The Beatles, John Lennon, and
the Stones themselves (an updated edition of his exhaustive 1984
biography is published this month), his reputation for thorough
research is compounded on virtually every page. Norman is the sort of
detail-hungry biographer who'll delightedly note that an Abbott and
Costello comedy prophetically titled </span><span style="font-family: Tahoma, sans-serif;"><i>Money
For Jam</i></span><span style="font-family: Tahoma, sans-serif;">
was playing at the local cinema in Dartford when the notoriously
stingy Jagger was born. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Having gone back over interviews
conducted for his previous Stones tome, he's also gathered fresh,
record-straightening yet dignified contributions from the likes of
Jagger's former lovers Chrissie Shrimpton and Marsha Hunt (who gave
birth to his first child, which he briefly tried to disown), and
Maggie Abbot, his one-time film agent, who grants fascinating insight
into the numerous film offers that came his way during his thwarted
bid for Hollywood stardom. It's tantalising to imagine what directors
such as Hal Ashby, Steven Spielberg, John Boorman and Franco
Zeffirelli could've done with Jagger's unique charisma. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
his penchant for detail, Norman could never be accused of being a
dry, academic biographer. Adopting a wry tone befitting his
habitually self-mocking subject, he rarely passes up an opportunity
for an ironic aside. Indeed, at times he'd be best advised to avoid a
tempting pun or gag, as they often irritate rather than amuse.
Perverting the title of the Stones' first US album to </span><span style="font-family: Tahoma, sans-serif;"><i>Europe's
Newest Shitmakers</i></span><span style="font-family: Tahoma, sans-serif;">?
Describing ageing groupies as “gurgling matrons”? Really, Philip?
And he does tend to repeat himself as the book goes on. Oh for the
hand of a stricter editor. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Nevertheless, having breathed new
life into familiar material, he's written what must surely be
regarded as the definitive account of Jagger's remarkable life. Its
very existence will, of course, vex and embarrass Sir Mick himself,
who would clearly prefer it if people only wrote about him in the
manner of a glowing press release. But you can be sure that, whenever
the subject inevitably arises during future interviews, he'll
casually dismiss it as an irrelevance. The Tyranny of Cool will never
be vanquished. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><i><b>Mick
Jagger</b></i></span><span style="font-family: Tahoma, sans-serif;"><b>
by Philip Norman is published 4</b></span><sup><span style="font-family: Tahoma, sans-serif;"><b>th</b></span></sup><span style="font-family: Tahoma, sans-serif;"><b>
October (HarperCollins, £20)</b></span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-73677004573478827842012-10-13T04:04:00.001-07:002012-10-13T05:05:41.387-07:00Scotsman TV preview: Getting On, BBC4 Big Science, Hebburn<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on Saturday 13th October 2012.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>GETTING
ON</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
BBC4, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BIG
SCIENCE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BBC4,
days and times vary</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>HEBBURN</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Thursday,
BBC2, 10pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Dismantled
by a government possessed of all the selflessness and empathy of a
Cyberman attending an annual “Let's Kill the Humans” convention,
the NHS currently finds itself in the most parlous position of its
lifetime. And while no conceivable trace of good could ever arise
from this dismal situation, it does add an extra layer of depth to
careworn sitcom <b>GETTING ON</b>. So that's something. I suppose. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Now
in its third series, this unvarnished gem – written by and starring
Vicki Pepperdine, Joanna Scanlan, and former psychiatric nurse Jo
Brand – has always presented a humane and despairing portrait of
the beleaguered NHS. But now more than ever it feels like a helpless
eulogy for an institution trudging towards its final days.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If
that all sounds like unreasonably depressing fodder for a comedy, it
should be explained – for those who haven't already succumbed to
its charms – that <i>Getting On</i> never goes in search of broad,
easy laughs. Instead its subtle humour arises naturally from
realistic situations and well-rounded characters. It's funny in a
desperate, often painful way. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Set
in an understaffed geriatric ward, it lives up to its double-edged
title by showing ordinary, flawed human beings muddling through under
trying circumstances (i.e. life). Overshadowed by the ever-present
spectre of death – laugh it up, folks! - it pays heartfelt yet
crucially unsentimental tribute to the thankless lot of NHS nurses.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Jo
Brand as knackered nurse Kim is the heart of <i>Getting On</i>.
Although shrouded in lingering traces of Brand's cynical comic
persona, Kim is kinder and more cognisant of the needs of her elderly
patients than any other character in the show. She's that rare thing:
someone from a modern British sitcom that you'd actually like to know
in real life.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
same can't be said for Pepperdine as effortlessly condescending
consultant Dr Moore, who's more concerned with ticking boxes and
boosting her profile. Permanently teetering on a frayed tightrope of
passive-aggression and stunning obliviousness, she's a weirdly
vulnerable monster, and Pepperdine plays her impeccably.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Scanlan,
who's already asserted her deft comic touch as Terri in <i>The Thick
Of It</i>, also impresses as capable but lazy ward sister Den, who
tends to form a shaky united front with Kim. In the latest episode
she receives unwelcome news from her ex-partner and male matron,
Hilary – a beautifully understated performance from hulking comic
Ricky Grover – while struggling with a hypochondriac patient. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">I'd
describe <i>Getting On</i> as bittersweet, if that word hadn't been
hijacked to describe bland ITV comedy-dramas starring Martin Clunes
as a lonely divorcee. Instead I'll describe it as a raw, honest study
of institutional and mortal decay, but funny.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Directed
by, among others, Scanlan's <i>The Thick Of It</i> co-star Peter
Capaldi, it's deliberately grey and unflatteringly lit, all the
better to underscore its harsh, satirical message. In the unlikely
event of Jeremy Hunt sitting down to watch it, I doubt that he'd care
about that message at all. This, ultimately, is all you need to know.
</span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Swapping
its nurses uniform for a lab coat, BBC4 launches its <b>BIG SCIENCE</b>
season this week, featuring a host of classy documentaries devoted
to, well, you can probably guess.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It
begins with <i>Order and Disorder </i>(Tuesday,
9pm), in which Professor Jim Al-Khalili explains how the human race
came to harness and manipulate energy. In <i>The Final
Frontier? A Horizon Guide to the Universe </i>(Wednesday,
9pm), Dallas Campbell raids the <i>Horizon</i>
archive to chart the scientific breakthroughs that have transformed
our understanding of the universe. Meanwhile, in <i>Tails You
Win – The Science of Chance </i>(Thursday,
9pm), David Spiegelhalter, the – implausible yet impressive job
title alert – Professor for the Public Understanding of Risk at
Cambridge University, examines factors of risk and probability to
argue that, instead of avoiding chance, we should embrace it. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Finally,
<b>HEBBURN </b>is a fairly warm-hearted new sitcom written by
stand-up comic Jason Cook. Set in the unremarkable town of Hebburn,
South Tyneside, where Cook grew up, it revolves around a close-knit
working-class family headed by Vic Reeves (here billed under his real
name, Jim Moir) and Gina McKee. He's affable and blokey, she's
overbearingly well-meaning in the way that sitcom mums almost always
are. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Rounding
out the brood are comedian Chris Ramsey – who looks like Stan
Laurel moonlighting as a member of One Direction – as the prodigal
son awkwardly introducing his girlfriend (<i>Fresh Meat</i>'s
Kimberley Nixon) to the family for the first time. But unbeknownst to
them, the pair secretly got married in Vegas. Oh no! Apparently. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">There's
also a daffy gran prone to inappropriate outbursts, and a
tart-with-a-heart sister. So no, it won't win any awards for
originality (if indeed such awards existed). And that's <i>Hebburn</i>'s
problem: although it's packed with gags, they're mostly rather
obvious and unremarkable. Cook – who also appears in a supporting
role – can't resist all the usual cheap tracksuits and fake-tan
jibes, and even throws a cheesy pub singer in for good measure.
Tinged with pathos and black comedy, it's amiable enough, and nicely
performed – especially by McKee, reminding us that she's capable of
delivering much more than the frosty types she's usually cast as. But
it isn't remotely distinctive or original.</span></div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-82205312298806392102012-09-29T04:37:00.000-07:002012-09-29T04:37:50.222-07:00Scotsman TV preview - Best Possible Taste: The Kenny Everett Story, Hunted, Boardwalk Empire.<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was first published in <i>The Scotsman</i> on 29th September 2012.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BEST
POSSIBLE TASTE: THE KENNY EVERETT STORY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
BBC4, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>HUNTED</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Thursday,
BBC1, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>BOARDWALK
EMPIRE</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
Sky Atlantic, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">It's
often sensible to exercise a certain amount of caution around the
BBC's cottage industry of biopics about much-loved entertainers. More
often than not, they tend to treat the remarkable talent of their
subjects as an irrelevant sideshow, preferring instead to wallow in
the murky shallows of their supposedly hellish private lives.
Prurient, voyeuristic and occasionally mean-spirited, they're usually
about as sensitive as a cannonball to the groin.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">So
it's with some relief that I recommend <b>BEST POSSIBLE TASTE: THE
KENNY EVERETT STORY</b>, a warm, witty and respectful tribute to the
ground-breaking DJ and comedian that, while never shying away from
the more troubled aspects of his character, actually goes out of its
way to celebrate his genius. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Closer
in spirit to the delightful <i>Eric & Ernie</i> and Tony Roche's
winningly irreverent <i>Holy Flying Circus –</i>
Ev's comic alter-egos, from Sid Snot to Cupid Stunt, act as a Greek
chorus throughout - it's clearly a labour of love from screenwriter
Tim Whitnall, whose ability to write about comedians with
affectionate insight was previously established by his award-winning
stage-play <i>Morecambe</i>. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">With Ev's ex-wife and soul-mate Lee
and his key collaborator Barry Cryer both acting as consultants,
Whitnall's film abounds with a sense of anecdotal charm and detail
that so many of these biopics lack. Sure, it begins with our hero
recovering from a suicide attempt, and pivots around his struggle to
come to terms with his homosexuality, but it never treats him
crassly. Instead he's portrayed as an inveterate rebel with a
self-destructive streak, whose total mastery of his craft clashed
with his private anxieties. That's artists for you. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Framed as an unorthodox love story
between Ev and Lee, it's a touching portrait of a sensitive,
brilliant, loveable, maddening man trying to find his place in the
world, before tragically passing away years before his time. Newcomer
Oliver Lansley is simply outstanding in the lead role, inhabiting
Ev's various personae – including his softly-spoken actual self –
with uncanny accuracy and depth. If this magnificent performance
isn't awarded with a BAFTA next year, then I'll shake my fist at the
sun in anger. That'll show them. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Ex-<i>Coronation
Street</i> actress Katherine Kelly
provides excellent support as the strong-willed Lee, and there are
even a few colourful cameos from Freddie Mercury, Michael Winner and
Dickie Attenborough (the latter essayed by Simon Callow in
Full-Callow mode).</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">While
many of these biopics often look as though they were made for the
price of a packet of Swan Vestas, director James Strong does wonders
with his resources here, producing a beautiful, inventive piece that
its late subject may well have approved of. Alas, the budget cuts at
BBC4 suggest that this will be their last drama for quite some time.
But at least they've gone out on a high. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">From
the sublime to the irredeemably awful. Created, presumably on a
napkin, by US dramatist Frank Spotnitz (<i>The X Files</i>), <b>HUNTED
</b>is a new eight-part thriller co-produced by Kudos, home of
<i>Spooks</i>, and US cable titans HBO. Normally the sort of
hackneyed, risible garbage that HBO wouldn't touch with an executive
bargepole, it's held together with every heaving cliché in the book,
as Melissa George – a fine actress, who deserves better – goes
through the motions as a beautiful yet emotionally remote private
intelligence agent who infiltrates the family of a corrupt
millionaire. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Peppered
with outbursts of nasty violence, <i>Hunted</i> is absolute hokum,
but not in a good way. Like <i>24</i> without the sense of comic-book
fun, it takes itself incredibly seriously, with various
migraine-intense characters interacting in that terse, furtive,
flippant way that fictional spies always do. All that's required of
George is that she pout and kick the occasional ass, while suffering
the indignity of pretending to be haunted by traumatic childhood
flashbacks that resemble nothing more than the Papa Lazarou coda from
the League of Gentlemen Christmas Special. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Piles
of cash have clearly been wasted on this one-dimensional drivel.
Watching it feels like an affront to common decency.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Fortunately,
HBO remind us what they're good at with the return of <b>BOARDWALK
EMPIRE</b>. Now in its third season, the roaring '20s prohibition
drama continues without one of its hitherto key characters, Jimmy
Darmody, whose murder at the climax of season two was, while
inevitable, shockingly carried out by his surrogate father Nucky
Thompson (the great Steve Buscemi). </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
abiding theme this year, then, is the transformation of Nucky from
being “half a gangster” to a full-blown lord of misrule. It's a
bold development, and one that could backfire if handled badly.
Although blatantly corrupt and responsible for orchestrating acts of
violence from afar, Nucky was always an essentially likeable
anti-hero. But it's impossible to sympathise with him now, which may
be a problem as the series progresses. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Nevertheless,
it returns with a strong opening episode introducing a dangerous new
antagonist, Gyp Rosetti, a ludicrously thin-skinned gangster set to
cause future headaches for the permanently harassed Nucky. Rosetti
may be a rather broad and familiar character, but he's still an
entertaining addition to one of the most compelling TV dramas of the
day. It sure is swell to have it back. </span>
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-86823809196847894522012-09-15T02:49:00.001-07:002012-09-21T02:26:35.816-07:00Scotsman TV Preview: Downton Abbey, Parade's End, Strictly Come Dancing<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This article was originally published in <i>The Scotsman</i> on 15 September 2012.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
<a href="http://www.scotsman.com/lifestyle/tv-and-radio">http://www.scotsman.com/lifestyle/tv-and-radio</a>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b><br /></b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOWNTON
ABBEY</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Sunday,
STV, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>PARADE'S
END</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Friday,
BBC2, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>STRICTLY
COME DANCING</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC1, 6:30pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">A
lavish harlequinade of withering gazes, arched eyebrows and stoic
suffering: yes, <b>DOWNTON ABBEY</b> is back, and thankfully it seems
to have calmed down following last year's hyperactive series, which
at times felt more like a series of disjointed trailers for an
upcoming episode interspersed with blaring commercial breaks every
five minutes. The latter are still an unwelcome intrusion, but it's
good to have it back on form. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">In
case you'd forgotten where we were, the first few scenes are
helpfully devoted to nothing but clunky exposition, leading up to the
return of Lady Sybil and her fierce republican husband (cue awkward
discussions of “the Irish problem” over dinner), the much
publicised arrival of Shirley Maclaine as Lady Grantham's mother (cue
laboured bouts of American modernism vs English traditionalism), and
the wedding of Lady Mary and Matthew (cue the expected drama on the
eve of their nuptials). And most dramatically of all, Lord Grantham
is shocked to learn that he may run the risk of losing dear old
Downton altogether. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Despite
the fact that you can always hear the gears shifting in Julian
Fellowes' writing, I can't deny that, at his best, he's a fine
purveyor of world-class soap opera. It's corn on a grand scale, but
it's expertly tuned and entertaining corn at that. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">The
cerebral yin to <i>Downton</i>'s full-bosomed yang, <b>PARADE'S END</b>,
which concludes this week, is almost stubbornly anti-populist in its
appeal. Indeed, this handsome Edwardian period drama mirrors
precisely the compelling, frustrating, enigmatic allure of its
central character, Christopher Tietjans, who for the past five weeks
has made an esoteric virtue of</span> <span style="font-family: Tahoma, sans-serif;">keeping
his entire world at arm's length.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Immaculately
portrayed by Benedict Cumberbatch – his oval jaw set in stone,
although increasingly prone to wobbles as the story progressed –
Christopher's damned loyalty to his strict, self-flagellating moral
code takes a further battering in the final episode, which mostly
finds him mired in the insanity of the Western Front trenches. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Created
by Ford Madox Ford for a series of highly-regarded early 20<sup>th</sup>
century novels, “the last decent man in England” is certainly
more complex than any character found in <i>Downton</i>, and
highlights, not only the fundamental difference between the two
programmes, but also the inherent, possibly deliberate flaw of Tom
Stoppard's otherwise impressive adaptation:<i> Downton Abbey </i>wants
to loved, and will jab all your buttons to ensure that it is, whereas
<i>Parade's End</i> has no interest in giving you an easy,
comfortable, emotional ride. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
that's why, although I enjoyed it, I never felt particularly moved by
this sprawling epic. I admired its stellar performances, its dry,
eccentric wit and Susanna White's assured direction, but I never
really got under the skin of the central love triangle between
Christopher, his entertainingly maddening wife Sylvia (Rebecca Hall,
a haughty swan, superb throughout) and moist-eyed, lovestruck plot
device Valentine (Adelaide Clemens, doing her best with an
underwritten role).</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">I
suspect that Stoppard was more interested in the material for its
reams of layered character study and socio-politcal satire, than as
an unconventional romantic drama. It's certainly obvious that Madox
Ford's novels, which many deemed unfilmable, don't lend themselves
easily to adaptation, and Stoppard should be commended for
transforming them into five hours of captivating, if at times
inscrutable, TV drama. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
I'm glad that the BBC has taken a leaf from co-producers HBO's book
and produced something that demands concentration and actively repels
the casual viewer. It's encouraging that we have a landscape where
populist period fare such as <i>Downton</i> can comfortably coexist
with the relatively challenging and idiosyncratic likes of <i>Parade's
End</i>. And while it wasn't an unqualified success – the stasis of
Christopher and Sylvia's relationship, for instance, led to
repetitive reinstatements of their central dynamic every week – it
was undeniably smart, startling and ambitious. And we need more of
that, always. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Also,
special mention should go to Stephen Graham, who, despite being
lumbered with a ridiculous stick-on beard that made him look like a
<i>Blackadder</i> Dickens, pulled off a faultless Edinburgh accent
while proving himself yet again as one of TV's most versatile actors.
And speaking of <i>Blackadder</i>, the penultimate episode, with the
great Roger Allam coming to the fore to essentially portray a
blimpish General Melchett substitute, was one of the most effective
and darkly humorous “war is hell” statements I've seen on TV in
quite some time. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Finally,
<b>STRICTLY COME DANCING</b> returns tonight for another
ratings-grabbing series of flotsam and fluff. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Personally,
I've never been a fan. It's not something I object to – it's
utterly harmless – but it's just one of those cultural happenings
that unfolds every year in my peripheral vision, like football and
chart music and the latest globule of scandalous idiocy that
habitually dribbles from the mouth of some celebrity I couldn't care
less about. Not even the once-in-a-lifetime spectacle of Russell
Grant being fired from a cannon could rouse my interest last year,
which means that I'm either suffering from a clinical case of ennui,
or that the mere idea of the roly-poly astrologer hurtling through
the air in a shower of glitter is entertainment enough for me. Either
way, it's back, and there if you want it. </span>
</div>
Anonymoushttp://www.blogger.com/profile/09847203691373643068noreply@blogger.com0tag:blogger.com,1999:blog-3944988439030529961.post-68904224064274986202012-09-01T01:43:00.000-07:002012-09-06T04:36:41.982-07:00TV PREVIEW: Doctor Who, Dallas, Mrs Biggs.This article was originally published in <i>The Scotsman</i> on 1 September 2012.<br />
<br />
<a href="http://www.scotsman.com/">http://www.scotsman.com/</a>
<br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DOCTOR
WHO</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Today,
BBC1, 7:20pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>DALLAS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
Five, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>MRS
BIGGS</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Wednesday,
STV, 9pm</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;"><b>Paul
Whitelaw</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">TV's
annual summer drought finally comes to an end with the return of two
beloved hardy perennials, most notable of which is </span><span style="font-family: Tahoma, sans-serif;"><b>DOCTOR
WHO</b></span><span style="font-family: Tahoma, sans-serif;">.
Now in its seventh series since its revival, it shows no sign of
flagging under the auspices of ingenious show-runner Steven Moffat
and – mark my considered words – one of the best actors to ever
fill the Doctor's boots, Matt Smith.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">If,
like me, you felt the last series was bogged down somewhat by the
convoluted Amy/Rory/River Song arc, then you'll be pleased to note
that we've been promised a new series of self-contained
“blockbusters”, presumably epitomised by Moffat's tremendous
kick-starter, </span><span style="font-family: Tahoma, sans-serif;"><i>Asylum
of the Daleks</i></span><span style="font-family: Tahoma, sans-serif;">,
in which the titular war-tanks come across as more unnerving and
menacing than at any time since Rob Shearman's celebrated </span><span style="font-family: Tahoma, sans-serif;"><i>Dalek</i></span><span style="font-family: Tahoma, sans-serif;">
in 2005.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">You'll
doubtless have read that this adventure features more physical Dalek
models – including several from </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">'s
entire half-century existence – than ever before, making it
something of a dark celebration of their iconic status. But that
doesn't obscure a cracking yarn in which the Doctor, Amy and Rory are
unwillingly press-ganged by their arch nemesis into “saving” a
danger-strewn planet of insane Skarosians. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Full
of sepulchral, claustrophobic corridors straight out of a classic
'60s/'70s episode, it's an atmospheric setting swathed in rust, dust
and cobwebs: </span><span style="font-family: Tahoma, sans-serif;"><i>Indiana
Jones and the Temple of Whom</i></span><span style="font-family: Tahoma, sans-serif;">.
The compact storyline also throws up a couple of genuine shocks that I
can't reveal for obvious reasons, but suffice to say they provide
intriguing implications for the future of the series. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Scattering
fine-tuned moments of wit and poignancy throughout – as well as a
surreal detour resembling </span><span style="font-family: Tahoma, sans-serif;"><i>The
Shining</i></span><span style="font-family: Tahoma, sans-serif;">
by way of </span><span style="font-family: Tahoma, sans-serif;"><i>Sapphire
& Steele</i></span><span style="font-family: Tahoma, sans-serif;">
– it is, in typical </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
style, a gripping, twisty horror romp fit for all the family.
Visually, it's as impressive as usual, feeling richer and more
cinematic than anything else on British TV. My only complaint is that
– after redeeming herself last year – Karen Gillan as Amy is back
to her semi-dislikeable, irritating ways, although that's thankfully
offset by the charm and comic timing of the peerless Smith and Arthur
Darvill as Rory. I'll miss the latter when he leaves along with
Gillan later this year. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Fun
of a somewhat different hue is triggered by the return of </span><span style="font-family: Tahoma, sans-serif;"><b>DALLAS</b></span><span style="font-family: Tahoma, sans-serif;">,
the glossy mega-soap which, save for a couple of late-'90s TV movies,
hasn't graced our screens since the original series ended in 1991.
Like </span><span style="font-family: Tahoma, sans-serif;"><i>Doctor
Who</i></span><span style="font-family: Tahoma, sans-serif;">
before it, the writers have wisely foregone a reboot in favour of a
continuation of the established saga of the Ewing clan, albeit with a
new generation pushed to the fore. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
whaddya know, J.R's son John Ross has grown up to be as much of a
smirking, Machiavellian reptile as his father, with sibling rival
Christopher proving as benign as his adoptive dad, Bobby. So expect
more Cane and Abel histrionics which threaten to TEAR THE FAMILY
APART, while the old guard – represented by the likes of Larry
Hagman and the astonishingly ageless Patrick Duffy – pull the
strings and fret on the sidelines.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Cleverly,
it manages to harness everything we loved about </span><span style="font-family: Tahoma, sans-serif;"><i>Dallas</i></span><span style="font-family: Tahoma, sans-serif;">
in the first place – that campy bombast and glowering melodrama –
whilst never tipping over into outright self-parody. The younger cast
may be typical US TV blandroids, but the rodent-like Josh Henderson
shows potential as the villainous John Ross, and it's great to see
Hagman – whose unruly eyebrows deliver a startling performance of
their own – back in the saddle. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">This
sleek, ridiculous, incident-packed revival may well prove as
addictive as the original in its prime. Channel Five – who are
hardly known for showing hit dramas – have chosen wisely here. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">And
ITV, for all its faults, are undeniably skilled at presenting
crime-based factual dramas which – despite boasting an innate
sense of prurient interest – can never be accused of
sensationalising or romanticising their subjects. So it is with </span><span style="font-family: Tahoma, sans-serif;"><b>MRS
BIGGS</b></span><span style="font-family: Tahoma, sans-serif;">,
a handsomely-mounted five-part drama focusing on the wife of the
notorious Great Train Robber. </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Tahoma, sans-serif;">Written
by ITV's head of factual drama Jeff Pope, whose credits include
</span><span style="font-family: Tahoma, sans-serif;"><i>Pierrepoint</i></span><span style="font-family: Tahoma, sans-serif;">
and </span><span style="font-family: Tahoma, sans-serif;"><i>See
No Evil: The Moors Murders</i></span><span style="font-family: Tahoma, sans-serif;">,
it shows how the life of this innocent, bright, middle-class girl was
rocked forever by her charming rogue of a husband. Although Ronnie is
presented as a habitual petty criminal struggling to quash his urges
for the sake of the woman he loves, Pope certainly doesn't make any
excuses for his actions. And Charmian Biggs, although portrayed
sympathetically, is often exasperatingly naïve in her devotion.</span></div>
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<span style="font-family: Tahoma, sans-serif;">Sheridan
Smith and Daniel Mays make for captivating, nuanced leads, ably
supported by the likes of Jay Simpson as coolly sinister criminal
mastermind, Bruce Reynolds. Framed as a tumultuous love story, it's a
sensitive and revealing take on familiar territory, and far more
thoughtful than the romping likes of Phil Collins vehicle </span><span style="font-family: Tahoma, sans-serif;"><i>Buster</i></span><span style="font-family: Tahoma, sans-serif;">,
which essentially treated the whole affair as a bit of a caper. </span>
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<span style="font-family: Tahoma, sans-serif;">Mired
in fag smoke and jazz, it also presents a convincing depiction of
Britain's brown Formica '50s and early '60s, and shows a life of
crime for what it is: an interminable mug's game. </span>
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