Category Archives: Television

BANDERSNATCH (2019) – BLACK MIRROR / NETFLIX REVIEW

BANDERSNATCH (2019) – BLACK MIRROR REVIEW

Directed by: David Slade

Produced by: Russell McLean

Written by: Charlie Brooker

Cast: Fionn Whitehead, Will Poulter, Asim Chaudhry, Craig Parkinson, Alice Lowe etc.

**SPOILER FREE**

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Choices, choices, choices! We all have so many choices to make every day. Some simple; some much tougher. We didn’t have any choice over whether we were born, but now we are here there’s a myriad of daily selections we get to make. Do we get out of bed? Do we eat? Do we wash? Do we find the strength to get in our car or on the train and face the horrors of employment? Do we engage with violent abandon by calling the driver who cut us up at a roundabout, “a wanker!” Do we wear our clean underwear today or re-use yesterdays? Do we have a salad or burger for lunch? Do we start smoking again? Do we regret having children? Do we tell our partner we love them? Do we have the last beer in the fridge? Do we try and change our life? Do we just give up? Do we watch the new drama box-set or a Netflix special by Black Mirror creator Charlie Brooker. So many tough choices!

Thus, you’ve had a shitty day with so many choices made and you sit down in front of the television in the hope you can switch off your brain. But that darned Brooker won’t let you. The televisual provocateur and his production team are cruelly requesting, for your entertainment, that you make MORE choices. If you’re young enough to remember those: “Go to page 47 to see if your spell vanquished the demon – or go back to page 666 to find out if you are the conqueror of the Universe”, type books, then Bandersnatch is THAT in television form. You may also be used to multiple choice computer games the likes of which I played myself as a kid on the Spectrum 128k computer. This is also the inspiration for Brooker’s twisted vision. But is it any good? I would choose YES! Bandersnatch is dark, hallucinatory and involving “fun”.

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The story/stories are set rather aptly in 1984. Our main protagonist is a grieving and troubled teenager, Stefan Butler (Fionn Whitehead). Stefan is obsessed by a “choose your adventure” book called Bandersnatch.  Inspired to turn it into a computer game, he soon descends down a veritable black hole mentally, physically and emotionally. The fact that we are vicariously responsible for the characters’ journey create a real sense of dread, doubt and suspense. It’s very clever and immersive and no doubt the writing of it must have been a tortuous process.

While it may not be for some I was engrossed by the show as it felt at times I was living in a Philip K. Dick story. Dick’s novels are often hallucinatory and dream-like with simple yet devastating prose. They deal with reality, alternative reality and beyond reality. You’re often in a place with unreliable narrators or confused protagonists who are existing in some real world, imagined or manufactured nightmare. Paranoia, anxiety and depression infect Dick’s world and Brooker captures that vibe brilliantly in Bandersnatch. However, it’s not also without humour too, albeit incredibly dark sarcastic humour.

Brooker and his filmmaking team achieve a style over substance triumph with Bandersnatch. I have only gone through Stefan’s narrative once but it gripped me from start to finish as an experience. The drained, urban and suburban 1980s colour and council-estate-grey look suited the psychotic breakdown of the main character. Nonetheless, at times, the dizzying twist of choices did take away from the emotional journey of the character. At one point I was so in the meta-hole the whole trip made me feel quite queasy. Having said that, I will be going back into this meta-adventure again; after all, the choices like in life seem endless.

Mark: 9 out of 11

RESOLUTION (2019): DR WHO NEW YEAR’S SPECIAL REVIEW

RESOLUTION (2019): DR WHO SPECIAL TV REVIEW

Directed by: Wayne Yip

Written by:  Chris Chibnall

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Charlotte Ritchie, Nikesh Patel etc.

Produced by: Nikki Wilson

Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle

Music composer: Segun Akinola

**SPOILER WARNING**

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And so Jodie Whittaker’s first raft of television adventures as the Gallifreyan Time Lord / Lady came to an end with this New Year’s Day Special. Aptly entitled Resolution it offered lots of intrigue and action and invention and one of the worst kept TV trailer secrets of recent times.

Opening with an impressive battle sequence involving humans defeating some unknown and villainous beast in the 9th Century, we then flash forward to the present wondering whether the creature would be seen again. Of course it would! It’s a fine opening and very cinematic, creating both a sense of awe and suspense, while owing much to the Marvel, DC Universes and Lord of the Rings type fantasy genres. In the present we are then introduced to flirtatious archaeaologists Lin and Mitch, who suddenly unearth that which has been buried in the earth for centuries. So far: so Quatermass!

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When the archaeologists’ find brings to life a slimy, tentacled and horrific monster from the darkness, the Doctor, Tardis and ubiquitous gang are not too far behind. The monster itself is an (SPOILER WARNING) unshelled Dalek who has been woken from centuries of slumber with anything but peace and goodwill on his or her mind. I’m not sure if Dalek’s are gender specific but probably best to keep within the politically correct rules the show rightly follows and projects.

With all the back-story and exposition out of the way, what follows is essentially a Terminator: Judgment Day (1991) type pursuit plot. The Dalek gains control of Lin and envelops her mind in order to carry out its’ evil bidding. Here Charlotte Ritchie is absolutely brilliant in her role as she valiantly battles the Dalek’s nefarious battle plans. Likewise I felt that Whittaker’s Doctor was on good form in Resolution; the Dalek threat really galvanises the Doctor’s mettle, as this episode felt more like some of the classic episodes of the past.

Overall, I really enjoyed this fast-paced narrative and Chris Chibnall’s script has a lot of fun with this solo Dalek as they re-shell, re-arm and attempts to exterminate everyone in its’ path. Not so successful is the sub-plotting resolution of Ryan’s relationship with his father. It worked out but it slowed the main action story down unnecessarily and there was some right old clunky dialogue in a cafe scene which really added nothing other than some mild emotional turmoil for Ryan. However, Yas suffered even more with very little to do character wise; while Bradley Walsh again really shone as the chirpy cockney Graham. Nonetheless, overall it was great bit of Dr Who entertainment to start the New Year.

Mark: 8.5 out of 11

“TIME TO GET CEREAL!” – SOUTH PARK (2018) – SEASON 22 REVIEW

SOUTH PARK (2018) – SEASON 22 REVIEW

Directed by: Trey Parker
Produced by: South Park Studios
Written by: Trey Parker
No. of episodes: 10
Release Date: September 22 2018 – December 12 201
UK Release: Comedy Central

Trey Parker’s scandalous and scatological satire South Park shows no sign of slowing down in its mission of targeting the various sacred cows, media, celebrities, politicians and fads of society. The shenanigans of the small Colorado town reach their 22nd season, as the likes of: Cartman, Sharon, Randy, Kyle, Mr Mackey, PC Principal, Stan, Mr Hankey, Butters, Mrs Cartman etc. continue to be used as Parker’s conduits for comedy and social commentary.

Season 22 started slowly but ultimately proved a hit for me. Nonetheless the show is arguably a victim of its own formula and success. There are few surprises left as the show bases most episodes on satirising current events and the cultural zeitgeist. Plus, the characters are so well formed that we are rarely shocked by what they do. However, the writing, gag-rate and thought-provoking narratives prove the show is as strong as ever.

Arguably not as memorable as the incredible Season 19 (review here); there is a lot to recommend in Season 22! Below, I will now look at each episode in turn and consider their various merits.

**CONTAINS SPOILERS**

EPISODE 1 – DEAD KIDS – Mark: 8 out of 11.

School shootings and the lack of reaction to them force Sharon Marsh to become apoplectic in her outrage. A solid episode which didn’t quite catch fire but had its moments; as Sharon’s PMT is ridiculed by Randy unfairly with Parker clearly stating gun crime something must be done about this horrendous stain on United States society.

EPISODE 2 – A BOY AND A PRIEST – Mark 8 out of 11.

Butters “befriends” Father Maxi as the Catholic Church once again try and cover up historical paedophilia. I was shocked but how unshocked I was by the episode yet it contains many great gags. Parker ensures we do not forget the horrific crimes committed by priests down the age; highlighting the hypocrisy that continues to be presented by the Catholic hierarchy.

EPISODE 3 – THE PROBLEM WITH A POO – Mark 8.5 out of 11.

Talking turd Mr Hankey was never my favourite character, but the show literally gets loads of “shit” jokes out of him. Here, Parker satirises celebrity Twitter scandals but more interestingly focusses on Vice Principal Strong Woman giving birth to five PC Babies! This precipitates a fantastic running joke throughout the series involving PC Babies crying persistently at mention of something that does not fit their progressive agenda.

EPISODE 4 – TEGRIDY FARM – Mark: 9 out of 11

The series really started hitting its stride as Parker snipes at the vaping craze and the legalisation of marijuana in Colorado. Typically, Randy Marsh driven episodes are almost often classics and here he becomes a hemp farmer. Similarly, Cartman has become a vape dealer and the two narrative strands combine to delightful effect.

EPISODE 5 – THE SCOOTS – Mark: 9 out of 11

This was another brilliant and funny episode. It combines elements of Hitchcock’s The Birds, with satirising of human beings’ obsession with smartphones and Halloween. I loved the way the episode built from Mr Mackey’s panic with the E-Scooters as they threaten to take over the town. As this is South Park it all soon descends into disaster and brilliant anarchic humour.

EPISODES 6 & 7 – TIME TO GET CEREAL / NO ONE GOT CEREAL – Mark: 9 out of 11

In this hilarious two-parter the kids’ old “friend” Al Gore comes out of retirement due to a monster killing citizens of South Park. It turns out it’s the analogous beast ‘ManBearPig’; a demonic animal part-pig-part-man-part-bear. If you didn’t know ‘ManBearPig’ is an absurd symbol for the Environment, and here Parker depicts Gore as not just a figure of fun but actually smugly correct in his global predictions. Meanwhile, the authorities – including the police – reject the existence of ‘ManBearPig’ and blame the kids for the murders. Satan makes an appearance too as the two-parter amusingly critiques: Climate Change deniers, inept policing and addiction to video-games such as Red Dead Redemption 2.

EPISODE 8 – BUDDHA BOX – Mark: 8 out of 11

Cartman’s anxiety leads him to wear a cardboard ‘Buddha Box’ over his head to isolate himself from society. Sending up further our obsession with mobile phones by eschewing meaningful human contact is always going to get laughs and Parker achieves that here. However, the PC Babies gags win the episode as taking the piss out of snowflake millennials continues to be hilarious.

EPISODES 9 & 10 – UNFULFILLED / BIKE PARADE – Mark: 10 out of 11

The highlight of the season was undoubtedly the episode called Unfulfilled. Here South Park pokes its parodic tentacles at Amazon, never losing its grasp. Amazon open a warehouse in South Park, and after an accident, the employees go on strike. This industrial action leads to Jeff Bezos himself coming to South Park; with Parker depicting him as a cold telekinetic alien. The episode and the follow-up Bike Parade show the various ways the people of South Park deal with the lack of fulfilment from the Amazon non-deliveries. Here Parker combines Marxist doctrine and consumer culture satire with absurd comedy and horror parody to amazing effect. These episodes once again show that South Park retains the balls and strength to make us laugh and think in equal measures.  

Overall mark: 8.5 out of 11.

THE CINEMA FIX: 12 FAVOURITE TV SHOWS OF 2018

12 FAVOURITE TV SHOWS OF 2018

I love television and watched a lot of it last year on most terrestrial and streaming services; especially the BBC, ITV, SKY and NETFLIX channels.  I must admit I am way behind on many AMAZON and ALL 4/CHANNEL 4 programmes so will be rectifying that this year. Indeed, there are probably some glaring omissions because of this.

For comparison I include last year’s favourite TV shows. This year I have not included South Park (Season 22) as it was not as good as prior years, despite clearly being one of the funniest shows around. Also, Doctor Who does not make my list as there were too many average episodes. Lastly, a special mention to The Walking Dead (Season 9), which at the mid-season break had somehow pulled itself out of the torpid decline that occurred around Season 6. It may make my 2019 list once the latest season has finished screening this year.

FAVOURITE 12 TV SHOWS OF 2017

BIG LITTLE LIES (2017) – HBO
CURB YOUR ENTHUSIASM – SEASON 9 (2017) – HBO
FARGO (2017) – SEASON 3 – FOX / CHANNEL 4
GAME OF THRONES
(2017) – SEASON 7 – HBO
THE HANDMAID’S TALE (2017) – HULU/CHANNEL 4
IT’S ALWAYS SUNNY IN PHILADELPHIA (2017) – SEASON 12 – NETFLIX
LEAGUE OF GENTLEMEN – 20TH YEAR ANNIVERSARY (2017) – BBC
LEGION (2017) – FOX
MINDHUNTER (2017) – NETFLIX
SOUTH PARK – SEASON 21 – SOUTH PARK STUDIOS
STRANGER THINGS 2 (2017) – NETFLIX
THE YOUNG POPE (2016) – HBO

FAVOURITE 12 TV SHOWS OF 2018

ATLANTA (2018) – SEASON 2 – FOX

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BILLIONS (2018) – S3 – SKY

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BLACK MIRROR (2017)NETFLIX

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BODYGUARD (2018) – BBC1

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THE DEUCE (2018) – S2 – HBO / SKY

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HANDMAID’S TALE (2018) – S2 –C4

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HAUNTING OF HILL HOUSE (2018) – NETFLIX

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INSIDE NO. 9 (2018) – S4 – BBC

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KILLING EVE (2018) – S1 – BBC

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PATRICK MELROSE (2018) – SKY

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VANITY FAIR (2018) – ITV

A VERY ENGLISH SCANDAL (2018) – BBC

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VANITY FAIR (2018) – ITV DRAMA REVIEW

VANITY FAIR (2018) – ITV DRAMA REVIEW

Created and written by: Gwyneth Hughes

Based on: Vanity Fair by William Makepeace Thackeray

Executive producer(s): Damien Timmer, Tom Mullens, Gwyneth Hughes, James Strong

Directed by: James Strong

Starring: Olivia Cooke, Claudia Jessie, Tom Bateman, Johnny Flynn, Charlie Rowe, Simon Russell Beale, Anthony Head, Martin Clunes, Frances de la Tour, Michael Palin

Composer(s): Isobel Waller-Bridge

Distributor: ITV, Amazon Studios

**MAY CONTAIN SPOILERS**

It’s an interesting anomaly in my later years that having previously boycotted period dramas which illustrate the lives of the wealthy and privileged, I now find myself being less partisan and actually watching more. This change doesn’t derive from a mellowing of my socialist working class roots but more an intelligent inquisitiveness as ignorant dismissal of the genre, be they on television or film, means one is possibly missing out on some fine drama or comedy. Indeed, many historical periods’ works of literature or theatre are in fact satirising or damning the upper classes.

Dickens for example dealt with the lower, middle and upper classes, shining a critical light at the many degradations of the era. Likewise, William Makepeace Thackeray also critiqued the folly of war, greed and narcissistic pursuits of the privileged. Stanley Kubrick demonstrated this brilliantly in his classic adaptation of Barry Lyndon (1975); while in ITV’s most recent adaptation Vanity Fair (2018), Thackeray’s adroit study of ambition and upward mobility shows the strengths, weaknesses and foibles of the women and men at the time of the Napoleonic wars.

Vanity Fair is widely considered a classic and considered the founder of the Victorian domestic drama. Originally serialised between 1847 and 1848 it was at the time a massive hit and one could argue the equivalent of what we would call a soap opera today. There have been, since the novel’s release, a plethora of screen, radio and television adaptations. Did we need another one? Probably not; but over seven compelling episodes Gwyneth Hughes’ screenplay does great justice to bring to life an army of: well-to-dos, country lords and ladies, soldiers, clergy, businessmen, plus the sparkling scheming of anti-heroine Rebecca or Becky Sharp.

Indeed, the effervescent, nuanced and outstanding performance of Olivia Cooke as Becky drives the narrative forward with absolute purpose. Cooke owns every scene as Becky attempts, from lowly beginnings, to rise through the ranks of society. It is both her strength of character and confidence which is her biggest asset and greatest enemy, because, always pushing for more, she doesn’t quit when she’s ahead. In stark reflection to Becky, Claudia Jessie as Amelia, is characterised as a romantic and desirous not of wealth or position, but rather love and romance. She is a pure spirit and her personality contrasts perfectly with Becky’s. While we admire Becky’s ambitious drive we remain suspicious of her motives, yet Amelia we warm to due to her big and gracious heart.

The men in the piece are a mixture of romantics, noble soldiers, treacherous or haphazard patriarchs, foppish fools, gamblers or all of the above. Tom Bateman gives a solid performance as Rawdon Crawley, Becky’s gambling military husband, as does Charlie Rowe as the more conflicted romantic, George Osborne. Furthermore, the adaptation contains sterling support from the cream of English character acting royalty including: Martin Clunes, Frances De La Tour, Claire Skinner, Anthony Head and Simon Russell Beale to name a few. However, the standout performance for me was Johnny Flynn as William Dobbin. This is such an empathetic and selfless character that, while holding a torch for Amelia, was prepared to sacrifice his love to make everyone happy. Potentially seen as a weakness, this for me was a real strength in a story which was full of selfish narcissists out for what they could get.

Aside from slightly dodgy green-screen CGI for the later scenes in India this was beautifully shot and lit, with the vistas of the English and French countryside wonderfully rendered. The interiors were eloquently designed as the stately and city homes of the characters, likewise the colourful costumes, were expertly brought to life.  James Strong is a prolific television director and he gets brilliant performances and marshals the pace and machinations of the narrative precisely. With Olivia Cooke and Johnny Flynn delivering star turns in their roles I was consistently surprised by this adaptation of Thackeray’s masterpiece. Ultimately, I’ve learned that whether something is a period drama or not one must give it a chance as it could have qualities which continue to stand the test of time.

Mark: 8.5 out of 11

THE DEUCE (2017 – 2018) – SEASONS 1 & 2 – HBO REVIEW

THE DEUCE (2017 – 2018) – SEASONS 1 & 2 – HBO REVIEW

Created by: George Pelecanos & David Simon

Producer(s): Jessica Levin, Maggie Gyllenhaal, Mark Henry Johnson

Writers: George Pelecanos, David Simon, Richard Price, Lisa Lutz, Anya Epstein and more.

Directors: Michelle McClaren, James Franco, Ernest Dickerson, Alex Hall, Roxann Hall, Uta Briesewitz and more.

Starring: James Franco, MaggieGyllenhaal, Gbenga Akinnagbe, Chris Bauer, Gary Carr, Chris Coy, Dominique Fishback, Lawrence Gilliard Jr., Margarita Levieva, Emily Meade, Natalie Paul, Michael Rispoli, Luke Kirby, Jamie Neumann

**MAY CONTAIN SPOILERS**

Pornography is a strange stain and paradoxical phenomenon within humanity and society. Most of us are born from the natural act of sexual intercourse and as such lust and passion and love are catalysts for this. For some though conventional relationships do not satisfy desires and of course there are those without a romantic or sexual partner who will need an outlet for their desires. Because deep down whatever you say we are animals and the basest instinct is to pro-create. But what happens if we are denied that opportunity? A person may seek satisfaction elsewhere and one such avenue is pornography.

Pornography sounds dirty. It’s a dirty word. Yet, since way before the internet, photography, video and film were invented humans have always found a means either through literature, theatre, poetry or art to represent sex. As technology has progressed the rise of pornography has reached epidemic proportions. It is massive business and billionaires have been made by the sex industry. In my opinion pornography is like war. It happens every day and while most of us are not involved in it, one feels powerless to stop it. Ultimately, you can argue it’s empowering to the men and women and contributes to our capitalist economy. However, one cannot escape the fact that it, like war, pornography would have left many, many people exploited and damaged.

Eschewing any socio-political criticism of pornography, HBO’s big budget television show The Deuce presents a massive American slice-of-gritty-mean-street-porn-life in 1970s New York. It is created by David Simon and George Pelacanos, who as writer-producers possess a great track record for creating acclaimed shows such as: The Wire, The Pacific, Treme, Generation Kill etc. Here they have created another ensemble period drama which show-cases a cavalcade of colourful characters including: pimps, prostitutes, police, bar flies, gangsters, dealers, gigolos, film producers, actors and politicians. The show essentially reflects the lives of those at ‘the Deuce’; an intersection of 42nd Street between Seventh Avenue and Eighth Avenue. It accepts that, for good or for worse, the sex industry is part of our existence and people basically are just trying to survive or escape anyway they can.

The first season starts in 1971. Main characters include: Maggie Gyllenhaal’s fiercely independent prostitute ‘Candy’; James Franco as twin brothers feckless Frankie and bar manager Vincent; Gbenga Akinnagbe as Larry Brown, an intense pimp; Chris Bauer as Bobby Dwyer, a construction foreman who is dragged into the sex industry; Gary Carr as C.C., a stylish but ruthless pimp; Dominique Fishback as Darlene, a sweet-natured sex worker striving for educational betterment; Lawrence GilliardJr. as Chris Alston, an incorruptible NYPD patrolman; Margarita Levieva as Abby Parker, a college student who rejects her wealthy upbringing by striking up a relationship with Vincent; and Emily Meade as Lori Madison, an impressionable young woman who C.C. entangles in his pimp web. Plus, there are a whole slew of characters that appear within each season; so many in fact in does get a bit crowded in the complex drama.

There is a lot of sex in both seasons; straight and gay. It’s presented not simply as titillation but also humorously and realistically as part of the life the characters lead. Sex sells but it also has a dark, violent side and the programme often shows this. The sex worker’s customers and pimps regularly commit acts of violence as the danger of working the streets is palpable. The exploitation by the mob bosses too who front the money for the sex parlours and peep shows is sad to witness and much empathy is gained for those trapped by poverty and drug addiction. Aside from a few good cops many of the NYPD are happy to take bribes to line their pockets.

Season 2, which moves forward to 1977 is a lot more political. The rise of feminism, activism and protest is reflected in the character Abby who works with others to provide a safe space for the women on the street. Moreover, City Hall is trying to clear up ‘The Deuce’ in an attempt to welcome rich corporate businesses to the area. Candy meanwhile has worked to get off the street and is now pornographic film director with artistic designs. Frankie is still gambling and ducking and diving while his brother Vincent begins having doubts about his involvement with the mob and sex industry. The second season, for me, was more focussed narratively;especially where Candy’s porn adaptation of ‘Red Riding Hood’ called Red Hot is concerned. Mirroring the reality of masculinity exploiting humanity, the predatory wolf chasing women and ravaging them is a thematic strongpoint of the season. But Candy is striving to turn the tables and female empowerment is a key driving force for her work.

The Deuce is ultimately a glorious production which is not for the faint-hearted. It holds up a dark mirror to a flawed society; and does it with humour, wit, compassion, lashings of sex and smatterings of sudden, brutal violence. I for one believe the world should do without pornography but The Deuce demonstrates that human beings are drawn to it like moths round a flame. It’s money, drugs, vice and sex that seems to excite many people and because of this exploiters will make money out of them.

Finally, as this is a HBO production the acting, direction, cinematography, editing, soundtrack, costume and period design are flawless. The writing is exceptional as the dialogue stings from the exceptional ensemble cast like written bullets. Season One was slightly slow building the characters but Season Two really found its’ feet dramatically and emotionally.  On occasions I felt like some episodes lacked pace due to the sheer number of characters presented; but Season Two had real dramatic momentum. The final season is due for release next year and I highly recommend it if you are a drawn to the corrupted elements of humanity on screen; and characters just trying to make it with odds stacked against them. On ‘the Deuce’, like in life, sadly not everyone makes it out alive or in one piece. 

Season 1 – Mark: 8 out of 11

Season 2 – Mark: 9 out of 11

DOCTOR WHO –S11 – EP. 10 REVIEW – THE BATTLE OF RANSKOOR AV KOLOS (2018)

DOCTOR WHO – REVIEW – THE BATTLE OF RANSKOOR AV KOLOS (2018)

Directed by: Jamie Childs

Written by:  Chris Chibnall

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Phyllis Logan, Mark Addy, Percelle Ascott, Samuel Oatley, Jan Le 

Produced by: Alex Mercer

Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle

Music composer: Segun Akinola

**SPOILER WARNING**

Notwithstanding the New Year’s Day special coming on the first day of 2019, season 11 of Doctor Who came to an end with an episode which was certainly a big improvement on the last two episodes. As a whole this season has been very hit-and-miss and despite the lofty title, The Battle of Ranskoor Av Kolos, promised much but just about delivered more hit than miss. Arguably, it was a pretty simple narrative of return and retribution as the Doctor and companions came face-to-face with an old adversary.

Firstly, I must say it was a gorgeously shot with the craggy locations of the planet contrasting impressively with the futuristic spacecraft and alien technology. On the whole the series has, despite some very dodgy CGI in a couple of episodes been lovely to look at. Likewise the guest stars in many of the episodes have been very good and in The Battle of Ranskoor Av Kolos seasoned character actors Mark Addy and Phyllis Logan bring resonance to the drama.

Answering a legion of distress signals brings the Doctor and the Tardis crew to Ranskoor Av Kolos circa year 5425. There they find aplanet ravaged by conflict and an amnesiac soldier Paltraki (Addy) who has lost his mind and crew. Soon the Doctor comes face to face with an ancient race called ‘The Ux’; an all-powerful duo able to build worlds with their minds.Basically they are like a telepathic Minecraft player but dealing with complex chemical and physical reality rather than computers.

More dramatically, however, is the nemesis of the piece. Having dispatched the ‘Predator’-like villain – from the very first episode of this series – the Tzim-Sha into dimensional space they find him now wreaking havoc on Ranskoor Av Kolos. He exploits The Ux’s incredible power and religious naivety to create a weapon of mass destruction and terrorize the galaxy. But who will stop him we ask? The Doctor of course!  Well, with revenge on his mind (for the death of his wife, Grace) Graham has a moral choice of killing Tzim-Sha/Tim Shaw or being the better man. It’s this emotional conflict which gives the episode its’ most interesting aspect. Indeed, once again Bradley Walsh gets the most to work with out of the companions.

Overall, Chris Chibnall’s writing has been criticized on social media by irritated fans, however, I don’t actually think the concepts and general writing of the show are as bad as people say. What I think has been flawed is the rewriting and development of many of the scripts. I actually think ten singular episodes are probably too many, and like some of Capaldi’s episodes, they set-up excellent dramatic situations but had rushed endings. I believe they should go for say five stories (over ten episodes) at maximum and develop the characters more so we feel for them and the stories have a chance to breathe. Lastly, I think Jodie Whittaker has been excellent carrying the show but I never liked her costume and the direction of the Doctor as a breathless, wacky primary teacher sort did not gel with me. But as Sunday entertainment goes The Battle of Ranskoor Av Kolos, and the series as a whole was enjoyable, if slightly underwhelming television.                  

Mark: 7.5 out of 11