Written by: Charlie Covell (based on comic novella by Charles Forsman)
Cast: Alex Lawther, Jessica Barden, Gemma Whelan, Wunmi Mosaku, Steve Oram, Christine Bottomley, Navin Chowdhry etc.
Original Network: Channel 4
**MAY CONTAIN SPOILERS**
This Channel Four comedy-drama can be found on both ALL 4 and Netflix. It is certainly recommended for those who like their comedy darker than an Arctic winter’s day. It concerns a teenager called James (Alex Lawther) who believes he’s a psychopath, who decides to go from killing animals to people. Enter Jessica Barden’s equally maladjusted Alyssa, and we get eight episodes of acidic, violent, rites-of-passage and anti-romantic mischief.
The first episode is arguably the strongest as it starts with a breakneck pace establishing James character history and how he meets Alyssa. They are both very nihilistic and unlikable but that’s the point. The series is an anathema to the conventional feel-good Hollywood sitcoms and comedy films. This is violent and nasty with lost kids ignored or endangered by the adults around them. Indeed, aside from Gemma Whelan’s likeable police officer there aren’t many characters to empathise with here.
It is a testament to the fine acting by rising stars Lawther and Barden that the show held my interest over the eight short episodes. As the two anti-heroes go on the run across country I was reminded of the Tarantino scripted films True Romance (1993) and Natural Born Killers (1994), but filmed in Surrey. Of course, End of the F***king World (2017) doesn’t benefit from Tarantino’s wicked dialogue, however, it compels with a journey into some very twisted places.
Nominated for a BAFTA for Best Drama Series, I didn’t enjoy as much as some reviewers and critics did. I think this is mainly due to the fact it doesn’t really have much to say other than life is shit. Also, the characters don’t particularly learn anything, change or have a particularly intriguing philosophy. Moreover, their story begins and ends in abject nihilism with little hope for a brighter future. Don’t get me wrong, I love dark comedies and dramas, but this was relentlessly depressing and probably would have been better as a punchier ninety-minute film rather than a series. Overall, though the smart script and malignant characters had a dark magnetism. That and the excellent performances make it worth a watching if you’re feeling in a “I-hate-the-world” kind of mood.
Cast: Jim Broadbent, Samantha Morton, Andy Serkis, Lindsay Duncan, Robert Pugh etc.
Original Network: Channel 4
**CONTAINS SPOILERS**
Continuing my look back on the films and shows on ALL 4, this drama is really Premier League television filmmaking of the highest quality. Written by esteemed screenwriter, Peter Morgan and directed by celebrated director of Oscar winner, The King’s Speech(2010), Tom Hooper, Longford (2006), features fine acting from Jim Broadbent, Samantha Morton, Andy Serkis and Lindsay Duncan.
A much respected but also much maligned character around the House of Lords and Parliament in Westminster, Lord Longford, or Frank as he preferred to be known, came from a very privileged background. However, in various post-war political positions he campaigned vehemently for the underclasses, especially where the prison system was concerned. A complex but kind man he had no issue switching allegiances of politics or faith during his lifetime if he felt it was the right thing to do.
The story begins in the late 1960s with Longford celebrating his programme for rehabilitating ex-convicts. When he receives a letter from infamous child killer Myra Hindley, he takes up her case. Now, I remember Lord Longford when I was growing up and the furore over his constant attempts to grant Hindley parole was often in the news. I’m still struck by what a massive naive and stubborn heart he had. The public outrage was constant, but Longford never gave up this campaign.
Myra Hindley and Ian Brady killed five children between 1963 and 1965 and were described as “two sadistic killers of the utmost depravity.” This character study shows Longford battling his doubts over Hindley and Jim Broadbent’s performance is so compelling. You feel empathy and horror at his decision to represent Hindley, portrayed with nervy guile by Samantha Morton. The scenes between the two are a masterclass in acting with Morton conveying pitiful vulnerability to draw the Longford in. I personally felt Hindley was manipulating Longford but due, in part to her religious conversion, he chooses to ignore such thoughts.
Andy Serkis’ performance as Ian Brady, on the other hand, is one of pure, unadulterated evil. He warns Longford he is being played for a fool, but this only confirms Longford’s belief that Brady controlled Hindley during the murders. Brady’s character is only in a couple of scenes but his cold Scottish brogue chills the heart like an Arctic wind. Obviously, Serkis has gone onto bigger things, but I don’t think he has ever given a more memorable performance.
Overall, this is an exceptional film about the sad aftermath of one of the most heinous crimes ever committed in Britain. Longford, while admirable in his philosophy, proves the adage, there’s no fool like an old fool. Peter Morgan’s script is just brilliant at catching the emotions of the characters, as Hooper’s direction draws formidable performances from a fine cast. The nation was right to be outraged at Longford’s actions, but this film illustrates his motivations in a highly compelling way.
Cast: Phoebe Waller-Bridge, Jonathan Bailey, Julie Dray, Louise Ford, Damien Moloney, Amit Shah, Susan Wokoma, Adrian Scarborough etc.
Original Network: Channel 4 Television (UK)
**MAY CONTAIN SPOILERS**
While Netflix, Sky, Fox, Disney and Amazon dominate much of the digital television output across the English-speaking world, Britain has, in the BBC, ITV and Channel 4 a lot to offer in regard to TV entertainment. I watch a lot of the main drama and comedy from the BBC, but I thought perhaps I needed a little catch-up on some Channel 4 shows I may have missed.
Thus, I set up an account at ALL 4 – https://www.channel4.com/ – and had a little look about. There are hundreds of films, comedies and dramas on their channel produced in the UK, Europe and the globe in general. So, I will be writing some reviews of stuff I’ve been catching up on that I can recommend. I have to state ALL 4 is great value because it is ad-driven and there is NO monthly subscription.
Crashing (2016), is a comedy centred around property guardians. Such people rent disused properties at a discounted rate but have to “protect” the property and leave virtually immediately when the landlord demands. It’s a great set-up for a television format as it allows for a mixture of various characters to connect in comedic, dramatic, romantic and hysterical ways. The setting, a disused hospital, is also great with the abandoned building providing a strong visual theme throughout.
Written by Phoebe Waller-Bridge, prior to her Fleabagand Killing Eve fame, the script pulls focus on six such property guardians. Waller-Bridge is Lulu, a twenty-something party girl drifting into London town looking for childhood friend Anthony. You can obviously see elements of her Fleabag persona in Lulu notably the way she uses alcohol, flirting and chaotic sexuality to hide her true feelings. Other characters are: said friend, Anthony; his girlfriend, neurotic Kate; middle-aged depressive Colin; French artist, Melody; awkward professional, Fred; and grieving, but charismatic estate agent, Sam. Kate, especially, is a progenitor for Fleabag’s hyper-stressed sister, Claire.
Waller-Bridge has created an interesting chorus of variant personalities who laugh and conflict and romance and sex in a very entertaining six episodes. I would say the show is more comedic than dramatic and there are some really funny moments which tend toward the slapstick, bodily functions, comedic misunderstanding or are just simply sex-driven. Who-fancies-who-or-who-is-fucking-who is a believable running theme through the show but there is some pathos there, especially with Colin, Fred and Sam’s characters. Overall, this is an under-rated comedy gem which, while it only ran for just one season, is definitely worth watching for the fast-paced writing and excellent ensemble acting.
Cast: Timothy Olyphant, Ian McShane, Molly Parker, Dayton Callie, Kim Dickens, Brad Dourif, John Hawkes, Paula Malcolmson, and Robin Weigert, Keone Young, William Sanderson, Gerald McCraney etc.
Cinematography: David Klein
Original Network: HBO
**MAY CONTAIN SPOILERS**
David Milch’s formidable Western TV classic was a show I’d never ever seen. So, I took great pleasure drinking in its’ flavours and palette at the end of 2017. I was so glad I did because Deadwoodis one of the most brilliantly written shows I’ve seen; and while the dialogue is clearly anachronistic it feels paradoxically authentic. Throughout the thirty-six episodes the monologues sing from the screen as a litany of character actors drawl and deliver words of filth, comedy and great tragedy. At times the dialogue is so dense it reaches sonorous Shakespearean heights.
After three brilliant seasons of Wild West slice-of-life the show was cancelled and the various narrative strands were left loose. But Deadwood (2019) returns one final time with a movie that further elucidates desperate times brimming with whores, bandits, con-artists, killers and a twisted and violent rendition of the American dream. With most of the original cast returning and the action set some ten years after the final season ended in 1889, here we find scores to be settled, relationships to be consolidated and revenging to be done.
The main thrust of the film shows nefarious Senator George Hearst at constant loggerheads with the townsfolk, especially the noble but angry Marshall Bullock; Trixie the prostitute who tried to kill Hearst; and Ian McShane’s gutter-mouthed bar owner, Al Swearengen. Al’s body and health are crumbling due to his heavy drinking and he becomes more a liver-failed spectator amidst the dirty narrative twists and turns.
Given it was more about the characters, performance and dialogue I actually didn’t mind the open-ending provided by the cancellation of the show. I liked that their lives just went on off-screen until they became the proverbial quintessence of dust. However, there is much to enjoy in getting a belly full of these hard-bitten, drunken characters again. As send-offs go the film is a filthy joy. I especially enjoyed seeing Timothy Olyphant as Bullock, Paula Malcolmson as Trixie, Ian McShane as Al; and the marvellous Robin Weigert as Calamity Jane. They all enrich the proceedings with incredible acting performances.
Deadwood may represent a series of distant Wild West memories but its’ grizzled and bloody vision of humanity is just as valid today. The streets of society now may have pavement and tarmac and skyscrapers but they are still besmirched with blood and greed and revenge of the Wild West. While arguably unnecessary this final film is an ebullient and entertaining drift back to the past with enough spittle, blood, anger, justice, love, profanity and mud to please the die-hard Deadwood fans.
TO BOLDLY REVIEW #6 – STAR TREK: NEXT GENERATION – SEASON 1
Based on Star Trek & Created by: Gene Roddenberry
Season 1 writers (selected): John F. Black, Diane Duane, D.C. Fontana, Maurice Hurley, Robert Lewin, Richard Manning, Kathryn Powers, Gene Roddenberry, Joseph Stefano, Tracy Torme etc.
Season 1 directors (selected): Colin Bucksey, Rob Bowman, Cliff Bole, Les Landau, Kim Manners, Win Phelps, Mike Vejar etc.
Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Denise Crosby, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton etc.
Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway
Production Company(s): Paramount Television, CBS Television
**THIS ARTICLE CONTAINS SPOILERS**
“MAKE IT SO. . .”
So, my cultural journey beyond the stars continues with a review of the first season of Star Trek: Next Generation. It took some serious time for what was originally known as Phase II to take off. Indeed, they finally hit warp speed during the late 1980’s. Roddenberry, the original Enterprise crew, plus swarms of Paramount employees had kept themselves busy with the ‘Original Series’ cinema releases, but, in 1986, a new TV series was announced.
Then, almost a year later in September 1987, Star Trek: Next Generation was released. TNG featured: a new crew, a more advanced class of Enterprise, and a variety of new aliens, planets and galaxies to boldly explore. While there was an initial decree to avoid all the old enemies from the original series, the Klingons, Romulans and more, slowly bled into the show as it was further developed.
FIRST CONTACT
Much has been written about Star Trek in general and the internet is brimming with articles, features, interviews, podcasts, fan films and documentaries which would take an immortal’s lifetime to read. So, my approach to this piece is to concentrate on the characters, narratives, themes and concepts which leapt out while watching it.
Overall, I really enjoyed most of Star Trek: Next Generation – Season 1. I have read that die-hard fans were resistant to the idea their favourite show from the 1960’s was getting a makeover. However, Paramount/CBS Studios chucked $1.3 million at each episode and shot on 35MM film, thus demonstrating a commitment to a quality product.
Even watching it now I am impressed by the production values, cast, direction and science fiction concepts. Obviously some of the effects are a bit dated compared to what we experience today but I always prefer in-camera effects and prosthesis, anyway. Having said that Star Trek has always been about strong ideas and themes for me.
In terms of story and character there are some very strong episodes and some pretty weak ones. Gene Roddenberry, his producers and raft of writers were, reported to be consistently at loggerheads throughout the production. So much so very few of the original TNG writing team remained by the end. It’s a testament to the rock-solid formula of the show that such issues did not hinder the ultimate consistency of entertainment while I was watching.
My main criticism is that some episodes felt like first drafts. Plus, there was, on occasions, a few episodes which were top heavy in set-up and rushed toward the end. Nonetheless, Roddenberry’s original format is always fascinating and you could certainly feel that when they successfully married: the science fiction concepts, characters, tone and dialogue you got many great episodes.
THE FAMILY UNIT
Holding the narratives and show together was an exceptionally brilliant set of actors. I mean, in the cold light of space, Star Trek: Next Generation could be deemed just men, women and aliens in silly outfits. Of course, we know it’s much more intelligent than that. So with acting heavyweight Patrick Stewart leading the way, all the cast were committed to their roles formidably. They had to be for it to work so well.
To me TNG was structured around a quasi-family unit, as opposed to the naval/military hierarchy of the ‘Original Series’. Captain Jean-Luc Picard majestically leads from the front with authority and a keen sense of fair play. Dr Beverly Crusher is the pseudo-matriarch, both professional and caring. Further, the other main members of the crew are, very loosely speaking, the children.
Riker I’d suggest is the first son and heir apparent, closely followed in the hierarchy by Geordi. The likes of data and Wesley are the younger, gifted children, full of intelligence and enquiry. The sensitive, Troi and tougher Yasha represent the older daughters, while I’m not quite sure how the Klingon, Worf, fits in. Perhaps, he’s a bastard son or long lost cousin seeking affirmation of the family unit. Thus, these characters as a ‘family’ support the spine of the show, all combining with varying strength and characteristics to form a whole that propels both drama and emotion.
THE REST IS HISTORY. . .
Star Trek: Next Generation consisted of TWENTY-SIX episodes!! While no doubt well paid, this remains an incredible workload for the cast and crew. Initially, the season got off to a difficult start in terms of ratings and reviews. Nonetheless, by the end of the season , the class of the production and format shone through. Furthermore, it would be nominated for seven Emmy TV awards. Ratings would also improve and it became the highest rated syndication series by the end of the run. To conclude, I would like to look at six episodes from season 1 which I felt stood out while I watched them.
THE BIG GOODBYE – EPISODE 12
The ‘Holodeck‘ plays a huge part in the series as a whole. It’s a fantastic way to marry the past and future together. In this clever episode Picard attempts to escape into one of his favourite film noir simulations but gets more than he bargained for. Then when the holodeck malfunctions, Picard and his crew find themselves in the midst of a simulated “real-life” and perilous gangster mystery.
DATALORE – EPISODE 13
I love a good Jekyll and Hyde story and this one explores the origin of much respected android, Data. Brett Spiner is such a good television actor and he nails both roles as Data and his “brother” Lore, who, as genre conventions require, is basically bad Data and hell-bent on taking control of the Enterprise.
HEART OF GLORY – EPISODE 20
Obviously the stories involving the Federation are always interesting but often I really enjoy the more personal narratives. In this episode Michael Dorn as Worf finds his allegiances between the Enterprise and fellow Klingons tested. It’s a fine character exploration as we get to see Worf’s warrior persona versus the more reasoned Starfleet side.
THE ARSENAL OF FREEDOM – EPISODE 21
War, or threat of war has always been at the heart of many great episodes. The concept that a planet of arms dealers who are killed by their own hi-tech product was a great idea. It also gave the crew and Enterprise major threats on the planet they visit and in space. The action, character development and suspense make this a very thrilling episode all-round.
SYMBIOSIS – EPISODE 22
Social commentary was a key component of the ‘Original Series’. Many episodes tapped into the zeitgeist of the 1960’s issues relating to war, race, religion and gender etc. TNG continued this tradition with Symbiosis which expertly explores the nature of narcotic addiction and how it can be exploited to negative effect by an alien race. I especially enjoyed the grey ending where the ‘Prime Directive‘ comes into play.
CONSPIRACY – EPISODE 25
A major rule throughout Star Trek is that the Federation is not to be shown as corrupt. There have been exceptions to this in certain feature films and they get around this in Conspiracy with the Federation top brass invaded by parasitic aliens. The narrative was very strong and felt like a feature film story in scale. I also loved the David Cronenberg-style monsters appearance in the gory finale.
Created by: Brian Koppelman, David Levien, Andrew Ross Sorkin
Writers: Brian Koppelman, David Levien, Andrew Ross Sorkin, Lenore Zion, Michael Russell Gunn, Adam R. Perlman, Alice O’Neill etc.
Directors: Colin Bucksey, Adam Bernstein, Neil Burger, Matthew McLoota, Jessica Yu, Laurie Collyer, Naomi Geraghty
Starring: Paul Giamatti, Damian Lewis, Maggie Siff, Malin Åkerman, Toby Leonard Moore, David Costabile, Condola Rashād, Asia Kate Dillon, Jeffrey DeMunn, John Malkovich, Kelly Aucoin, Stephen Kunken, Nina Arianda, Kevin Pollak, Clancy Brown etc.
Distributor: Showtime Network
**CONTAIN SPOILERS of BILLIONS – SEASONS 1 – 3**
One of the great sober pleasures in life and culture is finding a great television show and digging into it from the start. Don’t get me wrong, I love doing catch-up binges of programmes I missed first time. Indeed, I recently just finished imbibing seven mercurial seasons of the amazing Mad Men. Yet, having watched it from the outset, Billions, has now become a high priority watch for me every year.
Season 4 once again delivers all that I want from my Billionsfixation. If you haven’t seen it then it is essentially about spoilt, rich narcissists at the higher echelons of American justice and business trying to destroy each other. The first three seasons found Paul Giamatti’s legal demon battling Damian Lewis’ financial titan. It’s good old fashioned revenge drama, with a reliance on proper plotting, sharp dialogue and an amazing ensemble cast.
The latest season begins with amazingly, Chuck and Bobby, enjoying a kind of peace, assisting each other against various foes. All the same themes are in place with greed and power destroying love and trust, except, if I’m not mistaken, the narrative beats are even faster-paced and brutal. Amidst the back-stabbing dramatics though the writers do find some time for wicked humour; especially in the very funny episodes,Chickentownand American Champion.
But the main reason for watching is to experience these corporate and legal vipers bite each others faces off. Indeed, the devious plots that are set in motion are quite breath-taking. The writing is as twisted as a corkscrew plunged into the forehead. Moreover, the cast just relish playing these characters with Lewis, Giamatti, Maggie Siff and David “Wags” Constabile regularly stealing scenes from each other.
As Bobby’s 4 nemesis, Taylor Mason, Asia Kate Dillon was also brilliant. The sub-plot involving her fathers’ (Kevin Pollak) start-up technology firm was especially strong, proving that mixing family and business relationships are doomed in this world. I’d also say Chuck’s battle with Attorney General Jock Jeffcoate (Clancy Brown), was arguably a major highlight of a very strong season. Perhaps John Malkovich’s Russian Oligarch could have been given more to do, but overall, the Machiavellian machinations of Billionshad me gripped from start to finish. It was, literally, the absolute business!
Created and written by: Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard & Ben Willibond
Directed by: Tom Kingsley
Producer: Matthew Mulot
Starring: Lolly Adefope, Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Laurence Rickard, Charlotte Ritchie, Kiell Smith-Bynoe, Ben Willibond, Katy Wix etc.
Original Network: Six Episodes on BBC1
**MAY CONTAIN SPOILERS**
After the horror viewing that was Chernobyl (2019), police corruption inLine of Duty (2019), and general death and drama of Game of Thrones (2019), I decided I needed a bit of a laugh. So, I watched six lovely episodes of the hilarious BBC comedy show called Ghosts (2019). Not to say there isn’t death in the show; after all it is about ghosts! But it’s a fantasy comedy that is so likeable and full of daft characters that you cannot help but feel your spirits lifted after watching it.
The story concerns a late twenty-something couple, Alison (Charlotte Ritchie) and Mike (Kiell Smith-Bynoe), who, like many people in the city are financially stretched and looking for somewhere to live. With property prices high and a severe lack of wealth, all they can afford is the equivalent to an urban rabbit hutch. Then, suddenly, Alison inherits a gigantic house in the country from a forgotten Aunt and fortune seems to shine on them. But it’s not all it is cracked up to be. The house is a crumbling mess of a |”money pit”; plus they have some spectral “guests” who do not want them there.
Ghosts – Picture Shows: Lady Button (MARTHA HOWE-DOUGLAS), The Captain (BEN WILLBOND), Julian (SIMON FARNABY), Kitty (LOLLY ADEFOPE), Mary (KATY WIX), Thomas Thorne (MAT BAYNTON) – (C) Button Hall Productions – Photographer: Mark Johnson
Joining the very likable couple is a tremendous ensemble of gifted comedy actors who portray multiple characters, notably the ghosts who died and are consequently trapped on the property. The sheer number of characters means they all vie for laughs; however, the writing is witty and fast-paced with a succession of verbal, physical and slapstick humour. There are some particularly inventive running gags and I especially loved the ghosts from the plague pit in the basement, who happen to be plumbing experts due to close proximity to the boiler. Other characters veer toward stereotypes, notably Simon Farnaby’s sleazy, trouser-less MP, yet, the brilliant comedic performances breathe energy and life into the all the ghostly incarnations.
Comedic ghost stories are hardly the most original template. Indeed, I grew up watching and enjoying the very silly Rentaghost (1976 – 1984). Plus, films such as:Blithe Spirit (1945), Ghostbusters (1984) and Beetlejuice (1988), all use the supernatural within humorous scenarios. So, if you want similar entertainment I’m NOT afraid to say in terms of the head-spinning rate of gags and funny situations, Ghosts, is frighteningly good.
Executive Producers: Craig Mazin, Carolyn Strauss, Jane Featherstone
Producer: Sanne Wohlenberg
Directed by: Johann Renck
Starring: Jared Harris, Stellan Skarsgard, Paul Ritter, Jessie Buckley, Emily Watson, Con O’Neill, Adrian Rawlins, Sam Troughton, Robert Emms, David Dencik, Ralph Ineson, Barry Keoghan etc.
Composer: Hildure Guonadottir
Cinematography: Jakob Ihre
**MAY CONTAIN SPOILERS**
The horror. The human error. The inhumane error. The terror. Meltdown during a safety test. Flaws in the system as ghosts envelop the machine. Science in a brave new world invents progress with which we venture into, only to find we are murdering ourselves.
The terrifying events which took place are chartered with grey, brutalist accuracy. Regular Soviet families live in proximity to a ticking time bomb; believing they are protected by the State. The State trusts the science. The science trusts men to follow nuclear procedures to the letter. But what of pride? What of targets? What price the desire to obsess and force a flawed system?
On that fateful day on 26th April 1986, the nuclear time-bomb exploded. Initially, it was believed it could be contained. The Soviet machine could handle the fallout. Heat. Water. Steam. Graphite. Fire. All conspire to create one of the biggest disasters ever perpetrated against nature.
The Chernobyl nuclear disaster is well documented but for years the alleged truth was covered up. Death toll rose but official statistics stayed low. Naked miners, radiation sickness, blood, pus and falling hair. Style and look was natural and under-stated. Verisimilitude only heightening the horror.
Johann Renck directs with steely commitment from an incredible Craig Mazin screenplay. Jared Harris, Stellen Stensgaard, Jessie Buckley and Emily Watson lead a stirling cast of formidable character actors. The attention to detail in the HBO production is second-to-none. Thankfully the vicarious fear is palpable and I am able to view such events in the comfort of my own home.
We did this to ourselves but it could have been worse. When will humanity learn that we will bring about our own judgement on Earth. The Scientists led by Valery Legazov and composite character, Ulana Khomyuk, fought at length to contain and prevent this ever happening again. Who really believes it won’t? There are approximately four hundred and fifty nuclear power plants in the world. The threat hangs over humanity like a cancer.
I was at school in April 1986. Just sixteen years old. I saw events on the news. Historical dramas such as Chernobyl make real the fear that was there at the time. The site is still poisoned. The exclusion zone remains two-thousand and six-hundred square metres; uninhabitable for twenty thousand year, according to an online source. This event teaches us to never take anything for granted. We have built our own gallows.
1986. Former Soviet Union. Ukraine. Pripyat. Chernobyl Nuclear Power Plant. Disaster. Recovery. Suppression. Lies. Liquidation. Death. Suicide. Exclusion.
“Lord of Light! Come to us in our darkness. We offer you these false gods. Take them and cast your light upon us. For the night is dark and full of terrors.“― Melisandre prays to R’hllor
Created by: George R.R. Martin, David Benioff, D.B. Weiss
Based on: A Song of Fire and Ice by George R.R. Martin
Executive Producers: George R.R. Martin, David Benioff, D.B. Weiss, Carolyn Strauss, Bernadette Caulfield, Bryan Cogman, Miguel Sapochnik, David Nutter
Producers: Mark Huffam, Frank Doelger, Chris Newman, Greg Spence, Lisa McAtackney, Bryan Cogman, Duncan Moggach
Writers – Season 8: David Benioff, D.B. Weiss, Dave Hill, Brian Cogman
Directors – Season 8: David Benioff, D.B. Weiss, Miguel Sapochnik, David Nutter
Main cast: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Maisie Williams, Liam Cunningham, Nathalie Emmanuel, Alfie Allen, John Bradley, Isaac Hempstead Wright, Gwendoline Christie, Conleth Hill, Rory McCann, Jerome Flynn, Iain Glen, Carice Van Houten etc.
**SPOILER FREE REVIEW**
THE BELLS!
Those damned bells. The first chime sent a chill in the air. Everything stopped for what seemed like an eternity. The second chime clanged. The third and then the fourth and suddenly the fate of a television show went from glorious triumph to a just about earned pyrrhic victory by the final episode credits. Thus, in the space of a minute or so, and the carnage that followed, Game of Thrones virtually threw seven seasons and 5 episodes under a narrative bus.
I’m of course talking about a key character and plot wrench in Season 8, episode 5, called The Bells. While what followed after Queen Daenerys’ decision to carry out her actions, was as spectacular a television set-piece as you could ever see, unfortunately it led to a badly judged final episode called The Iron Throne. In this final episode the writers gave us a series of baffling creative decisions which flew in the face of character arcs and also many rules of the Westeros world. Don’t get me wrong, strong shocks and massive twists have always been part of the books and show. However, some of the decisions made were just mystifying.
“NOT TODAY!”
This is a spoiler-free and more emotional outburst so I won’t go into specifics. In my review of Season 7 — found here — I defended the writers, who I believe could be forgiven some sleight-of-hand contrivances and geographical inconsistencies, because the show was still one of the most entertaining programmes around. Conversely, the first seven seasons gave me some of the greatest televisual enjoyment I have ever experienced. Moreover, the novels are an incredible testament to the brilliant imagination, scope and mind of author George R.R. Martin.
In terms of character, plotting, dialogue, action, reversals, twists, shocks, romance, performance, political intrigue, editing, direction and jaw-dropping-heart-pounding-tension Game of Thrones is ONE OF THE GREATEST TV SHOWS EVER! Moreover, as aforementioned, George R. R. Martin’s books are just something else too. Indeed, the third book, A Storm of Swords, is one of the best works of fiction I have had the pleasure to read. But yet, Season 8 had some more amazing action and events too. It’s just THAT ending; THAT final episode.
Highlights of Season 8 were the build up to the attack by the dead. Winter had finally arrived i.e. death. It comes for us all and our heroes were witnessing a manifestation of death via the White Walkers and Others; all led by the ghoulish Night King. Then when battle commenced the third episode called The Long Night, was an incredible action feast, containing moments of high drama, horror and heroism from many characters we have come to love and even some we hate.
I didn’t even mind that the black night meant it was difficult to see some action. Moonlight, fire, the Red Women and dragons lit up the sky enough to see what was occurring. The blackness was in context and added to the doom facing our characters. My issue was that the fight with the Night King was an end-of-the-world event. Surely, this battle should have closed the show. But no, there was more to follow; the final battle for the Iron Throne itself. In my view, anything following The Last Night could be open to anti-climax. So, it proved.
HEROES AND VILLAINS
Let me reiterate: I still loved Season 8 and I DID NOT SIGN A PETITION for the writers to take the black! These so-called fans signing on-line petitions need to get a life and if they want to take a stand need to take a good LOOK AT THE REAL WORLD! But there was no smoke without fire for the online pitchfork hordes. I too did not agree with how rushed the final season was and many of the character choices that were made. During The Long Night and The Bells episodes I witnessed two of the finest television episodes ever seen from a production perspective. They were jaw-dropping. But from a structural stand-point they were as broken as Bran.
It would appear the showrunners were working from George RR Martin’s template as to how it may end. However, we definitely got a bullet-point conclusion; leaving it hitting certain emotional plot events without earning them. Basically, the complexity of characterisation was lost in favour of wrapping up the storylines too quickly. However, I still cannot praise the massive crew and cast who made this TV show. It genuinely made my life worth living from a cultural perspective.
WINTER HAS GONE!
The main reason for watching and loving the show was for the heroism in the face of death and darkness. Life can be shitty and tough and Game of Thrones was about escape for me. Personally, I felt characters such as Jon Snow, Daenerys and Jamie deserved more heroic endings, but instead got disappointing ones. Similarly, Cersei’s visceral flame just fizzled out. I know they aren’t real people but I wanted their conclusions to be more rousing. The likes of Arya, Sansa, Brienne of Tarth, Samwell Tarly; and even Sandor Clegane got somewhat satisfying endings. I guess you can’t have everything, though.
Don’t get me wrong, Game of Thrones has a propensity to surprise and shock and amaze and it definitely did that in Season 8; right up until THAT vanilla ending. Because as the troubadour once sung, “It’s better to burn out than fade away;” so it’s a shame the lord of light diminished somewhat at the end. Still, it’s all about the journey and the quest rather the final destination. Winter and come and winter has gone and it’s a one I will never forget!
Writer(s): Matthew Weiner, Michael Goldbach, Mary Sweeney, Semi Challas, Andre Jacquemetton, Maria Jacquemetton, Donald Joh, Kris Turner Towner etc.
Composers: Anton Sanko, David Carbonara, Giona Ostinelli, Sonya Belousova, Marcelo Zarvos etc.
Cinematography: Christopher Manley
Original Network: Amazon Studios
**MAY CONTAIN SPOILERS**
Matthew Weiner and his production team were behind one of the most brilliant television series of recent years in Mad Men. The quality of writing, directing, acting, art direction and attention to period detail on that show was incredibly rich. Overall, Mad Men wasn’t about big surprises and massive plot twists, but rather strong characterisation, evocation of an era and dense analysis of existential moments within romantic, family and industrial relationships.
Weiner’s next project The Romanoffs, finds him in a similar character driven mode. It’s a contemporary anthology series about people who are descendants of the Russian Royal family. The eight stories loosely connect but mainly stand alone, dealing with the lives, loves, turmoil and deaths of privileged people. As such mostly first world and high class problems abide. Altogether, the productions are expertly presented with Amazon clearly throwing a lot of money at them.
As they are self-contained narratives I have decided to order them in personal preference, rather than Amazon’s air order. Thus, here are said mini-reviews with usual marks out of eleven.
THE ONE THAT HOLDS EVERYTHING (EPISODE 8)
Main cast: Hugh Skinner, Hera Hilmar, Ben Miles, JJ Feild
This is the final story in the series and they saved the best until last. It is an incredibly dark exploration of family conflict that traverses the life of Hugh Skinner’s tragic Simon Romanov. Flash-backs entwine with flash-backs as his story unfolds from various perspectives. The script is incredible and certainly one of the best stories I have seen all year.
Mark: 10 out of 11
HOUSE OF SPECIAL PURPOSE (EPISODE 3)
Main cast: Christina Hendricks, Isabelle Huppert, Jack Huston, Paul Reiser
This is an absolutely brilliant satire about the filmmaking process. It finds Hendricks’ movie star on the crazy set of Isabelle Huppert’s eccentric director. The narrative channels horror, surrealist, comedy, drama and romance genres with a complex screenplay. Huppert and Hendricks are superb; as is the jaw-dropping ending!
Mark: 9 out of 11
BRIGHT AND HIGH CIRCLE (EPISODE 5)
Main cast: Diane Lane, Ron Livingston, David Patton
Thematically very strong, the story finds Diane Lane and Ron Livingston as wealthy parents whose children may or may not have been abused by their piano teacher. It’s a subtle exploration of middle class paranoia and universal fear glued together by a superlative performance from Lane.
Mark: 8 out of 11
END OF THE LINE (EPISODE 7)
Main Cast: Kathryn Hahn, Jay R. Ferguson, Annet Mahendru
Like the very watchable Netflix film Private LIves (2018), this story finds Kathryn Hahn portraying another parent desperate for a child. Hahn and her husband, Ferguson, travel to Vladivostock to adopt a Russian child and face all manner of cultural, geographical, health and language barriers. It’s an absorbing piece which really drags you in but ultimately the drama felt protracted by the end.
Mark: 7.5 out of 11
PANORAMA (EPISODE 6)
Main cast: Radha Mitchell, Juan Pable Castaneda, Griffin Dunne
More travelogue and history lesson with a mild romantic drama added, this story promises much but peters out by the end. Castaneda’s journalist investigates medical malpractice but it’s left to Radha Mitchell and the wonderful setting of Mexico City to provide the emotional depth.
Mark: 7 out of 11
THE VIOLET HOUR (EPISODE 1)
Main cast: Aaron Eckhart, Marthe Keller, Louise Bourgoin, Ines Melab
What starts off as a fascinating culture clash dramedy between an elderly racist and her Muslim carer, strangely left-turns into an tacked-on romance story. The cast are excellent and there’s some fine dialogue but it felt unbelievable toward the end for me.
Mark: 6.5 out of 11
THE ROYAL WE (EPISODE 2)
Main cast: Kerry Bishe, Corey Stoll, Janet Montgomery
Mid-life crises and male “seven-year itches” drive the narrative as a bunch of selfish and adulterous actions made me hate Stoll’s character. The Jury Service scenes are interesting but aside from Kerry Bishe’s decent character, I found this a painful way to spend eighty-or-so minutes.
Mark: 6 out of 11
EXPECTATION (EPISODE 4)
Main cast: Amanda Peet, Emily Rudd, John Slattery
Amanda Peet’s character has a bad day – THE END! Even the appearance of the mercurial John Slattery cannot save this disappointingly empty story.
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