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Reviews, Television

CLASSIC BBC TV REVIEW – BODIES (2004 – 2005)

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CLASSIC BBC TV REVIEW – BODIES (2004 – 2005)

Created by: Jed Mercurio

Writers: Jed Mercurio, Rachel Anthony, Richard Zajdlic

Directors: Jed Mercurio, John Strickland, Richard Laxton, Jon East, Iain B. Macdonald, Douglas Mackinnon,

Cast: Max Beesley. Patrick Baladi, Neve McIntosh, Keith Allen, Susan Lynch, Tamzin Malleson, Preeya Kalidas, Simon Lowe, Hattie Morahan, Vicky Hall, Nicholas Palliser etc.

No. of Episodes – 17 (over two seasons and one-off special)

Original Network: BBC (can now be viewed on BBC IPlayer)

**MAY CONTAIN SPOILERS**

Creator and writer Mercurio is a bulletproof show-runner; a genre writer with a proven hit rate whose work almost always brings commercial, critical and audience success. Having achieved early TV writing acclaim with dark medical comedy, Cardiac Arrest (1994-1996), Mercurio’s next drama Bodies (2004 – 2005) was another critical hit. Latterly, Bodyguard (2018) and Line of Duty (2012 – present) have also proved highly successful.

Undeniably, Line of Duty is a massive hit for the BBC. It has received awards and nominations from: the Royal TV Society, the Writers’ Guild and BAFTA. Moreover, it was also voted in the top BBC shows of all time. While I tend to avoid medical and police procedural dramas as a mild rule, due to the overly-saturation of such programmes on television, Mercurio’s work always draws me in. Thus, I decided to re-watch Bodies (2004 – 2005) on the BBC IPlayer and I’m both glad I did and didn’t to be honest.

I’m glad I watched it because it contains some of the most tense drama you can ever experience. I wish I hadn’t because it contains some of the most visceral medical operations and birthing situations you could ever witness. In fact, all Peckinpah, Carpenter and Tarantino films combined contain less blood than Bodies. Indeed, the ultra-realism of the gynaecological operations on show should contain a health warning of their own. No surprise the make-up and prosthetic effects team on the programme won many awards.

Based on Mercurio’s book of the same name, the narrative is inspired by his experiences working in the National Health Service. An ensemble cast impresses, but the lead protagonist is specialist registrar, Rob Lake (Max Beesley). He is a skilled Doctor who joins the Obstetrics and Gynaecology ward at fictional South Central Infirmary. Rob isn’t particularly likeable and Beesley is directed to portray him as a serious and surly Northern bloke. While still learning his trade he is an excellent surgeon though, with a keen sense of what is right.

The first series of six episodes is incredibly tightly wound and suspenseful because Lake finds himself in a number of medical and moral dilemmas. This is due to his clashes with his boss, Dr Roger Hurley (Patrick Baladi), who is prone to making severe errors during medical procedures. Consequently, during these pulsating scenes of medical trauma my heart was not so much in my mouth but on the floor. Having scooped and swallowed it back up, the fast pace of first season soon delivers further nerve shredding life and death situations.

Season Two is not quite as brilliant as Season One. While containing more incredibly vivid moments of birthing madness, it is over-stretched by an extended ten episode run. Plot-wise it carries on in a similar vein with Lake, Hurley and the toxic masculinity of Dr Tony Whitman (Keith Allen), all clashing within the hospital wings and operation rooms. Their conflicts endanger patients lives as they continually venture into dangerous games of one-upmanship. Added to the deadly apothecary are the politics on the ward, gender, sexual and class. Moreover, there’s the over-arching bureaucracy and target-led NHS managers poking their statistics in. These budget-scrabbling pen-pushers arguably kill more patients than the warring Doctors, mainly due to their incessant bean-counting, biscuit-eating and public relation drives.

Overall, while I have made this sound like a heavy drama or horror genre programme, it is in fact also darkly funny. Mercurio has a knack of taking the most grim circumstances and injecting doses of sardonic humour throughout. There is also gallons of blood and a lot of sex too; probably too much in the first season. But, I get that the theme of the human body was being explored very thoroughly, in more ways than one. Am I the only person who is not a fan of overt sex scenes in films or on television, even if they are in context?

Be warned, if you are scared of hospitals, or operations or about to have a child — DO NOT EVER WATCH THIS SHOW! It is brilliantly scripted and acted, but it will give you nightmares. I mean the Doctors, Nurses and medical staff of the NHS do an incredible job saving lives, so this show should not be a reflection of actual health care in the United Kingdom. If it is though, the phrase: “Trust me, I’m a Doctor” is never as scary as it is in Bodies.

Mark: 9 out of 11

Comedy, Reviews, Television

GHOSTS (2019) – BBC TV REVIEW

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GHOSTS (2019) – BBC TV REVIEW

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 in Line 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.

Mark: 9 out of 11

New Releases, Reviews, Television

IN PRAISE OF BBC’S LINE OF DUTY + SEASON 5 – TV REVIEW

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BBC’S LINE OF DUTY & SEASON 5 REVIEW

Created and Written by Jed Mercurio

Directors (Season 5): John Strickland and Sue Tully

Cast (Season 5): Taj Atwal, Martin Compston, Adrian Dunbar, Stephen Graham, Anna Maxwell Martin, Vicky McClure, Rochenda Sandall, Polly Walker etc.

I was slightly late to the Line of Duty corrupt police drama party. Thankfully, I caught up with it by watching the first four seasons on Netflix. The fifth season has just completed a run over the last six weeks on BBC1 and thoroughly thrilling it was too. Creator and writer Mercurio is a bulletproof show-runner; a genre writer with a proven hit rate whose work almost always brings commercial, critical and audience success.

Having achieved early TV writing acclaim with dark medical comedy, Cardiac Arrest (1994-1996), Mercurio’s subsequent drama Bodies (2004 – 2005) was another critical hit. Latterly, Bodyguard (2018) and Line of Duty (2012 – present) have also proved highly successful. Undeniably, Line of Duty is a massive hit for the BBC. It has received awards and nominations from: the Royal TV Society, the Writers’ Guild and BAFTA. Moreover, it was also voted in the top BBC shows of all time. Therefore, after the success of Season 4 on BBC1, Season 5 was awaited with great anticipation.

THE LANGUAGE OF LINE OF DUTY

If you haven’t seen Line of Duty then it is highly recommended as quality genre storytelling. Over five seasons it has received much media attention and a strong fan following. It’s also fun looking out for the tropes, genre expections and language built into the classic cop drama. So, a game of Line of Duty bingo would certainly include:

  • AC12’s lead characters: DS Steve Arnott, DI Kate Fleming and Superintendent Ted Hastings will be committed to nicking bent coppers.
  • Massive and unexpected plot twists.
  • Untimely deaths of major characters.
  • Police Officers being bigger criminals than actual crooks.
  • The main antagonist will likely be revealed early on to the audience like an episode of Columbo.
  • Brilliantly written and lengthy police interview scenes often dominate whole episodes.
  • The main antagonist can at any time be superseded by a bigger antagonist like an episode of ‘24‘.
  • Main antagonists will be played by well known actors such as: Lennie James, Keeley Hawes, Daniel Mays and Thandie Newton.
  • Minor sub-plots will often blow up into being the main plot.
  • Red herrings galore with misdirection and cliff-hanger writing tricks becoming legion.
  • Line of Duty language and catchphrases have become culturally familiar including: “Fella”; “Mother of God”; “Bent Coppers”; and my favourite: “DCI. . . has the right to be questioned by an officer at least one rank senior.”
  • Fantastic hard-boiled one-liners and dialogue that Raymond Chandler would be proud of.

I could go on but I can highly recommend all five seasons of the show. While it exists within the police drama genre the lead characters are well written. Not simply basic binary heroes, they are complicated humans, yet highly determined and professional. The plots are serpentine and often become very complex, threatening to swallow their own tail at times. Nonetheless, if Alfred Hitchcock created a long running crime drama then Line of Duty would be it.

LINE OF DUTY – SEASON 5 REVIEW (WITH MINOR SPOILERS)

Season 5 began with an all action and breathless opening couple of episodes. Yet, by the end it transformed into a claustrophobic, theatrical and tense police interview showdown. While Season 4 found Thandie Newton desperately trying to evade capture using her intelligence and guile, Season 5 was more explosive. Opening with a pulsating robbery, with an OCG (Organised Crime Group), raiding a police vehicle convoy carrying confiscated drugs and weapons; AC12 were soon hunting armed robbers and investigating the death of several Police Officers.

The head of the crime gang is, or so we think, John Clayton. He is portrayed by fine character actor, Stephen Graham. It soon turns out Clayton is not what he seems and is playing a very dangerous game as an undercover cop. But, is Clayton still undercover or has he gone rogue? Clayton’s gang are not to be crossed and their boss is an anonymous high-ranking corrupt Police Officer referred to only as ‘H’. They communicate via computer text software, thus creating a fog of invisibility and suspicion.

As the various plot strands ravel and unravel further robberies and murders occur, with Mercurio creating a series of tense stand-offs and action set-pieces. The stakes get higher and higher until our very own Ted Hastings becomes number one suspect in the chase for ‘H’. Adrian Dunbar as Hastings is especially brilliant in this season. His character finds his whole life and history turned upside down and in freefall. I mean, could this beloved character be the arch-nemesis? The conflict created by Mercurio is totally absorbing until the very final reveal.

Overall, one could argue that Season 5 goes too far to attempt to out do the previous seasons. However, I loved both the complexity and familiarity of what I was watching. The action, suspense, twists, doubt, shocks and ‘whodunit’ plot were played to perfection. We also got a bit of characterisation amidst the heavy plotting as we found out about: Hastings’ history in Northern Ireland; Fleming’s family issues; and the impact of Arnott’s spinal injury (from a violent attack in Season 4). We also got some new characters such as the formidable DCS Carmichael featuring a stand-out performance from Anna Maxwell Martin.

Ultimately, this is a cops and robbers show which plays the numbers very well. Furthermore, like a game of bingo you never know the order the numbers will come out, who’ll win or lose and whether the game is, in fact, rigged so no one really profits in the end.

Mark: 9 out of 11

Comedy, Reviews, Television

FLEABAG – SEASONS 1 & 2 – BBC TV REVIEW

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FLEABAG – SEASONS 1 & 2 – BBC TV REVIEW

Created and Written by: Phoebe Waller-Bridge

Directed by: Harry Bradbeer

Producers: Lydia Hampson, Sarah Hammond

Starring: Phoebe Waller-Bridge, Sian Clifford, Olivia Colman, Brett Gelman, Hugh Skinner, Bill Paterson, Jamie Demetriou, Jenny Rainsford, Hugh Dennis etc.

Composer: Isobel Waller-Bridge

Cinematography: Tony Miller, Laurie Rose

**MAY CONTAIN SPOILERS**

This melancholic, painful and chaotic home for middle-class grotesques and excruciatingly awkward comedy situations involving, Phoebe Waller-Bridge’s barely-surviving-human being-the-titular-‘Fleabag’, shouldn’t really work as entertainment. Yet, it does because of: brilliant writing, dark, honest humour, existential depth, almost-cinematic production values; genuine star quality from Waller-Bridge; and a cast on top of their game.

First-world-very-white yet universal human problems are legion in two seasons of twelve breathless episodes. We join our nameless anti-hero scraping through life in the midst of doubling grief, following the recent deaths of her mother and close friend/business partner. No doubt the chattering twenty-something classes are full with “I’m just like Fleabag!” recognition. Nonetheless, there’s something to enjoy for those who love to experience raw, human frailty on screen too.

‘Fleabag’ fights flailing moods, business and family issues in contemporary status-symbol London. Using sex to block out her pain in the first season, ‘Arsehole Guy’ and ‘Bus Rodent’ are two such crutch-like paramours who, along with on-off-ex-boyfriend, Harry, are given the physical and emotional run-around. In the less bawdy second season she falls for an uber-cool Catholic Priest (Andrew Scott). Thus, the lashings of sex from the first season gives way to more interesting abstinence and romantic torture for ‘Fleabag’.

With her best mate dead from a tragic accident ‘Fleabag’s’ sword and shield against life is gone and attempts at bridge-building with her family are fraught with strained agony. Her sister Claire (Sian Clifford), is tighter than a snare drum, existing solely on neurosis and a never-ending workaholic mission drive. The scenes between ‘Fleabag’ and her sister range from touching to hilarious to fractious dread. Meanwhile, their beta-male Father (Bill Paterson), is also grieving and a full-on emotional trainwreck. He finds himself a rabbit-in-the-headlights of Olivia Colman’s ‘Godmother’; a genius at passive aggressivity and unlikely arch-villain, quietly stealing the father away from his daughters.

Many hilarious and painful scenes play out around dinner tables, art exhibitions, parties, funerals, seminars, retreats and weddings. ‘Fleabag’ vainly attempts normality but understandbly fails. In addition to her family she also conflicts with other characters, notably Claire’s horrendous-alcoholic-overgrown-man-child-husband, Martin. I was genuinely shouting bile at the TV screen every time I saw him. Thankfully, Fleabag also features fine supporting roles from more likeable characters portrayed by the ultra-talented Fiona Shaw, Kristin Scott-Thomas and aforementioned Andrew Scott.

From Hancock to Steptoe and Son to Fawlty Towers to Blackadder to The Office to Spaced and to the most recent Gervais show After Life, British comedy has been replete with idiosyncratic and anti-heroic characters we root for. Indeed, it takes special writing and performances to get such shades of grey to work on stage and screen. Overall, Waller-Bridge takes familiar themes and situations and spins comedy and dramatic gold from them. Formally, she smashes the fourth wall with Brechtian direct address, welcoming us into her tumultuous reality, speaking to us and asking us to laugh and cry and love and hate and do what humans do: somehow just get through the day.

Season 1 – Mark: 9 out of 11

Season 2 – Mark: 9.5 out of 11

Netflix, Reviews, Television

THE CINEMA FIX: 12 FAVOURITE TV SHOWS OF 2018

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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

BILLIONS (2018) – S3 – SKY

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BLACK MIRROR (2017) – NETFLIX

Image result for BLACK MIRROR SEASON 4

BODYGUARD (2018) – BBC1

Image result for bodyguard season 1

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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Doctor Who, Reviews, Television

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

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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

Doctor Who, Reviews, Television

DOCTOR WHO –S11 – EP. 9 REVIEW – IT TAKES YOU AWAY (2018)

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DOCTOR WHO REVIEW – IT TAKES YOU AWAY (2018)

Directed by: Jamie Childs

Written by: Ed Hime

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Ellie Wallwork, Kevin Eldon, Christian Rubeck, Lisa Stokke 

Produced by: Nikki Wilson

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

Music composer: Segun Akinola

**MAY CONTAIN SPOILERS**

This episode, depending on your point of view, was either a strange, but moving science fantasy surrealist hybrid classic; or a collection of half-baked concepts that fell apart with an incredibly bizarre and silly ending.

Yet, It Takes You Away starts off very promisingly. For a start the title evokes suspense, mystery and an underlying sense of loss. The suspense builds when the Doctor and companions arrive in Scandinavia and are immediately faced with a mystery in the Norwegian wood. The beautiful landscape of blue fjords, green brush and scattered timber hide a dark secret within a boarded up cabin. The impressive cinematography also evokes an eerie atmosphere. Moreover, there’s a frightening monster hiding somewhere within nature. Or is there?

In the cabin, the Doctor finds a lone teenage girl, Hanne, blind and seemingly abandoned by her father. Of course, they all agree to help protect Hanne against the monster and find her father too. Up to this point the drama and mystery were intriguing and finely poised. Subsequent events descend to a strange place called the ‘Anti-Zone’. This is where it all begins to fall apart narratively speaking.

Emotionally the episode had some very powerful moments drawing on the breakdown of family relationships; Graham’s grief for the loss of his wife and whether it is better to live in or out of reality. However, within these fascinating themes were some stupid bloodsucking moths and the brilliant character actor Kevin Eldon was under-used as an underground demon-type creature. The less said about the ending the better, which I can only think was going for Twitter-like-clickbait trending rather than a coherent and believable pay-off.

The denouement, together with another massive exposition dump from the Doctor scrambling to convince us it all made sense, found the episode completely laughable.  It was a shame as it had some fine ideas and Bradley Walsh gave a moving performance as Graham. Ultimately though, this season of DoctorWho is flailing having started so promisingly and It Takes You Away plummeted to a new low.          

(Mark: 5 out of 11)

Doctor Who, Reviews, Television

DOCTOR WHO – SEASON 11 – EPISODE 5 REVIEW: THE TSURANGA CONUNDRUM  (2018)

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DOCTOR WHO – SEASON 11 – EPISODE 5 REVIEW: THE TSURANGA CONUNDRUM  (2018)

Directed by: Jennifer Perrott

Written by: Chris Chibnall

Produced by: Nikki Wilson

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

Cast:   Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Brett Goldstein, Ben Bailey-Smith, Suzanne Packer etc.

**MAY CONTAIN SPOILERS**

The_Tsuranga's_Passengers

Well, this was a lot of fun. I really connected with this latest adventure, which found the Doctor and her crew initially scavenging on an alien junkyard planet, before suddenly being caught in a surprise sonic explosion. They wake aboard the Tsuranga – which is an automated space hospital – like a flying version of the National Health Service. Discombobulated and injured from the mine explosion the Doctor, companions, Tsuranga’s crew and patients are soon to be faced with an even bigger danger.

Small but devastating the danger is called a P’Ting. It’s a creature that scoffs non-organic material; a cute looking eating machine that will devour the ship. It attacks the vessel and begins literally eating it out of space-ship and home.  The Doctor, aided by the ship’s medical staff Astos and Mabli; plus General Eve Cicero; her brother Durkas; synth robot Ronan; and Yoss, a pregnant man are all threatened by the darned P’Ting. I wondered if there was some sociological subtext to the P’Ting as it eats its way through the hospital in space, with Chris Chibnall critiquing the devastation of the NHS by the Tories. However, this message wasn’t to the fore and overall it was essentially a fun genre episode with lots of action and humour throughout.

Doctor-Who-S11_Ep5_07.jpg

The standard genre set-up of a base/ship under siege is a Doctor Who staple. Despite the simplicity of the plot, it felt fast-paced and thrilling to me. The guest stars were excellent too, notably the comedian Brett Goldstein who stood out during his time on screen. There was some silliness with Ben Bailey-Smith’s Durkas rigging up a nebulous engineering control to pilot the crashing Tsuranga; nonetheless the entertainment levels remained very high. I especially enjoyed the humour and emotion gained from the alien bloke (who looked very human) giving birth; while Tosin Cole’s Ryan examined further his own relationship with his estranged father. Overall though, this was another light and uncomplicated episode from Chibnall, Whittaker and the team, but one that had me laughing and thrilled throughout.  

Mark: 8 out of 11

Doctor Who, Reviews, Television

DOCTOR WHO – SEASON 11 – EP. 4 REVIEW: ARACHNIDS IN THE UK (2018)

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DOCTOR WHO – SEASON 11 – EPISODE 4 REVIEW: ARACHNIDS IN THE UK (2018)

Directed by: Sallie Aprahamian

Written by: Chris Chibnall

Produced by: Alex Mercer

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

Cast:   Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Chris Noth, Shobna Gulati etc.

Composer: Segun Akinola

**MAY CONTAIN SPOILERS**

Doctor Who Series 11

Having got lost in space and time looking for her TARDIS, the Doctor and companions were now, via a stop in 1950s Alabama, back in the UK, present. Just at the right time it would seem too as Sheffield was in the grip of a major arachnid problem. If like me you’re not scared of spiders this episode held no major fears, however, for those with arachnophobia it played out like the stuff of nightmares.

The TARDIS lands on Ryan and Yasmin’s estate and we are soon introduced to Yas’ mother, father and, from her point of view, irritating sister. Her mother, Najia, has a job working at a just-about-to-open plush hotel. Her father spends his time complaining and collecting rubbish building up on the estate. Now, I wonder if these situations will be connected to the spider problem. Yes, I wonder?

Meanwhile, Graham and Ryan are faced with the continued grief over the loss of their loving wife and Aunt, Grace. Her ghost appears to Graham and Sharon D. Clarke performance adds a welcome emotional pull to the spider shenanigans. It also gives Graham and Ryan’s characters interesting depth as we continue to empathise with their loss.

Spider_(Arachnids_in_the_UK)

One would think the spiders would be the main monsters of the episode but they are not. Indeed, humans and capitalist corporations are often the biggest fiends within Doctor Who and that is no different in Arachnids in the UK. Hollywood actor Chris Noth as obnoxious American businessmen, Robertson, fires people and refuses to take any responsibility for the toxic contamination which causes the spiders to grow exponentially. Chris Chibnall has fun having digs at this Donald J. Trump clone and while Noth’s performance is a bit over-the-top, it’s in keeping with the B-movie horror tone of the episode.

Overall, this is a lighter episode than the previous week’s Rosa, but the giant spiders were quite frightening. Furthermore, the social commentary about environmental dumping of waste added another layer to the narrative also. Jodie Whittaker offered another safe performance as the Doctor although the storyline hardly stretched her talents. I thought Bradley Walsh gave a moving turn as Graham and the final scenes in the Tardis with the Doctor were memorable. Ultimately, Arachnids in the UK  was probably the weakest in the series so far, but it’s fast paced narrative and creepy crawlies filled the Doctor Who gap satisfactorily until next week.

Mark: 7.5 out of 11

Doctor Who, Reviews, Television

DOCTOR WHO – SEASON 11 – EPISODE 3 REVIEW: ROSA (2018)

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DOCTOR WHO – SEASON 11 – EPISODE 3 REVIEW: ROSA (2018)

Directed by: Mark Tonderai

Written by: Malorie Blackman and Chris Chibnall

Produced by: Nikki Wilson

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

Cast:   Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Vinette Robinson, Joshua Bowman

Music: Segun Akinola

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**MAY CONTAIN SPOILERS**

We now have the new Doctor, Companions, TARDIS and showrunner up and running. Therefore the new series of Doctor Who will sink or swim going forth based on the quality of the writing. Rosa written by acclaimed author Malorie Blackman and Chris Chibnall was an excellent episode which expertly combined socio-political, historical and science-fiction situations.

Malorie Blackman is an experienced writer with many books published;  and has written for Doctor Who before, providing one of the stories to the enjoyable Twelve Doctors: Twelve Stories audiobook I listened to this year. Rosa finds the TARDIS bringing the Doctor and pals back or forward to 1955, Alabama. There they find a nefarious character determined to change the course of history by stopping Rosa Parks’ legendary protest against segregation.

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Doctor Who has always used historical figures within their narratives including: Charles Dickens, Richard the Lionheart, Vincent Van Gogh, William Shakespeare to name a few. It harks back to the remit of the first Doctor’s era of desiring to educate and entertain; Rosa most certainly did that. It was also very moving as well as informative. Not only did it successfully give the audience a history lesson, it illustrated the vital importance of peaceful protest to achieve change. Moreover, it really pulled the companions, Ryan and Yasmin especially, into the emotion of the narrative as they suffer first hand racism from the ignorant people of Montgomery.

Overall, the episode zipped along and while the plotting had some wonky moments – mobile phones and Elvis, really!? – it contained some cracking gags; one zinger about artist Banksy was especially memorable. Also, Jodie Whittaker is finally settling into the role of the Doctor. She is a seriously good dramatic actor and I was pleased there were moments when the pace slowed to allow her work to breathe. In providing educational, historical and emotional resonance, Rosa, was an archetypal Doctor Who episode full of intelligent and poignant scenes. It also contained the scary idea that racism and prejudice are still present in the future!  Thankfully though, the Doctor and her companions, are here to help legends such as Rosa Parks to thwart it.

Mark: 9 out of 11