Tag Archives: HBO

HBO TV REVIEW SUCCESSION (2019) – S2 – EASILY ONE OF THE BEST TV SHOWS OF 2019!

SUCCESSION (2019) – SEASON 2

Created by – Jesse Armstrong

Writers – Jesse Armstrong, Jon Brown, Jonathan Glatzer, Anna Jordan, Mary Laws, Georgia Pritchett, Tony Roche, Susan Soon He Stanton, Will Tracy

Directors: Kevin Bray, Becky Martin, Mark Mylod, Andrij Parekh, Robert Pulcini, Matt Shakman, Shari Springer Berman

Executive Producers: Ilene S. Landress, Kevin Messick, Frank Rich, Will Ferrell, Adam McKay, Jesse Armstrong

Producers: Regina Heyman, Dara Schnapper

Cast: Hiam Abbass, Nicholas Braun, Brian Cox, Keiran Culkin, Peter Friedman, Natalie Gold, Holly Hunter, Danny Huston, Cherry Jones, Matthew MacFadyen, Alan Ruck, Parker Sawyers, Sarah Snook, Fisher Stevens, Jeremy Strong, Rob Yang etc.

Composer: Nicholas Britell

Original Network: HBO

**CONTAINS SEASON ONE SPOILERS**



“So, someone’s getting shit-canned. Let’s get the party started.” — Roman Roy


If you haven’t watched HBO’s Succession (2018-2019), then I urge you to do so. It is genuinely one of the best television shows of the year. You can read my review of the first season here, but it’s safe to say Season 2, now all the characters are established and plots thickened, is even nastier, funnier, scathing, backstabbing and emotionally charged.

Succession may not appeal to everyone. If you prefer your television to be safe and heart-warming, then this is the antithesis of cosy Sunday night viewing. It’s a sickening watch at times; embarrassing and cringeworthy too. These rich capitalists and media players have more money than some countries, but they are driven to crave more. They want more money and more power! This power corrupts absolutely and for them greed is not enough. They are bored gods who having destroyed lesser humans turn on each other for sport.



The second season follows directly after the events of Season One. Waystar Royco’s uber-owner, Logan Roy (Brian Cox), has withstood a power challenge from his son, Kendall Roy (Jeremy Strong). He is under pressure now from external sources seeking to excavate a hostile takeover, plus he has to choose a successor to satisfy shareholders.

These situations, and Logan Roy’s attempts to buy one of his biggest media news rivals to bolster assets, initially drive the season forward. But, due to some brilliant writing, the series weaves many other story-lines into a web of twisted strands, all of which create humour, shock, grief, sadness and exhilaration. From Kendall’s attempts to recover from addiction to Siobhan’s (Sarah Snook) pursuit of power and Roman’s (Kieran Culkin) pseudo-Oedipal sexual dalliances, there’s all manner of turbulence for the Roy family. None more so than when — echoing the recent #MeToo scandals — historical sexual abuse in their Cruise Division comes to darken the company door.

HBO has spared no expense in this production, as we find ourselves in a variety of global venues including: New York, London, Dundee, Greece, Turkey and New Hampshire. Moreover, episodes structured around family get-togethers, business meetings, retreats, conferences, awards ceremonies and corporate away days are staged in beautiful and opulent locations. As the characters move from the boardroom to country houses to museums to super-yachts to beaches to trendy bars and off-Broadway theatres, you find yourself a tourist without having to leave the armchair.



Often you will get TV shows where a few characters will stand out as protagonists, but in Succession (2019), the writing, directing and acting is so good everyone stands out. It’s hard to pick whose acting is most impressive. But my favourites have to be Matthew McFadyen as Tom, the grovelling husband of Siobhan, and Jeremy Strong as Kendall. His ghostly performance, full of guilt and existential emptiness, is paralyzingly memorable. As well as the main cast, the production added a raft of incredible character actors such as Holly Hunter, Danny Huston, Fisher Stevens, Jeannie Berlin, Cherry Jones to name a few.

Ultimately, this is Shakespearean television of the highest quality. Succession (2019), is what we would get if Billy Wilder did TV. I haven’t even mentioned the incredible score by Nicholas Britell. The music soars and binds scenes of black comedy and blacker tragedy together with a searing complicity. As I said, the show may not contain the most likeable of characters, but, somehow, the writers, actors and production staff make you want to watch these monsters. Despite their wealth and venal ways, you’re compelled to rubberneck this coruscating humanity motorway pile-up presented as TV entertainment. The incredible dialogue alone makes it one of the best seasons of television I have seen in some time.

Mark: 10 out of 11



AUTUMN 2019 TV DRAMA UPDATE – REVIEWS INCLUDE: DARK (2019) – S2, EUPHORIA (2019), THE LOUDEST VOICE (2019) & THE HANDMAID’S TALE (2019) – S3 ETC.

AUTUMN 2019 TV DRAMA REVIEWS

Having finished watching all six seasons of the absolutely amazing series The Americans (2013 – 2018) at the end of the summer, I thought it prudent to try and catch up with some of the other television shows I’d missed or had on my planner.

It is becoming clearer and clearer that television, especially many of the shows from Showtime, HBO and Netflix, are reaching and surpassing cinematic quality. The budgets, writing, production values and casts are incredible. It’s been like this for a while, and long may it continue I say.

So, here are a collection of the excellent TV shows I have completed watching in the last month or so, with the usual marks out of 11.

**SPOILER FREE**



CITY ON A HILL (2019) – SEASON 1 – SHOWTIME / SKY ATLANTIC

This crime drama set in 1990’s Boston is essentially a combination of The Wire meets Ben Affleck’s cracking film, The Town (2010). Kevin Bacon and Aldis Hodge lead the cast in this always watchable story of cops and robbers. Bacon is especially excellent as the anti-heroic FBI agent, Jackie Rohr. Good performances, violent action and earthy Bostonian dialogue inflect this genre piece, which blurs the lines between the good, the bad and the downright ugly.

Mark: 8 out of 11



A CONFESSION (2019) – ITV

Martin Freeman, Imelda Staunton and Siobhan Finneran are all uniformly excellent in this true crime drama. Set in Wiltshire, it follows Detective Superintendent Steve Fulcher (Freeman), as his investigative team search for a missing young woman. What follows is a series of compelling events which grip you throughout. Seasoned scriptwriter Jeff Pope delivers a meticulously researched screenplay that explores the emotional impact of criminal behaviour, and how police procedure effects justice for victims and their families.

Mark: 8 out of 11



DARK (2019) – SEASON 2 – NETFLIX

What can I say about Dark (2019) – Season 2? Well, for starters it is easily one of the best television dramas I have seen in a long time. It’s edgy, nightmarish, confusing, twisted and to be honest, virtually unreviewable. I say that because I don’t want to give away any spoilers but, trust me, if you like emotionally, structurally and artistically complex plots involving multiple characters, locations and timelines then this German thriller is for you. It had me confused in a good way and totally immersed in the tenebrae. You will be lost, searching for the light, yet you will be astounded too by the audacity of the writing and looping madness on show.

Mark: 10 out of 11



EUPHORIA (2019) – HBO / SKY ATLANTIC

Having recently watched Sam Levinson uneven but stylish low-budget crime drama, Assassination Nation (2018), I thought I’d give this big budget HBO U.S. drama a watch. The ensemble cast of mainly young actors are led brilliantly by the ultra-talented Zendaya. She portrays just-out-of-rehab, Rue, who battles drug addiction on a daily basis. Her new best friend Jules (Hunter Schafer) also has issues to deal relating to identity, sex and love. In fact, pretty much all the characters are fucked up somehow in this giddy, glossy, sexy, dirty and often shockingly dark profile of high school existence.

Mark: 9 out of 11



THE HANDMAID’S TALE (2019) – SEASON 3 – HULU / CHANNEL 4

Season 3 of the iconic Margaret Atwood literary adaptation, continues to play strongly with the emotions, the nerves and the heartstrings. Centred around the dictatorial and fascistic Republic of Gilead, the plight of oppressed woman such as June Osborne (Elizabeth Moss) and other ‘Handmaid’s’ is a grim mix of tense drama and suffocating horror. Having said that, misery has never looked so beautifully shot as Moss’ performance and the cinematography are both exquisitely framed. The narrative is slightly slow in delivery, yet as June finds strength in rebellion and civil disobedience, you’re never too far from startling turns of violence and empowerment within the narrative.

Mark: 9 out of 11



THE LOUDEST VOICE (2019) – SEASON 1 – SHOWTIME / SKY ATLANTIC

I don’t tend to watch the news as it’s all quite depressing. However, I was drawn to this drama about Fox News and its’ leader, Roger Ailes, because it features a great cast. They include, an unrecognizable Russell Crowe, Naomi Watts, Sienna Miller and Seth MacFarlane. The narrative covers Ailes starting Fox News for Rupert Murdoch in 1996, and subsequent global news events from then to the present. Crowe revels in his role as the monstrous Ailes, who advocates making Fox the number one news outlet on TV, by pushing his own agendas amidst sensational news storytelling. I have seen a few negative reviews for this show, but I really enjoyed it. As a profile of a big, corporate predator who preyed on those around him, it was both sickening and enthralling at the same time.

Mark: 9 out of 11




BBC / HBO TV REVIEW – GENTLEMAN JACK (2019)

BBC / HBO TV REVIEW – GENTLEMAN JACK (2019)

Created and Written by Sally Wainwright – based on The Diaries of Anne Lister

Director(s): Sally Wainwright, Sarah Harding, Jennifer Perrott

Producer(s): Sally Wainwright, Faith Penhale, Laura Lankester, Phil Collinson

Main Cast: Suranne Jones, Sophie Rundle, Joe Armstrong, Gemma Whelan, Gemma Jones, Tom Lewis, Timothy West, Shaun Dooley, Vincent Franklin, Rosie Cavaliero, Lydia Lawton, Amelia Bullimore etc.

No. of episodes: 8

Original Network: BBC / HBO

**MAY CONTAIN SPOILERS**

The BBC has a long history of producing classic period dramas and they have had much success with them. Likewise, HBO have an almost flawless record of producing great TV drama. Gentleman Jack caught my eye as it starred the ever impressive Suranne Jones in the lead role of Anne Lister. The titular character was a prominent industrialist and landowner in 1800s, Halifax, Yorkshire. Lister was full of energy, courage and determination as she fought the dominant patriarchal values of the day. As well as battling the men on the business plain, she also caused scandal with her preference for same-sex relationships. Much of this was documented in her extensive ‘secret’ diaries and came to light in their full explicit glory when they were de-coded some years later.

Adapted by Sally Wainwright, a very experienced writer and director, the eight episodes begins at a giddy pace. Lister has returned from abroad to her estate at Shibden Hall, after the breakdown of her most recent relationship. She wastes no time getting back into the swing of running the show and attempting to raise capital for a venture into the coal industry. Lister dotes on her Aunt and Uncle, but clashes with her more conventional sister, Marian (Gemma Whelan).

Marian disapproves of her sister’s robust, androgynous style and unsaid desire for female “companionship”. Amidst the cutthroat business conflicts with her rivals and tenants, Lister then finds a new romance with neighbour Ann Walker (Sophie Rundle). Ann Walker though is younger, delicate and somewhat inexperienced; thus, the path of love is very precarious.

The character of Anne Lister as presented by Suranne Jones is a fantastic watch. She strides around from location to location energetically controlling her estate and making plans. She clashes and stands her ground with the men of the drama, proving herself to be more than their equal. Gemma Whelan, as Marian, is also brilliant. Whelan steals many a scene with an exasperated look, sarcastic smile and witty quip. It’s a testament to her acting range she can inhabit such a bright character after the darkness shown in her role of Yara in Game of Thrones.

The actor with the most difficult role is Sophie Rundle. At times her character is so confused, mentally and emotionally, that she is hard to warm to. I personally wondered, apart from her wealth and sickly nature, what Lister was attracted to. I think there was probably sexual attraction but also a desire to protect this delicate flower. Nonetheless, the opposite nature of Lister and Walker’s personalities created intriguing and touching romantic situations.

The story had been told before in a film called The Secret Diaries of Miss Anne Lister (2010), directed by James Kent and starring Maxine Peake. I did not see that particular drama but as this latest adaptation is a co-production between the BBC and HBO, the values of the production are of course exemplary. The costumes, camerawork, style, musical score and pace create a very engaging tele-visual experience. Sally Wainwright deserves credit for adapting the diaries and creating compelling drama, romance and some darker events along the way.

I would say that perhaps the various narrative strands could have been resolved within six episodes, rather than eight. Plus, there was, on occasion, a use of Anne Lister directly addressing the audience which became jarring at times. I mean, there did not seem to be much context to the use of this stylistic device. Nonetheless, these are minor issues which did not stop me enjoying the show. Indeed, with a brilliant cast, writing and direction throughout I would highly recommend this excellent TV programme.

Mark: 9 out 11

HBO TV REVIEW – BIG LITTLE LIES (2019) – SEASON 2

HBO TV REVIEW – BIG LITTLE LIES (2019) – SEASON 2

Created by: David E. Kelley and Liane Moriaty

Producers: Barbara Hall, David Auge

Executive Producers: David E. Kelley, Jean-Marc Vallee, Reese Wetherspoon, Bruna Papandrea, Nicole Kidman, Liane Moriarty etc.

Based on: Big Little Lies by Lianne Moriarty

Teleplays written by: David E. Kelley

Directed by Andrea Arnold

Main Cast: Reese Witherspoon, Zoe Kravitz, Nicole Kidman, Shailene Woodley, Laura Dern, Meryl Streep, Alexander Skarsgård, Adam Scott, James Tupper, Jeffrey Nordling, Kathryn Newton etc.

Cinematography: Yves Belanger, Jim Frohna

Original Network: HBO

**CONTAINS SPOILERS FOR SEASON ONE**

I hate Social Media and Twitter especially, sometimes. I also hate myself for getting dragged into the bullshit it sometimes brings. I’m referring specifically to the distorted prejudice the mind can take on when reading a few negative posts about a programme, film or personality. Such reports can obviously be accurate. However, they can mislead and stain your expectations of a show or film or actor or artist. In this case the second season production of HBO’s, Big Little Lies, came under fire from a few people on my Twitter feed. They said it was an awful and an ultimately disappointing series. Were they right? I mean, how bad could it be?

Then there was the Indiewire article which highlighted an issue during production. They asserted in a well written piece of click-bait that director Andrea Arnold was unceremoniously disregarded in the editing process and first season director, Jean-Marc Vallee, brought in to oversee re-shoots and final cut. If you believe the Indiewire article, this was the act of a heinous media corporation cutting down a beloved artist and robbing her of her vision. Arnold’s auteur status remains untainted for me. She is a fine director who carried out her contract and did not have final cut anyway. This belonged to HBO and they had say on who they hired during the production.

Thus, in a short period of time, a couple of tweets and one article had seriously affected my expectations of the second season of Big Little Lies. I was expecting a mess of a show. One which did not make sense and was robbed of all artistic and dramatic impetus by the HBO hierarchy. However, I can safely say I was wrong and, while not as good as the brilliant first season, it was still a really intriguing eight episodes worth of entertainment.

After the exceptional first season which found a stellar cast including: Reese Witherspoon, Nicole Kidman, Laura Dern, Adam Scott, Zoe Kravitz, Alexander Skarsgård and Shailene Woodley on top acting form, the second season follows on with the aftermath of prior events. The first season expertly inter-weaved stories concerning an unknown “murder” victim; school bullying; warring parents; extra-marital affairs; and abusive relationships, expertly played out over seven compelling episodes. With the “murder” victim revealed in the final episode, we now get an exploration of suspicion, guilt, conspiracy and a test of loyalty and friendship.

Without wishing to give too much away the newest and strongest addition to the series is Meryl Streep. She plays the mother ***SPOILER ALERT*** of the dead guy from the first season, Perry Wright (Alexander Skarsgård). His death occurred when he was pushed “accidentally” down some stairs at a party. But, the friend’s, including his wife, Celeste (Nicole Kidman), collude to say he fell instead. With the police still suspicious the main investigator is actually Streep as the dogged Mary Louise. She is passive-aggressive and subtle in her enquiries as to how her son died. It’s a delight watching her deviously pull apart each of the lead suspects. It is also an absolute masterclass in acting as Streep’s crafty characterisation makes this series a must-watch. Her scenes with Nicole Kidman’s crumbling personality are especially compelling.

Allied to the investigation into Perry’s death, the show gives some interesting narrative strands to Laura Dern’s energetic power-mum, Renata. Her world is about to disintegrate around her in the face of her husband’s financial wrong-doings. Equally powerful is Bonnie’s (Zoe Kravitz) attempt to heal the rift between herself and her mother. Bonnie suffers the most guilt as ***SPOILER ALERT*** she was the one who pushed Perry down the stairs. As she battles with the emotional repercussions of her actions, she experiences a painful re-emergence of historical parental abuse. Perhaps, not as intriguing are Madeline (Reese Wetherspoon) and Jane’s (Shailene Woodley) narrative strands. Nonetheless, they do support the series’ themes of family, trust and love that add depth and subtext.

To finish, I learnt once again that social media and Twitter surfing can have a negative impact on one’s critical expectation of a programme or film. You have to basically make your own mind up and not be swayed by the pitchforks and torch-bearers baying for blood online. Big Little Lies (2019), Season 2, therefore, while not reaching the dramatic heights of the first season is an excellent follow-up. It explores the privileged lives of the rich Monterey set instilling a sense of humanity and frailty to their lives. The more improvisational direction of Andrea Arnold works well with the fragmented impressionism of the editing style to bring this out. Mainly though, it’s the impressive cast and script which glued me to the screen while experiencing this very watchable drama.

Mark: 8.5 out of 11

HBO TV REVIEW -SUCCESSION (2018) – SEASON 1 – BRILLIANT SATIRE ABOUT RICH AR$£HOL£$!

HBO TV REVIEW – SUCCESSION (2018)

Created by – Jesse Armstrong

Writers – Jesse Armstrong, Jon Brown, Jonathan Glatzer, Anna Jordan, Lucy Prebble, Georgia Pritchett, Tony Roche, Susan Soon He Stanton

Directors: Adam Arkin, Miguel Arteta, S.J. Clarkson, Adam McKay, Mark Mylod, Andrij Parekh

Executive Producers: Ilene S. Landress, Kevin Messick, Franch Rich, Will Ferrell, Adam McKay, Jesse Armstrong

Producers: Regina Heyman, Dara Schnapper

Cast: Hiam Abbass, Nicholas Braun, Brian Cox, Keiran Culkin, Peter Friedman, Natalie Gold, Matthew MacFadyen, Alan Ruck, Parker Sawyers, Sarah Snook, Jeremy Strong, Rob Yang etc.

Composer: Nicholas Britell

Original Network: HBO

**MAY CONTAIN SPOILERS**

“Money, money, Money! Must be funny! In a rich man’s world!” ABBA

Is it funny? In a rich man’s world? Or woman’s? Or anyone’s?

From my perspective I’ve never understood the desire for incredible wealth and power. Of course, it is great to be comfortable and have the money to feed, clothe and house yourself. But, that need and want to have extravagant things is beyond my comprehension. Obviously, if you’re born into money, it could be deemed unavoidable. Some may say it’s a curse. However, we all have choice as to how we behave whether we have money or not.

Personally speaking, I have everything I need to live. I have enough nice things. I have a car, television, mobile phone, computer, food, clothes, shoes, people I love and, at time of writing, my health. I have enough. For some enough is never enough. The extreme is only halfway. Ambition and power and wealth and greed drive them forward. Their desire for more has no limit.

Succession (2018), is another television show about the darker actions of the filthy, selfish and narcissistic rich. Similar, but far more poisonous than Showtime’s hit Billions, the narratives are driven by power games from the Machiavellian playbook. Set within a behemoth media conglomerate, Waystar Royco, led by octogenarian, Logan Roy (Brian Cox). the plots and subplots focus on the various family members and fucked-up personalities within this permanently dysfunctional family. The characters are not so much ‘Masters of the Universe’ but masters and mistresses of their own calamitous downfalls.

Is it funny though? In a rich man’s world? Well, based on Jesse Armstrong’s creation Succession (2018), it is! Unsurprisingly, from a writer who has worked on such comedy masterpieces as Peep Show, The Thick of It, Four Lions (2010) and Veep, these ten episodes contain some of the most biting and sarcastic dialogue and situations you could experience. It’s black though. It’s tumour humour. These are cancerous laughs which eat you from the inside. You’re entertained watching the programme but simultaneously aware of how accurate its’ dark vision of humanity, greed, power and family life is. No one gets out of here alive, including the audience.

The show bleeds quality from cast to production values to direction and not forgetting Nicholas Britell’s incredible score. You have to have a strong stomach to watch so many irredeemable and unlikeable characters all inhabiting the same space. But the writing is an absolute marvel with all manner of slicing one-liners which cut with scalpel like precision. The main narrative strands involve the children challenging their father’s running of the company. Watching Brian Cox viciously curse and do battle with them is drama of the weightiest kind; almost Shakespearean at times.

Lastly, I must say the acting is of the highest order. Sarah Snook, as political campaigner daughter, Siobhan, is destined for big things. British actor Matthew MacFadyen gives a nuanced comedic rendition as Siobhan’s fiancé; both sycophantic to the Roy family and a bully to company underlings. Kieran Culkin is sleazy and the most unlikeable of all, while Alan Ruck’s passive aggressive older son waltzes in and out of scenes with consummate skill.

As Logan Roy Brian Cox is well, just so Brian Cox; sweary, growling and menacing. His character locks horns most of all with second son, Kendall Roy. Portrayed exceptionally by Jeremy Strong, Kendall is a sad figure, attempting recovery from drug addiction, but cursed to desire to lead his fathers’ company. This leads to him making some incredibly dubious decisions. Because enough is never enough and that is the tragedy. In Succession, it is far from funny in a rich man’s world. It is sick, twisted and ultimately very black.

Mark: 9.5 out of 11

DEADWOOD (2019) – HBO FILM REVIEW

DEADWOOD (2019) – HBO FILM REVIEW

Created and written by: David Milch

Directed by: Daniel Minahan

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 Deadwood is 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.

Mark: 9.5 out of 11

CHERNOBYL (2019) – HBO TV REVIEW

CHERNOBYL (2019) – HBO TV REVIEW

Created and written by: Craig Mazin

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.

The horror. The horror.

Mark: 10 out of 11