Tag Archives: Television

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

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  • The main antagonist can at any time be superseded by a bigger antagonist like an episode of ‘24‘.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

FLEABAG – SEASONS 1 & 2 – BBC TV REVIEW

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

THE NETFLIX MEMORANDUM – INCLUDING REVIEWS OF: AFTERLIFE, THE SINNER (S2), RUSSIAN DOLL, DAREDEVIL (s3) ETC.

THE NETFLIX MEMORANDUM – INCLUDING REVIEWS OF: AFTERLIFE, THE DIRT, RUSSIAN DOLL, DAREDEVIL ETC.

For some insane reason I have given up alcohol for the year and the weight of reality and time burdens my everyday existence. First world problems abide. Anyway, while my liver breathes a huge sigh of relief, my mind still desires stimulus. Thus, I have, in my constant sobriety, had even more time to stream and watch even more films and television. These bitesize reviews look at the latest stuff I’ve seen on the behemoth streamer Netflix; with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

Image result for netflix

AFTERLIFE (2019)

Ricky Gervais’ latest fictional piece is a really enjoyable tragi-comedy. His everyman, Tony, is suffering severe grief following the passing of his wife. Sadly he allows misanthropy and suicidal thoughts to overcome his daily existence in the fictional town of Tambury. The comedy is founded on dark materials but filled with deep humanity as we watch Tony wrestle with his demons.

I especially loved the eccentric characters and jokes concerning Tony’s job as a reporter with the local newspaper. The supporting cast are a joy too and include brilliant comedians like: David Earl, Kerry Godliman, Joe Wilkinson, Tom Basden and Diane Morgan. The ensemble cast and fine writing combine to create a simple, funny and emotional journey through one’s man’s fight with depression and grief. (Mark: 9 out of 11)

ABDUCTED IN PLAIN SIGHT (2019)

I keep telling myself not to watch such true crime documentaries as they make me feel really sad about the state of human behaviour. This story from the United States was in documentary film form so I got pulled back in by not having to sit through ten episodes of horror. Also, I’d heard it was a pretty incredible story too so my interest was piqued by that.

Safe to say this grim tale of grooming, paedophilia and abduction that one family suffered at the hands of a human monster in the 1970s, is something you wish you could un-see. As a documentary film it is very well made but it does make you lament the gullibility of some people and sickness of others. (Mark: 6 out of 11)

DAREDEVIL (2018) – SEASON 3

I’d say Matt Murdoch’s Daredevil is my favourite of the Marvel/Netflix streamed offerings. Charlie Cox is a fine actor and the drama, fighting and villainous rendition of Wilson Fisk by Vincent D’Onofrio, make it essential viewing. While it takes a huge gulp to believe that a blind guy could be that great at fighting criminals with sight, once you buy into that premise the show offers a lot of fun.

While not scaling the heights of Season 1, and lacking the brutal Punisher (John Bernthal) side-plot of Season 2, this latest Season 3 finds Murdoch up against Fisk again and a new psychopath in rogue FBI agent, Ben Poindexter. Like other Marvel adaptations on Netflix it’s still five episodes too long and bogged down with plodding angst and lengthy dialogue scenes, so doesn’t quite hit the bulls-eye throughout. Nonetheless, it’s still compelling drama and the hand-to-hand fight scenes are an absolute sensation. (Mark: 8 out of 11)

THE DIRT (2019)

Crazed rock stars take drugs, smash up hotel rooms, screw groupies and almost die due to their excess is the unsurprising narrative ups and downs of this Motley Crue biopic. It’s not a bad watch but is essentially like a poorer version of This is Spinal Tap, without the incredible gag-rate. The film fleshes out the caricature members of the band showing their human side; Douglas Booth and Iwan Rheon bringing depth to their paper-thin roles. Moreover, while the era and stadium shows are really well emulated the direction lacks alot of imagination.

I mean, there was an intense film about addiction and human excess in here, and while we do get some moving scenes, notably with singer Vince Neil’s life struggles and Nikki Sixx’s heroin dependancy; ultimately the film did not dig deep enough into their characters. Still, fans of the band and their energetic rock music will love it no doubt. (Mark: 6 out of 11)

JESSICA JONES (2018) – SEASON 2

Kristen Ritter is back as Marvel’s hard-drinking, misanthropic and super-powered private investigator; and she remains very pissed off. Season 1 of Jessica Jones was absolutely brilliant due to David Tennant’s incredible villain, Kilgrave, and Jones’ character arc reflecting the damaging nature of controlling relationships.

Season 2, alas, is a plodding let-down full of filler episodes and weak sub-plots which quite frankly bored me. While Ritter holds the season together, the investigation into her past gets dragged down by soap operatics and a severe lack of pace and action. Mark: 6 out of 11

POLAR (2019)

Mads Mikkelsen is one of my favourite actors and he is on good form as a crack hit-man daubed ‘The Black Kaiser’. There’s a decent B-movie in here somewhere but the attention-deficient and showy direction detract from a potentially interesting story of regret and redemption. Moreover, while the action scenes are deftly realised the stupid characterisation, exploitative sex scenes and amoral violence drag the film into the unwatchable territory.

The least said about Matt Lucas’ performance as the amoral ‘Mr Big’ the better; here a usually excellent comic actor is given appalling direction that, like most of the film, lacks subtlety, tone and emotion. (Mark: 3 out of 11)

RUSSIAN DOLL (2019)

Another Groundhog Day copy gets a run out with Natasha Lyonne’s sassy computer programmer finding herself living out the same day over and over with various insane diversions along the way. It starts off really interestingly with lots of crazy deaths, character revelations and existential suffering. However, it soon runs out of steam, adding up to eight dramatically paper-thin episodes, more style than content.

Lyonne, is a fine actor who I like very much, delivers every line like New York comedian Andrew Dice Clay and this grated on me in the end as I felt I was watching a stand-up performance rather than a fully-rounded character searching for the meaning of life. (Mark: 6.5 out of 11)

THE SINNER (2018) – SEASON 2

After the surprisingly excellent Season 1 of The Sinner, I was really looking forward to the second season. The cop show format is twisted in a really interesting way as we see the accused commit the crime, yet find the cop, in this case the impressive Bill Pullman, empathising with the criminal. Pullman’s Harry Ambrose is a brilliant creation. He’s not flashy or loquacious but a determined and dogged cop with his own personal demons.

Drawn to the troubled or underdog Ambrose digs for justice and redemption. In this story he sees his own past in the crimes of a 13 year-old boy accused of murder and is determined to find answers. Here the boy in question is given a compelling performance by Elisha Henig; and his characters’ commune existence and family history had me gripped throughout. A supporting cast including Carrie Coon and Tracy Letts also add real quality to this stirring psychological drama with themes relating to: physical and psychological abuse; religious cults; family tragedy; mental illness; and the darkness of the human spirit. (Mark: 9 out of 11)

SIX OF THE BEST #15 – TALES OF THE UNEXPECTED EPISODES (1979 – 1988)

SIX OF THE BEST #15 – TALES OF THE UNEXPECTED EPISODES

Created by:     Roald Dahl

No. of series: 9 – No. of episodes: 112

Producer(s)    Anglia Television / ITV

Original release: 24 March 1979 – 13 May 1988

**MAY CONTAIN SPOILERS**

With its eerie opening theme tune and iconic dancing silhouette title sequence, Tales of the Unexpected, holds much nostalgia for me. In fact, it was one of my favourite shows I watched as a kid. Every Sunday evening I couldn’t wait for these short, sharp and sometimes shocking tales of: murder, revenge, adultery, gambling, addiction, blackmail, liars, con-artists; and generally twisted visions of humanity. Of course, the amusing consideration remains that the twist in the tales were generally always expected, making them paradoxically, not unexpected at all. However, trying to guess the twist was also part of the fun in watching.

The series was inspired by similar anthology narrative shows such as: Hitchcock Presents, The Twilight Zone and Way Out; with initial stories adapted from the work of genius writer, Roald Dahl. The early seasons were also introduced by Dahl and while produced mainly in the UK, latter seasons had U.S. produced episodes too.

Other writers’ work would be adapted and the series became a staple haven for many famous actors too. These included: Susan George, Sian Philips, Jose Ferrer, Joseph Cotten, Peter Cushing, Janet Leigh, John Gielgud, Brian Blessed, Ian Holm, Joan Collins, Denholm Elliott, Derek Jacobi, Michael Gambon, Anna Neagle, Joan Greenwood, Harry H. Corbett, Timothy West and many more.

Over most of 2018, I re-watched pretty much every episode on SKY ARTS and so for this article I would like to choose six of my favourite ones. I’d say the latter seasons were probably not as strong as the earlier classics. Yet, I still loved most of them; even some of the more comedic and goofy ones. Finally, picking a favourite six was an impossible job, and I have limited the Dahl classics to just one. Here they are!

LAMB TO THE SLAUGHTER (1979) – SEASON 1

A murdered husband, baffled police, distraught wife and a leg of lamb are the ingredients of one of the finest short stories I have ever experienced. Originally adapted for Hitchcock Presents, Susan George is excellent as the pregnant wife cooking up a special meal and murderous alibi twist.

THE FLYPAPER (1980) – SEASON 3

I was always told as a kid don’t talk to strangers for fear of abduction or harm and this episode deals with that theme expertly. The chilling tale from the pen of Elizabeth Taylor (not that one), finds an young girl drawn into danger from a seemingly unlikely source. The slow build-up of suspense, creepy performances and frightening end make it genuinely unforgettable piece of television drama.

THE BEST OF EVERYTHING (1981) – SEASON 4

Michael Kitchen is brilliant in this sharp, twisted drama as put-upon clerk, Arthur. His lowly beta male seeks the love of the boss’ daughter but is too broke to get her attention. Enter society-playboy Charlie Prince and Arthur finds confidence from his tutelage and connections. As the plot turns one way then another morality and fate catch out Arthur’s lofty aspirations and his dreams soon turn to dust.

HIJACK (1981) – SEASON 4

This brilliant story deals with a genre staple of an airline hijack. Very economical and full of suspense, it’s mostly shot in the interior of the cockpit as Simon Cadell’s Captain and crew are subject to a fear-inducing robbery. Cleverly plotted, this one even had me fooled with an audacious twist which really flies high at the end.

WHAT HAVE YOU BEEN UP TO LATELY (1982) – SEASON 5

I loved this episode because of the performance from Benjamin Whitrow. He is a bitter, unlikable, alchol-driven, misanthropic actor who verbally abuses his wife. When he bumps into an old acting friend the two share past memories and it’s soon revealed both are unhappy with their lives. Whitrow imbues, in a short time, a life of disappointment and human weakness, and his startling comeuppance is certainly deserving by the end.

SCRIMSHAW (1985) – SEASON 8

The U.S. produced episodes did not stand the test of the time very well, mainly due to the aged and fading 16mm film. Anyway, many of them could be classed as average but there was the odd gem. Scrimshaw was one such diamond in the rough, containing a haunting performance from Joan Hackett as an alcoholic barfly. One day she thinks her luck has changed when meeting an old wealthy artist friend, but that is far from the case.

Hackett’s performance stayed with me, especially the incredible shot at the end. When I researched Hackett’s name online wondering what she was up to now, I discovered she died in 1983 from cancer, aged only forty-nine. Released in 1985, Scrimshaw finds the audience literally watching a ghost, something I found completely unexpected.

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

SOUTH PARK (2018) – SEASON 22 REVIEW

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

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

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

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

**CONTAINS SPOILERS**

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall mark: 8.5 out of 11.

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

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

Directed by: Jamie Childs

Written by:  Chris Chibnall

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

Produced by: Alex Mercer

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

Music composer: Segun Akinola

**SPOILER WARNING**

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

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

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

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

 

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

Mark: 7.5 out of 11

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

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)