With its third instalment The Promise, Messiah loses its way a little bit given the high standards of the first two serials
“I wasn’t alone, other people were there”
The problem with doing things so damn well, is that you then have to live up to those standards. Messiah found itself in such a position after a first and second series that helped to redefine the serial killer genre and with 2004’s The Promise, it struggled to meet that bar. Written again by Lizzie Mickery, it suffers from the unnecessary compulsion to cleave to the template of prior series rather than having the boldness to step outside.
So with Ken Stott’s Red and Neil Dudgeon’s Duncan pasts having figured so heavily in the last two series, it isn’t hard to work out that it is Frances Grey’s Kate to have a go through the emotional wringer. It starts sooner than you might think with a daring opening sequence set in a prison that is highly effective. And as deaths of people involved start to mount up, long buried secrets prove the key to finding the killer and saving the day. Continue reading “TV Review: Messiah – The Promise (2004)”
Messiah 2: Vengeance Is Mine keeps the gruesome intensity of this series effectively and chillingly high
“For every wrong conviction we’ve made, an innocent person could die”
Following on from the success of the first series, Messiah 2: Vengeance Is Mine continues in the same vein though it does so with an original screenplay from Lizzie Mickery, who adapted Boris Starling’s novel first time around. And much like the first series of certain successful Scandi-dramas, it manages the transition away from a highly personal narrative for its leads into something (slightly) more general.
That’s not to say that the cases here aren’t intimately linked to the key investigating team of Red Medcalfe (Ken Stott), Kate Beauchamp (Frances Grey) and Duncan Warren (Neil Dudgeon) but there’s only so far you can drag a tortured soul so directly through the mire. A subplot featuring Red’s brother does it best but you can’t deny its effectiveness in mirroring the key themes here, humanising the conflicts. Continue reading “TV Review: Messiah 2: Vengeance Is Mine (2003)”
The first series of Messiah only occasionally shows its age, mostly remaining a powerfully effective serial killer drama and franchise opener
“Maybe we’re getting too bogged and missed the connection”
Whilst theatre is off the menu, at least to the extent that I used to consume it, I have enjoyed being in of an evening and watching a lot more TV than I have done for a long time. And seeking the comfort of nostalgia, I’ve been delving into some of the shows that I enjoyed in the past – this week’s fun and games is the Messiah series.
Based on Boris Starling’s highly successful debut novel, the first series of Messiah (well, two feature-length episodes) holds up well nearly 20 years after it aired. And you can see the influence it has had on shows like Luther and River to name just a couple, as its gritty realism aligns with this country’s obsession with serial killer serials. Continue reading “TV Review: Messiah (2001)”
Episode 1 of Unprecedented features strong writing from James Graham, Charlene James and John Donnelly
“It’s clear that everything’s going to be different…
and then again, I’m scared that things won’t be different”
It is with an admirable speed with which Headlong and Century Films have pulled together Unprecedented, a theatrical response to the impact of lockdown on society. Conceived, written, filmed and produced in lockdown, and now airing on BBC4, some of our most exciting playwright and a cast of over 50 really have pulled together impressively and this first instalment of three short plays is certainly promising.
Necessity is the mother of invention, or something, and so all three use digital conferencing technology in one way or another and if anything, there’s no bigger marker in the way that our relationships to each other have been altered than this. How many of us even knew what Zoom was in January? And between them, writers James Graham, Charlene James and John Donnelly deftly sketch some of these changes. Continue reading “TV Review: Unprecedented, Episode 1”
I get stuck into the first episodes of TV shows Van Der Valk, The Good Fight, Gangs of London and Penny Dreadful: City of Angels to see what my next must-see will be
“Who else was masturbating into plants?!”
I’m of course far too young to remember the original Van Der Valk – had I seen it before though, I might well have saved myself this couple of hours. Importing a British cast to play Dutch detectives in a crime serial set in Amsterdam seems like such a retrograde move, I still can’t get my head around it, especially in this day and age when so much quality foreign-language drama is readily available. Written by Chris Murray, this revival sees Marc Warren head up the cast as a maverick detective with a team who aid and abet his behaviour – there’s not a smack of originality about it, nor any real interest sadly…great locations though. Am already dreaming of my return to the city, but not sure I’ll be revisiting this show. Continue reading “New TV shows to get stuck into”
Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.
Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”