Despite a fabulous returning cast, Series 2 of The Split is classy-looking tosh. Very watchable but tosh all the same.
“The last thing we need is for any more salacious details to come out”
Much like Series 1, the second season of Abi Morgan’s The Split treads a line between legal drama and deluxe soap opera and more often than not, it is less of a balancing act and more of a case of elements of the former sprinkled into a heavy dose of the latter.
Which in many ways in just fine. Getting to see the likes of Nicola Walker, Deborah Findlay and Anna Chancellor strutting in expensive contemporary costumery is a blessing in itself and the production values of this show never dip below the glossy magazine standards it has set itself. Continue reading “TV Review: The Split Series 2”
Punk becomes very hard-going in a raucous but overlong Jubilee at the Lyric Hammersmith
“Welcome to “Jubilee”. An iconic film most of you have never even heard of, adapted by an Oxbridge twat for a dying medium, spoiled by millennials, ruined by diversity, and constantly threatening to go all interactive. You poor fuckers.”
There’s a sense of Chris Goode’s adaptation of the 1978 Derek Jarman film Jubilee getting out ahead of itself as one of its key characters delivers the above speech pretty much as we begin. But no amount of self-awareness can give this production enough life to sustain its punkish attitude over a bloated running time.
Running at a reconfigured Lyric Hammersmith (design by Chloe Lamford) after playing the Royal Exchange late last year, there’s a definite statement of intent from the very beginning as the queer inhabitants of a squat take up residence. Cocks are waved, breasts are bared, queens are transported (Lizzie One Point Zero) and new kweens established, Travis Alabanza’s Amyl Nitrate. Continue reading “Review: Jubilee, Lyric Hammersmith”