Series 5 of Jonathan Creek is an ignominious end to a show that started out so well
“Why do I know I’m going to regret this”
It started with the 2013 Easter special but the refresh of Jonathan Creek that characterises Series 5 is a spectacular misfire. Jonathan leaving the world of magic is understandable but making him a mid-level advertising executive is just baffling. And that’s before you add in the wife who appears from nowhere, Sarah Alexander’s Polly, and a move to the countryside to a rural village.
It’s a reset that makes little sense – there is ZERO chemistry between Jonathan and Polly and little evidence to convince of their relationship especially as he now directs his patronising non-explanations at her – and ultimately adds little value. The village setting adds a Midsomer Murders/Marple-ish vibe to the mystery solving which detracts from its USP and also means that there has to be increasingly convoluted ways in which to fold Jonathan back into the world of impossible crimes that he’s ostensibly left behind.
All told, there’s too little sense of fun about the whole enterprise, writer David Renwick’s inspiration perchance finally running dry unlike his continued misogynistic tendencies. An ignominious end to a series that started out so well. Continue reading “TV Review: Jonathan Creek, Series 5”
Series 2 of Top Boy- Summerhouse is, quite frankly, exceptional
“I don’t wanna go to Ramsgate”
The first series of Top Boy surprised me at just how good it was, making a mockery of my earlier decision that it wasn’t my kind of thing. So I launched straight into the second series (now labelled Top Boy- Summerhouse on Netflix), unprepared for how harrowing it would get. It may have taken two years for it to be created but boy it was worth the wait.
Ronan Bennett’s series picks up one year later with Dushane’s (Ashley Walters_ status at the head of the Summerhouse estate as equally precarious and secure as ever, forever dependent on the next big drug delivery. But the Albanians have got their own plans, former besty Sully is setting up his own rival crew and the police have just dug up a body – eep! Continue reading “TV Review: Top Boy – Summerhouse (Series 2)”
A fatally muddled tone means Been So Long ends up less than the sum of its parts, despite glorious lead performances from Arinzé Kene and Michaela Coel
“People don’t want inclusivity mate, they want exclusivity. And something for the gluten-intolerant”
I really wanted to like Been So Long, and can imagine it having worked well on the stage (it played the Young Vic in 2009) but something has definitely been lost in translation with this screen adaptation here. It is mildly curious as the film is written by Ché Walker, scribe of the original play and the subsequent stage musical, but maybe this was a step too far?
One of the main problems for me is that crucial issue of tone. As a love story set in contemporary Camden, and in which Camden plays a central role, there’s a tendency towards gritty naturalism, particularly in showing the home lives of its protagonists, new ex-con Raymond (Arinzé Kene) and single mum of a disabled daughter Simone (Michaela Coel). Continue reading “Film Review: Been So Long (2018)”
Series 2 of Liar shifts the focus from rape to murder but does little to raise this from bog-standard thriller territory
“Sometimes bad things happen and we just have to deal with them”
Was the world calling out for a second season of Liar? When the first apparently did such great numbers for ITV, it seems the decision was inevitable but it has taken more than two years for it to arrive and I’m not sure that it carries the same level of impetus with it – I don’t imagine ratings will have held up to anywhere near the same degree.
That first series did show much promise, complicating a rape story by presenting a he said/she said narrative that asked some big questions. But midway through, Liar tipped its hand and ended up as a bog-standard thriller and it is in that same spirit that it continues here. A bit of story-telling trickery allows for Ioan Gruffudd’s Andrew to return alongside Joanne Froggatt as Laura but I have to say I really wasn’t gripped. Continue reading “TV Review: Liar Series 2”
Series 12 of Doctor Who goes hard on what we think we know about the Time Lord and finishes in a blaze of glory
“You can be a pacifist tomorrow. Today you just need to survive”
I don’t think I have ever minded anything that happened in Doctor Who so much that I have declared it cancelled, even at the point where all the magnificent character development by Catherine Tate’s Donna was undone in a plot point of real cruelty. So it is hard to take so-called fans of the show seriously when torrents of complaints are unleashed about the sanctity of a world of science fiction that has long enjoyed challenging and expanding what we know about characters we love. (See my Episode 1 review here.)
So it should come as little surprise that I really rather enjoyed series 12 of Doctor Who. Across the season as a whole, I felt that Jodie Whittaker has settled more into the role, especially as the writers feel more confident in finding her voice. And the balancing act of having three companions in the TARDIS has been more assured now that the business of introducing them is over, allowing the group to splinter off for large chunks of episodes has allowed much more of their characters to shine through, particularly for Mandip Gill’s Yaz (who I am mightily glad survived that final episode – I thought she was doomed after her chat with Graham). Continue reading “TV Review: Doctor Who Series 12”
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
Some great winners here, particularly gratifying to see recognition for The Revlon Girl and Contractions on the play side, and Superhero and The Life for the musicals. And An Octoroon looks set to beat down all before it when it transfers to the Dorfman (I’d get booking your tickets now!)
Continue reading “2018 Offie Award Winners”
The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination ? so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.
Continue reading “The finalists of The Offies 2018”
“What do you do when you’re not sure?”
John Patrick Shanley’s play Doubt, a Parable comes lauded with garlands – Tony Awards, a Pulitzer Prize for Drama, a Hollywood adaptation with none other than Meryl Streep – so it must be a modern classic right? But, written in 2004, with all of the hindsight of how cases of historical sexual abuse in the Catholic church have been (mis-)handled, I find its dramatic ambivalence hard to stomach.
Shanley sidestepped the issue by setting his play in 1964 where a scandal is brewing at the St Nicholas Church School in the Bronx. Or is it? Ferociously strict principal Sister Aloysius is convinced that there is inappropriateness occurring between parish priest Father Flynn and the school’s first black pupil, but her views are coloured by her loathing of Flynn’s modernising ways. Continue reading “Review: Doubt – a Parable, Southwark Playhouse”