Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carter rocks though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
And now people are dying again and what the fuck are they doing about it”
Series 1 of Fortitude was one of those genuinely unexpected dramas which unveiled its genre-spanning ways with some proper jaw-dropping moments, so Sky Atlantic’s decision to commission a second series wasn’t entirely unexpected (though you do wonder what viewing figures are like over there). Though having revealed itself as a sci-fi/horror/psychological thriller/serial killer murder mystery with political and environmental themes thrown in for a good measure, creator Simon Donald was faced with a decision about which way to go to continue the story.
Or, as it turned out, he didn’t make the decision but rather decided to pursue them all once again. And as is proving a recurring theme with shows I’ve been catching up on (Fearless, The Halcyon), the desire to develop multi-stranded complex dramas falls short once again with the writing ending up serving a jack of all trades and master of none. There’s just so much going on in so many of the episodes that it becomes increasingly hard to keep track of exactly what is what, who knows what, who is doing what to whom, and where we are in any of the stories. Continue reading “TV Review: Fortitude Series 2”
“The reason we can’t find the head in the snow is that someone has taken it away”
Just a quickie for this as I’m way behind (the series premiered at the end of January). I only caught up with Fortitude’s first season over New Year and I have to say I kinda loved the way it went from interestingly good to genuine batshit wtfuckery. It wasn’t necessarily calling out for a second series though and from the evidence of the first episode, it’s not immediately clear that it’s strictly necessary, even if you throw Dennis Quaid and Michelle Fairley in there as a new family.
A new crime has been committed hence layering in all sorts of new mystery but in a town where they’d previously boasted of never having had any crime, it kinda feels like overkill. And the writing feels caught between referencing previous events and starting completely anew, anthology-style, ie Luke Treadaway’s return for what appears to be a single episode versus the new Quaid/Fairley family unit. Sofie Gråbøl and Björn Hlynur Haraldsson’s chemistry as the first couple of Fortitude remains a thing of joy though (so is probably doomed) and I’m more than happy to give the show the benefit of the doubt, despite a slightly shaky start.
“I’d rather touch greasy chips than greasy chaps”
When it comes to European drama, I’ve tried my best with the slim pickings available to us here in London and I have quite often been pleasantly surprised: I Am The Wind and Big and Small being the examples that pop into the mind, as theatre that just operates on a completely different level to what I’m used to and given a treatment that somehow connected with me. But there have been shows that failed to break through the enigma – Black Battles with Dogs being the most recent example – and I’m sad to say that Manfred Karge’s The Conquest of the South Pole fell firmly into this category, leaving me completely nonplussed as to what it is that it is trying to say or do.
Stephen Unwin directed this show back in 1988 and for this, its first revival in London since then, he has returned to the piece for which he obviously has great affection to present in the main studio at the Arcola. But you know you’re in trouble when the most fascinating thing happening is three Hackney kids gate-crashing the theatre via an unlocked side-door and the subsequent silent efforts to get them to leave. Ultimately, I found this much more engrossing than the story of this group of unemployed young men who decide escape the grimness of their lives by re-enacting Amundsen’s voyage to the South Pole in a cramped attic using a washing line and some sheets to evoke the Antarctic tundra. Continue reading “Review: The Conquest of the South Pole, Arcola Theatre”