Second Coming makes for an atmospheric if challenging cinematic debut for writer/director debbie tucker green with another cracking lead role for Nadine Marshall
“Have you had any more visions?”
Following her TV adaptation of her own play random, Second Coming sees writer-director debbie tucker green making her big screen debut. And perhaps unsurprisingly, it is an uncompromising artistic statement – again showcasing Black British lives – from this idiosyncratic and intriguing artist.
The film centres on Nadine Marshall’s Jackie, a social worker and mother-of-one who finds herself pregnant despite having been told she couldn’t carry again. Not only that, she hasn’t had intercourse with her husband Mark for quite some time, despite him being Idris Elba. So far so immaculate. Continue reading “Film Review: Second Coming (2014)”
The National Theatre has today announced the latest productions to be made available on its National Theatre at Home streaming platform. Launching today, Michaela Coel’s Chewing Gum Dreams, the Young Vic’s A View from the Bridge directed by Ivo van Hove with Mark Strong and Nicola Walker, and Rufus Norris’ production of Everyman with Chiwetel Ejiofor will be available for all audiences worldwide to stream. Danny Boyle’s production of Frankenstein and Sonia Friedman Productions’ Hamlet with Benedict Cumberbatch will also be available for audiences outside the UK and Ireland. Continue reading “News: National Theatre adds five new productions to streaming platform National Theatre at Home”
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
Don’t read on if you haven’t finished Series 4 of Unforgotten for major spoilers are within
“We are who we are – I don’t think you can ever really change that”
It’s a good job that Series 4 of Unforgotten aired as spring arrives in the air and the promise of easements is finally taking some of the sting out of lockdown life. For had it been on in the endless depths of the last few dark months, I don’t think I could have coped. Indeed, I’m not sure I can still really cope now even with it being 23 degrees outside.
They killed Nicola Walker! Again! I’ve barely recovered from how they did Ruth dirty, but given the way that episode 5 ended and the way people were talking at the beginning of episode 6, the writing was on the wall. And so as Sunny finally cracked the case and unwound the puzzle of Matthew Walsh’s death and the four young police officers intimately involved with it, DCI Cassie Stuart breathed her last. Continue reading “TV Review: Unforgotten, Series 4”
Just a brief reminder really that one of the TV highlights of the year (cos it will be, you know that) has just started – the fourth series of Unforgotten
“Why would someone keep a body for 30 years?”
My love for Nicola Walker has been one of the most consistent relationships in my life, so to see her land on the kind of project that people will rightly be talking about for years to come is highly satisfying. Chris Lang’s Unforgotten now enters its fourth series, an unlikely one you might have thought, given the way the last ended but it’s a welcome return indeed and one which deals adroitly with DCI Cassie Stuart’s uncertain relationship with her job.
Walker and Sanjeev Bhaskar’s Khan have lost none of their pleasingly undramatic chemistry as the deeply empathetic heads of the never knowingly over-worked cold case department, this time dealing with the discovery of a headless, handless body in a discarded freezer. And as ever, the casting is nigh on perfect (Victor Jenkins for this series) as the likes of the brilliant Liz White and Susan Lynch – both performers who do ‘sad’ so heartbreakingly well – emerge as part of the web of people intimately connected with the crime, the details of which will spill forth over the next five weeks. Can’t wait!
The second series of Jonathan Creek continues the good form of the first, even if the writing starts to verge on the misogynistic
“There’s always an explanation”
After the success of its first season, Series 2 of Jonathan Creek followed in short order in early 1998. And having firmly established its modus operandi of impossible crimes and simmering but awkward sexual chemistry between Akan Davies’ Jonathan and Caroline Quentin’s Maddy, it carries on ploughing that same furrow.
This series sees Stuart Milligan added to the mix as Adam Klein, replacing Anthony Head who got the job as Giles on Buffy and whilst he is a vividly entertaining character, his presence seems to allow writer David Renwick to indulge in some misogynistic touches over and above what might be ‘forgiven’ for being 20 years old, just look at the way Adam and indeed Jonathan treat the majority of the women in their life… Continue reading “TV Review: Jonathan Creek, Series 2”
Kwame Kwei-Armah, Artistic Director of the Young Vic, has announced the start of the Young Vic’s 50th birthday with a year-long programme of work entitled We are the New Tide, dedicated to the theatre’s milestone birthday.
The 50th birthday year of work begins with three major commissions:
- The New Tomorrow– for the first piece of live theatre since the pandemic closed UK theatres, this weekend festival of speeches and monologues asks what the next fifty years hold. Writers and artists Jade Anouka, Marina Carr, Jasmine Lee-Jones, Ruth Madeley, Amy Ng, Stef Smith, Jack Thorne, Isobel Waller-Bridge and Steve Waters will explore the change that has come and is coming. Cast to be announced.
3 & 4 October, 4pm, Main House, free
Arriving on the big screen four years later, Spooks: The Greater Good does little to make the case for its existence
“You can do good, or do well”
Arriving some four years after the end of the TV series, Spooks: The Greater Good was an ill-advised coda to the Spooks experiment, leaving writers Jonathan Brackley and Sam Vincent at the helm despite the decidedly mixed results of their ascension to head writers on the show (poor Lucas).
Cinemas are hardly calling out for new spy franchises yet there’s an added sense of ‘what’s the point’ as along with the four year wait, there’s a story with no real connection to the 10 series that preceded it, and a cast sprinkled with the characters who survived but which prioritises brand new ones. Continue reading “Film Review: Spooks: The Greater Good (2015)”
Spooks comes to an end with a shortened series 10 which, while not perfect, is effective in many ways
“Wait Harry, this can’t be the end”
And so after a decade, it comes to an end. Series 10 of Spooks, a shortened order of six episodes, sees the writers flip from the Lucas North show to the Harry Pearce show. This naturally makes more sense, with Harry being the head of Section D after all, but I’m not 100% sure that it completely works as it goes against the ensemble ethos of the show at its best.
The argument here is that Harry is the heart of the show and given the jib of his recent decision-making at this point, you have to wonder if this is all that wise. Given all that transpires, the final scene of the show hardly inspires confidence. That said, the memorial is a beautiful touch and Lara Pulver’s new chief Erin Watts proved a strong addition to Thames House.
A tough one this, Walker rises brilliantly to the challenge of essentially co-leading the series as a result of the Harry focus. But her treatment in the final moments of the series can’t help but feel a little unnecessary, essentially cheapened by her reduction to nothing but an adjunct to Harry. She only gets killed because of the personal connection rather than a heroic act of Queen and country she deserved (if she had to die at all). Continue reading “Lockdown TV Review: Spooks Series 10”
Oof, the start of the downfall…Series 9 of Spooks turns into the Lucas North show with terrible ramifications
“Do you know how I knew it was true? Because for the first time you made sense”
It couldn’t last, two strong series of Spooks back-to-back were undone by the horrors of Series 9. And it needn’t have been this way, it opens with a great 10 minutes. Ros;s funeral! A proposal! Harry as an assassin! Ruth getting called “that dogged, brilliant bitch”! But new head writers Jonathan Brackley and Sam Vincent then have the trickier task of reconstructing a new team, and don’t quite nail it with Sophia Myles’ Beth and Max Brown’s Dimitri only ever appearing in shades of beige.
Worse though, is the shifting of the entire season’s narrative onto Richard Armitage’s Lucas who – dun dun dur – is actually someone else called John Bateman, whose torturously wrangled personal history is dragged out through the presence of Iain Glen’s Vaughan. Undoing all the good work that Armitage had done in building the fascinating ambiguities of Lucas North, the entire John Bateman storyline was a huge mis-step and ultimately indulges Spooks at its worst.
Never better than turning Harry down, she’s a vital steadying presence in a show that badly needs it. Continue reading “Lockdown TV Review: Spooks Series 9”