The only real pleasure in this TV version of Four Weddings and a Funeral is hearing Alex Jennings say “Yes, I suppose you were somewhat of a basic bitch” with a straight face
“You’re insane and watch too much TV”
This lockdown has seen me sign up to too many free trials on various online TV services and so I’ve been ripping through some of the shows newly on offer to me. Over on STARZPLAY, first up for me was the TV adaptation of Four Weddings and a Funeral which I’m not sure if I ever knew actually existed until now.
Created by Mindy Kaling and Matt Warburton and airing in the US in the summer of 2019, the show is an inexplicable riff on Richard Curtis’ 1994 film. Ultimately it is nothing like the film, which is probably for the best, emerging instead as a ridonkulous Jilly Cooper-esque rom-com in a fantastical version of London (and beyond). Continue reading “TV Review: Four Weddings and a Funeral”
Series 5 of Line of Duty has some cracking moments, some big revelations and one of Anna Maxwell Martin’s best ever performances
“There’s no secrets in AC12”
So we make it to the end of Series 5 of Line of Duty and it was a lot wasn’t it. A properly tragic couple of deaths, a deep suspicion of a core team member or two and perhaps inevitably, one step forwards and two steps back in the ongoing H conspiracy.
Jed Mercurio’s plotting remains as tightly wound and full of surprises as ever, the reveals in the organised crime group were well done but I think the gang stuff was nowhere near as much fun as the internecine conflicts within the police force itself. Continue reading “TV Review: Line of Duty (Series 5)”
For me, i will still be whole (when you rip me in half) ends up plagued by some problematic directorial choices at the VAULT Festival
“I should have gone with her”
There’s something inevitably perverse that it isn’t a show in the aptly named Cavern that proves to be the first directorial mis-step that I get at this year’s VAULT Festival, but rather one in the comparative intimacy of the Pit next door. Wrapping the audience around all four walls has its definite advantages in establishing a certain kind of relationship with the audience but Helen Morley’s production crucially sacrifices a huge amount of audibility in doing so.
And again, you can kind of see why the choice was made. The nature of Ava Wong Davies’ writing in i will still be whole (when you rip me in half) lends itself directly to the ruminative and muted. And as it takes the form of two monologues that wind ever closer, the movement of the two actors reflects both the emotional distance that exists and the way that it fluctuates. But the hushed delivery and static nature of many a scene proved fatal to actually hearing much of the text when presented with an actor’s back. Continue reading “Review: i will still be whole (when you rip me in half), VAULT Festival”