Not even a precious few shots of rippling abs and a cast full of talent can save the mad folly of The English Game, someone stop Julian Fellowes now please
“Lads, football is not complicated”
Who would have thought it? Julian Alexander Kitchener-Fellowes, Baron Fellowes of West Stafford has zero facility for writing Northern working class characters. (Or on this evidence, any characters at all.) Not having watched Downton Abbey in any meaningful way (though I did suffer through the film), I wasn’t prepared for just how cringeworthily bad it would be in his Netflix series The English Game.
I remembered Lucy Mangan’s excoriation of the show in the Guardian just as the first lockdown kicked in but it has taken me this long to get round to watching it myself, despite Netflix constantly flicking it onto my homepage. And there’s actually something quite magisterial in just how jawdroppingly awful the first episode is, even with the changing room scenes that have somehow been screenshotted here. Continue reading “TV Review: The English Game (2020)”
In its exploration of the human stories around the nuclear accident, Craig Mazin’s mini-series Chernobyl is simply superb
“You are dealing with something that has never happened on the planet before”
Yeesh! TV dramas surely don’t have the right to be as good as Chernobyl, particularly when they’re ostensibly about such grimly horrific a topic as this, But as creator, writer, and executive producer Craig Mazin has adroitly identified, the 1986 nuclear disaster – and the human impact it had on those closest to it – is relatively under-explored, in mainstream Western culture at least.
Chernobyl seeks to explain what happened on that fateful day, and its terrible aftermath, on two distinct levels. Focusing in on the microlevel, we follow stories such as those of the power station workers, the first responders, the people who watched the fire burn up close. But it also takes a strategic look at the Soviet system at large, tracing the institutional problems that allowed it to happen.
Continue reading “TV Review: Chernobyl”
“To them, we are nothing but a bunch of racist, sexist, overpaid thugs in uniform”
In what turned out to be my second Maria Aberg production in quick succession, I got something of a crash course in just why people talk about this director so excitedly. Here, she takes Roy Williams’ urban police thriller Wildefire and elides its scenes into a single downwards spiral as policewoman Gail Wilde takes on a South London posting but finds herself unprepared for the intense trials and tribulations of life in the Met.
Aberg and Williams do a magnificent job at conjuring a world that is at once innately distrustful of the police yet also guilty of inculcating that distrust. Out of the shadows of James Farncombe’s lighting and the nooks and crannies of Naomi Dawson’s open yet functional design, urban nightmares spill forth whether fighting football fans, council estate domestic abusers or the suffocating menace of disaffected hoodies with nothing to lose. Continue reading “Review: Wildefire, Hampstead Theatre”