This blog has a fondness for the festive season. In fact, it could be argued, come December 1st, this writer is the merriest person you'd ever be likely to meet. Come December 1st, every word spoken is laced with tinsel, every look flashes with electric light bulbs, every beat of the heart is pulsating with hope and Joy To The World. Come December 1st.
Sadly, in this world that we live in, you cannot escape Christmas in November. Today, upon watching television, almost every advert had a festive ring/theme to it, even if the product wasn't necessarily for Christmas. This is not unusual in the least, but it's still rather depressing.
Only two things bring joy to this blog on these occasions. The first is the fact that this season is the season where Cinema really comes alive again. This is not suggesting for a moment that the year beforehand has been disappointing - far from it, with the mega hits of The Dark Knight Rises and Skyfall tussling for the top spot in The Culture Section's annual Top Ten to be produced towards the end of the year. But as we approach the season for goodwill, we also approach the season of awards. And so, the big hitters arrive - Seven Psychopaths, Les Miserables, Life Of Pi, Silver Linings Playbook and all the rest, all filtering through as they start their long campaign just to be nominated for awards. This is very good news indeed, and brings the tidings of great joy often promised by the studios, never mind a heavenly choir of angels.
The second reason this blog finds it's ice cold heart in November slightly thawed is this year's John Lewis advert. Over the last couple of years the genius who has obviously been hired just because he/she has amazing ideas specifically for the superstore's festive commercials has produced immense works, often sound tracked by beautiful pieces of music. This year is perhaps the pinnacle, the ultimate triumph. The take of a snowman battling through the elements to buy his snow lady girlfriend the perfect gift she really needs is wonderfully shot and perfectly sound tracked by an awe inspiring cover of Frankie Goes To Hollywood's "The Power Of Love" by new star Gabrielle Aplin. The photography is gorgeous, the music simply beautiful.
This blog would therefore like to anounce two campaigns: first, if you have not seen this advert yet, watch it, NOW, even if you, like this writer, are still a Scrooge up until the December page of your calender. Secondly to John Lewis: this blog believes that you will never, EVER top the wonder of your advert this year. Therefore, this blog suggests you simply repeat it again next year, and the year after that. Make it a tradition. It reduces a friend of this blog to tears every time she watches it. Now that's magic.
Showing posts with label Television. Show all posts
Showing posts with label Television. Show all posts
Thursday, 29 November 2012
Saturday, 13 October 2012
Culture Section Round Up
Every so often, this blog will take a step back and focus on some of the stories circulating the cultural world, a few tasty morsels for us all to chew on.
In the theatre world, the worst kept secret on Broadway is finally out; Tom Hanks is doing a play. If you're a multi-millionaire over there be sure to book your tickets. Us honest, hard working plebs may not stand a chance of even sniffing the box office, let alone going to see it. Ticket prices on Broadway are now higher than they've ever been before, making it even more of a financial and, yes, creative risk to put any kind of show on over there. Although the West End is still fairly affordable, it is, just like Off Broadway establishments, the little theatres and the touring companies that have become the true pioneers now. Just look at Betty Blue Eyes last year; a musical loved by the critics, but it never stood a chance because people weren't buying the tickets. That's not the show's fault; the blame sadly has to lie on the producers, an astonishing claim to make I know since one of them is Cameron Mackintosh. In the 1980s Mackintosh was incredibly savvy with the way he produced his mega-hits; start on the West End, then transfer to Broadway when you've got enough money from the West End show. All producers need to focus on now is exactly that step, but for Broadway read West End, for West End read little theatres.
Not that that's stopping new productions moving in there. The star of the new production of Charlie And The Chocolate Factory was announced yesterday; surprisingly, it wasn't Russel Brand. Perhaps he failed his audition at the Olympic Closing Ceremony. The star to play Willy Wonka is Douglas Hodge, a very good actor who's already had a success in musicals and won a string of awards recently for his performance in La Cage Aux Folles. He also seems more like the kind of actor that Sam Mendes, the show's director, would go for. And Sam Mendes directs good musicals: Cabaret, Company, etc. Hopes are high for this one, even if one could be cynical at another Dahl musical after the huge success of Matilda. That show is being put on soon on the Great White Way, while we're inheriting two of their success stories: this year's Tony award winning Once, based on the gorgeous film of the same name, and (finally) The Book of Mormon, the (again) Tony award winner from the creators of South Park and one part of Avenue Q's creative team. Both these shows will be hitting our shores next Spring. The money is on Mormon to last longer than Once, but maybe it will surprise us. After all it's going to the Phoenix which is showing the last few weeks of its hit Blood Brothers. Stranger things have happened.
****
The theme tune for the new Bond film, Skyfall, by Adele has been released; it is already ten times better than the last effort by Alicia Keys and Jack White. It retains the Barry-esque qualities of so many great themes that echoed throughout the franchise over the 50 years. Pressure now on Tomas Newman to compose a score worthy of not just John Barry but also David Arnold, whose work on the last six Bond films has been superb.
And on the subject of music, this blog will soon be submitting its reviews of three scorching new albums: The XX, Muse and Ellie Goulding.
****
This blog has stayed silent up to now on the still developing horror story that is the allegations of sexual abuse by the late Jimmy Saville towards young girls in the 60s and 70s; it will remain to do so, save for this piece here. Last night (Friday 12th October) the BBC television comedy panel show Have I Got News For You took a brave step and focused a large part of their new series opener on the story. There were few laughs (obviously) and some footage from an archived episode with Saville that was chilling with hindsight. This blog applauds the programme makers for taking this decision; it meant that the panel could have a proper discussion about the story and the treatment over the last few weeks of the BBC by the media. As one of the guests, Graham Linehan, pointed out, the media are as just as much to fault over the scandal as the BBC are, if any. And for someone whose work has only really appeared on Channel 4 to come to the defence of the BBC, that's pretty decent. It was a risky step and was taken wisely, and all of the makers should be congratulated.
In the theatre world, the worst kept secret on Broadway is finally out; Tom Hanks is doing a play. If you're a multi-millionaire over there be sure to book your tickets. Us honest, hard working plebs may not stand a chance of even sniffing the box office, let alone going to see it. Ticket prices on Broadway are now higher than they've ever been before, making it even more of a financial and, yes, creative risk to put any kind of show on over there. Although the West End is still fairly affordable, it is, just like Off Broadway establishments, the little theatres and the touring companies that have become the true pioneers now. Just look at Betty Blue Eyes last year; a musical loved by the critics, but it never stood a chance because people weren't buying the tickets. That's not the show's fault; the blame sadly has to lie on the producers, an astonishing claim to make I know since one of them is Cameron Mackintosh. In the 1980s Mackintosh was incredibly savvy with the way he produced his mega-hits; start on the West End, then transfer to Broadway when you've got enough money from the West End show. All producers need to focus on now is exactly that step, but for Broadway read West End, for West End read little theatres.
Not that that's stopping new productions moving in there. The star of the new production of Charlie And The Chocolate Factory was announced yesterday; surprisingly, it wasn't Russel Brand. Perhaps he failed his audition at the Olympic Closing Ceremony. The star to play Willy Wonka is Douglas Hodge, a very good actor who's already had a success in musicals and won a string of awards recently for his performance in La Cage Aux Folles. He also seems more like the kind of actor that Sam Mendes, the show's director, would go for. And Sam Mendes directs good musicals: Cabaret, Company, etc. Hopes are high for this one, even if one could be cynical at another Dahl musical after the huge success of Matilda. That show is being put on soon on the Great White Way, while we're inheriting two of their success stories: this year's Tony award winning Once, based on the gorgeous film of the same name, and (finally) The Book of Mormon, the (again) Tony award winner from the creators of South Park and one part of Avenue Q's creative team. Both these shows will be hitting our shores next Spring. The money is on Mormon to last longer than Once, but maybe it will surprise us. After all it's going to the Phoenix which is showing the last few weeks of its hit Blood Brothers. Stranger things have happened.
****
The theme tune for the new Bond film, Skyfall, by Adele has been released; it is already ten times better than the last effort by Alicia Keys and Jack White. It retains the Barry-esque qualities of so many great themes that echoed throughout the franchise over the 50 years. Pressure now on Tomas Newman to compose a score worthy of not just John Barry but also David Arnold, whose work on the last six Bond films has been superb.
And on the subject of music, this blog will soon be submitting its reviews of three scorching new albums: The XX, Muse and Ellie Goulding.
****
This blog has stayed silent up to now on the still developing horror story that is the allegations of sexual abuse by the late Jimmy Saville towards young girls in the 60s and 70s; it will remain to do so, save for this piece here. Last night (Friday 12th October) the BBC television comedy panel show Have I Got News For You took a brave step and focused a large part of their new series opener on the story. There were few laughs (obviously) and some footage from an archived episode with Saville that was chilling with hindsight. This blog applauds the programme makers for taking this decision; it meant that the panel could have a proper discussion about the story and the treatment over the last few weeks of the BBC by the media. As one of the guests, Graham Linehan, pointed out, the media are as just as much to fault over the scandal as the BBC are, if any. And for someone whose work has only really appeared on Channel 4 to come to the defence of the BBC, that's pretty decent. It was a risky step and was taken wisely, and all of the makers should be congratulated.
Saturday, 18 August 2012
Olympic Legacy - The Victims
Two long lasting events start again today: the first is the kick off of the new Premier League Football season; the second is the start of the new season of The X Factor.
Fascinatingly, the two events are linked not just by their start date but, one feels, the lack of enthusiasm for them. This is not just the seeming minority of us who have always looked upon the turgid display of uncharismatic ego boosting in this most hyper-inflated of talent shows with a sense of weary dread. The same goes for The X Factor, by the way.
No, there is a significant lack of momentum leading up to these two events. The responsible culprit for this is, obviously, the fact that we have spent a whole fortnight celebrating and relishing the sight of sportsmen, athletes, real heroes, real celebrities, who put their time and energy into everything, absolutely everything, to achieve their goals.
This writer does not believe for one second that the contestants of The X Factor have gone through the same journey. On a rare occasion, maybe, but even the most talented of winners - Leona Lewis as an example -- have seemingly faded into the distance. The Premier League footballers, paid far too much for ninety minutes of unremarkable showmanship, may have a stronger legacy in history, but that legacy is now in crisis thanks to London 2012.
If people wish to watch any of these shows -and sadly, hypocritically, this writer will be keeping his eyes on the Premier League and the progress of Arsenal Football Club, despite all his moaning - then by all means let them. But let's watch them with that sense of cynicism, that overall feeling of in the moment and then push it to the farthest reaches of our mind. It's boring. It's boorish. But Bolt, Ennis, the sports that are overlooked by people, the sports like volleyball that have had no funding in this country for the past two years; keep celebrating them. And if not, it's Saturday night. Go to the movies or the theatre. Help your starved mind with some real drama. Not pap.
Fascinatingly, the two events are linked not just by their start date but, one feels, the lack of enthusiasm for them. This is not just the seeming minority of us who have always looked upon the turgid display of uncharismatic ego boosting in this most hyper-inflated of talent shows with a sense of weary dread. The same goes for The X Factor, by the way.
No, there is a significant lack of momentum leading up to these two events. The responsible culprit for this is, obviously, the fact that we have spent a whole fortnight celebrating and relishing the sight of sportsmen, athletes, real heroes, real celebrities, who put their time and energy into everything, absolutely everything, to achieve their goals.
This writer does not believe for one second that the contestants of The X Factor have gone through the same journey. On a rare occasion, maybe, but even the most talented of winners - Leona Lewis as an example -- have seemingly faded into the distance. The Premier League footballers, paid far too much for ninety minutes of unremarkable showmanship, may have a stronger legacy in history, but that legacy is now in crisis thanks to London 2012.
If people wish to watch any of these shows -and sadly, hypocritically, this writer will be keeping his eyes on the Premier League and the progress of Arsenal Football Club, despite all his moaning - then by all means let them. But let's watch them with that sense of cynicism, that overall feeling of in the moment and then push it to the farthest reaches of our mind. It's boring. It's boorish. But Bolt, Ennis, the sports that are overlooked by people, the sports like volleyball that have had no funding in this country for the past two years; keep celebrating them. And if not, it's Saturday night. Go to the movies or the theatre. Help your starved mind with some real drama. Not pap.
Sunday, 13 March 2011
Rough Contrasts
The BBC have recently, as always, begun transmitting programmes which are in stark contrast of each other in terms of whether or not they're actually any good. Three of them will be examined here briefly: Faulks On Fiction, South Riding and Mrs Brown's Boys.
Faulks On Fiction and South Riding are both part of a year long celebration on the BBC of the written word, and both show that this season is full of immense promise. Though slightly rushed and selective, Faulks On Fiction was a wonderful mainstream prime time glimpse into what makes a story great, focusing on four separate characters: The Hero, The Lover, The Snob and The Villain. There were both obvious choices - Sherlock Holmes for Hero, Lady Chatterley for Lover, etc - and others that were perhaps not so obvious - James Bond as Snob. Sebastian Faulks, writer of some great works himself including the horrifying Birdsong and the utterly brilliant The Girl At The Lion D'Or, proved a winning presenter and guide through this world. The one drawback was that, though many famous literary figures were interviewed, the interviews for each were kept to two short snippets. Really, Faulks should have had either longer interviews or cut them all together. The programmes would have run slightly better that way. Nevertheless, it was still an entertaining and fascinating journey.
More satisfying still was Andrew Davis' three-part adaptation of South Riding, Winifred Hotlby's novel of a town in 1930's Northern England facing the Great Depression and great change. Davis concentrated more on the doomed potential romance between the two antagonists - the optimistic Sarah Burton, played by the excellent Anna Maxwell Martin, and the gruff land owner in debt Robert Carne, the dependable David Morrissey. Sadly, this decision to focus mainly on this storyline took the plot away from what could have been a fascinating portrayal of Northern England during this time. The final episode contained some rather obvious results after an admittedly surprising tragic twist, and the final five minutes did feel a little rushed. But the performances from all, in particular Martin and Penelope Wilton, ensured this was still an enjoyable piece of drama.
On completely the opposite side of both decency and taste is Mrs Brown's Boys, a so called sitcom which has become the latest in a long line of what this writer likes to call "Marmite TV", as it's popularity with some people is truly inexplicable. An always packed studio audience seem to enjoy it too, as Brendan O'Carroll drags up to play the title character, a filthy old Irish woman trying to interfere with her grown children's' lives. The scripts are a mess, drifting from broad humour to filthy innuendo to sudden attempts at pure drama. At one point Mrs Brown jokes with her daughter Cathy (Jennifer Gibney) about Cathy's ex-husband, then shocking reveals that she knows he used to beat her. It just doesn't work. At times, the episodes allow mistakes made by the actors to be shown, O'Carroll walking through the different sets in the studio at one point to pick up a handbag he left behind. These "mistakes" even look staged. Inexplicable.
Never mind, though, BBC - two out of three sure isn't bad. And with the return of the brilliant Waking The Dead this Sunday for it's final season, TV just gets better and better for the Beeb.
Faulks On Fiction and South Riding are both part of a year long celebration on the BBC of the written word, and both show that this season is full of immense promise. Though slightly rushed and selective, Faulks On Fiction was a wonderful mainstream prime time glimpse into what makes a story great, focusing on four separate characters: The Hero, The Lover, The Snob and The Villain. There were both obvious choices - Sherlock Holmes for Hero, Lady Chatterley for Lover, etc - and others that were perhaps not so obvious - James Bond as Snob. Sebastian Faulks, writer of some great works himself including the horrifying Birdsong and the utterly brilliant The Girl At The Lion D'Or, proved a winning presenter and guide through this world. The one drawback was that, though many famous literary figures were interviewed, the interviews for each were kept to two short snippets. Really, Faulks should have had either longer interviews or cut them all together. The programmes would have run slightly better that way. Nevertheless, it was still an entertaining and fascinating journey.
More satisfying still was Andrew Davis' three-part adaptation of South Riding, Winifred Hotlby's novel of a town in 1930's Northern England facing the Great Depression and great change. Davis concentrated more on the doomed potential romance between the two antagonists - the optimistic Sarah Burton, played by the excellent Anna Maxwell Martin, and the gruff land owner in debt Robert Carne, the dependable David Morrissey. Sadly, this decision to focus mainly on this storyline took the plot away from what could have been a fascinating portrayal of Northern England during this time. The final episode contained some rather obvious results after an admittedly surprising tragic twist, and the final five minutes did feel a little rushed. But the performances from all, in particular Martin and Penelope Wilton, ensured this was still an enjoyable piece of drama.
On completely the opposite side of both decency and taste is Mrs Brown's Boys, a so called sitcom which has become the latest in a long line of what this writer likes to call "Marmite TV", as it's popularity with some people is truly inexplicable. An always packed studio audience seem to enjoy it too, as Brendan O'Carroll drags up to play the title character, a filthy old Irish woman trying to interfere with her grown children's' lives. The scripts are a mess, drifting from broad humour to filthy innuendo to sudden attempts at pure drama. At one point Mrs Brown jokes with her daughter Cathy (Jennifer Gibney) about Cathy's ex-husband, then shocking reveals that she knows he used to beat her. It just doesn't work. At times, the episodes allow mistakes made by the actors to be shown, O'Carroll walking through the different sets in the studio at one point to pick up a handbag he left behind. These "mistakes" even look staged. Inexplicable.
Never mind, though, BBC - two out of three sure isn't bad. And with the return of the brilliant Waking The Dead this Sunday for it's final season, TV just gets better and better for the Beeb.
Thursday, 27 January 2011
National Television Awards 2011
Last night the National Television Awards took place. This is the only awards ceremony for TV that is completely voted for by the British Public. This usually means the same old faces are seen grinning behind statuettes. Last night, however, there were a few surprises. Strange ones, too.
In the category for Best Drama, where you had the likes of Doctor Who vs Sherlock, probably the most heated debate of the night, the gong instead went to Waterloo Road. Two shows as funny and diverse as QI and Mock The Week were saddled into the same category as Big Brother and the winning I'm A Celebrity...Get Me Out Of Here! When Benidorm won Best Comedy Programme, the first award of the night, you could have actually guessed that this was going to be a rough ride for favourites.
The usual suspects were there, of course - The X Factor giant obliterated its fellows in the Talent Show category; The Inbetweeners continued their final year with more silverware. David Jason, darling of ITV Drama, won an award. They just give them to him now in the David Jason category. EastEnders, the happiest soap on earth, won three awards, including Best Serial Drama. How interesting that this should happen right bang in the middle of a controversial storyline that has had people talking for quite a while now. Never mind the brilliant special effects of the Coronation Street live episode, or the hard-hitting story lines of Hollyoaks.
One thing everyone could be agreed on, however, was the recipient of the Special Recognition Award, Bruce Forsyth, a celebration that is long overdue. In typical form he commanded the audience effortlessly. you have to hand it to him - sometimes all you need is a pro.
Thursday, 20 January 2011
The EastEnders Controversy
Soap operas are a curious breed. In the states everything is big and over the top, wonderfully made fun of by the establishment in various ways; just check out the scenes of Days Of Our Lives that appear in Friends. Very tongue in cheek, but then that's what a soap opera really is in the States: high drama, high glamour.
Over here in the UK it's a very different animal. A soap opera can be warm, funny and more realistic; Coronation Street is a good example of this. When something horrible goes wrong, it's a big event storyline because, usually, as in life, these things just don't normally happen on this show. A lesbian storyline, for example, like the one between Sophie and Sian on this show, takes time to develop, months even. It's a slow burner.
Other soaps are a strange mixture. For glamour and teen issues, see Hollyoaks. For daytime,, easy-going stories, see Doctors. But EastEnders is by far the extreme on the spectrum. Not a day goes by without something miserable happening on this show. That's not necessarily a criticism either: it's just what EastEnders is, what it has been from the outset. Its very first episode started with a death, and, if ever it happens, its very last one surely will too.
But recently, more attention has been placed around this pessimism than usual. A controversial storyline has shaken the country, if perhaps not dividing it, for everyone seems to wonder what the heck the writers on the show are playing at. What should have been a happy event takes place with a double birth - Kat (Jessie Wallace) and Ronnie (Samantha Womack) both giving birth on the same day. But this is EastEnders. They don't understand the meaning of the word "happiness". Ronnie's baby dies tragically due to Sudden Infant Death Syndrome (Sids); in desperation she swaps the babies around, leaving Kat and her partner Alfie with a tragic discovery in their happiness.
The writer of this blog does not watch EastEnders regularly, and certainly commendments must be placed at the feet of Jessie Wallace and Shane Richie, whose perframces as Kat and Alfie truly brought home the pain and grief too many parents feel in the real world. However, what has happened with the addition to the story truly defines what we seem to think a soap opera now is: highly melodramatic unrealistic rubbish. To examine the effects of Sids is one thing; it is a subject that more awareness should be made of. But to then attempt to glamorise it with a "baby swap plot" is both offensive and stupid. Though the writers describe the events as the last straw for Ronnie, the very fact that the actress who plays her is leaving the show, if you believe the media, in protest of the storyline surely justifies the lack of common sense in this move.
A few years ago now, Hollyoaks, known for sometimes hard-hitting issues done well, ran a Sids storyline that concentrated more on the consequences it had on the parents, Tony and Mandy, their combined grief ultimately destroying their marriage, as well as the effects it had overall on the two girls babysitting. Though it can be argued that this is still, in a sense, "glamming up" a hard-hitting storyline, there can be no denial that, compared to what has happened in Albert Square over the last months, that was pittance.
The EastEnders plot is due to finish early at Easter, thanks to a record number of complaints from the public (at the last count: 8,400), and it can be safe to say that, for EastEnders, they have finally reached the bottom of the misery barrel after 25 years.
Over here in the UK it's a very different animal. A soap opera can be warm, funny and more realistic; Coronation Street is a good example of this. When something horrible goes wrong, it's a big event storyline because, usually, as in life, these things just don't normally happen on this show. A lesbian storyline, for example, like the one between Sophie and Sian on this show, takes time to develop, months even. It's a slow burner.
Other soaps are a strange mixture. For glamour and teen issues, see Hollyoaks. For daytime,, easy-going stories, see Doctors. But EastEnders is by far the extreme on the spectrum. Not a day goes by without something miserable happening on this show. That's not necessarily a criticism either: it's just what EastEnders is, what it has been from the outset. Its very first episode started with a death, and, if ever it happens, its very last one surely will too.
But recently, more attention has been placed around this pessimism than usual. A controversial storyline has shaken the country, if perhaps not dividing it, for everyone seems to wonder what the heck the writers on the show are playing at. What should have been a happy event takes place with a double birth - Kat (Jessie Wallace) and Ronnie (Samantha Womack) both giving birth on the same day. But this is EastEnders. They don't understand the meaning of the word "happiness". Ronnie's baby dies tragically due to Sudden Infant Death Syndrome (Sids); in desperation she swaps the babies around, leaving Kat and her partner Alfie with a tragic discovery in their happiness.
The writer of this blog does not watch EastEnders regularly, and certainly commendments must be placed at the feet of Jessie Wallace and Shane Richie, whose perframces as Kat and Alfie truly brought home the pain and grief too many parents feel in the real world. However, what has happened with the addition to the story truly defines what we seem to think a soap opera now is: highly melodramatic unrealistic rubbish. To examine the effects of Sids is one thing; it is a subject that more awareness should be made of. But to then attempt to glamorise it with a "baby swap plot" is both offensive and stupid. Though the writers describe the events as the last straw for Ronnie, the very fact that the actress who plays her is leaving the show, if you believe the media, in protest of the storyline surely justifies the lack of common sense in this move.
A few years ago now, Hollyoaks, known for sometimes hard-hitting issues done well, ran a Sids storyline that concentrated more on the consequences it had on the parents, Tony and Mandy, their combined grief ultimately destroying their marriage, as well as the effects it had overall on the two girls babysitting. Though it can be argued that this is still, in a sense, "glamming up" a hard-hitting storyline, there can be no denial that, compared to what has happened in Albert Square over the last months, that was pittance.
The EastEnders plot is due to finish early at Easter, thanks to a record number of complaints from the public (at the last count: 8,400), and it can be safe to say that, for EastEnders, they have finally reached the bottom of the misery barrel after 25 years.
Saturday, 8 January 2011
REVIEW - TV Of 2011
The small screen has a lot to offer this upcoming year, though as always you could be more excited about old favourites returning compared to brand new series. Doctor Who and Torchwood will be back, as will a brand new series of Sherlock, which was one of the undisputed highlights of 2010. Starting on Monday, Shameless hits Channel 4 again, with the first five episodes being shown every night for the first week. For the reality fixates, too, we have the glorious return of the addictive-yet-I-don't-know-why Dancing On Ice, and the tantalising promise of new judges on Britain's Got Talent.
Three shows that have arrived since the start of the year are two welcome old favourites and one new show; the case in point that the old is better than the new sadly proves fruitful in this instance. Zen, a new three-parter on BBC1, is trying hard to be the Italian version of Wallander. Not everyone is a fan of the Swedish detective, though merit comes from the experienced hands of Kenneth Branagh. Here the title character is played by Rufus Sewell, a man whose previous roles have involved being a bit of a scoundrel and getting the girl, so no surprise when he starts an affair with one of his colleagues, played by the beautiful Caterina Murino (whose last notable appearance was in Casino Royale). But there just seems to be something missing from Zen; it looks good, no doubt, but the plot moves a little too slowly and becomes a tad predictable.
Predictable is the state of Hustle, back last night (Friday) for a seventh season. Anyone who enjoys the show knows the gist: con artists who only con those who deserve to be conned. Last night's opening episode was a cracker; fast, quick plot, with some brilliant guest acting from Anna Chancellor as their bitch model agent of a mark, it also kept you guessing a little as to what was going on towards the end.
Another welcome return was from Primeval. The show was in hiatus after its third season, the three main characters stuck in the very distant past, struggling to survive against dinosaurs. The series itself was in trouble from ITV, and was most likely going to end up being cancelled altogether. But America have come to the rescue, and now we have the first of two shiny new seasons. Again, the plot is always a little predictable, but thankfully some of the darkness of the last season (the main character was killed off in Episode Three then) has been lifted, and an intriguing sub-plot concerning the great actor Anton Lesser is keeping us on our toes, when we're not being thrilled by the chase of man-munching monsters.
Thumbs up then, almost all round. 2011 is shaping up quite nicely, thank you very much.
Three shows that have arrived since the start of the year are two welcome old favourites and one new show; the case in point that the old is better than the new sadly proves fruitful in this instance. Zen, a new three-parter on BBC1, is trying hard to be the Italian version of Wallander. Not everyone is a fan of the Swedish detective, though merit comes from the experienced hands of Kenneth Branagh. Here the title character is played by Rufus Sewell, a man whose previous roles have involved being a bit of a scoundrel and getting the girl, so no surprise when he starts an affair with one of his colleagues, played by the beautiful Caterina Murino (whose last notable appearance was in Casino Royale). But there just seems to be something missing from Zen; it looks good, no doubt, but the plot moves a little too slowly and becomes a tad predictable.
Predictable is the state of Hustle, back last night (Friday) for a seventh season. Anyone who enjoys the show knows the gist: con artists who only con those who deserve to be conned. Last night's opening episode was a cracker; fast, quick plot, with some brilliant guest acting from Anna Chancellor as their bitch model agent of a mark, it also kept you guessing a little as to what was going on towards the end.
Another welcome return was from Primeval. The show was in hiatus after its third season, the three main characters stuck in the very distant past, struggling to survive against dinosaurs. The series itself was in trouble from ITV, and was most likely going to end up being cancelled altogether. But America have come to the rescue, and now we have the first of two shiny new seasons. Again, the plot is always a little predictable, but thankfully some of the darkness of the last season (the main character was killed off in Episode Three then) has been lifted, and an intriguing sub-plot concerning the great actor Anton Lesser is keeping us on our toes, when we're not being thrilled by the chase of man-munching monsters.
Thumbs up then, almost all round. 2011 is shaping up quite nicely, thank you very much.
Subscribe to:
Posts (Atom)