Tag Archives: TV & Netflix

Game of Thrones is back…

IMG_20170717_180832-01Are you glad it’s back? And by ‘it’ I mean the TV phenomenon that’s as big as Star Wars, Harry Potter and The Lord of the Rings?

I’m not a constant admirer of the Game of Thrones juggernaut anymore. Characters get arranged into starting positions for epic showdowns, rinse and repeat. This season has seven episodes, and “Dragonstone” probably won’t be the only hour devoted to groundwork and prepping the set pieces.

We had Sam in the library, and Sam emptying bedpans. We had Emilia “I Can. And I Will” Clarke strutting around her ancestral home like a dumpy 12-year-old emulating a haughty catwalk queen. (And I’m not sure the show has enough time to explore the attraction dangling between her eunuch warrior and her handmaiden…)

Like Dany, Sansa is coming into her own, as the Lady of Winterfell. Soft-hearted Sansa now feeds her husbands to hungry hounds, and while I’m all for character growth, not every female character has to be a Strong Woman, and Strong Women don’t have to commit grisly murders to be powerful.

Perhaps they don’t know what to do with Sansa – the whole rushed, overripe Ramsay plot was not her book story – and Sophie isn’t a believable enough actress to play a ruthless killer AKA junior Cersei. Thanks to her dreary line readings and whiny nasal voice, I use Sansa scenes for any unpleasant chores, like putting the recycling out.

But Sansa, like sister Arya (who couldn’t look less like Sophie Turner), are a) fan favourites, and/or b) are part of George R.R. Martin’s endgame, and can’t be bumped off.

Maisie is a good little actress, but she seems super-aware that there’s a huge audience who love Arya and who think a bloodthirsty (female) child assassin is cool, and maybe this awareness is sometimes ever so slightly to the detriment of her performance.

She’s on her way to King’s Landing, where Bad Uncle Euron is trying to woo Evil Queen Cersei and come between her and Jaime, who have reached that stage where they’re more brother/sister, than red hot lovebirds…oh yeah.

There were things I liked, I promise, I’m not as grumpy as Sandor Clegane, who is still with the Brotherhood and in delightfully surly form, shaming Thoros’ topknot hairdo. (He’ll be coming for Jon’s man bun next.) The Hound is seeing visions in the flame, and it sounds like those screeching ice men are going to overcome the Wall by just….walking around it?

Really? Give fans their answers already!

(OK maybe I am as grumpy as the Hound after all.) 😉

SS-GB episode 1 on BBC – review

Where The Crown was a soothing, nostalgic view of Britain’s unique greatness, new BBC drama SS-GB – based on Len Deighton’s alternate-history novel – is set in a dystopian 1941 where the Nazis won the Battle of Britain.

Hitler’s head might be on postage stamps and Buckingham Palace in ruins, but Sam Riley’s Superintendent Douglas Archer just wants to keep on policing like nothing has happened.

He’s a Humphrey Bogart-esque detective with a throaty growl (top tip – subtitles ON). Sadly Scotland Yard’s finest hasn’t realised that his secretary and lover Sylvia (Maeve Dermody), and his old-school sergeant Harry Woods (Commander Mormont from the Night’s Watch on secondment) are both working with the British Resistance.

When the corpse of a shady antique dealer turns up with fatal gunshot wounds, things get murky, not least when Archer spies New York Times journalist Barbara Barga (Kate Bosworth) slinking away from the scene of the crime. “That outfit’s always going to get you noticed,” he growls of Bosworth, world-famous clothes horse.

She’s in London working on a piece about Americans who decided to remain under the occupation. “A journalist. AND a liar,” proclaims Archer.

As the murder inquiry becomes part of a more sinister investigation, Archer is assigned to work with Standartenführer Huth (Lars Eidinger), a haughty (naturally) high-ranking SS officer. Archer finds himself caught up in rivalry between his new SS and German Army overlords, as well as targeted by hardliners in the Resistance who see him as a collaborator.

“Do you work for the Gestapo daddy?” asks Archer’s son. No, daddy works at Scotland Yard for the Met police. The Gestapo are in the building next door…or something. Perhaps the reason for Archer’s strange ambivalence is simply that there isn’t much evidence of the repressive Nazi machine or their death-dealing ideology.

Despite its ambition, great acting and noirish intrigue, SS-GB plays more like a standard police procedural with Nazi window-dressing than a chilling counterfactual hell.

SS-GB is on BBC1, Sunday at 9pm.

Photo: BBC/Sid Gentle Films Ltd.

 

The Crown – Netflix review

Netflix’s new series, The Crown, cost around 100 million dollars to make, which would cover nearly a third of the huge cost of the Buckingham Palace renovations. It’s got great reviews, too – the series, not the building work – which is proving quite controversial. (And all for a palace that according to this series, nobody wants to live in.)

Now I don’t enjoy cooing over the royals, or cooing over pretend-royals in sumptuous costumes. But I love royal history, and The Crown is a well-made, cinematic imagining of Queen Elizabeth II’s life behind palace doors.

Ten episodes take us from the then Princess Elizabeth’s 1947 marriage to Prince Philip, to the brink of the Suez crisis of 1956. In between the historical milestones, the young royal is embroiled in family dramas, and in each chapter she will have to choose between the ones she loves, and duty.

“The fact is,” her grandmother admonishes her, “the crown must win – must always win.”

I wasn’t sure about Claire Foy as our unknowable queen (Sarah Gadon in the fanciful A Royal Night Out looked more the part.) but she is believable as a supposedly simple countrywoman, more interested in dogs and horses than politics or people.

Creator/writer Peter Morgan’s series is actually all about the hat, not the person wearing it. “An ordinary young woman of modest ability and little imagination,” is how her uncle, the Duke of Windsor, describes Elizabeth during his bitchy coronation commentary. Once anointed, she is transformed, he says, into a “goddess”.

Matt Smith layers his rubbery-faced, zany energy over the mannerisms and ‘wit’ of the notoriously prickly Duke of Edinburgh. I kept expecting him to suggest a Doctor Who-themed nursery for Charles and Anne.

In fact, almost everyone seems far nicer than they probably were/are in real life – even Eileen Atkins as scary Queen Mary. Well, almost everyone. There’s the fabulously brittle duo of Alex Jennings as the Duke of Windsor and Lia Williams (I had to check it wasn’t Game of Thrones’ Red Woman – Carice van Houten) as Wallis Simpson.

The Crown is secure enough in its power that we also spend plenty of time with the politicians. Still really needing a movie to themselves are John Lithgow as Churchill, and Stephen Dillane as the painter Graham Sutherland, hired to produce a portrait of the PM. (It ends up on a bonfire – true story, apparently).

It can all get artificial, as things are explained to viewers. Underlings tell Her Majesty: “And your father’s real name was Albert, and of course your uncle’s real name was David and your name is Elizabeth…”

It’s a bit like a popular history book come to life, and I suppose we couldn’t have expected anything more controversial in our nostalgia-obsessed times. With six more series to go, I’m waiting for someone to stop fretting over whether the Crown will endure, and instead wonder if it should.

the young pope

Jude Law as The Young Pope – who is Lenny Belardo?

The newly-elected Pope Pius XIII dreams he’s emerging from a pyramid of sleeping human babies. He awakens, decides what to wear, greets his flunkies and prepares to make his first address from Saint Peter’s Basilica.

Presenting as a statesman with oratorical skill to rival President Obama (he sounds like him at one point; Jude Law does a great American accent) he exhorts the faithful to divorce, have fun etc.

Of course it’s all still part of his dream, although for Pius, it’s truly the stuff of nightmares.

So who is the fictional Pope Pius XIII??

…he’s young (and American) 

“I’m an orphan. And orphans are never young,” he says.

His real name is Lenny Belardo, and he was left at an orphanage by unknown parents for unknown reasons, where Sister Mary (Diane Keaton), raised him.

He rose to be Archbishop of New York, and the protégé of James Cromwell’s Cardinal Spencer, who is angry at being passed over for Pope himself. We learn Pius was chosen to be a “photogenic puppet” – a bridge between progressive and conservative elements in the Church.

…he’s gone rogue, and is actually an arch-conservative

…At first nobody knows Pius’ thoughts on anything, right down to his breakfast choices. “All I have in the morning is a Cherry Coke Zero,” he says.

Would His Holiness care for a regular Diet Coke? “Let’s not utter heresies.”

When he finally does give his first papal address, it’s fire and brimstone. He doesn’t want any “part-time believers”. Intolerant of homosexuality, fiercely anti-abortion, he intends to remain elusive, the Invisible Pope, unseen by anyone outside his inner circle.

He fires the Vatican’s official photographer, and for his first address there will be no lighting, no cameraman. The faithful must only see a dark shadow.

Needless to say he’s going to make himself very unpopular with the press, the church, a billion or so Catholics, all other faiths…etc.

…sometimes The Young Pope is like a documentary set at a glossy fashion mag.

Watching Pius XIII stalking the Vatican corridors with his shades on, all he needs is a handbag and he’d be Anna Wintour. He describes himself as “intransigent, irritable, vindictive.”

And he really puts his mark on the papal wardrobe. Red shoes? Check. He’s even decreed that the papal tiara is IN this season. And the best thing of all? That soundtrack. Divine.

…is he worth the time? 

Trailers may indicate a stylish drama full of political intrigue, but if you’re expecting House of Cards in the Vatican, you’ll be disappointed.

Surreal moments come as thick and fast as Sistine Chapel smoke. There’s the already infamous kangaroo, and Pius messing with that poor priest’s head about being a secret atheist.

At times it feels like the series toys with the viewer – could he be an alien? The Antichrist? Nope and nope, I’d guess.

Many Twitter users said they couldn’t understand Paolo Sorrentino’s swirling ten-hour art movie. But episodes five, six and seven are some of the best television I’ve seen, as scheming cardinals, slimy politicians and insubordinate monks all get their comeuppance.

As even Pius’s surrogate mother and biggest supporter, Sister Mary, fears that his papacy is a calamity for both the man and the future of the church, can a man with his own personal demons be the spiritual leader of a billion people?

Victoria – Melbourne does the morally right, historically accurate thing

Soap actress and Doctor Who sidekick Jenna Coleman has made her bow as Queen Victoria in ITV’s new eight-part series about the monarch’s reign.

It’s more Downton Abbey than Game of Thrones, but I was struck by how Jenna’s portrayal owes a lot to Emilia Clarke’s performance as Daenerys “WHERE ARE MY DRAGONS?!!!” Targaryen.

Meanwhile the music is like a candied version of Thrones’ epic theme. They keep playing it, so I’m going to have to learn to spell it:  it’s Alleluia by Martin Phipps, with vocals by the Mediaeval Baebes, who sound straight out of Westeros by way of Frozen.

Naturally, Victoria already has historians shaking their fists at the screen, as Gossip Girl Vicky has a massive crush on her Prime Minister, Lord Melbourne (Rufus Sewell).

Yet writer Daisy Goodwin could be onto something! Diarists and cartoonists at the time noted their intense relationship, and dubbed the queen ‘Lady Melbourne’.

Of course Lord M looked nothing like Sewell, and it’s also not been lost on Twitter that Jenna Coleman is far more beautiful than poor Victoria ever was – Alfie Allen in a wig would have been a closer fit (although the crown for craziest royal casting would still go to Ray Winstone as Henry VIII).

(Would a modern-day Victoria be pretty enough to be queen? Considering the grief her 4X great granddaughters Beatrice and Eugenie get for their figures and dress sense, no. Nothing would end the monarchy faster than an unattractive princess waiting in the wings.)

Crushing fans swept up by the actors’ chemistry, Lord M does the morally right and historically accurate thing, and doesn’t elope with the queen. Instead, a certain German princeling has arrived at court!

Accompanied by his bad boy brother Ernest, Prince Albert is here to sweep Victoria off her feet. Historically we know from her writings that she was instantly smitten, but Coleman doesn’t dig hipster Albert. He’s not too thrilled either – he has a social conscience, while Victoria isn’t interested in the plight of her poorest subjects.

There’s also the continued presence of Lord M, suffering stoically in the corner. He knows the unpopular German brothers should keep a low profile during a visit to the Houses of Parliament, so greets them loudly when he bumps into them in the corridors of power. Nice one, M.

But Albert is a man of the future, Melbourne is a man of the past. The spell binding Victoria and her prime minister is broken. Fans will rival historians in shaking their fists at the screen as he replaces the smouldering Sewell.

Victoria continues with episode six on Sunday September 25 at 9pm on ITV.