There’s a particularly nice touch at the start of “Orphan 55”, the latest episode of Doctor Who, which opens as the Doctor (Jodie Whittaker) and her friends Graham (Bradley Walsh), Ryan (Tosin Cole) and Yas (Mandip Gill) are literally mopping up after their latest (unseen) adventure, in which the Doctor is called out for being unusually moody and downbeat. It is of course a reference to the way she is still processing the seismic impact of what she learned about Gallifrey at the end of “Spyfall”, but she’s not sharing that with the others. Instead, they decide it’s time for a holiday and duly head off for a break at the practically perfect paradise resort of Tranquillity Spa.
Naturally they’ve barely been there for ten minutes before everything starts to go catastrophically wrong, starting with Ryan being infected by a biological computer virus from a vending machine. Soon the entire facility is malfunctioning, opening the way for a full-scale invasion by terrifying monsters called the Dregs who make short work of dozens of guests until the Doctor can find a temporary solution to the problem. Long-time fans of the show will be thinking ‘this sounds familiar’ and the episode is indeed the latest iteration in one of the series’ most reliable variants, known to one and all as ‘base under siege’. It’s a very effective take on that established sub-genre, fast and furious from the start and not letting up for a second thereafter. The close-up, visceral way that the Dregs are photographed by director Lee Haven Jones is barely less horrifying than how Ridley Scott presented the xenomorph in the original Alien film, and I was amazed that the BBC cleared this for transmission so early in the evening. I suspect a lot of small children (and bigger ones, too!) had trouble sleeping afterwards. Read the rest of this entry »
After a strong season opener on New Year’s Day, the main thing that part two of “Spyfall” absolutely had to do was stick the landing and not drop the ball in the process – if you’ll pardon the clumsy mixed sporting metaphor. And the good news is that it pretty much pulled it off, rewarding the audience with another largely enjoyable hour of television featuring thrills, spills, laughs, action, spectacle – as well as an unexpectedly dark mystery at its core to carry us through the rest of the season.
The episode picks up exactly where part one left off, which means that Graham (Bradley Walsh), Ryan (Tosin Cole) and Yas (Mandip Gill) are stuck on board a crashing airplane with the Doctor nowhere in sight – although that doesn’t mean she doesn’t also help save them from certain death. The two groups are subsequently kept apart for most of the rest of the episode, which means that the companions get some time to shine in their own right as they discuss what the Doctor would do if she was there. Graham meanwhile graduates from delivering muttered quips and witticisms to some full on slapstick as he uses a soft shoe shuffle to activate the laser shoes he purloined from MI6. Read the rest of this entry »
With Father Brown returning to the BBC One daytime schedule today for an eighth season, it felt timely that we should pen a few words about a series that ‘sat in’ for the kindly country priest before Christmas.
The Mallorca Files is very much in the same light comedy/murder mystery vein, although generally tending so much in the former direction that the detective aspect of the show often finds itself elbowed entirely to one side. In many ways it feels like an attempt to make a new Death in Paradise albeit closer to home and on a much on a tighter budget, but still aiming for that winter ‘feel good’ viewing niche. A Clerkenwell Films/Cosmopolitan Pictures coproduction for BritBox backed by the BBC, France Télévision and ZDFneo filmed entirely on location in Spain’s Balearic Islands, it has a conglomerate European feel to it that for those of us of a certain age evokes the spirit of the BBC’s catastrophic failed 1990s soap El Dorado.
If you want a show that allows sea and sunshine to simply wash over you without being remotely demanding, then this might very well be the ideal show for you. However, others may find it frustratingly light on actual nourishment. It’s one of those classic mismatched police detective shows that plays with the well-travelled cliché of unresolved sexual tension between its two leads, with Elen Rhys playing the fish-out-of-water UK detective Miranda Blake who simply can’t stand the laid-back attitude of her German partner Max Winter played by Julian Looman. Just like Death in Paradise’s original lead DI Richard Poole, Miranda is only there because her colleagues and boss back in London can’t stand her because she’s so uptight not to mention a closet claustrophobic, while Max is a free spirit who has gone totally native on Mallorca in the years he’s been stationed there, and dreads the thought of ever returning to Germany. Read the rest of this entry »
A year to the day since its last episode, Doctor Who has finally returned to our screens with the first instalment of season 12 which also served as a New Years Day Special in the UK.
I think it’s fair to say that the previous season had proved somewhat divisive, with a disturbingly large section of the audience less than thrilled by the new incarnation as played by Jodie Whittaker and helmed by showrunner Chris Chibnall. Some of the things I’ve read about the most recent run of Doctor Who were extraordinarily scathing and vitriolic. While there were aspects I was also admittedly underwhelmed about, I didn’t think it deserved a fraction of the vicious criticism that was hurled at it with gleeful abandon by internet trolls.
Still, it was clear that there was a problem with what ended up on screen in 2018 and that there had to be some changes made, and so it was a great sense of anticipation and not a little apprehension that we sat down to see what the show had in store for us in 2020. The good news is that “Spyfall Part 1” is a terrific season opener that should satisfy pretty much all fans old and new and win universal acclamation as being “back on form”.
The hour-long episode had a sense of energy, excitement, confidence and sheer joy that at times had been painfully missing from an oft-lacklustre S11 that too often seemed over-awed by the task in hand and by its painfully earnest heart-on-sleeve sentiments that delivered triumphs like “Rosa” and “Demons of the Punjab” but elsewhere proved too lacking in thrills and spills for many. Read the rest of this entry »
I’m a big fan of the work of Steven Moffat and Mark Gatiss, but I confess that I was a little wary of their new take on the Dracula story. The trailers for the new three-part serial made it seem rather knowingly camp and full of quips, which didn’t appeal to me at all. And I wasn’t at all sure about the casting of Danish actor Claes Bang in the title role.
It turns out that I needn’t have worried. Moffat and Gatiss know exactly what they’re doing and stir in a rich mix of jet black horror into the well known tale of the Transylvanian aristocrat, keeping enough of the original source material while at the same time giving it an energising new approach to bring it alive for a new generation of viewers.
The first episode, which aired on BBC One on New Year’s Day, concentrated on the story of solicitor Jonathan Harker who travels to Count Dracula’s castle in order to conclude a property transaction only to find himself a prisoner, his life draining away while his elderly host (strongly evoking Gary Oldman’s 1992 take on the role) gets younger and more virile by the day. The first hour is surprisingly faithful to the equivalent early sections of the book, setting up the familiar (and not so familiar) rules by which vampires operate. However it does have to navigate through a century of contrary lore so some changes are inevitable – for example, the literary Dracula had no problem being in sunlight. And while this Dracula clearly has an issue with crucifixes and symbols of religious faith, he teases us by saying it’s not what we think it is – suggesting a series arc and a big reveal to come in part three.,
By sticking with this one story instead of jumping around as Bram Stoker did only enhanced the growing claustrophobia and terror. Moffat and Stoker respect the epistolic nature of the novel by having Harker relate his story to Sister Agatha, a nun at a convent in Hungary played by Dolly Wells. It’s only in the final half hour that the show starts to go in a new and original direction with big revelations about both Harker and Sister Agatha that will catch out anyone who thinks they know the story.
Yes, this Dracula is a little camp and comes up some eye rolling quips (although Sister Agatha is a match for him in terms of getting the laughs) but given how full-on the horror is elsewhere the light touches are a welcome variation in tone that work far better than I’d expected and/or feared. While still a little too louche for my liking, there’s no question that Bang assuredly delivers the big bucks in the main role. In the end I was quite taken by the first part and very much looking forward to the second, which airs tonight with the finale on Friday.
Rating: ★ ★ ★ ★
Dracula is airing in three 90-minutes episodes on BBC One on January 1-3 2020. It will be available after transmission on BBC iPlayer and is a co-production with Netflix.
Stories about US federal agencies bravely defending America from global terror threats go back a very long way – even before 9/11, all the way to the days of the Cold War when the ubiquitous bogeyman was the Soviet Union. Times were simpler then, and the situation is much more complex and diverse in the 21st century; although in terms of media representation the menace is usually given a Middle Eastern face.
In print terms, one of the foremost proponents of this type of tale was Tom Clancy, in particular though his series of novels featuring Jack Ryan. The character began his fictional life as a lowly CIA analyst in the 1984 book The Hunt for Red October before going on to become an accidental President of the United States over the course of the 21 titles to date and counting (Clancy’s death in 2013 not having stopped the literary output, as is the modern way in publishing.)
The huge success of the book series inevitably attracted the attentions of Hollywood, with The Hunt for Red October premiering in 1990 featuring Alec Baldwin. Then there were two sequels starring Harrison Ford as an older version of Ryan before the franchise stuttered, two further instalments starring Ben Affleck and Chris Pine also failing to reboot its box office fortunes. That meant it was time for TV to have a go, with Amazon Studios producing a 2018 miniseries featuring the character for its online streaming service in association with Paramount. Read the rest of this entry »
Thriller (1973-1976): Possession, Someone at the Top of the Stairs, An Echo of Theresa, The Colour of Blood
Every now and again I post a new batch of thoughts on the 1970s suspense anthology series Thriller created by one of the great writers of British television, Brian Clemens. It’s been a while since the last one in 2015 and I only have four more episodes under my belt to write about. However, I figure it’s better to post them now rather than continue to wait until I’ve had a chance to watch some more to feel that I have ‘enough’ to collect together!
So here goes with the latest set of reviews. Read the rest of this entry »
The first part of this year has been good for Doctor Who fans, with no less than four new home media releases in the first three months of 2019. The latest of these hit the shelves on Monday and is a brand-new version of the four-part 1967 serial “The Macra Terror”.
It’s the latest in the BBC’s series of animated reconstructions of ‘lost’ stories, where the original broadcast episodes were wiped by the BBC shortly after transmission and only the soundtrack remains thanks to a fan’s off-air recording at the time. The first of these recovery projects was “The Power of the Daleks” which I reviewed back in 2016 when it originally came out. Since then there’s also been a new version of 1979’s “Shada” in which similar animation was used in place of scenes never actually filmed at the time due to industrial action, meaning that the story was never completed or broadcast. Again, you can catch up with a detailed review of the end result that I wrote a year ago: to be honest, I found the back-and-forth between new line art sequences and the surviving original filmed footage rather jarring.
These are expensive projects and I’d wondered if the sales had been sufficient to justify any more of these reconstructions. But it appears they were, and hence this month Who fans got a brand new release to add to their doubtless already groaning collection of merchandise. However, I confess that I initially wasn’t wildly excited by the prospect of “The Macra Terror”, never having been particularly eager to see the story in question which to me had always sounded rather humdrum in synopsis. Read the rest of this entry »
I’ll be honest, there’s really very little to be said about BBC Daytime’s light hearted detective show Shakespeare & Hathaway – Private Investigators that wasn’t previously covered in my review of the first season a year ago. While the first run is only now getting an airing in the US, this series co-created by Father Brown alumni Jude Tindall and Paul Matthew Thompson has just returned for a second tranche of ten episodes on the BBC and picks up right where it left off, with the same cast and much the same mix of broad comedy, witty quips and the odd interesting whodunnit mixed in.
Mark Benton returns (now with added beard) as Frank Hathaway, a police officer who quit the force to become a private detective, with former hairdresser Jo Joyner back as his sleuthing partner Luella Shakespeare. They’re aided in their cases by Sebastian Brudenell (Patrick Walshe McBride), a young out-of-work actor who comes in handy when a bit of undercover surveillance work is needed; and by Sebastian’s landlady Gloria Fonteyn (Roberta Taylor) who runs a theatrical costumier store. Expressing continued exasperation at Shakespeare and Hathaway’s interference in her cases is Frank’s former police colleague, Detective Inspector Christina Marlowe (Amber Aga).
While no Father Brown, the show is acceptably entertaining nonetheless. Set in Stratford-upon-Avon, it takes great delight in packing in as many Shakespeare related puns as possible, and whether it’s a genuine crime drama or a flat-out sitcom rather depends on the individual episode and the viewer’s forbearance. Certainly several of the episodes seem to drift more into outright comedy than before, so don’t go in expecting anything too meaty; simply put your brain in neutral and enjoy the ride and all will be well. Read the rest of this entry »
Christmas and New Year is all over: the presents have been put away, the tree is outside waiting to be recycled, and the decorations are back in the attic awaiting their annual recall in December. That can only mean one thing: it’s time for a new ten-part series of Father Brown on the BBC daytime schedules!
Naturally Mark Williams returns in the title role as the sleuthing cleric, aided once again by his parish secretary and general busybody Bridgette McCarthy (Sorcha Cusack) in the face of opposition from the local police Inspector Gerry Mallory (Jack Deam) with Sergeant Daniel Goodfellow (John Burton) discretely treading the middle ground. Read the rest of this entry »
Contains spoilers for the episode
The Doctor Who production team were damned if they did, damned if they didn’t on this one. As soon as they teased “the deadliest creature in the universe” in trailers, fandom was rife with speculation that this could only mean the return of the Daleks, after a maiden season for Jodie Whittaker conspicuously devoid of any of the Doctor’s greatest adversaries of the past. So should the production team deny it – and risk leaving fans disappointed and disillusioned weeks before the broadcast – or simply accept that the surprise had been spoiled?
Unfortunately, in the end the secret simply could not be kept all the way to New Year’s Day, which is the new slot for the annual Doctor Who special after it was bumped from Christmas Day. To be honest, I’m in two minds about this time switch as I found that it really did leave a sense of something missing on the 25th. There’s also an implication of the show losing prestige and no longer having the full-throated support of the current BBC hierarchy, both of which are worrying signs of those of us who are long-time fans. Read the rest of this entry »
Contains spoilers for the episode
And so we reach the end – all too soon. A ten-episode season simply doesn’t feel long enough for Doctor Who, even if we still have one more feature length special to come on New Years Day. But it’s quality over quantity as the saying goes, so how does the 2018 season finale “The Battle of Ranskoor Av Kolos” written by showrunner Chris Chibnall fare on the former attribute? As ever, the answer to that is mixed and not altogether straightforward.
We start with the kind of opening scene that used to be standard in the 1970s series but which has been little used in recent years: with no Doctor in sight, we have two entirely new characters talking cryptically and portentously to each other about a pressing situation in terms that we don’t know nearly enough about to understand. What we can tell is that Andinio (Downton Abbey’ Phyllis Logan) and Delph (Wizards vs. Aliens’s Percelle Ascott) are members of the ultra-rare Ux religious order who possess incredible powers to manipulate reality. Oh, and they’ve got a guest dropping in for tea. Read the rest of this entry »
Contains spoilers for the episode
It was the best of episodes, it was the worse of episodes…
Regular readers might recall that I was a bit grumpy last week in my review of “The Witchfinders”. It simply didn’t work for me, although I know the vast majority of viewers appeared to genuinely love it beyond measure. However for me, it was comprised of individually strong elements that lacked an overall coherent vision. The different parts rubbed against each other awkwardly and kept throwing me out of the story so that I wasn’t able to enjoy it at all, and instead ended up frustrated and less than happy. Or to put it another way, you could say that the individual parts were much greater than the whole, at least as far as I was concerned.
This week’s episode “It Takes You Away” is almost the mirror image (pun intended) of its precursor. Like last week, it is also comprised of several distinct parts; and on this occasion the quality of each component was less consistent than the previous instalment, ranging from the brilliant to the near-risible. But what writer Ed Hime and director Jamie Childs are able to manage this week is to wrangle these different elements into one unified end result that was superior to the sum of its parts. The key was a consistent stylistic vision and tone to the overall endeavour, provided by an adherence to overarching universal themes of love, loss and mythic folklore. Read the rest of this entry »
Contains spoilers for the episode
We’ve already discussed how new Doctor Who showrunner Chris Chibnall has sought to rediscover and reinvent the ‘historical’, a strand of the show that effectively died out in the 1960s. He did so by seeking stories from modern political history like “Rosa” and “Demons of the Punjab” that could carry a relevant social message for the present day audience at the same time, rather than simply rehashing junior school classic texts on the Aztecs, Romans and the Battle of Hastings.
This week sees the third ‘historical’ story in eight episodes, which seems a little overkill. But this one treads a very different path by reverting to exactly one of those sort of textbooks you used to read as a child – or maybe a Ladybird? – on the witch trials of the 17th century. It’s not worrying too much about the details and doesn’t twist itself in knots making sure that history isn’t changed by the Doctor’s activities. Instead it takes the gist of the period, just a flavour, and then weaves a merry romp out of it. Read the rest of this entry »
Contains spoilers for the episode
What’s the betting that someone in the Doctor Who production office has just had a particularly aggravating experience getting an order from Amazon? Because the first part of this week’s episode is exactly the sort of light hearted revenge fantasy that you’d expect to come from the pen of an aggrieved creative media industry professional in frustrated response to such a real-life run-in.
In summary, “Kerblam!” is the largest online retailer in the Doctor’s universe. When she receives an unexpected package (a fez, just one of several light touches of fan-pleasing continuity on display this week) that also contains a cry for help from someone within the company’s fulfilment centre (comprised of an entire moon of the planet Kandoka), naturally the Doctor (Jodie Whittaker) and her friends Ryan, Yas and Graham (Tosin Cole, Mandip Gill and Bradley Walsh) can’t resist investigating. They soon uncover a number of unexplained disappearances among the company’s skeleton staff of human workers and set out to find who is responsible – and who raised the alarm. Read the rest of this entry »