Movie Review: SUPER 8 (2011)

written & directed by J.J Abrams
starring Joel Courtney, Elle Fanning, Kyle Chandler, Ron Eldard,
Noah Emmerich, Bruce Greenwood & Ron Eldard

It's a movie echoing hyphenate J.J Abrams' childhood, told through the prism of those wonderful early-'80s Steven Spielberg movie; where being a kid meant you were part of a gang (treehouse and dog optional), had a bedroom full of NASA posters and B-movie memorabilia, rode a BMX, used a walkie-talkie, and lived in a small-town nestled in a beautiful valley. More importantly, your ordinary life was destined for the extraordinary: perhaps due to the discovery of a treasure map (The Goonies), a visionary dream (Explorers), the arrival of iconic monsters (Monster Squad), or, in Super 8's case, the accidental release of a dangerous alien...

Our mop-haired 13-year-old hero is Joe Lamb (Joel Courtney); half-orphaned by a factory accident that claimed his mother's life, he now lives with his bereft father (Kyle Chandler), the town's Deputy Sheriff, and has bottled his grief by investing time making a homemade zombie movie with pals Charles Kaznyk (Riley Griffiths), Preston (Zach Mills), Martin (Gabriel Basso) and Cary (Ryan Lee). After soliciting the help of older neighbour Alice (Elle Fanning), who proves to be a brilliant actress (cemented by an adolescent version of Naomi Watts' audition scene from Mulholland Dr.), the gang get more than they bargained for while filming on the outskirts of town. It's there a passing military train derails one cloudless night—in spectacular, cacophonous fashion—and, unbeknownst to the young filmmakers, its extra-terrestrial cargo escapes...

From there it's E.T-meets-Iron Giant, with dashes of Jaws and Jurassic Park (and Jeepers Creepers 2?) stirred into Abrams' melting pot. Thankfully, it would be wrong to outright condemn Super 8 for adhering to genre formula, as its intention is to evoke the era when a "summer blockbuster" had to rely on a sense of wonder rather than the wonder of spectacle; where ideas, story and characters were enough to draw audiences. F/X sequences were the parcel drops that kept audiences nourished on the way through a story—they didn't gorge on a Transformers 3-like banquet, which leave you overdosed on nothing but visual stimuli. Abrams manages to nail this old-school approach perfectly; so much so that a part of me felt it was a shame his alien wasn't achieved using stop-motion (CGI almost looks misplaced in a 1979 context), but I suppose there's only so far Abrams' could afford to keep his head in the past.

There's heart and respect to Super 8 that's sadly been a rarity in children's movies these past few decades, once kids started to be spoonfed digital phantoms, photo-realistic tragedies, and rapid-fire editing that batters their minds into submission. Abrams resurrects the gentle spirit of youthful adventure here, helped by some great child stars who give the story real character and, for anyone over-30, a lovely swim in nostalgia. The puppy love between Joel and Alice is touchingly handled, while the thorny issue between their respective fathers provides decent human drama in-between waiting for the alien's back-story, motivation, and escape plan to be explained to us.

While there's nothing that isn't in some way derivative about Super 8, it's fantastic love-letter to a bygone age, and if Tarantino's allowed to recycle '70s exploitation cinema, I see no just cause for Abrams to face criticism for doing exactly the same thing with a more mainstream genre. The individual elements may be familiar to many, but they're blended in such a way as to appear fresh, and the whole thing will probably delight contemporary youngsters who never even lived during this time (either in reality, or vicariously through movies).

Overall, Super 8's a great throwback movie that only suffers because its limited ambition means it's rather predictable, and there are some nitpicks that'll stick in your craw. Why does the alien's magnetized spaceship only attract specific metal objects, for example? But when focusing on its young cast, while refreshing memories of early Amblin movies, Super 8's a pleasing alien-on-the-loose caper that knows exactly what it's doing. I just wish it had subverted more of the genre's conventions (beyond having a menacing alien that isn't anthropomorphized too much), but it's mostly content to replicate the tropes with loving care, attention, and effection.

Paramount Pictures / 112 minutes

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RINGER comes to Sky Living

Sky Living have announced their acquisition of The CW's upcoming 13-episode drama Ringer, which was originally produced for CBS before they passed on the project.

The show stars Buffy's Sarah Michelle Gellar as a woman on the run called Bridget, who escapes her dangerous life by posing as her affluent twin sister Siobhan, unaware her missing sibling was leading an equally hazardous existence. Ioan Gruffud (The Fantastic Four) co-stars as Siobhan's suspicious husband, together with Nestor Carbonell (Lost).

Owing to a multi-year deal with CBS Studios International, Sky will be airing the show shortly after its US premiere.

Louisa Forsyth, BSkyB Acquisitions Manager:

"Securing Ringer exclusively for Sky Living demonstrates yet again our commitment to owning the very best in primetime US drama. The combination of impeccable casting with the TV legend that is Sarah Michelle Geller and seasoned British actor Ioan Gruffudd, coupled with the show's edgy suspense will ensure that viewers, and especially Buffy fans, are certainly in for a treat this autumn."

Stephen Tague, Senior VP of CBS Studios in Europe:

"Ringer is undoubtedly one of the most anticipated new shows of the season, by Sarah Michelle Gellar's avid global fanbase and critics, as well as eager new viewers. We're thrilled to bring this thrilling and suspenseful series to the UK audience."

While still unavailable to the majority of people via Freeview, I'm glad Ringer is coming to the UK on a channel more people have than Sky1 and Sky Atlantic. That's a relief. Now let's hope it's good. I've heard mixed things about the script and pilot.

RINGER premieres in the US on 13 September. Sky Living's premiere has yet to be announced.

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Trailer: DEATH VALLEY (MTV)

I vaguely remember posting a news article about this show's development a long time ago, but now it's finally here: Death Valley. This is a horror comedy-drama that's essentially a supernatural COPS, set in a universe where the Undead Task Force (UTF) clean up the San Fernando Valley from nasties like vampires, werewolves and zombies. Tania Raymonde (Lost) and Bryan Callen (The Hangover) head up the cast, and you can watch MTV's trailer above. (Skip to the 30-second mark to avoid a commercial.)

What do you make of Death Valley? It looks like fun, but I'm not sure it's the kind of show that's going to last. Once the novelty wears off that you're watching a group of cops arrest supernatural creatures and throw them into jail, what else is there to see? Still, I'd never write something off before I've seen it. Maybe the cops themselves will be an entertaining bunch and the story will offer more than weekly scenarios for the cops to throw werewolves into jail.

Still, the TV spots are pretty funny:

DEATH VALLEY premieres 29 August @1030PM on MTV.

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TRUE BLOOD, 4.8 - "Spellbound"

My star-ratings for True Blood tend to reflect how much of each episode focused on storylines I care about or enjoy having wash over me. Unfortunately, after last week's high-point, I thought "Spellbound" allowed too many of this season's tedious subplots to spoil the brewing war between vampires and witches...

After teasing us with the almost-certain death of Jessica (Deborah Ann Woll) last week, who was bewitched into walking out into daylight, that didn't come to pass—thanks to Jason (Ryan Kwanten) rugby tackling her indoors just as Marnie's spell ended. Jason's act of heroism only strengthened Jessica's infatuation with him, eventually leading to her breaking up with poor Hoyt (Jim Parrack). Actually, there were two breakup scenes, with one involving Jessica aberrantly killing Hoyt by smashing his face in—revealed to be a dream sequence. (True Blood does this a lot, but I stupidly fell for it yet again.)

Elsewhere, Sookie (Anna Paquin) and Eric (Alexander Skarsgård) continued to bring erotic fan-fiction to life, having sex in fantasy dreamscapes as their love deepened; Sam (Sam Trammell) tried to repair his relationship with Luna (Janina Gavankar) after their misunderstanding, only to meet her werewolf ex Marcus (Dan Buran), Alcide's (Joseph Manganiello) new packmaster; Tommy (Marshall Allman) used his "skin-walking" ability to pose as Maxine Fortenberry in an effort to get his hands on the money her land's worth; Lafayette (Nelsan Ellis) had a dream that explained the mystery of the ghost haunting Arlene's baby (the apparition lost her own child many years ago), before the dead girl possessed him; and Bill (Stephen Moyer) reached out to Antonia/Marnie, promising a truce between vampires and witches, only for their midnight rendezvous at a cemetery to end in a fracas with Sookie injured and Eric under Marnie's control.

I'm still struggling to find Sam, Lafayette and Alcide's storylines in any way interesting this year. I have a vague hope they exist because they'll factor into the finale, but they're most likely just ways to give those characters something to do. Alcide's been especially wasted this season, but to be honest I don't even understand the character's existence on the show, so he feels like a stupid way to add some beefcake to the show. Lafayette has also been poorly treated. He rushed off with boyfriend Jesus to find a way to protect themselves against vampires now that Marnie has provoked them, but has since returned to Bon Temps and just resumed work at Merlotte's? What's going on? And now Lafayette's been roped into the daft ghost/baby storyline, making it feel like everything this season has just been a long-winded way to explain that Lafayette is a spiritual medium. It feels incredibly disordered and, frankly, the idea of a ghost with maternal feelings for a baby because she lost her own before she died (or was likely murdered) isn't very interesting.

Sam's storyline also feels like a desperate way to connect his storyline to Alcide's, possibly because they're individually poor subplots so may feel stronger if there's an overlap. I don't know, it's just another case of True Blood filling much of its screentime with wasteful scenes and weak ideas.

As has been the case for many weeks now, season 4's greatest strength has been giving vampires an interesting menace to contend with in Antonia's spirit. The show is often about the loss and gain of power, and this has been a really entertaining way to see a few all-powerful vampires characters suddenly lower on the pecking order. It's also given Bill some of the best material he's ever had, ironically be ditching the Sookie/Bill relationship that was the show's primary focus until this season. He's really stepped forward as a leader and, thanks to showing the depth of his attachment to Jessica and maturity over Sookie's relationship with Eric, has really matured in my eyes.

Overall, maybe True Blood's impervious to criticism. There are bad storylines, flawed storylines, and good storylines. Each episode offers its audience a different combination of those, and if the brilliant storylines are emphasized more one week you'll have a fun time. And if they're not, you'll be left gnashing your teeth at the idiocy of the writers and how stupidly they're handling the ever-expanding cast. "Spellbound" was great fun when the witches were the subject of conversation, because there's a feeling of tension to this burgeoning war. It was also entertaining whenever the always sympathetic and beguiling Jessica's around, despite the fact her boyfriend Hoyt's become a whiny pain this year, but otherwise this episode was forgettable piece-moving.

Asides

• Has it been explained why Arlene thinks it's okay to give her one-year-old son that spooky, filthy doll to play with in his cot? Yeuch. Think of the germs. Give it a wash, at least. Terrible parenting.


• Shall we call Marnie "Marntonia" when she's possessed? It may be easier when explaining things, going forward.


• I admit it took me a few seconds to twig that Maxine was actually a shape-shifted Tommy, and it's certainly amusing that Tommy makes no attempt to act like the people he's impersonating.


• Does the young black ghost mother have a name?


• Anyone else think the show's gearing up for Hoyt to die, so Jessica can get with Jason in season 5? If so, he'll probably go down in a blaze of glory rescuing Jessica and proving his love, making her feel very guilty for having an affair.


• No movement on Jason being a were-panther or "Ghost Daddy" to the Hot Shot degenerates. Has that storyline died? If so, good riddance, but it's perhaps even more unforgivable if there was never any reason for it to exist! Did the writers just need to keep Jason out of the way, chained to a bed, for four episodes?


• In a similar vein, there's been nothing about the Fae since the premiere! Are they being kept on the sidelines until season 5? It felt like they'd have a big role to play this year, but they've been forgotten about. In some ways that's very wise because the show is already very crowded, but a premiere should set the stage for what the season's going to cover, so dropping the Fae like a sack of potatoes isn't very clever.


• Random query: can't shape-shifters just turn into the biggest and baddest wolf imaginable? I'm unsure why werewolf Marcus gets in Sam's face, but was so keen to ensure his kind keep away from vampires. If you ask me, werewolves should fear shape-shifters equally as much. They can turn into anything!

written by Alan Ball / directed by Daniel Minahan / 14 August 2011 / HBO

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BREAKING BAD, 4.5 - "Shotgun"

This should satisfy viewers who've been itching for something more explicitly exciting that swerves the show down a new direction. "Shotgun" was another terrific episode, as Jesse (Aaron Paul) and Mike (Jonathan Banks) spent a day together, leaving Walt (Bryan Cranston) panicked over his young partner's disappearance. Both Walt and Jesse were on emotional journeys of very different kinds here, and it became clearer than ever that Gus (Giancarlo Esposito) is a masterful opponent for Walt, who again let his pride get in the way of his common sense...

The situation with Jesse and Mike was fascinating to watch, as we assumed the world-weary hitman was under orders to drive Jesse to a remote part of the desert and shoot him in the head. Instead, Jesse was merely accompanying Mike on pickups: collecting drug money from six dead drops across the state. And while Jesse's role was surplus to requirement, he proved his worth by thwarting an attempted robbery by a rival outfit, reversing Mike's car do at a hoodlum approaching with a shotgun. But then came the cruel twist: the whole day had been a long con, orchestrated by Gus to give Jesse a sense of camaraderie with Mike and a feeling of self-esteem. That should make him acquiesce with Mike's commands, and pull his social life out of its nosedive. It's a clever play by Gus to make a play for Jesse's heart and mind, with Mike almost being setup as an alternative "father figure" to Walt—but one who may treat him with greater respect than the prickly, condescending Walt.

Walt spent some of this episode on the offensive, but found it impossible to find a target for his anger. The episode began with Walt speeding to Gus's Los Pollos Hermanos restaurant for a confrontation over Jesse's abduction, but Gus wasn't around to yell at. Or had wisely decided to leave the premises, having seen Walt's arrival on a surveillance camera. And then Walt's calming phone call from Mike and Jesse led him to accept Jesse's life may not be in immediate danger, forcing him back to the Superlab to work alone. But even after that proved difficult and dangerous, the unblinking eye of Gus's surveillance camera henchman Tyrus to assist with the cook. There's really no way Walt can escape from his invisible chains, as he's kept at permanent arm's length by Gus and has probably lost some influence with Jesse now—who eventually returned from his day trip under the sway of Mike, whose hard shell cracked slightly in gratitude for how Jesse dealt with their would-be robbers. He even let him smoke in his car as a reward.

The one positive for Walt this week was a sign his marriage to Skyler (Anna Gunn) could be rescued, which came about completely by accident when Skyler heard Walt's desperate voicemail message in his presence, recorded when he was convinced his confrontation with Gus may end badly. But there are signs Walt's not really happy for things to go back the way they were (his silence over Skyler's suggestion he move back in spoke volumes). Has he grown to value his independence? Or is he perhaps just wary of getting his family mixed up in his life, which he's still trying to compartmentalize?

Perhaps most interestingly for Walt was how his pride got the better of him, once again. Hank (Dean Norris) has come to accept that "Heisenberg" was the dead meth-cook Gale, and for all intents and purposes the case was about to be closed... only for Walt to take umbrage at Hank's dinner table comments about Gale being a "five-star meth chef" and "genius", which made him plant the seed in Hank's mind that Gale was just a starry-eyed accomplice to the real mastermind. Maybe a part of Walt wants to be caught, because at least that would mean his family would have to accept he's the "genius" and someone of great notoriety—instead of the "gambling addict who got lucky" tag his cover story paints him as. Whatever the reason, Hank got the message and began poring through the boxed evidence from Gale's apartment, noticing the incongruous presence of Los Pollos Hermanos fried chicken packaging in a vegan's home. "Since when do vegans eat fried chicken?" indeed.

Overall, I really enjoyed "Shotgun" and it helped deliver a sense of where season 4's headed. Can Mike and Gus get Jesse to dance to their tune, simply by giving him respect and a role in the business away from mindlessly shadowing Walt at the Superlab? Is Mike going to continue with this facade, or will he be charmed by Jesse and eventually confess? What can Walt do to snap Jesse out of this spell? And if the DEA start snooping around Los Pollos Hermanos, at the behest of Walt's brother-in-law, Gus isn't going to be happy...

Asides

• Is Mike's initial refusal to let Jesse smoke in his car a sign that Mike has lung cancer and didn't want to passive smoke? There's been a suggestion online that Mike's health could be an issue, and is perhaps the reason why he's not willing to rock the boat with Gus and depose him with Walt's help.


• Loved Hank's description of Gale being "like Scarface had sex with Mr Rogers", knowing that Walt's intended arc has always been described as Mr Chips becoming Scarface by showrunner Vince Gilligan.


• Did you notice Walt Jr (RJ Mitte) drinking from a Beneke mug, belonging to the man whom Skyler had an affair with? A subtle sign that the White's marriage still has visible scars.


• More lovely directorial touches from Michelle MacLaren, most notable with time-lapse photography with Mike and Jesse on the road. I wonder how long those scenes took to film, so they'd last as long as they did when sped up?

written by Tom Schnauz / directed by Michelle MacLaren / 14 August 2011 / AMC

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BREAKING BAD renewed for final 16 episodes

There's been a stand-off between AMC and Breaking Bad's production company Sony Pictures TV recently, over the network's desire to save money by only commissioned 6 to 8 episodes of a fifth and final season. Thankfully, a breakthrough has come in negotiations: AMC will now finance 16 episodes, which will be filmed together but possibly split into two seasons.

Presumably, AMC can handle paying for twice the hours they originally wanted, provided it's spread out over 24-months. The network have been playing a risky game this year because of financial pressures. The future of Mad Men was in doubt for a few months when they played hardball with Matthew Weiner over costs, and it's believed they fired Frank Darabont from The Walking Dead over constant arguments about plans to cut the zombie drama's budget.

The problem AMC have is that they have three high-profile shows, but not necessarily the money to pay for them—as only The Walking Dead is enough of a mainstream hit to justify the running costs. Mad Men and Breaking Bad may be critical darlings that win awards and help promote the AMC brand, but they've never been ratings juggernauts. And the bottom line is AMC's shows are paid for by subscription fees, so need to draw eyeballs.

AMC actually produce The Walking Dead themselves, so can enforce whatever changes they like to that show—unlike Mad Men and Breaking Bad, which are made by independent companies Lionsgate and Sony, respectively.

The only hurdle for Breaking Bad now is signing showrunner Vince Gilligan for the final 16 episodes. His contract expires at the end of the current fourth season, so will he happily just extend his existing deal, or will he use his position to negotiate more money for himself? That remains to be seen, but I expect Breaking Bad to continue for two more eight-episode seasons, finishing in 2013, with Gilligan at the helm.

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TV Picks: 15-21 August 2011 (The Bachelor, Celebrity Big Brother, Epic Win, Seven Dwarves, Strike Back: Project Dawn, Wilfred, X Factor, etc.)

THE X FACTOR - ITV1, Saturday, 8PM

MONDAY 15th

PICK OF THE DAY Bang Goes The Theory (BBC1, 7.30pm) Series 5 of the science show. (1/8)
Safebreakers (Sky1, 9pm) Gameshow where two teams compete to open a safe containing £5,000 by building a vehicle using limited materials. (1/8)
Only Connect (BBC4, 8.30) Series 5 of the tough mental gameshow. Hosted by Victoria Coren. (1/20)
The August Riots - Panorama (BBC1, 8.30pm) Documentary on last week's widespread rioting across London, Manchester, Nottingham, Birmingham, Gloucester & Bristol.

TUESDAY 16th

Seven Dwarves (Channel 4, 9pm) Documentary series going behind-the-scenes of a panto starring seven dwarf actors. (1/7)
PICK OF THE DAY Wilfred (BBC3, 10.30pm) Season 1 of the US comedy about a neurotic young man who thinks his next-door neighbour's dog is an Australian man wearing a cheap dog costume. Starring Elijah Wood, Jason Gann & Fiona Gubelmann. Double-bill. (1 & 2/13) [pilot review]

WEDNESDAY 17th

Natural World: Heligan – Secrets Of The Lost Gardens (BBC2, 8pm) Wildlife documentary looking at animals living in the Cornish tourist attraction of Heligan. Presented by Philippa Forrester.
PICK OF THE DAY Pendle Witch Child (BBC4, 9pm) Documentary on the famous case from 1612 where a 9-year-old's testimony led to the execution of her family and neighbours for performing witchcraft.

THURSDAY 18th

Country House Rescue (Channel 4, 8pm) Series 4 of the show where Ruth Watson advises owners of stately homes about how best to raise revenue. (1/4)
PICK OF THE DAY Celebrity Big Brother 2011: Live Launch (Channel 5, 9pm) Return of the long-running reality show, transferred to Channel 5 after being axed by Channel 4 last summer. The series begins with a three-week celebrity edition. Hosted by Brian Dowling. Narrated by Marcus Bentley.
The Story Of British Pathe (BBC4, 9pm) Documentary on the iconic British newsreel company.
Comedy Kings: Best Of Just For Laughs (Channel 5, 11.30pm) Standup comedy from Montreal's Just For Laughs comedy festival. (1/8)

FRIDAY 19th

Fake Britain (BBC1, 7.30pm) Series about fakes. Presented by Dominic Littlewood.
The Gadget Show (Channel 5, 8pm) Series 16 of the consumer gadget show. Hosted by Suzi Perry, Ortis Deley, Polyanna Woodward, John Bentley & Jason Bradbury. (1/21)
India On Four Wheels (BBC2, 9pm) Documentary on India's booming car industry. (1/2)
PICK OF THE DAY The Bachelor (Channel 5, 10pm) UK version of the US reality show, where rugby star Gavin Henson tries to find love in a speed-dating contest with a group of attractive women. (1/10)
Three @ The Fringe (BBC3, 10.30pm) Live highlights of this year's Edinburgh Festival. Presented by Lee Nelson, Russell Kane & Charlie Baker.

SATURDAY 20th

Epic Win (BBC1, 5.30pm) Comedy gameshow where people put their unusual skills to the test, trying to win £3,000, infront of a panel of judges. Hosted by Alexander Armstrong. (1/6)
All Star Family Fortunes (ITV1, 7pm) Series 6 of the celebrity gameshow. Contestants are Coronation Street actors Simon Gregson and Sam Aston, with their respective families. (1/11)
PICK OF THE DAY The X Factor (ITV1, 8pm) Series 8 of the singing contest. New judges are Take That's Gary Barlow, ex-Destiny's Child star Kelly Rowland and N-Dubz's Tulisa Contostavlos, joined by the returning Louis Walsh. Presented by Dermot O'Leary.
Great Migrations (Channel 4, 8pm) Documentary on bird migrations. (1/4)
The National Lottery: Secret Fortune (BBC1, 8.05pm) Quiz show with a £100,000 jackpot. Hosted by Nick Knowles (1/8)
The Xtra Factor (ITV2, 9.15pm) Series 8 of the sister show to X Factor, going behind-the-scenes of the contest. Hosted by Caroline Flack & former-contestant Olly Murs.

SUNDAY 21st

PICK OF THE DAY Strike Back: Project Dawn (Sky1, 9pm) Series 2 of the action-drama. Starring Philip Winchester, Sullivan Stapleton & Richard Armitage. (1/10)

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State of the Blog: lazy summer

We're still in a period of relative idleness, although I try to ensure there's at least one new post every day. How's it going? I must admit that I've been less proactive this summer with DMD—partly because I'm interested to see if less activity leads inescapably to fewer page-hits, or if the blog can sustain itself thanks to a five-year archive and daily visits from regulars. (If that's you, a special thank you for your loyalty.)

So far, it's been reasonable—although I do worry when popular reviews don't attract much comment some weeks. True Blood and Breaking Bad are particularly guilty of that oddity. Maybe that's what happens when I cover summer shows that are only airing in the US, as Torchwood's been far more popular here thanks to the Anglo-American audience. Is that fair to say? Interestingly, my stats have shown an appetite for UK-made shows over the summer—with one-off posts on Dynamo: Magician Impossible, Trollied and Beaver Falls being surprisingly popular. I guess that's because there are limited online sources for news/reviews about UK shows like that, compared to the US goliaths I cover... where you're almost a yapping poodle compared to the barking St Bernard's of Hitfix or whoever else.

Looking to the near-future: Torchwood, Breaking Bad and True Blood reviews will continue into September, I'll be reviewing Strike Back's return (for as long as seems worthwhile), the always very popular Doctor Who is returning on 27 August, and I may do a few posts on Big Brother 12 and X Factor (given their significant changes this year). The rest is just a case of waiting for all the new/returning US shows to premiere in September/October, and I'm sure the UK will have a few treats in its autumn lineup. You can consult my TV Calendar for more information, which is updated whenever I hear about new premiere dates.

As always, use the comments below to discuss anything you want relating to pop-culture, or ask me a question. I'd again be interested to hear your thoughts about this summer's blogging output. Are you in agreement with the less-is-more school of thinking, especially when TV's half-dormant between June and September, or do you prefer it when DMD's churning out content? But if so, does that content always have to be time-consuming reviews, or do you like it when simpler things like polls, videos, talking points, trailers, and news are posted? Maybe you enjoyed my recent Harry Potter 7b review and would like to see more film/DVD reviews? Or do you appreciate the occasional "batch-review", which I used recently to cover Twilight Zone?

Ultimately, I can only do what's humanly possible—given the fact I have a full-time job and don't get paid for blogging here—but I'm always interested to hear what readers want, expect, like, dislike, or are ambivalent about.

Over to you!

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TORCHWOOD: MIRACLE DAY – "The Middle Men"

Why does dimwit CIA analyst Esther Drummond use her real name while undercover? How does wanted fugitive Gwen Cooper manage to keep making trans-Atlantic flights without being caught? Why isn't Jack Harkness, the ostensible star of this show, getting more than about seven minutes of relevant screen time most weeks? Those are the burning questions in my mind after this week's episode, having replaced "who's behind Miracle Day?"

It's become very clear that Torchwood: Miracle Day has failed in its lofty ambitions, although I don't subscribe to a popular online theory that this miniseries has flopped because it doesn't feature aliens (so far). To me, Torchwood wasn't exclusively about aliens. The majority of pre-Children Of Earth episodes revolved around other forms of paranormal activity, so the world's population becoming immortal fits into that quite snugly. No, the problem is that this idea doesn't justify 10 hours of television, and the new American characters are both impossible to care about and, frankly, hog the limelight from the more interesting Gwen and Jack.

The latter has been treated especially poorly by almost every script, which is akin to writing six Doctor Who episodes and finding a way for The Doctor to only appear in a handful of scenes every week while his companions do all the work. This week, Jack's role was to stage a ridiculously fake kidnapping of a PhiCorp secretary, so he could use her as leverage with her boss Stuart Owens (Ernie Hudson), whom she's having an affair with. However, it turns out Owens is just as puzzled by Miracle Day as everyone else, and equally determined to explain it. His current theory being that PhiCorp is just one piece of the jigsaw, and the architects of The Miracle have spent years surreptitiously getting the planet to this point. Oh, and it may have something to do with "The Blessing", whatever that is.

Most of this week's story concerned the Overflow Camps in both San Pedro and Swansea. Gwen (Eve Myles) tried to get her "Category 1" father removed from the facility with the help of husband Rhys (Kai Owen), before he's sent to be burned alive; while Rex (Mekhi Phifer) tried to smuggle his video-taped evidence of the camp's ovens to the outside world, only to be captured by director Colin Maloney (Marc Vann), who wanted to ensure evidence of Vera Juarez's incineration didn't leak out.

There were a few scenes I enjoyed this week, like Esther's fight with Maloney and her subsequent breakdown over "killing" him with Rex. Alexa Havins' character may be a naïve moron, but I think she's a decent actress doing her best with iffy material. At least Esther's rite of passage is the kind of development you can see happening and enjoy, compared to boisterous Rex's slow realization that these Torchwood people aren't so bad after all.

It's just a pity so many scenes don't work or just feel  silly, both in how they're acted and constructed. For example: Maloney's twitchy accomplice whose guilt was written all over his face, or Gwen literally jumping back in horror at the message "Bring Us Jack" typed on her high-tech contact lenses by, we assume, the people behind Miracle Day. Or how about Rhys not even flinching when two armed guards were shooting at him as he drove a lorry through a security gate? A few cheesy or unconvincing moments I can handle in a show like this, but Miracle Day is riddled with them, and they seriously drag the show down. Miracle Day often comes across as amateur hour. How ironic that the UK-made show, often criticized by Americans for its cheap and cheesy feel, has compounded that problem now it's made with US co-operation.

Overall, "The Middle Men" did little to dissuade anyone that Torchwood: Miracle Day has been a big failure. It's making so many unnecessary mistakes that you can't quite believe it. Who writes six episodes of Torchwood and gives Jack Harkness the least active or interesting role in them? I'm sure some viewers appreciated having a break from the Oswald Danes storyline this week, and there were some nice ideas about state-sanctioned concentration camps floating around, but I can't see this miniseries turning around anytime soon. Still, now that PhiCorp don't appear to be our Big Bad, maybe a certain portion of fans will get their wish and "The Blessing" can be revealed as extra-terrestrial in nature. And we can also wonder what Owens' colleague in Shanghai saw that made him jump off a skyscraper. My guess: next week's script.

Asides

• Do all Americans pronounce "badminton" as "bad-minton"?


• Are you seriously suggesting a global network of concentration camps where governments were incinerating people, without anybody knowing, wouldn't cause huge outrage? The President of the USA didn't even apologize for what was going on? I mean, does anybody swallow that?

written by John Shiban / directed by Guy Ferland / 12 August 2011 / Starz

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FALLING SKIES, season 1 finale

Sorry about the delay posting this. To be honest, it totally slipped my mind. Anyway, I stopped reviewing Falling Skies after "Sanctuary: Part 1" because I was bitterly disappointed by the conclusion, which was so predictable I could hardly believe what I was seeing. When Skies began I enjoyed some of its elements and creative decisions (the fantastic design of the aliens, the strong relationship between Tom and his three sons), but then its problems grew more noticeable (insipid female characters, that interminable high school location—which the aliens don't just bomb). Given the show's emphasis on children (protect them, cherish them), it also grew very mawkish in my mind. But I stuck with the show, so here are my random thoughts on the final three episodes:

• Many readers here were spot-on about the "skitters" themselves being enslaved by a higher alien intelligence. The emergence of tall, humanoid, fish-faced aliens therefore lacked the intended surprise for me, but I appreciated the development. I'm sure one of the crab-like skitters will be "unharnessed" soon and become an ally, which will be fun if it happens.


• The sudden decision to turn Weaver (Will Patton) into a drug-addicted liability didn't work as well as it could have. It felt like a random idea tossed into the season, to create internal drama at the end. And who the hell was Lt Danner, the soldier loyal to Weaver who became a big obstacle for Tom? Has he even been on the show before episode 9? Much about Weaver's fall from grace didn't ring true to me. Maybe if we'd seen him popping pills before now, or something, it may have worked better.


• I was disappointed that Pope's (Colin Cunningham) role in the show didn't go anywhere interesting. It was fun to see him develop bullets capable of puncturing the "mechs", but he was ultimately a weak version of Lost's Sawyer. He had a few nice moments, but the character just didn't work as well as I’d hoped. Too flimsily written.


• It was cool that unharnessed Rick (Daniyah Ysrail) was revealed to still be loyal to the aliens, as their brainwashing hadn't worn off. The idea that the aliens can be confused by transmitting a specific radio signal was nicely done, with Ben (Connor Jessup) instrumental in finding the correct frequency because he's affected by radio waves himself. It's just a shame it became clear Jessup's a poor actor—who also reminded me of X Factor loser Eoghan Quigg, which was distracting.


• I was frustrated that Dr Glass (Moon Bloodgood) kept being wasted—especially because you could sense she'd be great in a more proactive role. Having Glass stuck indoors as the group's resident doctor, nursing injuries and eventually smooching with Tom just wasn't very interesting. Bloodgood's an attractive woman who, as we know from Terminator Salvation, makes for a credible action star... so why not utilize that?


• The actual two-part finale wasn't too shabby, although I was hoping for something far grander. The season's cliffhanger, with Tom willingly abducted by a humanoid alien, who are intrigued by the tenacity of human resistance, didn't really work for me. Are they going to interrogate Tom on their ship? It just struck me as very odd; a scene that exists because it would make for an unexpected conclusion to the season.

So what was that enormous crane-like structure over Boston? Do these aliens have motherships? What do they want from us? There's still an awful lot of questions that Skies hasn't even started to answer. I'm not even sure if there are survivors beyond Massachusetts, across the US and the wider world. I guess that's fine. You don't expect a show to reveal everything in season 1, but I do wish we had some kind of rudimentary understanding about what the enemy are up to.

Overall, Falling Skies isn't a bad series, but its only significant strength was the intriguing mythology created for the aliens, which were themselves fantastic creations. The cast were decent, but we didn't really learn much about them over ten hours. I'd have enjoyed pre-invasion flashbacks to get a better sense of who these people are, but none came—and the way the characters were developed in the present wasn't that strong. Tom's an egghead with strong paternal feelings, Weaver's a self-righteous tough guy, Glass is very empathetic, Pope's a charismatic bad boy.

The limitations of a cable TV budget didn't help Falling Skies capitalize on its global premise. The high school became a very limiting location, and there was never any sense of what the aliens are actually doing to capture the survivors. It makes more sense for the 2nd Mass to be constantly on the move, but the show couldn't cope with the demands on the production that would cause. I wish we'd had more scenes focusing on the human cost of this situation, too—like that scene when everyone enjoyed watching a movie outdoors. (We'll ignore the fact it's the equivalent of lighting a bonfire and flares, shouting their location to the enemy!)

What did you make of this series? I've heard some people say it started poorly and got progressively better, while others say the opposite. Or was it entirely a wasted effort that squandered its potential?

written by Mark Verheiden (1.8 & 1.10) & Joe Weisberg (1.9) / directed by Anthony Hemingway (1.8), Holly Dale (1.9) & Greg Beeman (1.10) / 31 July & 7 August 2011

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TRUE BLOOD bites back for season 5

HBO have renewed their vampire drama True Blood for a fifth season, which will surprise nobody considering its continuing ratings success. It's been getting just above 5m viewers all season, which is up on every previous year.

Michael Lombardo, HBO's President of Programming:

"I am thrilled that True Blood continues to enjoy a phenomenal reception from both subscribers and critics. Alan Ball and his gifted team have devised the greatest thrill ride on TV."

Alan Ball, True Blood's showrunner:

"I remain amazed and delighted by the enthusiasm of our viewers. I can't imagine having more fun than this."

I'm glad the show's coming back. Season 4's been getting increasingly better after an infuriating start, and it's hard to see the show ever becoming outright boring. The show has the potential to really frustrate and anger me at times, but it's also an oddly irresistible package of shocks, gore, sex, violence and pulpy cliffhangers.

TRUE BLOOD season 5 will premiere on HBO next summer.

Incidentally, season 3 is most likely to begin on Channel 4 in the autumn, and season 4 will likely launch on FX UK in the new year. (This is one of those shows where the UK are ridiculously behind the US. Weirdly, you've been able to buy season 3 on DVD here for months, which must surely erode the audience before its terrestrial debut on Channel 4!)

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SPOOKS to stop after series 10

Kudos have decided to end their espionage drama Spooks after ten series on the BBC and around the world, aiming to go out on a high rather than let the show dwindle.

Jane Featherstone, production company Kudos:

"I feel very sad about it. It was a very difficult decision to make. But we didn't want to get to the point where the BBC said, 'We don't really want another one,' we wanted to kill it off in its prime."

Ben Stephenson, BBC Drama Commissioning Controller:

"Kudos created a groundbreaking series in Spooks ten years ago that challenged convention with its topical, fast-paced, contemporary style. I hope fans will tune in this September to see what promises to be a fittingly high-octane, thrilling finale."

It’s a laudable decision to end something before it turns stale, which happens more regularly on the BBC because the network's not driven by advertising. Spooks has notoriously killed many of its leads and replaced them with new blood, and this reinvention is credited with keeping the show hovering around the 6m viewers mark for so long. Lisa Faulkner, Matthew Macfadyen, Rupert Penry-Jones, Hermione Norris, and Richard Armitage all played characters who met their end during the show's run.

Spooks is a BBC show I never got into, though. Back when it started I didn't have much faith in contemporary BBC drama, and the show felt like a kneejerk reaction to Fox's smash-hit 24—given the basic premise and similar use of split-screens (which was seen as quite radical in the early-'00s). And, while I understand Spooks benefits from real-world political inspirations, isn't constricted by a real-time format, and can tell multiple stories over its run, I was more entertained by the ruthlessly compelling adventures of CTU's Jack Bauer. Even when 24 fell into self-parody towards the end, Spooks never appealed to me as an alternative. I perhaps missed some great homegrown TV, but you make your choices.

The final series of Spooks will apparently focus on counter-terrorism boss Harry Pearce (Peter Firth), the only original character left on the show. After ten years escaping the icy fingers of death as his colleagues dropped dead around him, is Harry's time finally up?

SPOOKS returns to BBC1 for its tenth and final series in the autumn.

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Movie Review: HARRY POTTER & THE DEATHLY HALLOWS: PART 2 (2011)

directed by David Yates; written by Steve Kloves (based on the novel by J.K Rowling)
starring Daniel Radcliffe, Emma Watson, Rupert Grint, Alan Rickman & Ralph Fiennes

After a reprise of Harry Potter & The Deathly Hallows Part 1's closing scene, with Lord Voldemort (Ralph Fiennes) retrieving the fabled Elder Wand from the entombed corpse of Albus Dumbledore (Michael Gambon) and firing a triumphant bolt of energy into the heavens, Harry Potter & The Deathly Hallows Part 2 continues without interruption—so I recommend you get reacquainted with the previous film, or risk spending the first section of Hallows 2 trying to remember how and why Harry (Daniel Radcliffe) captured a grumpy goblin, and that Hermione (Emma Watson) can transform into the likeness of wicked witch Bellatrix Lestrange (Helena Bonham Carter).

Of course, the Harry Potter movies tend to assume the majority of the audience have read the books till they're dog-eared, which is probably true, but not in my case. For me, the Potter saga has been an exclusively cinematic experience, but I finish many installments with questions and confusions buzzing around my brain. Whatever happened to that nice Chinese girl Harry kissed once? When did Ginny Weasley and Harry get together? Whatever happened to Moaning Myrtle, whose role as "resident ghost" is supplanted here by the Grey Lady (Kelly Macdonald)?

"You've kept him alive so that he can die at the proper moment."

After eight movies covering seven increasingly hefty books, I think it's safe to say the saga's narrative could have been improved by writing the scripts with the benefit of having all Joanne Rowling's completed books to draw from. Instead, the movies were being made before J.K had finished the fifth tome, and despite the guidance she kindly gave laudable screenwriter Steve Kloves (highlight this character more because he'll be important later, wink-wink), a feeling lingers that the movies were incapable of properly developing or emphasizing key ideas, characters, and storylines that became important in the latter films. A case in point: I have no doubt that Warner Bros would have insisted a better actress play Ginny Wesley, and Kloves would have developed that character more, had everyone known she'd become the hero's love-interest.

Hallows 2 is just an extended climax of its immediate predecessor; a movie that brings a dazzling sense of pace and energy to the often sluggish franchise, in particular contrast to quiet and character-focused Hallows 1. It's not long before we're watching an exciting Potterverse bank heist at Gringotts (where a terrific dragon's ued as the getaway car), and then we're back inside the oppressed Hogwarts—now run by traitorous, dictatorial headmaster Snape (Alan Rickman)—before the students regain power and batten down the hatches in preparation for Voldemort's arrival with his army of Death Eaters. It's an epic clash evoking The Lord Of The Rings' fabulous Siege of Gondor, only involving characters you have deeper attachment to.

In many ways Hallows 2 is one of the least nuanced and plotted installments, but after seven films nudging the mytharc along (often within the confines of self-contained mysteries), it feels only right the boy-wizard's climax is an epic action movie involving animated stone knights, club-wielding trolls, giant spiders, ethereal Dementors, and thousands of wizards spitting spells with their wands. Of particular merit were the World War II feel to battle sequences—with Hogwarts analogous to liberal Britain and Voldemort's cronies representing fascist Nazi Germany. This war movie vibe echoed through the design of the half-demolished school, resembling areas of post-Blitz London with '40s-style wooden stretchers to ferry the injured away.

"You were right, never better. I feel like I can spit fire."

The lead triumvirate of Radcliffe, Watson and Grint have grown into their characters and play them well, with Radcliffe delivering his best performance yet with clenched determination. It's just a shame Watson and Grint don't have much to do beyond chase a big snake around before sharing a kiss (a moment that flops because, honestly, who's ever believed Hermione was attracted to twerpy Ron?) It's particularly sad to realize that Hermione has faded from the plucky young know-all of yesteryear into someone who can't even summon the courage to destroy a horcrux by herself, fated to live out her days as a wife and mother? Considering Rowling's claim that Hermione's essentially herself as a young girl, it's especially disappointing treatment by the author. Rowling even gave an imperative and heroic moment to a relative background character like Neville Longbottom? Astonishingly poor judgement, at least from the perspective of what the movies have given us. (For all I know Neville was a boy of considerable depth and latent valor in the books—anyone care to shed some light?)

Such is the busyness of Hallows 2, most of the adults are just wheeled on to prove they're still on the payroll (hello Mark Williams and Julie Walters, nice to see you again Emma Thompson and David Thewlis), with the exception of the delightfully eerie Alan Rickman—who almost steals the show thanks to a sublime final moment with Radcliffe, leading to a revelatory flashback for Snape that, despite slightly undermining a sacrifice, was brilliantly handled and highly charged. Fiennes also receives a greater amount of screen time than ever before, cementing Lord Voldemort as one of fiction's greatest villains. Seeing the Dark Lord slowly emasculated by every horcrux's destruction, his power chiefly derived from a serpent (how Jungian!), made for compelling drama.

"It seems despite your exhaustive defensive strategies, you still have a bit of a security problem, Headmaster."

To its credit, the mechanics of how Harry triumphs over his arch-nemesis has good internal logic and a few surprises that feel plausible, blessed with some very memorable imagery (a dueling Harry and Voldemort locked in a Star Wars-esque stalemate with fizzing wands, an embryonic Voldemort curled into a fetal position), and the only real letdown is the inclusion of the novel's contentious coda involving a limp flash-forward. It may have felt daft on the page, but at least your imagination could do a better makeup job.

Overall, this conclusion of the long-running, astonishingly popular Harry Potter saga is unlikely to disappoint its fans, and even people left scratching their head over various matters will have been too entertained to really care. At times Hallows 2 delivers edge-of-your seat action, not to mention some emotional peaks that should elicit some lump-in-your-throat moments. For all its faults, and problems with the series as a whole (which danced with greatness, but never seized it), the majesty and ambition of this franchise is beyond reproach. A remarkable contemporary mythology; these spellbinding films, like the best-selling books, will be entertaining us for many years to come.

Warner Bros. Pictures / 130 minutes

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E4 recruit CHARLIE'S ANGELS

Channel 4 have splashed out on ABC's Charlie's Angels remake, to air on their youth-oriented digital channel E4. The action-drama stars Minka Kelly, Annie Ilonzeh and Rachael Taylor as three sexy women recruited by an anonymous millionaire called Charlie to fight crime in Miami.

Charlie's Angels premieres in the US on 22 September (the 35th anniversary of the original TV classic). E4 haven't announced when they will launch the series in the UK.

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BREAKING BAD, 4.4 – "Bullet Points"

There's been grumbling that season 4 hasn't exploded out of the gates, but I can't agree this has been a failing. It's just that season 3's climax required a more delicate approach when handling the repercussions of Jesse (Aaron Paul) murdering Gale (David Costabile). But "Bullet Points" should restore some faith in people, as it most definitely delivered some big moments and developments that won't fail to get Walt (Bryan Cranston) more proactive than he's been so far. Walt's been quietly preparing for a war with his boss Gus (Giancarlo Esposita), and the events of this episode suggest the battle lines have been drawn.

The episode began on a stirring note, with Mike (Jonathan Banks) in the back of a refrigerated Los Pollos Hermanos truck smuggling meth, which was attacked by gun toting rivals who pumped the vehicle full of holes, but didn't expect an armed hitman to be lurking inside when they pulled open the doors to inspect their handiwork. Mike, a chunk taken out of his ear by a stray bullet, may have survived this close encounter, but it's clear sign that Gus's slick operation isn't safe from interference. Could this be a sign the Mexican cartel are trying to regain a foothold in Albuquerque, with someone intending to disrupt Gus's business? If so, might they be people Walt could ally himself with, or is it better the devil you know?

After such a tense and exciting teaser, the rest of the episode was a more sedate affair. It was an episode where Skyler (Anna Gunn) and Walt prepared for the moment they'll lie to their family about winning enough money to pay for the car wash. A story that paints Walt as a pitiable gambler who risked his family's financial future in a moment of weakness over his cancer, and just got lucky, requiring him to learn how to count cards and attend Gamblers Anonymous meetings. As I've said before, it's notable how organized Skyler is as an accomplice, but she can still afford to be so levelheaded about their situation because she's blissfully naive to the horrors that Walt's seen and participated in. As Walt opines to crooked lawyer Saul (Bob Odenkirk), his wife thinks being a distinguished meth-cook is just like any other nine to five job, when the truth is he's been pushed into killing people and had to dissolve bodies in acid.

Presenting their gambling story to Hank (Dean Norris) and Marie (Betsy Brandt) was the first obstacle to overcome for the Whites, and it went surprisingly well over a meal at the Schrader's. Of course, Walt was distracted by the realization his brother-in-law's started consulting on Gale's murder case, believing him to be mysterious meth-cook "Heisenberg" after poring through the heavily-detailed "Lab Notes" journal police found at Gale's home. Gale even returned in a darkly amusing Banquo's Ghost moment, when Hank showed Walt a tacky video of Gale singing karaoke for them to laugh at. For Walt, the journal's existence and level of the DEA investigation signals trouble, particularly after discovering the police found fingerprints at the crime scene that might belong to Jesse, together with an eyewitness.

I also liked the brief moment when Hank was excitedly explaining one of his minerals to Walt Jr, only for Walt to interrupt and provide far deeper and more complex knowledge of the mineral in question. It was another little dig that Hank's losing his alpha male status. He's not even the amateur authority of his new pastime, having to defer to his brother-in-law's expertise because of its connection to chemistry. The Ying-Yang quality of Walt and Hank is one of the show's best pieces of subtext, as the two men in this family jostle for superiority. There's even a visual element now, with Walt towering over burly Hank in his wheelchair.

Jesse continued on his downward slide, but this week his lifestyle came to the attention of both Mike and Walt. The latter, arriving amidst the squalor to interrogate Jesse over his movements in Gale's apartment (just to be sure the cops won't have any evidence to incriminate him), didn't last long before he was forcibly ejected from the house by Jesse's "friends". Mike didn't fare much better getting through to Jesse, despite apparently helping by catching a tweaker who stole all of Jesse's money from a bedroom drawer. Jesse's so far gone that discovering his small fortune's been stolen didn't even raise a flicker of emotion from him, as he proceeded to play a video-game with a girl, and even Mike's scare tactic of inferring he'll kill the thief didn't work. Jesse may be self-destructing to numb himself from the horror of killing someone, but he's not stupid: you don't bother blindfolding someone you're about to kill.

This was a real turning point episode; both because the Whites have taken their first public step into a criminally-funded lifestyle, but also because Gus returned and took measures to deal with Jesse in light of Mike's concerns about his mental state and professionalism. The episode ended with Mike driving into the desert with a docile Jesse, who's perhaps accepted what's going to happen. A bullet to the head will bring him the peace his guilty mind is craving. If that's what Mike has planned. And Walt knows his partner's been taken, but can only yell his frustration at the all-seeing eye of Gus's Superlab surveillance camera. Walt only agreed to return to work if Jesse was part of the deal, but what choice does he have if Gus removes him from the workplace? The only lifeline Walt has is that Gus needs a cook of his caliber to produce high-quality meth. It'll be interesting to see if this forces a stand-off, or at the very least a face-to-face meeting between Walt and Gus.

Overall, "Bullet Points" was a brilliant mix of what Breaking Bad does best: taught and efficient action mixed with clever, tense character moments. Walt and Skyler's early extended scene, trying to ensure there are no holes in their story, also worked very well; Walt upset he's being painted in a bad light, and Skyler mistaking her husband's rehearsed apology as genuine. As she said, he's a fantastic liar.

I'm also glad the plan involving Walt's gambling cover-story and car wash is going ahead after all the talk, but the real satisfaction came from the sense that the abduction of Jesse is going to force Walt into tackling Gus and Mike head-on. But given we're not even halfway through the season yet, maybe there's something very different in store for Jesse when Mike's car reaches its destination? Maybe Mike's run-in with those gunmen at the truck was the wake-up call he needed to plot a way to remove Gus from power, and he needs Jesse's help? Looking forward to seeing what episode 5 brings... can't believe anyone wouldn't be.

Asides

• What will Hank do when he discovers that Walt and Skyler's "gambling fortune" has also been paying his medical expenses?


• Fun callback to "The Learn'd Astronomer", with Gale's journal dedication "To W.W. My Star, My Perfect Silence" probably referring to "Walter White", who introduced him to the verse. Luckily, Walt managed to pin the initials on the poem's author, Walt Whitman. Out of interest: do you think Gale's dedication proves he was gay and attracted to Walt?


• Interesting to note Hank making more of an effort with Marie in the company of the Whites. You'd never know from their civilized meal together than the Schrader's marriage is hanging by a thread.


• Walt didn't like the desperate option Saul suggested he consider (paying a large amount of money for a "disappearer" to get his family out of harm's way and with new identities), but the fact it was even mentioned may mean something. Perhaps Walt will reconsider towards the end of his season?


• Why was Mike in the back of a refrigerated chicken truck anyway? He can't possibly travel like that for every meth transportation for Gus. Was this a particularly dangerous route that required his presence? Or an especially valuable shipment?

written by Moira Walley-Beckett / directed by Colin Bucksey / 7 August 2011 / AMC

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TRUE BLOOD, 4.7 – "Cold Grey Light Of Dawn"

The best episode yet or a season that's started to perk up after an underwhelming start, perhaps because the stories being given the most attention focused on the entertaining vampire/witch rivalry and kept the weaker subplots to a minimum. True Blood just works better when it's dealing with its vampires, because their mythology is deeper and more interesting than the laughable issues of were-panthers and evil babies that clutter up proceedings.

"TMZ's offering 10k for real-life vamp attack!"

After some hesitant steps in the previous half-season, Marnie (Fiona Shaw) is now Vampire Enemy #1 because she's allowed herself to be possessed by the spirit of a centuries-old victimized witch called Antonia. Knowing that Antonia's powers infamously extend to necromancy, Bill (Stephen Moyer) was forced to order all local vampires to go to ground bound by silver, knowing that Marnie might compel them out into the sunlight during daylight hours. Marnie also recruited Tara (Rutina Wesley) into her coven, as both women have a similar personal history with vampires and a deep yearning for vengeance, which was plausible reasoning and an nice way to give Tara something to do.

"Everyone who's ever been with me has ended up dead. It ain't a long list, but it's a bad one to be on."

Elsewhere, Eric (Alexander Skarsgård) has consummated his relationship with Sookie (Anna Paquin), with Bill forced to accept they're an item; Sam (Sam Trammell) realized that his brother Tommy (Marshall Allman) has gained the ability to "skin walk" and used the power to pose as himself and sleep with his girlfriend; Hoyt (Jim Parrack) made best-friend Jason (Ryan Kwanten) feel guilty about his feelings towards Jessica (Deborah Ann Woll); Pam (Kristen Bauer) took desperate measures to restore her beauty, by going through a painful cosmetic process to remove her rotting flesh; Alcide (Joe Manganiello) joined a new wolf pack to appease girlfriend Debbie (Britt Morgan), which did little to stimulate their sex life because his mind's still on Sookie; and Lafayette (Nelsan Ellis) learned he's a medium capable of channeling spirits like Marnie.

"I felt like a giant-ass puppet for your ghost uncle."

As you can tell from the breakdown of events, there weren't many storylines that aren't connected to the bigger ongoing concerns. Even Jason's affection for Jessica fed into the climactic moment with him racing to protect her from Marnie's spell, as she broke free of her silver chains and ventured out into the daylight. This was perhaps the first cliffhanger that's worked this season, because Jessica's a character nobody wants to see burnt to a crisp, despite how unlikely that is given her popularity. I'm still apathetic toward Arlene's (Carrie Preston) baby story, but appreciate how it's now moved on to involve the ghost of a black girl—who I'm guessing lost a child when she was alive and has attached herself to Arlene's son? It still feels terribly extraneous to things, though. At least Lafayette's story, which is also uninteresting right now, feels like it's building towards something connected to the vampire/witch storyline. I'm guessing he'll be the only person who can defeat Marnie in a battle-of-the-mediums. I'm just not sure why Lafayette would want to actually stop Marnie, given his own history with vampires isn't very harmonious. If anything, he should be right behind Tara.

I've also been reminded of how good Sam Trammell is in recent weeks. It's a pity his character keeps getting repetitive storylines involving his troubled love-life and family, because Trammell has an engaging demeanour. His reaction when the penny dropped about what Tommy's been up to with his girlfriend was priceless, too. Marshall Allman's even improved this season, now that we can see Tommy's a decent kid deep down who just can't seem to catch a break, or stop himself from making bad decisions. It makes it easier to sympathize with him, unlike last season when he was just a troublesome brat from a bad upbringing.

"And when we survive the day, I am going to eat that fucking witch, starting with her face."

Overall, "Cold Grey Light Of Dawn" marked a highpoint of this season and felt more like the show I used to enjoy back in season 2. Against the odds, the inclusion of witches this year has worked very well, and I'm glad the weaker subplots that dominated the first half of this season appear to be diminishing. Maybe the writers themselves realized they weren't very good, or simply ran out of narrative with them. Whatever the reason, I'm glad the show's regaining some focus. There are even more character-based moments to savour, which is what really sold True Blood back in the early days. In particular, Marnie convincing Tara to join her was a believable turn, and I enjoyed seeing more of the touching father/daughter relationship between Bill and Jessica. He should have added more chains to her, though, right?

What do you think? Is True Blood starting to turn things around? Do you think the rest of the season will sustain this quality, or are things destined to slump again? In the past, the show has tended to have interesting middles and disappointing finales, remember...

Aside

• Why were those chains required for Jessica and Bill? They're inside a jail cell with silver bars, so escape wasn't possible. There didn't seem to be any real need to torture themselves by laying chains over their limbs.

written by Alexander Woo / directed by Michael Ruscio / 7 August 2011 / HBO

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TV Picks: 8-14 August 2011 (The Borgias, Horizon, Ocean Giants, Shooting Stars, Who Do You Think You Are?, etc.)

THE BORGIAS - Sky Atlantic, Saturday, 9PM

MONDAY 8th

Let's Do Lunch with Gino & Mel (ITV1, 12pm) Brand new chat and cooking magazine show. Hosted by Mel Sykes & Gino D'Acampo. Their first guest is Martin Kemp. (1/19)
Ultimate Police Interceptors (Channel 5, 8pm) Fly-on-the-wall series following police pursuit teams in Sheffield and Essex. Highlights of series 1. (1/3)
Horizon (BBC2, 9pm) Return of the long-running science series. This first edition looks at personal perception. (1/6)
Hugh's Big Fish Fight: The Battle Continues (Channel 4, 9pm) Follow-up series returning to Hugh Fearnley-Whittingstall's campaign to stop fishing trawlers discarding unwanted catches.
Cherry's Parenting Dilemmas (BBC3, 9pm) Documentary about various challenges for parents.
PICK OF THE DAY Shooting Stars (BBC2, 10pm) Series 8 of the surreal celebrity gameshow. Hosted by Vic Reeves & Bob Mortimer, with team captains Jack Dee & Ulrika Jonsson. Guests tonight are James Martin & Ross Noble. (1/6)
Jennifer Saunders: Laughing At The '90s (Channel 4, 10pm) The comedian reflects on comedy in the '90s, featuring interviews with Joanna Lumley, Dawn French, Reece Shearsmith, John Thomson, Ardal O'Hanlon, Adam & Joe, Rebecca Front, Arabella Weir, Partrick Marber, Adrian Edmondson & David Baddiel.

TUESDAY 9th

Babes In Hollywood (More4, 10pm) Documentary about mothers who push their kids into showbiz.
PICK OF THE DAY The Real Sleeping Beauty (BBC1, 10.35pm) Documentary about a girl with Kleine-Levin syndrome, which means she falls asleep for days at a time every month or so.

WEDNESDAY 10th

National Treasures Live (BBC1, 7.30pm) Brand new series looking at UK history around the country. Presented by Dan Snow & Sian Williams.
Village SOS (BBC1, 8pm) Series charting events of a village trying to get their derelict mill renovated with Lottery money. Presented by Sarah Beeny. (1/6)
Timothy Spall: Back At Sea (BBC4, 8.30pm) The actor goes on a seafaring adventure in the Irish Sea with his wife. (1/4)
Amy Winehouse Tribute (BBC3, 9pm) Special celebrating the life of singer Amy Winehouse.
PICK OF THE DAY Who Do You Think You Are? (BBC1, 9pm) Series 9 of the genealogy show, helping celebrities trace their ancestors. This episode focuses on EastEnders actress June Brown. (1/10)

THURSDAY 11th

PICK OF THE DAY Monty Hall's Great Irish Escape (BBC2, 8pm) Monty Hall goes to live on an island near the village of Roundstone, where he tries to feed himself using only sea food and vegetables from his garden. (1/6)
Croc Man (Channel 5, 8pm) Series following Shaun Foggett, who wants to open the UK's first crocodile zoo. (1/4)
Carrot Or Stick? A Horizon Guide To Raising Children (BBC4, 8pm) Documentary about how science has changed how we raise children. Presented by child psychologist Laverne Antrobus.
Me, My, Sex & I (BBC1, 10.35pm) Documentary about hermaphrodites.

FRIDAY 12th

PICK OF THE DAY Chilean Miners: 17 Days Buried Alive (BBC2, 9pm) Documentary about the disaster that captured the minds of the world.
Beyonce At Glastonbury 2011 (BBC4, 9.40pm) Highlights of Beyonce's performance on the final night of this summer's Glastonbury festival.
How Hip Hop Changed The World (Channel 4, 10.25pm) Documentary on the rise of hip hop in popular culture. Part of a four-night season on street dance, urban sports, street art and hip hop.

SATURDAY 13th

PICK OF THE DAY The Borgias (Sky Atlantic, 9pm) Season 1 of the US drama about the notorious Borgia family of 15th-century Italy. Starring Jeremy Irons, Joanne Whalley, Sean Harris, Holliday Grainger, Francois Arnaud, David Oakes & Derek Jacobi. (1/9)
Match Of The Day (BBC1, 10.15pm) Return of the football highlights show.

SUNDAY 14th

Britain's Hidden Heritage (BBC1, 7pm) Series looking at forgotten and hidden places of historical significance in the UK. Presented by Paul Martin. (1/3)
PICK OF THE DAY Ocean Giants (BBC1, 9pm) Documentary on the ocean's largest mammals. Narrated by Stephen Fry. (1/3)
Young, Dumb & Living Off Mum (BBC3, 9pm) Series 3 of the show where a group of spoiled kids go to work at one of London's busiest hostels. (1/6)

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