Selasa, 23 November 2010

FX UK: Coming In 2011

FX's press people have announced a rough schedule of their plans for next year, and it makes for interesting reading. So, you know, after I desperately try to make this blurb last long enough to word-wrap the image on the left better, read on:


January
True Blood – Season 3 (UK premiere)
The Cleveland Show – Season 1 (FX debut)
American Dad - Season 6 (UK premiere)
Breaking Bad – Season 1 (FX repeat)

February
NCIS – Season 8
The Walking Dead – Season 1 (repeat)
Arrested Development (FX debut, repeats)

March
The Wire – Season 1-5 (repeats)
The Listener – Season 2 (UK premiere)
The Booth – web-series starring Xander Berkley (24, Nikita), described as "In Treatment meets The Twilight Zone"

Spring
The Defenders – Season 1 (UK premiere)

Summer
Dexter – Season 5 (UK premiere)
Now, the news worth shouting from the rooftop is that Breaking Bad's getting another repeat on FX. It actually debuted in the UK on that digital channel, but I think it's fair to say more people have access to FX these days -- so, hopefully Breaking Bad will have a better chance to shine. I'm hoping the buzz from existing British fans is strong enough to get more people tuning in. It's a national TV disgrace that Breaking Bad's not more widely known in the UK.

'THE TRIP' 1.4 - "Hipping Hall"


This is a strange show to review, as there are times when the repetition goes far beyond a joke (just how many Michael Caine impressions do we need to hear?), and it's only in the opening/closing five minutes that the story touches on something deeper. That said, The Trip still has a peculiar grip on my attention, as there are instances when the comedy and drama knit very well.

"Hipping Hall" shook up the format slightly, as Steve Coogan and Rob Brydon were joined for a meal by Steve's agent Emma (Claire Keelan) and Spanish photographer Yolanda (Marta Barrio) from The Observer. This meant Coogan and Brydon had an audience in two attractive women, so their competitiveness took on the feel of cheeky boys trying to impress girls in the school canteen. Having spent three episodes watching a "duel" between two comedians, it was refreshing to see a more layered discussion and interjections from other people. Amusingly, Rob's renowned impression of Ronnie Corbett failed to be recognized by either of the new dinner guests.

I was surprised by the darker turn the episode took, when photographer Yolanda was revealed to be a crack addict and Steve was tempted into a relapse -- which he only narrowly avoided. While having his photo taken on the windswept hills, Steve received the offer of a co-starring role in a US TV pilot, only to have second thoughts when he heard he'd be contracted for seven years if it's a hit. Already concerned about his middle age, you could see the panic in his eyes that so much of his forties would be swallowed up -- and for what? Fame and fortune as the next Hugh Laurie is great, but you get the feeling Steve's beginning to consider the home comforts he's taken for granted.

But maybe the real bombshell was seeing Rob make a clumsy move on Emma back at the hotel, moving in for a kiss while singing as Tom Jones and misjudging her "signals" entirely. It surprised me because Rob's been written as the sensible one who wouldn't risk his marriage, as many episodes have ended with him having an affectionate bedtime chat with his wife on the phone. Is hanging around Steve beginning to rub off on him? Or was this just a silly mistake brought on by loneliness?

Overall, I'm still enjoying The Trip, but it never stays consistently brilliant for me to consider a whole episode totally successful. There are fantastic scenes, good lines, occasionally intriguing character moments, but also a lot of repetitiveness and indulgent twaddle. I think a two hour-long specials would have been a better format for this, to take the sting out.

DIRECTOR: Michael Winterbottom
TRANSMISSION: 22 November 2010, BBC2/HD, 10PM

'DEXTER' 5.9 - "Teenage Wasteland"


I question the decision to give us a predominantly self-contained character-based story, focusing on Dexter (Michael C. Hall) and step-daughter Astor (Christina Robinson), so close to the end of this season. In previous years, the last four hours have been a juggernaut of tension, surprises and shocks, but "Teenage Wasteland" felt like something that could have been dealt with mid-season. So while there were great moments that I enjoyed, and it was an episode I could appreciate on many levels, it wasn't something I could totally get behind.

This week, Dexter's became the gym buddy of Jordan Chase (Jonny Lee Miller), who wants to help him deal with his bereavement through exercise and his best-selling philosophies (which he admits he plagiarized Plato.) Dexter has a different motivation: to prove Jordan's guilt as ringleader of Lumen's (Julia Stiles) rapists. After noticing Jordan wears a pendant containing a vial of blood, Dexter resolves to get a sample and match it to a missing person on the police database, thus confirming it's a "trophy" of Jordan's crime.

However, Dex becomes sidetracked from his mission by the surprise return of a drunken Astor, who's run away from her grandparents with best-friend Olivia, and is surprised to find Lumen in her late-mother's house. Believing Dexter's already got himself a new girlfriend (seemingly confirmed when baby Harrison calls Lumen "mama"), Astor became angry with her step-dad's behaviour, forcing Dexter into more uncomfortable situation he's ill-equipped to deal with. And matters are complicated when Lumen discovers that Astor's friend Olivia is the victim of an abusive father, prompting Dex to take action...

As the primary focus, your reaction to this plot will colour your opinion of "Teenage Wasteland" as a whole. Christina Robinson was better in this scenario (a tearaway teen, trying to reconnect with the stepdad she's chosen to blame for her mother's loss), than I felt she was dealing with the immediate aftermath of Rita's demise. It was especially good to see Astor react to Lumen's presence; who, despite being introduced as a new tenant (even to Debra), was commonly perceived as an inappropriate rebound for widower Dexter. And while that's not the case, it certainly feels like Dexter could have a more fruitful relationship with Lumen; a woman who knows his ugly secret and still accepts him.

The way this storyline segued into Dexter going after Olivia's violent father, beating him with clinical precision in an alleyway, was certainly an enjoyable moment, but still something that felt extraneous to the season's concerns. The return of ghost Harry (James Remar) to congratulate Dexter for using his inner monster for a chivalrous reason, not merely to feed a homicidal mania, was a nice touch -- although I'm not convinced this is the first occasion Dexter's hurt/killed someone for another person's direct benefit. Hasn't the show explored this before?

Anyway, the fact Dexter's actions resulted in him receiving the gratitude of Olivia's family, the praise of Harry (together with an apology that he never saw this altruism in Dexter before), and helped repair his relationship with Astor, felt designed to be a turning point for Dexter's rehabilitation. I doubt the show is headed in the direction of Dex becoming a normal blood-spatter analyst who's kicked his passion for killing criminals, but there are occasional episodes when he takes a step closer to normality and is duly rewarded.

At the Miami Metro, Debra's (Jennifer Carpenter) banishment to the archives reaped an unexpected reward, when she realized DNA found on the dead "barrel women" came from multiple people, meaning culprit Boyd Fowler was likely part of a gang. She brought this to the attention of Angel (David Zayas), but both had trouble convincing LaGuerta (Lauren Velez) to re-open the case, because doing so would reflect badly on her performance as lieutenant.

I'm not sure I believe nobody would have realized DNA found on the dead bodies came from different people, either before or after they were tricked into believing Boyd Fowler was the only perpetrator, but at least now the Miami Metro are close behind Dexter's investigation. Most seasons take this approach, but it's always quite fun to see what happens when the two worlds collide in the final episodes. Also intriguing to see the writers continue to turn LaGuerta into the biggest bitch on the planet, even if she did renege on her decision by the end. She's either going to be redeemed in the next few episodes, or die to give the audience some relief.

Finally, Quinn (Desmond Harrington) can’t seem to stop Stan Liddy's (Peter Weller) investigation into his girlfriend's brother. Liddy has become convinced that Dexter's involved in a serious scandal (having witnessed him dumping ominous black bags into the ocean with Lumen), and wants nothing more than to expose whatever's going on a way to get his job back.

I wish the writers were doing a better job with Liddy's investigation and role on this show, as he's such a remarkably abrasive and horrid character (in a good way). Peter Weller is riveting in the role and his character deserved a better arc, as someone who's effectively a replacement for Sgt Doakes. It's especially fun to see him antagonize Quinn, who treats Liddy as an awful mistake he can't seen to undo. But why isn't Quinn more interested in the photos of Dex and Lumen dumping bags in the sea late a night? Hopefully Liddy will come into his own now, as he's resolute in getting to the bottom of Dexter's activities.

An uneven episode, but the good moments gradually stacked up in its favour. I was particularly pleased with the final scene, where Jordan Chase (aware Dex tampered with his pendant) called his house and had Lumen take a message for Dexter ("tick, tick, that's the sound of your life running out...") before adding "take care Lumen." A really unsettling moment, nicely played by Miller, whose power was neatly visualized by him staring out across the city from a high-rise window, God-like.

It certainly feels like the gloves are off between Jordan/Lumen/Dexter, as there's no secrets between them and nobody has the upper hand. We've been here before (did anyone else think Dex sharing gym time with Jordan echoed his closeness with Arthur Mitchell last season, too?), but it'll be interesting to see how the writers draw things to a close. The pieces may be familiar, but it's how they’re played that counts now. I just hope this season's off kilter pacing doesn't kill the momentum again.

Asides
  • I recall that Jonny Lee Miller's ex-wife Angelina Jolie used to wear the blood of her lovers in a vial around her neck, so was that detail here a bizarre in-joke?
  • I'm glad Quinn's revealed to Debra that he suspected her brother was Kyle Butler, associate of the Trinity Killer. Hopefully that's another seed planted in her mind that, added to her discovery the Ice Truck Killer was Dex's brother, will make her delve deeper into her sibling's history.
  • Is the absent Irish nanny officially a trivial element of season 5 with no major significance? For awhile, I kept expecting some crazy reveal that she's related to someone Dexter knows.
  • Who taught Harrison the word "mama", huh?
  • Any theories on the woman whose blood Chase keeps in his vial? It's someone who's alive, so is it a relative? Wife? Girlfriend? Is it an innocent display of love? Surely not.
  • Has Jordan noticed Cole, his head of security, has vanished since his latest seminar?
  • "Teenage Wasteland" is the erroneous name of a song by The Who, correctly titled "Baba O'Riley". The song has the lyric "teenage wasteland" repeated so often it became widely mistaken as the title. Confusingly, "Teenage Wasteland" then became a different song by The Who's Pete Townshend.
WRITER: Lauren Gussis
DIRECTOR: Ernest Dickerson
TRANSMISSION: 21 November 2010, Showtime, 9/8c

Senin, 22 November 2010

BBC: Christmas 2010


I'm so glad the UK spend millions guaranteeing a jam-packed TV schedule for Christmas/New Year, featuring lots of specials and seasonal treats for audiences. From what I've heard, the US TV schedules are barren and desolate places, with all the big shows off-air for winter hiatus, which confuses me. What do those crazy Americans do till January? Talk to their families? Play games? Go outside? Crazy! No, but seriously, it seems weird. Or, rather, a missed opportunity.

Surely there's a captive American audience wanting to be entertained over the holidays, right? Is festive TV just not part of the culture overseas? I have memories of highlighting all the best shows in the Christmas edition of the Radio Times, as preparation for a Christmas half sat in front of the TV surrounded by toys, wrapping paper, wine, cake, chocolates and turkey sandwiches.

Anyway, here in the UK the BBC have released a list of what we can expect on their schedule this year:

Top Gear (a Three Wise Men inspired challenge to reach Bethlehem); sketch show The One Ronnie (where Ronnie Corbett's joined by stars like Rob Brydon, Elton John, Charlotte Church and James Corden); a Royle Family Christmas special "Joe's Crackers"; Ruth Jones's Christmas Cracker (with guest Ricky Gervais); Come Fly With Me (David Walliams and Matt Lucas's new airport-based sketch show); The Impressions Show Christmas Special; a festive edition of Shooting Stars; The Rob Brydon Show's Christmas special; drama The Nativity (starring Peter Capaldi); When Harvey Met Bob (a dramatization of the Live Aid concert's preparation); Eric & Ernie (a biopic on the early days of comedians Morecambe & Wise); a Miranda special; Helena Bonham Carter in the '60s drama Toast; an adaptation of Douglas Adams's novel Dirk Gently (starring Stephen Mangan); Doctor Who's Christmas special "A Christmas Carol" (guest-starring Michael Gambon and Katherine Jenkins); the premiere of the Upstairs, Downstairs revival; Rock And Chips: Five Gold Rings (a festive prequel to Only Fools & Horses); a new Just William adaptation; classic ghost story Whistle And I'll Come To You (starring John Hurt); The Hairy Bikers Mum Knows Best Christmas Special; Never Mind The Buzzcocks festive special; Mock The Week's Christmas special; and finales of The Apprentice and Strictly Come Dancing (which also has a Christmas special featuring new celebs).

You can read a more comprehensive list here.

What do you make of that lineup? A decent mix of specials and brand new shows? Is there anything you're particular excited about? Is anyone jealous the UK spend a fortune on Christmas TV, or is it much the same where you live?

'THE EVENT' 1.8 - "For The Good Of Our Country"


I think that's me done reviewing this series at US pace. It's frankly not good enough to require a fortnight's jump on the UK broadcast "For The Good Of The Country" used the flashbacks in a more competent way (as the show has done post-episode 6), shedding light on a particular character's past, but I still don't see why The Event needs to be using flashbacks so extensively. It should stick to the forward momentum of the current story, which is where it's occasionally built in-the-moment thrills. As it stands, it's kind of like watching an episode of 24 and getting a sudden flashback to explain Jack Bauer's decision to torture someone. It's just not necessary and drags the pace.

The Event seems to be using flashbacks so heavily because, well, it worked for Lost. What they're ignoring (or trying to work around because the A-story isn't strong enough to handle full attention), is that Lost's characters were enigmas the audience wanted to know more about, whereas The Event's mystery is primarily plot-based. Nobody really cares about seeing exactly how Vice President Jarvis (Bill Smitrovich) was recruited by villain Dempsey (Hal Holbrook) to organize the kamikaze attack on the President's retreat, especially if the episode's reveals don't amount to anything by the end. Jarvis winds up taking important information to his grave, and what we learned has no lasting significance.

It also didn't help that this week's story for Sean (Jason Ritter) and Leila (Sarah Roemer) was ripped straight from a Terminator: The Sarah Connor Chronicles episode, with Sean suffering a gunshot wound and Leila kidnapping a doctor from a hospital to help with his injury. Cue the predictable trip to a pharmacy for supplies where (surprise, surprise) two cops strolled in. It was all very humdrum, although the level of research into how to treat a gunshot wound using items from a chemist was fascinating. Not that I'm an expert, but it felt realistic and persuasive. It's just a pity Roemer was required to shoulder the weight of this story, as it singularly proved her abilities aren't up to the challenge. Suddenly out of her comfort zone (smiling girlfriend, frightened victim), Roemer floundered and sank her scenes.

There were no direct ties to the aliens (sorry, EBEs) this week, which hurt the show. In concentrating on the White House staff and Sean/Leila it lost its uniqueness, becoming a lax 24 knockoff. And it's frustrating that we still don't have a clear handle on why Dempsey needed to prevent the President (Blair Underwood) releasing the detained aliens and took such drastic measures. It's like being 8 episodes into a season of 24, where you're not sure what the terrorists even want yet, and that makes the whole thing tough to get behind.

Overall, I'll keep watching because I'm a sucker for sci-fi shows that squander their potential in fascinatingly inept ways (FlashForward, Heroes), and I guess it's encouraging that NBC are "re-launching" the show in February after winter hiatus. The problem is, if the writers demystify the things that make it hard to engage with the story/characters, it thus loses the mystery it's predicated in.

WRITERS: David H. Goodman & James Wong
DIRECTOR: Jeffrey Reiner
TRANSMISSION: 15 November 2010, NBC, 9/8c

TV Picks: 22-28 November 2010 ('Fry & Laurie Reunited', 'Live At The Apollo', 'Peep Show', 'Robert's Web', etc.)


MONDAY 22nd
Delphi: The Bellybutton Of The Ancient World (BBC4, 9pm) Documentary about the iconic Greek oracle.
Imagine: Fantastic Mr Dahl (BBC4, 10pm) Three-part documentary on iconic children's author Roald Dahl.
Don't Hit My Mum (BBC1, 10.35pm) Alesha Dixon reveals the domestic violence she witnessed as a child between her parents.

TUESDAY 23rd
The Foods That Make Billions (BBC2, 9pm) Three-part series looking at how businesses sell consumers their products. Beginning with a look at the bottled water industry.
Young Hairdresser Of The Year (BBC3, 10.30pm) Five-part series celebrating young professionals, beginning with hairdressers.

WEDNESDAY 24th
Fry & Laurie Reunited (GOLD, 9pm) Stephen Fry and Hugh Laurie reminisce about their comedy collaboration.

THURSDAY 25th
Live At The Apollo (BBC1, 9.30pm) Series 6 of the standup comedy series. In this opener, Sean Lock introduces John Bishop.

FRIDAY 26th
Britain By Bike (BBC2, 9.30pm) Six-part travel series, where Clare Balding embarks on a cross-country journey across the UK.
Peep Show (Channel 4, 10pm) Series 7 of the award-winning comedy about two flatmates. Stars David Mitchell & Robert Webb.
Robert's Web (Channel 4, 10.30pm) New comedy series where actor/comedian Robert Webb presents an alternate take on the week's news, primarily using the internet.

SATURDAY 27th
Nothing.

SUNDAY 28th
Donald Trump: All-American Billionaire (BBC2, 9pm) Profile of the US property tycoon.

Minggu, 21 November 2010

'MERLIN' 3.11 - "The Sorcerer's Shadow"


If only someone could wave a magic wand and erase my memory every week, episodes like "The Sorcerer's Shadow" would be much improved. But that's not possible, so the fact remains this episode felt like the twelfth story revolving around a tournament, the eighth to feature a magical-doer bearing a grudge, and the twentieth where the Dragon (John Hurt) helped Merlin (Colin Morgan) solve the latest crisis. That last statistic is worryingly accurate, too. "The Sorcerer's Shadow" actually picked up in the last quarter-hour, with some half-decent character moments to its credit, but this was largely another example of Merlin treading water when it ought to be swimming towards the finish...

Camelot's about to hold another of its habitual tournaments. This one is a decadal tradition where there's only one rule: there are no rules. Everyone's invited to participate, no matter what their social status is, to bludgeon each other to death (or, more often, submission -- this being a family show). One contender is shy stranger Gilli (Harry Melling), a teenager who doesn't seem to pose any physical threat, but is in possession of an enchanted ring that heightens his simmering magical abilities, giving Gilli an unfair advantage in close combat.

Elsewhere, Morgana (Katie McGrath) saw an opportunity to have King Uther (Anthony Head) killed, by belittling his chance of winning the contest because of his advancing years, and thus forcing the proud monarch to enter the fray one last time. A development that frustrated his son Arthur (Bradley James), who wasn't sure if he should defeat his father in front of his subjects, or help sustain the king's reputation by throwing their inevitable clash.

It's getting tough to review these episode of Merlin, to be frank. There was very little here we haven't seen before, done better, beyond seeing Merlin take on the role of mentor to young Gilli, which made him look more mature and wise than the show usually allows. I spent most of this episode more engaged by the subplot of Uther's pride setting him up for a fal; uncertain about whether or not Arthur would allow his father to beat him in their bout, or prove that he's Camelot's worthy champion. The fight between Uther and Arthur may have only lasted a few minutes, but it was considerably more arresting than anything else going on, if only by virtue of the fact it was something we haven't seen before.

Harry Melling did a decent job evoking our sympathy as Gilli, another person with reason to hate Uther's anti-magic doctrine (yawn), but it's a character type who seems to arrive in Camelot with too much regularity. And that the key problem with Merlin: it feels like every series has about six worthwhile episodes that firmly progress the overarching storyline and characters, and the remainder are standalone stories that often resemble each other. There's nothing wrong with so-called "filler" episodes, but when they're recycling a handful of ideas it's a different matter entirely.

Overall, "The Sorcerer's Shadow" (another title more tantalizing than the material) was content to lazily go through the motions, resembling a half-dozen previous episodes jumbled together. It's an unfortunate blot on writer Julian Jones' work this year, as he's been responsible for series 3's better installments ("The Tears Of Uther Pendragon - Part 2", "Gwaine", "The Crystal Cave", "The Eye Of The Phoenix"), but I guess he was due a dud. There were a few highpoints along the way (usually the dialogue between Merlin/Gilli and Arthur/Uther), but nothing to get excited about, and certainly something you can skip with a clean conscience.

Next week heralds the beginning of the two-part finale, so hopefully that will brush aside the memory of this late misfire.

Aside
  • Actor Harry Melling plays the chubby Dudley Dursley in the Harry Potter movies, although he's obviously shed an incredible amount of weight. Melling reprises his role in The Deathly Hallows movies, but now has to wear a fat suit!
WRITER: Julian Jones
DIRECTOR: Ashley Way
TRANSMISSION: 20 November 2010, BBC1/HD, 7.45PM