The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show
“Everyone at the Post Office is delighted with the new profile”
Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).
- I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
- The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
- The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time.
- And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.
Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).
And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.
Photo: Sophie Mutevelian
After what has felt like an interminable wait, the BBC’s adaptation of Philip Pullman’s His Dark Materials arrives onscreen in scintillating form
“In every child’s nightmare, there is an element of truth”
After what has felt like an interminable wait, the BBC’s adaptation of Philip Pullman’s His Dark Materials arrives onscreen in scintillating form. Written by Jack Thorne and directed by Tom Hooper, this first episode set the tone marvellously, balancing all the detail needed for world-building for newcomers and yet still maintaining enough magic to hook in those more seasoned fans of the work.
I definitely count myself in that latter category. The books were the first I ever hungered for in waiting for the publication of the second and third in the trilogy. The National Theatre production ranks as one of the best things I’ve ever seen in a theatre and I trekked to Bath and Salford to see subsequent revivals. I even don’t think the film adaptation of The Golden Compass is the worst thing in the world, honest… Continue reading “TV Review: His Dark Materials Episode 1”
Series 5 of Peaky Blinders plots a particularly dark path for Tommy Shelby but leaves a little too much up in the air – spoilers abound
“It was a consequence of good intentions”
Getting Elliot Cowan into the new series of Peaky Blinders made my heart sing, getting him to play a closeted gay journalist was just gilding the lily, so naturally he didn’t make it past the end of the first episodes. Such are the ways that this show breaks your heart.
As the race through the years carries on apace, we’re now in the time of the Wall Street Crash of 1929 and the rise of fascism with the arrival of Oswald Mosley, and these two points are the main drivers of this fifth series. The recalibration of the family business to cover their losses, and Tommy’s burgeoning political career serving his increasingly varied ambition. Continue reading “TV Review: Peaky Blinders Series 5”
As the dust settles on another season of Pride festivals with an ever-so-slightly contentious Manchester event, I thought I’d flag up a few pieces of LGBT+ content, trying my best to look outside the pale and male G part of the rainbow…
So in no particular order, you can go see Tomboy at the White Bear Theatre this week, book ahead for Stardust, and My Beautiful Laundrette, read reviews of Vita and Virginia off the big screen, Gentleman Jack, Queers and Years and Years off the TV, The View UpStairs late of the Soho Theatre, Continue reading “Post-#Pride season round-up”
Mark Gatiss’ Queers – a set of monologues has lost none of its power since premiering in 2017
“He knows me for what I am”
I couldn’t make the theatrical readings of Queers at the Old Vic, so I was glad that filmed versions of them were made (for airing on BBC4). Ricocheting around the decades of the twentieth century, this set of monologues marked 50 years since the Sexual Offences Act of 1967 decriminalised private homosexual acts between men aged over 21, and aimed to celebrate some of the most poignant, funny, tragic and riotous moments of British gay male experience.
Pulled together by Mark Gatiss, these 8 20-minute pieces are ostensibly set in the same bar but run the full gamut of emotion as we shift around in time. There’s exquisite moments of happiness in lives otherwise marked by despair. The fleeting touch from Gatiss’ The Man on the Platform so achingly described by Ben Whishaw, the heady night spent with an American soldier by Ian Gelder’s omi in Matthew Baldwin’s I Miss the War.
Continue reading “TV Review: Queers”
Gentleman Jack proves a huge success, for Sally Wainwight, for Suranne Jones, for lesbian storytelling, for everyone
“So much drama, always, with Anne”
Even with as reliably assured hands as Sally Wainwright’s at the tiller, I was a little nervous for Gentleman Jack in the pride-of-place Sunday evening TV slot. But I should have been surer of my faith, for it has been a stonkingly good 8 hours of drama, with an epically romantic lesbian relationship at its heart.
Anne Lister (Suranne Jones) is a wealthy Yorkshire heiress whose uncompromising nature about any and every aspect of her life rubs any number of people up the wrong way. Ann Walker (Sophie Rundle) is most definitely not one of them though, she wants to be rubbed the right way and so we follow the path of true love as it winds through the prejudices of the Yorkshire Pennines and Anne’s attempts to break into the coal mining world. Continue reading “TV Review: Gentleman Jack Series 1”