With major fluctuations in the force, Series 8 maintains a strong level for Spooks – you could argue it should have stopped here
“They think you’ve got Harry Pearce in the palm of you hand and you’re making moves”
Finally, after too many years of yoyo-ing between good series bad series, Spooks finally put together two strong instalments back to back. I think the shorter run (8 episodes) really does focus the writing which now goes all-in on the serial plot line running through the whole series, yet still finding time to blend in self-contained storylines here and there.
Big betrayals cut deep, harsh on a team barely recovered from Connie’s recent deception. Personnel changes rock the team equally hard, as Malcolm is (metaphorically) sacrificed to bring back Ruth, Jo is (literally) sacrificed for big business and Ros (understandably) goes in hard for Tobias Menzies. And Richard Armitage’s Lucas North gets his arse out – quality TV all round. Should Spooks have gone out all guns blazing here?
She’s back! There’s a measure of contrivance in Ruth’s return to the show, necessary to undo the finality of her previous departure and to extricate her from the cushy life in Cyprus which she’d established forself. So cheerio to handsome new partner (they weren’t married so it’s OK he got killed), sayonara to her step-child in all but name, and welcome back to sweet emotional lrepression with Harry. Continue reading “Lockdown TV Review: Spooks Series 8”
“Some things are worth getting your heart broken for”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
“For man is a giddy thing, and this is my conclusion”
Transferring into the Noël Coward theatre, Iqbal Khan sets his RSC production of Much Ado About Nothing in modern-day Delhi, as a fitting counterpart to the African-dictator-led take on Julius Caesar which is now touring the UK after its London run. It’s a lengthy take on the play which does little by way of apparent editing, which is mighty impressive given the strength of the vision here, but it turns out the commonalities with contemporary India make this a great (arranged) marriage which is full of interesting scene readings which make this an intellectual, as well as visceral, pleasure.
I found lots of to love, but particularly what had been done with the watch scenes, normally something tolerated with gritted teeth. Here, they are a group of social misfits, almost Napoleon Dynamite-inspired and it really really works, mainly because of the straightness of the bat with which the actors play it. We’re always laughing with, and not at them and they’re never played as stupid – in fact, something rather touching emerges from their determination of purpose. Niraj Chag’s music is also something wondrous to behold. Vivid, sensuous, powerful, it richly enhances the whole production and the six musicians who play throughout the show get a well-deserved bow at the end. Continue reading “Review: Much Ado About Nothing, Noël Coward Theatre”