Of course, right after I slag off the third series of W1A, this cracking little short appears
“It may be the future but it’s still the BBC”
Returning to W1A has been good fun, though watching its three series back-to-back, it is interesting to see just how much it wears its concept increasingly thin. Series 1 was a winner, introducing its cast of misfits all trying to navigate the bureauracy of the BBC and avoid doing as much work as possible but even by Series 2, the strains were clear to see.
John Morton’s Twenty Twelve, the show that kicked off this mockumentary mini-universe, had an inbuilt advantage in that it had a clearly defined end-point, the thing that everyone was working towards. By contrast, W1A has a sense of ambling on which, while perfectly pleasant to watch, means that a terminal case of diminishing returns sets in. Continue reading “TV Review: W1A (Series 3)”
“I don’t want to be dramatic about it, and I mean we all love Sue Barker, but I’ve to to say we are looking at a situation here”
I’ve loved going back to watch Twenty Twelve and my memories of the shift to W1A were that it was just as good, if not better. I’d definitely say that about the first series but having just gone through series 2, I found myself just a little disappointed. The bar having been raised so high, it feels like this collection of four episodes just doesn’t have the same zing that really grabs your attention.
In many respects, nothing has really changed. There’s still much comic currency in the exposure of the labyrinthine bureaucracy of the BBC and the determination of any middle-to-senior manager to avoid actually making a decision. But there’s also a slight sense of familiar ground being retrodden that dulls the edge – I mean once again any and every female is falling at the feet of Ian Fletcher, really? Continue reading “TV Review: W1A (Series 2)”
“I’m sorry…I don’t want to be rude or anything but Ian is not Justin Bieber”
Following on from the success of Twenty Twelve, John Morton’s W1A scooped up its key personnel and shifted them from the bloated organisational chaos of the Olympics Deliverance Team over to the no-less-unwieldly bureaucracy of the BBC. So Ian Fletcher Hugh Bonneville) takes the scarcely defined job as Head of Values there, is saddled once again with Siobhan Sharpe (Jessica Hynes) as Brand Consultant and the whole thing is deliciously narrated by a super-dry David Tennant.
And to a large extent, the transplant is successful. The key to these shows is the quality of an evenly-balanced ensemble and W1A knocks it out of the park from top to bottom. Monica Dolan’s bruisingly plain-spoken comms officer, Nina Sosanya’s too-good-for-this-world TV producer, Rufus Jones’ hilariously too-rubbish-for-this-world counterpart and best of all, Jason Watkins’ director of strategic governance and Sarah Parish’s head of output both delivering masterclasses in avoiding making any decisions at all. Continue reading “TV Review: W1A (Series 1)”
Another of those random charity shop bargains was this double DVD sets of modern Shakespeare adaptations – ShakespeaRe-Told (I bet that was a smug day when that title was revealed!). The first disc features rewrites of Much Ado About Nothing by David Nicholls and Macbeth by Peter Moffatt shifting the plays to a modern context and employing starry ensemble casts.
Much Ado About Nothing has been relocated to a local news station in Dorset where Sarah Parish’s Beatrice is reunited with former colleague Benedick, Damian Lewis sporting an epic moustache – who never quite got round to getting together when they worked together before – on the news desk of Wessex TV. Hero is the weather girl, daughter of the station manager, newly engaged to Claude on the sports desk though Don from Visual Effects has been nurturing an epic crush on her too and so sets about a dastardly plan to break up the engagement. Continue reading “DVD Review: ShakespeaRe-Told – Much Ado About Nothing/Macbeth”