Something doesn’t quite click right with Series 2 of W1A, as it struggles to live up to what has gone before though still remaining quite gently funny
“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)”
Series 2 of Liar shifts the focus from rape to murder but does little to raise this from bog-standard thriller territory
“Sometimes bad things happen and we just have to deal with them”
Was the world calling out for a second season of Liar? When the first apparently did such great numbers for ITV, it seems the decision was inevitable but it has taken more than two years for it to arrive and I’m not sure that it carries the same level of impetus with it – I don’t imagine ratings will have held up to anywhere near the same degree.
That first series did show much promise, complicating a rape story by presenting a he said/she said narrative that asked some big questions. But midway through, Liar tipped its hand and ended up as a bog-standard thriller and it is in that same spirit that it continues here. A bit of story-telling trickery allows for Ioan Gruffudd’s Andrew to return alongside Joanne Froggatt as Laura but I have to say I really wasn’t gripped. Continue reading “TV Review: Liar Series 2”
A strong opening concept makes the first half of series one of Liar a must-see, until convention creeps in to mar the second.
“I feel like I’m in Dawson’s Creek“
From the very beginnings of Liar, it is tough to like central character Laura Nielson. She’s the type of person who goes canoeing in the morning before going to work, she’s the kind of secondary school teacher who happily flips the bird to unruly students, heck she even sings to Sam Smith in the shower. But before you can get too annoyed with her for being someone who doesn’t prebook her taxi before going on a date, the hammer blow of date rape lands heavily to reshape our preconceptions.
The cleverness of Harry and Jack Williams’ series, at least for its first few episodes, is how it toys with those expectations. As Laura reels from the aftermath of her dinner with handsome surgeon Andrew Earlham, the shattered narrative structure flits repeatedly from present to past as it also switches perspective. It’s a neatly disorientating device that constantly calls into question the ‘truth’ of what we’re hearing or seeing, really ramping up the ‘he said she said’ format as consequences unravel dramatically for the both of them. Continue reading “TV Review: Liar (Series 1)”
“Sometimes we don’t see everything that’s going on”
A tale of how the supernatural can linger in the same house, Marchlands was an ITV drama originally broadcast in early 2011. Written by Stephen Greenhorn and set in Yorkshire, it follows the fortunes of three families who all live in the same house. In 1968, Ruth and Paul are mourning the death of their 8 year old daughter Alice but suffering from a serious lack of communication and stifled by living with his parents. In 1987, the Maynard family struggle to deal with young Amy’s invisible best friend whose arrival coincides with all sorts of strange happenings. And in 2010, Mark and Nisha return to the village of his childhood, but secrets from the past threaten their future and that of their unborn child.
Greenhorn’s writing cleverly sets up and slowly unravels a different set of mysteries in each of the strands, whilst also introducing overlapping elements which intertwine across the years. Jodie Whittaker’s Ruth, dismissed as a hysterical grieving mother, brings a tortured distress to her determination to find out the truth behind her daughter’s drowning; Dean Andrews and Alex Kingston pair up brilliantly as the 80s couple whose children are inexplicably caught up in Alice’s web; and Shelley Conn is convincing as the modern-day new mother, stressed from the demands of parenthood, the loneliness of her new home, the mysteries that her husband, the ever delectable Elliot Cowan, won’t reveal. And then there is Anne Reid, in scintillating form as a woman vital to all of the stories. Continue reading “DVD Review: Marchlands”
Marking Dame Judi Dench’s return to the RSC after many years away, this production of All’s Well That Ends Well, one of Shakespeare lesser performed plays, transferred to London from the Swan in Stratford. It is called a problem play as it is neither fully comedy nor tragedy but a curious mixture of fairytale-like wonder, cold realism and gritty humour. Helena loves the arrogant Bertram, son of the Countess of Rousillon, but the only way she can gain him as a husband is as a reward for curing the King of France of a terrible ailment. He reacts badly to being forced into marriage with someone of lowly birth and so runs away to Italy to join the wars but not before fixing two fiendishly difficult conditions to their marriage, things he believes Helena will never be able to achieve but he does not count on her tenacity.
Even in a relatively minor part, which the Countess is it has to be said, Dench is a mesmerising performer, she manages so much with such economy of performance, the simplest gesture or twitch of the face speaks volumes and as the matriarch of the piece, she oozes a compassion and wisdom that makes a firm bedrock for the production. Gary Waldhorn as the King of France does well though as the most senior male character, rising from his sickbed to become an inspirational leader. Continue reading “Review: All’s Well That Ends Well, Gielgud”