“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“I don’t deem your remark pertinent”
I came late to Series 1 of Channel 4 drama Humans but I’m making no such mistake this time round. And perhaps conscious of the show’s enormous critical and commercial success, creators Sam Vincent and Jonathan Brackley have considerably upped the ante on this second series, spreading the reach of the story from the UK to the US, Berlin to Bolivia. And though its scale may be becoming increasingly epic, the writing has thankfully maintained its startling intimacy in its explorations of what it means to be human.
To catch you up, the show centres on the invention, and subsequent evolution, of anthropomorphic robots called synths, designed to serve humans but a certain number of whom have become ‘conscious’. This second series sees that group on the run from the authorities, dealing with the ramifications of Niska’s decision – made early on here – to grant that same life to other synths, uploading code that is gradually deactivating their conditioning worldwide. Continue reading “TV Review: Humans Series 2 Episode 1”
“Edmund Reid did this”
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
“Hope and memories go together”
A hotch-potch of video clips for your pleasure!
The Lion King gets a new ex-rugby playing Kiwi Simba.
Continue reading “Short Film Review #64”
“You will take what Daddy gives you”
I have to start this review off with an apology to my Medieval History A-Level teacher Mrs Grist. Despite having spent two years studying the subject, and writing an extended essay on the Capetian King Philip Augustus (who appears as a young man in this play), precious little of the detail has remained in my head. Fortunately James Goldman’s The Lion In Winter, Trevor Nunn’s latest entry in his Theatre Royal Haymarket season, has a rather loose basis in history, coming from the Philippa Gregory-type school of soapy melodrama rather striving for historical accuracy, and so the vagueness of my recollections was just fine as this ends up being more of an Ayckbourn-style domestic conflict piece – Season’s Greetings but with a cast of historical royals instead.
Things get off to a rather shaky start with a huge amount of backstory text scrolling up the screen, which is surrounded by the cheapest-looking holly border straight out of a clip-art folder. It is a rather unwieldy way to convey a ton of information which if significant, ought to be clear anyway from strong playwriting. But in a nutshell, the play is set at Christmastime 1183 in the château of Chinon, Anjou in Western France where Henry II of England has kept his wife, Eleanor of Aquitaine, prisoner for a decade after she led a rebellion against him. Accompanying the warring couple are their three sons, Richard, Geoffrey and John, who are all competing for their father’s favour in order to be named his successor and their guest, King Philip II of France, whose half-sister Alais just happens to be Richard’s fiancée and Henry’s mistress. And for two and a half hour, they all jockey for position with each other, trying to work out who will end up on top. Continue reading “Review: The Lion in Winter, Theatre Royal Haymarket”
“Your face isn’t the most cheerful today”
The Prince of Homburg by Heinrich von Kleist is this year’s summer play at the Donmar Warehouse marking the return of Ian McDiarmid after Be Near Me last year. Presented in a new version here by Dennis Kelly (who I still haven’t quite forgiven yet for The Gods Weep), it was written in 1811 just before the German Romantic playwright committed suicide, and apparently was one of Hitler’s favourite plays. In order to squeeze this in before my holiday, I ended up seeing the second preview which should be acknowledged when reading my comments.
The play follows the titular Prince of Homburg, a shining light in the Prussian Army but possessed of a dreamy waywardness which flies in the face of the strict obedience of the law that typifies Prussian military behaviour and when he defies an order from his father-figure the Elector, matters of courage and honour push them both to a horrifying point of no return. Continue reading “Review: The Prince of Homburg, Donmar Warehouse”
“I don’t want to believe that we come from monkeys and apes, but I guess that’s kinda besides the point”
Inherit The Wind is a courtroom drama, based on the true life story of a Tennessee schoolteacher who was threatened with imprisonment for teaching Charles Darwin’s ideas on evolution, in direct contravention of school policy. A highly strung court case then follows, pitching creationists against evolutionists, and bringing two legal titans to a small town in Tennessee to argue the case, the ramifications of which clearly extend beyond that classroom in the Deep South. Its timing seems uncanny: even on the 150th anniversary of the publication of On The Origin of Species, a highly recommended (by me at least) film Creation, about Darwin’s struggles with his own faith as he wrote it, has not been able to find a distributor in the US because it is considered too ‘controversial’ in a country where allegedly barely a third of the population actually believe in evolution.
The scale of this production really is admirably epic: the staging is superb, with the Old Vic’s stage being opened up to a great depth (you could probably fit the stage for Annie Get Your Gun on there 15 times over!), the already healthy cast is ably bolstered by a phalanx of supernumaries, bringing the total company to 50 bodies who bring an authentic air of claustrophobic small-town living to several scenes, most notably the prayer meeting just before the trial. The use of hymns sung by the company during scene changes further reinforces this strong sense of a community joined by the power of their faith. Continue reading “Review: Inherit The Wind, Old Vic”