The episode is far more effective when it’s grounded in the personal – in Charlie’s fear of letting down the last of his people, or in Quill’s rage and need for revenge. It’s some of Greg Austin and Katherine Kelly’s best work in the series so far, in fact, and it does a long way to elevate the material in the few places where it drags; certainly, Quill’s raw emotion when Charlie refuses to kill the Shadowkin is a standout moment for the character, who has thus far been somewhat neglected in terms of development. It’s a particularly insightful look into the psyche of this character, and goes a long way towards helping us gain a far deeper understanding of just what motivates her.
Another review of Class. I did this one at something of a remove from the preceding episodes, so there’s definitely something of a perspective shift for these last four instalments.
For anyone wondering about the lengthy gap between the final four reviews and the initial set, basically… well, the weekly workload got the better of me, basically, and I lost track of the Class reviews along the way. So what I decided to do was review the back four in keeping with their (ridiculously scheduled) BBC One repeats. If you like, you can pretend it was about keeping the series in public consciousness when it was on again. Really it was just my mistake. Ah well.
Facebook | Twitter | Blog Index | Doctor Who Index
Churchill is, in essence, a riddle wrapped up in an enigma, obscured further by both cigar smoke and the weight of his own legend – meaning there’s a lot of pressure on a series like The Crown in terms of their depiction of him.
As is characteristic of The Crown, though, it elects for a hagiography. True, Churchill is depicted as an anachronistic throwback of an earlier time, grappling with his increasing irrelevancy and the realisation he needs to take a step back from the role that has come to define him.
In many ways, it’s an excellent episode; it’s got some of The Crown’s most subtle and intelligent writing of the series, and surely John Lithgow’s best performance as Churchill yet. And yet there’s something about it that still feels quite reductive, because The Crown again refuses to engage with anything other than a wholly positive depiction of its characters – there’s no room for subtlety, as ever.
Yeah, this was quite good. But it’s also disappointing in the context of the series at large – a series that was unfailingly positive in its depiction of individuals who were rather more complex than that, and a series that never seemed particularly interested in giving Elizabeth, its supposed main character, an episode on this level.
Facebook | Twitter | Blog Index | General TV Index