Trauma was a haunting meditation on destructive grief

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This death is at the heart of Trauma; as a programme, it’s fascinated by death and its impact, depicting an almost eschatological collapse of the status quo. This manifests through Trauma’s examination of both Dan Bowker (John Simm) and Jon Allerton (Adrian Lester), as parent and surgeon are forced to confront this death and how it changes them. There’s a compelling bond between them, as a grieving man latches onto the last human face who told him everything would be okay, the relationship quickly deteriorating as he searches for someone to blame. 

In a sense, certain similarities can be drawn between this and writer Mike Bartlett’s previous work on Doctor Foster, another drama focused on a spiralling disintegration of its lead character’s life; what sets Trauma apart, however, is how dedicated it is to exploring dual perspectives. There’s a real nuance and subtlety to Trauma, a measured approach to character work that doesn’t betray any of the ambiguity it allows.

In hindsight, that’s quite the pretentious title. But hey. I was pretty pleased with the article in the end. There’s one bit that isn’t quite right – a line of analysis that I don’t think exactly goes anywhere – but on the whole, a largely good article.

I really loved this show, and I was quite surprised to find that it wasn’t super well received generally. The explanation, as ever, is that I was right and they were all wrong. (More seriously, I think that a lot of the reason why people didn’t respond to this show so well is that they didn’t quite get why John Simm’s character became so fixated on Adrian Lester’s – admittedly, you can then argue about how well the show justified that, but still.)

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Why You’ve Got Mail is the perfect rom-com for Valentine’s Day

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You’ve Got Mail updates the central conceit of Parfumerie’s anonymous penpals to email users. There’s a lot of fun to be had with this idea, moving back and forward between Tom Hanks and Meg Ryan in their public and private interactions. Now, it could feel a little dated – it’s very specifically rooted in its era, down to the AOL catchphrases and all – but in a way that also adds to the charm. 

It’s almost quaint; if the movie had been made a few years later, in an era when Facebook and Snapchat and so on are ubiquitous, everything would play out very differently. There’s something nice about looking back on that point where the internet was still a big presence, but wasn’t quite everywhere yet.

I’m quite fond of this movie, generally. It’s not the most famous film ever, but admitting that doesn’t mean you hate it. Or something.

(This is one of those pieces where I would quite like to go into some of the behind-the-scenes workings, but think it’s probably improper to do so just yet, and will make oblique references to the – admittedly in this case minor – frustrations it caused later on.)

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