Tag: channel 4

Best of 2019 | #8 – Stath Lets Flats

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Last year, Stath Lets Flats didn’t make my top ten. I included it under honourable mentions – almost, but not quite, good enough for the list. This year, I think it might be one of the straightforwardly funniest shows I’ve seen all year.

Yesterday, I was talking about Derry Girls as being one of the most distinct comedies on television at the moment, comparing it to Fleabag and This Way Up. I almost said it was more distinct than Stath Lets Flats, too, before something gave me pause. Where Derry Girls is recognisably different from its contemporaries and easily distinguished from its predecessors, Stath Lets Flats is, well, unrecognisably different. It’s not hard to highlight influences on either – Derry Girls is a little bit like The Inbetweeners, and lots of people have pointed out that Stath Lets Flats is a bit like The Office or Alan Partridge. (I would contend that Stath himself is maybe not a million miles away from Mr Bean, actually.)

But where it’s relatively easy to explain what Derry Girls does distinctly – quite how specific its voice is – for the most part, its humour and its rhythms are pretty easily understood. Stath Lets Flats, on the other hand? It’s often quite difficult to articulate exactly how funny it is after fact: it isn’t so much that explaining the joke ruins it, but that it’s really hard to explain the joke in the first place.

Part of the appeal – the easiest bit to explain – is Jamie Demetriou. He’s front and centre in Stath Lets Flats – obviously he is, as creator, writer and star. One of the first things you notice about Demetriou is how tall he is; the next is how good he is at physical comedy. It’s not subtle, exactly, but it is a constant feature in the background – lanky and gangling, watch how he folds in and out of cars or fumbles his energy drink. In fact, the recurring energy drink joke that opens the second episode is probably the best example of what Stath Lets Flats is and what it’s good at. If you don’t enjoy that, you’re probably not going to enjoy the show full stop.

The other thing about Stath Lets Flats is the language. This is where it gets a bit more difficult to articulate exactly what’s going on with Stath, because just on a basic level, the way the title character talks is almost entirely like any other character on television. Sam Wolfson called it “almost his own language, a creole of north London slang, Greek idioms and the patois of ineptitude”, which is a neat way of putting it, but still doesn’t quite capture the almost lyrical nonsense of Stath Lets Flats. Sarah Manavis wrote probably the best piece of Stath’s dialogue I’ve seen so far: how the recognisable slang chafes against unexpected vocabulary, a tenuous, disjointed echo of something you’re faintly familiar with. It’s not, as Manavis points out, a million miles away from internet shitposting. Or, put another way? If The Good Place is the sort of programme that would try and fail to make a joke about 30-50 feral hogs, Stath Lets Flats is the sort of programme that would make a joke that taps into the same sense of humour – and make it work. It’s probably the only sitcom on television that could make that claim: a whole mode of comedy, otherwise completely untapped on screen. That’s something special, no matter how you try and sell it.

The eccentric, off-kilt lead is but one part of an eccentric, off-kilt ensemble of course. The obvious standouts are Natasia Demetriou and Al Roberts – their almost romance and sweet chemistry is one of the best parts of the show – but often it’s the less prominent supporting characters who really shine, like Kiell Smith-Bynoe as Dean, the closest thing to a straight-man the show can manage. My personal favourite, though, has to be Ellie White (Natasia Demetriou’s frequent collaborator and comedy partner) who, as Katya, is a perfect foil to Stath. Probably one of the most obvious improvements between the first and second series – other than the sense that all involved are now a lot more confident in what they’re doing – is the fact that Katya shows up more often in series 2.

There’s been an instinct, amongst some, to suggest that Stath Lets Flats is a parable for the Brexit age. It resonates, yes, and it’s not hard to see how or why – I’m fairly sure the cast and crew did a twitter thread about how each character voted a few weeks ago, though I can’t find it now.

But that’s almost missing the point. Stath Lets Flats doesn’t need to be “about” anything to be worthwhile – indeed, Jamie Demetriou said it’s about everything apart from Brexit. It’s valuable because it’s one of the most idiosyncratic, most original, and funniest shows of the year. No wonder it made this list.

Click here to find the rest of the Best of 2019 list – or, click here to filter by television shows and here to filter by television episodes. 

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Best of 2019 | #9 – Derry Girls 2×05, “The Prom”

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Derry Girls, obviously, made the top ten list in 2018. I didn’t make a list of best individual episodes of television last go around, but Derry Girls surely would’ve found a spot on that list too – in fact, actually, Derry Girls probably had one of the best individual scenes of television in 2018 as well.

(Incidentally, I’ve just noticed the Netflix version of that scene doesn’t use the Madonna track, but a different piece of altogether more generic pop music. Totally flattens the scene, puncturing any impact it might’ve had. I do hope it’s not like this on the international version – like, there’s no way that would stand as a highlight of 2018 on television, it’s not even a tenth as good as the original as broadcast version.)

It’s brilliant, of course, and surely the best argument that British TV comedy is having a moment – it’s vivid and vibrant, witty and sincere, and so compulsively specific in its concerns and its charms. I think Derry Girls is likely to be remembered at the forefront of that comedy revolution – moreso, perhaps, than its contemporaries like Fleabag or This Way Up – because of quite how distinct it is. Not the most original programme, no – what is? – but the one with the most distinct voice (both in a comedic and a literal sense). At some point around the first series, I’d meant to write a piece about how authentic it felt. That’s true, of course, but it’s less about how authentic it is, and more about how compulsively specific it is – everything so acutely tied to one place, so entirely filtered through one lens.

I had a rule, in compiling this episodic list, that no show could be represented twice. There were a couple of moments where I wasn’t entirely sure exactly which episode I wanted to highlight from a given show – but for Derry Girls, it was always very obvious. In fact, actually, The Prom was one of the first selections I made for this list. A lot of that is quite idiosyncratic. I’m always talking about how comedy is something I find difficult to write about – so instead I just lampshade it and write about writing about comedy – because humour is often so subjective and so personal. That’s true, obviously, and across this list it’s never more true than here: The Prom is a collection of all my favourite teen comedy tropes, from Michelle bringing two dates to the dance to James taking Erin after she was stood up. Plus, it also had some Doctor Who references, which is obviously always a plus. Really, it’s just a huge amount of fun: the cast is brilliant, and they always are, but I think for my money they’re never better than they are here. In a way this is almost peak Derry Girls, and absolutely my favourite episode of either series.

Somewhere, vaguely, at the back of my head, I’ve often thought that I’d like to write television: that this criticism and commentary is a sideline, a stopgap, a precursor to an actual career. It’s a lofty goal – a dream – and something I am probably more inclined to be realistic about now than I used to be. Still, though, it persists. (The Oscar is now planned for 2030 rather than 2025.) When I think about what I’d like to write, though, it’s not a million miles away from Derry Girls – and, specifically, not a million miles away from The Prom. If I end up having written something even half as good as this, I’d be pretty pleased.

It’ll be interesting to see where Derry Girls goes from here, and for how much longer. This sort of sitcom always has something of a shelf life imposed on it, by both the age of its characters and the age of its cast – The Inbetweeners and Some Girls only managed three series each, while Drifters managed four. More likely than not, we’re closer to the end of Derry Girls at this point than we are at the beginning. That said, creator Lisa McGee has said she’d like to end the series with the Good Friday Agreement – which took place in 1998, three years after Bill Clinton’s 1995 visit to Derry at the end of series 2. Maybe there’s scope for five series of Derry Girls after all? Four series and a movie? A movie feels plausible – The Inbetweeners got two, Bad Education got one, People Just Do Nothing is going to get one – so perhaps that’s where Derry Girls is heading.

Either way, hopefully there’s much more to come – it’ll be nice for Derry Girls to hang around as a staple of these lists, the best of 2020, 2021 and 2022 as well.

Click here to find the rest of the Best of 2019 list – or, click here to filter by television shows and here to filter by television episodes. 

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Best of 2019 | #10 – The Circle

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The Circle is not actually any “good”, per se.

It’s somewhere between Big Brother and Catfish, basically – a riff on the reality TV format for the Black Mirror age, I think someone once called it. A group of eight strangers are brought together in a block of flats, never allowed to interact face to face, but getting to know each other through what is essentially the equivalent of social media. Some of them are who they say they are; some of them, obviously, are not. As the weeks progress, people are voted out – blocked – and new contestants enter. In the end, it’s a popularity contest caught somewhere between authenticity and artifice (and authentic artifice, and artificial authenticity), with the eventual winner getting however much money Channel 4 budgets for each go around. (And then, probably, going on to become a social media influencer type with lots of brand sponsorships and so on, using all the new life skills they learned inside The Circle.)

Typically, when defending reality television, the argument is that it tells us something deeper about the human condition. It’s not hard to imagine a version of that line of reasoning drawn from The Circle: give a man a mask and he shows you his true face, and all that. Surely the show can tell us something about class, about race, about gender, about how they each intersect – about society – when all of these things are here willingly chosen, in turn reduced to (or exposed as) a construct?

Well, maybe. I am actually not convinced that is entirely true of The Circle, or, if it is, that’s certainly not its main appeal. Trying to reconceptualise it as a social experiment, or something far more highbrow than it actually is, seems to be missing the point a little bit. (Frankly, the moments any contestants tried to make points about race or privilege in any meaningfully introspective ways fell short – the format just can’t sustain it.) The Circle isn’t something that looks crap at first glance but then, gradually, reveals itself as a hidden gem: no, it is actually fairly consistently crap.

But it’s endearingly crap.

There’s something compulsively charming about The Circle, a difficult to define quality that makes it far more engaging that it really should be. Even if it’s not innovative, it’s definitely unpredictable. This man isn’t a builder – it’s his mum, pretending to be her son, to try and find him a girlfriend, on national television! The other players have somehow guessed this already, based on very little at all! What! There’s something weirdly captivating about this show – sure, it’s on for too long, and Emma Willis emphasises the Big Brother connection a little too much, but it’s just the right shade of quirky to sustain itself.

Case in point: a brief appearance from Richard Madeley pretending to be a twenty-seven-year-old woman called Judy. Richard Madeley – who occupies the exact right space between ‘technically famous’, ‘a bit odd’, and ‘affordable’ to be the perfect celebrity catfish for The Circle; next year it’ll probably be, like, Iain Stirling, and he will not be as good, because a proper comedian will be trying too hard and that’ll puncture the carefully curated illusion of it all – flirting with Zoe Ball’s son, all at a slightly off-kilt, disaffected remove, is not even remotely like anything else on television. It’s nonsense, of course, but unrepentantly so.

The appeal isn’t even in the individual contestants, not really. They were all entertaining in their ways, yes: Tim’s eccentricities, Jack and Beth’s burgeoning relationship, the sheer boldness of James-pretending-to-be-single-mother-Sammie the whole time. But, actually, they don’t matter: after all, they are basically normal people, and they’re essentially interchangeable anyway. (As evidenced by how quickly each were replaced, week on week!) Really, they’re only interesting under these particularly strange set of circumstances – once they’re on the outside, they’re just social media influencers, as though suspended in some sort of Circle-limbo forevermore. It’s hard to imagine anyone really wanting to stay up to date and in the loop about what these guys are all doing – after those few intense weeks, they’ll all just fade from the memory, in the end just as ephemeral as a tweet themselves. That having been said, The Circle had one last curveball to throw. Turns out Tim, the viewers’ favourite, the charming Robin Williams-esque monk turned theology professor, is a former UKIP parliamentary candidate, and YouTuber with strong opinions about how Pewdiepie isn’t antisemitic. Again: nothing else like it on television!

Admittedly, The Circle is something of an outside choice for this top ten list. It’s probably the most idiosyncratic pick, and certainly the most difficult to justify by any definition of actual quality you might hold to. But it does, just about, manage to claim the tenth spot – not (solely) because it’s my list and I can do what I want to, but across 2019 it’s been one of the few genuinely communal television experiences I’ve had, watching it with new housemates, and in turn it’s been one of the most fun. If this list is anything, it is largely a list about what’s been memorable about television in 2019 for me – and I will definitely remember The Circle.

(Also, Georgina definitely deserved to win.)

Check back tomorrow to find out my tenth favourite individual episode of television for the year!

Click here to find the rest of the Best of 2019 list – or, click here to filter by television shows and here to filter by television episodes. 

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Who is America? Who cares?

sacha baron cohen who is america erran morad showtime trump jason spencer corrinne olympios oj simpson bernie sanders who cares review criticism
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The most damning flaw of Who is America?, of course, is that it ultimately says very little; for a satire advertised as “the most dangerous show in history”, it lands few punches, and enjoys no meaningful success in its efforts to reveal some broader truth about the increasingly divided cultural identity of the United States.

Very few of the sketches are as trenchant or as incisive as Baron Cohen presumably thinks; most illustrate little more than people’s surprising willingness to remain polite in the face of exaggerated caricatures. These segments are awkward at best – the most obvious example being the dinner party in the first episode, where two Republican election agents and Trump supporters hosted Baron Cohen’s liberal caricature Dr Nira Cain-N’Degeocello as he told them about his wife’s affair with a dolphin – but at worst feel like genuine missed opportunities. When Baron Cohen interviewed former presidential candidate Bernie Sanders under the guise of Billy Wayne Ruddick, a right-wing commentator in the vein of an Infowars style conspiracy theorist, it amounted to little more than farce: ‘Ruddick’ asks Sanders why, if he “believes in equality“, he doesn’t “move the 99% into the 1%“, leaving the senator clearly baffled, but still making an attempt to humour Ruddick.

It’s difficult to work out what, exactly, this is supposed to say about the state of America – it’s not clear what questions are even being posed. Sanders is far from beyond reproach as a politician and a potential presidential hopeful for 2020, and it’s not hard to think of ways to criticise or question him through a character like Ruddick; Baron Cohen’s ‘Truthbrary’ correspondent could’ve supported Sanders’ record on gun control, perhaps, or thanked Sanders for the part he arguably played in getting Trump elected. Either would have offered potential for a more vigorous examination of Sanders’ place in the American zeitgeist; indeed, anything would’ve been an improvement over what actually took place.

There’s something more discomforting, though, about Baron Cohen’s non-political sketches – something that highlights not just a weakness to his satire, but a genuine moral failing. Consider his efforts, as fashion photographer Gio Monaldo, to convince reality TV star Corinne Olympios to claim she went to Sierra Leone to fight Ebola and stop a massacre; what was presumably intended to be cutting commentary on celebrity culture, portraying Olympios as vapid and vacuous, is ultimately much more damning of Baron Cohen himself. Setting aside the fact that Olympios’ later account of what happened makes it clear the sketch was essentially tantamount to entrapment, and ignoring the fact that the reality TV star Baron Cohen felt was so deserving of criticism is also the one perhaps most famous for being sexually assaulted on The Bachelor, the implication that Baron Cohen thinks Olympios is in any way morally equivalent to the likes of Jason Spencer says far more about him that it does her.

But then, of course, that was always the problem with Who is America? – it’s a programme without any perspective, reduced to making broad, sprawling criticisms that are little more than fumbling swipes because it isn’t working from a meaningfully defined moral position of its own. Of course it doesn’t say anything, of course this supposedly dangerous piece of satire doesn’t land any punches: it never could.

Even the most successful sketches have a certain nagging air of pointlessness to them. Yes, right wing politicians – and, indeed, right wing people – are willing to say some pretty shocking things with relatively little prompting. And? This is hardly revelatory, or even news exactly – or rather, it’s hardly revelatory because it is the news, day in, day out, and has been since Trump launched his presidential campaign by calling Mexicans rapists. Undeniably, there’s something quite striking about a lot of Baron Cohen’s sketches, particularly those in character as Erran Morad, an Israeli anti-terror activist; even then, though, if you set aside the shock value, there’s something decidedly insubstantial about them.

Perhaps the most memorable sketch across the course of the series was the one that featured Jason Spencer, a Republican congressman from Georgia; ostensibly teaching Spencer how to protect himself from terrorists, Baron Cohen convinces the right-wing lawmaker to take upskirt photos, run around with his trousers down, and yell the N word. One of the more shocking moments of the series – Spencer took very, very little prompting – it’s also arguably the only sketch that had any real impact: shortly after the episode aired, Spencer resigned from congress.

It seems an impressive testament to the wider impact of Who is America? until you realise that Spencer was already a lame duck congressman, having been beaten in a primary some months earlier; his time left in office was already limited, and the significance of his resignation is ultimately very little. It’s not that Who is America? would’ve needed to prompt waves of resignations to have any meaning, but rather the fact is that, if shock value is all the show offers in a time when shocks amount to nothing, of course it’s going to be insubstantial.

What, though, is Who is America? actually trying to say? If its premise is that America is suffering from some moral rot on a wider cultural level, then what does the show highlight as the cause?

It’s worth looking at the programme’s title sequence, which is arguably the most telling aspect of the entire show when trying to divine what Who is America? is actually trying to say. A sweeping shot of sunlit uplands and a montage of iconic quotes from former presidents gives way to a dizzying series of intercut images: Trump mocking a disabled reporter, Charlottesville Nazis and Women’s march protestors, Hillary Clinton with Harvey Weinstein, and a great big question mark hanging over them all.

Here, in the contrast between the image of the America of old and “America today”, it becomes clear what Who is America? is trying to say, and why it ultimately says nothing at all. Of course Bernie Sanders isn’t held to account, of course Corinne Olympios and art expert Christy Cones are morally equivalent to Dick Cheney and Jason Spencer, of course there’s nothing to offer but shock value. Sacha Baron Cohen isn’t concerned with ethics, he’s concerned with aesthetics – the ultimate crime his victims have committed is simply looking foolish. That’s what sets America of the past, represented by Reagan, and America today, represented by Trump, apart from one another: appearances.

And so there’s only ever one answer to Baron Cohen’s central question, at least as it’s posed in Who is America?

Who cares?

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Did The Handmaid’s Tale Season 2 go too far?

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Part of that question, though, is the acknowledgement that it works from something of a flawed premise: what does it even mean for The Handmaid’s Tale to “go too far”? As Margaret Atwood once noted of the now nearly thirty year old novel, there’s “nothing in the book that didn’t happen somewhere”, and it’s not like that isn’t still essentially true of the television adaptation; not long after a flashback saw Alexis Bledel’s Emily lose her job as a teacher because she was gay, something similar took place in Texas – more obviously, though, there’s the extended consideration of familial separation, and children taken away from their parents. If the point of The Handmaid’s Tale is that every patriarchy is its own Gilead in its own way, that people do already live there in some sense or another, to turn around and argue that the show is “going too far” is misguided at best and deeply condescending at worst, tantamount to telling someone to just shut up and stop complaining.

Yet there’s another aspect to the question, a point to elaborate on further: does The Handmaid’s Tale go too far to still be entertainment? There’s something increasingly uncomfortable about the act of watching The Handmaid’s Tale, and the way it invites audiences to watch a programme that is increasingly reliant upon the shock value of patriarchal violence. It’s difficult to unpack this, because it’s not exactly the only thing The Handmaid’s Tale does – there are fantastic performances, the standout this year being Yvonne Strahovski’s Serena Joy, and some excellent direction and cinematography (to highlight a particular detail, The Handmaid’s Tale films light in a really interesting way). At the same time, considering what these performances and this direction goes towards creating, there’s something a little off about actually watching The Handmaid’s Tale – it’s not exactly that audiences become complicit, but there’s something discomforting about how the show presents its drama as something that is, on some level, meant to be entertaining.

So, something I was thinking about – quite often, actually – while watching The Handmaid’s Tale this year was whether or not it was going “too far”.

It’s obviously a fairly… limited, I suppose, comment to make about a show like this, because what does “too far” even mean? I’m not sure I did an especially good job of articulating entirely what I meant about the tone of the show this year – all the ways in which it felt different to the first season – but I’m mostly pleased with how the article turned out in the end. Indeed, it’s the sort of piece that makes me wish I was a little better at actually sharing the work I’ve done, because I imagine this is one that would’ve prompted some interesting discussions.

Probably I’m still going to watch series 3; if nothing else, I’m interested in how it’s going to continue from that cliffhanger, although I’m not actually entirely sure it was a good creative choice. I do, however, really doubt that series 2 is going to make my end of year best list – a surprise, given how highly series 1 ranked for me.

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Flowers, a quiet comedy with the feel of a melancholy fairytale, is strikingly brilliant

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The second series of Flowers, a piece which is very much in conversation with its predecessor, continues to evoke the feel of a fairytale – approaching it, however, from a different aesthetic. As writer and director Will Sharpe (who also plays Shun, the Flowers’ live-in illustrator) noted, Flowers draws on “a pagan and mystical heritage”, and that’s something the second series really emphasises. Broader in scope than series 1, moving its focus from Maurice to his daughter Amy, Flowers series 2 builds itself around the aesthetic of the aforementioned “pagan and mystical heritage”. There’s a new, warmer colour palette, in keeping with the summer setting; it’s evocative of the world of faerie, positioning mental health issues within that liminal space.

As a result, there’s a different energy to Flowers’ second series – it’s now less a haunting reverie and more of a wild rush. Indeed, something that’s worth remarking on about Flowers, and is perhaps less often spoken about, is the editing; much of Flowers comes down to the experience of watching it, the feeling of that wild rush, and that’s created in no small part by Selina Macarthur’s editing. The show masters tone such that it is, in some respects, less a television series and more of an experience –  the texture and the feel of the show is, arguably, one of the most impactful things about it.

This one, admittedly, I think I messed up.

So, I was running late with this piece, for various boring reasons we’ll call “personal problems” (in that they pertain to problems with me as a person) which put me under some time constraints when it came to actually writing it. You can perhaps tell, I think, because the second half of the article (typically the close focus/second idea aspect, insofar as I ever stick to the relatively loose structure I try and use) is a broader, more general “things that are good about the show” section, which is usually though not always a sign that I’ve struggled to get the piece to work. Possibly I shouldn’t have revealed the trick. Whoops.

Anyway, a day or two later, with some more though, I realised what I would have liked to write for the second half of the article, because it (hopefully) would have actually advanced all those ideas about fairytales and pagan mysticism I put forward in the first half. Essentially, the character Shun is kind of at a remove from the rest of the characters, right? On a couple of levels, really; there’s just the fact that the character is at a bit of a loose end sometimes, not a member of the family, whatever, but there’s also the metatextual level – Shun is played by Will Sharpe, who created it and writes it and directs it. He’s more of an observer for a lot of it, and we also know he’s the creator.

Also notable, though: Shun is the only one who ever interacts with these magical realism elements. He has that moment with his family (is that significant because of like, forests and the dead in both English and Japanese culture?) at the end of s1, and – eliding spoilers – s2 has an ending similarly shaped around Shun. Well, similar in that he’s important. Anyway, what does that say about the show?

Not a clue, but I felt like I’d stumbled onto something really important but didn’t have the time to actually let it develop into anything. That felt like a particular shame, because I really loved Flowers, and it’s always a bit of a point of personal disappointment when it feels like I’ve not done a show justice with my writing. Ah well. One to revisit one day, maybe.

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How The Good Fight found clarity in chaos, and answers in absurdity

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The Good Fight’s title sequence is instructive. Set to a frantic score by David Buckley, it marries ordered elegance with violent disruption; a vase of flowers, phones, a gavel and so on all explode, their pieces scattered. A vibrant red claret from a shattering wine glass fills the screen, and dust and ash float across a dark background.

What it is, in effect, is a means to set the stage. It establishes chaos as the status quo. And then it begs the question: what next?

Where last year The Good Fight heralded a need to fight, it now turns to a different question: how can you fight? Again, the title sequence is instructive, having been fine tuned since last year; the television screens, added to the explosive line-up this season, juxtapose the absurdity of Putin’s overly macho image with the chilling horror of Charlottesville marchers. It’s a world where the awful and the absurd are so often the same; it’s a world ripped from the headlines, after all. As Diane Lockhart (The Good Fight’s inimitable lead, Christine Baranski) notes, “I used to laugh at the absurdity of the news. Now I’m all laughed out”.

I love love love The Good Fight. It’s one of my favourite shows of the past two years; ahead of writing this article I spent a whole day rewatching episodes of season 2 and, while I normally hate binge-watching television, it was genuinely the most fun I’d had in ages.

The ending of this piece is perhaps a little weak; I think there’s a thread of connective tissue that I didn’t quite get right, which hampers that conclusion a little. A few days later I worked out how to fix it, though… and then promptly forget it, which is irritating.

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Why wasn’t Electric Dreams as popular as Black Mirror?

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In almost every respect, Electric Dreams seems poised as a response to Black Mirror. There are surface similarities, obviously – both are high concept science fiction anthology programmes, after all – but it’s more illustrative to look at who was behind Electric Dreams; when you consider that it was co-produced by Amazon and Channel 4, the intent becomes obvious. Both had reason to want a drama similar to Black Mirror – Amazon to compete with Netflix, and Channel 4, as the latter programme’s original home before it was moved to Netflix, as a replacement.

In the lead up to Electric Dreams’ release, it seemed more than likely that the series would see equivalent success to Black Mirror. And yet, ultimately, Electric Dreams failed to replicate the success of Black Mirror. Which begs the question: why?

I was generally pretty fond of Electric Dreams, if admittedly frustrated by a lot of it. Across the ten episodes of its first season, there were some genuinely quite impressive hours of television; I think if I were inclined to isolate one particular flaw above all others, though, it’d be that sometimes Electric Dreams felt a little scared of subtlety and ambiguity. There were a couple of different episodes where the conclusion of the episode went to great lengths to explain things as much as possible, often unnecessarily, and sometimes to the detriment of the piece as a whole.

Still, though, there was a lot to like from Electric Dreams – it assembled some really quite impressive creative talents, arguably functioning better as an anthology series in that regard than Black Mirror. And yet Black Mirror still remained the more popular series, with Electric Dreams seemingly struggling to make much of an impact. This article, then, was an attempt to get to grips with that.

As an article, it’s probably not as analytical as it should be, nor evidence-based enough – really, what I needed was a lot of statistics and viewer data, and probably quotes from lots of different reviewers, AI numbers, that sort of thing. I did not have that. What it ended up as, then, was some speculation as to why Electric Dreams didn’t quite work in the UK. Even then, mind you, I might not have been correct in that speculation – just typing this up now it occurred to me that Electric Dreams might have been “too sci-fi” in a way that Black Mirror isn’t, for lack of a better way of putting it. So who knows really.

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Kiri was an engaging drama that raised a lot of questions, but offered few answers

~ alexmoreland ~ Leave a comment

Thematically, however, the series was weak; it gestured at larger ideas, broaching the topics of race and the role of the media, but was constrained in its interrogation of these ideas. Such concepts are a recurring thread across Kiri, but they’re generally left unexamined – a background presence, rather than the focus of any particularly sharp or incisive commentary. Writer Jack Thorne spoke about how he wanted the drama to “pose questions” rather than answer them necessarily, noting that he “always likes things where [he doesn’t] know the answer”. There’s a value to this, of course – and, indeed, a sense to it. Many of the ideas Kiri touches on are complex, lacking easy answers, yet there’s a feeling as well that the series just doesn’t entirely try to get to grips with them. Much of the complexity and nuance surrounding these concepts is acknowledged, but unexplored; there’s a lack of any real scrutiny to Kiri.

I liked Kiri, but also I kinda didn’t. Nuance! I’m not sure I got this article quite right, admittedly, but also I kinda did. More nuance!

Tell you what is odd, though – this was on Hulu in America, and went out under the National Treasure title, which was the title of one of Jack Thorne’s shows the year before. The two were pretty much unrelated, as far as I know, so that was an odd matchup.

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Analysing The Handmaid’s Tale Season 2 trailer and news

the handmaid's tale season 2 trailer elisabeth moss channel 4 hulu
~ alexmoreland ~ Leave a comment

The Handmaid’s Tale was one of the best new dramas of 2017; an adaptation of Margaret Atwood’s 1985 novel of the same name, it managed to be one of those rare few adaptations that in fact improved upon its source material.

It’s returning for a second season in 2018, which will be released on April 25th. Today, at the Television Critics Association press tour in California, showrunner Bruce Miller, executive producer Warren Littlefield and star Elisabeth Moss revealed some additional details about the upcoming second season.

In hindsight, I should have called this “analysing what we know about The Handmaid’s Tale season 2″. The current title is much too wordy.

Anyway, this is presented mostly for posterity now – subsequent news has mostly revealed that my theories, particularly about Marisa Tomei’s character, weren’t quite right.

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