Could Game of Thrones star Natalie Dormer be the Thirteenth Doctor?

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A hugely talented actress, Natalie Dormer would be a perfect choice to play the first female Doctor.

She hasn’t ruled out the part, either; when asked, she said she “would do any role if I thought the script was fantastic. For me it’s always about the script. It has to be real human beings, contradictory, flawed, complex multidimensional characters. It can’t just be concept.”

The first female Doctor offers a chance for an entirely fresh perspective on an age-old story; every aspect of the show that has, up until now, felt so familiar will change entirely – giving the show a whole new unpredictable energy once again.

It’s a change that offers untold potential – potential that Doctor Who has never tapped before. It’s an exciting prospect to say the least.

An article for CultBox, again banging the drum for one of my favourite candidates to be the Doctor.

The article is based on this video, which imagines Natalie Dormer as the Doctor. Very exciting.

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10 years since it began, could Primeval ever return?

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Today marks exactly ten years since the first ever episode of Primeval aired.

ITV’s sci-fi series started as a competitor to Doctor Who in the Saturday evening family drama slot, but quickly grew into something far more interesting. It was a show that, rather appropriately, evolved a lot over its lifetime – but even if nothing else was consistent (which was sometimes the case), you could always count on Primeval to be entertaining.

This summer it will be six years since the final episode of Primeval. And this month also marks four years since its Canadian spin-off series, Primeval: New World, came to an end. In wake of that, there have been a lot of fans clamouring for the show to return – it’s a sign of how popular the show once was that it maintains this devoted fanbase still, with Twitter accounts and petitions and a meaningful cult following all hoping that, one day, they’ll see their favourite show once more.

Now, to be honest – I suspect the answer to this question is a fairly resolute no. If Primeval is ever to return, it’ll be essentially as a reboot – or at least a continuation in the same vein as Primeval: New World, with fairly limited connection to the original show. Heck, I might bring it back myself one day. Why not, right?

But, since today is ten years since the first episode of Primeval, it’s been on my mind a lot. Stick around for a set of review to celebrate this anniversary!

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The Crown Episode 10 review: An underwhelming conclusion in Gloriana

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Consider the ending of the show. Elizabeth’s final scene, now named Elizabeth Regina rather than Elizabeth Windsor, feels like it’s supposed to be this great milestone; akin, perhaps, to the first time a superhero puts on their costume and takes on their secret identity. It’s presented as the culmination of all that’s gone before it, with Gloriana having marked a significant change from what’s gone before it.

And yet it hasn’t, really.

Again, Elizabeth returns to the same fundamental tension we’ve seen returned to over and over again this series – this time quite literally, given it’s a conflict that has already played out. Again, the same conclusion is reached – the Crown must win out. And, again, nothing new is added to the drama.

It was a weak ending, to be honest. And a weak series.

But I rather suspect that I’m going to end up going back to it, and I’ll probably watch the future episodes as well, because there’s something about the construction of it that fascinates me.

(An interjection from Alex of May 2018: I haven’t read back any of these reviews, nor rewatched the first series of The Crown, but my suspicion is that I was more than a little unfair on it. If nothing else, I did really like the bits of series 2 that I’ve watched, so.)

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The Crown Episode 9 review: Assassins features John Lithgow’s best performance yet

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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.

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The Crown Episode 8 review: The Absence of Noise shows a more human Elizabeth

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Here we’re presented with a vision of Elizabeth as a character who’s always trying to meet the ideal of the crown, holding herself to an impeccably high standard – but for the first time, we see it slip. And that’s both fascinating in terms of the character, and hugely significant for the drama; it’s one of the rare moments in which we see what lies behind the mask (or under the crown, if you will).

What makes it so effective, though, is the contrast presented between Elizabeth and Margaret, with another tour de force performance from both Vanessa Kirby and Claire Foy. The two sisters are caught in each other’s orbit, each jealous of the other – and there’s a vein of snarky bitterness running throughout, which allows both characters to really sing. Here, after all this time, we’re getting to see Elizabeth as flawed.

Picking up on the idea introduced in Gelignite, The Crown here continues to depict Elizabeth as unwilling to share the spotlight. It’s a fascinating idea – a slight thread of arrogance, creeping in at the edges, as the young monarch becomes just as much an extension of the institution as everyone around her. Indeed, it also raises a topic that the series has danced around for some time now – just how much should we care about these people anyway?

I suspect that in a lot of these reviews I’m coming across as someone with a particularly personal disdain for the monarchy in general. I’m not – or at least, I wasn’t until I watched The Crown!

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The Crown Episode 6 review: Gelignite finally allows the drama to breathe

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And, indeed, no series has been so convinced of its own self-worth, nor so focused on its place within the bigger picture.

You can tell that Gelignite is an episode with one eye on the future; the depiction of the press in this episode is undoubtedly set to be contrasted with that which eventually handles the story of Diana and Charles, whenever that eventually appears. As much as this episode works on its – and it must be said that it does – own, it quite clearly wants to be part of something larger.

However, Gelignite is also the first episode that has genuinely felt as though The Crown could be deserving of these awards – the one that’s justified the self-worth it wears so openly on its sleeve.

Another contender for my favourite episode; not, as with Act of God, because it wasn’t very good – rather because it was the first one that showed real potential, and some genuine character development. Not really a good thing that’s only being said of the sixth episode in a series of ten, mind you.

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The Crown Episode 5 review: Smoke and Mirrors finally introduces a little more subtlety

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Here we see The Crown begin to introduce a little more subtlety, in a move away from its prior style of outlining themes in great detail – and it does so by placing greater faith in the ability of its stars, namely Claire Foy, Matt Smith, and Alex Jennings.

Certainly, it’s an improvement on previous instalments. True, there are still moments of cloying transparency, as characters are still inclined to overexplain just what exactly is going on; Jennings’ Duke of Windsor feels the need to note to no one at all but the audience that, as he’s no longer King, he must go to meet others rather than vice versa, while a footsman hammers home the point that Elizabeth owns the crown now, and so on and so forth. Thankfully such instances are few and far between, however, as The Crown allows meaning to be shaped by the unspoken actions of its stars.

Indeed, much of the spine of this episode centred around a single unspoken action – of Philip kneeling to Elizabeth, and what this represented. There’s an interesting tension there; for all that Philip speaks of a desire to modernise the monarchy, there are certain patriarchal impulses he can’t quite shake off. It helps add a further layer of nuance to the character, and it’s carried wonderfully by Matt Smith.

I don’t actually have a lot of additional commentary to add here. This one was, actually, reasonably good. If the whole show had been like that, I’d have been a lot more positive about it.

But it wasn’t.

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The Crown Episode 4 review: Act of God is a poor man’s West Wing in 1950s England

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Accordingly, then, at times it feels as though it lacks nuance or subtlety – from discussions of Elizabeth’s duty to, in this case, deliberations on Churchill’s age and efficacy, it often appears very surface level. And, arguably speaking, it is – while there’s a lot going on, the workings of the drama are laid open and entirely clear for all to see.

Here, then, it’s very clear what’s going on – the death of Venetia Scott (Kate Philips) was telegraphed early, and entirely unsurprising when the moment came. It’s one of the few attempts on behalf of the episode to actually ground the story in terms of the impact of the smog on the public, rather than political infighting or royal squabbles.

And yet it was largely ineffective – not least because it was little more than a cheap fridging, as The Crown here falls into the old trope of killing a female character to develop a male one. It’s particularly lazy writing, made all the more evident by The Crown’s tendency to wear its themes on its sleeve.

This episode, man. Possibly the most irritating of them all, because it managed to be the one that was both the most engaging and the most exemplary of all the show’s problems. Arguably it’s my favourite – not because it’s good, but because it’d be very easy to write about. I could go on about this at length. It’s probably a good thing that CultBox tends to put a 500-word limit on these reviews, because otherwise I’d have written thousands.

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The Crown Episode 3 review: Windsor further examines the idea of duty

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Prince, formerly King, Edward (here portrayed by Alex Jennings) is an individual who held a key role in the political developments of Britain in the 20th Century – it’s no particular surprise that he’s showing up here. Edward is an interesting character, who manages to be both sympathetic yet utterly self-serving; while it’s difficult not to feel sorry for him, it’s very clear that he’s very self-motivated, in a way quite unlike the rest of the royals. One very much gets the impression, however, that this is how Elizabeth wants to act, were it not for the weight of the crown…

… which provides another interesting wrinkle in the dynamic these two characters share. Were it not for Edward’s abdication, Elizabeth would never have found herself in the line of succession; Edward’s act of self-interest deprived Elizabeth of all subsequent choices. One of the most powerful moments of the episode – and perhaps the series thus far as a whole – was Elizabeth’s simple request for an apology from Edward. An apology he gave, and an apology that still managed to feel genuine despite everything; there’s a sense that, between these two characters, there’s a level of understanding that wouldn’t be shared elsewhere.

I fast became convinced that Prince Edward was the best character on The Crown; certainly, one of the most interesting and nuanced characters that they presented. This did admittedly feel vaguely uncomfortable, on account of how Edward was a real life Nazi.

Not that you’d know that you’d know this from The Crown, mind you – it’s a programme so obsessed with glorifying the royal family, even the Actual Literal Nazi is painted as a tragic figure, who’s unlucky because he’s only slightly less rich than his rich family.

(I suspect my disdain for The Crown is becoming apparent.)

(Alex of May 2018 interjecting: I don’t remember being quite so annoyed by The Crown on the basis of the above, but apparently it wound me up quite a lot.)

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The Crown Episode 2 review: Hyde Park Corner sees Elizabeth head to Africa

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It’s a look at the decadence and dark side of royalty, with the first confrontation with the colonialism and imperial tendencies that the crown still represented at this point; Elizabeth casually refers to the people of Nairobi as savages, while Philip demonstrates some of the tactless behaviour he’s become known for in recent years.

It’s interesting to see the show tackle these themes, albeit not in much depth – it’s difficult to read exactly whether the show is romanticising or rejecting this behaviour. Perhaps more accurately, it’s simply saying that it happened – and there’s a certain power in that, to just represent the flaws of our characters, and not shying away from the things that can make them dislikeable.

This is another positive review of The Crown, because I thought it handled the themes of colonialism and imperialism reasonably well. By the end of the series, I was far less convinced of this. I suspect that Hyde Park Corner would have been a good starting point, had they built on it further, but – well, I’m getting ahead of myself somewhat now.

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