TV Review: THE SPLIT + THE WOMAN IN WHITE

This article was originally published in The Courier on 28th April 2018.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

THE SPLIT: Tuesday, BBC One

THE WOMAN IN WHITE: Sunday, BBC One

Written by Abi Morgan, creator of The Hour, THE SPLIT appeared at first glance to be a glossy legal drama. That turned out to be window dressing, an access point for Morgan to explore the fragile intricacies of family relationships and marriage.

It stars the reliably excellent Nicola Walker as Hannah, a conscientious, empathetic divorce lawyer who works for a prestigious London firm specialising in cases involving the stinking rich and famous.

Hannah’s job places her in emotionally charged situations steeped in heartbreak and rancour, an area she’s more than qualified to tackle as, inevitably, she’s also dealing with her own personal issues.

She recently joined this company after leaving her family law firm behind. Naturally enough, this is a cause of friction, as she’s now in direct competition with her mother and younger sister, Nina.

This tricky situation was compounded when their estranged father, played by Anthony Head, suddenly returned after an absence of 30 years. It gradually became clear that divorce and abandonment have played an unhealthily prominent role in their lives, but at least it’s bought them nice big houses. Swings/roundabouts.

On the client side, Mathew Baynton from Horrible Histories plays a heartbroken stand-up comedian who’s written a brutally frank and litigious show about his ex-wife, while Stephen Tompkinson and Meera Syal play the Mackenzies, a multimillionaire couple going through a divorce.

This came as a shock to Mrs Mackenzie, as she didn’t even know why they were meeting with Hannah in the first place. Didn’t she think to ask her husband beforehand? Presenting her as implausibly incurious was obviously just a lazy excuse for Morgan to contrive an anguished scene. I’ve always considered her a good writer who’s occasionally guilty of clunky engineering.

When Hannah takes a dim view of Mr Mackenzie’s cowardly behaviour, he, with some sneaky assistance from Nina, decides to hire the family firm instead. Further complications ensue.

Morgan packed a lot into episode one, but the various subplots mingled smoothly. Legal environments have always been popular in TV drama, as they comfortably support a range of stories and themes. Morgan exploits this hardy perennial quite successfully. That aforementioned Mackenzie niggle aside, the dialogue and action are convincing, and Walker is typically authentic.

Etched in mature shades of grey, The Split is a thoughtful rumination on the incessant complexities of being human. It has heart.

One of the first lines spoken in THE WOMAN IN WHITE was “How is it men crush women time and time again but go unpunished?”

You don't often get the chance to describe the umpteenth adaptation of a 19^th century novel as timely, but this latest take on Wilkie Collins’ hugely influential murder mystery is particularly resonant in the current climate. It proves that a classic text can be subtly re-moulded without sacrificing its original essence.

Suitably shrouded in a haze of windswept romanticism and early Hammer-esque atmospherics, it follows a sensitive artist haunted by a nocturnal roadside encounter with a troubled young woman.

His new job as an art tutor connects him with a pair of charismatic, cerebral sisters happily out of step with Victorian propriety. What’s their mysterious connection with the wandering woman in white?

It was a comfortably subdued introduction to a story that will, I assure you, veer off into entertaining lunacy soon. It also features Charles Dance looking for all the world like a consumptive Jon Pertwee. What more do you want?

TV Review: THE BUTTON + HOME FROM HOME + WANNABE

This article was originally published in The Courier on 21st April 2018.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

THE BUTTON: Friday, BBC One

HOME FROM HOME: Friday, BBC One

WANNABE: Friday, BBC One

In the competitive realm of TV game shows, the simplest formats reign supreme. The only exception to this rule was the inscrutable 3-2-1, which managed to survive for ten years despite no one ever knowing what the hell was going on.

The canny minds behind cult Dave hit Taskmaster know a good, simple idea when they find one, as they proved yet again with their new BBC bauble THE BUTTON.

A literal manifestation of fun for all the family, it involves five broods from around the UK undertaking various challenges at exactly the same time from the comfort of their own living rooms. The winning family earns a large cash prize, the losers get nothing.

They receive their instructions from a shiny plastic box crowned with a mushroom-shaped button. When the button – or rather, The Button; he’s a character voiced by comedian and series co-creator Alex Horne - turns red they must spring into action. Once they’ve completed the round, they press The Button again. The quickest family to do so wins.

That’s all there is to it, but it makes for cheerful, undemanding viewing.

Challenges in the first episode included building a free-standing tower from cans, books and pillows that was taller than the tallest person in the household (this led to the depressing spectacle of one contestant shrieking, “We don’t have any books!”), bouncing a ping pong ball into a cup, reciting the entire alphabet backwards without saying any of the vowels, and stuffing a mound of huge inflatables into their homes.

This harmless bit of fun benefits from a refreshing lack of cynicism. Horne never mocks the contestants, and even when they get to watch and sometimes laugh at their rivals in action, it’s all done in a spirit of friendly competition.

Pre-watershed game shows are notoriously hard to get right – the grim animatronic spectre of Don’t Scare The Hare still looms large – but the BBC have probably got a hit on their hands here. You can guarantee that children up and down the land will be urging their parents to apply.

It will also lead inevitably to the TV-eating-itself weirdness of the families from Gogglebox watching the families from The Button. We’re through the looking glass, people.

BBC One’s new Friday night schedule continued with a pair of debuting sitcoms. The first, HOME FROM HOME is a class-based comedy set in a Lake District holiday park.

The presence of Johnny Vegas suggests that it might have some bite and bitter pathos. It doesn’t. It’s a gentle gust of nothing in particular. Despite offering Vegas another opportunity to riff on his lovable sad-sack persona, the mild scripts by Coronation Street writers Simon Crowther and Chris Fewtrell are beneath him.

The supporting cast, which includes Emilia Fox as a snooty neighbour and Susan Calman as a conspiracy theorist, also do what they can, but Home From Home is a featherweight waste of their talents. It’s means no harm, but it doesn’t raise so much as a titter or indulgent smile. Still, lovely scenery.

It’s slightly better than WANNABE, however, which follows a selfish, deluded and bitter ex-member of a forgotten girl band who decides to make an unbidden comeback.

Although competently performed by Nicholas ‘Nathan Barley’ Burns and co-writer Lily Brazier, this mean-spirited confection leans far too heavily on Gervais-esque tics and his worn-out themes. It’s the pointless David Brent film starring a middle-class mum. No one needs this.

TV Review: THE CITY & THE CITY + KISS ME FIRST

This article was originally published in The Courier on 7th April 2018.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

THE CITY & THE CITY: Friday, BBC Two

KISS ME FIRST: Monday, Channel 4

If you’ve ever wondered what a cross between Blade Runner and DCI Banks might look like, then look no further than THE CITY & THE CITY, a four-part adaptation of the weird fiction novel by fantasy author China Mieville.

Reeking of cheap cigars and pound shop leather, a hirsute David Morrissey stars as extreme crime specialist Inspector Borlu from the fictional European city of Beszel. This dystopian police state occupies the same geographical space as the affluent city of Ul Qoma, but they’re divided by a sort of temporal wall which must never be breached. Citizens are trained from birth to automatically ignore – or un-see – everything in their neighbouring city.

Episode one did a halfway decent job of building this imaginative world, but it was so preoccupied with establishing the central concept it forgot to introduce a compelling storyline.

I’m all in favour of television that demands our undivided attention, and The City & The City deserves some credit for refusing to explain itself in instantly digestible terms, but once you’ve got to grips with its overarching thrust, all you’re left with is a semi-parodic police procedural where ideas and surface style take precedence over emotional depth. There’s a gaping hole where its heart should be.

The retro-futurist art direction is undeniably impressive. Beszel, a blatant avatar for East Berlin and Brexit Britain, is steeped in off-kilter Cold War iconography and analogue grime. It’s been brought to life with careful attention to detail. If only they’d spent as much time on everything else, the stuff that really matters.

Bring on your sombre socio-political allegory by all means – when living in an urban climate of fear and paranoia, human beings tend to employ wilful ignorance as a selfish survival mechanism – but don’t forget to say something more substantial than “Hmm, do you see?!”

Judging The City & The City on the basis of one episode is difficult, and perhaps that’s testament to its lack of compromise. It’s an ambitious piece of sci-fi, a bluntly allegorical statement about the far-reaching perils of ignoring the societal injustice that exists all around us, but so far I’m finding it difficult to care about the characters and their plight.

I haven’t read the novel, it possibly has more depth. This adaptation may well reveal those depths as it unfolds, but first impressions count. I don’t think I can summon the willpower to withstand three more hours of a standard-issue troubled cop with a standard-issue dead (or possibly missing) love interest moping his way through an uninviting conspiracy thriller.

Another adaptation of a science-fiction novel, KISS ME FIRST is more arresting than The City & The City. The latter is waterlogged with arch, self-conscious loftiness, whereas the former – so far at least – explores its theme of post-adolescent alienation with a relatively subtler touch.

Judiciously scheduled to coincide with the release of Spielberg’s nominally similar Ready Player One, it focuses on Leila, a shy, sheltered, lonely young woman who only feels alive when she’s immersed in a virtual reality video game.

One day she unwittingly gains access to a secret off-map section of this world, where she meets a mysterious gang of similarly dysfunctional (if unrealistically good-looking) outcasts who’ve been monitoring her from afar. Gradually, their fantasy selves intersect with real life to intriguing and sinister effect.

Unlike episode one of The City & The City, this intriguing drama appears to have some soul. The photo-realistic computer-generated scenes are more than mere exercises in gimmicky style, they’re seamlessly blended and integral to the plot.   

This is, potentially, a thoughtful and timely series about the quadruple-edged benefits of building an online community of remote access friends; loneliness, 21^st century style.

It’s been adapted by Bryan Elsley, co-creator of risible youth drama Skins, so I’ve lowered my expectations accordingly. Everyone deserves a second chance, however. I hope it lives up to its promise.

TV Review: COME HOME + INDIAN SUMMER SCHOOL

This article was originally published in The Courier on 31st March 2018.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

COME HOME: Tuesday, BBC One

INDIAN SUMMER SCHOOL: Thursday, Channel 4

Society, with its infinite capacity for fairness and equality, has always decreed that a woman who leaves her family is guilty of a worse crime than a man who does the same.

Regardless of her personal circumstances, a mother is expected to feather the nest at all costs. Life, as all non-idiots know, is more complicated than that. The quietly devastating drama COME HOME confronts this stigma, this uncomfortably emotive issue, with commendable nuance and compassion.

Christopher Eccleston and Paula Malcomson star as Greg and Marie, a working-class couple with three children. One day, Marie walks out on them. They’re stunned and heartbroken. Why did she leave? Marie can only tell Greg that she felt suffocated, which only adds to his forlorn confusion. She didn’t leave him for someone else, she now lives alone in a house nearby.

Greg is still in love with her. As far as he’s concerned, her actions are a mystifying betrayal. She’s abandoned him and his beloved children. It’s not as black and white as that, of course. We’ll find out more about Marie’s motives as the series unfolds.

Episode one was told from Greg’s perspective, as he struggled to rebuild his life eleven months after Marie’s departure. A burgeoning romance with a work acquaintance spiralled out of control when her abusive ex-partner bulldozered into their lives. Behind her vivacious exterior, Greg’s new girlfriend is an emotionally scarred soul who fails to bond with his understandably sceptical children. She’s a vulnerable, tragic figure.

Eccleston, mercifully back in his serious drama comfort zone after an embarrassing “funny granddad” detour in The A Word, delivers a painfully raw performance as a man drowning in heartbreak and loneliness. His Belfast accent (Come Home was made with support from BBC Northern Ireland) is utterly convincing, it never distracts.

James Nesbitt must be spitting feathers, Eccleston has effortlessly stolen his troubled Irish everyman shoes.

The desperately sad, discomfiting scene in which Greg begged Marie to come home was beautifully played by Eccleston and Malcomson. We didn’t see much of her last week, but in later episodes Malcomson handles her difficult and complex role faultlessly. She’s superb.

Writer Danny Brocklehurst is a protégé of Jimmy McGovern, and it shows. Like McGovern, he spins engrossing gut-punching yarns populated by flawed characters unravelling in a jagged moral maze.

This is a drama we can all relate to in one way or another. We’ve all struggled to come to terms with the end of a relationship. We’ve all suffered from loss and regret. We’ve all, like Greg, listened to Lou Reed’s aching Pale Blue Eyes, or something similar, in the empty dead of night.

As hifalutin as this sounds, Come Home is a wise and moving meditation on the fragile mess of the human condition. It’s produced by RED, the company behind the similarly outstanding Happy Valley. If they keep this up, they’ll have to build a fortified annex for their BAFTA storage.

In the new documentary series INDIAN SUMMER SCHOOL, five underperforming British schoolboys volunteer to take their failed GCSE exams again in India’s Doon School, one of the world’s most prestigious seats of learning.

It’s a sympathetic culture clash experiment, refreshingly free of editorial judgement, about undisciplined yet decent kids dealing with a strange new world of rigid conformity. These boys genuinely want to improve their prospects, even if at the moment they’re emotionally unqualified to do so. I hope the experience pays off for them.