Since the festive season, there have been a lot of new pieces of telly to be seen, with more and more arriving daily it seems, be it a new series of a firm favourite or something completely new, or a revamped classic. It occurred to me recently that there are quite a few that I have followed but not featured here yet.
So here's a rundown of a few of my telly highlights of this year so far.
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The Night Manager
Suave, stylish, sexy, gripping, thrilling and oh so good - The Night Manager concluded at the weekend, and has been widely celebrated as a corking piece of BBC prime drama.
Yes, The Night Manager delivers no-holds barred when it comes to the chilling pieces of drama, spy-intrigue and high-class espionage (it is based on a Le Carré novel after all!) and plenty of action too (though tinged with elements of the slow-burner at times) but it is the oodles of added extras that make the Night Manager so indulgently pleasing to watch, as well as being a first class thriller.
Before you even get to the characters and performances - the production values for this are through the roof! Most attempts these days to generate an atmosphere of slick, stylish, effortlessly cool luxurious lifestyle in any piece of screen fiction let alone a thriller, are often branded as ridiculously old-fashioned or just too vulgar. Not so here. The Night Manager pitches it perfectly. Throughout each episode, luxurious setting or not, there is a unique blend beauty, luxury, English charm, European chic and stunning quality that results in almost every scene being supported by fantastic imagery, locations, music and just the right tone to set up for the stunningly good plot.
Now the cast; not bad at all. Yes we must of course start with Tom Hiddleston, the A-List star who not only brings a touch of Hollywood quality to proceedings but also a fine performance to boot. Sharp, charismatic and not lacking at all when it comes to all the hard-hitting thrilling stuff that his character Pine is put through throughout the six-part series. Yes the charm is also tempered with quite obvious sex appeal (a good friend of mine apparently had a genuine fork-drop moment at the infamous moment when Mr. Hiddleston's rear end was shown...and no, fork-drop is not some kind of euphemism) and I found his portrayal a tad too self-deprecating at times, but nevertheless the list of great qualities the great actor brings to Pine is long and there would be few actors better suited to the lead role in my opinion.
Also bringing a great deal of class, quality and fantastic performance level is the effortlessly superb Hugh Laurie as the villainous Roper. All great action/spy thrillers have a villain who is as equally charismatic and watchable as the hero; and that is just the case here. Again this is an instance of perfect pitch as Laurie's Richard Roper is pretty much brilliant throughout.
However that is not the end of the superb cast list - the likes of Tom Hollander, Olivia Coleman, Elizabeth Debicki, David Harewood, Neil Morrissey and Katherine Kelly all shine superbly and fit seamlessly into a plot that both teases and tantalizes, and races and thrusts you through a myriad of thrilling glamour. Even John le Carré himself makes a cameo.
Its true that the Beeb are always trying to pass off their latest TV show as the next big thing, but The Night Manager comes damn close. Pretty close to un-miss-able every episode, I do feel that it certainly does justice to to the original novel, and may even be on its way to being a future classic piece of TV viewing. What's more, though no follow-up novel exists I feel the series ended with the distinct potential for a sequel - I doubt there will be many complaints.
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STELLA ~ Series 5
Ah yes, Stella has been a firm favourite of mine since its conception - that heady blend of laughs, tears, hilarity, valleys charm and character is quite a one to behold. Though this time, the return of the series took me unawares (I just didn't see any promo for it + it had moved to another slot) and whilst I enjoyed a return to Pontyberry for the fifth time, it was tempered by a shade of dissapointment.
The same core elements were there to always put a smile on my face - the sheer diversity and power of the characters Ruth Jones has created still remain - the brilliant lady herself as the divine Stella leading the charge. We got welcome returns from a few familiar faces we hadn't seen in a while too, such as Elizabeth Berrington's brief but welcome guest appearance as Paula, plus Mark Lewis Jones as Rob Morgan.
However there were some key notable absences that I feel crippled the show before it even began - most notably for me the amazing Steve Speirs as Big Alan, along with his on-screen wife Celia played by Emma Rydal. Spiers especially so for me, not only because he has been at the heart and soul of Stella since the beginning, but he is also a regular reliable source of not only narrative, but hilarity as well, which series 5 sorely missed.
Notable too were the few instances of shakey plot lines, in a normally unblemished series of scripts. It was great to see Mark Lewis Jones' return as Rob Morgan, but along with his return we also got a re-hashed love-triangle again, which did have its moments (admittedly ending in a heart-wrenching, if predictable finale) but it did get a tad tiresome for me. Also we got an early apparent change in direction for regular face Bobby Gittins, played brilliantly by Aled Pugh, but no sooner had this occurred in episode one, then Bobby was back to his usual camp ways, which is not necessarily a bad thing, but the whirlwind in character development was confusing and disappointing.
Whilst different slightly, the all-too predictable love-triangle arc of the Nadine Bevan character opposite new face Ivan Schloss (who was actually a series highlight for me) was too drawn out, as was the younger love-triangle between Ben Morris and Little Al over their prospective love interest. The same can be said of the pregnancy whole-series-theme which formed the base of series 4's cliff-hanger. All a tad shallow, drawn out and predictable, and not followed through enough to me. What is more, finally the Stella institution that is Auntie Brenda (played by Di Botcher) has inevitably run her course for me. I've said in reviews of previous seasons of Stella (see the BLOG ARCHIVE) that this continually loud-mouthed, brash and in essence storm in a Pontyberry tea cup was wearing thin, and in series five a lot of fan favourite Auntie Brenda's moments verged on cringe-worthy I found.
It sounds like I'm writing Stella off in its latest iteration; I'm not. As I say the show's core values are still there, and they still bring a massive smile to your face. And there were individual highlights of the series as always for me too - Ivan Schloss, the funeral of Daddy Simpson (another Stella institution played by the sorely missed Howell Evans) and seeing Stella brush the edges of a swinger lifestyle rank among them. Yet it just seems that too many casting gaps and plot stretches occurred this time, and they were poorly covered up by throwing too many poorly conceived love triangles and sporadic old faces that didn't contribute too much to the story.
Do not get me wrong, I still love Stella as a TV show, and whilst I am glad Ruth Jones is taking a break (which for once I do feel is needed) I shall be welcoming the return of Stella with open arms.
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Dickensian
Ah now this one started way back on Christmas Eve - and took until the 21st February to finish. Again the BBC seemed to be very confident that this new winter flagship series could sustain an audience with enough power, drama and intrigue for that long.
Well, for me the result was quite a mixed bag.
On the one hand - all the Dickensian elements are there so if that is all you are looking for then look no further. On the other hand if you are the type of Dickens purist who does not like the idea of the great man's works, characters, titles and tales being hurled together in a wild, chaotic mish-mash...then perhaps not. I didn't mind this so much, and in truth I enjoyed some of the character combos it delivered that you wouldn't get otherwise; seeing the likes of the Havishams vs. Ebeneezer Scrooge or Inspector Bucket facing off against Fagin did make me smile.
However, whilst the series started well with a fine concept, and ended well, if by then all too predictably...the middle ground went on for far too long. The act of dividing a confusing, if well-conceived idea into twenty 30 minute episodes depends on a hell of a lot of writing and performance quality which I'm afraid was just lacking. Sadly for the most part, we were just treated to a Dickensian version of Eastenders, with all the monotony, lunacy and drudgery that sadly implies.
The only saving graces for me were the intriguing and potentially exciting concept of all Dickens' characters thrown into one series, plus a choice few sterling performances throughout, from the likes of the superb talents that are Stephen Rea as Bucket, Richard Ridings and Caroline Quentin as Mr and Mrs Bumble, Pauline Collins as Mrs Gamp, Omid Djalili as Mr Venus, Alexandra Moen as Frances Barbary and Anton Lesser as Fagin.
As you can see that is quite an extensive list of quality (and remarkably enjoyable quality it was to watch too), with quite a mix of Dickensian characters, but if you consider these are seven names in an ensemble cast comprising of over 40, then the less than positive perspective becomes clear.
Yet it may be the strength of performances like these from sublimely talented actors among the crop, plus as I say an interesting concept, that might have just saved Dickensian and allow it to scrape through for another series. If this is the case, then changes must be made in my view to generate more success and haul back on the drudgery of seemingly never-ending plots that could be succinctly and enjoyably wrapped up in half the time. As I say the writing is creative and innovative, but it is extremely possible, even on prime time BBC shows, to have too much of a good thing.
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Churchill's Secret
This one was a delightfully charming one-off drama that ITV produced recently, dramatizing the events that shortly followed the great man's second election in 1953, the series of strokes that followed, and his miraculous recovery.
Needless to say Sir Michael Gambon is perfect as Winston Churchill. Perfectly nuanced in every word and movement, humbly weary when he needs to be, powerfully dramatic and inspiring, hilarious when playing the domesticated man, and everything else in between; the legendary actor does superbly.
Frankly Gambon's performance is more than enough to carry this one on its own. The cast does have a smattering of quality thespian gems to support him too however. The likes of Lindsay Duncan and Matthew Macfayden make welcome appearences, but to me they did feel slightly flat.
Normally in these instances I blame either lack of oomph in performance or lack of writing direction. This time its both. Whilst I think the producers liked the idea of having the likes of Lindsay Duncan as Churchill's wife, they didn't give her nearly enough screen time or impact, and the writers did not provide her with enough material to get her teeth into. Yes she is still a jewel in this one, but she is easily eclipsed, and such is the case with many of her fellow cast.
The notable exception is relative new-comer Romola Garai as Millie Appleyard, the nurse who cared for Churchill during his recovery. Hers is a performance of sensitive and endearing beauty, quite a bit of charisma and no-nonsense spirit that measures up to being opposite Gambon's Churchill.
However, as a one-off this is a brilliant piece of telly in my opinion. Whether you're a Churchill buff or not, simply for an interesting, moving and superbly-performed little look at the great man; Churchill's Secret is worth a watch.
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STILL OPEN ALL HOURS ~ Series 2
Ah...Granville. Yes we also recently saw the return of the legend (and I cannot over-emphasize that term enough) Sir David Jason as the equally legendary Granville.
Yes the dearly departed legend that is Ronnie Barker is sadly gone, but the influence, legacy and hilarious lunacy that he left behind as Arkwright is still going strong inside the infamous shop that bares his name.
As I hinted at in my review of the first series (see the BLOG ARCHIVE) I did wonder whether or not the level of comedy and charm could both transcend from the original Open All Hours and sustain into a long-running state of affairs in this new incarnation.
Frankly I am happy to report: it still works. By keeping things simple, by not patronizing audiences too much, and by still relying on that old magic, the writers, producers and actors of Still Open All Hours still managed to deliver another six episodes of light-hearted Yorkshire lunacy.
Yes if I'm being picky the Gastric/Mavis theme ran a little thin this time (but Arkwright's brushes and fumblings with Nurse Gladys Emmanuel lasted for four series!) and as a Sunday night show it is not that challenging a watch, but who cares? It certainly makes you smile, it makes you feel warm greeting these characters again like old friends, and it definitely makes you laugh. And as the great man Ronnie B once said - "to get a job where the only thing you have to do is make people laugh - well, it's the best job in the world."
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Death In Paradise ~ Series 5
Also returning to our screens earlier this year, and also for its fifth series was that fine piece of Caribbean detective-ing: Death In Paradise.
As I have said previously, I was not a fan of this from the start, but gradually from about series 3 onwards I did start to sit down of an evening and watch.
I attribute that in part to the appearance of series lead Kris Marshall as the endearing Humphrey Goodman whose simple charm and wit still entertainingly lead the team week on week. He is of course backed by a group of core characters that fans have also come to love, including the still irrepressible Dwayne Myers and new face Florence, played by the increasingly capable, sexy and charismatic Joséphine Jobert.
I don't really have that much to add to this new look at Death In Paradise that I haven't stated previously in actuality. But that is not necessarily a bad thing. Again by keeping it simple, and playing to its simple strengths, this fifth series still treated viewers to eight episodes of funny, pleasant, moderately edgy (if there is such a thing) and actually just familiar fun Caribbean escapism (just the ticket in the depths of winter! As my grandmother says).
Yes it isn't mind-blowing stuff in the slightest, but it is still good television, and I actively welcome the confirmed sixth series next year.
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War & Peace
Finally we have quite a big one, or at least once again that's how the Beeb was portraying it around the festive season. And actually, this time they were pretty much right.
Stylish, stunningly shot, hauntingly beautiful music, amped-up drama, passion and sex appeal, and a series of great performances from a stunning ensemble cast brought Leo Tolstoy's epic to life like never before.
Unlike Dickensian (which was on around the same time, though stretched out nearly a month either side!) this was a period drama based on a fictional classic that bridged the gap of the relatively moderate six episodes very well indeed - by jamming each one full of varying and intriguing relationships, action where needed and quite free-flowing plot.
It is very hard for me to find fault in the story and indeed overall feel of War and Peace - each episode was beautifully stunning to look at and watch, and captivated me as an audience member like the best thrillers.
If there is fault, and there are only a few contenders, it and they are to be found amongst the cast. There were a few that just fell short in my view. Breakthrough female lead Lily James started very well and swiftly beguiled and captivated audiences as she did those she was starring opposite. But mid-way through she simply seemed to lose all sense of commitment in her character Natasha. As her character's journey became all the more harrowing, the actresses' conviction seemed to fall away. The same can be said sadly of Tuppence Middleton (who BBC audiences were getting in stereo if they were watching her as Amelia Havisham too) who instantly and sinfully captured everyone around her in the opening episodes to brilliant effect, but again fell short of conviction and impact as her character's situation worsened.
However these seemed trivial flies in the ointment, as the mostly superb cast featured stellar performances from the likes of Paul Dano, who was perfect from start to finish, James Norton, Aisling Loftus, Stephen Rea, Gillian Anderson and the superb Brian Cox and Jim Broadbent.
I imagine this adaptation of War and Peace will become cult classic TV, just as the original Tolstoy novel has become a classic of literature. It truly and endearingly is a masterful and at times breath-taking piece of television.
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