Staged is back and picks up from where the first series left off. David Tennant (Deadwater Fell) and Michael Sheen (Admission) return but are bit more…well, more this round. Further into the pandemic, and with their project being ripped from them, they’ve gone a bit intense.
The story is again loaded with guest spots. I won’t spoil them here, but some are a riot, though none quite as unexpected and funny as Dame Judy Dench’s appearance last round. These are all a bit more confrontational. Tennant and Sheen have no shame in allowing themselves to be the butt of jokes and pointed observation. It is part of their charm.
Staged continues to focus on the oddity of home isolation, but also explores the friendship of the two men more deeply. It is all very tangential to the machinations and arguments, but it is clear that neither character could do well without the other in their lives. And it provides a soft cushion for all of us to observe our own growing intensity as the pandemic passes the one year mark. For a dark laugh, including some serious belly laughs, check out the second installment of this short form series. With luck, we won’t need a third as we’ll all be back out in the world before Simon Evans can write it.
In its third season, and practically third incarnation, Discovery has finally bridged the divide that has separated two sets of fandom for decades by dropping Trek characters into a Star Wars-like universe. The highly anticipated third launch of this show starts off with a bang and quickly resets the style, sensibility, and characters … yet again. Has any show changed this much series to series other than Fringe (and even that had some consistencies) or The OA (had it been allowed to continue)?
I actually rather enjoyed the first season. There was some daring darkness and an attempt to remake the franchise into something new. The second season was a bit more confused. Interesting, but confused. Character motivations changed, the politics and focus shifted. The outcome and climax were a bit rushed and not entirely satisfactory. However, that finale opened the door for the series to completely leapfrog all known Trek canon and forge their own path.
And that brings us to the current series, 900 years in the future and several hundred years beyond any known story. There are immediate references to past events setting up mysteries and possible eddies from the time jump to keep us anchored. But the most notable aspect is how changed Sonequa Martin-Green’s Michael is. Her entire demeanor has shifted. By the end of the second episode, many others from the crew will have begun down new paths as well. Michelle Yeoh (Last Christmas), in particular, is being set up for some incredible fun.
But, of course, these shifts created a problem for the series…it had to start all over again. With the characters, with the plots, and with the Federation. So, after a solid 2-part opening it devolves for a good part of the season into providing stories for these new beginnings which are wrapped up in Star-Trek-easy confrontations and solutions to get them on the path.
While some characters are jettisoned, others, like Oded Fehr (Resident Evil), Ian Alexander (The OA), and newcomer Blu del Barrio bring some new life to the show. Their insertion into the story is forced at times, but all provide new directions. Admittedly, this is also often at the cost of not getting to see some of the characters we’ve already invested in as much as we’d like to. And with all these encapsulated stories everything comes across as a bit too easy and fast to resolve because they have limited time to get it all done in one episode and/or one season. And the big mystery is scarily bad, hand-wavy science, and the entire season is overly earnest, in that very Trek way, particularly near the end of the season.
But, ultimately, this season is a brave and interesting choice for the show. It definitely feels like something new and unique in the Trek ouvre, and it’s relatively self-contained as a new jumping off point. The real question now is, can they build on it rather than panicking and remaking the show yet again in the fourth season?
When we left off series 12, there was a major cliff hanger and change was very much in the air. And, I will admit, that my opinion of this current season has improved a little after rewatching it in prep for this holiday special, which also serves as the technical end to the 12th series.
I’m going to have to be brief here as almost any discussion is going to be full of spoilers…and I’ve some really intriguing ideas of where this all may be going. It isn’t the best of the specials, but it is definitely a bridge to what’s to come.
And, like so many of the specials, the show landed a special cast to help spice it up. Harriet Walter (herself) Nathan Stewart-Jarrett (Soulmates) were fun additions. And the return of Chris Noth reprising his series 11 character was initially concerning, but it ends up working in some fun and cheap ways. And, of course, John Barrowman finally making good on his earlier promise was a hoot. Honestly, he’s the best recurring character in the Who-verse. And, other than the Master, may be the most recurring.
But the real question is was it any good? The answer is mixed. This is neither a stand-alone nor a completely integrated episode. After taking another look at the rest of the season that leads to it, there is a certain amount of completion and resetting for the Doctor. Not all aspects of the story are dealt with in depth, or even believably in some ways, but she has to come to terms with all the new information and her own sense of self. And, frankly, there was a lot to take in. Time became meaningless and her isolation/imprisonment became a gift for her. But it is all solved pretty easily and the main plot, the Daleks, is ultimately a Macguffin (and a bit of a mirror) without a lot of teeth, despite some nice battle effects.
Who, as a series, is still going through its transition with Chibnall pulling hard on the reins taking her to a new path. And Chibnall is still learning how to be a show-runner at this level. I can see a destination that would blow people’s minds, but I honestly don’t know what he has in mind. The show is definitely playing a long game. I do continue to be on board to see what it may be. Most importantly, Jodie Whittaker continues to be entertaining and able to add depth to a character that has been around for over 50 years. I can’t wait to see what the next series brings.
I’ll admit that I wasn’t the biggest fan of the first Wonder Woman. Outside of its message and positive example, it was a middling movie. This sequel makes that original film look like a timeless classic. How it got greenlit with such a sub-standard script astounds me. It isn’t just that the mechanics and dialogue that director Patty Jenkins co-wrote, are awful, and that the rules of the magic involved aren’t explained for far too long, it’s that Jenkins couldn’t even get credible and sympathetic performances out of her very talented cast.
Pedro Pascal (Prospect) and Kristin Wiig (Ghostbusters) are presented as just fools, not misled or flawed people. While each clearly has a backstory that might have tugged at our hearts or allowed us to understand them, Jenkins pushed them both to be clichés as regular people, and absurd as super-villains. Without that initial grounding, we can’t even feel any triumph or joy at their final endings.
Even the core love story falls flat. Our main couple, Gal Gadot (Ralph Breaks the Internet) and Chris Pine (A Wrinkle in Time), don’t really connect and their second chance doesn’t feel like either a win or a loss. In fact, their final scene together is practically a throw-away. Worse, the climax of the movie, while guided by Gadot’s Wonder Woman (and somewhat flimsily related back to the opening of the movie) is really up to Pascal’s actions. The whole thing just sort of happens without a lot of satisfaction for the viewer and without a real sense of it being Wonder Woman’s effort. For that matter, we don’t even get a complete resolution for Wiig, who’s core to the challenges.
Even the simple mechanics of the movie were weak with time confusions as the story found itself poorly anchored with clues and guidance. Honestly, this could be a franchise killer. The movie had nothing new to say, no interesting way to say what it wanted to say, and no emotional connection to make us care either way. The only true gift was the extra scene about a minute into the final credits.
But DC, in its mainstream superhero films, has never really had great scripts as compared to Marvel. The oversight and vision just aren’t there. But even my low expectations were crushed by the result of this movie. View it if you must, but go in with low expectations.
Sidenote: This was not the triumphant film with which HBO Max had hoped to launch it’s theatrical co-releases. And then there was the issue that their servers were overloaded and their streams had massive problems. How that bodes for the service and the resurrection of the theaters, I don’t know. If this had been released, it would have likely made a bunch of cash, but it wouldn’t have fared well critically nor had the legs of the original. So, perhaps, they made the best decision by pulling it and using it as bait to lure folks into subscriptions. We’ll see how the next 6 months go…
I’ve grouped these two mystery series because they have some similarities. The common thread, despite the difference in country, is indigenous peoples. In fact, the main detective in both series represents this oft time side-lined culture. Interestingly, they have similar sensibilities, though very different tenors.
One Lane Bridge
This is the inaugural series of what is somewhere between a rough-edged mystery, similar to many Northern England shows like Shetland or Hinterland, but with a bit of aboriginal mythos thrown in. It has a few recognizable faces, if you watch New Zealand shows. The basic story is a simple family murder. Dominic Ona-Ariki (Filthy Rich) gets it as his first case in the remote town to which he’s moved.
We don’t really get to know much of why Ariki’s there in series 1, nor much about his background. He does, however, solve the season’s mystery so nothing of importance is left hanging. But a lot is held back and many things are clearly queued up for a second series. Despite the grit and anger of it all, I’d be back to see what they can make of it. The characters are rich and full of stories.
And speaking of grit and anger, this second season of the movie adaptation of this series is just full of it. Aaron Pedersen (The Code) returns as the swaggering, grumpy loner who’s trying to single-handedly clean up the Australian outback and northern coast. Tasma Walton (Cleverman) returns as his frustrated ex-wife and Sofia Helin (The Bridge) joins as one of the principle variables, which was certainly a draw for me.
This is a heavy feeling storyline of angry people and nefarious doings. But there are interesting characters and fascinating insights into culture that you won’t get anywhere else. I can’t take too much of it at once… the writing often makes choices for the convenience of the action, rather than what people would normally do, but it’s entertaining and even spiked with adrenaline at times.
It’s rare when a TV show makes the leap to big screen, even in limited fashion. Certainly Miss Fisher was a solid candidate, with great characters, delightful dialogue, incredible costumes, and fun mysteries. However, this leap wasn’t quite able to stick the landing.
The original series was huge fun and ended way too soon. What made it work was the combination of sass and characters. While Deb Cox (from the original show crew) retained the sass in the script, going global really robbed the story of the wide range of characters and interplay we were invested in. And, sadly, even for the characters that had returned, the magic just wasn’t there anymore. The tension of will they/won’t they between Essie Davis (Assassin’s Creed) and Nathan Page, which had been ramped up over 3 years plus the wait for this tale, didn’t feel satisfying, or even all that interesting. And new characters like Rupert Penry-Jones (Charlotte Gray) never built up any flesh on their bones.
The main issue is that director Tony Tilse pushed for more of an action movie pacing, moving from moment to moment with small quips from characters to stitch it together. It made for almost no character building…and with only two main characters that we knew, that meant almost no characters at all that were fleshed out for us to connect with. Basically, Tilse wasn’t able to navigate the leap to feature film from small screen directing for their first go-round.
The movie isn’t a total loss. It has some fun moments and Fisher in multiple (unnecessary and unexplained) costumes. The dialogue, when it works, is at the standard you’d expect and the vistas are filmed quite nicely. My disappointment/frustration was in the anticipation. I loved the original series, and still rewatch it. After such a long wait, this wasn’t the result I’d hoped for. Originally there were three or four movies planned, and certainly this first sets up another. Hopefully they have learned from this initial foray and can improve going forward…assuming they go forward.
It’s been a circuitous route through previous series for the Strike detective agency, but by this fourth installment it’s finally on a solid course; the great soap opera mostly resolved. It’s still a bit unfocused as they continue to cram the scope of the books into the series, but it is feeling more thought through than, especially, the third sequence.
Tom Burke (The Souvenir) and Holliday Grainger (Tulip Fever) continue to develop both their individual characters and their relationship; professional and otherwise. The mystery is actually nicely intricate and fun, though resolved a bit too quickly and unfairly (in some ways). But the four episodes cover a lot of ground and many false starts, which keep it all fun. Because of the structure of the show, and the attitude, it isn’t always easy to know when information is accurate or not, but it does stay internally true to itself. I think, perhaps, my expectations at times were being set by other mysteries that would deal with situations differently.
I’m glad to see this show continuing. I hope they can keep up the quality and, more importantly, move the characters further along their paths without slipping back into the silly crap from before.
Way back in 1988, an outrageous show began with the spilling of a bowl of gazpacho. 32 years and 13 series later, it’s still carrying on with a fan base to help it stay on its feet.
In their latest series, much like series 9’s Back to Earth, it’s a single, movie-length story rather than a bunch of episodes. Is it brilliant? Well, no, but it is a solid callback to its roots and with their particular vein humor that you’ll recognize.
Sure, you can write some of the dialogue before it’s even spoken, but that’s part of the comforting charm if you’re a fan. And comfort comedy is something very necessary these days. So heat up a vindaloo and pull up a seat for an evening of fun and silliness; if you’ve been looking for a Red Dwarf fix, this will scratch that itch. And if you’ve never found Red Dwarf, go back to the beginning and enjoy the ride… this will be waiting for you when you’re ready.
I’ve said it before, but getting off broadcast was one of the best things that ever happened to Lucifer. And this season continues to get even better. In fact, they’re getting more inventive and having more fun than ever, while still building on the story and characters.
While this fifth series was originally going to be its last, Netflix granted them a sixth in order to pull together all the threads they’ve been stringing out. It makes for a much more focused and complex set of interactions, and a real sense of forward motion for the characters.
I admit that it’s still not brilliant writing, but the character work and humor continues to keep me coming back. And over these last couple seasons there has been a lot of growth for each of the characters as well. Lesley-Ann Brandt, especially, has an interesting path to tread, and continues to improve her chops in the process.
Ever since Agent Coulson went to TAHITI in The Avengers, his history and his involvement with SHIELD was a deep well of interest. Actually, it really began back with Thor, but we didn’t know what was coming at that time for his character.
Many shows will do a retrospective for their finale, recapping and calling back to the full run of their series. SHIELD did them all one better by taking their entire last season to walk through their history…and remake it even as they paid homage to it. It was a ballsy move, but one well within the parameters they had set up over the previous runs. To their credit, the choices also filled in and answered issues, particularly around the end of last season, which was quite the wild ride in and of itself. But that finale, as fun as it was, felt more than a little forced and manipulated. Now we know why.
Admittedly, the series as a whole itself is uneven, and has more than a few issues over its 7 seasons. But, generally, it was a great ride and fed into a desire for more things Marvel…that were tangential to the massive movie monster that dominated the last 12 years of cinema. It’s highly rewatchable and covers a huge range of styles, plots, and character development. And what more do you want from a genre series? You want to be transported. You want to be surprised. You want to be entertained. And you want characters you can invest in, root for, and root against. It had it all. It also had a wild arc from beginning to end that constantly had me trying to anticipate where they were going, and almost always getting it wrong (at least in the specifics).
I’m sorry to see the show go, but I’m glad it went out on a controlled high-note. And I’m looking forward to start watching it again down the road.