Have you ever been so excited you put your fist in your mouth to suppress a squeal of glee? Have you ever been so excited that you could swallow your own fist down and keep going up past the elbow and beyond, squealing away regardless? It’s not often I go full fangirl about anything, but guys, it’s nearly time to see the very last series of The Bridge! And I am so excited. You can keep your Infinity War. This is the original most ambitious crossover event. It’s time for Denmark and Sweden to put their differences aside and work together again on outrageously gruesome killing.
It goes without saying that someone is murdered near to the Oresund Bridge. Yes, it’s a woman and yes it’s totally brutal. However you feel about that on TV more generally, you have to admit this is The Bridge’s classic calling card. Why change now? This woman is Margrethe Thormod, the head of the Danish Immigration Board. And she and her team have recently been in the news for all the wrong reasons – filmed clinking champagne glasses and celebrating the deportation of a gay man back to a Muslim country where he will most probably be executed. Taariq Shirazi has gone to ground and Margrethe is murdered in a way that seems to have cultural and religious connotations. Is there a connection?
It’s always exciting to see Sarah Lancashire back on TV. I’ve been a big fan for a little while, since Happy Valley really, and drama lovers will agree that she’s a big draw for a new series. Writer Jack Thorne has another ripped-from-the-headlines story for us and hopes are high as he wrote National Treasure broadcast in 2016 which won the best mini-series BAFTA. That was about historic cases of sexual abuse, drawing on various high-profile scandals involving celebrities. This is about vulnerable children under the care of social services and calls to mind some recent real-life cases.
Sarah Lancashire plays Miriam Grayson, a Bristolian social worker who decides to offer unsupervised visits between 9-year-old Kiri and her grandparents. Kiri is a young black girl about to be adopted by a middle-class white family and social services agree she ought to know “where she came from”, and have a chance to develop links with appropriate members of her birth family. While Kiri is on her visit, she goes missing, apparently abducted by her ex-con birth father Nathaniel. This is all made clear in the first 30 minutes, so knowing the laws of TV drama, this means literally anything could have happened to her.
Busy mother of two Jo (Indira Varma) has a lovely boyfriend in Danny (Luke Treadway). who has moved in to her suburban home and is adjusting to family life. On an otherwise normal day some mystery person drops a bombshell. On the school run Jo receives an anonymous text message alleging her boyfriend is having an inappropriate relationship with her 11-year-old daughter Katie.
We see Jo over the course of an agonising day sitting at home in an empty house, dwelling on the message, snooping around but getting no answers. Nothing really happens, but it all happens on Jo’s face thanks to Indira’s gut-wrenching acting. Danny is sexy, and it seems Katie and her friends have noticed judging by their comments on Instagram. Is Danny predatory? Worse still is Katie reciprocating? It’s a very uncomfortable thought but it’s close to how young women think. What is harassment? What is flattery? The lines are blurred when children are still learning the boundaries, and people can and will take advantage. “She’s at that age” is a catch-all for unusual teenage behaviour, but what if something unpleasant is provoking it?
If you’ve not yet heard anything about the The Handmaid’s Tale, let me give you a hand getting out from under that rock where you’ve been hiding. This is an MGM production being show on Hulu in America. They seem to be a good 7 episodes ahead of us. Sadly, even in 2017, sometimes America is ahead of us in tv land. It’s great to have synchronised start dates, but it’s still not the norm. Avoiding spoilers for this much talked-about show is going to be a killer.
A few weeks after starting in the USA this 10 part drama series has been picked up by Channel 4 in the UK, which, as the young, intelligent, and left-leaning political channel is a really good fit for their brand and a bit of a coup. The series is based on a novel by Canadian author Margaret Atwood and despite its startlingly relevant content was actually written in 1985. So this dystopian future Atwood envisaged is 30 years closer than we’d have hoped for, and none of her themes are any less relevant or possibilities presented any less realistic. In interviews Atwood says that none of these war crimes in the fictional Republic of Gilead are entirely made up – all have happened somewhere on the globe. This really is extremely dark stuff. Do we as the audience have the stamina to get through it?
The series opening is distressing, as our heroine Offred is violently parted from her husband and daughter, but it’s not a tense escape. We know she’ll get caught. The rippling tension comes from her social position at her new posting with the Commander (Joseph Feinnes) and his wife Serena Joy (Yvonne Strahovski).
Big things were expected for Westworld, the telly reboot of the 1973 sci-fi film, and big things were achieved. It was HBO’s biggest series debut in three years. And it looks magnificent!
Westworld is a theme park – the newcomers are the players, the high-paying guests who get to live out their cowboy frontier town fantasy. Sex and violence is the top two reasons people seem to play, and sexy violence is probably competing for third place. The innocent townspeople who populate the game are extremely advanced androids (incredibly beautiful and faces full of character), who live in a Groundhog day-dream state, to please the guests and keep them entertained.
Through wholesome Delores (Evan Rachel Wood) and her cowboy lover Teddy (James Marsden) we briefly glimpse a clichéd romance fantasy before life quickly turns sour. It’s horrific to watch, and worse still she wakes in blissful ignorance the next day to be preyed upon all over again. Despite how real these androids seem these are just toys programmed for paying customers pleasure. We know this and yet our sympathies lie squarely with the machines from the opening moments.