This is a full review of The Bridge: Series 4, Episode 4. Catch up with all the reviews here. Don’t read on unless you’re completely up-to-date on the BBC2 schedule!
Well colour me confused. What are they playing at? The halfway point maybe not the best spot to introduce a whole new cohort of an already large cast. This is daunting even for seasoned viewers. If you watched the whole episode without pausing to wonder who someone was, who they were related to, and how they were linked to the case then you’re doing far better than me.
Taariq needs penge, and quickly. You’ve got to admire his audacity in trying to blackmail a murder suspect, stealing his wallet and car. Someone told me Taariq was going to get a severe new haircut and I did wonder in a world as dark as The Bridge, does that mean he’ll lose his head? Of course the answer is yes. As Taariq finally realises there’s no way out Henrik and Saga are called to the scene of his armed stand-off. Saga’s compulsive twitching as she attempts to defuse the situation is unbearable. Taariq can’t handle the truth, and unfortunately for him, Saga can’t hide it. A final violent act is preferable to a future in jail or being deported to a repressive regime. Henrik and even Saga seem heartbroken at his death.
Continue reading “‘The Bridge’ – Series 4, Episode 4”
Agatha Christie’s murder mysteries are an international literary language; translated, loved and understood the world over. You know there’s going to be a big stately home, a cast of shifty upper-class characters, a few red herrings and a satisfyingly complicated conclusion. It’ll all hinge on the silver sugar tongs, a classified advert in the Times or the colour of the front door which you knew from the start but discounted as an inconsequential detail. It’s clever, gratifying and reassuring all in one shot. For a real-life example, please see me and Mr H on holiday in Turkey in 2014. We were, I’m ashamed to admit, battered out of our skulls on local raki and dealing with a day-long hangover in a hotel room easily as hot as the surface of the sun. What could be more soothing to the addled brain than finding Poirot dubbed into Turkish with English subtitles? In no small part thanks to Hercule we consoled the little grey cells that hadn’t been murdered by alcohol.
Ordeal by Innocence, the Easter Sunday BBC1 drama, is not your Turkish holiday Agatha Christie adaptation. There’s nothing soothing about this production. From the off it’s clear we’re in a nightmarish gothic horror. Producer and writer Sarah Phelps brings us a sharper, nastier, distilled version of And Then There Were None, her tremendous Christie adaptation from 2016. “Nine elaborate murders based on an extremely dodgy nursery rhyme that drive a young woman to suicide in a mansion on a deserted island is not really terrifying enough. Let’s kick it up a notch guys!”
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A long time ago, in a country far far away, I had a Japanese roommate. Manabu was lovely, a total gentleman, but not very chatty. I blame the language barrier, or maybe we just didn’t have that much in common. Eventually we bonded over injuries (his sporting, mine alcohol-related), microwave breakfast burritos (he loathed them, I loved them) and our two crazy little island homes. Comparing the UK and Japan is not as odd as it first sounds. Culturally and geographically we have a lot of shared aspects. We’re wilful independent island nations, who revere our daring histories of medieval knights and samurai warriors. Other countries are somewhat nervous around us as if you give us a flag and a gun we tend to get a little carried away and decide to go off and be a colonial invading force. Small countries, big ideas. Despite our macho military history, our national characters are reserved and polite, and we like to know our place in the social hierarchy. We’re the worlds best queuers!
Art historian Dr James Fox seems the similarities in our two nations, although sadly in this series on aesthetics and art in Japanese life, we are yet to hear his opinion on the breakfast burrito. This BAFTA nominated broadcaster has a day job in Cambridge University’s Art Department and first came to my attention presenting Who’s Afraid of Conceptual Art? on BBC4 in September 2016.
He’s an engaging, enthusiastic, and quite cheeky presenter. His trademark seems to be a sharp black suit and tie, ever ready for a funeral or a cocktail party. He’s really good at breaking down complex ideas about art, religion and society. These big ideas are discussed in simple terms. His passion for the subject shines through. And, pleasingly, as you’d expect from a BBC4 art show, this whole episode is beautifully shot and framed.
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Well that was a deeply disturbing hour of television.
BBC’s amiable Rent-a-Doc Michael Mosley was given unprecedented access to the UK’s most secret and controversial weapons facility. Porton Down in Wiltshire was established in WWI as a response to the gas attacks the Germans launched in the trenches. Scientists based there had to work very quickly to develop gas masks for the troops and began testing ways to launch similar gas attacks against the Germans. Because the best defence is a good offence, and a cataclysmic scaling up of hostilities always ends well.
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Wooo! Arrrh! Woooo! …and other ghostly noises. It’s a new spooky drama on BBC1. So far, so standard but the whole series of The Living and The Dead is already available on iPlayer. The first episode doesn’t actually air on the old-fashioned telly box until Tuesday 28 June. This is the first original drama the BBC has premiered in this way, and a nod to how the ability to binge watch is super important these days.Even without use of my mystical crystal ball and Ouija board, I can see the future!
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