Have you seen Big Mouth on Netflix? It’s an animated series that is joyful, sordid, intelligent, stupid, revolting and tender all at once. Like the painful adolescence it portrays so well it almost defies description. It’s created by Nick Kroll, Andrew Goldberg, Mark Levin, and Jennifer Flackett and based on Kroll and Goldberg’s teenage years growing up in Westchester County, New York. Nick Kroll voices his fictional self. Can you imagine anything more cathartic to redress the issues of your adolescent years. It’s essentially an animated version of Mortified with a lot more jokes.
Our 6th graders surfing the hormone tide are Nick and Andrew and their friends Jessie, Missy and Jay. Sooner or later their own personal hormone monster comes calling and will not leave them alone. Maurice is the male monster come to frustrate, antagonise and educate the boys – he’s often-times unhinged and absolutely uncontrollable. Connie the ‘monstress’ is a particular favorite of mine. She’s a wildly insatiable earth-mother in-tune with her emotions and preaching body confidence to the girls. But in the next breath she’s telling Jessie “You want to scream at your mother and laugh at her tears”. Reader, a more accurate description of female adolescence does not exist.
This hotly anticipated three-part drama series about the most explosive event in British politics stars Kit Harington, whose star is in the ascendant as he’s that Jon Snow off of Game of Thrones. Even if you’re a stick-in-the-mud hold-out refusing to ride that fantasy dragon I’m sure you could pick his curly locks out of a line-up. Not only is Kit in the starring role as chief gunpowder plotter Robert Catesby but he’s credited as co-executive producer, and he helped get this unlikely vanity project off the ground. Turns out that Kit has family ties on his mother’s side to the rebellious Catesby family of persecuted Catholics who are central to the drama and to this famous nugget of British history.
We meet the Catesby’s and co back in 1603. Queen Elizabeth I is dead and James I is in charge. Things are not improving for England’s oppressed Catholics. The well-to-do Catesby family are seventeenth century preppers because in this instance the government really is out to get them.
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).
Even in a market saturated with cop shows, it’s a most welcome return for DI Viv Deering and the Friday Street team, here to make your viewing schedule that bit grittier and more northern, with so many zingers it’s a struggle to keep up. Paul Abbot’s sharp script throws down the gauntlet to lesser tv writers everywhere.
Our hero is back to work after the horrific death of her husband at the end of Series 1. Viv, played by supremely talented Joanna Scanlan is glorious, and totally unfazed. She’s at a funeral when what could have been a lethal a bomb goes off but takes it all in her stride, as you’d expect. She jumps in the shower back at the police station and stand there in front of her colleagues proudly naked with big thighs and cellulite. This makes me want to whip off my dressing gown and cheer. Viv is sexy and powerful and totally unashamed.It’s Botticelli’s Birth of Venus only with a bright yellow towel instead of long ginger locks.
The body packed with explosives fortunately wasn’t in the coffin, so the funeral goers survived. The big bang reveals a dodgy crematorium, burying the bodies instead of popping them in the oven. Someone’s not been paying the gas bill. Miller (Paul Ritter) who sweetly describes himself as a bi-polar bear, ends up dealing with the “Hieronymus Bosch job” (say it out loud) ; elbows deep in the grizzly body parts violently displaced by the bomb. He’s in his element.
This extremely strange new drama from Sky Atlantic, created and directed by Paolo Sorrentino, is the story of little Lenny Belardo who grew up to be Pope Pius XIII. He’s young, handsome and sure to be a rock star pope. His adoring crowds and awkward clergy and lay staff are totally lapping it up. Lenny is one part politician, one part dictator and one part gangster. Quite often he’ll offer up to the camera a cheeky grin – Jude Law is having a whale of a time.
In the opening few minutes Lenny spectacularly undermines the whole Catholic church in a nutty dream sequence of his first address – “We have forgotten… to masturbate!” It’s clear this guy is going to shake things up. The whole show looks like a dream; a totally surreal ‘real’ Vatican city populated by odd figures in even odder uniforms, who all know the drill and work to unseen schedules. Around the next corner could be a group of nuns playing amazing athletic football or elderly Cardinals gossiping in ornate robes with large sun hats. Anything is possible.
In which guest blogger Susie Sue tells us about her love for a dark and brutal drama, and shows off her holiday snaps!
Last summer I was lucky enough to go to the beautiful city of Seville in southern Spain. I visited the Alcázar, better known as the seat of House Martell.
I mention this mainly to show off but also because there was nearly an hour wait to get in and also airport style security when you did get through. It wasthat popular.
With the new season of Game of Thrones (Sky Atlantic, 9pm Mondays – or before that if you have Sky Go or Now etc) upon us I have asked myself why – why? – is such a brutal show so appealing to me – to us?
I read a really inspiring blog post last week about the importance of tv comedy. Sarah at Gracefully Falling Upwards wrote about how comedy changed her life; how it helped her laugh and feel ok during a particularly dark and difficult time in her life. She says:
“Comedy was there for me when I didn’t have the words to tell anyone how I felt. Comedy was there to make me laugh on the days that I didn’t even want to get out of bed. Comedy made me feel like the world wasn’t always so dark and painful and that eventually it does get better.”
This really resonated with me. When I was little I was pretty awkward and quite lonely. I found solace in books, rather than tv. I still do. Along side trying to keep up to date with great tv shows, and finding the time to write about them for you folks, my challenge is to read 70 books this year! (You can follow my progress at GoodReads). Basically I’m going to spend so much time sitting this year I might develop DVT!