This is a full review of The Bridge: Series 4, Episode 7. Catch up with all the reviews here. Don’t read on unless you’re completely up-to-date on the BBC2 schedule!
Happily we still have a Henrik this week. Our brave and stupid Dane gets off with a serious pain in the leg and a severe tongue lashing from boss Lillian about his ridiculous risk-taking. As predicted the GoPro killer (what is his/ her official nickname?) didn’t want to shoot Henrik as death to them is the easy way out. He wants his victims to suffer.
Chris flees from crazy Frank locking him up in the old factory. Frank looks like his hobby is well-planned. He’s got history in kidnapping kids.
Decapitation and firing squad are the methods left unchecked on the team’s control room list. So that’s equal parts terrifying and spectacular.
Mysterious dead Douglas was a Private Investigator who Niels says he hired after his wife’s death to hurry the investigation along. Saga uncovers private police documents in his office that show the mole in the team is working hard on leaking sensitive information all over the place.
Saga is on to Anna, Astrid and Frank thanks to Chris’ confession about killing Dan in the Village of the Damned. Frank seems so reasonable but there’s a monster is hiding just under the surface of respectability. In this episode Frank’s answer to everything is violence. The tension is unbearable as Frank locks the front door and goes to find Astrid toting a shotgun. (“For fucks’ sake! We demand a happy ending!” is written in my notes at this point.) Why did the sniper not take the clear shot he had at Frank’s squishy little head? And how come they can organise a whole SWAT team for a cold case with little to no notice? Those questions aside, good work team!
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This is a full review of The Bridge: Series 4, Episode 1. Don’t read on unless you’re completely up-to-date on the BBC2 schedule.
Hey, you can come out from behind the cushion now. Is everyone ok? Take a deep breath, shake your fist at BBC2 for making you wait a whole week for the next episode and let’s process that remarkable hour of television.
So The Bridge is back with a bang, gleefully ramping up the tension, messing with our expectations of Saga and Henrik, all while introducing the usual cast of victims, ne’er-do-wells, and various hangers-on, some of whom will inevitably be added to the final body count.
We begin with a striking close up of Saga’s face, silent, dark and isolated. She wakes and sighs, remembering she’s in a nightmare she can’t escape from. She’s been in prison since the end of series 3 and I was worried her character development and personal resilience would be set back to zero but she’s doing her best. She awaits the outcome of her retrial for her manipulative mother’s murder. Remember she has a motive, no real alibi (she was set up to be alone in a graveyard when her mother died) and there was forensic evidence all stacked up against her. It sees a new witness has come forward, but Saga’s simple belief in right and wrong, and the power of the law has been firmly shaken. And she’s floundering. If she’s not a cop then where does that leave her. Without the job who is she?
Continue reading “‘The Bridge’ – Series 4, Episode 1”
Spoiler warning: this is a full review of Apple Tree Yard so if you’re spoiler conscious, please look away now!
Apple Tree Yard is an eye-catching thriller, adapted from the novel of the same name by Louise Doughty about Dr Yvonne Carmichael (award-winning Emily Watson) and dashing Mark Costley (Ben Chaplin). The pair meet by chance at the Houses of Parliament. She’s there to give a talk on her work in genetics. Why he’s there is never really explained. He bats his eyelashes at her and invites her to tour the secret chapel. That’s the magic words as within about 5 minutes of meeting they’re having sex! This is the very definition of a whirlwind romance.
This secret romance is a big deal to Yvonne. It’s all a bit grimy and sordid, but very exciting. She falls head over heels for a man she knows nothing about. It’s sort of a way to get her own back on her dodgy husband Gary (played by Mark Bonnar, an actor who seems to be in literally everything), but mainly to feel like an interesting and attractive middle-aged woman. I’d argue it’s the affair, not her Mr X as a person, that makes her feel good. It’s what it represents – the fight against aging and slowing down the inevitable invisibility as a desirable sexual woman. All this comes hot on the heels of her about to become a grandmother, and that’s surely no accident.
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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.
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Another slice of Danish pastry from Walter Presents project on Channel 4. Strong female lead – check. Horrific crimes – check. Beautiful Scandinavian interiors that’ll make your house look dingy in comparison – check. You may think you’ve already got the measure of Dicte – Crime Reporter but this one is a bit left-field for Nordic Noir fans and subverts our expectations.
The Guardian suggest this series will be yet more “grey dramas about the exhausted life of a crime-solving woman” but this isn’t the case. Yes, the subject matter is very dark (people trafficking, illegal immigration, selling babies, dead babies, religious fanaticism, illegal organ trafficking – you name it, it’s all awful) but deftly handled with the themes of the crimes echoing through the lives of the lovable main characters. Sure, this show shares some of its make-up with The Killing, but also, surprisingly Sex and the City. And the theme tune is just so peppy and cheerful!
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BBC 2’s newest lavish period drama is a British-Franco-Canadian collaboration about the building of the fabulous Palace of Versailles. A second season was already ordered ahead of the premiere. I guess that’s the thing with history – there’s a whole lot of story to tell. It’s part produced by Canal+ but in English with no phony French accents, which is great. There’s nothing more jarring in a drama than hearing accented English that sounds like Vicki Michelle in Allo ‘Allo.
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Posters and adverts for this new drama on Sky 1 were everywhere earlier this month, and I mean everywhere – inside my fridge next to the milk, printed as little bibs on neighbourhood cats and dogs, tattooed on a loved-ones face and once, disturbingly, on the inside of my eyelids.
So how did I miss it? I have absolutely no idea.
Continue reading “‘Billions’ – On the Box”