Tag Archives: TV series

Stannis could have been up there with the gods.

But they ruined him. It’s another example of writing ‘jumping the shark/sofa’. He did a terrible deed – burning your kin is not the best move – and no one believed the sincerity of it for a second. It sums up how appalling Game of Thrones got in its last two pathetic seasons. It was ghastly, infected with bizarre vignettes that went NOWHERE.

The actor Stephen Dillane is the best in the show and he nails the character – absolutely and totally miserable, consumed with hatred. Even if he sat on the Iron Throne I can imagine he’d be bored to death and questioning his life role. That’s my kind of human. His quotes are incredible.

The crème de la crème: “A good act does not wash out the bad, nor a bad the good.”

Fucking hell. Fancy a pint?

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The Office is still pure cringe.

More Netflix throwback viewing brought me to The Office, the early nougthies apotheosis of workplace ennui, inanities, and bury-your-head-in-your-hands moments of embarrassment. Your everyday office environment is so well portrayed that I actually know these people: the delusional ‘boss’ who’s been there for two decades and whose work defines his/her life, the go-getter who thinks they’re in the FBI or something, the joker who isn’t funny, and the roughly 50% of them who know it’s just a job so get on with it.

The most striking aspect of the show is how it highlights the existential funk of the vast majority of workplaces – what we do isn’t particularly important to anyone, and a monkey can perform most tasks if you train it correctly. One looks for meaning in the wrong places. I’ve always been dubious of folk who proudly announce, “I love my job.” They have to be either psychologically pumping themselves up to cope with the pain or are putting on a show, or have to be burdened with actual real-life mental issues.

Unless they have an interesting job. Which is a rarity.

Anyway, The Office defines life.

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Safe – relishing the ridiculous.

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More highly addictive utter trash binged on Netflix again, this eight-episode thriller a cross between a ’90s peak Joe Eszterhas number and those seedy Hollyoaks specials that were broadcast after the watershed. The appeal of this kind of show is in its cliffhanger formula; every chapter has a spanner chucked in the works or a new revelation.

Unadulterated rubbish it may be, but the sordid spectacle is worth it for trying to pinpoint where the fuck in England Michael C. Hall’s ‘accent’ is meant to descend from. It’s eight different counties mixed in a verbal blender, Owen Hargreaves meets Gillian Anderson.

Bizarre.

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Cobra Kai is rather AWESOME.

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Nostalgia kicked in mega-heavy with this absolutely mental show; fuck knows how it even came into being. I have seen The Karate Kid (1984) 19 times and this somehow beats it. Through the complexity of the characters (they actually have three dimensions), the subtle middle fingers (plural) to the WOKE/SJW political correctness of this age, and the sheer hilarity of some of the scenes, it’s the best show for quite some time.

I always thought Johnny Lawrence got a bad rep; 35 years later he gets the treatment he deserves.

First episode here. It’s a corker:

https://www.youtube.com/watch?v=_rB36UGoP4Y&fbclid=IwAR1q_JzdwI8Sa9O0S1Hjq4qGYdAqzS6Oab7ZXJ2VJzGGMQcLJVb9EbiPWFg

Further reading/viewing:

https://www.indiewire.com/2019/04/cobra-kai-review-season-2-youtube-premium-1202127560/

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Mindhunter is a must-see.

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Mindhunter is cracking. Set within the Behavioral Science Unit at Quantico when criminal psychology was in its infancy, the show’s FBI special agents interview the whole gamut of notorious serial killers in order to glean patterns of behaviour, applying this to ongoing cases. It’s got David Fincher all over it, the chap serving as executive producer and helming seven episodes.

It’s gripping stuff, as a time capsule and insight into a grisly world very few of us will thankfully ever even glimpse. Netflix addiction strikes again, though in my case generously bequeathed episodes from a questionable benefactor. I can’t help but picture the British spin-off were this to happen. In the show they remove the chains of the convicted mass murderers in order to make them feel more comfortable during questioning, to even help generate a bond for the ‘interrogation’. Imagine Scotland Yard doing that to Charles Bronson (not that he’s killed anyone).

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I also have a picture in my head of Lord Longford, absolute weirdo that he was, helping Myra Hindley escape through a window during their interview, the former wielding bolt cutters or a blowtorch, zany hair flying everywhere.

Interestingly (for me), I clocked the actor who plays Bill Tench straight away. Holt McCallany wound up in two of the best movies of the late ’90s in Three Kings (1999) and Fight Club (1999). He even initiated the whole ‘His name is Robert Paulson’ recital. I hadn’t seen him in anything else until this.

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Chernobyl – TV mini-series.

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Shot in Fabijoniškės, Lithuania, this 5-episode mini-series by HBO is a cracker so far (one episode in). It puzzles me how there’s not, to my knowledge, been a major TV series or film about Chernobyl until now. One wouldn’t expect this would come from the Russian slice of the former Soviet Union, but you’d think Ukraine (its ‘western-oriented’ regions) would have put something together.

Documentaries have been galore, the main theme that the disaster was indicative of the pitfalls of communism, and a metaphor for the swift end of the USSR in the Gorbachev era of glasnost and perestroika.

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This is mind-blowing, though, a real-life 28 Days Later (2002) with wild animals replacing the ‘infected’:

I know a good lad I met in Budapest, a fellow traveller named Paul. He’s the only person I’ve met who’s wandered into Pripyat’s Zone of Alienation with a Geiger counter. I have an epic image of him strolling about in a Walter White biohazard suit, with a beer hat atop the garb.

Further reading/viewing:

https://www.independent.co.uk/arts-entertainment/tv/reviews/chernobyl-review-episode-1-hbo-sky-trailer-watch-nuclear-disaster-cast-a8902986.html

https://www.theguardian.com/tv-and-radio/2019/may/07/chernobyl-review-chaos-reigns-in-confusing-nuclear-disaster-epic

https://variety.com/2019/artisans/production/hbo-chernobyl-lithuania-nuclear-plant-1203208391/

https://www.youtube.com/watch?v=ITEXGdht3y8

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The Das Boot reboot is awesome.

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What an experience this spin-off was.

I first saw the Wolfgang Peterson stunner (1981) in April 2000, purchasing the VHS tape with The Phantom Menace (1999) in HMV, Princes Street. I had no idea what it was about but the movie was £4.99 and Empire magazine called it scintillating in a retrospective. The writer wasn’t wrong, unlike their four-star review of the Jar Jar Binks fiasco.

The movie works within the most claustrophobic milieu of pre-Nuclear warfare. It was apolitical, much like the Kriegsmarine’s attempts to portray themselves after the conflict, this despite them nonchalantly torpedoing ship after ship.

This reboot more expansively amplifies upon the rampant extremism of the submariners, their appropriation of ideology as an alternative to the Allies’ eventual superior resources and sound tactics. There are also thriller elements, La Rochelle, home of the U-boat pens, the backdrop to French Resistance efforts to disrupt the German occupation. This place also has a special meaning for me: on a French exchange trip the police chased us around the town centre because one of our party set off a firework in a gift shop. Ah, the memories.

https://www.youtube.com/watch?v=lfAKqByDEts

That score as well, used in both the film and this masterwork. Oaft.

Further reading:

https://www.atlasobscura.com/places/nazi-uboat-pens

https://www.radiotimes.com/news/tv/2019-03-06/das-boot-tv-series-uk-sky-atlantic-day-date-time-channel-plot/

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