Jack Whitehall Live: I’m Only Joking (2020) – TV Review

Jack Whitehall is quite a divisive comedian these days, and not in the way you would usually expect. It isn’t because he makes particularly controversial jokes, but simply there is a huge split on people who really like him and people who really don’t.

I personally used to be a big fan but in the last few years, his comedy has become overly predictable and the ‘camp posh boy’ routine from a privileged straight guy is sure to rub people up the wrong way.

However, in some of his film and tv work he can be entertaining and I am looking forward to seeing him in ‘Jungle Cruise’, but in this stand-up routine, unlike some of his impressive previous sets, he really didn’t have much to say.

It was watchable and there was some laughs to be found, but there was nothing fresh to be found in the content and he had no unique perspective to bring, as though it was just stand-up for stand-up’s sake, and simply because Netflix asked for a special.

Rating = 3/5

Rating = 3/5

Chewing Gum (2015) – TV Review

Michaela Coel recently set the world alight with her remarkable drama ‘I May Destroy You’ (my review of that coming tomorrow morning) but before that, she became hugely popular due to writing and starring in this Channel 4 comedy.

This is a very different show as it doesn’t tackle some of the darker issues ‘I May Destroy You’ does, but it certainly isn’t afraid to tackle very controversial and potentially tricky subjects.

It is very well cast, with Coel proving that she has absolutely perfect comic timing and is a uniquely energetic screen presence on top of her writing skills, and Danielle Isaie also shines in her supporting role.

The opening credits are very fun with a great song that really gets you in an immediately positive mind frame and ready to watch the episode.

I can’t wait to watch season 2 and see what outrageous things Michaela Coel will tackle this time…

Rating = 4/5

Killing Eve Season 4 Delayed – What Does It Mean?

News has finally arrived to confirm what many of us expected, that ‘Killing Eve’ season 4 has been delayed indefinitely.

Filming was initially expected to begin in August on track for the usual spring launch the following year. However, due to the fact that a key part of the show is the multiple European locations with lots of outdoor filming and lots of different countries, this is a show likely to be heavily effected by the pandemic.

In the best case scenario, they are able to film in the autumn/winter and make a summer 2021 release date, but even that seems unlikely as no shooting schedules were even in place.

Unfortunately, it is more likely they won’t shoot until early 2021, meaning an autumn/winter 2021 (or spring 2022) release may be more realistic, but anything could happen in this uncertain time.

The show itself may benefit from a break to rework the scripts, hopefully ensuring that Sandra Oh is much more central as Eve this season following the backlash to the all white writers room and Oh’s criticism of the usually all white cast for an Asian led show (and alps simply the middling reviews to a season 3 that barley featured its lead character).

Jodie Comer has also been at the centre of a storm recently as it was revealed she is dating a Donald Trump supporter, leaving her huge fan base devastated and many proclaiming this makes her hypocritical for positioning herself as an LGBTQ ally. Comer also had a movie delayed yesterday, as ‘The Last Duel’ was delayed almost a year to October 2021.

Hopefully this delay also means the scripts won’t be altered to accommodate the virus, and will allow for the very intimate scenes fans desperately want to see between ‘Villaneve’.

One thing is for certain, it is never dull being a Killing Eve fan.

Crashing (2016) – TV Review

In 2020, Phoebe Waller-Bridge is one of the hottest names in town, with her incredible talent recognised by wide ranging audiences and awards bodies alike, but back in 2016 she was a mostly unknown talent. However, in the space of around 6 months, both ‘Crashing’ and ‘Fleabag’ launched and changer her career forever.

‘Crashing’ is the first to come out and the one I am reviewing today, and while it is quite different to ‘Fleabag’, it is still very much a good show in its own right, even if it can’t quite measure up to her other masterpiece.

The show is much more of a light comedy about a group friends living in abandoned buildings together as they try and save money to get their lives going.

The concept is really smart and allows for great comedic scenarios, and for a really talented cast to shine.

Waller-Bridge can be a great actress and is good here, but she has actually written most of the other characters to be much more interesting than the one she plays. Damien Molony, Amit Shah, Jonathan Bailey, Julie Dray, Adrian Scarborough, and Louise Ford all form the rest of the ensemble and do brilliant work.

The particular stand outs for me were Dray, Bailey, and Ford. Dray perfectly plays the sexy/sensitive/damaged artist without being a cliche, Bailey gets to be outrageous and have all sorts of fun causing trouble throughout (this was an amazing few years for him with Broadchurch/Crashing/Chewing Gum etc) and Louise Ford, who perfectly plays the uptight Kate.

Fans of ‘Fleabag’ will be reminded a lot of Sian Clifford’s very similar and iconic portrayal, but Ford can stand on her own and she manages to actually be the comedic stand out of the show.

It isn’t perfect and does feel very much like a stepping stone to something greater with ‘Fleabag’, mainly due to the lack of emotional depth to the show, but it stands on its own as a really enjoyable comedy.

Rating = 4/5

McMillions (2020) – TV Review

One of the most popular things on TV in recent years has been these shocking and entirely bonkers documentary series’ about real life scandals that seem too bizarre to be true (‘Tiger King’ is a recent example) and ‘McMillions’ is very much in that vein.

The series unravels the web that was created when one man decided to cheat the McDonalds Monopoly game and turn it into a large scale con, leading to involvements with everyone from the FBI, the IRS, everyday Americans, and the Mob.

I won’t spoil the ins and outs of the story as the reveals are the best part, but it is really entertaining to watch it play out. Despite a reasonably serious subject matter, the series has a very light and playful tone, and is therefore a enjoyable watch.

It’s not perfect and in my opinion stretches out at 4 episode series into a 6 episode one, therefore losing some momentum as it goes along.

The show features interviews with a wide range of fascinating characters that often make up for times when the story drags or doesn’t seem to add up, and in the end, the pay off is worth it.

Rating = 3.5/5

The Other One (2020) – TV Review

‘The Other One’ had its initial pilot in 2017 but it wasn’t until 2020 that we got the full series. But was it worth the wait?

Mostly, the answer is no. It’s by no means a bad show, as it has a really talented cast and some occasionally funny moments, but on the whole it is entirely predictable and it feels like you have seen this show many times before.

The premise of the recently deceased father having a secret family and them having to bond isn’t new but it is interesting, and they do their best to explore it with a mix of humour and emotion.

Ellie White is good in the lead role as an incredibly awkward and uptight person, opposite Lauren Socha as her much more adventurous sister. Siobhan Finneran and Rebecca Front also get moments where they can shine but they’ve had much better material in the past. Amit Shah also gets some of the funniest moments but his role is limited in screen time.

Overall, it’s a watchable comedy that feels entirely like something you’ve seen before, and in these unprecedented times, maybe that’s what some people need.

Rating = 2.5/5

Mrs. America (2020) – TV Review

This is a fascinating story to tell, with so many famous women all working together and against each other at such a defining point in history, while also allowing the story to sadly mirror the present day in many ways. Despite this, it could very easily have been told recklessly, but the team here get the balance just right.

The story is predominantly focused on Cate Blanchett’s Phyllis Schlafly

The cast is absolutely extraordinary (and I imagine they will sweep the Emmy nominations in a couple of weeks), and the most interesting thing is that it is made up of entirely women: Cate Blanchett, Rose Byrne, Sarah Paulson, Elizabeth Banks, Margo Martindale, Tracey Ullman, Uzo Aduba, Kayli Carter, Ari Graynor, Jeanne Tripplehorn, and Melanie Lynskey (with John Slattery the only man in any sort of significant supporting role).

Cate Blanchett, as we all already know is one of the finest actresses of the past century, but hear she gets to show off her villainous side again (whilst also trying to maintain humanity) in what could’ve been an entirely thankless role but one Blanchett turns fascinating due to the Schlafly’s strong Right-Wing beliefs that seem to be entirely opposed to the free working woman she is underneath it all trying to become.

Sarah Paulson is also superb here, bringing real heart to another character that on the surface is a really bad person, and in episode 8 in particular she gives a performance that may put her in awards consideration yet again.

However, the beat thing about the show for me was Rose Byrne as Gloria Steinem. Byrne has being working for decades now, and is only finally becoming appreciated as the incredible dramatic and comedic performer she is (and both aspects are on show here). She totally embodies Steinem both physically and in the way she acts.

Steinem operates in many ways as the opposite to Schlafly, and seeing her personal battles and the way she was a key part of the ERA at the same time Schlafly was rising is fascinating. They humanise Steinem in many ways, letting us see her many great attributes and also not shying away from her flaws. To her friends she is just a normal person and to her opposition and fans she is a sort of mythical celebrity, which is such a clever way to present someone most of the world knows about without truly knowing them.

The show also acknowledges the in-fighting and downsides of the ERA, and the fact that it was essentially entirely white feminism with little inclusion.

‘Mrs. America’ also has some of the best and most entertaining opening credits that I can remember for a long time, with the disco inspired music and visuals giving real energy to the start of the show.

Overall, this was a really fun and important show that told a very particular and open ended story, and used an incredible cast of actresses to pull it off. The show is the brain child of the likes of Dahvi Waller, Anna Boden/Ryan Fleck (Captain Marvel), and Blanchett herself, and they all really delivered.

Rating = 4/5

Talking Heads (2020) – TV Review

Alan Bennett’s talking heads has been revived for ‘lockdown’ by the BBC for 12 episodes (including two entirely new ones) and my brief review of each episode is below:

Imelda Staunton in ‘A Lady of Letters’ kicks off this revival season in solid but unspectacular fashion. Staunton is a brilliant actress and is really good here, and while the story is interesting, it never really clicks and fees particularly gripping or must-see.

Sarah Lancashire in ‘An Ordinary Woman’ is truly riveting, uncomfortable, and totally unique television. Lancashire plays a woman who suddenly becomes sexually attracted to her 15 year old son, and details the internal struggles she is going through, all while trying to maintain her perception as an ordinary woman. Extraordinary writing and acting.

Harriet Walter in ‘Soldering On’ starts off slow and seemingly innocuous, but as revelations start to come to light about her family and her recently deceased husband, then the narrative quickly becomes interesting and allows Walter to go to some emotional places.

I have written a full review (posted 23rd June) about Jodie Comer in ‘Her Big Chance’ so you can find out my in-depth thoughts there, but it was easily one of the highlights of the series and Comer (despite her recent personal image issues) is a remarkable talent.

Lucian Msamatis in ‘Playing Sandwiches’ plays a seemingly nice man who eventually reveals his horrifying true side, especially relating to children. The remarkable thing about this is how he maintains a calm tone and the show just takes you on the rollercoaster with him, witnessing the horrors ordinary people can commit.

Martin Freeman in ‘A Chip in the Sugar’ is mainly the story of a man struggling to cope with his elderly mother meeting a potential love interest. As the episode develops, we dive into the mental health challenges Freeman’s character goes through, and also doubt the motives of the people involved. This is far from the strongest episode of the revival, but it is still compelling enough to watch. Freeman delivers another great performance to add to his resume.

Rochenda Sandall in ‘The Outside Dog’ starts off as a story about a woman and her negative feeling’s towards her husbands dog, but quickly unravels into a gripping murder mystery that keeps drip feeding new secrets to us. Sandall delivers a really ferocious performance that stands high alongside the likes of Lancashire and Comer in this revival series.

Lesley Manville in ‘Bed Among the Lentils’ is one of the more low-key and slightly disappointing entires in the series for me. While Manville is on form and is a legendary performer, but she just can’t grip you enough into this middling story to make it memorable for me.

Tamsin Greig in ‘Nights in the Garden of Spain’ is another slightly disappointing entry in my opinion. While it’s well written and Greig is a great actress, it just never quite gripped me the way it should have, and that’s absolutely necessary in a monologue.

Kristin Scott Thomas In ‘The Hand of God’ delivers the sort of strong performance we have come to expect from her, and the story itself really took some interesting turns as it went on, but the first half felt like quite a drag and this means the ending can’t fully make up for that.

Maxine Peake in ‘Miss Fozzard Finds Her Feet’ is probably the weakest entry of the season. It has a bizarre topic that should allow for a classic Bennett story, but it just doesn’t go anywhere and fails to deliver on its promise.

Monica Dolan in ‘The Shrine’ delivers another strong performance but an middling story again means that the way ‘Talking Heads’ was broadcast was very top heavy, with most of the more interesting and better stores airing towards the end of the series.

One amusing factor about this series is that the BBC cleverly used the empty Eastenders sets to film on, but that also means anyone familiar with the show will have some very recognisable locations back on their screen, even as the soap is on a Covid induced hsitus from our screen.

This was the perfect thing for the BBC to re-launch during lockdown, as it could be filmed under social distancing conditions, and it gives a talented new generation to actors to speak those dark and complicated words. A real bright spark in lockdown programming.

Rating = 4/5

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