Season Reviews, TV

THIS IS GOING TO HURT makes you feel the pain, humour and tragedy of modern British healthcare

Have we reached the point yet where we can collectively agree that the ‘clap for the NHS’ phenomenon during the height of the Covid pandemic was a tokenistic gesture at best? This Is Going to Hurt really brings home how unintentionally insulting our efforts were.

Not that Adam Kay’s adaptation of his best-selling memoir of the same name directly covers these events, or even references Covid, but across seven episodes it rather brilliantly brings home the stark reality of just what the National Health Service does on a daily basis. To say doctors, nurses, clinical staff and more go above and beyond is an incredible understatement. Kay’s series presents them, undoubtedly accurately, as modern heroes fighting against a system driving them into the ground.

One might suspect the resulting series would be a highly depressing journey through the darkest corners of hospital life but This Is Going to Hurt is no bleak episode of Casualty or existential hour of Holby City. Kay’s show manages to accomplish what his memoir did in balancing the melancholic and downright despairing with the deeply hilarious. His series can veer from razor sharp wit all the way to tragic, shocking consequences in a heartbeat, and does so without ever missing a step.

It is, quite simply, one of the finest depictions of the NHS we have perhaps ever seen on screen.

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James Bond

All the Time in the World: JAMES BOND in the 2020s

As we bask in the long-awaited glory of No Time to Die, if not the pinnacle of the Daniel Craig era as James Bond then a fitting conclusion, the inevitable question on everyone’s lips is simple: what’s next?

You can totally understand the thinking of Eon Productions head honchos Barbara Broccoli & Michael G. Wilson behind giving themselves space to enjoy Craig’s swan song. No Time to Die has spent a torturous 18 months thanks to the Covid-19 pandemic ready to go and suffered delay after delay as Eon & MGM (now Amazon) waited for the right moment to give audiences the best chance to see it in cinemas. Their patience will pay off given No Time to Die is tracking to be a huge hit, even if it is unlikely to match the box office haul of either Skyfall or Spectre.

Although in decades past the wait between the announcement of Bond actors was shorter, with Roger Moore or Timothy Dalton replacing their predecessors within two years, we will almost certainly not know who the next Bond will be until 2023. We had to wait three years between Die Another Day and Craig’s unveiling and that was 15 years ago. We are unlikely to see Bond 26 until, at the very earliest, 2024 and personally I would wager it will more likely be 2025. Which means, in all likelihood, Bond in the 2020s will reflect the 2000s as a transitory decade giving way to the next Bond’s debut, and his second movie before the decade is out. Anything more is likely to be very optimistic, and this is even without pandemics or other unnatural global events getting in the way.

The future, however, is not just about who plays James Bond as it perhaps was in many previous decades. The future of the Bond franchise now has many broader questions attached. After No Time to Die, is the franchise ever quite the same? What kind of Bond should the character be? How does he figure into a rapidly changing geopolitical and cultural fabric? A fabric in even greater flux than when Craig assumed a harder edged, stripped back version of the role in the wake of 9/11 and the global ructions of the terrorism threat that shaped much of his Bond era. And how exactly does this uniquely produced franchise continue to exist, and more importantly work to evolve, in an entertainment landscape that increasingly threatens to leave the style of how Bond is made behind?

These, for me, are the questions that will define the discourse around James Bond’s future over the next few years.

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Alias, Episode Reviews, TV

ALIAS 1×01 – ‘Truth Be Told’ (TV Review)

It is easy to forget, for all the subsequent success with the Mission Impossible, Star Trek and now Star Wars mega-franchises, that the pilot episode of ABC’s Alias remains one of the best things producing and show-running supremo J.J. Abrams has ever done. Truth Be Told is a blistering sixty five minute opening to a rare TV show – one which comes on the face of it fully packaged, fully formed, and with a confidence and spring in its step that belies its quiet, low-fi origins. There is more to this package, and how it was created however, than meets the eye.

Think back to 2001. Had anyone heard of Abrams at that point? He was established – a proven Hollywood screenwriter with credits such as Michael Bay’s Armageddon or Harrison Ford vehicle Regarding Henry, not to mention four seasons of teen drama Felicity as a show runner. Those movies were nonetheless famous for their stars and directors, not the glasses-wearing megamind of Abrams bashing away at the words, and Felicity was never particularly that big of a hit – I’m not sure it ever even aired in my native UK, and if it did it went largely unnoticed. Alias was the series which put Abrams, and most of his writing staff, on the map.

The first season of his spy drama races out the gate with fast-paced, stylish storytelling, which crucially never forgets to place character at the heart of every beat, every scene and every plot-twist. Truth Be Told is B-movie, pulp action with significant heart and soul.

That description could characterise Alias in general, in many ways. Abrams starts his story in media res, to quote the Latin; the narrative flashing-forward, introducing us to our protagonist Sydney Bristow, and our star Jennifer Garner, in a deadly situation – captured, speaking in Mandarin, already beaten up, and awaiting some kind of awful horror behind the door of the dingy room she is being held in.

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