Season Reviews, TV

YEARS AND YEARS is Threads for the digital age (TV Review)

There is no doubt in my mind that Years and Years would have been a catastrophic horror show of a television series had it not been written by Russell T. Davies.

This six-part one-shot series shows just how unique Davies is to the landscape of television, particularly British television. It is, completely, an ‘RTD’ show. It is histrionic and human and warm and silly and dark and messy and filled with characters who are both people you know or have met or exist in your family, yet at the same time only exist in the stylistic world of RTD’s fiction. Years and Years feels like a culmination of Davies’ journey as a writer so far. It has the pain and anguish of homosexual love (Cucumber, Queer as Folk) against a backdrop of repression and fear. It has a global and expansive reach, covering a multitude of social and philosophical points (The Second Coming). It rushes head-long into near science-fiction and almost madcap plots against government villains caricatured at times to the point of hilarity (Doctor Who). It throws a hundred ideas into the pot and while not all of them stick, a remarkable amount do.

The reason Years and Years works, ultimately, is that it is full of hope and humanity at the core of what is otherwise a terrifying existential drama – a Threads for the digital age. Threads was a groundbreaking BBC film produced in 1984, in the dying embers of the Cold War (and pointedly before the Chernobyl accident, so brilliantly dramatised recently for HBO & Sky by Craig Mazin), all about the effects of a nuclear apocalypse on British soil. Though I was just a wild eyed, innocent, unaware two year old at the time, Threads very much stayed with audiences who watched it for a long time, even into the present day; a striking argument for why nuclear weapons should never be used on a civilian population. It was a drama about consequences. Years and Years is the same. I thought at first it was a show about the death of democracy and the erosion of a system we have perpetuated for the last century but, in truth, RTD is writing about the death of humanity in various forms, literal, psychological and allegorical. He is writing about a Western society that is losing, and has very much partly lost, its way.

His hope lies in the central family who ground the entire story, around whom the world begins falling apart. The Lyons family are RTD’s hope, his hope in us.

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Season Reviews, TV

THE CROWN (Season 1): efficient and dignified royal drama

The Crown could well end up being one of the most ambitious, grandiose television projects of the modern age.

Created by Peter Morgan off the back of his successful stage play The Audience, itself inspired by Morgan’s earlier script for Stephen Frears’ The Queen, it intends to depict the entire reign of Queen Elizabeth II from her marriage to Prince Philip in 1947, all the way through to the modern age, across six seasons. Budgeted at £100 million for the first season, already it’s one of the most expensive seasons of television ever produced, with Netflix investing significant capital into a project they’re very confident is going to go all the way. With a second season about to premiere and a third season in the planning stages, The Crown certainly looks as though it’s here to stay, and given how well put together its first ten episodes are, that can only be a good thing.

Morgan has become one of the pre-eminent screenwriters, if not the pre-eminent screenwriter, working in Britain today. He has also been consistently fascinated by the concept of monarchy, particularly Elizabeth II’s still ongoing reign. A decade ago, The Queen entered the public consciousness not just thanks to a stellar performance from Helen Mirren as the ageing monarch, but for depicting the Royal Family’s response to the death of Princess Diana, arguably as signature to the end of the 20th century for British subjects in terms of the Royals as Edward VIII’s abdication was in the early part of the century. Morgan zeroed in on an aspect which played a key role in The Queen, and indeed does in The Crown, for The Audience: Her Majesty’s audiences with successive Prime Minister’s across the decades.

This makes sense. Morgan is equally fascinated by the workings of government, particularly those of British Prime Ministers and the relationship with the United States across the last half century. His scripts have extensively featured Tony Blair in TV dramas such as The Deal and The Special Relationship, not to mention The Queen (played on all occasions by Michael Sheen). This fascination, this welding of government to monarchy and how the two are constructed in tandem, is a central function of The Crown and, indeed, to why the Netflix drama works so well. Morgan delights in making Winston Churchill a fully-fledged, fleshed out regular character (sublimely played by John Lithgow), with his own relationship with the young Elizabeth an important dynamic across the entire season, from a character and thematic perspective.

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