There’s a mesmerizing moment in the Rivals finale when the fiery Declan O’Hara gives an impassioned speech about the power of television. He praises its power “to bring us together, to give us a glimpse into the lives of others, to bring new ideas into our homes.”
If only real TV executives had such zeal. Unfortunately, with few exceptions, they seem quite happy to fill our screens with mediocre quizzes, overloaded soaps and half-baked cooking shows. (Ice cream and caviar? No thanks, Gregg.)
For the best modern drama see the streamers – Slow Horses on Apple, Shogun on Disney+ etc.
Ironically, this is the most addictive series of the moment Rivals (Disney+) itself, a playful comedy drama set in the midst of a 1987 TV franchise war. On one level it’s utter nonsense – it’s broad, nasty and often in bad taste; but it’s also engaging and funny, a soapy romp, like Dynasty crossed with a country squire’s confessions.
Disney’s lavish adaptation of Jilly Cooper’s 1988 bestseller packages, featuring snobbish, salacious and off-color comments that would horrify Gen Z bed-wetters.
We get Rupert, a lecherous minister who also wants his Kate and Edith. Lord Tony, a nasty, vengeful and adulterous TV boss. Declan, a hard-drinking, short-tempered Irish psychopath/TV interviewer biased enough for Channel 4 News; and finally Danny Dyer as self-made electronics millionaire Freddie, with a scene-stealing wig.
Strong female characters include Cameron Cook, a smart, successful American producer improbably recruited to the joys of regional television in fictional Rutshire, a county where fidelity is a mission impossible, sex a missionary improbability, and you wouldn’t on trusting that some of the key players would stay. get married at a bus stop.
Yet there is enough warmth, vulnerability and character development to keep you hooked. Even the womanizer Rupert is reformed by Declan’s probably innocent, wide-eyed daughter Taggie.
There are, of course, the inevitable fuss about Margaret Thatcher: the makers ditch the 80s soundtrack and play The Clash’s 1977 single White Riot (written under a Labor government) over Maggie footage.
There is also – spoiler alert – a full frontal nude tennis scene. I suspect a whole bunch of these are probably already in development at C4.
For a less comedic look at backstabbing, ruthless ambition and reckless red tape, Industry (BBC i player) is the score to beat. Creators Mickey Down and Konrad Kay make this fictional look at London’s tough financial sector believable and utterly compelling. Marisa Abela and Myha’la Herrol excel in a fine cast.
A BBC It is often said that science’s strong suit is popular science, even though they make very little of it and much of what they do make is obscured. Brian Cox’s Solar system (BBC2, Monday) treated us to fantastic views of lakes of liquid methane on Titan, Saturn’s largest moon. He explains our neighboring planets in gentle, soothing terms. Just like in 2010. The CGI is good, the music is compelling, but it’s all painfully slow. The dreamy atmosphere is closer to a meditation tape than real science. Don’t you wish he could go a little deeper? And faster?
Elsewhere we had Halloween. Isn’t that strange? Mainstream television ignores Trafalgar Day, snubs St. George’s Day and shows only one variety show each year, top-heavy with imitative pop acts, and yet we spend an entire week on imported American rhubarb.
The circus started with ‘Halloween Week’ Come strictly dance (BBC1, last weekend) where poor Dr Punam Krishan danced a tepid terminal tango. Judges Craig Revel-Horrid and Anton du Beke came as the twin sisters Grady from The Shining, which was truly disgusting, and Motsi Mabuse dressed as Cruella de Vill. Claudia outdid them all by coming out as herself.
Strictly has gone to pot. I preferred it when you could look at the celebrity and their partner and know which was which without the help of Google. The best thing about this current series is Chris McCausland.
Generation Z (Channel 4, Sunday and Monday) was another zombie drama, this time with side agendas from Brexit And Covid. A mysterious virus that emerged from a truck turned old people into flesh-eating monsters. “That group had the best this country had to offer and they ruined it,” we were told. Yawn.
The evil horde, including Anita Dobson and Sue Johnston, was fun, but the venture lacked bite, originality and crucial humor. It was more of a predictable polemic than the “darkly comic” satire we were promised. Still, you might have enjoyed it if you hadn’t seen The Walking Dead, The Last Of Us or vampire horror The Strain.
There was quite a bit of laughter The Simpsons: Treehouse of Horror XXXIV (Sky Showcase, Sunday) a three-part special where Bart turned into an NFT, a Silence Of The Lambs parody and everyone in Springfield mutated into Homer due to radioactive exposure. They’ve been making these annual horror compendiums since 1990, spoofing everything from The Shining to The Twilight Zone, and show no shortage of ingenuity. But for real horror we needed Rachel Reeves’ tax-raising, growth-destroying budget. No one in the cabinet has ever run a company. Asking them to come up with a coherent economic policy is like asking Ann Widdecombe to write season two of Rivals…
Hammer: heroes, legends and monsters (Sky Arts, Thursday) was a must-see murderous delight for horror fans, featuring gorgeous talking heads ranging from John Carpenter and Tim Burton to Caroline Munro and Madeline Smith. A real Halloween treat.
Finally, the underrated Paul Ross interviewed the late Sir Norman Wisdom Norman Wisdom: A Life (Talking Pictures, Sunday); a beautiful nostalgic documentary that reminded us of the time when comedy didn’t have to come with a degree in metaphysics. Charlie Chaplin predicted that Wisdom would follow in his footsteps in 1950. He was right. Norman’s first major film, Trouble in Store, broke box office records, and its plaintive theme song, Don’t Laugh at Me, was in the Top 10 for months.
He had a continuous string of movie hits until 1966 and more than 18 million people watched him BBC TV pantomime Robinson Crusoe.
Wisdom’s slapstick had universal appeal and won him fans as far away as South America and Albania, where they erected a statue to him: the little man, the working class zero, who beats all odds.
We could use a modern equivalent. The old days were the old days and they were great, but what have you got for us now?
Random TV irritations: wimpy, lazy TV ‘satirists’ who cannot (and never will) address this cluster fudge of a government… Craig and Anton dressed up as schoolgirls on Saturday night television…EastEnders writers’ addiction to blackmail… and Brian Cox’s obsession with mileage – why? Most viewers still think in kilometers. At least translate the measurements on the screen.
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