Category Archives: TV

Doctor Who: 'Closing Time' Review

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,… or Two [Cyber]Men and a baby.

In my eyes Season 5 of the new Doctor Who was a weak and uninspiring slog, and easily poorest series since the show returned. But there was a real diamond in the rough; ‘The Lodger’.

Gareth Roberts’ adaptation of his own Doctor Who Magazine comic strip was a joyful, warm-hearted and spirited comedy episode that I loved to bits. So when it was announced that he would be penning a sequel I was pretty excited. But did he deliver? Well, yes and no,…

The Doctor is on a farewell tour, flitting around the universe to catch up on events and experiences that he’s missed out on over the years. He knows that death is on its way and he’s going to make the most of the time he’s got left. Which includes, it seems, a visit to his old mate Craig – now the proud but overwhelmed father of baby Alfie (or Stormageddon; Dark Lord of All, as he likes to be known).

But, this being Doctor Who, The Doctor’s flying visit is derailed by his discovery of Cybermen stalking around the ladies changing rooms at a local department store (ooer!) Cue slapstic monster fighting, Laurel and Hardy level bickering and frolics in the lingerie isle!

Now, for the most part, this episode is a fun and chucklesom romp; it’s Doctor Who; the Situation Comedy. All that’s needed is a wryly named coffee shop, a contractual visit to a bowling alley and a barely plausible laughter track and you’re away!

This isn’t, to my eyes, a bad thing; the programme has been many things in its time – Hammer Horror, surreal Buddhist morality tale, James Bond-esque action adventure – why not a sitcom? It wouldn’t work every week but I’d argue that the occasional flat-out funny episode is no bad thing. I mean it’s not Battlestar Galactica is it?

And it is, indeed, very funny! Matt Smith and James Corden have a brilliant chemistry, with Craig being the straight man to the Doctor’s geeky funnyman. The moment when Craig realises that they’ve been teleported to the Cybership is comedy gold, beautifully played by both. His ham-fisted interrogation of the shop girl had me in stitches.

However, the best lines were handed to young Stormageddon, ably translated by the Doctor – who speaks baby (yeah, right!) “and everybody else?,… Peasants. That’s unfortunate.”

It’s a great script of terrific comic moments and spanking dialogue.

And Cybermen. Damn, I knew you were going to bring them up.

This was not the Metal Men from Mondas’ finest hour. In fact the story would’ve probably worked better without them. All they do is stomp around the place looking mildly pathetic. Their presence is undermined by the revelation that they’re low on juice and low on spare parts. They’re not a fighting force, they’re Dads Army.

Which is a shame because they look wonderful. And the Cybermat is a welcome return from a classic series stalwart. But they’re entirely peripheral to the story and to throw away Doctor Who’s second biggest enemy as, essentially, comedy goons does nobody any favours, least of all the brilliant Gareth Roberts.

So, to me, the story didn’t deliver everything it promised; the comedy was brilliant but the action and threat were sorely lacking. Compared with Craig’s first outing, where his life, his relationship with the love of his life and, ultimately, the fate of the world was in jeopardy,… well this was a bit of a come down, really.

But as come-downs go, ‘Closing Time’ is one I’d watch again.

Made In Chelsea Stars Ollie Locke and Chloe Green Split Up.

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Made In Chelsea stars Chloe Green and Ollie Locke have split up.

Chloe Green joined the reality TV show this month as Ollie’s girlfriend and has said that the relationship could not survive the media spotlight.

The daughter of Topshop owner Sir Philip Green said: “We have split. It was nothing to do with Ollie being bisexual; I was fine with it and so was Dad. He met Ollie and thought he was a really nice guy.”

She also said that “World War 3 nearly broke out” a few times between her and Ollie’s ex-girlfriend Gabriella Ellis.

“It’s fair to say there were some awkward moments and World War 3 nearly broke out when we watched the screening of the first episode.”

However, the two seem to have become friends, Ellis went on to tell GLAMOUR.com: “Yeah, we’re really close friends actually. In the past kind of week or two, we’ve become really close. The show airs nearly a month after we’ve filmed the episode, so now we’ve become really, really close, but you’ll see it happen.”

Dr Who Review: The God Complex

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Hotels. Let’s face it, they’re creepy at the best of times. Pop one into Doctor Who, however, and you’re in a whole world of trouble.

As indeed are Rory, Amy and the Doctor when they check in to The God Complex, the 11th episode of series 6.

The complex of the title turns out to be a floating intergalactic prison that has, bizarrely, camouflaged itself to look like a 1980’s hotel. Inside lives a single alien prisoner resembling a Minotaur who feeds off of the faith of other races. In an effort to feed the prisoner, the complex abducts people from passing civilisations and challenges them with their greatest fears, forcing them to fall back on their core beliefs so that the Minotaur can gobble them up.
Riiiiiiiight.

Okay, as a premise this one barely hangs together… but then again, when has that ever stopped Doctor Who? Baby creatures made from excess body fat, flying sharks, 100ft tall steam-powered Cybermen; it’s all in a day’s work for the Timelord and his chums.

And in this case, it doesn’t matter a jot that the logic of this episode is a light breeze away from falling apart completely. Toby Whithouse’s script is a joyous combination of touching characterisation, creepy imagery, pithy dialogue and genuine emotional clout. It’s a great piece of work and everything I’ve come to expect from the creator of the sublime BBC3 series ‘Being Human’.

Rita and Gibbs are especially well-written and realised. Rita (played by the lovely Amara Karan) conveyed more humanity, sweetness and character in one episode than Amy managed in the whole of Series 5… so you knew she was going to get the chop. Which she did.
Drat.

And Gibbs was another great addition to the Whoniverse – a creature whose main aim in life is to be enslaved by the next passing alien race. “Our national Anthem is ‘Glory to Insert Name Here‘,” he explains. A fabulous idea brought to life by the ever-dependable David Walliams.

But it was the final denouement that really lifted this episode up with the best this season has had to offer. The Doctor finally letting Amy and Rory go after – lets face it – royally screwing with their lives. It was a poignant finale to a rather fabulous episode of Who and I challenge anyone not to have a lump in their throat after seeing Matt Smith all alone in the cavernous TARDIS – the “Lonely God” once more. Sob.

So who does he turn to? Why, Craig from ‘The Lodger’ of course! Next week sees the return of my favourite character from Season 5 (hurrah!) and Cybermen. Let the good times continue to roll…

Downton Abbey, Scorsese's Broadwalk Empire Compete For Emmy Awards.

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Downton Abbey, Mad Men and Broadwalk Empire are all competing for Emmy Awards tonight. The Emmy Awards are the TV equivalent of the Oscars.

Mad Men have been nominated for outstanding drama series, for the fourth year in a row. Jon Hamm is also nominated for outstanding dramatic actor and co-star Elisabeth Moss has been nominated for best dramatic actress, Christina Hendricks and John Slattery are up for the best supporting actor/actress awards.

Kate Winslet and Hugh Laurie are keeping the British side up, Winslet is up for best actress in a mini-series for her role in Mildred Pierce, while the show itself is also competing for the mini-series award.

And Laurie is up against Jon Hamm in the outstanding actor category for his role as grumpy surgeon Dr Gregory House in the acclaimed drama House.

Downton Abbey – which returns to ITV tonight for a second series – is up for the best mini-series category, while Maggie Smith is nominated for her role as the Countess of Grantham. I have filmed a lot for Downtown Abbey, as a downstairs maid, so I am rooting for the cast and crew, who are all lovely.

And British actresses Eileen Atkins and Jean Marsh both received nominations for their roles in the BBC remake of Upstairs Downstairs.

Other shows with nominations are Glee – nominated in a few categories including best comedy – the medieval drama Game Of Thrones, serial killer drama Dexter and the US remake of The Office.
Martin Scorsese’s Boardwalk Empire is also tipped to win big at the awards.

The prohibition era drama is up against Mad Men in the best drama category, while Steve Buscemi is nominated in the same category as Jon Hamm, for the best actor trophy.

The awards, which will take place in Los Angeles on Sunday night, will be hosted by Glee actress Jane Lynch.

BECOME A CHANNEL 4 BATTLEFRONT PRESENTER!

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Channel 4’s Battlefront is on the hunt for a new presenter for it’s webshow on Battlefront.co.uk. As one of Battlefront’s two hosts, alongside last year’s winner, Mawaan, the winner will broadcast the latest news about Battlefront campaigns and events to thousands of online viewers, as well as interviewing celebs about world-changing issues and encouraging viewers to get involved.

So far this year, Battlefront web-vids have featured the likes of Rizzle Kicks, Jason Derulo and Gok Wan, alongside campaign highlights and behind-the-scenes events action. It’s a fantastic opportunity for aspiring presenters who want to make a difference.

To enter, prospective presenters need to make a video of themselves talking about one of this year’s Battlefront campaigns. The winner will be able to sum up the campaign clearly and explain about why they decided to talk about it.

Once the video has been uploaded it will be in the hands of the public who will vote for their favourite. The 10 videos with the most votes will then be presented to our panel of expert judges (from Channel 4, Raw TV and a special guest!) who will decide on a final shortlist of five entries. Entries will be judged on passion, delivery, talent, charisma and how inspirational you are likely to be to young people. The five contestants which best fulfil this criteria will make it to the final stage.

The finalists will be invited to attend a presenter workshop in London on WEDNESDAY 26TH OCTOBER where they will be put through their paces in a number of on-camera tests and challenges designed to show your skills as a potential face of Battlefront.

The competition is open until 12pm on MONDAY 3RD OCTOBER 2011. BUT the sooner contestants enter, the more time their entry will have to notch-up votes! Voting closes at 12pm on THURSDAY 13TH OCTOBER 2011. Visit www.battlefont.co.uk for more details on how to enter and upload your video.

Doctor Who: 'Night Terrors' Review

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After last years’ dismal ‘Victory of the Daleks’, renaissance man Mark Gatiss returns to his writing duties on Doctor Who with ‘Night Terrors’, a straight out fright-fest complete with spooky dolls and a creepy haunted house. Gatiss famously delights and revels in the macabre and the gothic, so “Night Terrors” should be a triumphant return to form…

It wasn’t.

Now don’t get me wrong, ‘Night Terrors’ has a great deal to recommend it. It’s beautifully shot and the art direction throughout is marvellous. There’s a fantastic atmosphere of gloom and mischief in the opening scenes and, at its heart, it has a decent, fairly solid sci-fi idea – a cuckoo in the nest. There was also imagery in there that I’m sure sent many of the nation’s little darlings scurrying into their parents beds, smelling faintly of wee.

But this was not enough to save it.

Firstly, the episode – with its monster in the wardrobe, parent at the end of their tether, ‘alien’ child causing mayhem, random old lady, and love-will-conquer-all ending – gave me a distinct and unsettling feeling of déjà vu. Hadn’t I seen this before? Yes I had, in the Season 2 Doctor Who story ‘Fear Her’.

While not a direct retread, it bore enough similarities and repetitions to make the story feel highly derivative and, as a result, deeply unsatisfying.

And then we have the pacing of the story which was nothing short of bizarre. New-era Doctor Who gives you 45 minutes within which to tell your story. To spend a whole 20 of those minutes on set-up and exposition is a brave move which, in this case, failed completely.

The problem was that the story doesn’t introduce an actual threat to any of the characters for half an hour. HALF. AN. HOUR. In 45 minutes of screen time!

Sure, people were occasionally whisked off to a spooky house but, once there, they roam the halls unmolested and unthreatened. Meanwhile, the Doctor, rather than actually talking to the kid at the centre of the trouble (or realising there was any trouble to be had) has a very long chat and a nice cup of tea. It took him even longer to turn his attention to the obviously dodgy wardrobe and, when he did, he got scared and… had another cup of tea and another long chat with Dad. Are you bored yet? Because I was.

Indeed, no one opens the sodding wardrobe at the centre of the story for a whole 35 minutes, leaving just 10 scant minutes for the Doctor to diagnose the problem, get chased a bit and finally convince the alien cuckoo child to stop throwing silly tantrums. This he does with a cunning combination of yelling at the child (which really works on scared kids, so I understand) and convincing his Dad, who has just found out that his son is a) not his and b) an alien, to give him a hug.

Now that all sounds like a bit of a rant on my part and, indeed, I may be being a little unfair. The aim of the episode was surely to scare the kids silly and I’m sure, in this regard, ‘Night Terrors’ was a roaring success. I’m probably being a little churlish and miserly to expect anything more from it.

But my issue is this. Mark Gatiss is a brilliant writer. A truly, hands-down, brilliant, wonderfully creative mind capable of structured, intelligent and inventive comic drama. So why is ‘Night Terrors’ such a dramatically dull, highly derivative, poorly-paced mess? This is Mark’s favourite show, his dream job, an opportunity that he’s dreamt of since he was a nipper. It should have been brilliant.

And that’s what’s so frustrating.

Doctor Who: 'Let's Kill Hitler' Review

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Doctor Who has never been more bonkers. And there are some who would argue that it’s never been better. After a storming opening run to series 6, I’m beginning to think that they may just have a point.

So, Let’s Kill Hitler. Rory and Amy, impatient at waiting for news of their daughter (the soon-to-be River Song) form a crop circle to bring the Doctor back into their lives. When it works, we’re off into another adventure into Steven Moffat’s, frankly potty, Scottish head. And what does he give us to delight us on a Saturday night? Numbskulls vs. Hitler.

Let me repeat that, just in case it hasn’t sunk in.  NUMBSKULLS vs. HITLER!! It shouldn’t work, it sounds awful, it should be cringe-worthy trash,… but it wasn’t. It was brilliant.

Of course, that was just a side show really. This episode was really about two people, Mel and River Song. Who were, in fact, the same person (keeping up? Not for long,..). Y’see, Amy and Rory have been living with their own daughter since they were children at primary school together. Indeed, their bessie-mate, Mel, was not only young Melody Pond all along, but was also the person who brought Rory and Amy together in the first place (still following? We’ll see about that…). And, of course, she wanted to kill the Doctor. Then Hitler shot her and she turned into Alex Kingston.

Let’s face facts. Even if you put Numbskulls vs. Hitler to one side (Numbskulls vs. Hitler!!), it’s still completely insane.

That it worked was testament to the ‘human’ story at the centre of it all – the rehabilitation of the psychotic River Song into the Doctor’s future missus, and the Doctor’s struggle with his own inner demons (“Is there anybody in the universe that I’ve not screwed up?”). Matt Smith and Alex Kingston put in truly superb performances in this episode, helped enormously by a cracking script that fizzed with energy.

Their intellectual jousting was a joy, with the Doctor disarming every weapon that River could pull on him, but failing to foresee a deadly kiss.

And what of Amy and Rory? Well, we have a lovely bit of backstory early on in the episode and Arthur Darvill gets to put more meat on his ‘action man’ persona after smacking the Fuhrer in the mouth and nicking a motorbike from a Nazi (very Indiana Jones). Apart from that, however, Mr. and Mrs. Pond stay on the sidelines for most of the story – inside robot Amy’s head (I know!).

But that’s the great thing about the rejuvenated Doctor Who, it’s the only show on television that has the balls to be quite this loopy. And I like loopy. In today’s world of dreary crime dramas and celebrity-obsessed talent shows, Doctor Who has become a beacon of light to those of us who don’t want to be talked down to by our Goggle Box. It’s insane, confusing, quick, fun, and it doesn’t make any concessions for people who can’t keep up.

It trusts that you will.

Which makes it the best thing on TV.

Christopher Eccleston: I've Been Hacked, I'm Suing Murdoch & Why I Left Dr Who

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FROST EXCLUSIVE

Christopher Eccleston said today (Wednesday) that he found out he was hacked yesterday and plans to sue Rupert Murdoch. Eccleston added he was looking forward to sticking the boot into Murdoch.

The actor also disclosed that he didn’t work for three years after he left drama school in 1986 and that he left Dr Who because of politics, saying that he didn’t like the culture.

He said:

“I left Doctor Who because I could not get along with the senior people. I left because of politics. I did not see eye-to-eye with them. I didn’t agree with the way things were being run. I didn’t like the culture that had grown up, around the series. So I left, I felt, over a principle.

“I thought to remain, which would have made me a lot of money and given me huge visibility, the price I would have had to pay was to eat a lot of shit. I’m not being funny about that. I didn’t want to do that and it comes to the art of it, in a way. I feel that if you run your career and– we are vulnerable as actors and we are constantly humiliating ourselves auditioning. But if you allow that to go on, on a grand scale you will lose whatever it is about you and it will be present in your work.

“If you allow your desire to be successful and visible and financially secure – if you allow that to make you throw shades on your parents, on your upbringing, then you’re knackered. You’ve got to keep something back, for yourself, because it’ll be present in your work. A purity or an idealism is essential or you’ll become– you’ve got to have standards, no matter how hard work that is. So it makes it a hard road, really.

“You know, it’s easy to find a job when you’ve got no morals, you’ve got nothing to be compromised, you can go, ‘Yeah, yeah. That doesn’t matter. That director can bully that prop man and I won’t say anything about it’. But then when that director comes to you and says ‘I think you should play it like this’ you’ve surely got to go ‘How can I respect you, when you behave like that?’

“So, that’s why I left. My face didn’t fit and I’m sure they were glad to see the back of me. The important thing is that I succeeded. It was a great part. I loved playing him. I loved connecting with that audience. Because I’ve always acted for adults and then suddenly you’re acting for children, who are far more tasteful; they will not be bullshitted. It’s either good, or it’s bad. They don’t schmooze at after-show parties, with cocktails.”

Eccleston also revealed that he should have resisted making Gone in 60 Seconds and that he would have made more money on British TV, He also called GI Joe a “terrible movie.” The star added that he only makes bad movies in Hollywood for the money and would never “shit on his own doorstep.”

He also said that he didn’t want to be remembered, but if he was, it would be for Hamlet.