Tv

Alien: Earth is wantonly disrespectful to the canon

I once spent a delightful weekend in Madrid with the co-producer of Alien. His name was David Giler (now dead, sadly, I’ve just discovered) and he’d hit upon the bizarre idea of trying to get my anti-eco-lunacy book Watermelons made into a Hollywood movie. The film project never came off but I did learn an important lesson in our time together, hanging out in nice restaurants and pretending to work: if you want a happy life cushioned from financial care, the secret is to wangle yourself percentage points of a successful franchise. Another example of this is Franc Roddam, with whom I once spent an even stranger weekend in Accra,

I love how awful My Oxford Year is

The punters are saying My Oxford Year is a disaster. ‘Predictable, uninspiring and laughable,’ complains some meanie on Rotten Tomatoes. But they’re missing the point. My Oxford Year may be a work of accidental genius, but it’s a work of genius nonetheless. You will squirm, you will laugh derisively, you will cringe. By the end, though, you will be forced to admit that you secretly enjoyed every moment, for this is the very examplar of a so-bad-it’s-good masterpiece. You know it’s going to be awful from the very first frame: a still representing the bookshelf of our handsome, clever and poor heroine Anna De La Vega (Sofia Carson) who has

Worth watching for Momoa’s gibbous-moon buttocks alone

If you enjoyed Apocalypto – that long but exciting Mel Gibson movie about natives being chased through the jungle with (supposedly) ancient Mayan dialogue – then you’ll probably like Chief of War, which is much the same, only in Hawaiian. Like Apocalypto, it even has sailing ships appearing mysteriously from Europe with crews that serve the role of dei ex machina, rescuing endangered native protagonists at key moments. This time our based-on-a-true-story hero is Ka’iana, the 18th-century Maui chieftain who succeeded in uniting the four warring island kingdoms (Oahu, Maui, Molokai and Lanai) and turned them into the kingdom of Hawaii. He is played by Jason Momoa – to you,

The demise of South Park

President Trump has a very small willy. His boyfriend is Satan. He’s a con man who will sue you for billions on the flimsiest of pretexts but will probably settle for a few hundred million. If this is your idea of cutting-edge satire then you are going to love the new season of South Park, which includes a number of scenes of Trump stripping off in his White House bedroom and trying to interest the devil in his minuscule appendage. But if I were Paramount+ and I’d just signed a $1.5 billion deal for the exclusive five-year rights to South Park, I think I’d be feeling a bit shortchanged by

The NHS is to blame for Bonnie Blue

Channel 4’s documentary begins as the ‘adult content creator’ Bonnie Blue (real name: Tia Billinger, 26, Derbyshire) prepares to beat the world record of men shagged in 12 hours. Spoiler: she beats it, raising the bar to 1,057, though she was a bit nervous that no one would show up. You might wish to see her cry – because you despise her, or because you need some sign she’s human – but the worst she suffers is a nasty flu. It does somewhat clarify things to discover that Bonnie Blue had been an NHS financial recruiter Bonnie Blue was prohibited from selling the tape on OnlyFans – the porn website

The power of BBC’s The Narrow Road to the Deep North 

It’s been a good week for fans of TV dramas that are set partly in Syria, feature poetry-lovers confronting extreme violence, like to keep their viewers in the dark (sometimes literally) and have main characters with Australian accents (sometimes accidentally). But there are also significant differences between the two examples on display – with The Narrow Road to the Deep North the much more sombre and The Veil the considerably more bonkers. Adapted from Richard Flanagan’s Booker-winner, The Narrow Road began in Syria in 1941. Through what would prove the programme’s characteristic murk, a group of Australian soldiers led by one Dorrigo Evans could just about be seen rescuing a

None of Mitfords sounds posh enough: Outrageous reviewed

There aren’t many dramas featuring the rise of the Nazis that could be described as jaunty, but Outrageous is one. Oddly, this seems to be the first ever TV drama about the Mitford sisters – and, faced with the choice between playing it for laughs, going for a big historical soap opera or exploring the increasingly dark politics of the 1930s, the show’s writer Sarah Williams has, perhaps wisely, opted for all three. At times, admittedly, the clash of tones can be jarring, but generally in a way that feels like an authentic reflection of a story that remains irreducibly weird. The show also strikes a neat balance between acknowledging

The vicious genius of Adam Curtis

In an interview back in 2021, Adam Curtis explained that most political journalists couldn’t understand his films because they aren’t interested in music. Having known a fair few political journalists, I can say with some certainty that he was right. Most politically motivated types are – not to be unkind, but it’s true – total losers. This cuts across left and right, all ideologies and tendencies, from Toryism to anarchism to Islamism and back: whatever you believe, if you believe it too strongly you were probably a weirdo at school. The other kids went out clubbing; you stayed at home, drawing pictures of Lenin or von Mises on your satchel.

Style, wit and pace: Netflix’s Dept. Q reviewed

Can you imagine how dull a TV detective series set in a realistic Scottish police station would be? Inspector Salma Rasheed would have her work cut out that’s for sure: the wicked gamekeeper on the grisly toff’s estate who murdered a hen harrier and then blamed its decapitation on an innocent wind turbine; the haggis butcher who misgendered his vegetarian assistant; the Englishman who made a joke on Twitter about a Scotsman going to the chippy and ordering a deep-fried can of Coke… It would get lots of awards, obviously, but I doubt it would do that well in the ratings. As with Slow Horses, this is about enjoying the

Channel 4’s Beth is a sad glimpse into the future of terrestrial TV

On the face of it, Beth seemed that most old-fashioned of TV genres: the single play. In fact, Monday’s programme was the complete version of a three-parter made for YouTube and excitedly announced as Channel 4’s first-ever digital commission. A less excited interpretation, however, might be that it was Channel 4’s first sign of surrender to the hostile forces of streaming now threatening all of Britain’s terrestrial networks. Either way, it was a peculiar watch that, over the course of its 36 minutes, felt less like a fully fledged drama than notes towards one. In a nervous bid to ensure YouTube viewers were gripped before they could search for something

Excruciating: Sirens reviewed

You had a narrow escape this week. I was about to urge you to watch Sirens, the latest iteration of that fashionable genre Ultra-Rich Lifestyle Porn, currently trending on Netflix. But luckily for you I watched it right to the end and got to witness the whole edifice collapsing like a speeded up version of Miss Havisham’s wedding cake. Normally, this doesn’t happen. Like most critics I have neither the time nor the work ethic to view a TV series in its entirety before putting in my tuppenny-ha’penny’s worth. I just assume that if something starts well or badly it’s going to continue that way. Not Sirens, though. It’s as

Why is the BBC making stuff up about Jane Austen?

Jane Austen: Rise of a Genius began by saying that ‘getting into her mind isn’t easy’ – something you’d never have guessed from the rest of the episode, where both the narrator and the talking heads were able to tell us exactly what Austen was thinking and feeling at any given time. Like many Austen biographies, this one laments her sister Cassandra’s decision to burn most of her letters, but then takes full advantage of how little we consequently know about her to portray (or possibly make up) a woman whose attitudes are spookily close to its own. In a previous era, this might have meant presenting Austen as a

Those remaking Threads mustn’t soften the horror

I was 11 years old when I saw the mushroom cloud go up but this wasn’t Hiroshima or Nagasaki in the 1940s – it was Sheffield in the 1980s. I was one of nearly seven million people who sat down on the evening of 23 September 1984 to watch a BBC drama called Threads, written by Barry Hines. For many viewers, choosing to watch this film about a nuclear attack on Britain turned out to be an epochal decision. Threads begins as a kitchen-sink drama, focused around a young couple in Sheffield. The realism of their lives is deftly blended with a documentary narration, making everything seem as real as

If you are of a certain age, you’ll really enjoy Tina Fey’s The Four Seasons

The Four Seasons is one of those shows you notice in the ‘Top TV Programmes on Netflix’ section, see it’s some kind of glossy romantic comedy starring American actors you’ve vaguely heard of, and skip past quickly in search of something with zombies or subtitles. This would be a mistake though because, at least if you are of a certain age, you’re really going to enjoy it. I think the litmus test is whether you’re old enough to remember the 1981 Alan Alda film on which it is based, which I do, just about, vaguely. It’s that kind of movie where a bunch of old friends who have been holidaying

Better than Hollywood: Netflix’s The Eternaut reviewed

‘Next time you do a review, you’ve got to find something you like. You’ve been far too negative,’ said the Fawn. ‘Well, it’s hardly my fault if everything on TV is crap at the moment. I can’t just call up good stuff to order,’ I said. ‘Try,’ said the Fawn. Luckily – and unwontedly – Netflix has come to my rescue with a dystopian sci-fi series called The Eternaut. Though I’m not totally convinced by the name – a conflation of ‘eternity’ and ‘astronaut’ – it’s a very enjoyable watch, which confirms, yet again, Delingpole’s Iron Law of Television: always go for the shows with subtitles. This one is from

Confection of sex, bad history and nonsense: Apple TV+’s Carême reviewed

Antonin Carême was known as the ‘chef of kings and the king of chefs’. His patrons and employers included Talleyrand, Napoleon, the Prince Regent, Tsar Alexander and the then richest man in France, James Rothschild. He popularised the tall ‘toque’ hat worn by chefs; he either invented or perfected culinary classics including the vol-au-vent, the profiterole and the mille-feuille, as well as sauces including velouté and béchamel. All this he managed to achieve despite having come from a desperately poor background, raised in a shack in revolutionary France and sent off as a young lad to help make ends meet as a kitchen boy and later as apprentice to Paris’s

How come the only Palestinians Louis Theroux met were non-violent sweeties?

Louis Theroux: The Settlers was never likely to be a programme with much of a narrative arc – and so it proved. In the first 30 seconds, Louis put it to a Jewish householder on the West Bank that his house was ‘quite deep in what are called the Palestinian Territories’. ‘You call it the Palestinian Territories,’ the man replied. ‘I call it the heart of Judea.’ And that, on the whole, was that. Louis travelled from one Jewish settlement to another, doing his best to challenge the inhabitants with his faux-naif questions and impressive range of quizzical expressions. And yet, of course, none of them budged an inch. The

How fun is it being part of an Amazonian tribe? 

Tribe with Bruce Parry ran for three fondly remembered series in the mid-2000s. Now, upgraded to Tribe with Bruce Parry, it’s back, still championing traditional ways of life – including that of a TV presenter who lives among remote peoples, takes loads of drugs with them and marvels at their closeness to nature. Sunday’s episode featured some other age-old practices, too. Parry, for example, duly travelled up an Amazon tributary to a village where the locals were initially suspicious of ‘the white man’. He then won them over by mucking in with the chores and eating plenty of insects and grubs. His companions this time were the Waimaha, who live

Dope Thief is a cut above your usual inner-city crime-drama porn

I really had no interest in watching Dope Thief. It’s another of those crime dramas set in a bleak-looking city – possibly there are some pretty parts of Philadelphia but we only get to see the bad bits – where everyone seems to be on welfare or a drug dealer, or both, everything looks washed out, grimy and grey, and where you could die horribly any second. And I get quite enough of all this on my increasingly rare trips to London. But I was desperate. I’ve finished the second season of Severance (very good; definitely worth the effort); White Lotus will only see you through one night a week;

Netflix’s Adolescence is seriously flawed

Bradley Walsh: Egypt’s Cosmic Code may sound like a pitch by Alan Partridge – but, impressively, the programme itself manages to be even odder than its title. Naturally, Tuesday’s opening episode began with Bradley emphasising that his interest in Ancient Egypt long predates his signing of the contract for the show. Indeed, it was back when he was an apprentice at Rolls-Royce that he first realised ‘whoever built the pyramids, it certainly wasn’t the Ancient Egyptians 4,500 years ago’. Sharing his scorn for this discredited idea was Tony McMahon, an ‘investigative historian’ who showed up now and again to say bonkers things in an authoritative and sonorous manner. Given that