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What have you been watching? Including Deadpool, The Americans and The Tunnel (Tunnel)

It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.

The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever. 

Well would you look at that – back as scheduled. Miracles will never cease.

As usual, though, the networks have carefully timed a batch of new shows to start airing while I’ve been away. I’ll be reviewing them in the next few days, but hold your horses on discussing Animal Kingdom (US: TNT), Private Eyes (Canada: CBC), Feed The Beast (US: AMC; UK: BT Vision) and Cleverman (Australia: ABC; UK: BBC Four) until then, if you’ve seen them.

After the jump, I’ll be looking at the season/series finales of Arrow, The Flash and The Tunnel (Tunnel), as well as the dwindling regulars (won’t someone give us some good new TV, please?): 12 Monkeys, The Americans, Game of Thrones and Silicon Valley. Surprisingly, despite my reduced viewing list, one of these is for the chop because I can’t even.

Before that, though, I’ve seen not one, but two superhero movies!

Deadpool (2015) (iTunes)
Ryan Reynolds in the first of Marvel’s adult-oriented superhero movies, here playing a mercenary who gets given mutant powers at the cost of his good looks, so tries to get the Brit scientist/kickboxer who experimented on him (Ed Skrein from The Transporter Refueled and Game of Thrones) to undo the damage so he can get back his girl (Morena Baccarin from Firefly and Homeland). But as well as his looks, the newly-christened Deadpool also loses his sanity – for some reason, he thinks he’s in a superhero movie and chooses to satirise anything and everything about it, as well as talk to the audience he thinks is watching him…

Although not as funny or as daring as it thinks it is and saddled with a conventional revenge plot that all the storytelling tricks in the world can’t cover up, Deadpool has a lot going for it, particularly its potty mouth, and meta jibes at Ryan Reynolds and the X-men. You’ll laugh at about half the jokes and there are scenes that will stick with you for days afterwards. But its own critiques (“It’s almost like the studio couldn’t afford more famous stars”) reveal the film’s biggest problem – it’s subversive enough that the studio wants to keep it safely confined in a box away from the rest of the franchise, unable to play with the big boys. Also, Gina Carano is wasted in a small role, which makes me sad. 

But you can’t really knock a superhero movie that has its lead masturbating with a toy unicorn, now can you?

Spider-Man 3 (2007) (iTunes)
Somehow I missed/couldn’t be bothered to watch the third of the previous (but one) Spider-Man movie franchises, but with another on the way, I figured I’d watch all the old ones (not including the Nicholas Hammond 70s TV show) just to see how they compare. Here we get Tobey Maguire’s Spider-Man finding (yet again) it’s hard achieving a work-life-superhero balance, and despite wanting to marry girlfriend Mary-Jane Watson (Kirsten Dunst), ends up neglecting her. Then, he discovers that the man (Thomas Haden Church) who really killed Uncle Ben has escaped from prison and acquired the power to turn into and shape sand. And best friend James Franco has discovered Peter Parker is Spider-Man and wants to get revenge for the supposed murder of his father (aka The Green Goblin). Just as Peter’s at his lowest ebb, he attracts the attention of an alien symbiote who turns his costume – as well as his soul – black…

Weirdly, despite its rep, I found this to be the best of the lot – Spider-Man 1 & 2 do not bear up well, despite my having found them reasonably good at the time, and The Amazing Spider-Man is astonishingly dreary and uncompelling. While the ‘Venom’ subtext is a little clunky and the character itself a bit rubbish, the story actually takes novel turns, with forgiveness and doing good lorded over violence and darkness (take note, DC Comics). 

Utterly meaningless if you haven’t seen the first two movies, mind.

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The BarrometerA Barrometer rating of 2

Third-episode verdict: The X-Files (season 10) (US: Fox; UK: Channel 5)

In the US: Mondays, 8/7c, Fox
In the UK: Mondays, 9pm, Channel 5. Starts February 8

When old TV shows get revived, whether it’s Burke’s Law, Knight Rider, Charlie’s Angels or Full House, all everyone cares about is whether the Olsen Twins, John Forsythe, David Hasselhoff, Gene Barry or Bob Saget are going to be back on our screens as the characters they played in the original. Then it’ll be proper.  Then everything will be okay.

What almost no one seems to care about but probably should far more is whether the people behind the scenes are back, too. The reason you loved that TV show in the first place? Almost certainly not just the cast, but the characters, the dialogue, the plots and the mise en scène of the original, none of which were down to the cast. True, new blood may be able to recreate or even better the original – such as with Battlestar Galactica – but chances are, what you need is those creative talents back in the production hot seat.

That’s certainly what we should have been paying more attention to with The X-Files. David Duchovny’s back! Yay! Gillian Anderson’s back! Yay! Mitch Pileggi’s back!… (Check’s IMDB)… Yay! 

Sure, that’s great. But is what we’re going to get more like Ronald D Moore’s remake of Battlestar Galactica or James Dott’s remake of The Invaders? The devil’s in the authorial details.

A while ago, I posted a rant arguing that the UK needed more TV shows with longer season lengths because that was the only way we could train up writers, give them experience and give them a career pathway. Who cares if they turned in work that might not be great at first – in a season of 13 or 24 episodes, who’d remember the occasional duff one or who wrote it, I argued.

Now that’s true for the novice writer just starting out in a sea of other writers, turfing out the meat and potato filler episodes. But when it’s the showrunner? Oh, you remember when he turns in duff ones, because they’re the special episodes, the ones reserved for advancing season arcs, expanding characters, redefining shows and so on.

And so it is with Chris Carter, creator of The X-Files. He chose to write the first episode of this tenth season to bring Mulder and Scully to our screens, and if it wasn’t clear from the original series and all the series he’s tried and failed to run since, it was clear from My Struggle I that he got a bit lucky with The X-Files. Because it was dreadful. Just distilled essence of ridiculousness. I was half-inclined never to watch another episode ever again.

But as I pointed out in my rant, longer season lengths give writers a chance to learn the ropes and give them a career pathway, so they can go on to create things themselves. It’s worth perusing the IMDB list of writers given their break and training on the original The X-Files, since many of them have gone on to become the great and the good of TV and film writing and show running. Vince Gilligan? He created Breaking Bad and Better Call SaulAlex Gansa? Homeland and 24. James Wong? The Final Destination series. Howard Gordon? Legends, 24, Homeland and Tyrant. Frank Spotnitz? The Man in the High Castle and Strike Back. The list genuinely does go on. And proves me right.

So the question we should have all been asking ourselves is whether these guys were coming back to write for the show. Thankfully, the answer is yes, because once we got past Chris Carter’s mythology-laden, brain-warping, conspiracy-mad first episode, we got straight down to old school X-Files again with Founder’s Mutation, thanks to James Wong.

Yes, everyone’s a bit older now and you get away with showing ickier things on screen, but this was proper X-Files, with a ‘weird thing’ of the week to investigate, Mulder and Scully doing their usual routine, and all manner of scary events happening, in proper Wong style. True, if there was an explanation as to how Mulder and Scully got their old jobs at the FBI back, I missed it (is there an FBI reserves list or something?), but despite the best part of two decades having passed, everything was the way it should have been.

Episode three gave us Darin Morgan’s effort. While Morgan hasn’t really set the world on fire with the shows he’s produced since The X-Files (Intruders, Those Who Kill, Fringe, Bionic Woman, Night Stalker), his are probably the best remembered episodes of the show’s original run, since they were the funniest: Clyde Bruckman’s Final Repose, War of the Coprophages, and Jose Chung’s ‘From Outer Space’. And he didn’t let us down with this year’s thoroughly amusing Mulder & Scully Meet The Were-Monster, a script 10 years in the making apparently, with Mulder looking back with middle-aged eyes at previous cases, only to realise most of them were scientifically explainable, so reluctantly trudging off after Scully to investigate a lizard-man and bumping into Kumail Nanjiani (Silicon Valley) and Rhys Darby (Flight of the Conchords, How To Be A Gentleman) in a Kolchak: The Night Stalker straw hat along the way.

Often hilariously funny thanks to both the writing and Anderson and Duchovny’s performances – has Anderson actually laughed on-screen since The X-Files? I don’t recall her doing so, but it’s a very welcome sight – with dozens of nods to fans along the way, it reminds you how good The X-Files could be, and how many imitators have come, failed and gone since the show aired through being unable to recapture the show’s essence.

So writers – good. Get good writers and your show will be good. QED.

Unfortunately, we’ve three episodes to go in this ‘limited series’ revival of the show and while one’s written by Morgan, the other two are written by Carter. Oh oh. I get the feeling the final two episodes are going to be rubbish. 

That means that it’s a hearty thumbs up from me for at least half the series and a worried look to the horizon. Make sure you watch the episodes Carter hasn’t scripted, since they’re the good ones; the others, I leave to your discretion.

PS My, don’t Mulder and Scully both look young in the title sequence?

Barrometer rating: 2
Would the show be better with female leads? No
TMINE’s prediction: Ratings are holding up, talks are under way and with the cast willing and able, the limited series format might just prove a sufficient draw for viewers to keep coming back

Preview: Billions 1×1 (US: Showtime)

Billions

In the US: Sundays, 10pm ET/PT, Showtime. Starts January 17
In the UK: Not yet acquired

Back when Suits started on the USA Network, it was a refreshingly strong show about lawyers that took a different tack from most legal dramas – it almost never ventured into the courtroom. Instead, it was all about the moves and counter-moves that lawyers made outside the courtroom to force their opponents to concede without the cost and randomness of a trial. Unfortunately, over the years, Suits‘ real-world chess-playing fell by the wayside, in favour of relationship-based drama and comedy, but the first couple of seasons were hugely enjoyable pieces of Machiavellian manipulation.

A little known fact about Suits is that originally, it was going to be about investment bankers. The show did eventually venture into that realm, where it was clear there was a very powerful pecking order in the world that made those legal eagles look like mere sparrows.

Of course, there’s a group of people who make investment bankers look like wrens in the scheme of things: hedge fund managers. Managing billions and potentially worth billions themselves, depending on how you look at them, they’re either the oil that prevents the wheels coming off the modern financial world or sociopaths that destroy others purely for their own personal gain.

Billions is a show that gives us Suits to the max, in that a pits a hedge fund giant (Damian Lewis) against America’s top lawyer, the district attorney (Paul Giamatti) in a chess match that would make even Harvey Specter balk. Lewis is a genius of analysis, both of figures and people. He’s made billions by knowing how to combine the two, deducing who’ll do what, why and how to invest accordingly. He’s also worked out how to play the PR game – he may be worth billions, but he’s given hundreds of millions to 9/11 charities and the families of all his co-workers who died during that tragedy. 

There’s also a very strong chance he’s made at least part of his fortune through insider trading.

In turn, Giamatti has been raised since birth by his lawyer dad to think through every move and counter move white collar criminals might make. He knows whom to prosecute, when to prosecute and what it’ll get him, and he knows how to play the PR game, too.

When an SEC official brings evidence to Giamatti that Lewis might have broken the law, Giamatti has to decide whether now is the time to take down Lewis or whether he’s finally met the man who’ll break his undefeated prosecuting streak. The best legal chess match in America is about to begin.

But while Billions is in many ways an excellent drama that has all the best qualities of Suits in its heyday, with smart people doing smart things to outwit each other, it’s also just a little too Showtime for its own good.

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What have you been watching? Including Beowulf, Rebellion, 100 Code, Endeavour and American Crime

It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.

The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever. And if you want to know when any of these shows are on in your area, there’s Locate TV – they’ll even email you a weekly schedule.

Things have got off to a quick start in the TV land, all over the world, with new shows airing this week pretty much everywhere the TV industry still has a budget (so not Canada these days). Elsewhere, I’ve reviewed the first episodes of Cooper Barrett’s Guide to Surviving Life (US: Fox) and Byw Celwydd/Living A Lie (UK: S4C), the first three episodes of The Shannara Chronicles (US: MTV) and previewed next week’s Idiotsitter (US: Comedy Central); and while I haven’t reviewed their latest episodes, since I couldn’t be bothered to carry on with them after Christmas, I did give you a flavour of Telenovela (US: NBC) and Superstore (US: NBC), both of which started in earnest this week. 

After the jump then, the regulars, including Grandfathered, Limitless, Supergirl and episode four of The Shannara Chronicles, as well as the return of American Crime, Man Seeking Woman and Endeavour, and a special guest reappearance by The Grinder.

But I did promise you reviews of a few other new shows, and while I didn’t manage to get round to Deutschland 83 (you can ask Walter what he thought of it – he can probably ask you about Spin, too, which is on More4 right now), I did manage to watch the rest, as well as a couple of surprise guest new shows.

Beowulf: Return to the Shieldlands (UK: ITV; US: Esquire)
If it’s on ITV, unless it’s a crime drama, period drama or period crime drama, you can be about 95% sure it’s going to be rubbish, and Beowulf: Return to the Shieldlands does nothing to disprove this rule. ‘Based’ on the Anglo-Saxon epic, in the sense that it has a few characters with the same names, it sees famed warrior Beowulf (Kieran Bew) return to ‘the Shieldlands’ (no, not Scandinavia) to mourn the death of his dad, Hrothgar (William Hurt, who seems to be doing a lot of UK TV at the moment). Unfortunately, all manner of beasties, including the ‘terrifying’ Grendel are lurking around Hrothgar’s halls, so Beowulf and his Danish lothario mate are going to have to get out their swords and give him a stabbing.

In just about every sense possible, this is woeful stuff, ranging from the lack of fidelity to the original through to the Primeval-level special effects. While the colour-blind casting that gives us both Supergirl/Homeland‘s David Harewood and Numbertime‘s Lolita Chakrabarti is in a sense commendable, it’s a little jarring given quite how early it’s set. And if you are going to spend your time being ahistorically politically correct, don’t spend your entire time justifying it as though it’s just turned 1974 and the first female doctor in your hospital has just turned up; also, if you are going to cast an Indian woman as a fifth century AD blacksmith, can you at least hire an Indian woman who looks like she spends all day working iron?

Although Grendel is a little bit creepy at a distance, it’s too boring to be a good fantasy show, too PC to be a realistic historical drama and just too badly written on any terms and too badly acted to qualify as any kind of drama. Go and read the poem instead.

Rebellion (Ireland: RTÉ One)
While last year saw Australia and New Zealand celebrating their birth as nations in the cauldron of Gallipoli with a number of shows, this year it’s Ireland’s turn with Rebellion, a five-part drama that follows the Irish Nationalist movement from the 1916 Easter Rebellion all the way through to the 1919 war for independence. Featuring all manner of famous Irish and Northern Irish actors actually getting to use their own accents for a change (including Game of Thrones‘ Michelle Fairley and Ian McElhinney), it’s a show that doesn’t set out to be a piece of propaganda. Indeed, most of those involved in the rebellion seem to spend more of their time fighting each other, cocking things up, debating whether independence would be good and shagging than fighting the English. The show itself also seems more interested in the plight of women at the time than with demonstrating any oppression by the Overlords. But it’s a lavish, well put together piece of work, happy to have parts in Gaelic where necessary, and was good enough to make me want to watch at least the second episode – if only to remind myself of all sorts of history I’d learnt at school but completely forgotten about.

100 Code (Sweden: Kanal 5; UK: Sky Atlantic)
Oh goody. Two mismatched cops chasing a serial killer in a show that uses a veneer of intelligence to mask its exploitativeness. I’ve not seen one of these before. Even the fact it’s set in Stockholm and one of the cops is American (oddly enough, Dominic Monaghan from Lost), the other Swedish (Michael Nyqvist from The Girl With The Dragon Tattoo, John Wick and the best-forgotten Zero Hour and Mission Impossible: Ghost Protocol), isn’t that new. But as with pretty much any Nordic Noir (or even crime story these days), originality isn’t the thing – what surrounds it is more of interest and pretty everything surrounding the central crime of 100 Code is a lot more interesting than YA serial killer. Here Monaghan is doing an Insomnia, screwed up and sleeping drug-taking because he accidentally shot his partner; meanwhile, Nyqvist is desperate to give up being a cop so he can be a security guard and spend more time with his teenage daughter.

But what separates 100 Code from a lot of other shows, beyond its incorrect use of Greek myth, having half the dialogue in Swedish and acting like a Stockholm travelogue the whole time (“It’s the Venice of the North – look at this lovely vista”), is that when it’s not pretentiously exploring its own arse, it’s frequently funny. Monaghan is by no means hard-boiled, getting travel sick in cars, boats, and aeroplanes, and doesn’t know how to drive in Stockholm, so frequently has accidents. Nyqvist’s recipe-centric relationship with his daughter is amusingly quirky. And the Swedes are not taking any sh*t from Monaghan and entertainingly exclude him at every possible opportunity, usually linguistically.

I’m going to keep watching since Peter Eggers (Anno 1790) is in the cast – although since he’s not turned up yet, I suspect he might turn out to be the killer – but also because it’s nice to see Nyqvist demonstrating just how good an actor he is in native language.

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What have you been watching? Including Legends, Dim Ond y Gwir, Arrow, 800 Words and Limitless

It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.

The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever. And if you want to know when any of these shows are on in your area, there’s Locate TV – they’ll even email you a weekly schedule.

Brace yourself – a new wave of TV shows is about to hit us, because we’re about to hit the mid, mid US season, and Amazon and Netflix are busy hitting us with new pilots and new shows even as I type. So consider this a lull. 

Elsewhere this week, I’ve reviewed the first episode of Ash vs Evil Dead (US: Starz) and passed a third-episode verdict on The Beautiful Lie (Australia: ABC), which means that after the jump, I’m going to be talking about the season finale of Arrow, Blindspot, Doctor Who, The Flash, Grandfathered, The Last Kingdom, Limitless, The Player, Supergirl and You’re The Worst, as well as the season finales of 800 Words and Y Gwyll. I also final caught up with the final few episodes of Strike Back

But that’s not all I watched this week. I’ve also watched two new shows: Dim Ond Y Gwir and Legends. What do you mean Legends isn’t new? Well, that’s strangely debatable…

Dim Ond Y Gwir (UK: S4C – available on iPlayer)
Flush with the success of detective show Y Gwyll/Hinterland, S4C has decided to branch out into another genre: the courtdroom drama. Dim Ond Y Gwir (Only the Truth) is a half-hour weekly affair that follows ‘law court workers as they go about their daily lives’. In the first episode, this amounts to watching various ancillary workers man the metal detectors, while someone in the cafe bakes a cake. Meanwhile, up in the courts themselves, we have barrister Rebecca Trehearn dealing with one case when it turns out that the opposite barrister is her ex-boyfriend! Oh noes.

Filmed in Caernarfon where it’s actually not that uncommon for cases to be heard in Welsh, this is a pretty poor affair, with the supposed sexy ex more the kind of guy who sidles up to women when they’re drunk in bars, almost no legal accuracy in the proceedings whatsoever, and the case hinging on whether Trehearn will bother defending her client if she thinks he’s guilty or not (big reveal at the end that has no legal bearing!). The acting is also pretty dreadful, too, and the budget’s probably about £3.50. Sorry, S4C – this one ain’t going to go global.

Legends (US: TNT; UK: Sky1)
So, as we all remember, but are possibly wondering if we imagined it all, Legends was a very sub-par piece of US TV in which Sean Bean was the US’s best undercover FBI agent, a human chameleon able to become whomever he wanted while his NCIS-style buddies back at home base helped him to overcome computer problems and the like, as he assumed a new identity every week. Unfortunately, Bean’s personality might itself be a ‘legend’ and he’s forgotten who he really is. Oh noes.

The big reveal at the end of the first season (look away for year-old spoilers) is that yes, Bean was really MI6 and that he’d lost his memory in an accident. The big problem is that he’s then framed for murdering a top FBI director. Oops. 

‘TNT – Bang’? Not really.

But in between seasons, the show changed showrunner and new boy Ken Biller (Perception) decided not just to change direction but perform a ‘hard reset’ of the entire show. Severely hard. Out of the show are everyone except Bean and Rosewood‘s Morris Chestnut (for a few episodes at least) – even Ali Larter, those cads. The entire show has also moved to Europe and now covers several timelines – Bean’s upbringing at a rather nasty Northern public school in the 70s, undercover work in Prague in 2001 and two modern day storylines involving Bean’s attempts to rediscover his old life in London and a new FBI agent’s attempts to find him through the Prague connection. 

And it’s just the weirdest thing. An almost entirely new show that feels like a British spy show, feels even like it’s been written by a Brit (bar the swearing), but shot US-style. It’s basically Homeland meets The Spy Who Came In From The Cold. I’m still reeling from the changes, they’re so profound. It’s now a really good spy show, although the plot about the radicalisation of young London Muslims is a bit trite, and Bean’s character seems to have forgotten the whole ‘best undercover agent ever’ thing, judging by how much he’s cocking up. 

All the same, despite the absence of our Ali (sob), even if you gave up on Legends the first time, give it a go this time round, since you might as well be watching a new show.

Movies
Would you believe it, I actually had some time to watch a couple of oldish movies, too.

Sherlock Holmes and The Secret Code (aka Dressed to Kill) (1946) (Amazon Instant Video)
One of the great things about growing up in the 80s was that BBC Two regularly used to show all the old Basil Rathbone movies at 6pm of an evening. Which was great. Seeing as Amazon Instant Video has quite a few of them to view for free, I thought I’d give Dressed To Kill a go. It’s basically Conan’s Doyle The Six Napoleons/Blue Carbuncle but with a set of music boxes that a set of villains are trying to get for some nefarious reason. The chief villain is basically Irene Adler except not: an actress who outwits Holmes and Watson, even reading A Scandal in Bohemia and his monograph on cigarette ash to find out Holmes’ methods of operation and turning them against him.

There’s not much detection, most of it being Rathbone just making lucky guesses, but it’s fun and a lot smarter than you’d have thought for something pretty much cranked out post-War in a job lot.

Pacific Rim (2013) (Amazon Instant Video)
One of those movies where you look at who the writer/director is and go, “Really? I mean really?” Basically, Transformers meets the Godzilla movies but with the monster and biological horror that we do actually all associate with Guillermo Del Toro, it sees a bunch of giant monsters emerging from the sea to destroy the world’s cities, but the world at a loss to respond until they think of sticking people in giant robots to punch them to death.

There’s far more action than there was in the most recent Godzilla, it’s got some interesting ideas and it’s got Idris Elba as the leader of the plucky robot pilots, but it’s very silly and to be honest, I’d rather have watched old episodes of Star Fleet instead, as they have more charm.

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Homeland is racist, says Homeland

It’s a problem that affects anyone who wants something written in a foreign language but doesn’t speak the language himself or herself: how do you know what the translator has written is correct? You can get someone else to double-check it of course, if you have the time and budget, but most people just take the first translation and hope for the best.

But, of course, people make mistakes all the time. Or are just untrustworthy.

This sign in Swansea, for example, is a famous illustration of the problem:

A badly translated sign in Swansea

Someone who didn’t speak Welsh needed a Welsh translation so emailed the English wording to the council translation department. They got an email back, assumed it was the translation and used that. Unfortunately, what the Welsh wording actually says is: “I am not in the office at the moment. Send any work to be translated.”

The latest season of Homeland suffers from a similar but differently motivated problem. The series has earned itself a reputation in some quarters as being racist to Arabs. Unfortunately, despite being set in Berlin for the latest season, one scene needed to show a Syrian refugee camp. And the producers thought that meant there would be pro-Assad graffiti on the walls of the camp, so they commissioned some Arabic-speaking artists to write some suitable graffiti for them.

Unfortunately, the artists in question weren’t impressed by Homeland so took a few liberties.

Homeland is racist

For those of you who don’t read Arabic, that one says: “Homeland is racist.”

Homeland is not a series

Homeland is not a series”, “The situation is not to be trusted”, “This show does not represent the views of the artists”.

One of the artists explained to The Guardian: “We think the show perpetuates dangerous stereotypes by diminishing an entire region into a farce through the gross misrepresentations that feed into a narrative of political propaganda.

“It is clear they don’t know the region they are attempting to represent. And yet, we suffer the consequences of such shallow and misguided representation.”

So remember: always get your translations double-checked. Translators get paid little enough as it is, so if you double the amount of work available for them, maybe they’ll all be a bit better off. As will your TV shows.

[via]

Review: Code Black 1×1 (US: CBS; UK: Watch)

Code Black

In the US: Wednesdays, 10/9c, CBS
In the UK: Thursdays, 9pm, Watch. Starts October 29 

CBS is, of course, the king of the police procedural in the US. Police procedurals of all ilks dominate its schedules and the ratings, and arguably it does them better than any other network.

However, for years, it’s tried to extend its procedural dominance into the medical realm, with a seemingly neverending stream of shows that quickly turn out to be low-rated, instantly forgettable one-season wonders: Three Rivers, 3 Lbs, Miami Trauma, A Gifted Man.

In fact, I’ve written pretty much this exact same intro to every new medical procedural CBS has come up with every year, so much so I’m bored of it. Maybe you are, too.

Trouble is, I fully expect I’ll be writing it again next year since CBS’s latest medical procedural, Code Black, is a yawnfest that’s almost certainly going to get cancelled by the end of the season. It’s based on Code Black, a 2013 documentary about LA County General, which is one of the largest and busiest teaching hospitals in the US, employing more than 1,000 residents at a time. The name ‘code black’ refers to when an emergency department’s resources are so overstretched by an influx of patients, it can’t take it any more, and while most EDs in the US only experience four such events a year, LA County General experiences it 300 times a year.

Time for more resources, obviously. Except that wouldn’t make for a great TV show.

And neither would Code Black, in which a whole bunch of competitive, disparate, highly dull medical residents all learn how to be ED doctors at the hands of ‘dad’, aka Marcia Gay Harden (The Newsroom, Damages), ‘mom’ being Luis Guzmán (Narcos), the senior nurse who looks after them all. Harden’s a bit hard and lacking in bedside manner following ‘an incident’ three years previously, something that concerns caring, sharing fellow doctor Raza Jaffrey (ElementaryHomeland, Spooks) but not so much hospital administrator Kevin Dunn (Samantha Who?), since Harden’s abrasive training produces the best doctors.

And that’s it, really. It’s basically ER but busier, not taking the time to do more in terms of characterisation rather than have people explain who they are and how totes awesome they are, before performing perfunctory acts of dickery. It’s just blood on the floor to blood on the floor, while a camera unsuccessfully rushes around to try to convey the impression of the original Code Black documentary. Nice, if you like medical porn, dull if you want an actual drama.

The trouble is if you just rush all the time in an attempt to convey pressure, you’re not going to end up with tension. You’re going to end up with confusion. And then boredom.

The camera goes here, the camera goes there, while the cast mumble their lines or shout them so that you never hear them. All you’ll really know most of the time is that people are ill and the doctors are trying to help them. Learn much about the US medical system from it all? Grow to love a character? Probably not.

There are scenes, almost all of them involving Dunn, where the show is allowed to breath and for characters to grow. But they’re few and far between, and sometimes oddly positioned, such as when Dunn starts talking about his eczema in the middle of surgery, to emphasise the point that people are spending too much time on characterisation and need to get back to some advanced doctoring.

But, ultimately, Code Black is just procedure with very little human interest. See you back here next year with the intro?