Wednesday’s “Universal acquires Bates Motel, Joanna Page joins Breathless and MTV’s theme park drama” news

Film casting

  • James Caan and Louis Gossett Jr to star in Fighting Man

Trailers

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New US TV shows

US TV casting

  • Oliver Cooper joins Californication, Michael Gill promoted on House of Cards

New US TV show casting

Charley says: watch out for rabies

Inspired by Scarfolk, the English town that still lives in the 1970s, this week we’re starting up a new feature on the blog: Charley says.

The 1970s was a terrible time, of course, where the risks to people from everything from electricity cables to water to other people could not be overstated. It was horrifying. Particularly the rabies.

To save the public from these threats – and themselves – the British government authorised a series of public information films designed to scare the living daylights out of anyone who watched them. And each week, I intend to scare the living daylights out of you with a public information film or two – watch them, as they might just save your life.

This week: Rabies. Beware. The threat is still there, you know, and if you aren’t scared shitless, you haven’t been watching. And that means death for you (unless you watch the third movie – you’ll be sound as a pound after that).

The BarrometerA Barrometer rating of 5

Third-episode verdict: Orphan Black (Space/BBC America)

In Canada: Saturdays, 9e/6p, Space
In the US: Saturdays, 9/8c, BBC America

What ho! Time to revisit the verisimilitude vacuum that is Orphan Black, which I believe is supposed to be the US and Canada’s revenge for Brits and Aussies getting all the leads in proper TV shows, but which merely ends up showing why that’s the case. Here we have a couple of Canadians, whose attempts at English accents have got worse over the space of just three episodes to now resemble those in Mary Poppins, pretending to be brother and sister ‘street kids’, the sister assuming the life of a woman physically identical to her in order to get some cash, escape her drug-dealer boyfriend and, eventually, escape from someone who’s trying to kill her. Along the way, she discovers that there are more women who look just like her and before you can say “Really? It took you three episodes to get to that point when it was in the trailer and it was obvious in the first episode?”, she discovers she’s a clone. Whose clone, why she was cloned, how she was cloned and why all her fellow clones are being killed off, we’ve still yet to find out.

Well, you guys still watching will, because I’m giving up at this point. It’s not just the terrible accents, I should point out here, which are now like fingernails on blackboards. It’s not just the attempts at English slang (“I’ll kick the shite out of you.” Are you northern now, love?). And if I were 18 and had never seen a sci-fi conspiracy theory thriller before, either on TV or at the movies, I might be of a different mind.

But watching ‘street’ kids who would probably have been stabbed to death years ago in real life, outsmarting even cops they now work alongside, while a never-ending, unconvincing parade of new clones is shoved across the screen is just not my thing. Again, if I was 18, I’d probably think this was brilliant. Maybe not, but I might. But having already seen much better, more exciting, less stupid, funnier and better shows, some even involving clones and conspiracy theories (Timeslip and A For Andromeda. Hell, even The Island was better, the first half about 1,000 times better. Clone, however, was worse, I’ll give you that), this feels like a great big witless waste of time.

I don’t care about the characters; I’m not interested in them either: central clone Sarah is dumb, her other clones are just annoying, and the evil one is ridiculous; her brother, Felix, was comic relief for all one episode, before becoming the guy who gets the plot told to or runs around getting into trouble. None of the supporting characters work and are all too stupid to live. And the central clone conspiracy is being dragged out for so long that I can’t tell if it’s interesting or not. There aren’t even hints, beyond the existence of the clones. It might turn out to be the most interesting conspiracy theory ever, but at the moment, we’re only just being told there are clones and heaven knows how long it will take to spin out whatever gossamer-thin premise the writers have planned. In terms of tension and intellectual stimulation, “How did they do that shot with those clones?” is as far as it goes. And when you’re more interested in the details of the SFX than the plot, you know the show is ungripping to say the least.

So I’m dropping it. If you’re 18 or so, do feel free to carry on watching, though.

Barrometer rating: 5
Rob’s prediction: I’d like to say it’ll be cancelled before the season is out, by suspect it’ll go on and on, particularly if there’s a cliffhanger at the end of the season  

Tuesday’s “Da Vinci’s Demons begins well, Heather Graham joins Californication and Supernatural characters return” news

Film casting

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UK TV

Review: Doctor Who – 7×9 – Cold War

Doctor Who - Cold War

In the UK: Saturday, 6.15pm, 13th April 2013, BBC1/BBC1 HD. Available on the iPlayer
In the US: Saturday, 8pm/7c, 13th April 2013, BBC America

Mark Gatiss is a fanboy. This will probably come as a surprise to you only if you’ve never heard of Mark Gatiss before. Otherwise, this should be known to you.

A member of the League of Gentlemen (a troop of horror-story loving fanboys), Gatiss first appeared in the realm of Doctor Who writing some of Virgin’s range of New Adventures books that emerged following the cancellation of the original series. Then, after writing and starring in some of the Liz Shaw spin-off P.R.O.B.E. stories, and some of the Big Finish Doctor Who and Sapphire and Steel audio ranges (he’s an S&S fanboy, too), he came to write some Doctor Who TV episodes: The Unquiet Dead, The Idiot’s Lantern, Victory of the Daleks and Night Terrors. He’s also written fiction that pastiches 19th century fiction, hosted and contributed to documentaries on some of his favourite fanboy subjects (Nigel Kneale, Hammer horror), adapted and starred in HG Wells’ The First Men In the Moon and being a Sherlock Holmes fanboy, too, it should come as no surprise by now for you to hear that he’s one of the show runners and writers for Sherlock.

A fanboy, then. Clear?

The biggest problem facing fanboys in general and Mark Gatiss in particular is originality. It’s all right when you have something to adapt and something to riff on, but actually coming up with good new ideas is actually terribly hard for the fanboy. It’s no surprise therefore that whenever Gatiss writes anything, it’s usually slight variations on an existing, familiar story, with knowing references to other things thrown in and some sort of Important Obvious Metaphor thrown in for good luck.

By now, it shouldn’t surprise you when I tell you it was Gatiss who suggested to bestest Sherlock pal and Doctor Who show runner Steven Moffat that they should do a story feature the Ice Warriors, just about the only popular old Who monster that the new series hadn’t featured. Nor should it surprise you that our Stevie was a bit dismissive of the idea, thinking they were a bit rubbish looking.

But Gatiss has brought them back, with an Important Obvious Metaphor about the Cold War (hence, the title) thrown in for good luck. It’s a little bit The Ice Warriors, a little bit Dalek… okay, a lot Dalek, with a big chunk of Alien and just a soupçon of Hunt For Red October on a low budget thrown in. And while it never hit the ‘totally excellent’ mark, by sticking with what he’s best at, Gatiss turned in what’s probably his best Doctor Who yet.

Here’s a trailer.

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