Every Tuesday, TMINE flags up what new TV events BAFTA is holding around the UK
We’re not quite into December proper for BAFTA events, so there may be more Christmas delights to come. But we are nearly at the end of November. Is BAFTA slowing down? Not a bit of it – at least in the West of England and in Wales.
TV Preview: The Crown (Episode 6) + Q&A
Monday, 25 November 2019 – 6:30pm Galeri, Caernarfon
Join us for a special screening of The Crown (Episode 6) followed by a Q&A with Mark Lewis Jones, Nia Roberts and others.
Wilson and Elizabeth send Charles to learn Welsh at Aberystwyth University for a term in order to mollify mounting Welsh nationalism. Whilst there, Charles struggles to grasp the true meaning of his title under the tutelage of Edward Millward, a prominent Welsh nationalist who hopes to instil the importance of the Welsh language and identity in his royal pupil. After a fractious start, Charles embraces Millward’s instruction and learns that he has more in common with the Welsh than he had imagined.
Without the knowledge of his parents, he alters part of his speech to reflect his own feelings and asks Milward to translate it. Charles’ speech is a great success, but Elizabeth is angry that he broke protocol and embarrassed the family with his pointed words. They part on unfriendly terms and Charles returns to Cambridge, knowing that his family have no interest in him expressing who he truly is.
The screening will be followed by a Q&A with actor Mark Lewis Jones (Chernobyl, Keeping Faith, The Accident), actress Nia Roberts and others.
Monday, 16 December 2019 – 7:00pm Bristol Old Vic Theatre, King Street, Bristol, BS1 4ED
Join us for a special Tribute event to celebrate DIY SOS’ outstanding creative contribution to television over the last 20 years. DIY SOS will be honoured with a BAFTA Special Award at this event in Bristol.
The DIY SOS on-screen team presenter Nick Knowles, purple shirts’ tradesmen Mark Millar, Chris Frediani, Julian Perryman, Billy Byrne and interior designer Gabrielle Blackman will be in conversation with presenter and broadcaster Nicki Chapman (The Great Garden Challenge, Escape the to the Country) to share insights from the show’s history. The evening will celebrate DIY SOS’ achievements and commitment to improving people’s lives.
During the event BAFTA will honour DIY SOS with a Special Award in recognition of its outstanding creative contribution to television. Through highlighting important social issues the show has had a significant positive impact on individuals and audiences across the UK throughout its 20 year history. The event will celebrate DIY SOS’ popular appeal among the British television-viewing public and its support of nurturing and developing talent within popular factual and entertainment television industry.
Since the first episode aired on 7 October 1999, BAFTA-nominated DIY SOS has become a popular stalwart of BBC One, with average audience figures of 7.8 million for the recent special episodes. Over the years, more than 200 episodes have aired and more than 20,000 volunteers have given their time, completing over £16 million worth of builds.
In the US: Fridays, Disney+ In the UK: Available on Disney+ from March
I’m not sure what’s more interesting: the fact that all the giant US media mega corporations are starting their own streaming services, most of which will inevitably end in closure in a couple of years’ time; or what shows they’re choosing to launch their networks with – and when.
Apple has recently given us Apple TV+. With the likes of See and For All Mankind, it’s a combination of extremely good-looking, under-specced, American-centric TV shows that Apple assumes will be so desirable, everyone will just want them. WarnerBros is launching HBO Max soon, but only in territories where it can’t make money more easily by simply selling the shows to existing networks. CBS and NBC are launching or have already launched streaming services in the US, with no plans of launching them anywhere else.
And now we have Disney+. That’s coming out in phases, with the US first, the rest of the world next year, with the UK getting its bite in March.
What’s on it so far? Pretty much everything that Disney has ever made – the older stuff carrying a warning that it might be culturally insensitive. It’s done that by removing pretty much everything that it’s ever made from other services, including Netflix, in case you were wondering where it had all gone to.
But in terms of new shows, it’s going to be a while before much shows up. Because mock Apple for its four new TV shows all you like, Disney+ has a glorious one new show – one for adults, anyway, and I personally would never have counted High School Musical: The Musical: The Series, simply because of the number of colons in its title.
Naturally, it’s starting with one of its existing franchises. Yes, it’s a Star Wars show.
Not a manatee
Time was when three Star Wars movies was enough. Then we had six – and wished we still only had three. Now we’re on our way to nine movies in the main storyline, the three new ones wiping most of the bad taste of the prequels away, and two others – Rogue One and Solo – just sort of sitting there, hoping you’ll watch them because they have Star Wars in the title.
The Mandalorian sort of sits in the latter camp. Written by Jon Favreau (Iron Man), The Mandalorian is set five years after Return of the Jedi and ostensibly stars Pedro Pascal as a ‘Mandalorian’, a sort of religious bounty hunter who dresses a bit like Boba Fett, but isn’t.
I say ostensibly, because he never takes his helmet off so it might as well be Michael Crawford under there – which is odd because his boss is played by noted film director Werner Herzog, a man you’d normally hire to play a part purely because of his voice, not because of how he looks.
Herzog hires the Mandalorian via Weathers to go and kill a specific target on a desert planet that definitely isn’t Tatooine but might as well be. Off he trots and after bumping into another bounty hunter (voiced by Taika Waititi this time), he finds his target isn’t quite what he thought and ends up protecting him/she/it.