Every month, TMINE lets you know what TV the BFI will be presenting at the South Bank in London
Only a few TV-related events at the BFI in June this year – maybe they expect us all to be outside having fun in the sun or something. However, there are a few of note.
Probably the most popular (only two tickets per person) will be the preview of the final series of Poldark, complete with Q&A with Aidan Turner, Jack Farthing and Luke Norris. But a close rival will be a screening of Doctor Who ‘classic’ Planet of the Daleks, complete with improved special effects for its Blu-Ray release – that’ll include a Q&A with companion Katy Manning.
Also airing as part of the BFI ‘Bitches’ season will be the complete series of The Life and Loves of a She-Devil and a discussion of Bad Girls that will take in Killing Eve, Clique and other shows. And as part of the LBGTQ+ BFI Flare season, there’ll be a screening of BBC docu-drama Stonewall. For details after the trailers and that She Devil.
Every Tuesday, TMINE flags up what new TV events BAFTA is holding around the UK
April’s nearly done but BAFTA still has some tricks up its sleeve. It’s also got a big bag of shiny things lined up for May, too.
In particular, there’s an entire day dedicated to this year’s Television Craft and Television Programme Nominees, with speakers that include directors, performers, writers and editors. But frankly, I’m too lazy to copy, paste and style that lot up so it’s best if you go over to the BAFTA web site to find out all about most them.
Masterclass: Killing Eve
Saturday, 27 April 2019 – 4:00pm Princess Anne Theatre, 195 Piccadilly, London, W1J 9LN
A chance to hear from BAFTA- nominated members of the creative team behind the hit programme which has received 14 nominations for this year’s Television Craft and Virgin Media British Academy Television Awards.
Masterclass: Documentary with Grayson Perry and Neil Crombie
Saturday, 27 April 2019 – 5:30pm Princess Anne Theatre, 195 Piccadilly, London, W1J 9LN
Hear from the creative partnership behind several BAFTA-winning and nominated documentaries, programme makers Grayson Perry and Neil Crombie, will share their insights on what makes their projects so distinct and what’s shaped the stories they tell.
Off the back of their most recent nomination for Grayson Perry: Rites of Passage, Grayson and Neil will discuss their career to date, the challenges they’ve faced and what they’ve learned along the way.
Inside the Operating Theatre, a brand new 20×60’ series for UKTV’s premium entertainment channel W, offers viewers exclusive access to the busy day surgery unit at Queen Elizabeth Hospital in King’s Lynn, Norfolk.
With cameras rigged across four operating theatres, it provides a unique view of what it’s like for the 75 staff performing around 100 operations a week. They carry out a huge variety of life-changing procedures, from cardiology through to complex orthopaedics.
The team includes everyone from the fastidious cleaner to the most experienced of surgeons – plus a whole host of nursing and surgical staff. Despite the serious moments, there’s plenty of laughter and no one lets a patient go home before they’ve had a nice cup of tea. The series also gives an intimate insight into patients’ lives, meeting them on a day that they’ve been anticipating for months. Their surgery will often revolutionise their quality of life. We meet people hoping to have their sight saved; others desperate for a cure for their chronic pain; and even patients coming to find out if they have cancer.
Inside the Operating Theatre is produced by Brown Bob Productions and builds on UKTV’s popular ‘Inside the…’ franchise, following the successes of Inside The Ambulance and Inside The Vets.
The first episode will be screened and will be followed by a Q&A with UKTV’s Head of Factual and Factual Entertainment Hilary Rosen, Brown Bob Productions Creative Director and Co-Founder Jacqueline Hewer, and Series Producer Audrey Neil.
Monday, 20 May 2019 – 6:45pm Princess Anne Theatre, 195 Piccadilly, London, W1J 9LN
A preview of the new Channel 4 comedy followed by a Q+A with Matt Berry, Freddie Fox, Susan Wokoma, Ben Taylor, Andy Riley and Kevin Cecil.
The series follows Detective Inspector Rabbit (Matt Berry), a hardened booze-hound who’s seen it all, and his new, hapless, by-the-books partner (Freddie Fox). While they’re investigating a local murder, the lewd but insightful adoptive daughter (Susan Wokoma) of the chief of police joins them, becoming the country’s first female officer. Together, the trio must fight crime while rubbing shoulders with street gangs, crooked politicians, Bulgarian princes, spiritualists, music hall stars and the Elephant Man.
Year of the Rabbit is directed by BAFTA-nominated Ben Taylor (Catastrophe) and written by Emmy-winners Andy Riley and Kevin Cecil (Veep).
When The OA first came to Netflix, it was to minimal fanfare. Just as Stranger Things came to us with almost no publicity, so The OA came with a not especially informative trailer and a title and that was about it.
Then, of course, we got to watch them and marvel in projects that at times bordered on genius. The first season of The OA wasn’t exactly plain sailing or without its ups and downs, however. Indeed, it took me a little while to get through all the episodes, rather than just boxsetting them (episode reviews: 1, 2-4, 5-8).
But Brit Marling and Zal Batmanglij’s story about a blind girl (Marling) who disappeared and then reappeared seven years later, her sight restored, and now claiming to be ‘The OA’ (the original angel), was nevertheless a stunningly original piece of work, unlike pretty much anything you’ll see on TV, outside David Lynch’s most auteured piece. In parts supernatural, in parts fairy tale, it was a musing on a musing on the power of storytelling – and of the need to tell stories – as well as of art, music, dance, nature, life, love, masculinity, femininity and more.
The ending, however, wasn’t so much ambiguous as diminishing, suggesting that the whole thing was just made up by The OA based on things she’d seen and read, in the style of The Usual Suspects.
Marling also suggested that she hadn’t even considered a second season and that was that for the story – until the show’s success inevitably resulted in its renewal.
A fairytale sequel
What then for season two – or Part II as it now is? How do you create a sequel to a fairy tale? And how do you do it when you no longer have the element of surprise, as you did with your first season?
As you might expect, Marling’s answer is not whatever answer you just came up with but is something staggeringly different. Indeed, there’s one key line in Part II that sums it up: “I think logic is over-rated.”
And I mean that in a good way, because in terms of ideas, I’d say Britt Marling is the closest we now have to a young, female David Lynch. Or maybe David Lynch is just the older male version of Marling.