Peaky Blinders: Mr Jones (Series 5, Episode 6 Review)

“THE GREEN SHOOTS OF ANOTHER WAR”

Tommy has been on his own personal mission to overthrow facism throughout series five but in a grand finale that chucks the rulebook onto the fire, conventions are also vanquished. He does not emerge victorious, more enemies surround him than ever before and, worse still for most viewers, there is no conclusion to the story by the time the credits roll. It had previously been stated by Steven Knight that series six will continue the story but most people won’t know this information and will undoubtedly feel perplexed, cheated even. The fact that this was different is a positive thing. The impending doom for next time is stronger, the threat more real. We knew Tommy would defeat Lucas Changretta last time out, now he’s defeating himself. It’s a bold move and one that pays off in sixty five minutes of television that should go down in razor gang based TV folklore. Hardly a crowded field admittedly.

‘Mr Jones’ is more in keeping with where the first two episodes seemed to be heading. It is by no means perfect but the end just about justifies the means. While the third, fourth and fifth episodes were rivetting they lacked a certain edge. Virtually every minute here though is engrossing as the tension slowly builds. From Tommy’s first face to face meeting with Winston Churchill (who looks suspiciously like Neil Maskell with Play-Doh as make up) to a tense four stage meeting in the Garrison which was literally extraordinary.

Michael and Gina issue their plans to take over the company only to be on the recieving end of Tommy’s glacial stare. These are the moments Peaky Blinders shines most. The tension is palpable and made worse by a rogue Barney making a rude interuption. Then the plan is revealed to a disbelieving audience. The tiredness and strain etched on Tommy’s face is clear to see. All the awards should go to Cillian Murphy who has inhabited Tommy for ten post war years and gets better with age. The serrated edges of his character have grown even sharper than his cheekbones. This is akin to watching an immersive play. You’re right there in the room with him. Just be glad you’re not or he’ll shoot you in the face like he did with poor Mickey the barman. A grass for sure but certainly not the dreaded black cat.

What follows is a moment fans have been waiting two years. When Tommy mumbles “I have to go to Margate” we all knew instantly didn’t we? Sure enough, a few seconds later the dulcet tones of Alfie Solomons call out and in mere minutes he makes his presence felt. “How soon did you know that I was not dead?” he asks. “You wrote me a letter, Alfie” Tommy sighs. He’s daan saaf to ask a favour of his old friend / nemesis which is odd because Alfie has continuously stabbed Tommy in the front which is why he got shot in the bleedin’ face. Was it precient that their shoot-out was off kilter? He cant be back from the dead it wasnt confirmed he had departed. Was his return just for the fans or integral to the plot? The truth is we won’t know until 2021.

As for Mosley, he’s been a bit quiet up until now but that peace is shattered at his rally by a double dose of Idles. In a perverse television mash up, Love Island gets mentioned at a fascist convention but things are set to get more mad as everything goes so spectacularly tits up it’s best described with Ron Burgundy’s “well, that escalated quickly” meme. As Alfie’s boys start rioting, Barney is shot dead, Aberama is knived 284 times and Arhur is nearly killed. Again. The scope and ambition is remarkable. The direction, music and performances unite to create visual and aural poetry.

Alas, the disappointments show through right at the end as unresolved arcs slap us in the face. Most should be continued in the next run but for a second time the war with the Billy Boys is reduced to nothing. They offer no threat here and when things kick off Jimmy McCavern just watches on. The biggest bugbear throughout the run has been the apparitions of Grace showing up left right and centre, willing him to suicide. We get it, we don’t need reminding. Don’t overkill the dead. We’re left with Alfie’s dream coming true. Tommy in a field with a horse nearby and a gun to his head, Grace being the metaphorical trigger. Was it real? A dream? A drug induced fantasy? Guess what? We won’t find out until 2021.

Peaky Blinders mark five has challenged itself to evolve and has done so with great success for the most part. If the plan is to take the Shelbys up to the second world war then it seems the seven series timeline is well behind schedule as we’ve only just been to 1929. Fuel your own film rumours if you wish. Whatever happens, now is the time to keep faith in Steven Knight and Tommy Shelby.

A LITTLE PEAK:

– Polly has lost Aberama on the eve of their wedding. Her vengeance on Tommy will be lethal.

– “I got shot in the face by some c**t” Alfie always has a way with words.

– Billy Grade’s sketchiness has a different perspective now.

– On that note: Finn! You had one job!

– Did Alfie betray Tommy again? Is he responsible for the killings at the rally? Common sense would say no as you’d think he’d want Mosley dead too.

– Arthur’s time always feels up. Will he get out alive and leave the gang?

– A big shout out for the editing of music in tonight’s show including when the maid turns the radio on and Idles kick in and the juxtaposition of ‘Land Of Hope And Glory” over the montage of everyone with opposing views. How very 2019.

Peaky Blinders: The Shock (Series 5, Episode 5 review)

“A CONSEQUENCE OF GOOD INTENTIONS”

It turns out Polly’s aim with a bullet is as pinpoint as her sass and rumours of Linda’s death have been greatly exaggerated. There’s a strange hate directed at Linda in the fandom and many will be up in wound free arms. Strange, because all of Arthur’s toxic actions are overlooked mainly because he’s a man, but thats a debate for another time. Meanwhile, Doctor Tommy is quick on the scene to apply his own medical style. A stunned Arthur, who by now is begging for the kindness of death is thankful. “I saved his life, he hugs him” Pol bemoans with a knowing look almost to camera. In the end, Linda says her goodbyes on her own terms and it looks like this really is the last we’ll see of her.

So what of Oswald Mosley who, to prove the point, is more popular than Linda? He takes it upon himself to grand stand on Tommy’s platform. His diatribe is full of slogans such as “change is coming” and “false news”. It also went on way too long so there’s another comparison to today’s political escapades. There’s also an odd moment where he eyes up the swan (honestly, it did happen) that jars because his impassioned speech continues but his lips stop moving. It’s obviously meant but somehow looks like a mistake in the edit. Either way, Mosley looks to have the upper hand. “Drink less” he orders Tommy as he walks out of the room but this is a spur for him to down a few in one go. That’s their relationship to a Tee (well, a whiskey).

What most sets Peaky Blinders apart from other shows is the music but setting two sex scenes to a song from Radiohead’s ‘Ok Computer’ is a brave move even by its own standards. The claustrophobic sounds of anguished guitars and distressed vocals as Oswald watches himself in the mirror and Tommy lays Lizzie down as an act of power play are about as sexy as dipping your genitals into a beehive. But then, hopefully that’s the point.

Ben Younger gets his reluctant hands on the evidence of a criminal network as supplied by Tommy. The claim earlier to his wife that he’s only doing it to get favourable terms on defence contracts is pretty transparent. Lizzie and Ada see the heart beating underneath. “Don’t listen to my sister’s opinion of me. They are always hopeful, therefore always wrong” he tells Younger, a man who will never get older due to the small matter of a bomb going off in his car. In an instant two lives are gone and so too might be all the evidence. Tommy running into the street to save the children amid the debris is an affecting moment made more heartbreaking as Tommy follows the hearse of the young boy killed at a grand funeral he clearly paid for. The scene is set to Joy Division’s ‘Atmosphere’. Hardly an original choice, it might even have been a respectful nod to the Ian Curtis funeral from the film ’24 Hour Party People’, but flipping hell it was powerful.

In another inspired Steven Knight twist we suddenly find ourselves in a mental asylum with Tommy to meet an old friend. The whole set up as he’s getting searched and walking to the cell is deliberately designed to build up the hope with every footstep that Allie Solomons is behind the door. It’s actually Barney Thomson who we’ve never met before but he fought the war with Tommy ten years previous. It serves as a reminder where Thomas and his brother could end up. What starts as an attempted mercy killing ends up in potential assination. A plan is hatched to free Barney from his padded cell resulting in a gleeful “IT’S FUCKING WEDNESDAY!

For an episode which had a bomb explosion, awful sex, Arthur going physco with a gun and a prison escape the pacing still feels on the laboured side. That’s not to say it was bad, far from it, it just feels like a new era for the show and shows must always evolve. For any new slight flaws there will always be new positives and the mix of dialogue heavy scenes and action sequences must be a difficult balancing act.

As things stand we now have the plan in place. The Billy Boys and Oswald Mosley are in Tommy’s sights and the war we were promised looks to be back on again. To quote the Black Sabbath tune at episode five’s denouement: “Evil minds that plot destruction /
Sorcerers of death’s construction“. Indeed Ozzy, indeed.

A LITTLE PEAK:

– Artistic license has always applied to Peaky Blinders, historically speaking. Mosley lived until 1980. Will the sniper miss?

– Arthur’s gun toting lunacy at the London docks felt a bit forced and fan servicey.

– “He’s in the mood for a quarrel”. Perhaps the most obvious thing said about Arthur ever.

– “Don’t scare me by saying you see things in my face” Tommy can’t hide from Lizzie even if he wants to.

– Michael and Gina have gone very quiet which is disconcerting.

– Alfie gets a mention when Tommy refers to him in the present tense. Is he really alive? Is Alfie part of a back up plan?

– Has Tommy been his own black cat all along and does that mean he’s trying to not walk in front of himself?

“I don’t think it’s really flour” Nothing gets past Curly.

Years And Years (Episode 5 Review)

The jollities of new year have never been so forced as the Lyons family see in 2028. There’s blackouts, digital crashes, bomb explosions and floodings. It’s also a case of old acquaintance not being forgot for a family struggling in the aftermath of Daniel’s death. There is no resolution in sight for them.

The main wonder of Russell T Davies’ script, other than it’s warmth and humanity, is that you never know where it’s going to go next. The beats to the story are so unpredictable that it verges on disorientating and that’s probably the point. The surreal feels uncomfortably real.

It’s not just the main arcs that keep viewers on their toes, it’s in the little flourishes too. Like Muriel and Celeste’s unlikely and strange companionship, or Rosie’s hilarious run in with customer services. It must be said that Ruth Madeley is on top form here.

New Prime Minister Vivienne Rook has declared a housing emergency and anyone with two spare bedrooms has to legally house those in need. Edith is sidetracked by a search for “The Disappeared”, humans that have got lost to the state and her cynical mind won’t believe it’s a myth.

Stephen is a shadow of the man he was five episodes ago. Loss has turned his soul bitter. Loss of money, loss of marriage and in a powerful scene with Viktor, loss of empathy. His principles are in tatters as he joins his friend and Hong Sha denier Woody and chances upon Rook gloating about concentration camps and genocide like it’s a chat over the water cooler. Sending Viktor to the newly named “erstwhile” are the actions of a man gone rogue and yet Rory Kinnear plays all the rough edges so well there’s a sense the nice, moral man is still inside and redemption next week could be possible.

Bethany is coming into her own and in a closing twist could become an unlikely saviour as the living embodiment of a phone and tablet. She’s literally an all seeing eye and teams up with a poorly Edith to carry out a break in. Will we find out what was in those papers? As a superhuman with the truth about Stephen at her disposal, Bethany could prove to be a superhero in the finale. Russell T Davies probably has other ideas..

Liar (Episode 5 Review)

While last week’s effort was in no way mediocre there was a worry that exposing the liar at the halfway stage left the story with very little life left. With hindsight, the trip to Scotland was used as a measure of Laura’s last attempts to get justice through honest means. So far things have had at least two feet set in reality, concentrating on emotions and personal politics first and foremost. Episode five ups the heightened drama element it has mostly avoided. This is not meant as an insult or an implication that what happens in the closing stages couldn’t occur in real life, it’s just the foot has well and truly been put on the pedal.

Everything about the penultimate showing is exaggerated from what has gone before. When the music isn’t even more tense, it’s soaringly beautiful. As for the direction, the claustrophobic intensity grows. The camera lurks in even more distant places. Spying on proceedings from around further flung corners, windows and tables. It’s like they want you to feel like you’re spying in on conversations you shouldn’t be. A voyeur on other people’s misery. It works in a forty five minutes that surprises.

Who knew that an umbrella could cause so much distress? Due to Katy leaving one in Tom’s car and their stories not matching, Laura is told about the affair. It’s something that was expected to be said next week but like Scotland trip, the betrayal of a sister and an ex-boyfriend is used as an explanation for the actions Laura undertakes. The GHB  in Tom’s hand last week proves to be a red herring. rather than going ahead with the plan to plant the drug in Andrew’s locker, Laura resorts to the bottle. Earlham continues his charm offensive, with emphasis on the word offensive. Like everything else, his darkness takes a new level as we discover he has films of all his crimes. What’s the betting some viewers will still inexplicably think he’s innocent?

DI Harmon discovers there are abrasions at a baby scan (‘Abrasions At A Baby Scan’ sound like a long lost Smiths song title but let’s not get distracted) and asks to be tested for any GHB in her system. Despite it not showing up Vanessa knows exactly what has happened to her and who the man responsible is. It’s a chain of events that results in permission to track Andrew’s car being granted. Let’s overlook the logistics and go with the flow because it’s worth it.

This is where a psychological drama turns to an almost Michael Jackson level of thriller. OK, so there are no dancing zombies but Laura has a nefarious master plan. She tricks Andrew into a drink and while he’s unguarded slips GHB into the man’s bloodstream, bundles him into his car and takes him down to the baron marshes. The justification being that she will lie to make sure her attacker is sent down. She will claim he kidnapped her. Why? Because telling the truth got her nowhere. It’s a twist curvier than Kim Kardashian’s backside and in a tale that has already preached of the injustices in a system designed to make victims suffer more, makes complete sense. The tone may have changed but the elements of the message remain the same.

The stand off at the marshes (this has turned into a Morrissey lyric generator) between Andrew and his most recent targets should, in theory, be the moment he is arrested. Having stated that he’s been drugged to the DI, he claims that he can’t be arrested with the GHB in his system. While this may be factually correct, how would one person’s word be construed as fact, especially when faced with the law? Surely anyone could claim that. Robbed a bank? “Sorry guys, there’s still a bit of GHB in my system.. laters”. As we know only too well, the law is an ass and so is Andrew, who walks away without denying his crimes and one hundred percent confident he will evade punishment.  His SD cards might prove to be his downfall but with limited time left, Liar has cliffhanger and a two year wait written all over it. 8/10

 

 

 

 

Doctor Foster (Series 2, Episode 5 Review)

One near attempt at murder, two attempts at suicide (one of those assisted), a kidnap and a child running away. That’s an impressive CV of a finale which will likely disappoint many for the sole reason that everybody gets out alive. As far as we know. Those gearing up for a fatal battle royale between Gemma and Simon were ignoring the heart of what made series two tick. Tom was the epicentre of the storm and by running off, the adverse weather has moved direction.

Simon wasn’t run over which is just as well because Gemma’s, let’s say, pyrrhic victory would have been for nothing. If there is a next series it’d be based in the courtroom and no one wants that. With incredibly fast feet Simon dons Gemma’s stalking capabilities from three episodes back by showing up at the hotel, the house and then a restaurant where his estranged wife and son are eating.  The language is violent and contradictory. There is talk of stabbings and choking one moment and reconciliation the next. Simon’s grovelling is desperate and Bertie Carvel uses it to perfection. You never quite know how much of it is genuine regret or how much is still the mind games of a man who can’t stop lying.

As for the mind, it can do funny things. We get lots of flashbacks to supposed happier times between the Fosters though it’s not stated if this was while he was seeing Kate. The purpose of this is not quite clear. Is it to set up a potential reunion in a severe case of better the devil you know? Is it better to live with the lies than be without them?

In a masterfully shot scene, Simon plays with the traffic but as mother, father and son stand by the road it’s a lottery as to who will get out alive. Gemma wrestles with him by the road and for one moment it looks like Tom wants to run in front of a car to stop all the nonsense. You wouldn’t blame the kid. An agreement is reached, which is potentially the first time that can be said about these two. Gemma agrees to leave drugs in the hotel room for her nemesis to end his life. More impending dread of courtroom scenes flash before us as Gemma’s fingerprints would have been all over the offending stuff AND she left a note of instructions. Talk about leaving a trace.

While trying to kill off her ex-husband there’s a fantastically awkward breakfast where Tom, never one to mince his words says “we’re all just sitting here feeling like shit”. The poor waitress perseveres and at the very least deserved a tip for her troubles. Tears over bacon aside, Simon’s split personality is still in action as truths come out. We get the big reveal of what exactly he told Tom to turn him against his mother. In fact, it’s not a big reveal at all. After all the hype it’s simply mentioned in passing and is an example of how the show balances the epic and the mundane well.

It subverts how you expect everything to play out. The different levels are part of what makes Doctor Foster tick. One moment Gemma is saving Simon from the traffic, next she’s assisting in his suicide and then ultimately talking him out of the suicide she agreed to lend a hand in. It’s bluff after bluff and this shit just got real. The running agenda in this series has been the consequences of actions and the fallout is finally upon us. As a lesson learnt it’s the ultimate act of cruelty writer Mike Bartlett has dished out.

There is a truce of sorts but the great tragedy is that it comes literally minutes too late. As Mr and Mrs Foster leave things on fairly amicable terms (both alive and not swearing at each other) Tom is roaming free having done a runner from the car park. Again, there’s the dread he’s thrown himself onto the road as if taking inspiration from his dad but it’s another false alarm. He leaves a phone message about living his own life: “You’ll never see me again” he promises, “I hate myself”. Words uttered not long before by Simon. Like father like son. Narrating the closing seconds, Gemma states “whatever fight you thought was important now looks so naive” as weeks and months go by without any trace of her son. She even breaks the fourth wall and talks directly to the camera which is disconcerting at the least and takes the viewer out of what is a deeply emotional moment. You don’t need to worry about Suranne Jones seeing you eat Pot Noodle while sat in your pants.

It is both a satisfactory end to Doctor Foster and a hint to what’s next. Should there be another series there would need to be a good twist on the standard missing child programmes we’ve had so much of lately. If any show is capable of breathing fresh and somewhat bizarre life into old topics then it’s this one. 9/10

Doctor’s notes:

• At no stage must the two of them get back together romantically. If there is a future for Doctor Foster then there can’t be a future with them as a couple. An uneasy alliance would work though.
• Sian wasn’t a bad sort in the end though it’s always difficult to trust overly smiley people.
• James. Poor James. The glutton for punishment got dumped and should probably count his blessings
• Is Tom at Anna’s new home? Or at least in touch with Anna?
• Will Tom come back to Parminster in two years time with a wife and kid and set about on a vengeful mission to oust his mother from town? If so, does that mean Parminster is stuck in a never ending time loop of insanity? It would explain a lot.

 

 

Reviews Of ‘Victoria’ By A Jenna Coleman Fan Who Hates Period Dramas AND The Monarchy – Episode 5

 

First and foremost, let’s get some admin out of the way. I know my army of admirers  are chomping at the bit for reviews of episodes three and four (er.. well two people asked).  I haven’t been able to do them these last couple of weeks but fear not you two, I will retrospectively review them when I get time which means I’ll have to watch even more Jenna. The things I do for you, eh? Before the series races.. or plods over the finishing line I considered it wise to get up to date. So..

If curious looking shrubs aren’t your speciality then don’t worry, you will still find something of interest in the show that is unexpectedly beating Poldark in the ratings. Its success can be put down to a number of things: The lavish production and Jenna’s impossibly sexy nose are clearly high on the list but ultimately it is the romance that has won Britain’s heart. While Ross broods moodily at Demelza, Victoria is now gazing lovingly at a man that isn’t Lord M. Period drama AND romance? Britain loves that kind of shizzle.

After a sneaky snog in the garden area (not a euphemism), the personal politics starts  all over again. Albert wants a title and £50,000 a year so not to feel like Victoria’s servant (I’ll take that job if it’s going thanks) but the privy council despise her choice of partner because not only is he German but he also has a Catholic relative. The scandal. There is a more lighthearted feel this week and many great lines. “What is wrong with being German? If you go back far enough my entire family is German” Victoria protests to a calm Melbourne who retorts “public opinion is not known for its logic ma’am”. The M-meister is on form again when she claims “At least I know Albert doesn’t have any secrets”. His nonchalant “No, well that usually comes later ma’am..” is cutting but polite. Tonight we said goodbye to our favourite Whig and it was a little bit heartbreaking. He kisses a farewell to the Queen on her cheek and the tension between the two is still palpable.

While on a visit back to his homeland, Albert is taken for a jolly day out by his brother Ernest.. to a brothel. Sure, we’ve all been to a brothel with our brother, right? No? You’ve clearly not lived. Ernest has good intentions though bless him, he wants his virgin brother to gain “experience”. Last present I got my brother was a CD. Different times I suppose. Albert reluctantly chooses a lady of the night but the love for his wife to be proves too strong and he chooses not to sleep with her. Strangely though, he asks her to write down instructions on how to be good at sexy time. Diagrams would’ve been handy, no?

Back at Buckingham Palace, on learning that her father had a mistress, our Queen is getting paranoid about Albert’s intentions. She believes that he wants the money to look after his bit on the side but she doesn’t know that he’s not even interested in his bit on a plate. It does play well with the naivety of her age because it is easy to forget that she is eighteen and new to all this. Naturally they sort it all out in their own little way and the wedding is still go. But we’re not really interested in that are we? We want to cut to the wedding night and it does so pretty swiftly. Victoria waits nervously on her bed, frillies on, waiting for Albert to come through her door (sorry). When she asked him if he wanted any Madeira I wasn’t the only one thinking..

And why not? It might give the boy some stamina. They look at each other, kiss lots and it’s quite hot to be honest but typically the credits roll and we will never know if he suffered from a case of premature hierarchy or not.

An entertaining episode for sure but it still can’t disguise certain flaws. Away from the main thread there is still nothing going on in the secondary story lines that is of any interest. Penge has a love interest and that creepy guy is hassling the palace staff but it’s all very bland. As for the romance between Vic and Al, it feels decidedly hurried especially after we had three episodes of ‘Vicbourne’ and by the end of Albert’s second he has taken her up the aisle. Off camera probably. Nobody needs to see that. My biggest concern lies in the depiction of Victoria herself. Why is she being solely defined by the men in her life? We’ve had five hours of smitten puppy dog eyes and sighing which is fine by me because.. ya know.. but what about her achievements away from her love interests? I hope the series explores other dimensions to her as a person but remain cynical about it happening.

Lame of Thrones

The oddest choice for an opening shot this week with a CGI image of a palace that looked like a painting. They then cut to them outside a palace that was real. Why not just do an exterior shot of the actual palace? It adds a sense of unreality that is not in keeping with the show.

I really fancy some Madeira cake right now

Jenna perv count

Victoria: “Do you find me much changed?” Albert’s internal monolgue: * Well, your boobs look a lot bigger ma’am*

The director that keeps getting Jenna to roll around on the bed while reading letters deserves a pay rise. And a BAFTA. Somebody make a GIF of this and quick.

More wet Jenna. This time in a bath.

Albert: “The only person I want to please is you” Victoria’s internal monolugue: *SQUEEEEEEEEEE*