Monday Night Telly: UK vs. US
I make this resolution. I will strive to avoid compound sentences. Each sentence will be short and pertinent. Will this resolution last the duration of this post?
I watch more American telly than British. Most of my favourite shows have come from across the pond. Yet, British television has the superior reputation. Is it deserved? I thought I might experiment with a diary of comparison.
ITV: Whitechapel
Over three episodes, a modern-day killer replicates the crimes of Jack the Ripper. The first two episodes were entertaining enough. The focus was on a fast-track high-flyer given charge of his first case. Played by Rupert Penry-Jones, late of Spooks, he was a stiff, by-the-book, green metrosexual. He took charge of a group of lower-class, non-university educated, gruff old-hands who despised him. Sound familiar? What pulled the show above the tired was the presence of a Ripperologist, played by Steve Pemberton of The League of Gentlemen, who may or may not have a connection to the crimes.
Had I written about this after either of the first two episodes, I would have been more positive. The mystery seemed intriguing and the atmosphere was deliciously dark despite an unbelievably Caucasian East End of London. It was the resolution that was disappointing, on all counts. The characters ended up exactly where you knew they would. The place, which could have been a powerful presence, was just where it happened. There was no real revelation or understanding of the killer. The killer had no point so neither did the show.
BBC2: Moses Jones
In the typical fashion of feast or famine, this three-episode series ran against Whitechapel. It was much less flashy and thrilling, but it was far more satisfying. I say this in retrospect. I watched Whitechapel because I don’t have recording equipment and I can’t get the ITV website player to work. BBC’s iPlayer always works, so I could catch up with Moses Jones online. Even without the handicap, I would have watched Whitechapel first. I grabbed the junk food and left the nutritional meal for later.
The tale told in Moses Jones was one of identity and history, focusing on the Ugandan community in London. Despite being populated almost entirely by those in this community, the London in Moses Jones was much more recognisable than that in Whitechapel. It was rich and noisy and colourful, like the characters and even their names. One of the characters, Solomon, played by Eamonn Walker, is a talented musician. This wonderful, throbbing music he makes features heavily. The eponymous black DI, played by Shaun Parks, is London born and bred of Ugandan parents. He has little knowledge of his heritage. In an act of apparent casual institutional racism, he is charged with investigating a murder in the community of more recent immigrants, like Solomon. He is assisted by DS Dan Twentyman, played by Matt Smith whose name will be known to Doctor Who fans.
The writer has created something fresh. I’ve rarely been asked to think about how much of home immigrants bring with them and how that history can enrich and impede their lives. He also created an exceptional bogey-man in Matthias Mutukula. As much as the tale is about Jones, it is about the cruel tin-pot general and his attempt to relive his glory days. Mutukula’s crimes aren’t outlandish, like the Ripper copier. They are horribly realistic and more frightening for it. There are only two murders. There are multiple beatings which are somehow more shocking, perhaps because one becomes immune to the impact of murder on TV. For example, there is a scene involving Indira Varma that was far more sickening than anything in ITV’s offering.
All the performances are beyond competent. I would note particularly Jude Akuwidike’s Mutukula and Wunmi Mosaku’s Joy. As the prostitute who braves bullying, Joy could have been a complete heart-of-gold stereotype and the credit goes to Mosaku that she’s not. I hope they run this again. I recommend it.
NBC: Chuck
“Sarah and I are never going to be more than what we are right now and I’m okay with that.”
Oh, if it were but true!
Does it make me a terrible person that I want Chuck and Sarah either to shit or get off the pot? I am so tired of each of them moping about the other. It’s boring and frustrating to be retreading the same rut. Yes, it made sense that Sarah shouldn’t get involved with him. It’s too late. She has feelings for him. Realistically, what she should do is get reassigned, leaving his protection to those less vulnerable to his charms. That won’t happen but the writers aren’t, so far, coming up with any sensible way around this.
I’m predisposed to like anything by ex-VM writer Phil Klemmer. Despite the Chuck/Sarah irritation, I did enjoy the episode. I don’t know why Hollywood writers hate the suburbs, but they do. Here, at least, it was done with some wit and style. I loved the Stepford allusions. I also nearly enjoyed the Buymore story although the ending was trite.
Chuck continues to be a show I enjoy but don’t love. If it ended tomorrow, I wouldn’t miss it.
NBC: Heroes
I think Sylar should have been killed off long ago, but he did make me laugh with his “Okay, I’m a serial killer.” I also love the song “Psycho Killer.” (I think I need therapy.) Perhaps I am finally finding his presence tolerable. I am still a little concerned about his relationship with Luke, particularly after he rescued him. I really don’t need to see a Sylar/Luke buddy-buddy story. What I did rather like though was Sylar’s self-analysis on what makes him tick. He needs an objective. If he can resolve his daddy issues quickly, his likely objective will be the hunters. I am interested to see how it works when Sylar and the heroes have a common objective.
Speaking of Sylar, Alex is his brother, right? When Alex turned around in the comic book store, for a second, I thought it was Sylar.
Rebel is one of the people at Building 26, yes?
We now have more flesh on the Nathan/Hunter team. Nathan is supposedly in charge but has not come to grips with his team at all. I did think for a moment that Nathan had at least shown a necessary ruthlessness, but it was the Hunter.
I think the government angle could have been a good one, but it’s not working for me. It’s no surprise that the White House would pass the buck to Homeland Security after the crash and death of agents. What is unbelievable is that the President would have authorised any of Nathan’s activity before he was persuaded of the existence of those with powers. If he was persuaded, why wouldn’t he have told Homeland Security? If he did, why is Abby Collins sceptical? I might perhaps give credit that we had someone senior from Homeland Security who was concerned about constitutional rights. Such characters are normally portrayed as blind to such concerns. Against that plus is the much bigger minus - her response is not credible and comes across as damn near hysterical. Either she is stereotypical and wouldn’t have been worried about rights in the first place or she is not and the powers don’t change her position that imprisonment without due process and torture is wrong. I wish they’d not made the character female because it makes this so much worse.
Hiro disappointed me. I was happy last week that he seemed to bear no resentment at Ando’s power. This week, it comes. He got over it quickly so I’ll thank God for small mercies. I didn’t find the C-plot in India at all interesting and while I’m all for ladies who love each other finding happiness, I thought it was clumsy and coy. I’m not sensitive to sexism so if I find it a bit much, you know it’s bad.
I do give credit to the writers for the last scene. They’ve always done cliff hangers well.
Tonight’s winner: Moses Jones.
Score to date: UK 1, US 0.
I watch more American telly than British. Most of my favourite shows have come from across the pond. Yet, British television has the superior reputation. Is it deserved? I thought I might experiment with a diary of comparison.
ITV: Whitechapel
Over three episodes, a modern-day killer replicates the crimes of Jack the Ripper. The first two episodes were entertaining enough. The focus was on a fast-track high-flyer given charge of his first case. Played by Rupert Penry-Jones, late of Spooks, he was a stiff, by-the-book, green metrosexual. He took charge of a group of lower-class, non-university educated, gruff old-hands who despised him. Sound familiar? What pulled the show above the tired was the presence of a Ripperologist, played by Steve Pemberton of The League of Gentlemen, who may or may not have a connection to the crimes.
Had I written about this after either of the first two episodes, I would have been more positive. The mystery seemed intriguing and the atmosphere was deliciously dark despite an unbelievably Caucasian East End of London. It was the resolution that was disappointing, on all counts. The characters ended up exactly where you knew they would. The place, which could have been a powerful presence, was just where it happened. There was no real revelation or understanding of the killer. The killer had no point so neither did the show.
BBC2: Moses Jones
In the typical fashion of feast or famine, this three-episode series ran against Whitechapel. It was much less flashy and thrilling, but it was far more satisfying. I say this in retrospect. I watched Whitechapel because I don’t have recording equipment and I can’t get the ITV website player to work. BBC’s iPlayer always works, so I could catch up with Moses Jones online. Even without the handicap, I would have watched Whitechapel first. I grabbed the junk food and left the nutritional meal for later.
The tale told in Moses Jones was one of identity and history, focusing on the Ugandan community in London. Despite being populated almost entirely by those in this community, the London in Moses Jones was much more recognisable than that in Whitechapel. It was rich and noisy and colourful, like the characters and even their names. One of the characters, Solomon, played by Eamonn Walker, is a talented musician. This wonderful, throbbing music he makes features heavily. The eponymous black DI, played by Shaun Parks, is London born and bred of Ugandan parents. He has little knowledge of his heritage. In an act of apparent casual institutional racism, he is charged with investigating a murder in the community of more recent immigrants, like Solomon. He is assisted by DS Dan Twentyman, played by Matt Smith whose name will be known to Doctor Who fans.
The writer has created something fresh. I’ve rarely been asked to think about how much of home immigrants bring with them and how that history can enrich and impede their lives. He also created an exceptional bogey-man in Matthias Mutukula. As much as the tale is about Jones, it is about the cruel tin-pot general and his attempt to relive his glory days. Mutukula’s crimes aren’t outlandish, like the Ripper copier. They are horribly realistic and more frightening for it. There are only two murders. There are multiple beatings which are somehow more shocking, perhaps because one becomes immune to the impact of murder on TV. For example, there is a scene involving Indira Varma that was far more sickening than anything in ITV’s offering.
All the performances are beyond competent. I would note particularly Jude Akuwidike’s Mutukula and Wunmi Mosaku’s Joy. As the prostitute who braves bullying, Joy could have been a complete heart-of-gold stereotype and the credit goes to Mosaku that she’s not. I hope they run this again. I recommend it.
NBC: Chuck
“Sarah and I are never going to be more than what we are right now and I’m okay with that.”
Oh, if it were but true!
Does it make me a terrible person that I want Chuck and Sarah either to shit or get off the pot? I am so tired of each of them moping about the other. It’s boring and frustrating to be retreading the same rut. Yes, it made sense that Sarah shouldn’t get involved with him. It’s too late. She has feelings for him. Realistically, what she should do is get reassigned, leaving his protection to those less vulnerable to his charms. That won’t happen but the writers aren’t, so far, coming up with any sensible way around this.
I’m predisposed to like anything by ex-VM writer Phil Klemmer. Despite the Chuck/Sarah irritation, I did enjoy the episode. I don’t know why Hollywood writers hate the suburbs, but they do. Here, at least, it was done with some wit and style. I loved the Stepford allusions. I also nearly enjoyed the Buymore story although the ending was trite.
Chuck continues to be a show I enjoy but don’t love. If it ended tomorrow, I wouldn’t miss it.
NBC: Heroes
I think Sylar should have been killed off long ago, but he did make me laugh with his “Okay, I’m a serial killer.” I also love the song “Psycho Killer.” (I think I need therapy.) Perhaps I am finally finding his presence tolerable. I am still a little concerned about his relationship with Luke, particularly after he rescued him. I really don’t need to see a Sylar/Luke buddy-buddy story. What I did rather like though was Sylar’s self-analysis on what makes him tick. He needs an objective. If he can resolve his daddy issues quickly, his likely objective will be the hunters. I am interested to see how it works when Sylar and the heroes have a common objective.
Speaking of Sylar, Alex is his brother, right? When Alex turned around in the comic book store, for a second, I thought it was Sylar.
Rebel is one of the people at Building 26, yes?
We now have more flesh on the Nathan/Hunter team. Nathan is supposedly in charge but has not come to grips with his team at all. I did think for a moment that Nathan had at least shown a necessary ruthlessness, but it was the Hunter.
I think the government angle could have been a good one, but it’s not working for me. It’s no surprise that the White House would pass the buck to Homeland Security after the crash and death of agents. What is unbelievable is that the President would have authorised any of Nathan’s activity before he was persuaded of the existence of those with powers. If he was persuaded, why wouldn’t he have told Homeland Security? If he did, why is Abby Collins sceptical? I might perhaps give credit that we had someone senior from Homeland Security who was concerned about constitutional rights. Such characters are normally portrayed as blind to such concerns. Against that plus is the much bigger minus - her response is not credible and comes across as damn near hysterical. Either she is stereotypical and wouldn’t have been worried about rights in the first place or she is not and the powers don’t change her position that imprisonment without due process and torture is wrong. I wish they’d not made the character female because it makes this so much worse.
Hiro disappointed me. I was happy last week that he seemed to bear no resentment at Ando’s power. This week, it comes. He got over it quickly so I’ll thank God for small mercies. I didn’t find the C-plot in India at all interesting and while I’m all for ladies who love each other finding happiness, I thought it was clumsy and coy. I’m not sensitive to sexism so if I find it a bit much, you know it’s bad.
I do give credit to the writers for the last scene. They’ve always done cliff hangers well.
Tonight’s winner: Moses Jones.
Score to date: UK 1, US 0.