On tonight’s episode of “The West Wing”, President Bartlet becomes greatly concerned that poor people have too much access to healthcare, and worries that not being terrified of one of your children getting sick might weaken their moral fibre.
Toby and Leo have a blazing row over the administration’s policy on Israeli settlements, with Toby worried that Palestinian homes aren’t being bulldozed fast enough. The meeting breaks up in acrimony as Leo objects to being in the same room as “one of those people” and makes some sort of hook nose gesture.
Sam is spurned into action after meeting a lonely old billionaire whose heart is broken when he discovers that he pays more tax than his gardener.
The episode ends with a touching scene where a sobbing orphan thanks President Bartlet for making sure her mother didn’t get the treatment she needed, because if she had she might have thought life was fair and would have become a socialist. Or even worse, French.
Hilarious hi-jinks ensue when Fox News reveals that CJ isn’t blonde.
The White House is put on lock down after a young black man is seen.
With the recent finale of the fourth season of “Sherlock” looking very much like a series end, the question of the future of the show must surely be up for debate. The reality is a bizarre one. The idea that two relatively modestly known actors (Freeman being the more famous, if anything) would become globally recognized film stars is a pretty far-fetched one, and yet that was what the show did for the two of them. Both went from earning a living as working actors and being That Guy From That Thing to, well, them.
The rest is history: “Sherlock”, although a globally successful TV show, is still run on a relatively modest budget and you can’t expect two guys to turn down the opportunities now open to them in Hollywood.
That’s not to say they haven’t shown loyalty to the BBC, because they have. But the reality is that the show deserves to survive even if, for whatever reason, its two stars can’t commit to anything more than the odd TV movie.
Plenty of fans would like to see more of “Sherlock”, and that leads to the awkward question. To recast?
There are those who say that it’s impossible, but I can tell you, as someone who thinks of Jeremy Brett and David Burke or Edward Hardwicke when I hear the names Holmes & Watson, it’s not. I love “Sherlock”. I got goosebumps when I saw the first episode. But I’m not a wacko purist who thinks that somehow the thing I loved can be damaged or changed by something that comes after it. Even George Lucas didn’t managed to destroy the good “Star Wars” movies.
“Sherlock” can continue, and if you don’t like it without Cumberbatch and Freeman, then don’t watch it. But what about Julian Rhind-Tutt or David Tennant as Holmes, and Stephen Mangan as Watson? Or, and here’s one out of left field…what about Lars Mikkelsen and Toby Jones as an older pair?
Or failing that, if a recasting is too radical, what about The Adventures of Mycroft & Irene, with cameos from our favourite inspector, landlady and pathologist?
Of course, the one thing I would ask is that they solve a few sodding mysteries this time…
From 1986 to 1994, Ian McShane played the near-always described “lovable rogue” antiques trader Lovejoy (“Not Mister. Just Lovejoy.”) in the BBC series of the same name.
The series was a comedy drama about Lovejoy’s adventures as a “divvy”, someone with an innate ability to tell whether an antique was genuine or a forgery. Although ethically supple, Lovejoy was careful never to lie to his clients, and along with his henchmen Eric Catchpole and Tinker Dill, and his will they/won’t do relationship with the very posh Lady Jane Felsham, (Phyllis Logan, later Mrs Hughes in “Downton Abbey”) spent every episode pursuing a valuable antique around the home counties for his commission but also for his love of the pieces themselves.
Such was the show’s success and widespread appeal that when McShane appeared in the gritty crime drama “Sexy Beast” as vicious homosexual crime boss Teddy Bass, some joked that the sub-title of the movie was “that film where Lovejoy gets it up the arse.” Charming, I know.
I’ve always been surprised it’s never been remade. Most of the cast are still alive (Malcolm Tierney, who hammed it up as Lovejoy’s wealthy but not quite as clever rival Charlie Gimbert is no longer with us) and could certainly provide a wealth of support to a new Lovejoy son or daughter. And antiques seem to be bigger in the public mind now than they were back then, certainly if TV is to be judged.
But what made “Lovejoy” was that epitome of gentle family television, without being boring. Although it had the odd murder, it was safe, entertaining and oozing with charm helped by Lovejoy’s habit of breaking the fourth wall to address the audience on a plot point or detail about antiques.
It reminds one, as one gets older, that not all TV drama has to gritty and psychologically disturbing. “Lovejoy” is in the same stable as “Midsomer Murders”, “Death in paradise”,”Minder”, or “Monk”. Not quite as formulaic as “Murder, she wrote” but not going to have you wake up at night screaming either.
Sometimes all you want is a cosy murder with a nice cup of tea and a biscuit.
Spoiler alert: if you haven’t seen “Captain America: Civil war” then read no further. You have been warned.
There’s a scene in the movie where Steve Rogers is informed that the love of his life, SHIELD agent Peggy Carter, has died, probably aged around 100 years old. She gets a military funeral, and watching the scene I found it surprisingly touching, especially as the image of her used on the coffin is a current image of Hayley Atwell in character from the TV series “Agent Carter” set in 1946.
What struck me was that, watching her funeral, we realise that she is one of the few characters we have seen in her entirety, starting out as a much disparaged (by men) WWII intelligence officer who grows to become, as one of the key leaders of SHIELD, one of the most powerful people in the world.
But what really warrants her status as their greatest hero is the fact that she isn’t a superhero. She doesn’t have a super-serum coursing through her veins, or incredible intelligence matched to huge inherited wealth.
She’s just an ordinary woman, and a woman growing up in an age where for most of her life her looks count against her and discrimination based on her sex is the norm and in many cases the law. Then, as if that isn’t enough, she loses the love of her life, believing him to be dead well into her 90s.
And yet, despite all that, through a mixture of intelligence, hard work and competence, by the 1980s she is one of the leaders of the most powerful organisations in the world, and one of the most effective intelligence operatives ever.
Peggy Carter is the character every little girl can aspire to be, and that’s why she’s the greatest.
The first time I saw political drama “Scandal” I found it both irritating and ridiculous. The basic idea, about a political fixer named Olivia Pope, is certainly a solid concept. Kerry Washington, who plays Pope, is an attractive and capable actress. So what annoyed me so much?
First of all, Olivia Pope’s SOP seems to be sass-sass-cry, bitch slapping Washington’s finest then having a good cry because she is the president’s on-again off-again mistress. The president and the first lady, by the way, are both awful self-centred elitist snobs. There’s also the basic theme of the show, which is that the American public are absolute morons who will change how they vote based on the First Lady talking about being “an ordinary mom”. Yes, I know, this is the age of The Donald but still.
The show is based on a woman constantly trying to cover up the fact that her clients might reveal what they are really like to the voters. Nearly all of her political clients are shallow sociopaths. Her team are quite happy to stab each other in the back if the job requires it, with every one of them, including Pope, existing for work and leaving behind a list of failed relationships caused primarily by their obsession with their jobs. Did I mention that every character seems to believe it is OK to carry out absolutely horrible betrayals of people they love as long as they apologise after?
So why do I watch it, then? With it’s absolutely madcap plotlines? Because it is a guilty pleasure. It’s very watchable and almost every episode ends on a “Feck! Now I have to watch the next one!” reveal. Also Jeff Perry, who plays the Republican president’s openly gay and married, and incredibly Machiavellian chief of staff Cyrus Beeme and Joshua Malina (Bill Bailey in The West Wing) who plays a senior Justice Dept official David Rosen. Both are very watchable, by far the most watchable thing in the show.
There’s also an interesting conspiracy storyline running through it.
It’s also a show (now in it’s sixth season) that has figured out a way of getting different audiences to watch the same show. For me there’s the political conspiracies. For others it’s the story of a hard working woman in a difficult relationship.
Me? I just fast forward through the scenes of Olivia putting away huge volumes of wine alone in her very swish apartment whilst having a good cry to herself.
When the governor of the Bank of England dies suddenly, and his obvious successor Sir Guy Acheson (Rowan Atkinson, in a surprising straight role) is ruled out because of a shares scandal, brilliant but maverick economist Steve Darblay (Episodes’ Stephen Mangan) finds himself appointed Governor of the Bank of England, in the middle of a currency crisis, by the ruthlessly ambitious Chancellor of the Exchequer Tom Parrish (Hugh Laurie.)
For Darblay, his appointment not only places him in the driving seat in dealing with everything from interest rates to the future of the euro to who goes on the new £5 note, but also a target for Acheson who feels bitterly wronged but also that the new governor is not exactly from the right side of the tracks.
With his former Cambridge tutor Bill Burke (Roger Allam-The Thick of It) and even more brilliant economist (and former girlfriend) Yves Cassidy (Lenora Crichlow-Sugar Rush) at his side, Darblay gets ready to take his seat at the most elite of the world’s councils.
Guest starring Delaney Williams (The Wire) as US Fed Chairman Matt O’Malley and Sidse Babette Knudsen (Borgen) as ECB President Martina Delacroix.
Special appearance by Stephen Fry as the Prime Minister.
*I wrote this as a joke, but as I wrote it I thought “Jesus, I’d watch this!”
Are you a Robert John Burke fan? What about Delaney Williams? Or Timothy V. Murphy? Or Reg E Cathey? Or Jayne Atkinson? Or Boris McGiver?
Never heard of them.
Yeah, you did. You just don’t know it. Every good TV show from The Wire to Sons of Anarchy to Law and Order SVU to House of Cards has been made good not just by good lead actors, but by the character actors
around them. We call them character actors, and it’s a slightly misleading title because it hints that they’re sort of limited to playing a similar type of character all the time, which isn’t true, although it feels that way.
Robert John Burke
Is there anyone who doesn’t think of the words “Internal Affairs” and automatically think of Robert John Burke? If anything, some become so good that writers actually start basing characters around them and their sheer presence on screen.
Unlike series regulars, who have time to build a character and their personality and quirks, character actors are usually turning up for a
Reg E Cathey
once-off and yet still have to create a fully credible 3D character. That takes skill, and if you look at the various actors named here, every one of them is an equal peer to the series lead when they’re on screen with them.
In fact, we have now, rightly, reached a point where producers have realised that the really good character actors aren’t just someone to fill in scenes with the series regular but are
Timothy V. Murphy
now adding value as audiences not only recognise them but know that a Reg E. Cathey or a Jayne Atkinson always bring something worth watching to a scene, and want to see more of them.
So here’s to the character actors. Some break through to lead, some do a “Stephen Toblowsky” and become a character genre in themselves, but all deliver.
To jog memories as to all those from above, you’ll have seen Boris McGiver in
House of Cards and Person of Interest, Robert John Burke in SVU and Person of Interest, Delaney Williams in SVU and The Wire, Jayne Atkinson in House of Cards and Criminal Minds, Reg E. Cathey in House of Cards and The Wire, and our own Timothy V. Murphy in Sons of Anarchy.
1. There was a lot more sex when the Brits were here. I think we banned it after independence, until Gay Byrne discovered it again. For telly that is, not personally.
2. Is it possible that the Holy Joe Rebels and the Workers Republic Rebels never had a conversation as to what sort of Ireland they wanted after the Rising?
3. Seriously, would it have killed them to let one woman sign the Proclamation? Don’t give me the aul “different times” argument. This was supposed to be the new way.
4. A question: what happened to all the southern Catholic unionists? All join Fine Gael?
5. Many of the same Irish soldiers fighting the same Irish rebels would do it all again, much more viciously, in the civil war.
6. If the women of “Rebellion” had been in charge we’d have a republic by the Tuesday. But it would have been a pretty dour country run by a Mary Hanafin type scolding us in a big foldy hat. And shootin’ people for looting.
7. The Brits f**ked up and effectively created the Shinner mystique, wrongly blaming them for the rebellion. Oh, the irony.
8. Surely on the day The Proclamation was just a proclamation before it became The Proclamation.
9. Dublin taxi-drivers haven’t changed: “Sorry love, I’m not going that way. Sure there’s a load of urban guerilla activity up there, and the match is on tonight.”
10. We now know why the Brits stayed so long and why we put up with them: they got to keep their beautiful but icy wives, and we got a good seeing to by someone who doesn’t regard the phrase “Brace yourself Bridget*!” as foreplay.
*Note: I cannot claim to have come up with the phrase “Brace yourself, Bridget!” I so wish I could. It’s a wonderfully evocative phrase. Hats off to whomever did.