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…
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.
Spoiler alert: I’m assuming if you are reading this you have seen the movie. If not, don’t read any further as I’m talking about key plot points.
The two most recent “Captain America” movies have been the most political of the Marvel Universe movies, with both “The Winter Soldier” and “Civil War” having, at their heart, a question about the political accountability of self-appointed groups of do-gooders with extraordinary power.
In “Civil War”, a division emerges between the superheroes over a proposed UN treaty which puts them under the control of an international oversight body.
Unlike many superhero movies, the question isn’t black and white. The treaty comes about as a result of rising casualty rates amongst civilians caused by The Avengers group fighting various bad guys. As a plot, it’s very close to the key plot of “Superman Vs. Batman: Dawn of justice” but exercised much more interestingly. Both Tony Stark (in favour of oversight) and Steve Rogers (against) make valid points in the debate.
But what’s interesting is the politics at the core of the disagreement. Stark believes (rightly, I think) that a group with such immense power must operate with public consent, and so must be accountable and even open to restraint. Rogers, guided by his own sense of morality, believes that a group of individuals with such talents as theirs should not let themselves be restrained by politics.
Interestingly, he spits out the word, and that tells us something about the at-times curiously elitist views held by Rogers, that if he believes something is right, that’s good enough, and that no government, even one elected by the people, has a right to overrule his right to intervene. It’s a fascinating insight into our modern society that such a view is portrayed in a movie as a reasonable side to a case, and not what it really is: the argument of a fascist superman. In short, if someone believes themselves to be emotionally right, as Rogers does, then that’s OK.
As it happens, Stark displays incredible hypocrisy when he discovers that Bucky Buchanan, under Hydra mind control, murdered his parents, and anoints himself the right to murder Buchanan (technically innocent)under a straight and simple desire for emotional revenge, but in doing so makes his own original point that their powers have to be held in check.
Politics aside, it’s a great entertaining movie. The fight scenes are excellent, it’s chock full of cameos and it has plenty of humour. DC take note.
I’m not a huge fan of Zach Snyder as a director. It’s not that he isn’t a competent director, because he is. But his style, all speed and shadows, can be frustrating. Put it this way: I can’t tell you what the Batmobile looks like, and I’ve seen the movie. That and his obsession with slow-motion “symbolic” shots makes the movie so much longer than it deserves.
That’s not to say it’s a bad movie. Ben Affleck gives a good performance as a grizzled world-wary Bruce Wayne, and Henry Cavill isn’t bad as Clark Kent. Gal Gadot steals every scene she’s in as Diana Prince, helped in particular by a thumping soundtrack and in particular one revealing scene from her history. But none of them are likable the way Tony Stark or Steve Rogers are.
The problem for this movie, and its position as DC’s launch vehicle to create a rival to Marvel’s Avengers, is that Marvel have set a very high bar, and this movie doesn’t reach it.
It’s joyless, dour, nearly totally devoid of humour, and even the CGI looks more like CGI than Marvel’s does. Put this movie in a league of superhero movies and it comes in way down the list, way past both Avengers movies, all the Iron Man movies and The Dark Knight trilogy. And I write this as someone who regards himself first and foremost as a Batman fan.
This isn’t a bad movie, as I said. It entertained. But, like Man of Steel before, it’s not a movie you’d be rushing back to watch a second time.
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.
Before his breakthrough role (all less than 20 minutes of it) in “The Silence of the Lambs” in 1991, Anthony Hopkins had been a successful if moderately well known actor. In 1971, he starred as British secret agent Commander Philip Calvert in the film of Alastair Maclean’s “Where Eight Bells Toll”, which was intended to have been the first in a series of movies about Calvert.
The film is noticeable for being a very low-key thriller, a sort of modest budget 007 about Calvert investigating the disappearance of ships carrying gold bullion off the coast of Scotland. Hopkins, like Michael Caine’s Harry Palmer, plays the role as a tough but workaday johnny just doing his job. It’s a pity they didn’t do any more of the movies, as the character is actually quite likable. He’s rude, shouty towards his boss, vicious in fights, yet has a moral compass. The late Robert Morley is superb as his boss, who expresses shock at the possibility of a member of his club being a baddie: “But he’s on the wine committee!”
I posted the below scene, which is the last scene in the movie (it does not really ruin any plot) because it highlights the character, and the theme tune which will bounce around your head for days afterwards.
From 1981 to 1991 mention the island of Jersey to anyone watching British television and they’ll almost certainly mention “Bergerac”. The detective show, set on the island, starred John Nettles as recovering alcoholic detective sergeant Jim Bergerac of the Bureau des Etrangers of the Jersey police, a special unit that dealt with tourists but more often with the many very wealthy foreigners who lived on the island.
By today’s standards, the Jersey of the 1980s all looks a bit naff, but at the time the wealth of the island, its sunny location and the French connection made it all seem very exotic and even glamorous indeed, and for ten years it was a Saturday teatime favourite.
As with many successful shows, Bergerac had a breakout character, Charlie Hungerford, played by veteran character actor Terence Alexander, who was a north of England bovver boy made good, a sort of Arthur Daley who had done very well for himself, thank you very much. One of the running jokes of the show was that Hungerford seemed to know absolutely everybody on the island, or at least was connected, often without his own knowledge, to every criminal enterprise on Jersey.
The show was a huge hit, and was responsible for boosting tourism to Jersey, with Nettles himself heading up the campaign.
Nettles went on to achieve a rare success for an actor in having played a household name for a decade as Jim Bergerac then went on to do it again for over a decade as Chief Inspector Barnaby in “Midsomer Murders”.