Showing posts with label Ashley Walters. Show all posts
Showing posts with label Ashley Walters. Show all posts

Sunday, 1 August 2021

I AM VICTORIA + WRITE AROUND THE WORLD WITH RICHARD E. GRANT + RIGHT HERE: THE BLACK VEIL

This article was originally published in The Courier on 31st July 2021.

NEXT WEEK’S TV

I Am Victoria – Thursday, Channel 4, 9pm

Series two of this female-led anthology from writer/director Dominic Savage begins with an emotionally raw drama about the importance of seeking help when you need it most. 

Savage, much like Mike Leigh, favours a creative process whereby he collaborates closely with his actors; these characters and narratives are borne of carefully controlled improvisation. The star and co-creator of episode one is the brilliant Suranne Jones. 

She plays Victoria, a successful businesswoman with a supportive husband (Ashley Walters) and two beautiful children. But underneath that seemingly – and as it transpires, desperately – perfect façade, Victoria is struggling with her mental health. I Am Victoria is intense, riveting, sad yet hopeful. And Jones is quite extraordinary.

How Healthy is Your Gut? – Tuesday, Channel 4, 8pm

Bloating, flatulence, heartburn, diarrhoea: it is reported that over half of the UK’s population suffers from digestive problems. If you can – and I really am so sorry about this – stomach it, this frank documentary actually provides some useful advice about what we should do to boost our gut health and general quality of life. 

Your friendly host is Sabrina Grant, who enlists the help of six volunteers tasked with trying out various popular diets and treatments – including colonic hydrotherapy - to see if they have any significant effect. Perhaps inevitably, gastrointestinal cameras are involved. 

But the programme, to its credit, avoids the cheap and childish ‘tee-hee’ route. Digestive problems can be very embarrassing and, in some cases, seriously debilitating.

Country Life for Half the Price with Kate Humble – Tuesday, Channel 5, 8pm

According to this series, more and more people are fleeing the pressures of urban life for a different set of pressures in the countryside. 

This week, Humble meets a couple who have prepared for their move to South West Wales by rearing ducks and micro-pigs in their back garden in suburban Reading. They want to live somewhere with fewer people and with more space for themselves and their two young boys. 

Humble follows them – from a safe distance – as they begin their rural adventure during a year of lockdown. All those plans for opening a petting zoo and a crafts workshop have to be put on hold. But they do at least learn how to forage for stuff.

Our Family Farm Rescue with Adam Henson – Tuesday, Channel 5, 9pm

What is it with Channel 5 and farms? They’re obsessed. But if it stops them from making more malicious programmes about travellers and ‘benefit scroungers’, then I for one support their slide into bucolic monomania. 

In the latest episode of this vehicle for Countryfile alumnus Adam Henson, he meets more fellow farmers who have had to change the way they operate in order to survive. 

On the edge of Snowdonia National Park (see Epic Wales for its second starring role in this week’s schedules), a couple who run a traditional sheep and cattle farm are in serious financial trouble. So they’ve hatched a plan to branch out into the luxury glamping game. Cue the construction of a large geo-dome.

Write Around the World with Richard E. Grant – Tuesday, BBC Four, 9pm

In which that most actorly of actors dons a metaphorical panama hat while travelling around sunny mainland Europe in the footsteps of several notable authors. He wants to examine the ways in which they were inspired by various ancient cities of note. 

The series was presumably filmed two years ago, hence why Grant wanders around the busy streets of Naples without a care in the world. The man is positively rammed to the gills with joie de vivre. 

He goes off the beaten tourist track and marvels at the local culture in time-honoured travelogue style, but the programme does concede a few serious points about poverty and corruption. Authors under review include Charles Dickens, Elena Farrante and Elizabeth Gilbert.

Right Here: The Black Veil – Tuesday, BBC Scotland, 10:30pm

A new series of documentaries from emerging filmmakers, Right Here celebrates the diversity of life in modern Scotland. 

It begins with a sweet and tender profile of Bradley, a gender non-binary person preparing for their wedding to partner Emma. This will be the first time that some of their friends and family members will have seen Bradley presenting in female clothing. 

Bradley is also a member of The Order of Perpetual Indulgence, an LGBTQ+ protest group dedicated to “banishing stigma and spreading universal joy”. The film’s title refers to the highest ranking within the order, into which Bradley is about to be initiated. 

A thoughtful and articulate person, all Bradley wants is to be accepted for who they are.

Epic Wales: Valleys, Mountains & Coasts – Friday, Channel 4, 8pm

I’ve barely set foot outside my flat during the last eighteen months, and yet thanks to my dogged pursuit of writing about television, I feel like I’ve seen more of scenic Britain via travelogues than I ever did when life was relatively free and easy. That’s not right. 

This one features suitably awestruck narration from Cerys Matthews, who introduces us to “farmers and fishermen, artists and adventurers, nature savers and stargazers” based in Wales’ three National Parks. 

It’s a standard TV format, you know exactly what to expect, but it works. Programmes such as this depict Britain as a beauteous wonderland populated by nice, interesting people keeping simple traditions alive. They’re a much-needed source of fantasy respite.

LAST WEEK’S TV

Take Off with Bradley & Holly – Saturday 24th July, BBC One

This series was filmed just before the global lockdown. That’s why it happily sends contestants off on luxury foreign holidays. The winning destinations last week were Hollywood and Las Vegas, thus necessitating the presence of a studio-bound Elvis impersonator who looked more like Quentin Tarantino mimicking Neil Diamond. 

Hosts Bradley Walsh and Holly Willoughby are safe pairs of hands, each comfortable in their respective roles. He’s the cheeky chappie who ‘mucks about’, she’s the nice, friendly, daffy one. They’re an inoffensive double-act. 

The show itself is a hodgepodge of familiar Saturday night light entertainment formats – quizzes, pranks, feel-good human interest stories – indebted to the pioneering visions of Cilla Black and Noel Edmonds. I’ve seen worse.

Michael McIntyre’s The Wheel – Saturday 24th July, BBC One

The Saturday fun on BBC One continued with the return of this quiz in which the relentlessly buoyant McIntyre presides over a cabal of celebrities with specialist areas of expertise. 

They’re seated on the perimeter of a large roulette wheel. Members of the public are perched in the centre. The contestants field questions while hoping that the spinning wheel of fortune settles on a celeb who knows their onions. And that’s more or less it. 

The format is far too thin to sustain its 60-minute running time; thirty minutes would more than suffice. Put it this way, it’s no Danny Dyer’s The Wall. Coming soon: John Bishop’s The Rhomboid; Claudia Winkleman’s The Tankard; Ashley Banjo’s The Bath. You get the idea.

 

Saturday, 17 August 2013

TV Preview: TOP BOY

This article was originally published in The Scotsman on 17th August 2013.

http://www.scotsman.com/what-s-on/tv-radio/tv-preview-top-boy-1-3050106

TOP BOY
Tuesday, Channel 4, 9pm

Paul Whitelaw

Channel 4 is a frustrating beast. With its halcyon days at the vanguard of experimental, alternative, socially inclusive television long gone, it now spends most of its time sneering at the poor and gawping at misshapen testicles: the TV equivalent of a particularly objectionable Daily Mail columnist.

And yet as everything crumbles around it, C4's drama slate continues to impress. With the recent likes of Southcliffe, The Mill and, now, the second series of TOP BOY, it's the last bastion of quality in an otherwise devastated field. But even that has its downside: it makes virtually everything else on the channel look even worse by comparison.

In any case, Top Boy, an unflinching crime drama set on a fictional estate in Hackney, east London, is one of British TV's most distinctive dramas. While series one attracted inevitable comparisons with The Wire – both provide rounded portraits of street-level drug dealers in deprived urban areas – Top Boy deserves to be judged on its own merits.

Written by Hackney resident Ronan Bennett (The Hamburg Cell; Hidden), it's drawn from research into the lives of locals, which lends the characterisation, setting and slang-heavy dialogue a ring of authenticity. Plus, the performances from the predominantly young black cast are entirely free of affectation.

Now, I'm a white arts critic from Fife, so I've obviously no idea if Top Boy actually delivers an accurate portrayal of east London crime culture. But I'm convinced by the wealth of little side details – kids rapping awkwardly on an overpass, banter in the hair salon, the boy who mystifyingly talks with his hand covering his mouth – which feel like observations based on experience.

Ashley Walters stars as Dushane, whose goal of becoming 'Top Boy' – i.e. the drug dealing king of his estate – was grasped at the end of series one. However, his affluent lifestyle is threatened by a police investigation into the murder of a rival. Meanwhile, property developers are forcing local businesses from the area, as Dushane's gang set their sights on a cartel of Albanian criminals.

Charming, bright and quietly charismatic, Dushane's likeability masks an inner ruthlessness: like Tony Soprano, he's a screen 'villain' whose dichotomous personality deliberately wrong-foots the viewer and shakes them from complacency. Bennett makes us care about his plight, but never attempts to excuse his behaviour.

Preoccupied with themes of family loyalty, vulnerable children trapped in a violent environment, and the debilitating effects of greed on both a corporate and street level, Top Boy gets its points across without recourse to heavy-handed moralising. The political dimension is implicit, rather than confronted directly. And despite its brutal surface, it also benefits from a welcome jolt of humour: the banal reality of crime is often more ridiculous than scaremongering media reports would have you believe.

Refreshingly devoid of glamour, Top Boy is a tense, kinetic, utterly engrossing drama, fluidly directed by Jonathan van Tulleken and, as he skilfully weaves together several characters and storylines, impressively realised by Bennett. It's richly human drama.

And that, dear reader, is it. After over six years of watching TV and scribbling shapes for yer Scotsman, I've decided to move on to pastures new. But it's been a hoot and/or optional holler. Please don't talk about me when I'm gone.