Better Call Saul: Chicanery

 "My brother, whatever else may be said about him, is quite clever."

Before I write a blog post, I invariably look at iMDb in order to get the names of the less regular actors to put in those labels at the bottom. Thgis time, though, I couldn't help but notice that this episode had been rated 9.7. That is, it has to be said, a bit good. And I'm not surprised. This may be the finest courtroom drama since Witness for the Prosecution.

Other things happen too, though, although for once there's no Mike this episode. We see Kim having professional success with Mesa Verde, impressing her clients. Jimmy isn't ruining and destroying her career yet... but the foreshadowing is obvious. Then we have the flashback, tintred blue, of Chuck enlisting Jimmy to go to elaborate lengths to hide his "condition" from Rebecca. This, of course, is also foreshadowing.Yet there are other character moments, too. Chuck and Rebecca, with their cultured cosmopolitanism, do not live in Jimmy's world. And Chuck, while disapproving of Jimmy's tricks, is happy to benefit from them.

Yet the courtroom drama is, of course, exquisite, a masterclass in psychologicak manipulation and, well, chicanery. Jimmy's position starts out as extraordinarily weak, and yet Chuck is humiliated and destroyed. His outburst at the end is ironic- it makes him seem unhinged, persecuting his poor, innocent, doting brother, yet every word is literally, unambiguously true.

Good Omens: The Arrival

 “I don’t believe the Almighty has actually created a suggestion box.”

This isn’t just wonderful television. It’s pure bliss.

Take the pre-credits flashback scene, a two-hander between Crowley and Aziraphale set at the moment of creation. Isn’t it a sketch right up there with the very best of Monty Python, the perfect hook for potential new viewers, deliberately rigging off Life of Brian while being every bit as good? Yet with the added joyful depths of David Tennant and Michael Sheen as actors utterly on top of their roles, the perfect double act? It’s exquisite.

That’s before we even start with the superlative comedy genius of Jon Hamm. This is first class comedy. Yet it’s simultaneously deeper than that. The conceit- that reality is as Christian fundamentalists see it, but that God therefore works in very mysterious ways indeed- is nicely distilled for the benefit of new viewers. This first scene at once encapsulates who the characters are and what the series is about.

So where is this seriess headed? It appears to be mysterious political skulduggery between Heaven and Hell, with the Almighty as a deeply cynical player of ten dimensional chess: a valid theological viewpoint, I feel. No witchfinders, antichrist children or witch descendents this time, although we do have what seems to be the beginning of a rather sweet romance between Maggie and Nina, two of Aziraphale's fellow street retailers of quirky goods. 

We also have lots of splendid interaction between our favourite two celestial beings, lots of office politics in Heaven- Doon Mackichan is already promising as the ambitious Archangel Michael. But it seems Gabriel is persona non grata, exiled to Earth with neither wings not memories- or, indeed, clothing- and only a seemingly empty box. And no sooner do Crowley and Aziraphale resolve to shelter him than we find that anyone found doing so will be subjected to "extreme sanctions". And this means... oh dear.

This is exquisite. Far more than mere superb telly.

Secret Invasion: Harvest

 "It's really just a matter of taste. Cake or death."

Oh boy. Not that things have been uneventful so far, but it's all kicking off. Gravik is becoming truly unhinged, not only wanting armageddon for humanity but not caring how many Skrulls die in the process... and, courtesy of his superpowers, he survives an attempted revolt. At this point he commants his underlings by fear alone, not loyalty.

But Gravik appears to be winning, and Fury is on the run again, the footage of someone wearing his face murdering Maria now released to the world, and possibly a bit of a comment on deepfakes. Oh, and I misunderstood last episode: Gi'ah survived her execution via genetic jiggery-pokery.

Sonya continues to be awesome, best James Bond ever. MCU, can we have more Olivia Colman please? I'm so glad that we end, and head into the finale, with Fury and Sonya together. This truly is superb spy drama in the style of John Le Carre, not only in terms of plot but in terms of Fury as a world-weary central character, old and wizened. Nick Fury is... a sort of George Smiley, weird though that sounds.

Apparently this isn't as successful as Marvel would have liked. But it deserves to be.

Knights of God: Episode 9

 "Let him be a fisherman..."

The plot gets thicker and thicker in this pivotal episode which, presumably, thrusts us into the final narrative. The cliffhanger is unexpected: Arthur is not the fated enemy of Mordrin whom Gervase is programmed to kill, despite his name, for there are hints that this person is the "rightful king", as per Arthurian myth. We learn that Hugo slaughtered all the royals for the Knights... yet is some rightful king alive? Perhaps someone we have unknowingly met?

It is interesting that Mordrin may be seeking to crown himself... is he a Cromwell or a Julius Caesar in that respect? The parallel plotting between him and Hugo is utterly gripping... and ends the only possible way it could have, with Hugo in a cell, stripped of all status.

Yet Gervase and Julia are no better off. All faith is lost; with the programming, Gervase is seemingly of no use for his long-planned purpose, although Julia has faith. And then, another bombshell: a kangaroo court is demanded by the militia of the South Yorkshire "Wastelands", and realpolitik forces Arthur to outlaw them both, perhaps fortunate to escape hanging, although of course capital punishment is the recourse of the tyrant, a practice that does not behoove those who claim to believe in freedom.

The status quo is changed. This episode is eventful, fast-paced and deeply shocking. I'm genuinely clueless as to what will happen next.

Secret Invasion: Beloved

 "You are delusional!"

Yes, I know. I'm breaking my rules here, blogging the same series consecutively to catch up. But things have clicked and I'm in love with a show which I believe is misunderstood- it's Marvel does John Le Carre and a tour de force from Samuel L Jackson, an actor of the very first class, in that context. People who don't get it need to see the BBC's Tinker, Tailor, Soldier, Spy and imagine that Karla is a green alien with pointy ears with a comic book history embracing cows and speakeasies. Anyway...

This is superb, spellbinding telly. We begin with Fury learning, through a carefully planted bug (on his own wife!) that Priscilla is in league with Rhodey… and (quite the bombshell, although something like this was coming) Rhodey is a Skrull, and the mole on the inside who is integral to Gravik’s plot to assassinate the President and blame it on the Russians. Suddenly it makes sense why Rhodey is acting as he is.

The scenes between Fury and Priscilla are exquisite, with Jackson giving us an acting tour de force as he confronts her. There are layers to their conversation, harking back to the flashback earlier. Suddenly, they both shoot, in the world’s most romantic shootout… and both deliberately miss. Ah!

We end with the big set piece as Gravik’s plans are carried out and the President saved. It’s sad to see Talos die, but at least he never knows the heartbreak of knowing Gi’ah is gone. Was he right? Will humanity justify his faith? We shall see.

This continues to be superb, underrated telly.

Iron Fist: Dragon Plays with Fire

 "It was someone much more treacherous than I..."

And so the season ends, at last. And the finale is, in the end, superb. What could have been a tiresome tale of false accusations turns out to be much deeper.

This is about Harold, the arch-manipulator, who always was the malevolent puppet master. I suppose we didn't need Gao to tell us it was Harold who arranged for the plane to crash, not wanting Danny's father to expose what was always his heroin operation. I'm sure I wasn't the only viewer who had more than an inkling.

But it's about more than that. It's about Ward redeeming himself, being loyal to Danny and enen showing some wise self-knowledge at the end. It's about Joy realising the terrible truth about her father, yet being perhaps easy prey for Davos trying to turn her against Danny as Gao smiles. It's about bad, abusive families and the damage they cause across the generations, some treatable, some bad. Colleen and Danny are a sweet couple but, as Claire says, they're both pretty damaged people.

I saw thend coming, too: K'un Lun is gone for the next fifteen years now. Yet Danny has learned a lot about himself, and what he wants to do as an Iron Fist: to be a hero. It's fitting that he and Ward are reconciled. Both of them have grown.

Yes, this series was uneven in places. But overall the final episodes are strong enough to make it a very impressive serial.

Secret Invasion: Betrayed

 "Well, I never cared much for golf, so,,, I'm thinking I might as well take up revenge,"

And with that, it suddenly clicks. I can see what Secret Invasion is trying to do, and why not everyone gets it. But I think I do: it's the MCU does the spy genre. But not as in James Bond... well, a bit... but far more in the sense of John Le Carre.

So many lies, so many games, so many betrayals, as per the title. Indeed, so many layers of betrayal. Gi'ah to Gravik. The rebel Skrulls to humanity. Priscilla to Fury, as we suspect from early on and is confirmed at the end. Yet... didn't he betray her through neglect, too? Heartbreakingly, we get to see them young and in love in 1998.

But what's so very Le Carre is how sordid it all seems, despite Sonya being there, on purpose, to represent a more fun side of the genre. What Fury and Talos do is not fun or glamorous; it grinds them down right into old age. And the scene in which Talos points out how him and his mates have guided Fury's career is quietly devastating... but not as devastating as Gravik catching and shooting Gi'ah, having suspected her all along. It was all a trap. Yes, Gravik want to engineer human nuclear extinction while a new race of "Super Skrulls" (hah, of course- harbinger of a certain quartet?) takes over what's left... but today's nuclear gambit was all to flush out Gi'ah. So she gives her life, on her father's say so, to save humanity. Has Talos thus been betrayed?

Brilliant telly.

Better Call Saul: Sabrosito

 "Sabrosisto tells me Gustavo's is bigger than yours."

Even by Better Call Saul standards, this is a bloody good episode. And Jimmy doesn't even appear until twenty-six minutes in.

More than most, this episode gices a fair amount of screen time and development to the whole ensemble cast while several plot lines move forwards. Yet it doesn't feel in any way functional, or like set-up.

We begin in Don Eladio's Mexican mansion that we remember so well from Breaking Bad, with the opening and closing shots both from the distorted view of the pool, in itself a stylish nod to the other programme. The entire scene has a yellowish tint, giving it an air of unreality. Yet Don Eladio emanates constant menace, as though the slightest misstep could mean random death, the ultimate stressful working environment.

And the direction of things, cartel-wise, is clear: Gus is performing much better than the humiliated Hector. And so Hector attempts to intimidate Gus, a serious mistake. He has violated Los Pollos Hermanos, Gus' legitimate business, with his legitimate employees. It's fascinating to see how he cares for his legitimate employees, and their genuine respect for him. He similarly shows respect for Mike and his integrity. Gus is cold, ruthless, a killer, yet he has his principles. He and Mike are two of a kind. Both ruthless, but both men of integrity, in their way. Both actors, too, are exquisitely good. Yet Giancarlo Esposito's subtle facial acting is, as ever, extraordinary.

We know how Hector will end up in a few short years, doubtless a consequence of crossing Gus. At last we have scope for Mike working for Gus, the two of them bonding over their shared intense hatred for Hector. And we know, in the long run, that Gus is going to continue to make Hector suffer.

Meanwhile, we have a fun little scene of Kim and Jimmy plotting- Kim gets a phone call montage!- to exchange Chuck's door repairer for, inevitably, Mike. A burglary, I suspect, is planned. They both know Chuck will have another copy of the tape. Jimmy is humiliated in accepting guilt, with restitution and humi8liation. The next step is to somehow avoid being disbarred, but plans are afoot; Kim has an admission from Chuck that the tape exists. Yet isn't she, a professional, sinkind to his level and slowly ruining herself...?

First class telly. Again.

Henry V (1944)

 "But if the cause be not good, the king himself hath a heavy reckoning to make."

It is, I suppose, extraordinary that I've waited so long to see and to blog Laurence Olivier's version of this play, made in no small part to boost wartime morale, a task at which it broadly succeeds. Yet it is, of course, a far richer achievement than that.

The early scenes are inspired. We begin with a panorama of the London of 1600, such a small city focused north of the Thames, with the Tower on the eastern edge and the Globe, with other theatres, situated just south of the river. We then see the Chorus, and the early scenes, played out in the Globe, with glimpses of backstage and much of the groudlings. This makes perfect sense, given the Chorus' pleadings for us to use our imagination to conjure up vast armies and battlefields which cannot be shown in a mere wooden O.

Yet this is cinema, and the film soon shifts to allow us to see such incredible vistas. The matte paintings are obvious, but the effect is one of awe. This is, perhaps, whether we are looking at scenes of Elizabethan London or the muddy French battlefields of the early fifteenth century, a somewhat romantic, 1940s version of the past, reminiscent of The Adventures of Robin Hood. This is, perhaps, too clean and sanitised a recreation of an earlier age which, compared to Kenneth Branagh's version four decades later, does not quite feel lived in. While it is not necessary toshow blood and gore, the overall effect feels perhaps overly sanitised.

Nevertheless, the film is a triumph. Shakespeare stands and falls by acting, and Olivier's performance is spellbinding, the big speeches delivered to perfection. Olivier's style may be a little dated today, yes. That does not make it anything less than great.

One cannot help but see this film, released in the year of D-Day, through the prism of the time it was made. The heavy subtext of the horrors of war, that a war had damn well better be just for the suffering to be worthwhile, is unusually downplayed, the justness of resisting Hitler being clear. Yet the horrors are acknowledged, the humanity and the suffering. And the ending of the play, as Harry woos Kate through the language barrier, feels perhaps a little less odd here as it signifies the hope of peace that original audiences would have felt.

For me, this is not quite up there with Branagh's version. But it is great nonetheless.

Knights of God: Episode 8

 "You can call me Arthur..."

There was me thinking this episode was going to be about Gervase and Julia in the "Wasteland" with Don Henderson and his rough Yorkshire "terrorists", and at first it seems that way. Instead, Arthur turns up almost immediately.

There arev revelations. Brigadier Clark, seen palling with Arthur last episode, is Julia's father. And Mordrin is Arthur's son! Everyone- Gervase's parents included, gets together to plan their next move as Gervase suffers the inner conflict caused by Mordrin's suggestion in his mind, a suggestion he doesn't want to carry out.

The parley between Arthur and Mordrin seems to happen too easily- a dictator allowing himself to be searched for weapons by rebels as Hugo plots a coup behind his back? Yet the cliffhanger is deeply effective, with Gervase seemingly about to kill Arthur.

This continues to be exciting, although parts of the plot are becoming a little shaky in places. Still, we get lots of Patrick Troughton so all is right with the world.

Iron Fist: Bar the Big Boss

 "I know a good family therapist that could help... should any of you survive the night."

This is an excellent season finale, wrapping everything up, or at least wrapping enough things up. Yet there's an episode to go after the surprise cliffhanger. It'll be interesting to see where this is going.

The episode is all about family relationships.We see Ward for the first time in a while, offered freedom from the, er, psych ward by Bakuto and the Hand, causing an almightily dramatic hostage situation with a helpless Harold and Joy. Harold and Joy continue to have a lovely daddy/daughter relationship- poor naive Joy. Yet Harold's ultimate reaction to Wards's betrayal, the betrayal of the son he called a "disappointment" when seemingly about to be beheaded- is admiration. We learn that he, too, killed his father out of ambition. Which is, well...

Meanwhile we have the total breakdown of trust between Danny and his "brother", Davos, who continues to feel abandoned by his bettrayal of his duty to guard K'un Lun... and be with him. They clash over everything, not least the trustworthiness of Colleen, who goes on an admirable redemption journey with the loving help of Danny... who has regainedthe power of the Iron Fist. Fittingly, it is Colleen who defeats Bakuto. Yet she refuses to kill him out of ethics... only for Davos to do so, angrily fight Danny, and leave all mardy like. Well then.

We end with Danny and Colleen declaring they've found family in each other. Good, because it seems the Meachums, or at least Harold, have utterly betrayed them...

Superb telly. But what happens now?

Secret Invasion: Promises

 "I'm Nick Fury. Even when I'm out, I'm in."

This isn't really a Nick Fury show, but more of an ensemble. The different factions of Skrulls get a lot of screen time, with Emilia Clarke excelling as pressured double agent G'iah and Kingsley Ben-Adir as Gravik. Olivia Colman sparkles as Sonya who, it's now clear, is basically a female James Bond. This episode is pretty damn good, more so than the first.

But there's a lot of Fury, the once-lregendary old man who may have lost his mojo, as everyone keeps musing. There's some great character stuff for him, performed to excellence by Samuel L Jackson, an actor of the very first class. We learn that there are a million Skrulls on Earth(!) via his reminiscences of Jim Crow era Alabama. The scene with hiom and Rhodey is superb. There's a lot of fascinating musing, echoing The Falcon and the Winter Soldier, on what it means to be Black in America.

The Skrull plot deepens. The council of Skrulls seems to fall in behind Gravik... and the British Prime Minister, among others, is a Skrull! This is cool. If only people could tell screenwriters across the pond that prime ministers are addressed as just "prime minister". No "Mr" or "Madam". 

There's little else to whinge about, though. I'm enjoying the wit and intrigue. Even the torture scene was amusing. And, so far, the potentially dodgy premise of refugees as baddies hasn't crossed any blatantly unfortunate lines. Here's hoping the quality continues.

Shakespeare in Love by Tom Stoppard at the Little Theatre in Leicester

 “She has been plucked since I saw her last- and not by you.”

I saw this last night, the second play I’ve seen at this splendid establishments, whose players may be amateurs but are no less talented. The stage dressing, choreography and movements are intricate and uniformly excellent. There is a lot of physically demanding here, all pulled off with aplomb.

I haven’t seen the film, alas, yet, although enjoying this play so much means that the moment is doubtless soon at hand. But the script is superb. I mean, I’m sort of a massive Shakespeare and Marlowe geek. I know damn well whom the likes of Philip Henslowe and Ned Alleyne are. I appreciate the clever twist that Kit Marlowe’s death is not some kind of conspiracy here, but genuinely just an argument about the bill for a meal. Then there’s the clever metatextuality with how Will and Viola’s relationship echoes the play being written.

Despite the wit, though, the decision to have Viola irreversibly marry the baddie is devastating. Worse, they’re both immediately off to Virginia. In 1593: just Google “Croatoan” if you don’t get what I’m referring to. Certain, desperate death awaits. And yet… her and Will’s love burns bright. It would not have lasted, Will being an unhappily married father of indifferent quality.

This production, though, is worthy of a Shakespeare comedy and is utterly first class. The cast- dog included, are uniformly superb. Alas, the play’s run has now ended, but at least I got to see it. It was magnificent.

Iron Fist: Lead Horse Back to Stable

 "I wasn't chosen. You were. And you took it and ran."

Again we get a bloody good episode. You never quite know what you're going to get with Iron Fist, but this is two very good ones on the trot."

It's fascinating seeing the dynamic between characters here. First there's Danny and Davos, friends, brothers and rivals to be chosen as Iron Fist. Yet Davos sees his brother chosen instead of him... only for Danny to be seen to desert his post. Why? We're still not really told, although we see that Danny is supposed to guard the pass to K'un Lun until he dies. "You know what the rest of your life is going to be. Quite.

Then there's the newly reunited Harold and Joy, soon plotting with Danny and Davos to take down Bakuto. Joy has made financial jiggery-pokery possible, to lure Bakuto into a trap. Yet cracks begin to appear between father and daughter. Harold's new temper once more, and Joy's qualms about the plans to kill Bakuto.

Then there's poor Colleen, the only person in the show at this point who believes in Bakuto and the Hand. Even Claire, the conscience of the show, is disappointed in her. The attempted reconciliation with a bitter Danny doesn't go well, but her loyalties are divided. It's only when she's betrayed to Bakuto by her own former proteges- that must hurt- and about to be killed by the Hand that she heroically escapes, to be reunited by Danny. Yet she's broken, betrayed by the very thing she always believed in.

Intriguingly, Danny hints at understanding how she feels. There's more to be learbed here. But first, Bakuto...

Iron Fist hasn't exactly been consistent. But it looks to be headed for a strong finish. And yes, I know, Secret Invasion. I'll get round to it.

Better Call Saul: Sunk Costs

 "Just so you know, this isn't a typical week around here..."

And suddenly it's all go. We have two narratives, with both Jimmy and Mike, in which events are moving quickly and fateful decisions bdeing made. With Mike, we sort of know the eventual outcome. With Jimmy... I fear for Chuck. I'm calling it: Jimmy is right. Chuck will die alone. This very season.

It's fascinating seeing the calm conversation between Gus and Mike, Gus- not Mike- very much the alpha male, framed as a man of power against the unique New Mexico landscape. Mike agrees, having no choice, to let things lie with Hector. Yet he spies a loophole; Gus and Hector are rivals, not friends. So he merely moves his vendetta to more subtle means, involving trainers, overhead power lines and cleverness.

But Jimmy, oh Jimmy, arrested, put in those frankly unnecessary cuffs and that absurd orange jumpsuit, accused of crimes that could ruin him. And Chuck actually tried to claim it’s for Jimmy’s own good… but it’s not: the eventual preferred plea deal will disbar him. Chuck, as ever, wants to end Jimmy’s lawyerly activities.

And Kim, poor Kim, she who is graced this episode with a montage of her very own. At first Jimmy seems to refuse her offer, but she ends up representing him. This lovely, talented lady is going to be dragged down by a man so very, very unworthy of her love.

Obviously, this is superb telly. That goes without saying.

Mallrats (1995)

"And don't ever lose that nipple!"

Finding a quote for a Kevin Smith film is not exactly the most difficult thing ever, which says something in itself.

Ok, this isn't quite as good as Clerks. It's similar- a geek-cum-romantic comedy with slapstick, wit, heart and profound '90s-ness, but it doesn't have the art house look or the hard hitting ending, nor is thereas much depth behind the humour and the cool. This is Kevin Smith by numbers, with a moderately bigger budget.

But you know what? If this is what Kevin Smith comes up with when he's relatively uninspired, I'll take it. It may not be his best work, but it's still awesome. In fact, it's awesome for the deliberately Road Runner-esque scenes of Jay and Silent Bob trying to get past the security guard and destroy the stage. Stan Lee gets an awesome cameo. The Easter Bunny gets a damn good kicking. Some excellent points are made about Superman's sex life.

The performances are superb. Jason Mewes is excellent as Jay, and we see a lot more of him and Silent Bob, always a good thing. But it's the central comic performance of Jason Lee who holds the film together. The Blind Date-style conclusion is neatly done and, unlike in Clerks, the two sets of lovers are back together by the end. The slacker will forever remain a '90s trope; sunce the 2008 crash, and certainly now, it stands revealed as a luxury from a more prosperous era. But the geek, nonetheless, shall inherit the Earth/.