Ever had that recurring nightmare where you’re about to sit your finals for Starfleet Academy but – oh no! – you’ve not studied and, even worse, you’re suddenly naked and doing the Kobayashi Maru test? Oh, hey, us neither… But fear not young cadet, Star Trek Federation is here to help. With the knowledge, not the nudity.
When is a show’s finale not its finale?
Peaky Blinders‘ penultimate episode has the dramatic neatness of a conclusion, cemented by the ominous sensation of finality as Tommy Shelby dramatically commutes through a graveyard (he’s always walking, even though he owns one of the few motorcars around), and yet we haven’t reached the end quite yet.
If Skins co-creator Bryan Elsey’s recent Channel 4 series Dates really did what it says on the tin, and delivered us nine dates between Londoners, it might not have worked as well as it ends up mostly doing.
After interrogation scenes with the gleefully uncooperative journalist, who was caught last time cooking something suspicious, his presence in photos led the team to raid an illicit dining club.
As jukebox musicals go, Stephen Greenhorn’s weaving of Proclaimers’ songs into a narrative is a far superior piece of writing to Mamma Mia or We Will Rock You.
London-based readers have just a fortnight to catch Richard Eyre’s production of Ghosts, before it vacates the Almeida to make way for Matt Smith’s American Psycho.
So – rape as entertainment. Well, it’s a debate to be had, isn’t it?
When ITV denied the press access to a preview of last night’s episode, we assumed it was for some trivial reason: a CGI backdrop of London that had yet to be painted in, while Edith bumped into Virginia Woolf in the foreground. That sort of thing.
The principle law of the horror movie genre is that if your film is even just slightly successful, there really must be at least one sequel.
Usually, one sequel is not enough, so the endless cycle of diminishing returns continues until somehow you have a Wrong Turn 5 on your hands. God knows, no-one wants that, so let’s hope that with the frankly ridiculously-titled The Last Exorcism Part II, producer Eli Roth has learnt that valuable lesson and stops while the going’s still relatively good.
Opening with a pounding forest action scene, this second episode of Atlantis exists primarily to introduce a further addition to the cast; Jemima Rooper makes her first impression with a slow turn to camera and a terrific scream.
They say you shouldn’t judge a book by its cover, but they never saw Star Trek: The Art of Juan Ortiz, which is the best looking thing to happen to Star Trek since Karl Urban’s hair.