‘Doctor Who’: ‘Hide’ review
‘This isn’t a ghost story,’ says the Doctor with one of those humany-wumany grins on his face. ‘It’s a love story.’ And he’s not wrong.
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‘This isn’t a ghost story,’ says the Doctor with one of those humany-wumany grins on his face. ‘It’s a love story.’ And he’s not wrong.
On paper, it’s red-hot. Capitalise on the Jubilee / Will & Kate / Royal Baby mania with a show starring Helen Mirren as Elizabeth Regina (again) backed by the writer and director of The Queen and a neat concept: a series of era-hopping sequences giving us a backstage pass to the Queen’s weekly audience with the Prime Minister.
What makes Spartacus so much more complex than many expect it to be is that when it presents us with an idea, it is never content to move on from it without exploring it in depth.
It may be something of a surprise to learn that the two men behind Game of Thrones have never actually stepped behind the camera to direct an episode themselves. That all changes with ‘Walk of Punishment’, as David Benioff takes control and directs an instalment brimming with confidence.
After the cacophony of criticisms brought upon ‘Rings of Akhaten’, Neil Cross’ name may ring a Cloister Bell in the head of many a Whovian. But you can’t judge one writer by one episode, and we’re certainly not going to compare efforts here. All we’ll say is that ‘Hide’ is as far away from ‘Rings’ as the Akhaten system is from 1970s England.
After a run of Doctor Who episodes which have made a play of character riddles and tricksy story twists, ‘Cold War’ represents something of a thaw in proceedings.
There are no paradoxes here to send you hurrying to the internet to speculate about what you have seen and why. There’s probably less subtext than in last week’s, altogether more awkward, instalment.
On television ‘The Rescue’ was a rather modest affair. A two-parter set after the drama of ‘The Dalek Invasion of Earth’, its primary role was to provide an introduction Vicki (Maureen O’Brien) who was cast in the wake of Susan’s departure.
From the director of the truly remarkable 1995 film La Haine comes a real life war movie, of sorts, which pits politics and terrorism side by side where soldiers and citizens are expendable as the policies they spew.
Spartacus doesn’t do filler episodes. Yes, ‘The Dead and the Dying’ may be the penultimate instalment of the show but that hardly means it’s an uneventful one.
This is an episode that is all about consequences, catharsis and remembering the dead. It’s a tribute to Crixus that develops into a tribute to all who have fallen in the war against Rome, masterfully executing numerous resonant moments while doing significant work building for what is sure to be an epic series finale.
TV of a quality like Broadchurch doesn’t come along very often. And in an age when telly is an elastic experience – something which can be paused, rewound, and watched whenever we demand it – it’s rare for a show to command such attention that it becomes an appointment: an hour that millions cannot afford to record or download, because it would leave them behind.