Favourite TV of 2019

As we move toward 2020 it feels appropriate to look back at 2019’s film and television offerings. While this is a horror blog, not all entries on this list are genre pieces. Presented in an order that is entirely my own opinion, here are 18 of my favourite television programmes from 2019. Yes, I know 18 is a strange number, but I could only narrow down so much.

Honourable mentions for Dead Pixels, Black-ish, Brooklyn Nine-Nine and The Case Against Adnan Syed.

18. Good Omens

As far as apocalypses go, Good Omens is probably one of the most joyful ever committed to screen. Top-notch chemistry between David Tennant and Michael Sheen made it irresistible viewing. I’ve not read the books, so can’t comment on if it is a faithful adaptation but the show itself made for fun viewing.

17. Black Mirror

Since the move to Netflix, I’ve found that Black Mirror has lost some bite, aside from the incredibly dark Shut Up And Dance from last season.  Bandersnatch felt like an experiment with limited success – it was fun for a while, but I found it too easy to get myself stuck in a loop so I’m never sure I found all the available endings.  Bandersnatch meant that there were only three episodes in the season.
Of those three, the Miley Cyrus starring, Rachel, Jack and Ashley Too, was my highlight and I’ve been unironically listening to Ashley O’s ‘On A Roll’ ever since. There was a considerable backlash against the episode but it did show that Brooker was able to seek a different audience than perhaps the more relentless episodes like White Bear would attract. The episode is almost an advert for the show’s reduced harshness but shows it can work differently too.

16. Responsible Child

This harrowing and deeply affecting drama called attention to the problems with the age of criminal responsibility in England and Wales. Following the ripped-from-the-headlines case of two brothers who murdered their stepfather, the one-off drama looked at the process of taking a child to court for the most heinous of crimes. Themes of neglect, abuse and other deprivation were placed centre-stage in following Ray’s trial. Cleverly utilising flashbacks to the brutal crime, this isn’t an easy watch but raises important questions about how society treats children who commit violent crimes. Billy Barratt does an incredible job as Ray, the titular responsible child, managing to excellently portray a completely lost soul.

15. Luther

Luther’s return was heralded by a very impressive trailer that promised the return of everyone’s favourite psychopath in Alice Morgan. The show did what it does best by making everyday things terrifying, including a scene set on a night bus that set the creep factor very high. While the season seemed to signal the end of the series as a whole, I don’t doubt that Idris Elba’s troubled detective (and his coat) could find his way back to the screen again.

14. The Handmaid’s Tale

The third season broke completely with Margaret Atwood’s novel and continued with June in Gilead, now under the supervision of the enigmatic Commander Lawrence (Bradley Whitford). It felt slightly more hopeful, with the growing promise of revolution and Emily’s eventual escape to Canada. However, even the moments of hope were tempered by the struggle of readjusting to normal life and the difficult negotiations with the Commander’s history. It is difficult to imagine how much longer the series can run, considering the finale, but it remains urgent viewing, especially considering the nature of some debates around women’s reproductive health and rights.

13. The Victim

The history of the James Bulger murder loomed large over this drama that kicked off with the attack of Craig Myers (played by James Harkness) by a vigilante who had identified him as someone who killed a child when he was a child. The series sees Anna Dean (Kelly Macdonald), the sister of the boy killed 14 years ago, go on trial for allegedly organising the attack. Macdonald gives an incredible performance – both deeply painful and frequently unsympathetic which is an incredible achievement given her circumstances. A late confrontation scene manages tension and is heavy on emotion but never shies away from the complex morality at the heart of the story.  

12. Catastrophe

Rob Delaney and Sharon Horgan’s caustic comedy came to an end this year after four seasons of almost everything going wrong for Rob and Sharon in their marriage and child-rearing. Season four brought the best possible ending for the pair and managed a touching and fitting tribute to Carrie Fisher in the process.

11. This Way Up

Another item featuring the wonderful Sharon Horgan, this time alongside Aisling Bea as Aine – a woman who finds herself dealing with the fallout from attending a rehab centre for her depression. Horgan and Bea put on excellent, frequently spiky performances as sisters struggling with one another’s lives and Aine’s ongoing mental health issues. It manages to evoke the oft-helplessness of chronic depression while still drawing laughs. 

10. A Confession

Dramatising the story of detective Steve Fulcher’s questioning of murder suspect Christopher Halliwell that led to the officer’s suspension and prolonged legal concerns, this ITV drama was sensitive in its portrayal of the case, while highlighting the issues of an office breaking protocol. Joe Absolom made for a suitably cocky Halliwell while Siobhan Finneran and Imelda Staunton as the mothers of the two victims gave highly emotionally-charged performances. The attention to detail was excellent and shows that the case still sparks debate. 

9. Gameface

While I’m keen not to pit female comedy writers against one another so directly (see also Aisling Bea’s This Way Up making the list), it feels like Fleabag took most of the plaudits this year. I’ve always struggled to connect with Fleabag, even though on paper, it should work for me. However, I found Roisin Conaty’s Gameface to grab me far more. Unafraid to be incredibly silly as well as vulnerable, Conaty’s oft-disastrous Marcella had an incredible charm. Featuring several excellent supporting performances, including Pauline McLynn, the comedy and drama felt in sync.  

8. The Disappearance of Susan Cox Powell

A frightening and skin-crawling portrayal of obsession, The Disappearance of Susan Cox Powell documents the mystery around her disappearance, including the warped familial relations she found herself trapped in. The home video footage of her father-in-law is deeply disturbing and the numerous failings of police are highlighted. Even though it is a difficult watch and the entire story is immensely sad, it feels like a story worth highlighting. As a portrait of the desperately sad consequences of a failure of services to properly intervene it is both damning and upsetting.

7. Ghosts

Joyfully funny and allowing the Horrible Histories team to make slightly cheekier jokes in a later timeslot, Ghosts has thankfully already been renewed for more episodes. With the cast settling on one character each, for the most part, it allowed them to better settle into the quirks of each character which gave the show a great deal of heart. Jim Howick’s Pat was an instant favourite for me, with the flashback to his death being both hilarious and fairly horrible. Cannot wait for more of this.

6. Killing Eve

Season two of Killing Eve felt like more of the same, but in a show pitched as perfectly as this that is no criticism. Emerald Fennell took the writing mantle from Phoebe Waller-Bridge but kept the irreverence, quick wit and showy assassinations just as sparky as the first season. Undoubtedly the highlight of the season features Julian Barratt as a creepy doll aficionado who comes to Eve’s ‘rescue’. Jodie Comer and Sandra Oh continued to be brilliant in their dangerous flirtation and while a third season was certain from the outset, the cliffhanger ending was still impressive.

5. Derry Girls

Season two of Derry Girls represents perhaps the fastest time I have ever boarded a ‘ship’. James (Dylan Llewellyn) turning up at Erin’s (Saoirse-Monica Jackson) door – Doctor Who scarf and all – was an incredibly sweet moment that drove home how well the characters were crafted.  Derry Girls takes a difficult period in history, doesn’t shy away from the harsh realities of that period but still guarantees at least one laugh out loud moment per episode. Little touches like the central gang all donning rainbow brooches after Clare’s (Nicola Coughlan) coming out in the last season make it an incredibly easy show to love.

4. What We Do in the Shadows

The film version of What We Do in the Shadows was so popular that there was a risk in changing so much in terms of location and cast. However, the risk more than pays off as the central trio played by Matt Berry, Kayvan Novak and Natasia Demetriou work so well. The dead-pan, undead Spinal Tap humour carries well and while there is a thread throughout the episodes, there is plenty of room for one-off silliness. The Vampire Council episode was a highlight for many, but it’s difficult not to call attention to the episode featuring Laszlo’s cursed (“It’s not cursed!”) hat as being particularly inspired. A last-minute, deeply satisfying twist in the tale promises the follow-up season will be just as good.

3. Mindhunter

Possibly the most stunning and terrifying show on Netflix – Mindhunter finally returned for its second season this year. Focusing primarily on the Atlanta child murders and the racial tensions within, as well as Holden’s (Jonathan Groff) growing inability to look anywhere than other at his profiles, Mindhunter is methodical and frequently eerie. While it would be nice to see more to do for Wendy Carr (Anna Torv), the background story of Bill Tench (Holt McCallany) and his son’s involvement in a grisly event was compelling and upsetting in equal measure. More importantly, it seems to have reopened the conversation about the real murders and the community dissatisfaction with the case. The last episode’s theme being replaced with a version performed by a children’s choir cemented the show as being part of something real: the loss of 29 young lives. The BTK killer continues to haunt the narrative with an incredible opening scene that sets the tone for the whole season. There is yet to be any announcement about a season 3, but I sincerely hope it won’t be long until there’s news.

2. Unbelievable

Based on a true story, Unbelievable is at times, an incredibly hard watch because you watch with the awareness that a young girl did go through all of this hardship and pain. Starring Toni Collette and Merritt Weaver as detectives who join forces to capture a serial rapist, the miniseries showed the numerous issues that victims encounter when trying to report rapes and how incorrect preconceptions do further damage to victims and allow the perpetrators to commit further crimes. Kaitlyn Dever is heartbreaking as Marie Adler – a young girl who finds herself repeatedly let down by a system intended to protect her. So too is Danielle Macdonald, another victim, named Amber, whose sensitive treatment by detective Duvall (Weaver) in the aftermath of her attack sets her experience apart. With flashbacks to the attack, this won’t be for everyone, but I do believe it has messages that wider society would do well to take on.

1. Years and Years

Criminally under-seen and under-discussed (it reviewed well with critics, but I’ve seldom heard anyone mention it in day-to-day life, Years and Years increasingly feels like a bleak and distressingly accurate prediction of the future under an increasingly corrupt and cruel government. The love story between Daniel (Russell Tovey) and Viktor (Maxim Baldry) was both incredibly beautiful and deeply heartbreaking. It features many Russell T Davies traits that people sometimes fail to connect with but for me, the monologues were brilliantly written and superbly performed by actors like Tovey and later, Anne Reid. 

Following one family through changes in their political, social and cultural lives with the technology that accompanies it made it feel personal and far more affecting than viewing the developments from a distance. Murray Gold’s unhinged soundtrack and some incredible performances made it edge-of-the-seat viewing. Offering some hope while pleading for introspection and personal responsibility as well as a heartfelt dedication to Russell T Davies’ partner who passed away in 2018, only Years and Years could make the number one spot on this list.

What was your favourite thing to watch on television this year? Let me know in the comments, or on Twitter.

Der Pass Review

Der Pass (otherwise known as Pagan Peak) is an absorbing thriller, in the mould of shows like The Bridge. By not straying too far from that immensely popular premise, Der Pass offers a border-blurring exercise in tension that feels familiar but has enough unique elements to make it worth investing in.

Synopsis: When a gruesomely staged, dead body is found in a mountain pass in the Alps near the German-Austrian border,
two detectives from either side are brought in to investigate.
Not only are they from two different countries, they are worlds apart in their careers…German detective Ellie (Julia Jentsch) embraces the case as the first real challenge of her profession, while her Austrian counterpart Gedeon (Nicholas Ofczarek) is jaded and seems to have lost any ambition. They soon discover more crime scenes with symbolically posed victims, which appear reminiscent of pagan
rituals. Are they all part of a much bigger, sinister plan?

Der Pass is an 8-episode detective drama with a huge emphasis on mood and tone, but somehow also gets the pacing right. It’s initial introduction of a number of characters at first feels a little disarming, especially as I always experience a short period of adjustment when reading subtitles and getting an understanding of the tone of the language. However, it uses them skilfully, switching the action from character to character so it feels like the story is never standing still, but just being seen from a slightly different perspective until it narrows to its most important players.

The teaming of two detectives who have very different methods is nothing new, especially in these dramas where the difficulty of investigating a murder is complicated by the body being across borders – in this case, the German and Austrian border. Gedeon Winter (Nicholas Ofczarek) takes up the mantle of grizzled, haunted detective who is seen drugging his sugar cubes (yes, really) to get through the day. Winter’s dark past is always lapping at his heels and often threatens the investigations. In contrast, Ellie Stocker (Julia Jentsch) is confident and focused on getting the right result, especially as the case marks her first time in control of an investigation. So far, so familiar but both leads have enough charm that it feels like welcome familiarity, rather than a rehash. Both are given ample room to develop as the case increasingly pulls at personal threads for the pair.

While the political edge between the countries of the detectives is not as pronounced as in other dramas of the same kind, there is still tension developed here in terms of a changing world and the crossing of borders. An early scene features the discovery of refugee bodies in an abandoned lorry – an intrusion of the real-world on a show that spends a great deal of time concerned with the implications of traditional myths. The search at first for a Pagan ritual murderer soon gives way to more specific myths like Krampus and then into something entirely different, but each representation is built as plausibly as possible so that no element feels designed to swerve or double-cross the viewer. In fact, Der Pass reveals its perpetrator fairly early on meaning that the show dedicates time to exploring both the police and murderer’s methods.

Der Pass really wrings every ounce of tension and awe from its alpine location, regularly using the snow-covered surroundings and looming trees to ominous effect. This helps hugely in setting the moody tone for the drama – people are framed as small within the vast, blindingly white landscape which adds a lot to the scale of the production too. It is picturesque but stark and sweeping shots above really emphasise how vast the location is. The extremes of light and dark allow for some very creepy imagery and the use of shadow to reveal as much as it conceals works incredibly well.

A late-stage time-jump appears superfluous at first, but soon evolves to show the wider impact of the case on the detectives, other crimes, victims and the region everything has taken place in. This also allows for an abrupt escalation of tension and some incredibly, chilling, downbeat moments that feels in keeping with the overall direction of the show.

With its snowy settings and myth-exploring, Der Pass is the ideal drama for settling down with when the nights are getting colder and darker. At only 8 episodes, it does incredibly well to create such a depth of mood while also moving through its narrative beats at a perfect pace. Anyone who enjoys a methodical serial killer/detective story will undoubtedly get a lot from Der Pass.

Der Pass arrives on DVD and digital tomorrow (September 23rd) following its successful showing on Sky Atlantic through Acorn Media. Click here for more details.

Dark Mirages (2018) Book Review

Dark Mirages is a collection of scripts and treatments for a number of potential horror film or television pieces, offering an insight into the language of scripts and how format changes require a different way of thinking.

SYNOPSIS

The Cenobites from Hellraiser return to their spiritual home of London for a showdown to end them all, and the legend of the world’s most famous vampire

Dracula gets a fresh spin. The ghost of an elderly lady’s past returns, while a mysterious old-fashioned TV is rented out. And as a race against time begins, a deadly game of chance takes place…

Dark Mirages is your chance to read unmade or rare TV/film treatments and scripts from talented writers such as Stephen Jones & Michael Marshall Smith, Stephen Gallagher, Axelle Carolyn, Peter Crowther, Muriel Gray and Stephen Laws. Compiled and edited by Paul Kane (Hellbound Hearts, Beyond Rue Morgue, A Carnivàle of Horror) this is a unique book no genre fan should be without!

Fans of the Hellraiser series will be well-represented at the outset of the book in which Michael Marshell Smith and Stephen Jones present a potential script for a sequel to Hellraiser.  The script, written in 2007, sought to honour Barker’s original vision and largely disregard a number of dissatisfying sequels (as is in fashion recently) and shows a great deal of appreciation of the original film and surrounding universe.

Stephen Gallagher’s Dracula script is also of interest, particularly since the BBC have now given the go-ahead to the vision of Mark Gatiss and Steven Mofatt’s Count.

My favourite part of the book is The Last Post, first represented as Axelle Carolyn’s short story and then the script adaptation.  I have seen the short film so this was a good demonstration of how an idea evolves and changes through formats without losing any of its emotional weight.

The book also features a Peter Crowther script which would have become an episode of the Chiller television series, which is a great example of how the anthology format prompts stories which need to present fully-formed characters and effectively scary plotlines within a short amount of time.

Muriel Gray’s treatment for The Seven is short, but intriguing, although with such a limited representation it is difficult to see whether it is intended as a film, or episodic television series.

Lastly, Stephen Laws’ Dead Man’s Hand offers a script which I could easily envisage as an ITV 3-part series, offering an escalation of tension within a ‘classic ghost story’ format.

The book is a must for people who are interested in horror screenwriting, featuring moments where the writers reveal why they have made certain choices and clarify their intentions. This, alongside the engaging stories within the scripts make it an excellent choice for horror fans who want new visions of existing characters, or one-off stories within the genre.

Dark Mirages is available to order here from PS Publishing.

Do I Look Compelled?: The Exorcist Television Show

This piece contains spoilers for The Exorcist – the original film and both seasons of the television show.

The Exorcist television show (2016-17) has been, perhaps unsurprisingly, cancelled after it’s second season.  In the same week as passionate fan (but, let’s be more honest – celebrity) intervention saved Brooklyn Nine-Nine from cancellation, a number of other shows were cancelled.  My personal favourite of these is The Exorcist.  While a fan campaign to secure a season three has been in operation since the second season finale, it seemed that The Exorcist always had a shelf-life as far as the network was concerned.  This is not exactly a criticism of the network as I feel fairly amazed by the kind of content we were given in the first place, in the same way as NBC allowed Bryan Fuller’s Hannibal a pretty loose reign in terms of artistic freedom, even if it proved short-lived.

A #SaveTheExorcist campaign, complete with petition is on-going, but creator Jeremy Slater seems at peace with the decision.  Due to the growth in online streaming it seems more than plausible that The Exorcist could find a new home elsewhere.  Certainly, the second season left numerous threads open to be pulled, including a hint at exploring the content of Legion (including the frankly horrific nurse station scare) as well as expanding from the original Father Marcus and Tomas duo into more of a core ensemble cast.

I have made no secret about what a fan I am of the original The Exorcist film and book.  The book allows for further, internal exploration of the possession, but the film brings the story’s most visceral moments to life.  Each time I watch the film, I’m struck by the smaller details – almost imperceptible during the first watch as the more visually horrific images take centre-stage.  Far from softening the film, these moments provide further emphasis of the horror of the situation.  The plea from ‘an old altar boy’, while at first seeming to highlight the concerns of the material world is turned into chilling evidence of the omniscient and omnipresent evil at work.  However, The Exorcist, largely due to the level of fame and notoriety it achieved has now been parodied to the point that for many, it no longer has an impact.  That familiarity alongside potentially dated special effects mean that the film may have lost it’s power for some.

The film has always remained powerful for me and so the announcement that there was to be a television show addition to the franchise was initially a worry.  An early poster which emphasised the dramatic head-turn furthered this worry that the show would focus more on visual, gory elements rather than the slower-burn, longer-lasting tension.

The worry turned out to be unfounded and the show soon became a firm favourite of mine.  The TV show did not shy away from some gore and physicality, but made it clear early on that it was also interested in the emotional impact of possession on the family, as well as the exorcists.  This is represented by the infamous head-twist from the film being rebranded as something fatal for the possessed and something which is to be avoided at all costs.  This is shown through the eyes of Father Marcus (Ben Daniels) as a failed exorcism which continues to haunt him.

Father Marcus’ past failures act as connecting tissue between the seasons.  His increasing inability to believe in a God who keeps placing him under immense strain permeates everything he does.  Marcus’ dual nature also plays into this – he is in one breath provocative, and in another, desperately searching for kinder, more successful ways to do his job.  His protege Father Tomas (Alfonso Herrera) is at the start of his journey, and is struggling with temptation and finding his place in his new role.  The interplay between the two enhances the show, and so much of that is down to the chemistry between Daniels and Herrera.

Despite their charm and the fact that they often carry the action, the supporting characters in each season have been just as interesting.  I did find that Geena Davis’ turn as Angela Rance was a little at odds with other performances in the first season.  While the other actors appeared to be treating it primarily as a domestic drama, Davis was in full horror-movie scene-chewing from the outset which created a slightly odd tone.  This is forgiveable though as her performance does suit the latter half of the season and her scenes facing Captain Howdy/The Salesman is full-force melodramatic horror.

Of course, it is impossible to talk about the show without including the big reveal within it – Angela Rance is not Angela, but a grown-up Regan MacNeil.  While any ‘new’ take on The Exorcist was always going to be a hard-sell, throwing in a canon-link to the original franchise was even more of a risk.  Thankfully it is one which pays off and adds far more emotion to proceedings.  That last scene within the original film where Regan is moved to hug Father Karras at the close of her ordeal is an emotional moment for them both.  The repossession of Regan speaks to the inescapable evil within The Exorcist‘s universe.  While this would initially appear downbeat, the fact that there are still people dedicated to fighting against that evil adds some balance.

Of course, the television show, with it’s extra time and space to breathe and grow also offers a subplot about demonic possession within the wider church and even the Vatican.  This connects the otherwise very different seasons and provides a ‘bigger bad’ to drive the series.  With Jeremy Slater proposing that season three would have provided an opportunity to time-hop around the increasing threat, while maintaining a close eye on the adventures of the now-separated Marcus and the new team of Tomas/Mouse, it is difficult not to long for that kind of inventive, multi-layered storytelling.

The second season follows a similar pattern to the first in narrowing some of the focus onto one family.  It is a testament to the chemistry of the central Marcus/Tomas partnership that the show is able to move completely from the comfort established in the first season into a totally different location and entirely different characters.  The new family they are required to help could easily have slipped into parody and self-righteousness, given the collection of ‘troubled’ children involved.  Luckily, John Cho’s Andy is both sympathetic and sufficiently frightening when necessary.  All of the younger actors are excellent, but special praise must be reserved for Brianna Hildebrand’s Verity, whose performance feels effortless, despite the weighty material given to her.  The reappearance of Casey Rance late in the season to Tomas in a dream explores the idea of even successful exorcisms returning to haunt the priests, which is an idea with great potential.

The island location adds a great deal to the visuals, as well as enhancing the isolation of the house and surrounding areas.  Allowing the demons to fully inhabit an area and for that area to be impacted in increasingly fantastical ways fully exhibits what an ambitious project The Exorcist was (and could still be in the hands of a trusting network).  The progression of style and form in the second season was evidence of a show growing in confidence.  An exorcism scene shot almost in the same way as a painting was incredibly effective, creating a beautiful pause within the chaotic scene.

The exciting thing about the show that it’s outwardly straightforward representation of exorcism allows for the exploration of more complex themes of sexuality, guilt and freedom.  In addition, while true, spiritual evil is clearly shown as existing within the show’s universe, it also approaches the more human side of evil.  This was showcased primarily in the second season, where a woman appealing for the help of the exorcists actually happened to be causing the symptoms of possession within her daughter.  The difficult social interactions, investigative work and inherent danger of being freelance exorcists was pushed to the forefront.

I hope that, in time, The Exorcist might find a home with another network.  There is a wealth of material still possible to explore and such a strong base has been created for continuation.  Since I started writing this article, a number of the shows cancelled at around the same time have either been picked up by other networks or their cast and crews have confirmed their end.  I still have hope that The Exorcist has a little more time to consider their options.

Animal Cruelty in Film

I have to confess that this is probably the most difficult blog post I’ve ever written.  Largely, I think, because I imagined at the outset that I’d find that instances of animal cruelty in film are almost non-existent.  However, it seems that the use of animals on film sets and as part of other entertainments are all too often still resulting in casualties.  Please be forewarned that this article will contain some links to graphic and potentially distressing material.

Particularly Britain is termed a ‘nation of animal lovers’ and certainly by the amount of money that goes into people’s care for their pets it can be taken as being true.  Despite this, it has taken some years to properly legislate the use of animals in circus performances and horse racing remains an attraction for many.  This is despite the numerous fatalities caused by racing every year. The site http://www.horsedeathwatch.com/ *warning for graphic images at that link* collates lists of horses destroyed on race tracks due to catastrophic injuries.  During Cheltenham this year, since March 12^th, 9 horses have died.

Of course, animals have been a focus of film and television, in both fiction and documentary projects.  Certainly, in the horror genre animals are the basis for monsters, protectors of families and distressed victims depending on the direction of the story.  Killing a beloved family pet is usually a cheap shock in horror, used to emphasise the evil of the killer/killers at the centre of the film.  In this same trope, particularly dogs are used as potential dangers to the killer who must be neutralised.  Animals in horror often display somewhat psychic abilities which aid in alerting their owners to the fact that someone is not safe to be around.

While these tropes are tired and likely to result in hardened horror fans rolling their eyes, some of these depictions can be disturbing. Certainly,  www.doesthedogdie.com offers a user-compiled database of films in which an animal (not just dogs as the title suggests) is injured or dies.  This offers potential viewers of a film to filter out those scenes they would rather not see.  The vast majority of scenes in which animals are hurt or killed on screen are totally fictional and the product of hard work and trust between animal and trainer, but there still exist some examples of the most dreadful abuse used for entertainment.

Through my research for this, I’ve landed on Umberto Lenzi as one of the most prolific offenders for using unsimulated animal cruelty.  His work in the ‘cannibal boom’ of the video nasty era features regular scenes in which animals are engaged in fights, or in which actors enact violent acts upon animals purely for the camera.  Sacrifice! and Cannibal Ferox are perhaps the most famous.

Lenzi justified his use of cruelty for the ‘realism’. He was keen to invoke the spirit of the jungle and native tribes as vicious and saw that reflecting the realism of real death and violence was the only way to do this. The video nasty era was punctuated by pearl-clutching Conservatives regarding the content of films in terms of violence, but very little concern over genuine cruelty to animals.  This is perhaps a given considering the Tories’ particular brand of bloodlust for foxes.

On Ferox, he argued with actor Giovanni Lambardo Radice over the actor’s refusal to kill a pig.  During a complicated set-up for the shot involving a double for Radice, he accidentally delivered a substantial cut to his double’s hand.  Radice later suggested that he had avenged the death of the pig.  However, it is perhaps performers’ disagreeing with what is to be done, yet still taking part in some way which allows it to happen.  The most confusing example of this, for me, is Min-sik Choi in Oldboy, continuing to take part in the consumption of live octopodes despite his religion forbidding it.  This again ties in to problems with directors using their power over sets to search for authenticity and encouraging the complicity of cast and crew in this one vision.

Arguably the most famous example of real cruelty being used in film is within Cannibal Holocaust.  It is, undoubtedly, a massively important film within the horror genre due to its innovative shooting style and censor-challenging extremes.  The extremes within it have inspired modern filmmakers in terms of content and production.  However, it is difficult to separate the real horror of that film while still championing its importance.  Ruggero Deodato has since expressed regret that the animals had been killed in that way, suggesting that his mentality was different at the time.  He has also suggested that his background in the Italian countryside meant that he was regularly confronted with slaughter, in comparison with modern society in which everything arrives pre-packed and is distanced from the idea and practices of slaughter.  I’d say he has a point in this and we do certainly live in a society where animal consumption is an everyday occurrence, with little thought given to how it arrived in a supermarket.  However, the deliberate staging of animal torture and death is a long way away from the killing of animals for food.  The cast and crew maintained that all animals killed had been given to the tribe to eat.  There still exist cuts in which all animal cruelty has been cut, which I believe points to the fact that real animal cruelty is a taboo which people would rather avoid, given the choice.

At this point, I’d like to mention Mario Bava, who regrets his use of a real, live bug being pinned in his film A Bay of Blood, without any qualifiers or excuses.  Even modern BBFC guidelines would not find a problem in what he did, but the fact that he identified it as wrong and something he regretted has been one genuinely uplifting fact I’ve discovered in the writing of this piece.

Earlier, I referred to the tyranny of some directors in creating authenticity on screen and how in exploitation and horror films, thanks to the content, this results in the physical and emotional abuse of performers.  While this is abhorrent and something I’ve already spoken at length about in the Tarantino thinkpiece, there is a crucial difference and that is that at some point, a performer will make a decision to enter a film set: an animal never makes that choice.

There are surprisingly few regulations which prevent the ill-treatment of animals.  The BBFC (bbfc.co.uk) lists that they comply with two specific laws considering the treatment of animals.  These are The Cinematograph Films (Animals) Act 1937 and The Animal Welfare Act 2006.  The first law makes it illegal to ‘show any scene organised or directed for the purposes of the film that involves actual cruelty to animals’.  This was introduced largely to outlaw the deliberate tripping of horses in Westerns.  The law means that no film can be passed if it contains:

the cruel infliction of pain or terror

the cruel goading of any animal to fury

However, it is made clear within the act that they are concerned with cruelty, rather than killing.  Documentary footage from slaughter houses or animals killed swiftly and humanely.  I have huge arguments about what constitutes a humane killing in the context of a sentient being for the purposes of entertainment, but that would take me above any half-way reasonable word count. The 2006 act merely prohibits the broadcast of any animal fight.  These acts seem woefully ineffective and really make me worry about how many films I’ve seen which have contained genuine animal cruelty.

At least we have the comfort and security of the No Animals Were Harmed message at the close of the credits from the American Humane Association, who are at least watching the big-budget, modern productions to make sure no animals are harmed.  Apart from the fact that the AHA has been revealed to be an institution which is full of massive failings and conflicts of interest.  This was uncovered by a Hollywood Reporter investigation which showed that accidents involving animals were routinely covered up, downplayed or otherwise went unrecorded.  The full article, released in 2013 is here, presented with a warning for graphic descriptions and photographs that people who may be sensitive to that kind of material – https://www.hollywoodreporter.com/feature/index.html.  Amongst other current scandals permeating the Hollywood bubble, perhaps this deserves more attention.

Throughout this article I’ve drawn attention to films in which animal cruelty is taken as a given and presented alongside human-on-human violence.  However, there is one film which has been previously argued for as a vegetarian horror film – The Texas Chainsaw Massacre.  The article here explains it better than I ever could – http://www.slate.com/blogs/browbeat/2013/07/30/texas_chain_saw_massacre_and_vegetarianism_animal_rights_themes_in_the_original.html.  The fact that Hooper gave up eating meat during filming and Guillermo del Toro is cited as a viewer who gave up meat after viewing means I’m quite content to take it as a vegetarian film and that makes me love it even more.  Indeed, it is key in the film that the teenagers take the place of the animals in the business that the family no longer run.  The kills all take place in ways which mimic the methods of the slaughter house.

Another animal rights film I’d like to draw attention to is Melanie Light’s short The Herd.  A critique of the dairy and beauty industries simultaneously, The Herd is a really brilliant, visceral vegan film.  The effects are wonderful and it functions well both as a horror film and as an allegory in a way which films often struggle to balance.  The social consciousness extends beyond the film itself due to Light’s committed vegan standpoint and her insistence that the catering on the set was also all vegan.  While it is profoundly unlikely that all films will follow in this way, it would be nice and certainly demonstrates that powerful film can be made without any abuses enacted.

There is clearly a need for real change, particularly in terms of how large organisations deal with abuses of power.  While the treatment of animals may appear as a small issue in the grand scheme of such abuses, it certainly displays how those in power are able to silence those who either have no option of speaking out, or those who at the very least feel that they cannot.  Cruelty-free film-making should be on the rise and supported by both consumers and producers.

 

Twin Peaks Thoughts *Spoilers for The Return*

I want to preface this by stating that it is not, nor is it intended to be an explanation or theory for anything within this season.  It is, mostly, just a collection of my thoughts, a few days removed from the finale.  There is almost certainly more to probe in the season following a second (or third, fourth, etc) viewing.  However, there will be spoilers.

Perhaps the most dominant image of Twin Peaks is Laura Palmer, blue and wrapped in plastic.  However, unlike many shows which fetishize the bodies of brutalised women, Twin Peaks has created three seasons and a film’s worth of content of elevating her from a ‘body’.  Further to this, central character, agent Dale Cooper has expended huge amounts of effort in not only solving the mystery of her murder, but increasingly trying to ‘fix’ what happened.

This has never been more apparent than in the hugely divisive Return season finale.  Cooper, although changed, has found Laura Palmer, but finds himself in a different time.  Laura is an older woman, troubled and keen to run from her current situation, yet is frozen in fear at the front of her old house.  At this point, it is difficult to truly discern whether they have moved to the past, or future.  What is clear is the message of the futility of a good man (Cooper) trying to fix the actions of an evil entity (BOB).  Wherever Cooper turns he is the one negatively impacted and prevented from fully offering a resolution – something reflected in how the season and certainly the ending, is constructed.

For me, there has been a sense of timelessness throughout the season.  Alongside this timelessness is the idea, certainly in the Las Vegas setting, that something is not quite right.  People’s reactions (or more accurately, lack of) to Dougie Jones’ marked physical change and inability to verbalise anything but the most simplistic utterances are decidedly strange.  However, there is a magic to Cooper’s habitation of Jones.  He changes the lives of Janey-E and Sonny Jim for the better.  This is tinged with sadness: Cooper’s entrapment in the Black Lodge has prevented him from developing his own family, yet he ensures a positive impact on someone else’s.  After he wakes up, there appears to be acknowledgement that he has been able to take in and understand information.  Finally, Cooper has experience some level of normality.

There’s no denying that the waking up moment is a real joy to watch.  Part of that joy is directly linked (I feel) to the fact that we’ve waited such a long time for it to happen.  This is enhanced by the speed of the awakening and the action that follows.  After the length of time spent waiting for him to wake up, I almost expected further sequences in which Cooper would show signs but not be fully himself.  Until episode 16 it felt like we might genuinely finish the Return without ever really seeing Dale in action.  This, coupled with an influx of new characters and short-term appearances from previous ones, meant that the season often felt like a patchwork quilt, rather than something linear.  I think it is particularly notable that episode 16 provides some fan service through Audrey’s dance and Cooper back to normal, before the far more complex and uneasy final episodes.

From some of the outcry on Twitter and discussion forums it appeared that many fans wanted something more similar to the first two seasons – perhaps a new mystery to solve, aided by coffee and cherry pie.  However, it has always been part of Lynch’s formula to confound expectations and while the patchwork quilt quality has often led to confusion and ends that have yet to be tied up, it has not been devoid of genuine emotion.  Scenes with Log Lady and particularly a scene in which Bobby breaks down in tears at the sight of Laura’s files, call attention to the hold that Laura’s murder still has over Twin Peaks.

The technical and special effects elements are an interesting aspect of Peaks, in that they have often appeared slightly low quality when compared to other television programmes.  Due to the length of the season, it seems unlikely that this is due to budget and therefore is probably a stylistic choice.  The slightly uncanny effects won’t work for everyone, but for me, they worked in adding to the odd and uneasy nature of the show.  It certainly aids in terms of world creation, making the show look unlike any other on at present.  Episode 8 in particular is a showcase of technique and style that almost transcends its status as a television episode and moves into visual art.

As a horror fan, I’m used to creators trying to make things scary.  It would be difficult to fully classify Twin Peaks as horror, but it contains some of the most frightening imagery I have seen in some time.  Lynch’s mastery of creating an atmosphere that I’ve only felt in my own dreams and nightmares is fully apparent throughout the season.  Despite the dark tone of many of the episodes, there are also moments of perfectly pitched comedy.  The bizarre introduction of Wally Brando and the agonisingly slow manner in which one of Gordon Cole’s companions leaves the room both serve as memorable moments for me.

Performance wise, Kyle McLachlan is incredible and deserves a great deal of credit for managing a variety of roles.  I hope he will be rewarded come award season.  However, for me, the real standout is Naomi Watts as Janey E.  I think what I like most about it is that she appears to be completely comfortable and self-assured, which makes the delivery of even the most absurd situations feel compelling.  Laura Dern’s Diane is also a high point, particularly during her more emotional scenes later in the programme.

All in all, I’ve thoroughly enjoyed The Return.  I can’t claim to entirely understand it and some loose threads are certainly frustrating (where is Audrey?!), but the entire season has been a collage of some of the most interesting material I’ve seen on television.  I’ve always considered that for Lynch, you have to suspend a certain amount of your desire to watch a linear narrative and understand everything.  Instead, you have to surrender yourself to ‘feeling’ the scenes as they unfold.  Lynch will never explain what the ‘real’ answer is, but it can be fun to try to work it out, apply different theories and mythological influences.  The ending gives me some hope that The Return will not be the last entry into the series.  Season four could provide a new mystery – Where is Cooper? – rather than the ‘who is he?’ of this season, in addition to moving back to tie up the loose ends.  Of course, where Lynch is concerned, this could easily be the last we see, but I would welcome far more of this innovative, can’t miss TV.

Hannibal Recaps

Apologies for the lack of recaps after each episode, however the convergence of themes and characters within the three episodes since Secondo means that a recap of them altogether is better than individual looks. As a result, this entry will cover Aperitivo, Contorno and Dolce, particularly as the climax of Dolce seems to indicate the end of the Florence episodes of season three as we approach the exciting introduction of Francis Dolarhyde. Due to the stage of the season there will be spoilers, so consider this your warning.

Aperitivo is an episode that largely centres upon Dr Chilton as a linking device between the other characters as he visits them, first following the aftermath of the Red Dinner and later, approaching Mason Verger – disfigured and focused on revenge against Lecter. The episode focuses largely on the physical changes caused by Lecter’s actions during season two, but the emotional impact is never far from the surface. The reintroduction of Alana Bloom in this episode especially, focuses on how Lecter’s real power is not so much physical and violent, but rather the way in which he is able to manipulate and control others. Bloom’s injuries from the event are severe, driving her toward an uneasy alliance with Mason in order to achieve her revenge on Lecter.

Aperitivo marks a point, for me at least, in which for the first time I wanted Lecter to face some level of punishment. The scenes regarding Bella’s death and the impact on Jack are immensely touching and in a show that relies so heavily upon surrealism and far-fetched set pieces it is quite something to have a death of a character be the result of a real-life disease. The impact on Jack of this is profound – most of the death he deals with is profoundly unnatural. Bella’s death serves to force him further into the hunt for Hannibal, largely due to a card delivered to the funeral by the latter. This act is what is so compelling about Hannibal, in that the letter is likely to be mocking, but also an offering of friendship. Hannibal’s ability to manipulate and control is at odds with his inability to completely understand his position within their lives. However, the presence of the letter at the funeral marks the first time in which Hannibal needed to face some direct retaliation, something provided in Contorno by Jack himself.

While it would be easy to echo the pair’s fight from the second season, this is a far more one-sided affair, allowing Jack to physically exert his power over Hannibal, providing a cathartic moment for both character and viewer. While the attack is the focus of the episode, Contorno also provides some interesting developments between Chiyoh and Will Graham, revealing that everyone who has spent any time around Hannibal has emerged very differently. The conversations between Chiyoh and Will always refer to the similarities between Will and Hannibal. Interestingly, while Will would previously have rejected these claims he now appears to embrace and even show pride in them. In addition, despite Hannibal receiving a beating from Jack at the end of the episode, Contorno does much to further Hannibal’s methods of cruelty against others, rather easily dispatching Pazzi.

Dolce, the most recent episode (in the UK at least), provides more of a featured role for Bedelia, arguably one of the most interesting characters within the show. Her drug use revealed within the episode contributes to the dual nature of her character: simultaneously she is doing things that will contribute to Hannibal’s capture, while also caring for him and has yet to make any further attempts to flee. The “I don’t believe you” from Will to Bedelia during the questioning calls back to Bedelia’s earlier manipulation of Will. There is an argument to be made that, at present, Bedelia operates as the most important person in Hannibal’s life, a position that Will feels entitled to, making their interactions particularly bitter.

Alana Bloom and Margot Verger feature importantly within Dolce, revealing their romantic relationship and subsequent possible plots. While I’ve seen some complain that the relationship seems to have been shoe-horned in, the pairing makes perfect sense to me: two incredibly damaged women who see within each other the potential for power. Their sex scene is one of the more unusual and arty (although Hannibal excels at this sort of thing) and sets the tone for the ‘blurring’ of other characters (mainly Will and Hannibal). Joe Anderson’s turn as Mason Verger has taken me some time to adapt to and I think I’ll always wonder what could have been if Michael Pitt had reprised the role, but Dolce is really where he hits his ultimate, skin-crawling creep factor.

Dolce is the site of the long-awaited reunion between Hannibal and Will. Their scene in the gallery would be touching if it wasn’t for their tumultuous and violent past, but it does show, at least on some level, their ability to relate to one another in a way they are not able to relate to anyone else. Equally, the aftermath of their meeting is a perfect example of how Fuller et al are presenting this perfectly, as despite wanting Hannibal to face punishment in the previous episode, there was genuine panic when it appeared he may be fatally injured in this one. Similarly, despite the way in which everything goes wrong, the ‘dinner’ between Hannibal, Will and Jack does provoke a fond nostalgia for their scenes during the first two seasons and provides a nod to that before moving on.

The quality of the recent episodes and the complex nature of the show makes the cancelation all the more sad. The recent SDCC trailer previewing the Red Dragon arc for the latter part of the season may provide some of the best episodes that Hannibal has had so far. The trailer appears to be bringing in visual elements from both Manhunter and Red Dragon, both strong films in their own right, but I for one am fascinated to see how the episodes adapt and change these elements too.

Hannibal is currently showing on Sky Living HD Wednesdays at 10pm

Hannibal – Primavera

The second episode of season three of Hannibal continued in much the same vein as the first episode, offering an exploration of Will Graham’s condition following the events of the season two finale, although moves slightly closer to a consideration of Graham and Hannibal’s relationship. For a series that has been so dependent on the interplay between those two characters, it is particularly interesting to see episodes in which they do not directly interact, aside from in flashback sequences. While Antipasto focused on the power dynamics between Bedelia and Hannibal, Primavera is much more about Will Graham’s reawakening and coming to terms with what happened. The result is a compelling, unsettling and often moving 40-something minutes.

The fantasy sequences continue with the submersion motif that has so far involved Alana (in season two), Bedelia (last week) and now Will Graham and Abigail Hobbs. The submersion either in blood or black water as a metaphor for Hannibal’s continued control over the group. This episode also revealed that this is not the first time Hannibal has played emotional chess with members of law enforcement and Will Graham appears to have found himself an ally in the search. However, Graham is clear that he is not sure what he wants to do if he finds Hannibal.

Overall, the episode uses fantasy sequences to bring us back to the shattered psyche of Will Graham, all while still concealing the fates of Jack and Alana, who receive no mention throughout. A sequence in which the dual fates of Graham and Abigail play out alongside one another is effective in detailing the destruction of the season two finale. Hannibal season three is in no rush to return to Will and Hannibal directly interacting, something which some people may find frustrating. For me, it is a slow, measured response to the chaos from before and a chance to watch all these characters start to rebuild their lives.

Hannibal is currently airing in the UK on Sky Living at 10pm on Wednesday nights.