Lockwood & Co.
Rarely do you come across an adaptation that is perfection, which is probably why Netflix abruptly cancelled it. They couldn't see genius right in front of them that they commissioned and instead just made more Bridgerton. Not that I have anything against Bridgerton as a cultural phenomena, I have very highly specific issues which if I was to livestream would be me yelling about the music and sticking closer to the books. I love those books. But this review isn't about Bridgerton. Seriously it isn't. OK it is a little because Ruby Stokes quit playing Francesca on Bridgerton to play Lucy on Lockwood and Co.. But I swear that's the end of it. This is about the genius of Joe Cornish's adaptation of Jonathan Stroud's books. He literally brought the books to life. I know that's a cliched, hackneyed phrase, but do you really realize how rare of an occurrence this is? There are millions of adaptations out there, and many that I like, and a few that I love, but rarely does it happen where the book and the adaptation feel so aligned that the changes made don't annoy me. You could go in the opposite direction and pull a William Goldman, but I honestly think that William Goldman and both of his versions of The Princess Bride are a once in a lifetime event. And to have someone who isn't Andrew Davies pull it off? Well, tip of the hat to you Mr. Cornish. Though I shouldn't have been surprised once I realized so much of the production team were friends and colleagues of Edgar Wright and they did nail his flare for the perfect song at the perfect moment. From the second the opening credits rolled I knew this show was for me. Not only did it give background on The Problem with amazing infographics that I would have killed to have been talented enough to design, but the music has this Unsolved Mysteries meets The X-Files vibe that made me not only not "skip intro" but occasionally I'd watch them more than once. But this isn't a case where a bad show has amazing credits, looking at you final few seasons of Mad Men, the quality of the credits carried through to the show. The casting was perfect, the set, while it wasn't how I had pictured 35 Portland Row it was still 35 Portland Row. And as for how they were able to maintain Lucy's voice through her tape recorder taking the place of her first person narration, genius. I mean, if you want to quibble, some of my friends think that the show could have done a better setup with describing the different levels of ghosts, but seeing as I've read the books I don't think I'm able to speak to that because I've read the accompanying glossary in every volume so these facts are ingrained in me now. I'll say that I wish George had been more body positive, but at least with casting Ali Hadji-Heshmati they were able to still show inclusivity. Also Lucy tends to drop her sword a bit too much. And the pacing was a little too breakneck... But as you can see these are literally nitpicking. Because while Louise Brealey skeeved me out, she was meant to! I just am bereft that there is going to be no more of this show. I mean, it's not as bad as say the fate of Willow, I still have the books so I know how the story ends, but this, THIS was something special. This was it for me.
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