Season 47 - The Collection (2017)
Why was this on PBS!?! No really, I want to know, why was this on PBS!?! It was made by Amazon. It was released on Amazon. It was still on Amazon when PBS aired it eight months after it dropped and instead of having to wait seven weeks to realize this series was going nowhere you could have sat on your couch for almost seven hours and come to the same conclusion. This is actually worse than when Masterpiece randomly airs feature films because at least in some of those cases, especially in the early nineties, people didn't have access to those films. So while it felt like cheating just airing someone else's work, at least it was with the interest of their viewers in mind. Whereas here!?! Everyone has access to Amazon. Literally everyone. I could have forgiven them this weird decision if the show actually was something. But it isn't. This show is nothing. The Collection has an amazingly talented cast but the story, what was the story!?! Was it about the Sabine fashion house being Nazis collaborators? Was it about the family's complete ineptitude at covering up a murder? Which makes me think that they couldn't have been collaborators because they were just too damn stupid and they so would have been caught. You don't bury a body in the backyard of a house you own! And then, when it's discovered, you don't move it! Nothing here is straightforward. Everything is told in the most roundabout and confusing manner possible. For example, one of the girls in the seamstress shop secretly had a baby. Yet the father of the baby appears to be the closeted brother played by Tom Riley who's the genius behind the house's designs. How did he hook up with a woman? Especially when his current boy toy is fertilizing his mother's garden in the country? Well, your guess is as good as mine. Because, they don't tell us. Even if this show hadn't been rightly cancelled I don't think they would have ever given us answers. They were too interested in things looking pretty, the costumes just so, the photographs in the vein of Funny Face, just right. The irony of a show about fashion being all surface isn't lost on me. Though I honestly think it's lost on them. I really think they thought they were making something important, something of worth, something that made a statement. That statement was look how easy it is to waste Amazon's money. The only thing I am here for is that we are firmly in the era where Frances de la Tour is choosing her roles based on how much she gets to sit around and what delicious foods she gets to eat. She's doing a Maggie Smith, with just as barbed a tongue, but a lot more noms. Vanity Fair, Professor T, she's just living her best life. Sadly, this show wasn't up to her abilities, but at least I could take solace that at least someone enjoyed this series, because I sure as hell didn't.
This one is going to be a hard one to write about. I was a fan of Neil Gaiman. I saw him speak twice and got to meet him at one of those events. He seemed perfectly lovely and dedicated to his fans. As we've since learned by the allegations that first broke on Tortoise Media this was all a front. A way for the spider to lure in the flies. The fallout was deservedly harsh, projects were scrapped left and right. The Sandman was almost completely wrapped when the news about Gaiman broke. Therefore production continued. What was to be done with the show could be decided later. After all Anansi Boys was completely finished when it was permanently shelved. Amazon got a nice tax write-off and got to appear as if they're supporting the victims when it was really all about the bottom line. But the thing is, The Sandman has a life of it's own. The fanbase is all-encompassing. Netflix knew that the clamor Amazon was experiencing over Good Omens was nothing to what they would face if this season never saw the light of day. Plus the team were claiming, whether honestly or to cover their asses, that the series had always been planned as two seasons and Gaiman wasn't really involved. Though I do question that second statement after reading some interviews. So season two of the show dropped in July with no fanfare and minimal press coverage. And I honestly didn't know if I'd be able to watch it. While having previously been a fan of Gaiman I had never been a fan of The Sandman comics. And oh how I tried. But I'd get about six books in, up to Brief Lives, and just throw in the towel. I never got any further and at least now I never have to force myself to finish this series. I am done with it. As for the adaptation, I did feel the need to tune in. The show worked for me where the comics did not. The rough edges and the excessive rapes had been sanded away. And at least we now know why Gaiman included so many rapes. Which actually made parts of this season a painful experience, and not just because of the autotuning of Ruairi O'Connor as Orpheus. When Nada confronts Dream about his treatment of her you are horrified thinking about how the man who wrote this put women in this same situation over and over again. And why bring back the rapist author, Richard Madoc as played by Arthur Darvill? Did they want to hit us over the head with the fact that Gaiman basically wrote his sick fantasies into this series? That Richard Madoc was his avatar in this fictional world. I mean, if Gaiman hadn't been such a good showman we should have seen what was right in front of us all along. Oh, the irony of the second series being about reconciliation and redemption after the first one was about reclamation and revenge. Because he denies it all. There will be no reconciliation for him. No redemption. And there can be no separation of art and the artist, he made sure of that. A part of me even wondered if originally Gaiman was supposed to be there at Dream's funeral next to Madoc. Thankfully that didn't happen. And even if their creator will forever be in torment, at least his creations were given a fresh start. They were released out into the world. They were set free. Hopefully not to ever be caught in their creators net again. Forever connected by somehow liberated.
It was 2018 when I first heard about Mike Flanagan. He wrote and directed the most perfectly modernized and expanded version of The Haunting of Hill House for Netflix. It was the first time that I really felt that someone understood what Shirley Jackson was trying to do, and yes, that meant no Owen Wilson being decapitated I'm glad to say. He followed this up with 
When I went looking for shows to fill in the gaps of my Masterpiece Theatre knowledge accessibility was the prime directive. Could I actually find it to watch. So many of the shows aren't on streaming and many of those that were released on DVD are now out of print, so I've been relying heavily on eBay, a habit my wallet doesn't like. And I won't deny that the nineteenth season had an obvious choice in Traffik, because it's one of the most famous series from Masterpiece Theatre and it went on to be adapted into the Oscar winning film by Steven Soderbergh. But then I saw that The Dressmaker was on Amazon. I literally knew nothing about it going in other than it has a small yet stellar cast in Dame Joan Plowright, Billie Whitelaw, Pete Postlewaite, and a painfully young Jane Horrocks. The story itself is rather simple, Jane Horrocks plays Rita, a young girl raised by her aunts who finally gets asked to her first party, a bit of a do for the American GIs who have come to Liverpool. There she meets Wesley, who, as their relationship progresses, wants to move faster than Rita is comfortable with. He plays cruelly with her heart, not showing up for dates, refusing to call her. The most romantic thing he ever said to her is that she looked like a drowned rat. Eventually he's brought round to meet the aunts and he takes a real shine to Margo played by Billie Whitelaw. She instantly knows that this boy is after one thing and one thing only and is nowhere good enough for their Rita. Sadly for Rita, her heart is going to be broken. Now the handling of World War II is a bit like if the writers from Riverdale decided to take a stab at it, with laughable brawls between the Yanks and the Brits, but thankfully this is the backdrop, not the bones of The Dressmaker. The bones are the family unit; Aunts Nellie and Margo, Rita and her dad Jack. The way they bicker and carry on, it's comedic gold. This alone would have made it a good little movie, but the ending, oh, the ending takes it to a whole other level. I don't want to spoil it, I so don't, but I will say, the triumph on Joan Plowright's face as she stands atop the staircase would be worthy of Damehood if she wasn't one already! 
We all order from Amazon, because it's fast and easy. They're the fast food of book buying. Which means it's not really good for you, it's just convenient. But keep in mind, they have an endgame. That is to outlast everyone and then hold the monopoly on the market. Which means that those few dollars you saved over the years will be given back to them tenfold. So what can we book buyers do? We can support our local brick and mortar stores! We all felt the pain when Borders closed, with a little joy mixed in for the deals we got, followed a few years later by the loss of B. Dalton. Look around you and you'll see stores are failing left and right. Toys 'R' Us, Boston Store, big chains and little mom and pop storefronts are going the way of the dodo to be replaced by the "convenience" of shopping online. Therefore it is more important than ever to get out of your house and go buy locally. This doesn't even have to be at an independent bookstore, though please support those too, go to your local Barnes and Noble, go and show them that their store matters to you, not just when there are events and book signings, but as an integral part of your life.
