Season 15 - The Last Place on Earth (1985-1986)
The great age of exploration when men went about the Earth planting flags in the most hostile of climates holds no interest for me. It doesn't just smack of colonialism, but of a severe superiority complex. Britain literally was trying to claim the South Pole to regain their manhood. And that isn't me projecting, they actually say that in The Last Place on Earth which is dark and bleak and boils down to two assholes doing something for no reason. Norway, led by Roald Amundsen, took the Pole because they were better prepared, but Britain, led by Captain Robert Falcon Scott, arriving at the Pole a mere thirty-four days late were the real "winners" because of their heroic deaths on the return trip. By heroic I mean they froze to death in their tent because Scott had no business running an Antarctic expedition. Or at least that's my take after watching this grueling miniseries. Which is why I'm now going to talk about the music. Yes, no Hugh Grant, Bill Nighy, and other famous celebs making some of their earliest film roles for me! For me it's all about Trevor Jones! His name is in the credits! It's really big! It's in the crossed flags that make a cross marking a grave. SO DRAMATIC! So mismatched. At the time Trevor Jones was contracted to do The Last Place on Earth he was smack dab in the middle of his "mystical" phase, having worked on Excalibur and The Dark Crystal with Labyrinth on the horizon. And that is exactly what this music sounds like. Which, given the subject matter, is a major disconnect. Because it sounds like he's written a third unreleased score for Legend to replace Tangerine Dream who replaced Jerry Goldsmith and not music for men toiling in the harshest of climes. I feel like there was an exec somewhere who spun a narrative about the South Pole and it's eternal winter being like a snow globe and Trevor Jones just ran with that concept. The glittering ice hovering in the air, the magical, unearthly environment, the eternal darkness, OK, I'm starting to talk about Legend again. But seriously, has someone edited this score to Legend because I think it would be slamming. Because the truth of the matter is I love this music. I want a soundtrack that I can listen to on a loop. My brother said it reminded him of the best in industrial library music from the seventies and he too thought it was slamming. But was, like me, perplexed by how this in any way connected with an expedition to the South Pole. At least it made the copious deaths and treks and eating of animals almost bearable. It's not an understatement to say it's the incongruous music that got me through this show. That and I really wanted to see Scott die. I particularly loved the Norwegians leaving him a fuck you tent at the pole. That was class. Because, fuck Scott! Long live Trevor Jones!
Rowankind by Jacey Bedford
Who would have thought when Harlan Coben signed his five year multi-million dollar Netflix deal in 2018 it would bring about this interesting subgenre of transplanting his American stories onto British soil with beautiful house and cars you doubt any of the characters can actually afford and Richard Armitage always on hand. I for one am glad this came about. They are immanently bingeable and tie everything up so nice and neat at the end with a large helping of loss that they are perfectly suited to the times we find ourselves in. Not to mention the casting, oh dear lord, it's like someone stole a peak at my list of favorite actors and brought them all together for one project. Or that Richard Armitage is actually getting to show what a great actor he is. I feel so bad for some of the productions he's ended up in, yes, I'm looking at you Hobbit franchise! The miniseries follows Cassie, a stripper, who left that life behind seventeen years previously and is now about to get married to the father of her three children when she makes one little mistake and her past life bleeds into the present with a trail of bodies, often at the hands of a young couple who are musical theater buffs and whose "thing" is choreographed killing. It's riveting and absurd all at the same time. And while I was able to guess the real serial killer due to that old system of means, motive, opportunity, and casting, leaning heavily on the casting, the reveal is so magnificently acted that figuring out who the killer is in advance doesn't diminish the reveal. But what made me really love this production was Eddie Izzard. I have been a fan of Eddie since I first saw Dressed to Kill when it aired on HBO in the summer 1999, right after the David Bowie VH1 Legends episode aired that Eddie just happened to narrate. The following year was the first time I saw her on stage. I have seen Eddie on stage almost more times than I can count, and the most recent time in 2017 I actually got to meet her. Eddie as the drug addict lawyer Harry Sutton who helps anyone down on their luck was the linchpin of this series. Troubled yet wanting to do better, wanting to help. The dinner Harry has at Cassie's house with her family, for a moment it shows what Cassie's life could be with the past and the present as one. But more than that, I am very glad that someone on the production is obviously an Eddie Izzard fan and added a little something special to the set design. I mean, they HAD to name that pet shop Harry runs his law practice out of Hannibal's Animals after Eddie's bit about strapping two elephants to your feet and skying down the alps right? I mean, there's the other possibility that it's named after the TV series she and Richard Armitage both played killers on... But I like to think it's about the elephants.
