Sanctuary: A Witch's Tale
What would you get if Desperate Housewives took a supernatural slant and decided to be about #MeToo? You might get a new spin on The Witches of Eastwick, but you'd definitely get Sanctuary: A Witch's Tale, a tryhard show that never states the obvious conclusions from it's own narrative, that witchcraft really is the problem. Sanctuary wants to be relevant so badly it's painful. Here's a political buzzword as a plot device, here's #MeToo, here's quarantine, here's this, here's that, and at the end of the day this many-headed hydra doesn't work together to vanquish it's foes, it fights itself until it's dead, or until it's lost its audience. And if I'm the typical viewer, that's very fast. And I wanted to love it! It's adapted by Debbie Horsfield, she of Poldark fame, how could she go wrong? I wanted Broadchurch with witches! I wanted it hard. But that isn't what this show is. It wants to be, but it isn't. This show is a politically correct nightmare that I can't get my head around, and what's worse, I don't want to. So I'm now going to spoil it all for you, so if for some reason you actually want to watch it, turn away now. Golden Boy Dan Whithall dies at a party. But Dan has a lot of secrets. The biggest being that when he was younger he died and the local witch, Sarah Fenn, did what she shouldn't have done and brought him back to life. Dan grows up to be a horrible human being, having raped and molested all the young girls in town, though somehow none of the adults know this. His mother, who is a member of Sarah Fenn's coven, decides that if Sarah can't bring him back, again, then she'll blame it all on her and thus ensues a good old fashioned witch-hunt. It escalates as one would expect, but what just gets me is that, well, the witch-hunt was kind of justified. Sarah is supposed to be a white witch, yet she's doing spells on her friends husbands to "help" them out, and then there's the aforementioned bringing someone back from the dead. If she had just left well enough alone none of this would have happened. I mean, yes, you could say that having the power to bring a beloved child back from the dead shouldn't be wasted, but maybe she should have investigated his death a little closer. Because he died the first time when Sarah's own daughter's magic manifested to protect her friend who Dan was trying to sexually assault. Sarah's own daughter who grows up to date Dan and then when they break up he drugs and rapes her. Why did she date him in the first place? I mean, so much of this show was just why!?! I literally don't get any of the characters' motivations. Yes, they are trying to protect themselves and their families, but this isn't the way to go about it. They are just all so self-centered and oblivious I just can't with them. Keep all of Sanctuary in quarantine forever. Burn it to the ground and let's speak no more of it. But before the cordone goes up please send out your interior decorator, because they are fabulous and if it wasn't in Sanctuary I'd move into Sarah Fenn's house in a heartbeat.
Holding is Ireland's answer to a procedural show that is Broadchurch meets Ballykissangel. It's nice and pastoral with crimes that are comfortably in the past even if their shadows are now finally being felt in the present. Everyone is on a spectrum of "hot mess" from secretly binge eating in their car to drunkenly heckling bad karaoke singers to shagging in an abandoned ambulance. Yet somehow everyone is OK with just plodding along. The show is based on Graham Norton's first fiction book and while the show does keep you engaged over it's four episodes you could tell by the very structure that he is a first time author. How you might ask? Well, the ending is just too convenient. When you set up a decades old crime and then in the present have one of the characters dying of Cancer, well, to make the killer the Cancer patient, that's too pat isn't it? Life isn't that simple. Life can't be tied up in a nice little bow that quickly heals the community. Nature being the bringer of justice not to mention the whole "maybe guilt brought on the Cancer" is just lazy. Just because you have quirky characters and a pastoral setting doesn't make this charming. In fact, there's one aspect that skeeved me out so bad that it tainted the entire show. Evelyn Ross is in her thirties and has never gotten over her true loving abandoning her after he beat her to a pulp and she miscarried on the night of his wedding to another woman. Of course his is the body that was discovered. Evelyn, to numb herself, is having an affair with Stephen Chen. Stephen is seventeen and the son of Evelyn's sister's partner. At least they kind of call out the "incest" but they never really call out the whole pedophile aspect of this relationship. So yes, he's technically of the age of consent. But that's a technicality that doesn't get ride of the whole creepiness of it. Plus they are having sex in an abandoned ambulance. How is this sanitary!?! I mean, I just can't on so many levels. And here's the thing, consent is more important than ever and how we talk about power dynamics in a relationship, and if there's anywhere in the world more associated with pedophiles than Ireland, strictly because of the Catholic Church, I don't know where that would be. Therefore to be telling this story in Ireland at this time, I think it needed to be done more sensitively. Just by having the woman being the older of the two doesn't make this OK, just look to Mary Kay Letourneau, may she be singed for an entirety. But what adds insult to injury is when Evelyn apologizes at her sister's wake to Stephen saying that what she did was wrong and him then saying to basically forget about it because he loved every minute of it... Excuse me? He's a child, he might think this way now, but what about when he gets older and realizes that their relationship was actually abuse? It's not cool or sexy or anything to be in this kind of relationship and Holding didn't real emphatically say otherwise. Therefore I can do nothing but look back on this series with a kind of creepy regret. It could have been something, but it was out of touch and unoriginal. 
Foxglove Summer by Ben Aaronovitch
The thing about David Tennant is you usually think of him as "the good guy." He was THE DOCTOR! Yes, there's the rare psychopath thrown in there, hello Kilgrave! But by and large he's the one bringing the baddies to justice, from killers of children to killers of song, and yes, I'm talking about Broadchurch and Blackpool. So it's interesting when he slips into the role of someone so evil and vile as Dennis Nilsen, the Scottish serial killer and necrophile who murdered at least a dozen young men in the late seventies and early eighties. He literally became Dennis Nilsen. It was beyond eerie. His flat affect, his casual way of discussing murder, everything came together to be the performance of a lifetime so much so that after the first few scenes you had to be remembered that this was David Tennant and NOT Dennis Nilsen. In fact there's one little trick they use in this adaptation that I usually disapprove of but which works to stunning effect here. I'm a stickler for shows that rely on old news footage thus breaking the forth wall. My problem is is that it usually doesn't work. It feels too out of place. Better to replace the footage with scenes you recreate. At first that is what I thought they were doing here. I literally thought the news footage was recreated to have David Tennant as Dennis Nilsen. It wasn't. This blew me away. David had nailed his performance so perfectly from appearance to body language that I couldn't tell the difference between scenes shot for this show and actual footage of Nilsen from the time of his arrest and trial. It's lucky I had the second season of Staged to binge after this three part series so that I could get the image of David Tennant as a serial killer out of my mind. But it's not just Tennant who shines, Jason Watkins, known for his rather deliciously over-the-top characters, many villainous, he's played over the years here brings in a wonderfully subtle performance as Brian Masters, whose book, Killing for Company, this miniseries is based on. The scenes between him and Tennant in the prison where they're having one on one conversations is the heart of this show. Watkins is able to show detachment when he needs to but also subtle disgust, of the level that will keep the channels open to Nilsen but not strip him fully of his humanity. Take it from me, who has watched a LOT of shows about serial killers over the years, this is one you don't want to miss. 
I'll be honest, The Stranger almost slipped right under my radar. I saw it on the front page of Netflix and was like, is that Dutch from Killjoys? And once I figured out that yes, it was Hannah John-Kamen, my interest disappeared until an episode of The Graham Norton Show. I literally watch every episode of Graham's show even if I hate the guests because he somehow makes everyone come alive, though the one big exception was Laura Linney's recent appearance. Laura was working her ass off and the other guests, Saoirse Ronan, Timothée Chalamet, and Stephen Mangan, fell painfully flat. Shame on you three! Yet it gave me a new respect for Laura, so good on her. Anyway, Jennifer Saunders was on with Patrick Stewart, Jamie Foxx, and Michael B. Jordan, so a typical Graham couch, tons of A-listers and a comedian at the end of the couch. Only Jennifer was there to promote her first dramatic outing, The Stranger. I was all, what!?! Huh!?! Tell me more about walking across this car park!?! So I looked into the show more and saw it stared Richard Armitage!?! Be still my heart! So yes, thanks to Graham I didn't miss this show about a stranger played by Hannah John-Kamen arriving in a small yet tony British town and upsetting everyone's lives with a little helping of the truth and a whole lot of blackmail. There's a LOT of Broadchurch thrown in when they decided to move Harlan Coben's story from America to the British Isles, but that's part of the charm. It's nothing too original and many of the plot twists I saw coming from a long way off, but the acting and the cast made it enjoyable. Could I always have Antony Stewart Head play Richard Armitage's father? Because that would be a joy I would love to repeat. Seriously, when Rupert Giles appeared in the credits I squeed. This is very much a mystery I would have been sad to have missed.
Howards End 
