Pennyworth
My Batman fatigue set in in 2008. If Christopher Nolan couldn't be bothered to take down outdoor signage for the Lyric Opera of Chicago I don't know why I should be bothered to care about The Dark Knight. Also, controversial opinion, Heath Ledger didn't deserve the Oscar that year, but he did deserve it more than Robert Downey Junior. Since then we've gone through quite a few Batmen and my top picks might be a bit controversial, but with George Clooney being back maybe not as much as they once were. And wherever there is Batman there's his trusty butler. In fact for the who's who among actors I think Alfred has drawn the bigger names; Andy Serkis, Michael Caine, Jeremy Irons, Michael Gough, Sean Pertwee, Tom Hollander, Efrem Zimbalist Junior, and on and on. But one interesting development over the years is that Alfred has slowly become less and less posh, Michael Caine and Sean Pertwee really upping the ante. Sean Pertwee's rougher Alfred created by Bruno Heller for Gotham. But I just couldn't get into Gotham despite my Pertwee love. My problem was Gotham was still too rooted in the Batman mythology, seeing all these characters as younger versions of themselves and what they were to become. Which is why I was drawn to Pennyworth. Also created by Bruno Heller he seems to have realized the limitations of his previous series and limited his characters here. Here we have Alfred, and Batman's parents, Thomas and Martha. And that's it. Set in London during the swinging sixties the world created is a fascinating mashup of Last Night in Soho and V for Vendetta with a giant helping of Michael Caine's oeuvre. Our Alfie as played by Jack Bannon couldn't exist without Caine's Alfie. He exudes that cockney coolness and surety while also bringing a bit of Fred Thursday to the role, an inevitability as he played his son Sam on Endeavour for it's entire run. But the show isn't just a standout performance by Bannon, every actor is perfectly chosen to bring to life this vibrant alternative universe that mimics our Cold War but at the same time is wholly unique. Sadly season two leaned too far into mimicking World War II saved only by Peg and Bet. But then again Peg and Bet could save anyone and anything if they had a mind to. So how did they decide to fix the season two mistakes? By making sure everyone knew this show was about Batman's Butler by adding an absurdly ludicrous subtitle. I mean, surly people aren't so dumb they didn't connect the two. Please tell me I'm right because otherwise humanity is doomed. Much like London. Because while we're moving on from diamond geezers to the swinging sixties with hippies we're getting a darker side with the CIA experimenting with "MKUltra" and Patty Hearst and the Manson Family and an artist that looks like a stretched out Brian Eno. Trust me, he's up to no good. So while the aesthetic is very reminiscent of Adam West's Batman 66; brighter colors, dafter plots, and People With Enhancements, AKA PWEs, as pro superheroes and villains, there is a distinct underlying malevolence. Perhaps because they've fully embraced V for Vendetta in what I though was a lovely meta moment but according to the creators of the show is where they were heading all along because they view Pennyworth as a prequel to V for Vendetta as well as Gotham. Say what!?! Does James Purefoy know because I think he'd have something to say. Also you're still not getting me to watch Gotham. No matter how much I want closure and answers.
Moon Over Soho by Ben Aaronovitch
OK, I know with what I'm about to admit everyone is going to be shocked, but until this miniseries I had not heard of or watched the original movie adaptation of Rumer Godden's book that is a classic starring Deborah Kerr. Black Narcissus won Oscars and accolades when it was released in 1947, eerily on the day that would be my birthday come the seventies. So, putting aside my lack of a complete film education, what it meant was I was going into this series fresh. In fact I saw an ad only a day before it aired and it was being touted as Diana Rigg's last appearance, that is until Edgar Wright admits defeat and releases Last Night in Soho to streaming, so I said, let's see what this Black Narcissus is all about! Also I have probably rightly pissed off Edgar Wright now by not knowing this movie and saying that movie theaters are dead and streaming is the only safe option in this day and age. Oh well, I'm still looking forward to Last Night in Soho... So this version of Black Narcissus, compared to no other, was a wonderful little idyll of nuns trying to do good against all odds in a very haunted place. I mean this miniseries just oozed Gothic vibes, it was delicious! I constantly love how the building blocks of what is considered Gothic can be changed time and time again to create a whole new slant that you'd never think of. Nuns tend to align themselves more with the horror genre, and to tackle their desires and damnation in a human and real way within the Gothic sphere felt fresh to me, and again note I haven't seen the original film. Though the driving force of the three episode miniseries is Sister Ruth and her going more and more off the rails in this remote location. I don't know if you're supposed to hate Sister Ruth and long for her corruption and death, but I totally did. Her obsession with the male caretaker, Mr. Dean, and her delusions about Mr. Dean and Sister Clodagh make her more and more unstable and I loved every minute of it. I think this was all enhanced by the performace of Aisling Franciosi as Sister Ruth. I knew I knew her from somewhere and wherever that was I hated her in that. Turns out it was The Fall, the Gillian Anderson/Jamie Dornan show, which is, in my mind, the most overrated piece of shit I have ever watched. It is easily one of the worst shows I've ever seen and wish I could forget I ever saw it. Anyway, Aisling was the shitty teenager in love with the father of the kids she babysat and who knew he was a killer and was all OK with that. So yeah, I liked seeing her suffer in this. But does that say more about me or Black Narcissus?
