FALLING SKIES, season 1 finale

Sorry about the delay posting this. To be honest, it totally slipped my mind. Anyway, I stopped reviewing Falling Skies after "Sanctuary: Part 1" because I was bitterly disappointed by the conclusion, which was so predictable I could hardly believe what I was seeing. When Skies began I enjoyed some of its elements and creative decisions (the fantastic design of the aliens, the strong relationship between Tom and his three sons), but then its problems grew more noticeable (insipid female characters, that interminable high school location—which the aliens don't just bomb). Given the show's emphasis on children (protect them, cherish them), it also grew very mawkish in my mind. But I stuck with the show, so here are my random thoughts on the final three episodes:

• Many readers here were spot-on about the "skitters" themselves being enslaved by a higher alien intelligence. The emergence of tall, humanoid, fish-faced aliens therefore lacked the intended surprise for me, but I appreciated the development. I'm sure one of the crab-like skitters will be "unharnessed" soon and become an ally, which will be fun if it happens.
• The sudden decision to turn Weaver (Will Patton) into a drug-addicted liability didn't work as well as it could have. It felt like a random idea tossed into the season, to create internal drama at the end. And who the hell was Lt Danner, the soldier loyal to Weaver who became a big obstacle for Tom? Has he even been on the show before episode 9? Much about Weaver's fall from grace didn't ring true to me. Maybe if we'd seen him popping pills before now, or something, it may have worked better.
• I was disappointed that Pope's (Colin Cunningham) role in the show didn't go anywhere interesting. It was fun to see him develop bullets capable of puncturing the "mechs", but he was ultimately a weak version of Lost's Sawyer. He had a few nice moments, but the character just didn't work as well as I’d hoped. Too flimsily written.
• It was cool that unharnessed Rick (Daniyah Ysrail) was revealed to still be loyal to the aliens, as their brainwashing hadn't worn off. The idea that the aliens can be confused by transmitting a specific radio signal was nicely done, with Ben (Connor Jessup) instrumental in finding the correct frequency because he's affected by radio waves himself. It's just a shame it became clear Jessup's a poor actor—who also reminded me of X Factor loser Eoghan Quigg, which was distracting.
• I was frustrated that Dr Glass (Moon Bloodgood) kept being wasted—especially because you could sense she'd be great in a more proactive role. Having Glass stuck indoors as the group's resident doctor, nursing injuries and eventually smooching with Tom just wasn't very interesting. Bloodgood's an attractive woman who, as we know from Terminator Salvation, makes for a credible action star... so why not utilize that?
• The actual two-part finale wasn't too shabby, although I was hoping for something far grander. The season's cliffhanger, with Tom willingly abducted by a humanoid alien, who are intrigued by the tenacity of human resistance, didn't really work for me. Are they going to interrogate Tom on their ship? It just struck me as very odd; a scene that exists because it would make for an unexpected conclusion to the season.

So what was that enormous crane-like structure over Boston? Do these aliens have motherships? What do they want from us? There's still an awful lot of questions that Skies hasn't even started to answer. I'm not even sure if there are survivors beyond Massachusetts, across the US and the wider world. I guess that's fine. You don't expect a show to reveal everything in season 1, but I do wish we had some kind of rudimentary understanding about what the enemy are up to.

Overall, Falling Skies isn't a bad series, but its only significant strength was the intriguing mythology created for the aliens, which were themselves fantastic creations. The cast were decent, but we didn't really learn much about them over ten hours. I'd have enjoyed pre-invasion flashbacks to get a better sense of who these people are, but none came—and the way the characters were developed in the present wasn't that strong. Tom's an egghead with strong paternal feelings, Weaver's a self-righteous tough guy, Glass is very empathetic, Pope's a charismatic bad boy.

The limitations of a cable TV budget didn't help Falling Skies capitalize on its global premise. The high school became a very limiting location, and there was never any sense of what the aliens are actually doing to capture the survivors. It makes more sense for the 2nd Mass to be constantly on the move, but the show couldn't cope with the demands on the production that would cause. I wish we'd had more scenes focusing on the human cost of this situation, too—like that scene when everyone enjoyed watching a movie outdoors. (We'll ignore the fact it's the equivalent of lighting a bonfire and flares, shouting their location to the enemy!)

What did you make of this series? I've heard some people say it started poorly and got progressively better, while others say the opposite. Or was it entirely a wasted effort that squandered its potential?

written by Mark Verheiden (1.8 & 1.10) & Joe Weisberg (1.9) / directed by Anthony Hemingway (1.8), Holly Dale (1.9) & Greg Beeman (1.10) / 31 July & 7 August 2011

TRUE BLOOD bites back for season 5

HBO have renewed their vampire drama True Blood for a fifth season, which will surprise nobody considering its continuing ratings success. It's been getting just above 5m viewers all season, which is up on every previous year.

Michael Lombardo, HBO's President of Programming:

"I am thrilled that True Blood continues to enjoy a phenomenal reception from both subscribers and critics. Alan Ball and his gifted team have devised the greatest thrill ride on TV."

Alan Ball, True Blood's showrunner:

"I remain amazed and delighted by the enthusiasm of our viewers. I can't imagine having more fun than this."

I'm glad the show's coming back. Season 4's been getting increasingly better after an infuriating start, and it's hard to see the show ever becoming outright boring. The show has the potential to really frustrate and anger me at times, but it's also an oddly irresistible package of shocks, gore, sex, violence and pulpy cliffhangers.

TRUE BLOOD season 5 will premiere on HBO next summer.

Incidentally, season 3 is most likely to begin on Channel 4 in the autumn, and season 4 will likely launch on FX UK in the new year. (This is one of those shows where the UK are ridiculously behind the US. Weirdly, you've been able to buy season 3 on DVD here for months, which must surely erode the audience before its terrestrial debut on Channel 4!)

SPOOKS to stop after series 10

Kudos have decided to end their espionage drama Spooks after ten series on the BBC and around the world, aiming to go out on a high rather than let the show dwindle.

Jane Featherstone, production company Kudos:

"I feel very sad about it. It was a very difficult decision to make. But we didn't want to get to the point where the BBC said, 'We don't really want another one,' we wanted to kill it off in its prime."

Ben Stephenson, BBC Drama Commissioning Controller:

"Kudos created a groundbreaking series in Spooks ten years ago that challenged convention with its topical, fast-paced, contemporary style. I hope fans will tune in this September to see what promises to be a fittingly high-octane, thrilling finale."

It’s a laudable decision to end something before it turns stale, which happens more regularly on the BBC because the network's not driven by advertising. Spooks has notoriously killed many of its leads and replaced them with new blood, and this reinvention is credited with keeping the show hovering around the 6m viewers mark for so long. Lisa Faulkner, Matthew Macfadyen, Rupert Penry-Jones, Hermione Norris, and Richard Armitage all played characters who met their end during the show's run.

Spooks is a BBC show I never got into, though. Back when it started I didn't have much faith in contemporary BBC drama, and the show felt like a kneejerk reaction to Fox's smash-hit 24—given the basic premise and similar use of split-screens (which was seen as quite radical in the early-'00s). And, while I understand Spooks benefits from real-world political inspirations, isn't constricted by a real-time format, and can tell multiple stories over its run, I was more entertained by the ruthlessly compelling adventures of CTU's Jack Bauer. Even when 24 fell into self-parody towards the end, Spooks never appealed to me as an alternative. I perhaps missed some great homegrown TV, but you make your choices.

The final series of Spooks will apparently focus on counter-terrorism boss Harry Pearce (Peter Firth), the only original character left on the show. After ten years escaping the icy fingers of death as his colleagues dropped dead around him, is Harry's time finally up?

SPOOKS returns to BBC1 for its tenth and final series in the autumn.

Movie Review: HARRY POTTER & THE DEATHLY HALLOWS: PART 2 (2011)

directed by David Yates; written by Steve Kloves (based on the novel by J.K Rowling)
starring Daniel Radcliffe, Emma Watson, Rupert Grint, Alan Rickman & Ralph Fiennes

After a reprise of Harry Potter & The Deathly Hallows Part 1's closing scene, with Lord Voldemort (Ralph Fiennes) retrieving the fabled Elder Wand from the entombed corpse of Albus Dumbledore (Michael Gambon) and firing a triumphant bolt of energy into the heavens, Harry Potter & The Deathly Hallows Part 2 continues without interruption—so I recommend you get reacquainted with the previous film, or risk spending the first section of Hallows 2 trying to remember how and why Harry (Daniel Radcliffe) captured a grumpy goblin, and that Hermione (Emma Watson) can transform into the likeness of wicked witch Bellatrix Lestrange (Helena Bonham Carter).

Of course, the Harry Potter movies tend to assume the majority of the audience have read the books till they're dog-eared, which is probably true, but not in my case. For me, the Potter saga has been an exclusively cinematic experience, but I finish many installments with questions and confusions buzzing around my brain. Whatever happened to that nice Chinese girl Harry kissed once? When did Ginny Weasley and Harry get together? Whatever happened to Moaning Myrtle, whose role as "resident ghost" is supplanted here by the Grey Lady (Kelly Macdonald)?

"You've kept him alive so that he can die at the proper moment."

After eight movies covering seven increasingly hefty books, I think it's safe to say the saga's narrative could have been improved by writing the scripts with the benefit of having all Joanne Rowling's completed books to draw from. Instead, the movies were being made before J.K had finished the fifth tome, and despite the guidance she kindly gave laudable screenwriter Steve Kloves (highlight this character more because he'll be important later, wink-wink), a feeling lingers that the movies were incapable of properly developing or emphasizing key ideas, characters, and storylines that became important in the latter films. A case in point: I have no doubt that Warner Bros would have insisted a better actress play Ginny Wesley, and Kloves would have developed that character more, had everyone known she'd become the hero's love-interest.

Hallows 2 is just an extended climax of its immediate predecessor; a movie that brings a dazzling sense of pace and energy to the often sluggish franchise, in particular contrast to quiet and character-focused Hallows 1. It's not long before we're watching an exciting Potterverse bank heist at Gringotts (where a terrific dragon's ued as the getaway car), and then we're back inside the oppressed Hogwarts—now run by traitorous, dictatorial headmaster Snape (Alan Rickman)—before the students regain power and batten down the hatches in preparation for Voldemort's arrival with his army of Death Eaters. It's an epic clash evoking The Lord Of The Rings' fabulous Siege of Gondor, only involving characters you have deeper attachment to.

In many ways Hallows 2 is one of the least nuanced and plotted installments, but after seven films nudging the mytharc along (often within the confines of self-contained mysteries), it feels only right the boy-wizard's climax is an epic action movie involving animated stone knights, club-wielding trolls, giant spiders, ethereal Dementors, and thousands of wizards spitting spells with their wands. Of particular merit were the World War II feel to battle sequences—with Hogwarts analogous to liberal Britain and Voldemort's cronies representing fascist Nazi Germany. This war movie vibe echoed through the design of the half-demolished school, resembling areas of post-Blitz London with '40s-style wooden stretchers to ferry the injured away.

"You were right, never better. I feel like I can spit fire."

The lead triumvirate of Radcliffe, Watson and Grint have grown into their characters and play them well, with Radcliffe delivering his best performance yet with clenched determination. It's just a shame Watson and Grint don't have much to do beyond chase a big snake around before sharing a kiss (a moment that flops because, honestly, who's ever believed Hermione was attracted to twerpy Ron?) It's particularly sad to realize that Hermione has faded from the plucky young know-all of yesteryear into someone who can't even summon the courage to destroy a horcrux by herself, fated to live out her days as a wife and mother? Considering Rowling's claim that Hermione's essentially herself as a young girl, it's especially disappointing treatment by the author. Rowling even gave an imperative and heroic moment to a relative background character like Neville Longbottom? Astonishingly poor judgement, at least from the perspective of what the movies have given us. (For all I know Neville was a boy of considerable depth and latent valor in the books—anyone care to shed some light?)

Such is the busyness of Hallows 2, most of the adults are just wheeled on to prove they're still on the payroll (hello Mark Williams and Julie Walters, nice to see you again Emma Thompson and David Thewlis), with the exception of the delightfully eerie Alan Rickman—who almost steals the show thanks to a sublime final moment with Radcliffe, leading to a revelatory flashback for Snape that, despite slightly undermining a sacrifice, was brilliantly handled and highly charged. Fiennes also receives a greater amount of screen time than ever before, cementing Lord Voldemort as one of fiction's greatest villains. Seeing the Dark Lord slowly emasculated by every horcrux's destruction, his power chiefly derived from a serpent (how Jungian!), made for compelling drama.

"It seems despite your exhaustive defensive strategies, you still have a bit of a security problem, Headmaster."

To its credit, the mechanics of how Harry triumphs over his arch-nemesis has good internal logic and a few surprises that feel plausible, blessed with some very memorable imagery (a dueling Harry and Voldemort locked in a Star Wars-esque stalemate with fizzing wands, an embryonic Voldemort curled into a fetal position), and the only real letdown is the inclusion of the novel's contentious coda involving a limp flash-forward. It may have felt daft on the page, but at least your imagination could do a better makeup job.

Overall, this conclusion of the long-running, astonishingly popular Harry Potter saga is unlikely to disappoint its fans, and even people left scratching their head over various matters will have been too entertained to really care. At times Hallows 2 delivers edge-of-your seat action, not to mention some emotional peaks that should elicit some lump-in-your-throat moments. For all its faults, and problems with the series as a whole (which danced with greatness, but never seized it), the majesty and ambition of this franchise is beyond reproach. A remarkable contemporary mythology; these spellbinding films, like the best-selling books, will be entertaining us for many years to come.

Warner Bros. Pictures / 130 minutes

E4 recruit CHARLIE'S ANGELS

Channel 4 have splashed out on ABC's Charlie's Angels remake, to air on their youth-oriented digital channel E4. The action-drama stars Minka Kelly, Annie Ilonzeh and Rachael Taylor as three sexy women recruited by an anonymous millionaire called Charlie to fight crime in Miami.

Charlie's Angels premieres in the US on 22 September (the 35th anniversary of the original TV classic). E4 haven't announced when they will launch the series in the UK.

BREAKING BAD, 4.4 – "Bullet Points"

There's been grumbling that season 4 hasn't exploded out of the gates, but I can't agree this has been a failing. It's just that season 3's climax required a more delicate approach when handling the repercussions of Jesse (Aaron Paul) murdering Gale (David Costabile). But "Bullet Points" should restore some faith in people, as it most definitely delivered some big moments and developments that won't fail to get Walt (Bryan Cranston) more proactive than he's been so far. Walt's been quietly preparing for a war with his boss Gus (Giancarlo Esposita), and the events of this episode suggest the battle lines have been drawn.

The episode began on a stirring note, with Mike (Jonathan Banks) in the back of a refrigerated Los Pollos Hermanos truck smuggling meth, which was attacked by gun toting rivals who pumped the vehicle full of holes, but didn't expect an armed hitman to be lurking inside when they pulled open the doors to inspect their handiwork. Mike, a chunk taken out of his ear by a stray bullet, may have survived this close encounter, but it's clear sign that Gus's slick operation isn't safe from interference. Could this be a sign the Mexican cartel are trying to regain a foothold in Albuquerque, with someone intending to disrupt Gus's business? If so, might they be people Walt could ally himself with, or is it better the devil you know?

After such a tense and exciting teaser, the rest of the episode was a more sedate affair. It was an episode where Skyler (Anna Gunn) and Walt prepared for the moment they'll lie to their family about winning enough money to pay for the car wash. A story that paints Walt as a pitiable gambler who risked his family's financial future in a moment of weakness over his cancer, and just got lucky, requiring him to learn how to count cards and attend Gamblers Anonymous meetings. As I've said before, it's notable how organized Skyler is as an accomplice, but she can still afford to be so levelheaded about their situation because she's blissfully naive to the horrors that Walt's seen and participated in. As Walt opines to crooked lawyer Saul (Bob Odenkirk), his wife thinks being a distinguished meth-cook is just like any other nine to five job, when the truth is he's been pushed into killing people and had to dissolve bodies in acid.

Presenting their gambling story to Hank (Dean Norris) and Marie (Betsy Brandt) was the first obstacle to overcome for the Whites, and it went surprisingly well over a meal at the Schrader's. Of course, Walt was distracted by the realization his brother-in-law's started consulting on Gale's murder case, believing him to be mysterious meth-cook "Heisenberg" after poring through the heavily-detailed "Lab Notes" journal police found at Gale's home. Gale even returned in a darkly amusing Banquo's Ghost moment, when Hank showed Walt a tacky video of Gale singing karaoke for them to laugh at. For Walt, the journal's existence and level of the DEA investigation signals trouble, particularly after discovering the police found fingerprints at the crime scene that might belong to Jesse, together with an eyewitness.

I also liked the brief moment when Hank was excitedly explaining one of his minerals to Walt Jr, only for Walt to interrupt and provide far deeper and more complex knowledge of the mineral in question. It was another little dig that Hank's losing his alpha male status. He's not even the amateur authority of his new pastime, having to defer to his brother-in-law's expertise because of its connection to chemistry. The Ying-Yang quality of Walt and Hank is one of the show's best pieces of subtext, as the two men in this family jostle for superiority. There's even a visual element now, with Walt towering over burly Hank in his wheelchair.

Jesse continued on his downward slide, but this week his lifestyle came to the attention of both Mike and Walt. The latter, arriving amidst the squalor to interrogate Jesse over his movements in Gale's apartment (just to be sure the cops won't have any evidence to incriminate him), didn't last long before he was forcibly ejected from the house by Jesse's "friends". Mike didn't fare much better getting through to Jesse, despite apparently helping by catching a tweaker who stole all of Jesse's money from a bedroom drawer. Jesse's so far gone that discovering his small fortune's been stolen didn't even raise a flicker of emotion from him, as he proceeded to play a video-game with a girl, and even Mike's scare tactic of inferring he'll kill the thief didn't work. Jesse may be self-destructing to numb himself from the horror of killing someone, but he's not stupid: you don't bother blindfolding someone you're about to kill.

This was a real turning point episode; both because the Whites have taken their first public step into a criminally-funded lifestyle, but also because Gus returned and took measures to deal with Jesse in light of Mike's concerns about his mental state and professionalism. The episode ended with Mike driving into the desert with a docile Jesse, who's perhaps accepted what's going to happen. A bullet to the head will bring him the peace his guilty mind is craving. If that's what Mike has planned. And Walt knows his partner's been taken, but can only yell his frustration at the all-seeing eye of Gus's Superlab surveillance camera. Walt only agreed to return to work if Jesse was part of the deal, but what choice does he have if Gus removes him from the workplace? The only lifeline Walt has is that Gus needs a cook of his caliber to produce high-quality meth. It'll be interesting to see if this forces a stand-off, or at the very least a face-to-face meeting between Walt and Gus.

Overall, "Bullet Points" was a brilliant mix of what Breaking Bad does best: taught and efficient action mixed with clever, tense character moments. Walt and Skyler's early extended scene, trying to ensure there are no holes in their story, also worked very well; Walt upset he's being painted in a bad light, and Skyler mistaking her husband's rehearsed apology as genuine. As she said, he's a fantastic liar.

I'm also glad the plan involving Walt's gambling cover-story and car wash is going ahead after all the talk, but the real satisfaction came from the sense that the abduction of Jesse is going to force Walt into tackling Gus and Mike head-on. But given we're not even halfway through the season yet, maybe there's something very different in store for Jesse when Mike's car reaches its destination? Maybe Mike's run-in with those gunmen at the truck was the wake-up call he needed to plot a way to remove Gus from power, and he needs Jesse's help? Looking forward to seeing what episode 5 brings... can't believe anyone wouldn't be.

Asides

• What will Hank do when he discovers that Walt and Skyler's "gambling fortune" has also been paying his medical expenses?
• Fun callback to "The Learn'd Astronomer", with Gale's journal dedication "To W.W. My Star, My Perfect Silence" probably referring to "Walter White", who introduced him to the verse. Luckily, Walt managed to pin the initials on the poem's author, Walt Whitman. Out of interest: do you think Gale's dedication proves he was gay and attracted to Walt?
• Interesting to note Hank making more of an effort with Marie in the company of the Whites. You'd never know from their civilized meal together than the Schrader's marriage is hanging by a thread.
• Walt didn't like the desperate option Saul suggested he consider (paying a large amount of money for a "disappearer" to get his family out of harm's way and with new identities), but the fact it was even mentioned may mean something. Perhaps Walt will reconsider towards the end of his season?
• Why was Mike in the back of a refrigerated chicken truck anyway? He can't possibly travel like that for every meth transportation for Gus. Was this a particularly dangerous route that required his presence? Or an especially valuable shipment?

written by Moira Walley-Beckett / directed by Colin Bucksey / 7 August 2011 / AMC

TRUE BLOOD, 4.7 – "Cold Grey Light Of Dawn"

The best episode yet or a season that's started to perk up after an underwhelming start, perhaps because the stories being given the most attention focused on the entertaining vampire/witch rivalry and kept the weaker subplots to a minimum. True Blood just works better when it's dealing with its vampires, because their mythology is deeper and more interesting than the laughable issues of were-panthers and evil babies that clutter up proceedings.

"TMZ's offering 10k for real-life vamp attack!"

After some hesitant steps in the previous half-season, Marnie (Fiona Shaw) is now Vampire Enemy #1 because she's allowed herself to be possessed by the spirit of a centuries-old victimized witch called Antonia. Knowing that Antonia's powers infamously extend to necromancy, Bill (Stephen Moyer) was forced to order all local vampires to go to ground bound by silver, knowing that Marnie might compel them out into the sunlight during daylight hours. Marnie also recruited Tara (Rutina Wesley) into her coven, as both women have a similar personal history with vampires and a deep yearning for vengeance, which was plausible reasoning and an nice way to give Tara something to do.

"Everyone who's ever been with me has ended up dead. It ain't a long list, but it's a bad one to be on."

Elsewhere, Eric (Alexander Skarsgård) has consummated his relationship with Sookie (Anna Paquin), with Bill forced to accept they're an item; Sam (Sam Trammell) realized that his brother Tommy (Marshall Allman) has gained the ability to "skin walk" and used the power to pose as himself and sleep with his girlfriend; Hoyt (Jim Parrack) made best-friend Jason (Ryan Kwanten) feel guilty about his feelings towards Jessica (Deborah Ann Woll); Pam (Kristen Bauer) took desperate measures to restore her beauty, by going through a painful cosmetic process to remove her rotting flesh; Alcide (Joe Manganiello) joined a new wolf pack to appease girlfriend Debbie (Britt Morgan), which did little to stimulate their sex life because his mind's still on Sookie; and Lafayette (Nelsan Ellis) learned he's a medium capable of channeling spirits like Marnie.

"I felt like a giant-ass puppet for your ghost uncle."

As you can tell from the breakdown of events, there weren't many storylines that aren't connected to the bigger ongoing concerns. Even Jason's affection for Jessica fed into the climactic moment with him racing to protect her from Marnie's spell, as she broke free of her silver chains and ventured out into the daylight. This was perhaps the first cliffhanger that's worked this season, because Jessica's a character nobody wants to see burnt to a crisp, despite how unlikely that is given her popularity. I'm still apathetic toward Arlene's (Carrie Preston) baby story, but appreciate how it's now moved on to involve the ghost of a black girl—who I'm guessing lost a child when she was alive and has attached herself to Arlene's son? It still feels terribly extraneous to things, though. At least Lafayette's story, which is also uninteresting right now, feels like it's building towards something connected to the vampire/witch storyline. I'm guessing he'll be the only person who can defeat Marnie in a battle-of-the-mediums. I'm just not sure why Lafayette would want to actually stop Marnie, given his own history with vampires isn't very harmonious. If anything, he should be right behind Tara.

I've also been reminded of how good Sam Trammell is in recent weeks. It's a pity his character keeps getting repetitive storylines involving his troubled love-life and family, because Trammell has an engaging demeanour. His reaction when the penny dropped about what Tommy's been up to with his girlfriend was priceless, too. Marshall Allman's even improved this season, now that we can see Tommy's a decent kid deep down who just can't seem to catch a break, or stop himself from making bad decisions. It makes it easier to sympathize with him, unlike last season when he was just a troublesome brat from a bad upbringing.

"And when we survive the day, I am going to eat that fucking witch, starting with her face."

Overall, "Cold Grey Light Of Dawn" marked a highpoint of this season and felt more like the show I used to enjoy back in season 2. Against the odds, the inclusion of witches this year has worked very well, and I'm glad the weaker subplots that dominated the first half of this season appear to be diminishing. Maybe the writers themselves realized they weren't very good, or simply ran out of narrative with them. Whatever the reason, I'm glad the show's regaining some focus. There are even more character-based moments to savour, which is what really sold True Blood back in the early days. In particular, Marnie convincing Tara to join her was a believable turn, and I enjoyed seeing more of the touching father/daughter relationship between Bill and Jessica. He should have added more chains to her, though, right?

What do you think? Is True Blood starting to turn things around? Do you think the rest of the season will sustain this quality, or are things destined to slump again? In the past, the show has tended to have interesting middles and disappointing finales, remember...

Aside

• Why were those chains required for Jessica and Bill? They're inside a jail cell with silver bars, so escape wasn't possible. There didn't seem to be any real need to torture themselves by laying chains over their limbs.

written by Alexander Woo / directed by Michael Ruscio / 7 August 2011 / HBO

TV Picks: 8-14 August 2011 (The Borgias, Horizon, Ocean Giants, Shooting Stars, Who Do You Think You Are?, etc.)

THE BORGIAS - Sky Atlantic, Saturday, 9PM

MONDAY 8th

Let's Do Lunch with Gino & Mel (ITV1, 12pm) Brand new chat and cooking magazine show. Hosted by Mel Sykes & Gino D'Acampo. Their first guest is Martin Kemp. (1/19)
Ultimate Police Interceptors (Channel 5, 8pm) Fly-on-the-wall series following police pursuit teams in Sheffield and Essex. Highlights of series 1. (1/3)
Horizon (BBC2, 9pm) Return of the long-running science series. This first edition looks at personal perception. (1/6)
Hugh's Big Fish Fight: The Battle Continues (Channel 4, 9pm) Follow-up series returning to Hugh Fearnley-Whittingstall's campaign to stop fishing trawlers discarding unwanted catches.
Cherry's Parenting Dilemmas (BBC3, 9pm) Documentary about various challenges for parents.
PICK OF THE DAY Shooting Stars (BBC2, 10pm) Series 8 of the surreal celebrity gameshow. Hosted by Vic Reeves & Bob Mortimer, with team captains Jack Dee & Ulrika Jonsson. Guests tonight are James Martin & Ross Noble. (1/6)
Jennifer Saunders: Laughing At The '90s (Channel 4, 10pm) The comedian reflects on comedy in the '90s, featuring interviews with Joanna Lumley, Dawn French, Reece Shearsmith, John Thomson, Ardal O'Hanlon, Adam & Joe, Rebecca Front, Arabella Weir, Partrick Marber, Adrian Edmondson & David Baddiel.

TUESDAY 9th

Babes In Hollywood (More4, 10pm) Documentary about mothers who push their kids into showbiz.
PICK OF THE DAY The Real Sleeping Beauty (BBC1, 10.35pm) Documentary about a girl with Kleine-Levin syndrome, which means she falls asleep for days at a time every month or so.

WEDNESDAY 10th

National Treasures Live (BBC1, 7.30pm) Brand new series looking at UK history around the country. Presented by Dan Snow & Sian Williams.
Village SOS (BBC1, 8pm) Series charting events of a village trying to get their derelict mill renovated with Lottery money. Presented by Sarah Beeny. (1/6)
Timothy Spall: Back At Sea (BBC4, 8.30pm) The actor goes on a seafaring adventure in the Irish Sea with his wife. (1/4)
Amy Winehouse Tribute (BBC3, 9pm) Special celebrating the life of singer Amy Winehouse.
PICK OF THE DAY Who Do You Think You Are? (BBC1, 9pm) Series 9 of the genealogy show, helping celebrities trace their ancestors. This episode focuses on EastEnders actress June Brown. (1/10)

THURSDAY 11th

PICK OF THE DAY Monty Hall's Great Irish Escape (BBC2, 8pm) Monty Hall goes to live on an island near the village of Roundstone, where he tries to feed himself using only sea food and vegetables from his garden. (1/6)
Croc Man (Channel 5, 8pm) Series following Shaun Foggett, who wants to open the UK's first crocodile zoo. (1/4)
Carrot Or Stick? A Horizon Guide To Raising Children (BBC4, 8pm) Documentary about how science has changed how we raise children. Presented by child psychologist Laverne Antrobus.
Me, My, Sex & I (BBC1, 10.35pm) Documentary about hermaphrodites.

FRIDAY 12th

PICK OF THE DAY Chilean Miners: 17 Days Buried Alive (BBC2, 9pm) Documentary about the disaster that captured the minds of the world.
Beyonce At Glastonbury 2011 (BBC4, 9.40pm) Highlights of Beyonce's performance on the final night of this summer's Glastonbury festival.
How Hip Hop Changed The World (Channel 4, 10.25pm) Documentary on the rise of hip hop in popular culture. Part of a four-night season on street dance, urban sports, street art and hip hop.

SATURDAY 13th

PICK OF THE DAY The Borgias (Sky Atlantic, 9pm) Season 1 of the US drama about the notorious Borgia family of 15th-century Italy. Starring Jeremy Irons, Joanne Whalley, Sean Harris, Holliday Grainger, Francois Arnaud, David Oakes & Derek Jacobi. (1/9)
Match Of The Day (BBC1, 10.15pm) Return of the football highlights show.

SUNDAY 14th

Britain's Hidden Heritage (BBC1, 7pm) Series looking at forgotten and hidden places of historical significance in the UK. Presented by Paul Martin. (1/3)
PICK OF THE DAY Ocean Giants (BBC1, 9pm) Documentary on the ocean's largest mammals. Narrated by Stephen Fry. (1/3)
Young, Dumb & Living Off Mum (BBC3, 9pm) Series 3 of the show where a group of spoiled kids go to work at one of London's busiest hostels. (1/6)

Movie Trailers: DRIVE and TINKER, TAILOR, SOLDIER, SPY

Here are two trailers of movies I'm very much anticipating this year, which I thought I'd share with you. I know, I know, it's like a common-or-garden blog today, isn't it?

Interestingly, both films are from Scandinavian directors. In the wake of TV shows like Wallander and The Killing, there's a lot of great filmmaking coming from that part of the world just now. In fact, it feels like world cinema's numero uno status has swung back to Europe now the Asian horror/thriller boom has died down.

DRIVE

This is an action drama from Danish director Nicholas Winding Refn (best-known for the '90s Pusher trilogy and Bronson), about a Hollywood stunt-driver who moonlights as a getaway driver for bank robbers. Ryan Gosling plays the lead character, known by the mononym "Driver", and he's supported by a dazzling array of famous faces: Carey Mulligan (Wall Street 2), Ron Perlman (Hellboy), Bryan Cranston (Breaking Bad), Albert Brooks (Broadcast News), Christina Hendricks (Mad Men) and Michael Chiklis (The Shield). Anyway, it looks fantastic. There's real personality and verve to this trailer, and I'm not sure how anyone can refuse that incredible cast.

Release dates: 23 September 2011 (UK) / 16 September 2011 (US).

TINKER, TAILOR, SOLDIER, SPY

A movie based on the classic 1974 spy novel written by John le Carré, previously made into a respected 1979 BBC TV series starring Alex Guinness as middle-aged spook George Smiley. This adaptation replaces Guinness with Gary Oldman, who must uncover a Soviet mole who has infiltrated the highest levels of British intelligence. There were some understandable doubts that Tinker, Tailor, Soldier, Spy could live up to the TV series, but I think this story deserved to be retold for modern audiences. I'm so glad they've kept the period setting, without tortuously altering the plot to reflect modern times. Like the aforementioned Drive, the cast is incredible, but perhaps even classier: Colin Firth, Tom Hardy, Mark Strong, Ciarán Hinds, Benedict Cumberbatch, Stephen Graham, Toby Jones, John Hurt, Kathy Burke... superb.

Given the mixed fortunes of British production company Working Title Films (who have even resorted to a Johnny English sequel to try and make some cash), this is exactly the kind of high-quality, quintessentially British movie they should be making. I'm really excited for this one. It comes from Swedish filmmaker Tomas Alfredson, who directed the incredible horror movie Let The Right One In, too. If it's a box-office hit, which I can't see it failing to be, it's also nice to know there are two le Carré sequels to adapt; The Honourable Schoolboy and Smiley's People.

Release dates: 16 September 2011 (UK) / 18 November 2011 (US).

Video: GAME OF THRONES: RPG

It's a slow day, so I thought I'd post this satirical video from College Humor, where they've turned HBO's Game Of Thrones into an old-school Zelda-style RPG from the early-'90s. It's very amusing if you've seen the first season, but naturally contains plenty of spoilers for those who haven't. So you've been warned. The SNES-style opening titles are wonderful. Enjoy!