#plus peter cushing is there for like a minute

[oneinathousand]

I recently got the 1995 book Christopher Lee and Peter Cushing and Horror Cinema by Mark A. Miller and decided to put together some of my favorite quotes. I bought the first edition because it was cheaper, but the second edition had some revisions and expansions, what exactly was different I don't know (I'm sure it addressed Lee's big explosion in popularity in the early 2000's among other things), but there's still lots and lots of interesting material in here; plus, to my surprise the copy I got was signed by the author himself back in 1995, so that's pretty cool.

Anyway, here's some quotes for ya:

These first two quotes are Vincent Price talking about Lee and Cushing which I thought were absolutely darling. Here's the one about Lee:

Everybody told me that he was rather stiff and unbending and not very funny. Well, we screamed with laughter from the minute we shook hands until now. We get along just like mad... write each other rude notes and funny letters and telegrams and postcards and, you know, anything we can find that we know will tickle one another. He's one of the few actors in my life that I have stayed in touch with, strangely enough. If you get him on a subject that he likes, he's very warm and vibrant. I think he's got a wonderful sense of humor, but I don't think everybody knows how to get at it. For some reason or other we strike each other as funny, and it's wonderful fun to be with him.

Here's him about Cushing:

He's nothing like Christopher Lee because Peter's a very wiry, little fellow. But Peter is one of the strongest men I ever knew in my life. I had to do several fight scenes with him [in Madhouse]. My God! He can throw you! He doesn't fake it at all. Nobody warned me about this, and I was sort of battered and bruised. He's a very realistic and very serious-minded actor. I like Peter very much, and I hear from him always at Christmas. On our birthdays we send each other the funniest cards we can find too. He's a very gentle, sweet man. I am very, very fond of him.

Cushing was, in fact, not a little man, but of course Price would have seen him as one from his perspective lol... The part about Cushing apparently being incredibly strong is pretty wild considering Price was referring to him during the making of Madhouse, when he had spent the last 2-ish years losing a lot of weight, smoked like a chimney (the book mentions at one point that he could smoke up to 50-60 cigarettes a day before he quit), was a vegetarian, and was in his early 60's. If he was strong enough to toss Price's tall ass around like a rag doll then (which is a very funny mental image), how strong was he during his prime???

Here's a description of the Lee family cheering up Cushing for the holidays during the making of Horror Express:

He faced his first Christmas without Helen and in a country that was not even his own. Luckily he found solace on Christmas Day in the warm family gathering of the Lees in their Madrid hotel. Gitte and Christina had flown over for the holiday, and they invited Peter to spend the day with them. This was the fourteenth film in which they had both acted since The Curse of Frankenstein fifteen years before, and one that offered them many great scenes together. But their best scene together was the one in that Madrid hotel on Christmas in which Peter Cushing received the emotional support he needed so desperately. The next morning Cushing was back at the studio, cheerfully ready for work.

So sweet... For anyone wondering, this book did not mention anything about Lee supposedly comforting Cushing with his presence in case the latter ever had any night terrors while making Horror Express. I'm starting to think that story might be made up! Maybe it was mentioned in the second edition, or maybe it was mentioned in one of the interviews or whatever that Miller used for researching this book. My search for a primary or secondary source continues.

Here's actress Lorna Heilbron about Cushing and Lee during the making of The Creeping Flesh:

Peter Cushing is a brilliant actor I think. I was, of course, playing his daughter, and Peter had quite recently lost his wife Helen and was grieving for her and was very open about this. He related to me as a father and was tremendously caring and supportive, especially as he felt that I resembled Helen, so we had a rather intense relationship where I felt he really "lived" his part in the film. He came the first day on the set with his script covered, literally covered, with notes he had written about what he felt his character would do or be feeling at any particular time. He also knew down to the last detail what props he would require and had obviously chosen his costumes with immense care. Within all this careful forethought he was very flexible so that if an actor gave him something unexpected, he would respond to this and was willing to go with what was happening "now". He was charming, courteous, and clever and was dearly liked and admired by everyone. At that time he was, as I said, feeling very sad and so was clearly very vulnerable. He would take himself on his own to have a bit of a wander and, I suspect, a jolly good cry. I adored him. I didn't get to know Christopher Lee so well, mostly because I didn't actually have many scenes with him and partly because he kept "himself to himself" as we say over here. I remember he had a most wonderful singing voice, of which he was justly proud, and which would go ringing round the corridors of Shepperton. The crew called him "Rabbity Lee" because he loved to talk, which he did very amusingly and at some length. I have often felt he was a much better actor than some of his material. He and Peter seemed close and distant at the same time. They probably didn't have that much in common apart from a very strong symbiotic working relationship.

Rabbity Lee… 🥲

Next is Price, Lee, and Cushing's opinions on House of the Long Shadows, which I feel each perfectly encapsulate their personalities.

Vincent Price spoke bitterly about the film in 1991: "A disaster - because the man, whoever - I can't even remember his name; psychosomatically I've forgotten it - the guy who directed it and the [editor] who cut it... they just cut all the comedy out of it... I hated it. Desi Arnaz, who was very good in it - they just turned it all over to him so that you never had the four people you wanted to see ever doing anything at all. That was that stupid director." When asked in 1992 if he agreed with Price that the film constituted a missed opportunity for the all-star team-up, Christopher Lee quickly responded: "I do, without a doubt. He was absolutely right. It's the old, old story: get it on film, finish it in time and on budget, and if it's in focus, we can sell it." Asked also of his memories of Pete Walker directing him, Lee replied simply, "He didn't." Peter Cushing's only complaint is that he suffered from bronchitis while making the film in a cold, damp, seventeenth-century manor house in Hampshire that had no heat. Because he found working with Lee, Price, and Carradine to be "a joy," Cushing summed up the film as "lovely to do."

Speaking of House of the Long Shadows, I wanted to bring up one particular criticism Mark A. Miller had of the movie to be very ironic if you've been in the fandom for this era of horror whatsoever on Tumblr. Miller absolutely hated the iconic "bitch" line from Price, saying of it:

Instead of the good-natured, funny lines that work so well in horror send-ups like The Raven, A Comedy of Terrors, and Young Frankenstein, in this film we only hear Price's character call Lee's a "bitch" - the embarrassing epitome of the script's nasty, witless spirit. After Price's line, the film seems more like a cruel practical joke on the venerable cast than an amusing parody of their images.

I agree with many of Miller's takes throughout the book, but definitely not all of them, and this is a case of that. That line's the best part of the movie! It's Vincent Price saying "bitch" in cursive, it's so delicious! Did Miller hate fun? I can't ask him because he's dead. What if the line was an ad-lib from Price, huh? If Miller knew how popular that moment is on this website, he'd probably be baffled, lol.

[fullcolorfright]

Dr. Phibes Rises Again (1972, dir. Robert Fuest, British)

[rallamajoop]

Dracula canons in Yuletide 2022

Unsurprisingly, in the wake of that whole Daily Dracula thing, there were a lot of Draculas nominated for this year's Yuletide exchange this year ‒ not just a lot of Dracula characters, but whole different adaptations of the novel. And being that kind of terrible Dracula-nerd, I figured I'd make a list and share some notes on which-version-is-which. Now, I've only seen about half of these, and can't speak to what all the other folks who actually nominated them loved about them, but I'll take any excuse to ramble on about different Dracula-adaptations at this point, so here we go.

We've got a couple of movies, a couple of telemovies, a TV series and even a musical to cover here, so I'm just gonna put them all in chronological order, starting with the novel.

Dracula - Bram Stoker (Novel 1897)

Nominated characters:  Abraham Van Helsing  Arthur Holmwood  The Correspondent  Dracula  John "Jack" Seward  Jonathan Harker  Lucy Westenra  Lucy Westenra's Mother  Mina Murray Harker  Mr. Hawkins  Mr. Swales  Quincey Morris

Damn, Daily Dracula has done it's thing: folks have nominated basically everyone. (Well... except Sister Agatha. GDI, where's Sister Agatha, people?! Has that 2020 Moffat/Gatiss version put everyone off?)

But, moving onto the adaptations-

1. Dracula (Movies - Hammer) (1958-1974)

Nominated characters:  Dracula  Lawrence Van Helsing | J. Van Helsing  Lorrimer Van Helsing

Okay, yes ‒ this nomination was me. Look, Peter Cushing's Van Helsing was being reincarnated into whole new eras and having confusing chemistry with Christopher Lee's Dracula long before anyone ever thought to do the reincarnation-thing with Mina, and I want all the fic about it, is that so wrong? (Or, you know, the excuse to write some myself. Or really anything about these versions of the characters interacting ‒ I'm not picky!)

2. Count Dracula (1977)

Nominated characters:  Abraham Van Helsing  Jonathan Harker  Mina Harker  Renfield

One of the two British telemovie Dracula adaptations to come out of the 1970's (the 70's was a BIG decade for Dracula). This one was the more faithful to the novel ‒ too faithful, if anything, since some new ideas or creative storytelling could have gone a long way to distract from the limitations of the budget. That said, I did like their Dracula: the costuming isn't much to write home about, but he has enough presence to elevate every scene he's in (and, I mean, if you're going to get one thing really right in a Dracula adaptation...)

3. Dracula (2006)

Nominated characters:  Abraham Van Helsing  John Seward  Lucy Holmwood  Mina Murray

Yet another British television Dracula, this time one where Arthur Holmwood is tricked into helping bring Dracula to British shores by a vampire-worshipping cult, in the mistaken belief the Count can somehow cure him of congenital syphilis. No, really! Seriously though, my biggest disappointment with this one was it didn't go wild and weird enough ‒ the sad soap opera life of Arthur & friends just can't hope to compete with all that high-gothic camp, and 90 minutes just isn't time for all these ideas to breathe. But it must be said, Marc Warren makes a surprisingly compelling Dracula, and his one big vampire-sex-scene with Lucy is... quite something. Basically, I can definitely see why someone might want fic about these versions of the characters ‒ there's lots in this universe left to expand on.

4. Dracula: l'amour plus fort que la mort - Ouali (2011)

Nominated characters:  Jonathan Harker  Poison  Satine  Sorci

Well, okay. This one is, er, a French musical version? XD God, do I love the stuff you'll find nominated for Yuletide! So: not a version I'm familiar with, but going by this one summary I found, what we have here is one of the (MANY) post-1991-Coppola-version rip-offs where Mina is a reincarnation of Dracula's wife... but also one where Dracula hasn't spoken since his wife's death, and now employs three very gloriously campy servants to speak for him (Poison, Satine and Sorci, from the noms above). As someone who doesn't speak a word of French and knows this thing only from 5 minutes on youtube (I mean, the whole show's up there, though the quality's not great), these three are great value, and I can totally see why someone would nominate them for Yuletide.

5. Dracula (TV 2013)

Nominated characters:  Lucy Westenra  Mina Murray  Alexander Grayson | Dracula  Jayne Wetherby

A short-lived TV series reimagining of Dracula, where the Count shows up in London posing as an American steampunk inventor called Alexander Grayson, and yet another of the (many) post-Coppola versions where Mina is the reincarnation of Dracula's tragically-dead-wife, etc. Admittedly, this is an adaptation I know only by its reputation as the show that that finally gave us lesbian!Lucy (!!!) only to have her turn around and sleep with Jonathan for dubious plot reasons (theFUCK?) ‒ but I'd be the last to judge anyone who enjoyed it as a guilty pleasure and/or just wants to run away with the characters and let them have some real fun.

6. Bram Stoker’s Van Helsing (2021)

Nominated characters:  Abraham Van Helsing  Arthur Holmwood  John Seward  Lucy Westenra

Huh. Well, okay. First point: the poster is a lie ‒ this actually seems to be a fairly-straight, (very) low-budget film adaptation of the novel ‒ just one that starts about when Van Helsing arrives (ie, when Lucy is already very ill). So, more drawing-room-drama than Hugh-Jackman-material. Have not seen it, but have a trailer! Now you know just about as much about it as I do.

Honourable mentions

In the "do I even count this?" bonus round, we've also got the 2016 Van Helsing TV series (nominated characters: Axel Miller and Catherine) ‒ a show set post-vampire!apocalypse and starring a Van Helsing descendant. There's also a character called Van Helsing nominated for the Kyuuketsuki Sugu Shinu | The Vampire Dies in No Time manga, and a "Dracula Vance" nominated for a video game called Panilla Saga, about whom google will tell me nothing very illuminating. Ah, well. Seriously though, the total number of different Van Helsings nominated in this year's Yuletide must be some kind of record.

I'd also be remiss not to mention that the original 1872 Carmilla is also nominated, as is the excellent 1970 Hammer adaptation The Vampire Lovers. And rounding out our list of Victorian vampire lit, some weirdo has also nominated Varney the Vampire, but that one really needs its whole own post...

[autolenaphilia]

Granada Holmes (series review)

The 1984-1994 Granada series of Sherlock Holmes adaptations, starring Jeremy Brett as Holmes are regarded by fans as a milestone among the many adaptations of Sherlock Holmes that were made. Brett is said to be “the definitive Holmes”. And I would largely agree with that, despite it not being my favourite version, and it having some flaws and weak episodes, especially as the series went on.

The first thing that set this show apart is that it went back to the original stories and adapted those. Now, it isn’t the first version to do so, as some people (including Brett, apparently) claim. The 1920s silent film series with Eille Norwood was fairly canon accurate, and the 1960s BBC tv series with Douglas Wilmer and Peter Cushing also followed the canon. There is also the 1979-1986 Soviet Russian series with Vasily Livanov. And on radio you have more canonical dramatizations, such as the British John Gielgud 1950s series and the BBC Carleton Hobbs series from the 50s and 60s. People have an unfortunate tendency to ignore radio in favour of screen adaptations.

Still, it must be granted that Granada at its best is probably the supreme screen adaptation of the canon. The production values and acting are far superior to what the 60s BBC tv series had.

Jeremy Brett was a revolution in Holmes performances. The previous era defining Holmes, Basil Rathbone, as great as he was, made Holmes into too much of a straightforward hero. Brett brought back the eccentricities (including the drug use), the nervous energy and the character’s general moodiness and emotionality that was there in the text.

Holmes in the Granada series was ultimately on the side of good and a benevolent figure (if occasionally rude), but fictional justice perhaps had never an odder champion. He did everything from sitting weirdly, jumping over couches to taking drugs. Holmes felt neurodiverse, and indeed Brett used his own experiences with bipolar disorder in the performance.  And it was true to canon, in a way we seldom had seen on screen before.

Jeremy Brett’s performance as Holmes is extremely influential and often imitated by later screen adaptations, but has never been surpassed. The portrayal of Holmes in BBC Sherlock and the movies with Robert Downey Jr. is clearly inspired by Brett’s nervy eccentric genius Holmes, but ends up a bad parody. Holmes in the Granada series can like his canon counterpart occasionally be rude or careless towards other, but it was lapses, not a general trend. They seemed to be caused by an eccentric brain on another wavelength from the people around him, rather than any malevolence. Holmes in BBC Sherlock is a male nerd wish-fulfilment fantasy, where the character’s eccentric genius are allowed to excuse any crimes.

At its height, Brett’s Holmes is an awe-inspiring performance, with the actor pouring everything of his skill and energy into it. You could criticize it as melodramatic over-acting, but it makes for great viewing and fits the man who said “I never can resist a touch of the dramatic”.

The Granada series gets much credit for rehabilitating the role of Watson. Both of the actors playing him depicted as very much intelligent and capable. It is somewhat overstated of course, the turning away from the comedic figure Nigel Bruce portrayed started already with Andre Morell’s Watson in the 1959 Hammer Hound of the Baskervilles. Still, the Watson depicted by the Granada series is still one of the show’s chief draws.

The series had a switch in the actors playing Watson, with David Burke portraying him in the first two seasons of 13 episodes  and The Empty House featuring Holmes return to a Watson portrayed by Edward Hardwicke. And honestly it is hard to choose between them, because they are both great and there is a consistency in the writing that makes them feel like the same basic character. 

Burke’s Watson comes across as younger and more energetic of the two actors and has perhaps the better comedic dynamic with Holmes. He is perhaps my pick, as despite his actual age while playing the part, he feels closer to the young Watson of the canon.

But that is no serious slight against Hardwicke’s performance, which is still first-rate. Hardwicke’s Watson feels older, despite the difference in age between the actors being but a few years. The performance is also defined by an effortless charm and warmth, giving Watson an avuncular aura. But Watson is not at all infirm and is still an intelligent medical man and an experienced soldier, ever ready with his revolver.

An interesting change from the Canonical stories is that Watson never gets married and moves out of Baker Street. The Sign of the Four features Mary Morstan, but at the end she walks out of the story without any romance between her and Doctor Watson. The reason this was done, is that it simplifies the set-up of the stories. With Watson in 221B, he is always on hand to join Holmes. No need for a scene at the beginning of Holmes taking Watson away from wife and practice. Also it saves them keeping track of when Watson was married or not, something that Conan Doyle himself got into a serious continuity tangle about.

As producer Michael Cox (quoted in David Stuart Davies’s book Starring Sherlock Holmes)  noted, Conan Doyle himself probably regretted marrying off Watson, considering The Empty House has Watson suffering from a “sad bereavement” and then moving back in with Holmes. So it is a very much acceptable deviation from canon.

It also frees the writers to focus on the most important relationship in the canon: the friendship between Holmes and Watson. The canon has been called “a textbook of friendship” by Christopher Morley, and the chemistry and relationship between Holmes and Watson is vitally important to any adaptation. And that aspect of the stories is wonderfully conveyed here, with both actors playing Watson working together with Brett as Holmes well to convey the odd but close friendship between the two men.

Rosalie Williams plays Mrs. Hudson, and she is excellent in the role. The Granada series has a lot of little scenes of Mrs. Hudson added into the canonical cases, and they work excellently, giving her more of a presence. Many of them are comedic, making jokes about how a difficult and eccentric lodger Holmes is, but there is a clear undercurrent of affection throughout their interactions.

The recurring cast members include Charles Gray as Mycroft Holmes and Colin Jeavons as Inspector Lestrade.

 Gray as Mycroft is close to ideal, fitting the character of the overweight, lazy and intelligent canon character perfectly. He was such a good fit for the role that he had actually earlier played the part in the film adaptation of The Seven-Per-Cent Solution.

Jeavons fit the part of Lestrade and his acting is superb, capable of showing the full extent of Lestrade’s character, having both smug over-confidence at times, yet also having genuine respect and affection for Holmes.

The acting skills of the actors playing characters who only appear in one episode is also generally very high. And that is part of the general high quality of execution the show had for most of its run. The period sets and the directing was of a similar high standard. The music by Patrick Gowers is excellent, and I suggest any fan take a listen to this Youtube playlist of his soundtrack.

The scripts are quite excellent, for the most part sticking close to the Conan Doyle stories. Of course there are always infidelities here and there, and sometimes the episode would go on non-canonical tangents.

Usually it was to make the story work better on screen. For example, the villains in The Greek Interpreter escape from Holmes and Watson, ending up being killed “off-screen” as it were. So the Granada version of the same tale has a non-canonical ending of Holmes, Watson and Mycroft confronting the villains on a train, something that works rather well. Another example is The Musgrave Ritual which entirely ditches the original story’s framing device of Holmes telling Watson the story of an early case of his. In the Granada version Watson is with Holmes on this case, and it works better that way.

And with all of these elements working together, for most of its run, the Granada series is perhaps the definitive screen adaptation of Sherlock Holmes. The first four seasons of 50 minute episodes, which were broadcast under the titles of The Adventures of Sherlock Holmes and The Return of Sherlock Holmes from 1984-1988 plus the feature length adaptation of The Sign of Four are pretty much all great. It went from strength to strength, consistently making very well-made adaptations of the canon.

The Sign of Four is probably a good pick for Granada’s peak, due to its epic nature. And it is definitely the best of the five feature-length films they did. Outside of leaving out any romance between John and Mary, the film is faithful to the book, although it goes too far in that direction in keeping in the racism of the story. But it also has all of the book’s virtues as a story too, and fine acting from Brett, Hardwicke, and John Thaw as Jonathan Small make for an enjoyable viewing experience.

There was however a decline in the series later years. The lynchpin of the series was Jeremy Brett, and his health began to seriously fail him by 1987, leading to his death in 199 (my source of information on Brett’s health decline and general behind the scenes things is mostly Davies’s book Starring Sherlock Holmes) Once lean and looking remarkably like the Sidney Paget illustrations of Holmes, his conflicting medications for his heart problems and bipolar disorder caused him to retain water and bloat, causing him to no longer look like the lean figure he once was. His looks wasn’t really the problem, what was however was that his health problems drained him of the energy that he once was able to put it into his performance, creating through no fault of his own a more lethargic and weaker Holmes.

There was also a growing lack of care shown towards the series by Granada itself. The budgets began to shrink by 1988, and while the series looked good for the most part, it did impact the show.

Probably the first disappointing episode is the double-length adaptation of The Hound of the Baskervilles from 1988. You would expect the Granada series, with their excellent leads and excellent track record up to this point, to create the definitive version of this often-filmed story, but it just isn’t. It isn’t bad, but it is ultimately mediocre in a way that is hard to pinpoint. My guess is that the direction and cinematography doesn’t manage to create the suspense the story needs, resulting in a slow-paced and slightly boring experience.

It also ends up show-casing the problems the show would now begin to have, with the production crew not having the money to do location shooting on Dartmoor and Brett obviously showing the signs of his failing health.

The Hound film was followed by a season of six 50-minute length episodes, called The Case-book of Sherlock Holmes. And these were mostly fine, considering the circumstances. The budget had been reduced compared to earlier seasons and you could tell the writers sometimes lacked a first-rate canonical story to adapt.

There were one or two weaker episodes, but those were due to the original story being weak. For example, the season ended with a faithful adaptation of The Creeping Man and it is as good and well-made a tv adaptation you could ever hope to make with such a bizarre plot. The result is of course pure camp, but so is the original story. When the show had a good Conan Doyle story to adapt, like The Boscombe Valley Mystery, The Problem of Thor Bridge or The Illustrious Client, the results are indeed up to the standards of its past.

The real nadir of the series came later, however, when in 1992-93 the series decided to do three double-length episodes. Granada wanted the Holmes series to copy the success of Inspector Morse and its 100 minute tv film format. The problem was the show would still adapt Conan Doyle’s short stories into a format that was far too long for them. So the scriptwriters had to pad the stories out with their own inventions.

This sort of worked for the first film of these three films, The Master Blackmailer. It was based on Charles Augustus Milverton, which is one of the shortest stories in the canon, but one of the most rich in dramatic potential. Writer Jeremy Paul’s script decided to show in detail what is merely mentioned in the story, such as Milverton blackmailing people and Holmes courting Milverton’s maid in order to gain access to his home. The end result works, it is somewhat slow-paced but is ultimately coherent and at its best feels like you are watching the backstory to the canonical events.

The same can’t be said for the second and third of these films, The Last Vampyre and The Eligible Bachelor. The Last Vampyre is an almost completely incoherent non-adaptation of The Sussex Vampire, where elements from the canonical story probably make up less than 5% of the resulting film. There is an attempt to create intrigue and suspense around the original character Stockton, but the film is so vague about what he is and what threat he poses that the resulting film makes no sense.

The Eligible Bachelor is a similar adaptation of The Noble Bachelor, where the canonical story elements that remain is entirely subsided by a new bizarre plot where Lord St. Simon is now a ruthless Bluebeard-like villain. It is slightly better than The Last Vampyre, simply because the villain here poses an identifiable and somewhat coherent threat. Still, the film has to pad things out with bizarre subplots, like Holmes having prophetic dreams, which ultimately doesn’t lead anywhere.

Wisely, the series returned to the 50 minute format for the last season of six episodes, which aired in 1994, under the name of “he Memoirs of Sherlock Holmes. It was with this season Jeremy Brett’s health problems and the lower budgets really began to seriously affect the show. Brett was in a bad state at this point, and the description of the production in Davies’s book makes for sad reading.

During the filming of one episode in this season, The Three Gables, he had to use a wheelchair between takes and supplementary oxygen to ease his breathing. His performance is naturally lacking in the energy he once had, but the fact it is a performance at all is testament to his commitment. The Three Gables is actually one of the better episodes of this season, as it actually manages to improve on one of the weakest stories in the canon.

Edward Hardwicke was unavailable to film The Golden Pince-nez, and they couldn’t re-schedule the shooting dates (which I suspect was a budget issue). So the writer wrote out Watson and replaced him in the role of Sherlock’s assistant with Mycroft, since Charles Gray was available. The result is well-made otherwise, with guest stars Frank Finlay and Anna Carteret giving great performances, but the lack of Watson is sorely felt. It is fun to see Charles Gray’s Mycroft again, but it feels contrary to his character to accompany his brother like this.

And before he could film The Mazarin Stone,  Brett’s health gave out on him and he was hospitalized. Again Charles Gray was called in by the producer to play Mycroft as a substitute. It is nice to see Mycroft for a fourth time, but Mycroft doing this doesn’t feel true to his character. And this episode is one of the weakest in the series, due to the script. Not that I blame the scriptwriter too much, The Mazarin Stone is one of the worst stories in the canon. The efforts to improve on the story by combining it with another weak story  The Three Garridebs don’t at all manage to rescue it.

However, there are still some rather good episodes in this season . The Red Circle is good and The last ever episode of the series, The Cardboard box manages to close out the series on a good if dark note.

Jeremy Brett died in 1995 due to heart failure, ending all hope of any future series.

I might have delved too much on the series failures in this essay. Because all of that is outweighed by the consistent high quality the series managed to achieve in the first four seasons, and with a few failures, still managed to sometimes achieve again in the later ones. Those adaptations are perhaps the peak of Holmes on screen.

It is not my favourite adaptation, that is the BBC radio drama versions made starring Clive Merrison as Holmes from 1989 to 2010. Those were just as consistently good, with Merrison and Williams/Sachs as Holmes and Watson being on the same general level as Brett and Burke/Hardwicke as performances. In fact, the BBC version is more consistent, never going off the rails as the Granada version sometimes, and it actually managed to achieve the goal Brett had hoped for: adapting every canonical story.

Still that doesn’t take away from Granada’s great achievement in adapting the Holmes stories with such quality. It is an achievement that later movie and tv adaptations haven’t been able to surpass.

[traincat]

traincat! thoughts on a spideytorch trek au? thanks!

Oh I have a lot of thoughts about this actually! I was working on one a while ago where it was supposed to be part of a bigger series but now I think I’d kind of like to go back in, rip up the foundations a little, and make it its own oneshot. (It involves Johnny and Peter meeting each other for the first time since Starfleet Academy -- where Johnny flunked out -- and crash landing on an alien planet where Johnny gets worshiped as a sun god.) 

So I do think there’s a bunch of directions you could go with Peter in a Trek AU -- I was briefly toying with the idea of him as a Romulan, because Secrets -- but my top pick is as a genetically engineered human. Trek’s genetically engineered humans have the right power set: enhanced speed, strength, and smarts! It gives Peter a reason to keep his abilities hidden! His parents being involved in Section 31 is a no-brainer, given their canonical background as spies! It’s half a ripoff of DS9′s Bashir, but hey, it’s fanfic. I go back and forth on whether he should be involved in Starfleet. On the one hand, I do think he’d be good at it and it’s kind of a given, in a Trek AU, that your main characters are in Starfleet. On the other hand, he’s kind of terrible at cooperation. I think at the end of the day my idea is to have him as a ship’s Science Officer but like, do I think he stays there? Probably not in the long term. (The AU equivalent of when he ditched that really good lab job in Portland!) Whereas originally I was thinking of building the ship out of other hero characters Peter’s worked with, now I think I might go with the Bugle staff -- Captain Jameson, First Officer Robertson, Chief Medical Officer Kate Cushing, Glory Grant as Communications Officer, etc. There’s definitely enough Bugle employees to build a full staff out of, down to Ensign Billy Waters. (Very likely to get killed on an away mission. Sorry, Billy.) Alternatively I could make Norman Osborn the captain and have things go very, very badly. That could be fun too. 

With Johnny, I’ve had my heart set on his being half-Betazoid since I first thought of a Trek AU. Which is like, with most AUs I usually pretty immediately know what I want to do with Johnny, and especially here because I don’t know if I’ve talked about this very much on tumblr but if I could give Johnny one additional power/a different power, it would definitely be empathy. Feelings powers! For a boy who has a lot of them. Is it an excuse to throw around “imzadi” in a fic? Yes, 100%, but it’s an excuse I stand by. I love a made up alien term of endearment. I think it’s pretty easy to duplicate the Fantastic Four’s origin here, with Reed stealing a space ship for an experimental flight he couldn’t getting funding/approval for from Starfleet instead of from the US government, and then wham, horrific accident resulting in strange powers. Which like, obviously I wouldn’t have to stick to in a Trek AU, but I think if it’s right there for the taking, you might as well, and I like the idea of the Four on the fringes of Starfleet but very much their own thing, much like in original canon. Also Johnny Storm, Starfleet Academy dropout, is important to me. 

I did manage to dig up my old WIP doc for the Trek AU, so here’s a snip of something that would probably be very heavily rewritten if I went back to it:

The two moons in the sky were bright crescents and the breeze through the window was soft and sweet. Johnny Storm was stretched out next to him laughing like there was no place in the galaxy he'd rather be. It was enough to make Peter lose all sense, and that was why he leaned over and pressed his lips to Johnny's.

Johnny tasted like wine and alien fruit, and he was warm, warmer than anyone else Peter had ever kissed. The heat of him surprised Peter - he pulled back, but Johnny surged forward.

"Don't you dare," Johnny growled, practically climbing into Peter's lap. He caught Peter's face between his hands and kissed him again, head tilted, the angle just right. Peter's hands flew to his waist to anchor him before they tipped over.

"Johnny," he said, lips sliding across Johnny's mouth, down to his jaw. "I didn't think -"

"Can you shut up for once?" Johnny pulled back enough to demand. His dark eyes sparked, his lips were bruised. He looked imperious and royal, the sun god everyone on this whole backwater planet believed him to be. "Thinking is the whole problem, Pete!"

"I'm sorry some of us can't just turn our brains off!" Peter snapped back, shoving Johnny backwards. His eyes went wide when his back met the wall, and he fisted his hands in Peter's shirt to pull him back against him. Their mouths clashed again, open and messy, the kissing equivalent of every stupid argument back at Starfleet Academy. Peter's blood burned in a whole new way.

"Try it, genius," Johnny said. "Just once. For me."

Johnny's flimsy shirt hung off one shoulder. Peter traced the line of it against his flushed skin, the way the delicate fabric clung to his body, highlighting Johnny's lean waist, his flat stomach.

He grabbed a handful of filmy fabric and tore it off.

Johnny inhaled sharply, and then he started to laugh. He pulled Peter in with one hand fisted in the hair at the back of his head, pressing his smiling mouth to Peter's. "See? I knew you could do it."

"It's just because your stupid's contagious," Peter said. He ripped the fragile golden chains from Johnny next and Johnny laughed, head thrown back, all golden insolence. "You're some kind of intelligence sinkhole. Is that a Betazoid thing?"

That was all he got the chance to do before Johnny shoved him back down onto the bed.

"Insulting my heritage!" he mumbled against Peter's mouth, clever fingers plucking at the hidden clasps of Peter's uniform. "Very sexy.”

(...)

Johnny's hand closed around the back of his neck, thumb stroking the hair at his nape. "I wanted this, at the academy."

It was a soft confession, and maybe that was what startled Peter into admitting, "Me too. I thought about you. All the time. Couldn't get you out of my head."

"I know." Johnny's fingers curled in his hair, tugging Peter's head down so he could kiss him. "I could feel it. I mean," his grin turned flippant, "everyone wanted me. But I always felt you separate from everyone else."

"Is that supposed to make me feel special?" Peter asked, nipping at Johnny's lower lip. "Your ego is so huge I'll have them name a star after it."

"That's sweet. I want two," Johnny said, but the look on his face was soft. He knocked his forehead playfully against Peter's and said, "Do you remember that time at that club? God, what was it called - Orbit. That was it."

It was easy to conjure up the memory in his usual crystal clarity. The flashing lights, the chrome of the bar top, the very annoyed Benezian bartender. Johnny, drunk and absolutely infuriating. Peter, not drunk, but no less annoying for it.

"Oh wow," he said, remembering how hoarse his voice had been. His throat felt scratchy in sympathetic memory. "We screamed at each other for like an hour."

It had been exactly an hour and twelve minutes, plus a spare handful of seconds, but who besides Peter was counting.

"We got kicked out," Johnny snickered, tugging his fingers through Peter's hair until it stood on end.

"You filled my room with Bajoran oatmeal and gagh the next day," Peter said, nose wrinkling. One of the downsides of his brain: he could still remember the smell. "Two feet of it."

"The things I did to that replicator," Johnny said dreamily.

"I tried to figure it out," Peter confessed. His eyelids felt heavy; he let them fall, rolling over so his chest was pressed to Johnny's back and their knees fit together like puzzle pieces. "I could never work out what you did to bypass the safety. I was going to rig a tub of Cardassian fish juice to fall on your head."

"I have the touch," Johnny said. "You're not going back to your room?"

Peter stilled. "I can go -"

"No," Johnny said, fumbling for Peter’s arm. He draped it over his waist. "No. Stay."

[birdsthatsingaftermidnight]

We’re Watching Star Wars, A New Hope

In which we claim we are extremely erudite, witty and full of biting satire and only some swearing.

Obi-Wan Kenobi: “I’ll hide the boy on Tatooine, under his own name, with his uncle Owen, and I’ll hide nearby.” Bail Organa: “Under what name?” Obi-Wan Kenobi: “Ummm. Ben.” Bail Organa: “Ben what?” Obi-Wan Kenobi: “Kenobi.” Bail Organa: “Um… isn’t it all a bit obvious?” Obi-Wan Kenobi: “Not really. You see, Anakin is a twat.”

- - -

Luke: “He knew my father?” Uncle Owen: “I told you to forget it.” Aunt Beru: “Yes, Owen, that’s A plus star quality parenting there. I’m almost certain he’s not going to want to go looking for Old Ben Kenobi now!”

- - -

“They used to be called ‘Dune Bastards’, but ‘Sand People’ is the new PC term.”

- - - 

“I wish I’d known him.” “No you don’t. He was a twat.”

- - -

“It’s your father’s lightsaber. You see, being called Skywalker, living on Tatooine, and hanging around with me didn’t seem a big enough clue to the Empire, so I thought strapping a lightsaber to your belt would help make it more obvious. Your father wanted you to have it. He also wanted you to wear this jacket saying 'Kick Me’ on the back.”

- - -

“I’ll tell you one thing about your father, Luke. He wasn’t fire-proof.”

- - -

What are you DOING?  DON’T SASS DARTH VADER! Also, it might be an ancient religion, but not twenty years ago they were leaping around CUTTING PEOPLE IN HALF!

- - - 

“And now, your Highness, we will discuss the location of your secret rebel base. But first, Sinister-Floaty-Bot! Give me my insulin!”

- - -

“I want to learn the ways of the Force and become a Jedi, like my father.” “Well, hopefully not exactly like him, Luke. You know. Because twat.”

- - -

“We’re going to be very subtle about this, Luke. We do NOT want to attract Imperial attention. You sit quietly over there, enjoying Space Jazz, and I’ll just lop this guy’s arm off with my lightsaber.”

- - -

“YES! Fucking YES! It’s CHOPPING TIME!” “Um, Old Ben…” “SHUT IT, LUKE! I’VE WAITED TWENTY YEARS FOR THIS! TWENTY FUCKING YEARS ON THIS FUCKING PLANET, LOSING MY BEAUTIFUL FACE AND I AM GOING TO CHOP FUCKING SOMETHING OFF FUCKING SOMEONE, ARE WE CLEAR?” “Um. Yes?” “GOOD! Oh fuck, now I’ve got to lie down. I’m having a dark side moment. I HOPE YOU’RE HAPPY!”

- - -

“Perhaps she’ll respond to an alternative method of persuasion.” “What do you mean?” [Later.] “Oh pleeeeeeeeeeeeeease tell us! Pretty please! Go onnnnnnnnnnnnnnnnn!”

- - - 

“You’re far too trusting. I have cheekbones you could cut glass with and an English accent! OBVIOUSLY I’M EVIL!”

- - -

“Stretch out with your feelings.” “What does that EVEN MEAN?!”

- - -

“In my experience there’s no such thing as luck. There can’t be. If there was then I WOULDN’T HAVE BEEN STUCK ON THAT GHASTLY PLANET FOR TWENTY YEARS. TWENTY *FUCKING* YEARS. THAT’S NOT EVEN BAD LUCK - THAT’S FUCKING PUNISHMENT FOR NOT GETTING RID OF ANAKIN WHINEPANTS PROPERLY!”

- - - 

“I sense something. Something I haven’t felt since… SOMEONE IS USING MY NETFLIX!”

- - -

“I’m afraid she’s scheduled to be terminated. Funny story, actually. You’re not allowed to say 'executed’. They had a focus group. 'Executed’ was deemed too sinister.”

- - -

Leia asking if Luke is a little short for a stormtrooper simply proves that stormtrooper armour is adjustable.

- - -

Health and Safety would have a FIT at the lack of emergency stop buttons in the garbage mashers.

- - -

The stormtroopers take approx. 48 times longer than necessary to open the door. This is because no-one wants to be the one that has to explain that, contrary to orders, they’ve recaptured the prisoners.

- - - 

“When I left I was the but the learner, now I am-” “Shut up! Just-! Twenty years I was stuck on fucking Tatooine, listening to the fucking SAND and I never once appreciated how much better that was than listening to you just GOING ON. SHUT UP, ANAKIN! SHUT! UP!”

- - - 

I’ll say this, though. That tiny smile just before Obi-Wan dies. Perfect.

- - -

Wedge: “Look at the size of that thing!” Red Leader: “Cut the chatter, Red 2, you assassin of morale!”

- - -

“Ahh, Peter Cushing. When I get old I want to have evil cheekbones like him.”

- - -

“You worry about those fighters, I’ll worry about the tower!” [Later, staring at the memorial.] “He should have let us worry about the tower.”

- - -

HOLD UP! I just noticed that Han had pouches on the back of his waistcoat when receiving his medal for showing up at the last minute in an attempt to get some XP out of the encounter. LIEFELLLLLLLD!!!!

[aion-rsa]

New British TV Series from 2020: BBC, ITV, Channel 4, Sky Dramas and More

https://ift.tt/2X8Wp6Q

On top of the British series that returned in 2020 (His Dark Materials, Ghosts and Inside No. 9 to name just three), below are the many new UK TV series we welcomed in 2020.

You’ll find true crime series, contemporary thrillers and the usual hefty number of literary adaptations and period dramas. Here’s the same for all the new British comedy we enjoyed in 2020.

Obviously, with Covid-19 delays having taken at least a three-month chunk out of production on all continuing and new dramas since mid-March 2020, there were serious delays to many planned shows, but a good number of new arrivals still managed to make their way onto screens.

All Creatures Great and Small (September)

Filmed in the Yorkshire Dales in autumn 2019 is a new adaptation of the memoirs of rural vet James Herriot (real name: James Alf Wight). Airing on Channel 5 in the UK and on Masterpiece on PBS in the US, this series stars Samuel West, Anna Madeley and Dame Diana Rigg, with newcomer Nicholas Ralph playing young vet James. A six-part series plus a Christmas special has been filmed, timed to mark the 50th anniversary of the first book’s publication. Expect warm-hearted stories of animal frolics and local characters.

A Suitable Boy (July)

Literary adapter extraordinaire Andrew Davies (Les Miserables, War & Peace, Pride And Prejudice) is back on the BBC with the first screen adaptation of Vikram Seth’s 1993 novel A Suitable Boy. Making her television debut is acclaimed feature director Mira Nair (Monsoon Wedding, Queen Of Katwe). A Suitable Boy is a coming-of-age story about university student Lata (played by Tanya Maniktala), told against the backdrop of newly independent India in 1951. The official BBC press release describes it as “a vast, panoramic tale charting the fortunes of four large families and exploring India and its rich and varied culture at a crucial point in its history.” Here’s our spoiler-free review.

Adult Material (October)

This Channel 4 drama takes on the UK porn industry and the complex relationship between sex, money and power. Written by Skins and The Smoke’s Lucy Kirkwood, the four-part miniseries stars I, Daniel Blake‘s Hayley Squires (in a role previously given to Sheridan Smith, who left the project due to conflicting commitments) as Jolene, an experienced porn actor and mother of three whose on-set friendship with a young woman leads to a complex examination of her own work and home life. With warnings of adult and sexual scenes, here’s the official trailer.

Baghdad Central (February)

Based on the thriller of the same name by Elliott Colla, Baghdad Central is a six-part Channel 4 commission written by House of Saddam and The Last Kingdom‘s Stephen Butchard. Set in Iraq shortly after the 2003 fall of Saddam Hussein, it’s described as “part noir detective drama, part Le Carre and part Green Zone“. With a cast led by Waleed Zuaiter (Omar, Altered Carbon), it’s the story of a quest for justice in an almost lawless society. Bertie Carvel co-stars, with Doctor Who and Tin Star‘s Alice Troughton as the lead director. All six episodes are currently available to stream on All4.

Belgravia (March)

Written by Downton Abbey creator Julian Fellowes and based on his 2016 novel of the same name, Belgravia is a six-part period drama set in 19th century London. Expect toffs and treachery in a story about society secrets on the eve of the Battle of Waterloo. Among the fine looking cast are Tamsin Greig, Harriet Walter, Tara Fitzgerald, Philip Glenister and Alice Eve. It aired in March on Sunday nights on ITV1.

Black Narcissus (December)

This BBC commission was announced back in 2017 and we finally have some info on it. Adapted by Apple Tree Yard screenwriter Amanda Coe from Rumer Godden’s 1939 novel (which was previously adapted for cinema in 1947), three-part series Black Narcissus stars Gemma Arterton as Sister Clodagh in a Gothic tale of “sexual repression and forbidden love”. Set in the 1930s, it’s the story of a group of nuns who travel to Nepal to set up a branch of their order, and Sister Clodagh’s struggle with her attraction to a land agent, against the backdrop of the tragic history of a Nepalese princess. Diana Rigg, Jim Broadbent, Gina McKee and more join Arterton. Filming began in Nepal and the UK in October 2019, and back in January the BBC included it in the year’s ‘New for 2020‘ trailer.

Cobra (January)

New political thriller Cobra arrived on Sky One and NOW TV in January. From The Tunnel and Strike writer Ben Richards, it stars Robert Carlyle, Victoria Hamilton and David Haig as, respectively, the PM, his chief of staff and the home secretary. It’s a six-parter promising “high stakes politics and high-octane action” about a team of experts and crisis responders attempting to bring society back from the brink of collapse. A second series was ordered by Sky in February 2020.

Deadwater Fell (January)

From Humans screenwriter Daisy Coulam, this new four-part Channel 4 drama aired in January this year. Set in a remote Scottish community, it explores the aftermath of a heinous crime – a family is murdered by someone they know and trust, sending ripples through the supposedly idyllic town. David Tennant leads a cast including The Good Fight‘s Cush Jumbo and The Bay‘s Matthew McNulty. It’s an excellent, if difficult watch (read our spoiler-filled reviews here), and is currently available to stream on All4.

Des (August)

ITV has included this three-part true crime drama in its autumn 2020 schedule, so it looks like there are no delays here. Des stars David Tennant and is inspired by the real story of serial killer Dennis Nilsen, who murdered several boys and men between the years of 1978 and 1983. It’s adapted from Brian Masters’ book Killing For Company, and will be told from the perspective of three men – Nilsen, DCI Peter Jay (played by Daniel Mays), and biographer Brian Masters (played by Jason Watkins) – and explore how Nilsen was able to prey on the young and the vulnerable. See the first trailer here.

Dracula (January)

The Sherlock showrunners Steven Moffat and Mark Gatiss reunited to bring another 19th century fictional icon to life in Dracula, which aired on BBC One over New Year and Netflix. Danish actor Claes Bang played the title role alongside Dolly Wells and John Heffernan in the miniseries which comprises three ninety-minute episodes. Moffat and Gatiss promised to “reintroduce the world to Dracula, the vampire who made evil sexy.” Job done. Read our spoiler-filled reviews here.

Flesh and Blood (February)

Filming on new ITV four-part drama Flesh And Blood got underway in June 2019, with an enviable cast led by Imelda Staunton, Stephen Rea and Russell Tovey. It’s a contemporary story of three adult siblings shocked when their recently widowed mother falls for a new man, bringing into question everything they thought they knew about their parents’ 45-year marriage. Staunton plays the family’s neighbour, who harbours an unhealthy obsession with the unfolding drama… Think dark wit and the unearthing of long-buried secrets. It’s available to stream on ITV Hub here and here’s our spoiler-filled episode one review.

Gangs of London (April)

Filmmaker Gareth Evans came to everybody’s attention with 2011 Indonesian-set action flick The Raid. In April, he made his TV debut with this Sky Atlantic/HBO co-production. Gangs of London takes place in a version of modern London torn apart by international criminal organisations. You can expect assassinations, intrigue, expertly choreographed fight scenes and full-muscled action from this excellent new drama. All nine episodes are available to stream on Sky and NOW TV. Read our reviews and interviews here.

Honour (September)

Keeley Hawes’ production company is behind new two-part ITV drama Honour, which filmed in autumn 2019 and is due to air this autumn. Based on the real-life so-called “honour” killing of 20-year-old Londoner Banaz Mahmod, “murdered for falling in love with the wrong man”. It comes written by Vanity Fair‘s Gwyneth Hughes and stars Hawes as DCI Caroline Goode, who investigated Mahmod’s disappearance.

I Hate Suzie (August)

Billie Piper has co-created this original Sky Atlantic comedy-drama with playwright Lucy Prebble, who adapted the Piper-starring series Secret Diary Of A Call Girl in 2007. It’s a story about a celebrity (Piper) whose career is threatened when she’s hacked and a personal photo leaked to the public. The Crown and Lovesick’s Daniel Ings co-stars. Piper is terrific in it and it has plenty to say on fame and the nature of modern celebrity. With adult content, see the first trailer here. It starts on Sky on Sunday the 27th of August, with all episodes available on NOW TV.

I May Destroy You (June)

The latest from acclaimed writer-actor Michaela Coel, creator of Chewing Gum, is a 12-part half-hour series exploring sexual consent, trauma, recovery, friendship and much more. Formerly under the working title of January 22nd, I May Destroy You is a BBC One/HBO co-production set and filmed in London, and stars Coel in the lead role of Arabella, a celebrated young novelist who suffers a sexual assault that causes her to reassess her life. Joining Coel in the cast are Weruche Opia, Paapa Essiedu, Aml Ameen and a host of new and stage talent. It aired in June on BBC One and stunned just about everybody with its frank, poised brilliance. Watch it here on BBC iPlayer.

Industry (November)

Another Bad Wolf production, this one is on its way to BBC Two and HBO in the US. Eight-part drama Industry comes from new writers Konrad Kay and Mickey Down, and is directed by Girls’ Lena Dunham. Taking on work, money, power, greed and loyalty. It’s about a group of graduates competing for places at a top firm in the cut-throat world of international finance. How far will some people go for profit?

Isolation Stories (May)

UK channels responded quickly to the unusual demands of making television during lockdown, with BBC stalwarts Have I Got News for You and The Graham Norton Show continuing but using remote video link-ups. In May, ITV aired the first lockdown drama with anthology series Isolation Stories. The episodes are 15 minutes long and depict the experience of lockdown on a variety of characters played by Sheridan Smith, Angela Griffin, Robert Glenister, David Threlfall and Eddie Marsan. Watch them on ITV Hub here.

Life (September)

From the writer of Doctor Foster comes a new six-part hour-long drama for BBC One. Life tells four separate story strands about the residents of a large Manchester house divided into flats. The cast includes Alison Steadman and Peter Davison as a married couple rocked by a chance encounter, Adrian Lester and Rachael Stirling are a couple whose marriage is threatened by temptation, while Victoria Hamilton plays a woman whose life is disrupted by the arrival of her teenage niece. Currently filming in Manchester, “LIFE explores love, loss, birth, death, the ordinary, the extraordinary and everything in between”.

Little Birds (August)

An original six-part UK drama coming to Sky Atlantic, Little Birds is creatively adapted from Anais Nin’s collection of erotic short stories of the same name. Set in Tangier in 1955, filming took place in Andalusia and Manchester, with Juno Temple playing the lead role of Lucy Savage, a young women trapped by society who yearns for an unconventional life. It’s an erotic, political exploration of sexuality against the backdrop of colonial rebellion, and all episodes are currently available to stream on NOW TV. Read our spoiler-free review of all six episodes.

Read more

TV

The Best TV Shows of 2020

By Alec Bojalad and 9 others

TV

The Best TV Episodes of 2020

By Alec Bojalad and 8 others

Miss Scarlet And The Duke (March)

This six-part co-production written by Trollied’s Rachel New and starring Peaky Blinders’ Kate Phillips aired on Alibi here in the UK. It’s a one-hour series set in the 19th century about London’s first female gumshoe, Eliza Scarlet (Phillips), a woman who takes over her dead father’s detective agency, aided by Stuart Martin’s ‘Duke’. One for fans of Aussie period detective series Miss Fisher’s Murder Mysteries, perhaps?

Noughts + Crosses (March)

Malorie Blackman’s hugely successful series of Young Adult novels have been adapted by Being Human’s Toby Whithouse for BBC One. The six-part series is set in a world where racial divisions are turned on their head, and two young people from different backgrounds battle through separation caused by power, politics and prejudice. All episodes are available to stream now on BBC iPlayer. Read our episode one review here.

Normal People (April)

Filming took place last summer in Dublin, Sligo and Italy for Normal People, adapted by Sally Rooney from her 2018 publishing hit of the same name. It’s a 12-part drama for BBC Three and US streaming service Hulu, starring new(ish)comers Daisy Edgar Jones and Paul Mescal. Directing is Room‘s Lenny Abrahamson and Hettie McDonald, telling an intimate story about a relationship between two young people – Marianne and Connell – stretching through their university years at Trinity College, Dublin. Available now on BBC Three and Hulu, read our spoiler-free review and more.

Penance (March)

Three-part hour-long drama Penance aired on Channel 5 this March. It’s an original scripted drama for the channel, and stars Neil Morrissey, Julie Graham and Nico Mirallegro in a psychological thriller about grief, manipulation and morally murky relationships. The story revolves around the Douglas family, reeling from the death of their son, and a young man they encounter at bereavement counselling with whom they become entangled.

Quiz (March)

Adapted from James Graham’s acclaimed stageplay of the same name, Quiz is the story of the Who Wants To Be A Millionaire? 2001 cheating scandal in which Major Ingram and accomplices were accused of cheating their way to the show’s top prize. Human chameleon Michael Sheen (Frost/Nixon, The Damned United) pictured above, plays quiz host Chris Tarrant, with Ripper Street‘s Matthew Macfadyen playing the accused Major in the three-part ITV/AMC drama. On directing duties is Stephen Frears, who recently directed excellent comedy drama State Of The Union and Russell T. Davies’ A Very English Scandal. Read our reviews here.

Roadkill (October)

Veep‘s Hugh Laurie is going back to politics. Acclaimed screenwriter David Hare (The Hours, The Reader) is behind a new four-part political thriller for BBC One. Roadkill is the story of Peter Laurence (Laurie), a conservative minister with his eyes on the top job who attempts to out-manoeuvre the personal secrets threatening to wreck his public standing. Peaky Blinders‘ Helen McCrory is set to play prime minister Dawn Ellison, with Westworld‘s Sidse Babbett Knudsen also appearing. Filming began in London in November 2019 and we’re expecting it to arrive later this year.

The Salisbury Poisonings (June)

An episode in recent UK history – the 2018 Novichok poisonings – is translated to the screen in three-part factual drama The Salisbury Poisonings, which filmed in 2019 in the Wiltshire cathedral city. The BBC Two drama focused on the impact of the chemical attack on ordinary people and public services in the city, and boasted a terrific cast including Anne-Marie Duff, Rafe Spall, Mark Addy, Johnny Harris and MyAnna Buring. It was co-written by BBC Panorama‘s Adam Patterson and Declan Lawn. Read our review here.

Sitting In Limbo (June)

A new feature-length film tackling the shameful political Windrush immigration scandal aired on BBC One in June. Sitting In Limbo is inspired by the true story of Anthony Bryan’s struggle to be accepted as a British citizen, despite having lived in the UK since emigrating to Britain as a child in 1965 with his mother. Written by Bryan’s novelist brother Stephen S. Thompson (Toy Soldiers, No More Heroes), it’s a deeply personal and powerful ninety minute drama about the devastating human toll of the foreign office’s ‘hostile environment’ tactic. Casualty‘s Patrick Robinson and Save Me‘s Nadine Marshall star. 

Small Axe (November)

An anthology of six hour-long stories set in 1960s – 1980s London is on its way to the BBC and Amazon Prime Video from Steve McQueen, the director of Twelve Years A Slave, Hunger and Shame. Small Axe started filming in June 2019 and boasts a terrific cast including Black Panther and Black Mirror‘s Letitia Wright, and The Force Awakens and Attack The Block‘s John Boyega, with Malachi Kirby and Rochenda Sandall. The first of the anthology’s five stories, all of which are set in London’s West Indian community, will be told across two episodes. See a teaser for the first, ‘Mangrove’, here. The title is inspired by the Jamaican proverb about marginal protest challenging dominant voices, “If you are the big tree, we are the small axe”. The first three episodes are due to open the New York Film Festival on the 25th of September 2020, though it’s currently unknown how the ongoing pandemic will affect the event.

Talking Heads (June)

Nothing to do with the NYC post-punk band of the same name, this remake of Alan Bennett’s acclaimed Talking Heads monologue series featured an all-new cast and two new monologues by Bennett. Originally broadcast in 1988 and 1998 and featuring a host of acting talent including Julie Walters, Maggie Smith and Patricia Routledge, the new Talking Heads starred Jodie Comer, Maxine Peake, Martin Freeman, Lesley Manville, Kristen Scott Thomas, Sarah Lancashire and more. The episodes are available to stream on BBC iPlayer in the UK, and were filmed using the standing EastEnders sets.

The Windermere Children (February)

This one-off feature length BBC Two drama delved into a little-explored part of English history – the child survivors and presumed orphans of the Holocaust who were granted the right to come and live in the UK following World War II. The Windermere Children tells the story of one coachful of young refugees brought to Lake Windermere to be rehabilitated through nature. Romola Garai, Tim McInnerny and Iain Glenn star in a screenplay from The Eichmann Show‘s Simon Block and directed by Any Human Heart‘s Michael Samuels.

The End (February)

This ten-episode series aired on Sky Atlantic and NOW TV. The End is created and written by Samantha Strauss and stars Harriet Walter and Frances O’Connor in the story of three generations of the same family dealing with the thorny issue of dying with dignity. O’Connor plays a palliative care specialist opposed to euthanasia, while Walter plays her mother Edie, who feels strongly that she has a right to die. Complicated family dynamics meet complex moral issues. See the trailer here.

The English Game (March)

Netflix bagged itself a Julian Fellowes-written drama earlier this year, this one about the birth of football. Set in Northern England in the 1850s, The English Game tracks the development of the beautiful game with the help of a cast including Line Of Duty’s Craig Parkinson, The Virtues’ Niamh Walsh, Kingsman’s Edward Holcroft and Game of Thrones’ Charlotte Hope. It arrived on Netflix UK in March and reviews were… not kind.

The Luminaries (June)

Eleanor Catton’s novel The Luminaries won the Man Booker prize in 2013, and this June, arrived on BBC One. The six-part drama, available to stream on BBC iPlayer, boasts a strong cast, with Penny Dreadful‘s Eva Green and Eve Hewson taking lead roles in the 19th century New Zealand-set tale of adventure and mystery during the 1860s Gold Rush. Read our spoiler-free review here.

The Pale Horse (February)

The brilliant Sarah Phelps (And Then There Were None, The ABC Murders, Witness For The Prosecution, Ordeal By Innocence) is back with another Agatha Christie adaptation for BBC One. This time it’s 1961 novel The Pale Horse being adapted for the screen, a story where superstition and witchcraft meet rationalism and murder. In the cast for the two-part mystery thriller are Rufus Sewell (The Man In The High Castle), Kaya Scodelario (Skins, Pirates Of The Caribbean), Bertie Carvel (Doctor Foster, Jonathan Strange & Mr Norrell), Sean Pertwee (Gotham) and more.  Read our spoiler-filled episode reviews and more.

The Nest (March)

Line Of Duty‘s Martin Compston joins Sophie Rundle in new five-part BBC One thriller The Nest. Filmed in Glasgow and written by Three Girls‘ Nicole Taylor, it’s the story of a wealthy couple struggling to have a baby who enter into a surrogacy agreement with an 18-year-old girl (Mirren Mack) that spirals into unexpected territory. The series arrived in March, and here’s our episode one review.

The Singapore Grip (August)

A bit of class here coming to ITV with an adaptation of JG Farrell’s World War II novel The Singapore Grip. Playwright Christopher Hampton, whose previous screenplays include Atonement and Dangerous Liaisons, has adapted the story for a six-part series set against the backdrop of 1940s Japan. It stars Luke Treadaway and Elizabeth Tan, with David Morrissey, Charles Dance and Colm Meaney. The series is due to air in Australia this July, and will arrive in the UK in autumn.

The Sister (October)

Neil Cross, the creator of Luther and Hard Sun, has a new drama on the way to ITV. The Sister, formerly titled Because The Night, is a four-part murder story “which exposes the quiet terror of a man trying to escape his past,” and comes inspired by Cross’ 2009 novel Burial. The psychological thriller is about Nathan, whose world is rocked when a face from the past suddenly appears on his doorstep. Russell Tovey and Bertie Carvel star. It’s due to arrive on ITV this autumn.

The Stranger (January)

Announced in January 2019 and arriving on Netflix a year later, The Stranger is a Harlan Coben thriller made for UK television. Nicola Shindler’s British production company RED (The Five, Safe) have once again turned a Coben novel into a twisting, turning UK series. This one’s about Adam Price (played by Richard Armitage), a man with a seemingly perfect life until a stranger appears to tell him a devastating secret. Things quickly become dark and tangled for Price and everybody around him. Read our spoiler-free series review here.

The Tail Of The Curious Mouse (December)

When children’s author Roald Dahl was just six years old, so the story goes, he persuaded his mother to drive him to the Lake District so he could meet his hero, writer-illustrator Beatrix Potter, the creator of Peter Rabbit, Jemima Puddleduck and many more beloved children’s characters. The welcome he received, however, was less than warm. This one-off drama (Roald and Beatrix: The Tail Of The Curious Mouse) stars Dawn French as Potter and is made by the production team behind Sherlock and Dracula. Expect it to arrive this Christmas.

Trigonometry (March)

All eight episodes of this new contemporary drama are available to stream now on BBC iPlayer. Trigonometry comes written by playwright Duncan Macmillan and actor-screenwriter Effie Woods, and provokes some fascinating questions about modern love. It’s the story of Gemma and Kieran, a couple who decide to ease the financial burden of their London flat by taking in a lodger who soon becomes entwined in their relationship. Is life as a ‘throuple’ sustainable? Could it be the way forward?

Us (September)

A four-part adaptation of David Nicholls’ novel Us is on its way to BBC One. Tom Hollander and Saskia Reeves star as Douglas and Connie, a couple whose marriage is on the verge of falling apart when the family take a long-planned holiday touring European cities. London, Amsterdam, Venice, Paris and Barcelona will provide the backdrops to this humorous, poignant relationship drama from the novelist behind One Day, Starter For Ten and Sky Atlantic’s recent adaptation of the Patrick Melrose novels. The Killing‘s Sofie Grabol and Agents Of SHIELD‘s Iain de Caestecker also star. 

White House Farm (January)

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

This six-part ITV true crime drama tells the tragic story of 1985’s White House Farm murders, the Essex killings of multiple members of the Caffell and Bamber families. Based on research, interviews and published accounts, it’s written by The Slap and Requiem’s Kris Mrksa, and directed by Little Boy Blue and Hatton Garden’s Paul Whittington. Freddie Fox plays the role of Jeremy Bamber, who is currently serving a sentence for the murders, with Stephen Graham, Alexa Davies, Mark Addy, Alfie Allen and more among the cast. Read our spoiler-filled episode reviews here.

The post New British TV Series from 2020: BBC, ITV, Channel 4, Sky Dramas and More appeared first on Den of Geek.

from Den of Geek https://ift.tt/2TWXy0B

[katiezstorey93]

DVD and Blu-ray Releases, the March 13 Digital

(function(d, s, id) If (d.getElementById(id)) return; var js = d.createElement(s); js.id = id; js.src = '//cdn4.wibbitz.com/static.js'; d.getElementsByTagName('body')[0].appendChild(js); (document, 'script', 'wibbitz-static-embed'));

March 13 Digital, Blu-ray and DVD releases

Welcome into DVD column, Blu-ray and ComingSoon.net’s March 13 Digital HD! We have added a player in the top emphasizing the week’s releases, since you can see, and you can find more of exclusive clips and distinct names below! Click highlighted title to purchase through Amazon!

New Movies around Blu-ray/DVD

Although it was pummeled by critics, you can test out Zack Snyder’s (and Joss Whedon’s) imagery of the DC Universe united with movie on your own as it hits Blu-ray. The disc is currently lacking the majority of the large deleted footage, comprising just two 1-minute scenes, but makes up for it with many fun behind-the-scenes featurettes, such as intros to the newest DCEU personalities (Aquaman, The Flash, Cyborg) along with a look at the way Jack Kirby’s Fourth World comics affected the movie.

The Oscar-winning fairy tale of Director Guillermo del Toro is set against the background of Cold War-era America, in which a janitor creates a exceptional relationship . Winner of four Oscars, including Best Director and Best Picture of the Year!

The Disaster Artist (exclusive clip) Director/star James Franco’s loving tribute to Tommy Wiseau’s gonzo cult disasterpiece The Room hits Blu-ray this week, including a Golden Globe-winning functionality by Franco. Check out an exclusive clip in the release!

Allison Janney won a Best Supporting Actress Oscar for her performance in this critically-acclaimed biopic on figure skater Tonya Harding.

Ferdinand (exclusive clip) After he is mistaken as a monster and ripped from his residence, a bull named Ferdinand rallies a group of buddies for an epic experience to return to his family. Take a look at the Target exclusive look in the movie!

Call Me By Your Title Amid the summertime of 1980’s Italy, Elio (Timothée Chalamet) and Oliver (Armie Hammer) discover the heady beauty of waking desire which will change their lives forever. Nominated for Best Picture, Best Actor (Chalamet) and Best Original Song (“Mystery of Love”) in this year’s Oscars, the film won Best Adapted Screenplay.

Kickboxer: Retaliation (exclusive clip) MMA winner Kurt Sloane is found by this picture back Thailand — imprisoned and kidnapped there by a gangster. Co-starring Christopher Lambert, Hafþór Júlíus Björnsson, Jean-Claude Van Damme and Mike Tyson, we’ve got an exclusive clip in the launch featuring!

This TENTH FILM in the ever-continuing Children of the Corn franchise follows that a young pregnant girl who escapes a murderous child cult in Minnesota, just to find ten years later that it has caught up with her and her son.

Criterion Corner

Among director Martin Scorsese’s more overlooked films, this 1993 effort according to Edith Wharton’s novel of Gilded Age New York celebrities Daniel Day-Lewis as a guy engaged to a socialite (Winona Ryder), however becomes enthralled by her scandalous cousin (Michelle Pfeiffer). The Criterion Blu-ray contains a 1993 documentary on the making of the movie and new interviews with more and Scorsese!

Reissues

This three-time Oscar-winning movie from 1968 features Katharine Hepburn, Peter O’Toole, Anthony Hopkins and potential James Bond star Timothy Dalton within an historical epic about King Henry II’s reign. The disc includes audio commentary by Anthony Harvey, a 4K restoration and an interview with sound recordist Simon Kaye.

and    Kino Lorber is currently doubling up on vintage W.C. Fields in both of these silent films preserved by The Library of Congress. Running Wild features Fields as a guy who’s made to think he is a lion after experiencing hypnosis, whilst It’s the Old Army Game features the mythical star Louise Brooks.

Brand New on Digital HD

The movie of 2017 is going to become the must-own picture of 2018, since the movie in the Skywalker saga brings dramatic developments to the galaxy far far away.

The Forgiven (VOD and Digital HD March 16) Eric Bana and Academy Award winner Forest Whitaker star in this thriller. When Archbishop Desmond Tutu (Whitaker) is made to head a national evaluation, he has summoned to a maximum-security prison by a notorious murderer seeking clemency (Bana).

Breakable You (exclusive clip) This indie comedy follows a family as they come to terms with themselves and each other. Starring Holly Hunter, Alfred Molina and Tony Shalhoub, have a look at an exclusive clip from the film below!

TV on Blu-ray and DVD

Hulu hit show according to Margaret Atwood’s bestseller stars Elisabeth Moss as a fertile girl. Winner of the Emmy’s for Best Actress and Best Actress — Drama (Moss).

and  AMC’s two big genre hits come into Blu-ray this week, using all the Walking Dead spin-off show setting its stunning events around the US-Mexico border, whilst Badlands attracts more kung-fu thrills via star   Daniel Wu.

Although you do not have CBS All Access but would like to stay informed about their political and critically-acclaimed legal play that is newest, picking up this DVD set might be your best bet. Rose Leslie Christine Baranski and Cush Jumbo star, and the group contains deleted and extended scenes as well as a gag reel.

This DVD set contains 12 action-packed episodes of the Disney XD series, and 5 bonus shorts plus a distinctive Darth Vader snare! This season finds the Freemaker household of Kordi Rowan and Zander getting comfortable with their allies, The Rebels as Imperial forces attempt to bring down the entire thing.

The post The March 13 Digital, Blu-ray and DVD Releases appeared on ComingSoon.net.

The post <p>DVD and Blu-ray Releases, the March 13 Digital</p> appeared first on blue ray search.

from network 8 http://www.blueraysearch.com/dvd-and-blu-ray-releases-the-march-13-digital/

[peanutdracolich]

Peanut Dracolich Watches Horror: The Mummy Double Feature

So I didn’t get to write things as I go this time because I was watching things with my nephew. In fact I didn’t get the close attentive viewing I would have liked for the purposes of talking about things because again watching things with a young child who was making faces, and talking.

I did, though, watch both films in time to compare which I and a small child preferred. We actually come out in agreement. He finished one film and left the other bored partway. I am admittedly tired of the old school of horror and want something with more shock and terror (I had intended to watch Ju-On today, but a small child wanted to watch things; on that note at some point I have 4 vampire movies and a Vincent Price one to talk about), but of the two one kept me more entertained as well.

So let’s look at the films. And some strengths and weaknesses:

Universal (1932) The Good:

Boris Karloff is excellent, whether it’s facial expressions while in full mummy wrap or walking around afterwards he is intimidating and has excellent presence. He puts me in mind immediately of one of my favorite actors due to his ability to just present an aura of menace and he is much better used here than as Frankenstein.

The Story Idea: Universal’s Mummy is an intelligent adversary, with magical powers, and fought from afar. It’s an interesting story that makes me want to read the source material.

Hammer Horror The Good:

Peter Cushing: While if I had to pick I’d pick Lee over Cushing, Peter Cushing is a good actor, and makes a good hero. His scenes are alive and interesting and while he does not seize the viewer as Lee can, he is an impressive actor himself and makes for a fine hero.

Christopher Lee: Is as always excellent. Whether it’s facial expressions while in full mummy wrap, walking around, or being a high priest he is intimidating and has excellent presence. Watching Karloff’s Mummy it’s a similar feel, and Lee was almost certainly drawing on Karloff’s for inspiration here.

The Action: Lee’s mummy makes a good menacing monster that threatens the protagonists in a very physical way. I liked it, and it came off well to me.

Universal (1932) The Bad:

The film is in black and white and unlike Dracula, Frankenstein, or the Vampyre does not put it to use; this is a minor thing but I was watching it with a small child and like me as a small child black and white is a deterrent. Still can’t hold it against a 1930s film, but I had come to expect use of shadow and the surreal quality of black and white in these old horror movies so I felt its absence.

The Action: There isn’t any and that might be part of why it bored my nephew.

The General Pacing: The film seems to drag despite only being around 75 minutes. I’d not have been bothered as much a week ago but I am getting burnt out. Still it feels slower than Frankenstein... though I like the story more.

The Heroes: While Boris Karloff is impressive, the rest of the cast much less so; pretty much any scene that lacks Karloff feels empty to some extent.

Hammer Horror The Bad:

The Story: It feels, to me, like it rests on a giant plot hole in that the villain could have killed them all earlier and prevented the desecration of the tomb. This bothers me, though not enough to make the movie unenjoyable (it’s less bothersome than in Ft13 part 2 and ultimately part of the ‘getting us there’ instead of ‘crux of it all’). Still it’s really is bothersome. At least, however, I can think of some reasons that can justify it. In addition it’s pretty basic monster stuff.

Overall:

In my honest opinion (and it’s just that an opinion) watching them back to back, sort of really tired of Hammer films... I enjoyed the Hammer film better. While the Universal studio one had the more interesting idea of a story, Hammer made better use of its story, and had the more charming cast (even though I think Karloff’s performance might have been better than Lee’s here but more on that later). Both had some major ‘wait I don’t... why?’ in them, and Hammer’s was more prominent to me, yet I still just think the Hammer film came together better and was more enjoyable.

Compared to Other Mummy Films:

I’ve only seen the 1999 Universal Studios one (and some of its sequels, plus some of the cartoon) which was not horror really and which... I think I enjoyed more than either, but I definitely wasn’t as burnt out then. I can’t really compare.

The Mummy: (Spoilers ahoy)

One can’t avoid talking about the eponymous mummy. Hammer’s reminds me of a golem story. The mummy is a puppet. Of course the Hammer film does this well, and uses it for fun with the (toned down) reincarnation plot. Universal’s is much more about the reincarnation plot; in fact Universal’s feels like something that would be a much better story to read than Hammer’s. We get a mummy who is a necromancer, he’s almost a lich on his own, this dark undead mage from 3700 years ago. A love story that stretches time, and... He cannot be beaten by physical means, but... is afraid to engage 2 old men in a fist fight. That bothered me. Burying him with the scroll bothers me. The mummy is a much more unique and interesting foe in the Universal film and allows Karloff to act and have presence that Lee in his bandages for most of the film cannot. Still the universe film in the end feels like it would make a better short story or novelization than a film, and just doesn’t hook me as entertainment. I watch the Hammer one and don’t feel ‘I should have read a short story about this’ I feel ‘This was fun’ and ‘If I hadn’t just watched an unholy amount of Hammer Films* I’d hunt down the sequel’ and that’s a decisive advantage. *More on this when I get to a Coven of Vampire movies, or ‘Oh god did I really watch 5 hammer vampire movies in a row I need a break’ also known as ‘Beware the vampires want to seduce your wife!’

[mallsbiz]

The Icons of Suspense Collection: Hammer Films (Stop Me Before I Kill! / Cash on Demand / The Snorkel / Maniac / Never Take Candy from a Stranger / These Are the Damned)

Hammer Films made their name with monsters and vampires, but this third complication from Columbia Pictures – all new to DVD – proves they could frighten you without them. Topping the set is the uncut version of the futuristic classic THESE ARE THE DAMNED, directed by the legendary Joseph Losey. Peter Cushing and Andre Morell match wits in CASH ON DEMAND. Oscar®-winning cinematographer Guy Green (1947, Great Expectations) directed THE SNORKEL, about a young girl who can’t convince anyone her stepfather’s a murderer. The renowned Val Guest co-wrote and directed the startling psychodrama STOP ME BEFORE I KILL! Kerwin Matthews finds himself in the middle of a strange mother/daughter threesome in the Jimmy Sangster-written MANIAC. Plus, this ultimate rarity: Cyril Frankel’s astounding NEVER TAKE CANDY FROM A STRANGER, a serious, and still horrifyingly timely, chiller about a small town terrorized by an elderly child molester. You won’t do better than this impeccable collection from the darkest corners of the Hammer imagination.

Though England’s Hammer Films is perhaps best known for its horror titles like Curse of Frankenstein, the studio released numerous pictures in other genres, among these features science fiction, comedies, historical epics, and more than a few thrillers, six of which make their Region 1 DVD debut in this intriguing set. Interestingly, the best-known, and, arguably, best film in the collection is Joseph Losey’s These Are the Damned (1963), which hews closer to science fiction in its story of American tourist MacDonald Carey’s encounter with a group of children at the center of a secret and chilling government experiment. Though suspenseful and well cast (a young Oliver Reed gets a fine showcase as a vicious Teddy boy unwittingly caught in the experiment), the film surpasses the limits of the genre in its character-driven depiction of lonely individuals at the mercy of unfeeling authority figures. Manhandled by distributors during its initial release, the version featured here is the original 96-minute edit.

The rest of the Hammer Icons of Suspense collection follows traditional lines of thriller plot structure, though there are a few interesting variations. Never Take Candy from a Stranger is a fairly chilling drama about child molestation–a taboo topic today, much less in 1960, when the movie was released–handled with an equal mix of stark suspense and courtroom fireworks, and all beautifully lensed by Oscar-winner Freddie Francis. Maniac (1963), directed by Hammer producer and exec Michael Carreras, is one of the studio’s more effective and unsettling nods to Psycho, with American artist Kerwin Mathews falling afoul of a psychologically troubled mother-daughter pair, while a blowtorch-wielding lunatic roams the French countryside. Hammer vet Jimmy Sangster’s script is typically top-notch, and the grislier aspects of the story get plenty of airtime. Sangster also co-penned 1958’s The Snorkel (with Italian genre jack-of-all-trades Antonio Margheriti, using his Anglicized pen name, Anthony Dawson), an agreeable B mystery with Peter van Eyck as a widower suspected by his stepdaughter of killing her mother with the title device. Oscar-winning cinematographer Guy Green directed the latter, while Val Guest, who helmed some of Hammer’s best early science-fiction efforts (The Quatermass Xperiment), cowrote and directed Stop Me Before I Kill! (1960), a juicy pulp exercise about racecar driver Ronald Lewis, whose head injury compels him to try to kill his wife (Diane Cilento). Matters are made worse with the introduction of a sinister psychiatrist (Claude Dauphin) whose interest in the case exceeds professional standards. And while Hammer icon Sir Christopher Lee is nowhere to be found in this set, his frequent onscreen foil, Peter Cushing, is front and center for Cash on Demand (1961), a terrifically taut programmer about a by-the-books bank manager (Cushing) who is blackmailed into robbing his own bank by a cunning thief (Andre Morell, who played Watson to Cushing’s Holmes in Hammer’s Hound of the Baskervilles). For those who associate Hammer Films only with horror, the six pictures included in the set will be an eye opener; for longtime fans of the studio’s output, or those looking for vintage thrills, the set is a must-have. However, extras are relegated to original trailers for each film, despite the fact that many of the key players are still alive. –Paul Gaita

from Products – www.Malls.biz https://malls.biz/product/the-icons-of-suspense-collection-hammer-films-stop-me-before-i-kill-cash-on-demand-the-snorkel-maniac-never-take-candy-from-a-stranger-these-are-the-damned/