Gunpowder – TV Review

“No more swords, no more horses – and maybe I can cut my hair.” So Kit Harrington reportedly demanded of roles inbetween turns as Game of Thrones’ resident auntie-romancer Jon Snow. Cue much sword wielding, horse riding and an impressive mane as Harrington seeks to transfer his brooding charms to BBC1 for Gunpowder, a bleak historical drama about the plot to blow up the House of Lord in 1605.

But while the King of the North might be on familiar territory, the same can’t be said for the rest of us. Despite commemorating the event each year by setting fire to old kitchens and paying through the nose for whimsical pyrotechnic displays, it’s likely many of us know next to nothing about the real events of the gunpowder plot.

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For starters, Harrington isn’t even playing Guy Fawkes, who was really just the fall guy for the plotters after being caught guarding barrels of explosives beneath Westminster all those years ago. Instead, he stars as his real-life ancestor Robert Catesby, the true mastermind behind the plot whose role has largely avoided the eyes of history up to this point.

That the true story has gone untold for so long is surprising, for it’s a tale ripe dripping with dramatic potential. Scripted by Top Boy’s Ronan Bennett, the show draws us into an expensively mounted, relentlessly grim world of religious persecution, where stately homes are routinely ransacked by the King’s guard and Catholic priests are forced to cower in secret holes for preaching the word of God.

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Gunpowder doesn’t shy away from revealing the gruesome reality of this period. One particularly unpleasant sequence sees Catesby’s elderly aunt stripped naked and slowly crushed to death in front of a baying mob, followed moments later by a boyish priest being disembowelled and dismembered.

So why, given its obvious pedigree and rich source material, does the drama underwhelm? Part of the reason is the aforementioned bleakness. The first episode is unrelentingly grim, full of stoney faced characters either being brutally tortured or brooding over the state of the country. Perhaps such horrific scenes are important in establishing what sets Catesby and his conspirators on their path towards an act of terrible revenge, but it hardly makes for enjoyable Saturday night entertainment.

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The story also suffers by trying to hard to cover all angles. The flaw in dramatising a little-known period of history is that the audience need events to be put into context for them. That leaves episode one with a lot a heavy lifting to do, meaning there’s little time to get under the skin of its characters. And that’s a shame because the performances are uniformly excellent – look out for a grandly malevolent turn by Mark Gatiss as arch schemer Lord Robert Cecil.

The fireworks may be still to come, of course – the plot has barely begun to be plotted by the episode’s end, leaving plenty of scope for the action to pick up in the remaining two instalments. But if Gunpowder continues on its current trajectory, its plot is in danger of being scuppered before it’s even had a chance to light the fuse.

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Doctor Who: Empress of Mars – TV Review

With the Earth now safe from a zombified dictator-led alternate reality following last week’s conclusion to the Monks trilogy, series 10 of Doctor Who gets back to basics with a largely standalone adventure, Empress of Mars. Featuring rickety sets, a bizarre story involving Victorian soldiers camped on an alien planet, and the return of a classic foe, there’s a charmingly old-school feeling to Mark Gatiss’ latest (and possibly final) Who tale. Fleeting waves of nostalgia aside, though, Empress of Mars is a fairly uneventful episode that tells us very little that we didn’t already know.

A lively opening sequence sees the Doctor and Bill sneak into a NASA control room at the very moment a team of flummoxed scientists are expecting to receive the first communication from a new space probe orbiting Mars. When the images finally download – evidently BT is yet to roll out 4G to neighbouring planets – they discover the message God Save the Queen spelt out in rocks on the planet’s surface. Naturally, the Doctor, Bill and Nardole (who’s presumably given up on trying to keep Twelve within the vicinity of Missy’s vault) hightail it straight the Mars in 1881, the year the rocky SOS first appeared. Upon their arrival, they find things are not quite as they expected: oxygen is freely available, there’s a roaring camp fire and a squad of Victorian soldiers are using a giant space cannon to blast the Red Planet’s innards in search of precious minerals.

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Earlier this week Gatiss described the episode as the kind of thing he’d like to watch on a bank holiday Monday, and there’s certainly something about the Victorians on Mars set-up that feels quintessentially Whovian, almost like it could’ve fallen straight out of the Hartnell or Troughton eras. The retro feel is most definitely felt in the special effects work, which often feels like it was made in the 1960s. Some fancy CGI shots of the Red Planet aside, much of the episode supposedly takes place in a cramped cave below Mars’ north pole, but there’s no escaping the knowing feeling that it’s really just a sound stage in Cardiff. That’s not intended as a criticism of director Wayne Yip, who does an able job with the budget available. A sequence where the Ice Warriors rise up out of the dirt is particularly effective.

Where the dodgy effects work does cause problems, though, is in the design of the Ice Warriors. Cold War wisely took the Jaws approach to making a monster scary in spite of a lacklustre budget, keeping a lone Warrior off screen for as long as possible as he slaughtered the crew of a nuclear submarine from the shadows. Empress of Mars makes the mistake of bringing back the enemy in its full, lumbering glory, and the results are hardly intimidating. Rather than an advanced race of highly skilled invaders, the Warriors look more like someone has slapped a waste paper basket on an extra’s head and told him to walk like he’s got a pole shoved where the sun doesn’t shine. And their new method of offing their enemies, which involves turning their target into a bundle of dirty laundry, looks a lot sillier on screen than Gatiss and Yip probably envisioned.

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Even the introduction of the queen of the species, Adele Lynch’s titular Empress Iraxxa, does little to offset the naffness of the story. Lynch brings an entertaining mix of grace and venom to the role, but the opportunity to bring a female perspective to the species is sadly squandered – she’s really just another war-hungry commander who’s more concerned with swinging her military might around than working towards a peaceful resolution.

The crux of the plot sees the Doctor trying to broker peace between the Victorian army, who are seeking to claim Mars in the name of Queen Victoria, and the Ice Warriors, who had been hibernating on the planet for millennia until the meddling Red Coats rudely woke them from their slumber. There’s potential here to explore the Doctor’s split loyalties between the human invaders and the indigenous species. Yet, much like last week’s episode, which rushed a chance to examine Twelve’s darker side, Gatiss only gives this tension surface-level attention in what feels like a largely weightless adventure.

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It does, however, give Gatiss a chance to take pot shots at Britain’s empirical past. This largely achieved through Ferdinand Kingsley’s delightfully unctuous Catchlove, a smug Victorian solider who appears completely oblivious to the fact that he’s in the wrong and who bellows things like “Don’t belong here? We’re British!” with enough righteous indignation to make Nigel Farage leap to his feet to salute.

After the grand scale and high-stakes drama of the last three episode, Empress of Mars feels like a huge dip in quality, disappointing with its unimpressive special effects, harmless villains and an undercooked script that lets down its main players. This is yet another Gatiss-penned episode that fails to deliver the goods.