Star Wars was the first film I ever saw at the cinema. I’m too young to remember EXACTLY when I saw it (it was released in 1977 when I was just one year old, so no chance of catching it when it first came out) – but it must have been during one of the semi-frequent cinema re-releases. I do remember going to see Empire Strikes Back in the cinema with mum (and I was scared stiff of Yoda at first!), and Return of the Jedi with both my mum and dad. I loved every minute of it. Star Wars was a wonderful universe, full of imagination and strange creatures. And we could enjoy it as a family.
So Star Wars, for me, is rather special. The forthcoming release of Star Wars: Rise of Skywalker will be quite special in that it ends the 9 films run featuring the Skywalkers. We’ve witnessed the rise of Anakin Skywalker and his transformation into Darth Vader. We’ve seen his son and daughter find each other after being separated at birth and fight the Empire. We’ve seen Leia’s son kill his dad, while Luke abandoned teaching after the terrible tragedy which saw his nephew turn to the dark side.
And it all ends here:
Mind you, while it will be sad to say goodbye to the Skywalker family, we’ll always have Disney+ to look forward to. No idea as to the availability in the UK, but it will carry the first-ever Star Wars TV series: The Mandolorian. Plus there will also be other TV series set in the Star Wars universe to follow. Disney recognises the importance of Star Wars as a brand, so they’re not going to just let it sit there and gather dust – unlike what they’ve done with The Muppets (which is a big shame).
I had originally written and long and waffly review last week, but I felt it was too nitpicky, but more specifically, too waffly. So I thought I’d try giving it another go.
I’ll start off by saying that alongside Peter Harness’ and Toby Hayne’s adaptation of Jonathan Strange & Mr. Norrell, Good Omens is one of the most faithful book adaptations I’ve ever come across.
It’s been some time since I last read the book, and indeed, I gave my only copy away a few months ago at Woking Railway Station so that others can enjoy the madcap antics of the angel Aziraphale and the demon Crowley. But as the series progressed, it all came flooding back.
The Good Omens TV mini-series shares a number of people across different Neil and Terry projects. For starters, the director Douglas Mackinnon and executive producer Caroline Skinner have both worked with Neil Gaiman on Doctor Who. Not forgetting David Tennant, of course. Gavin Finney (director of photography) and Rod Brown (executive producer) have worked together across Terry’s previous television adaptations: Hogfather, The Colour of Magic and Going Postal.
Cast-wise, perhaps only a budget afforded by a joint production with BBC Studios could pay for the likes of an all-star cast including Frances McDormand, Nick Offerman, Jon Hamm, Michael McKean, Michael Sheen, David Tennant, Miranda Richardson, Brian Cox, David Morrissey, and Benedict Cumberbatch. Though given how well read Good Omens is with the cast, I’m sure they’d have given up a hefty chunk of their usual salary to appear in the show. Though given Jeff Bezos is the world’s richest man, planning on some major space initiatives, he could afford to pay everybody on this production handsomely – several times over.
But it is the cast which makes this show so much fun to watch. Clearly Michael Sheen and David Tennant are having so much fun playing Aziraphale and Crowley respectively. These two hereditary enemies form a close bond over the many centuries since humanity was kicked out of the Garden of Eden, and are very happy with the status quo of things in the world (occasionally getting involved to help things along a bit). So when the Apocalypse comes a-calling, they’ve got to do something about it. They are the ultimate odd couple.
During their adventures, we come across weird and wonderful characters such as Agnes Nutter, a witch, who has written the world’s only truly accurate book of prophecies, which is inherited by her ancestor Anathema Device who sets out to stop the antichrist. But it turns out everybody has misplaced him. He was supposed to be given to the American Ambassador, but it turns out that the antichrist was given to an ordinary couple who raised him lovingly in a small village near an American airbase. His name is Adam, and on his 10th birthday when he wishes for a dog of his own, hell sends him a hell hound. But as he doesn’t know he is the antichrist, he just wants a small puppy. And the hell hound must obey him. So we see this big, snarling, more-teeth-than-should-be-healthy-for-a-dog, suddenly transform into the world’s cutest puppy.
We meet Newton Pulsifer, a man who loves computers, but every time he goes near one, it breaks. He ends up working for Witchfinder Sergeant Shadwell, who is absolutely convinced witches still exist and is recruiting people for his army. And it doesn’t require the use of computers.
We also meet the four horsemen of the Apocalypse who have modernised somewhat and now ride motorcycles. Except Pestilence has now retired and has been replaced by Pollution.
All these characters weave in and out of each other in order to find the antichrist and put a stop to the Apocalypse. Aziraphale and Crowley both have to contend with their relevant superiors. There’s a lovely scene in which Hastor, one of the Dukes of Hell, literally gets caught up in a telephone answering machine and is only freed when a cold calling “we understand you have been involved in an accident” agent calls Crowley’s phone. I feel a lot of people will be satisfied how that one plays out.
It’s such a fun show that the 6 hours simply fly by. It does very much feel like a 6-hour film – especially as it’s shot in 2.35:1 aspect ratio which is a much wider format than most TV shows (though an increasing number of TV shows are adopting that format – the most noticeable has been the excellent Fleabag).
I must admit I was moved to tears during the last episode. The last 30 minutes were mainly spent snot-filled sobbing. A vital part of good storytelling is making you care enough about the characters. And it wouldn’t be too long before it’s all over. But I was crying mainly because this felt like a very final, long goodbye to the wonderful Sir Terry Pratchett who couldn’t be around to see just how bloody good this all was.
The ending also caught me out. We end on the song, “A Nightingale Sang in Berkeley Square”, performed by Tori Amos, and that’s when the tears started flowing again.
But I can’t be too sad about the ending. Neil Gaiman has a deal with Amazon Studios for more things, and Narrativia, Terry Pratchett/Rhianna Pratchett/Rod Brown/Rob Wilkins production company, has a few projects up their sleeves too.
Good Omens comes highly recommended. Very, very funny, emotionally satisfying, and tremendous fun. TV shows rarely tick all the boxes, but this one absolutely does. I’d highly recommend the 4K version – which requires that you use Amazon Prime Video’s search function. Just do a search for “good omens” and you’ll find it in the search results. If you have a 4K TV, do yourself a favour and watch it in 4K.
(P.S. I would also highly recommend Dirk Magg’s audio adaptation of Good Omens too – available via Audible)
I thought I’d check out SWR’s streaming video service on Friday on my way home from work. You have to be connected to the onboard Wi-Fi and have the SWR app installed on your phone. If you’re using CloudFlare’s 22.214.171.124 app, you’ll need to disable (or at least pause it) during your streaming experience.
There’s a reasonable choice of films including Darkest Hour, but I ask myself how long are you going to be on the train in order to watch a whole film? And can you pause/pick up the film later? Unfortunately, I didn’t get to try.
After not being about to get through to SWR’s smartcard services by phone and being asked to email them instead, I still have not received any kind of response to my query about replacing my smartcard after nearly a month. Pathetic.
My concern with this is that it’s taking away one very useful feature – the ability to stream Netflix shows on TVs that have built-in AirPlay (and subsequently AirPlay 2) support. If you’re doing a lot of travelling – whether for business or pleasure – this can be extremely useful.
You could argue that a lot of TVs have a built-in Netflix app already? Yes, this is true. But many hotel TVs don’t. Will Netflix look to make up for potential connectivity problems by attempting to sell dongles or TVs with Netflix built to hoteliers?
I don’t want to have to provide credentials for my Netflix account to completely strange TV setups. AirPlay ensures that my credentials stay secure on my phone (though I’d use a VPN if I was on a hotel Wi-Fi – which could cause problems with Netflix’s policy of using VPNs – another problem Netflix has got to sort out because using a VPN has legitimate uses).
What next, Netflix? The ability to output content from Netflix via Lightning/USB-C to HDMI (which would enable you to hook up Netflix from an iPhone or iPad to a TV or monitor)?
Netflix is becoming awkward on the iOS platform because its app doesn’t support the interactive features that are present in the Black Mirror special, Bandersnatch. And this means other planned titles are unlikely to work either.
The Netflix app on Sky Q is becoming a big problem too. I frequently find that the app on the Sky Q box keeps crapping out, forcing me to switch over to the Apple TV 4K. The Netflix app on the Sky Q can handle interactive features but given that I consider the Sky Q app to be unstable, it’s not
Is the once durable and available everywhere Netflix app becoming a liability and non-consumer friendly? It certainly looks like it. And if Netflix continues on this path, and increases the subscription price, it will be a streaming/cable service like any other and I’m going to stop subscribing.