True Detective - Night Country

Native Tongue

True Detective - 
Night Country
Season 4
HBO 2024
6 episodes

Warning: Some spoilers

After a strong opening with a supernatural atmosphere where a herd of deer are startled, True Detective - Night Country, shows itself as being more of a reboot than a continuation at first, although there are some marked references going back to the characters in the first season of the show (reviewed by me here). The opening also has strong similarities to John Carpenter’s remake of The Thing (reviewed here) as the whole thing is set in the fictional town of Ennis in Alaska, when a research team all go suddenly missing, after a big fright glimpsed at the start of the story. Also, to lend itself to the definite supernatural shenanigans going on, the whole thing is set from mid December through to early January, in the part of the year where the whole town is forever night. So, yeah, you won’t be seeing much daylight in this show other than the occasional flashback. 

And that’s another thing which marks this show out from the predecessors… it’s not being told in a fractured time narrative in any way, although there is a sense of looking back to a prior case. 

Enter Police Detective Liz Danvers played by Jodie Foster. When she finds the tongue of an old murder victim in the research station while everyone is missing, she realises it links up with a case with her old partner, now working for a different branch. That doesn’t stop that ex-partner, Evangeline Navarro, played by Kali Reis, from joining the investigation to try and help figure out how the two cases are related. Helping Danvers is her newish young sidekick Detective Peter Prior, played by Finn Bennett. Also among the cast are two actors who feel like they’ve been a bit wasted here. The great Christopher Eccleston plays an outranking superior officer who is not really on board with Danvers investigation but, it’s more like a series of cameos (he doesn’t even appear in the last, slightly extended episode).

And then there’s also Fiona Shaw as a native to the area, Rose Aguineau. Now I think this actress is great, especially after seeing her as the authority figure in Killing Eve (reviewed here, here,  here and here) but, again she’s more of a cameo, ‘five minutes and you’re done’, presence in each episode. That being said, her character, who knows the history and folklore of the area, is at least a more significant person and is even the one who, at the end of the first episode… and with the help of the spirit of her dead husband… finds the frozen bodies of the dead scientists, half mutilated and naked in the snow. 

Well, not all dead because, when the cops are trying to remove the bodies from the ice, one of the guy’s arms cracks off and that’s when we find out there was one survivor… when he starts screaming at this. And asides from the occasional goriness (head shot squibs are getting much better), there is much more an emphasis on the supernatural as accepted by the majority of the population there (except Danvers, naturally, who has to be confronted by it several times before she starts to accept things), giving this season a very different, horror movie vibe. But it’s also shot through with, often black, humour… for instance, after a retort is made to Peter about the way he does everything for Danvers, he finds himself asking, “Who’s Mrs. Robinson?”

So there’s a slow creeping dread going on throughout the entire show and, juxtaposed with the more realistic procedural story which the characters are wrapped up in, it makes for an interesting mix. And it’s well acted, especially by Kali Reis but also, of course, by Foster. In fact, Danvers is a deliberately unlikeable character and so it took me a while before I could start warming to her, as Foster brings out the person beneath the surface as the story continues 

That being said, all of the detectives on the case seem to be missing the one obvious question, filled with mystery, which I picked up on from a screen saver at the research centre early on in the first episode. If this place is supposed to have a highly advanced research team, why the heck are they watching films on a DVD player rather than a Blu Ray player? It makes no sense!

The ending is… ambiguous. A, mostly, human intervention reason for the deaths of all the scientists is given but there’s also room left for unexplained elements which could have… and probably did… contribute to the deaths. Even the final fate of Evangeline Navarro is left open to interpretation… is she in the final shot with Danvers or did she kill herself and then rejoined Danvers as her spirit (as seems to happen a lot in Ennis, it seems… the dead rarely seem to be resting). And, yeah, overall I liked this season, written and directed by a new show runner. I think Night Country and the first season rank the highest in my experience of True Detective, for sure. 

But, of course, like everyone else, I’m wondering when the next cast will be coming along for a sixth season. Well… rumours are I’m going to have to wait ’til 2027 to see the next story so, yeah, I’ll keep my eye on that, for sure.

Killing Eve Series Four

The Eve Of War

Killing Eve
Series Four
USA/UK BBC iPlayer
Air Date
28th February - 11 April 2022

So Series Four is the final series for our two constant heroines of Killing Eve, namely Sandra Oh as government spy gone slightly rogue Eve and Jodie Comer as psychotic assassin Villanelle. Now, I have to say I wasn’t expecting much from a fourth series since, as the years have gone by, the content has gotten a bit ‘the same old same old’, to say the least. Well this one had two surprises in store for me, which I’ll get to in a minute. Rejoining Eve and Villanelle are series regulars Fiona Shaw as big boss (now also gone rogue and treacherous) Carolyn and Kim Bodnia as Konstantin. We also have newcomer character Pam, a psychotic assassin in training and taken under Konstantin’s wing, so to speak, played brilliantly by Anjana Vasan.

Okay, the good news, which will be tempered by the bad stuff I’ll get to later, I’m sure, is that the new series, while following some of the same patterns and set ups of the previous years, really managed to elevate it’s game this time around. There were character reveals, close calls and various other surprising moments which heightened the show and freshened it  up. They didn’t always pan out as being significant to the storyline but, hey, they were very entertaining. For instance, we get to see a lot of flashbacks to when Carolyn was in her twenties and infiltrating the shady organisation known as The Twelve, even coming up with their name in those early days. Her personal mission now is to find which one of the mysterious shadow intelligence kingpins ordered the death of her son, as seen in a previous series. And these black and white flashbacks really give a sense of depth to both her and, to an extent, Konstantin’s characters.

However, one of the things this show does this time around is throw away a lot of the good work it’s doing by not following through and giving us a pay off. For example, in the first couple of episodes, an angel from God who looks exactly like Villanelle (with dark hair, beard and moustache) and also played by Jodie Comer, is trying to help her redeem for her past sins... until Villanelle realises it’s just taking the piss and ends up killing the angel (or God... or it could be the devil), more or less, herself. The show doesn’t present more than two options to the audience here... we know Villanelle is a psychopath but she never comes across as someone given to hallucinations so, either she really is speaking to a messenger for God or her mental health has deteriorated. However, at no point other than these scenes scattered randomly in the first couple of episodes, is it suggested her mental faculties are in any way changed from her normal state. Alas, this promising development of a spiritual aspect brought into play for one of the characters is ditched as quickly as it started and is not mentioned again. A shame, really.

And then there’s new girl Pam. A mortuary lady who is really good at killing people and who is recruited to work with Konstantin. She’s a great character and while she does have a satisfying personal arc of rejecting those who would employ her, ultimately... she’s kind of a pointless addition to the show and doesn’t seem to serve much purpose other than to kill a key person at a point and, also, find some kind of redemption in the act. I mean, yeah, Vasan plays the character well and she’s really interesting but... hmm... by this stage of the show you’d think everything should be coming together to reach a clear end game, rather than just be an addition or, dare I say it, padding to get the show to eight episodes. And I say that knowing that I’m now going to say that the ending of the last episode seems completely rushed.

Yeah, okay, the last episode seemed completely hurried and, frankly, like a truly cop out ending. Things don’t necessarily go as you might think (although certain things are sadly inevitable) and you may be forgiven for wondering why the series is called Killing Eve at all... but the way the end treats the two main characters seems something of a joke. And, also, even though it’s a clear ending and there will probably be no more shows, it actually manages to leave things open for one of the characters to return for a sequel should she want to... which is crazy but, yeah, the whole thing feels like there’s a lot of unfinished business by the final credits. You kind of want to see what happens next.

I also suspect there may have been some major interference in the censorship department too, it has to be said. For instance, in a scene where Villanelle goes to take out The Twelve in a slaughter filled scene on a boat, you don’t actually see anything of what she’s doing to The Twelve other than at the periphery of a slow motion shot, because it’s just concentrating on her face and upper body. You don’t see the faces or fates of any of her victims (apart form a few stabbings) and this has the effect... at a point when the audience needs a cathartic release of on screen violence to show the ‘The Twelve’ have all died horrible deaths... of giving a kind of tempered, watered down, unrevealing moment cross cut with Eve dancing at a wedding party on the deck above. I can’t help but think, since this seems like a huge error in terms of the presentation, that there was originally a proper sequence shot entirely differently (or from a wider angle, maybe) which would have made for a stronger prelude to the final scene of the show but... yeah, was maybe compromised by the show’s producers, perhaps.

And then there’s the sudden ending where one of the characters is picked off with a sniper’s rifle in a completely unnecessary and somewhat subdued moment, as her body sinks deeper into the Thames. By the way guys, the Thames isn’t all crystal clear water and you’d be swept away on the currents of that particular river in seconds. This is not a realistic moment at all and, that would be fine (I’m all for artistic expression) except... well, the death seemed unnecessary by this point and it leaves one of the characters dangling on a revenge arc which, I suspect, the audience now wants to see. And it was just such a clumsy way of winding it all up... it felt completely wrong and, yeah, oh well, that’s that I guess.

So, Killing Eve Series Four kept me entertained for seven out of the eight episodes and, as usual, was filled with strong acting, out of left field surprises and clever cuts but, nope, for me this resolution was like a back stab of betrayal... an unjust dessert to a pretty good series. It left me a little disappointed after I’d found myself in a position, a couple of times over the last six or seven weeks, of defending the choices the writers were making on the show to others. At the end of the day they really needed to get the ending right on this one and, frankly, they didn’t come close. So, half recommended for some excellent foreplay but, alas, no really satisfying climax on this occasion.

Killing Eve Series 3

Eve It To Griever

Killing Eve Series 3
UK/USA BBC
Eight Episodes 13th April to 1 June 2020

Warning: Spoilers on this one.

It’s funny... I’ve heard a lot of complaints about the third series of Killing Eve. People seem to think it’s lost it’s edge or is deathly dull and even my mother, who avidly watched the first couple of series with my father and I, stopped joining us after episode two of this third season. I can kinda understand the drop off in attention in some ways... this series possibly doesn’t match people’s expectations of what this one might have been in terms of the somewhat hollow but still quite strong statement of Villanelle being rejected by Eve and shooting her in the back as an end of season cliffhanger last year.

That the title character would survive was never in doubt but while the simple resolution to this where Eve (Sandra Oh) and Villanelle (Jodie Comer) meet on a London bus as Eve passionately kisses and then head butts her it’s, alas, not par for the course for this particular series in terms of dramatic resolutions. Truth be told, that’s about the only time Eve and Villanelle share screen time together until the last episode... which is kind of a shame because, while both the first two series kept the sexual/killer tension between the two strong by keeping them apart for most of the running time, it’s almost like the writers couldn’t think of anything else to do except keep them apart even more this year and... rather than bringing the ‘distance relationship’ to life, it just kind of drains the show of any real punches this time around.

Not that it hasn’t got a lot going for it... I just think people were expecting something different to what they got.

This one starts off with an episode which, on the aftermath of Eve surviving her wounds, Kenny (Sean Delaney), who worked for his mother and Eve’s boss Carolyn (Fiona Shaw) in the last show and who has quit the bureau to take a job at as a trainee journalist at a magazine, befriends Eve and is her only contact with her old espionage life... which she does not want back. However, when Kenny takes a fatal dive off a roof at the end of the first episode, all the players come back as Eve and Carolyn try to find the killer who they assume is a member of the mysterious but deadly ‘Twelve’, who Villanelle works for. That being said, Carolyn is still under my suspicions as being the ultimate leader of The Twelve so we’ll see how that goes in the next series, I suspect.

Meanwhile, Villanelle has a new and deadly set of bosses but wants to quit her assasin’s life and do something else, preferably with Eve but neither of them are that sure of each other, obviously. Hence the brutal head butt on their first, brief meeting. And, it’s all a bit familiar but with less at stake, it seems to me. Eve has to reconcile with the fact that her husband just doesn’t want her around anymore, after the way events played out for him last series and, though he gets a pitchfork through his throat for his trouble (he survives, it seems)... as a last ditch attempt by Villanelle’s employers as a frame up job to make it look like Villanelle has killed him, in order to drive a wedge between them... the whole thing seems a little less dramatic as, I suspect, most of the audience has probably written off Eve’s husband as a source of interest at this point anyway.

That being said... the whole cast are stunning. Especially Sandra Oh, Jodie Comer, Fiona Shaw and Kim Bodnia (as Villanelle’s former director Konstantin, who’s having his own troubles this series). There’s even a staggeringly interesting ‘Eveless’ episode where Villanelle finds her lost mother and then, as one might expect, kills her. To be honest though, the whole series does feel a bit like padding. The producers were already making series four, I think, at the same time as this one so the whole thing feels like much more of a fine tuning of the main players in the cast (and the setting up of a ‘big boss’ danger character for Villanelle to have to contend with in the next series) so that a dramatic resolution to the show may, if they don’t go for series five, be a possibility. It’s not dull, in other words but, at the same time, it’s not packing the punch of the previous two. Also, the end of the very last shot this year is something which is really easy to see coming. I new exactly where the credits would start rolling as the sequence started and, frankly, that’s not much of a cliff hanger either, in all honesty.

So there you go... a short review for a short series. Back in the 1970s the first three series combined would have made up the episode count for just one series so I don’t when or why having such short numbers of episodes became the norm here. Doctor Who and Sherlock are guilty of such minimalism too. Who the heck is controlling these budgets? However, Killing Eve is, as far as I’m concerned, one of the jewels in the BBC crown and although this third series may be a little sluggish in terms of character resolution or the thrills and spills of previous seasons, I think it’s still an absolutely necessary watch for fans of Killing Eve and, hopefully, the writing will pay dividends in the fourth season when, presumably, things that have been planted this year come to fruition. So, you know, maybe give it a go.

Killing Eve Series Two

Villian Hell

Killing Eve Series Two
BBC - Eight Episodes

Well this is an impressive follow up to last year’s pretty great TV show Killing Eve. In fact, I’ll even say that I enjoyed it much more than the first series. Although, it does have its problems....

For instance, the story is a little played out and once you have the basic premise explored in Series One, where the two main protagonists - secret service woman Eve (played by the great Sandra Oh) and crack international psychopath assassin Villanelle (played equally brilliantly by wide eyed Jodie Comer) - are clearly obsessed with each other and wanting to make some kind of, presumably intimate, connection - it gets a little flat. So the story takes on a lot of extra distractions to compensate, by way of new characters and ideas, to keep the suspense of that particular ‘relationship’ in play while trying to not draw attention to that padding in some places. However, the writers and performers (yeah... and everyone else) are all pretty successful holding the interest in both the characters and the shady, John Le Carre like shadow world in which they operate.

As the first series, the writers give a nice mix following both Eve’s domestic life grounding and then contrasting it with the almost surreal world inhabited by her nemesis/hero. There are also a few surprises which show up over the eight episodes comprising this second series including at least one character you might not have been expecting to see again in this one (yeah, don’t worry, this is a spoiler free review so I’m not intending to elaborate on that). There are also some, admittedly drama fulfilling, new characters brought into the mix but they are the best kinds of distractions when it comes to bringing in new things to fill the episodes with... that is to say, they are entertaining ones.

My favourite thing about this one is that it takes it’s time (at least two, possibly three episodes) to deal with all the fall out from the last 5 minutes of the final episode of series one before it gets all the main characters back to, at least some kind, of status quo. And the writers are still having fun with the dialogue in this, with some witty exchanges between various characters along the way.

And, getting back to those characters, some of them do have their interesting quirks which, as the first series, make this a pleasurable and pretty fast paced watch. The real problem with them, though, is that you can figure out just what purpose they are serving within the drama and so, yeah, a lot of what you are watching becomes fairly predictable for a lot of the time. It’s not totally the writers’ fault though because, clearly, when you’re weaving a story where treachery, deceit and the business of keeping your secrets close to your chest are the common currency in which this shadow world operates, you are bound to be expecting things to not be quite as they seem in the first place. So, yeah, alarm bells may begin to ring on this one from very early on but, frankly, this is still quite skillfully done with the audience at least still having to play guessing games about the intentions of some of the characters when everyone seemed to be fully revealed by the end of the last series.

So, for instance, Eve’s boss Carolyn, played by Fiona Shaw, is still one of those people where you are never really sure whose side she is on and whether the manipulations which are, to be fair, part and parcel of her job, are being played out for the right reasons or whether she may, indeed, be a member of the mysterious, ‘The Twelve’ which we keep hearing about (I expect we’ll get to that by the end of Series Three... they can’t keep circling these things forever). There’s also a nice cameo by Zoe Wannamaker as her boss in one episode.

Now, while I remind you that I loved this series and thought it was even better than the first one, I would have to say my biggest disappointment in Series Two was the last few minutes of the last episode. I don’t want to say here what happens but it’s both very predictable and also seems like it’s insulting the intelligence of the viewers, bearing in mind some of the things we’ve seen in the previous episodes. The ending feels kind of fake and only like it’s there to have a resting point. In fact, in some ways it felt like the end of Avengers - Infinity War (reviewed by me here) where you knew that things would not be left as they were and that’s very much the case here. Without giving too much away, we’ve seen miraculous recoveries and resurrections throughout the story so this one feels like it’s definitely not what it seems and there may even have been some collusion deliberately held back from the audience here to try and give some dramatic tension and to also allow a ‘stunning reveal’ next series. And I’m pretty sure there will be a ‘next series’ if you’ve already seen this one and know what I’m talking about here. I just hope they don’t deal with the fall out as clumsily and nonsensically as Marvel did with Avengers - Endgame (reviewed by me here) and that they treat certain characters more like they did at the start of this series.

Other than that though, Killing Eve Series Two is a pure delight to watch and, if some character deaths within Eve and her husbands non-work life and the introduction of a new female assassin, not to mention another psychopath character (which the new assassin definitely isn’t), seem somewhat obvious and lazy, well... at least they add to a lively and interesting series of entertainments and this thing certainly had me gripped right from the start, for sure. There are some nice dramatic set pieces and at least one wonderful, breakneck paced method of execution involving a lorry which is nicely staged and is as much about Eve’s reaction to what she just saw across the street from her as it is about anything else. People who loved the first show should eat this one up and I can only hope the third series will be with us sometime soon. This is one of the more high quality shows the BBC has been involved with.