Footage of Jackson is confined almost wholly to that of him with the boys themselves on stage, private calls between them and family snaps. He is never allowed to overwhelm the story. What we said: As ever, nothing is wasted; not a scene, not a line, not a beat. It fits together flawlessly — you can imagine Mercurio sitting like a watchmaker at his table with the parts spread before him and fitting the loupe to his eye before assembling the whole thing and listening for its perfectly regulated tick.
Over three lovely series, Lesley Manville and Peter Mullan as Cathy and Michael gave us the gift of a quietly epic romance that will echo down the ages — and kept the tears in our eyes. What we said: Mum might have looked like it was just a sitcom, but it had something beautiful to say about love and loss.
What we said: The drama and the gags are never sacrificed to worthy exposition, virtue-signalling or finger-wagging, but, at the same time, the series has so evidently been made in good faith that you can surrender to it entirely, never fearing that it will put a foot wrong. What we said: Russian Doll is an acquired taste.
Read PDF The Most Interesting People in Religion: Anecdotes
But do persist: there is such a fine, idiosyncratic, impressive show nested within. Gillian Anderson starred as Jean, a sex therapist whose son Otis Asa Butterfield — though too anxious to masturbate himself — sets up a sex advice service at school. Worth watching for his heroic prom outfit alone.
A very important work indeed. What we said: For an hour and a half, I was crying, especially when Cary followed three generations of Holocaust survivors to Auschwitz, knowing all the time that tears are not enough. Nor guilt. How would you react if you could barely get cast as Man Who Smells Fart in an advert while your kid brother became a Bieber-esque teen hearthrob overnight? What we said: It has heart, charm, steel, belly laughs and a gimlet eye.
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- Nyx: The Protectors!
- The Protectorate.
Get on it. John Hannah and Kelly Macdonald starred in an intelligent drama about a vigilante attack on a potential child killer that managed to ask ever more challenging questions as its episodes rolled on. What we said: It is a drama that resonates with its time by asking what constitutes a victim and how much leeway we allow in bestowing that status.
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Do they have to be perfect? How sure do we have to be? And what happens when the perpetrator becomes a victim too, of a different kind? Shane Meadows reunited with This is England star Stephen Graham for an unflinching drama about a troubled dad attempting to reunite with his long-lost sister and process childhood sexual abuse. What we said: Unspoken pain infuses every scene, every gesture and expression from Stephen Graham and in doing so lays the foundations to do justice to the suffering of victims everywhere.
The hindsight it offers is not primarily about the mishandling of the investigation, but of the grim tone of the times. What we said: We get the heroes we deserve, and as you finish writhing in agony and lie limp from laughter, hatred, panic, despair or in awe at the end of another half-hour in his appalling company, you can only reflect that if Brexit means Alan then the whole business just got more complicated still.
She is magnificent, brittle and furiously amoral. In this seventh and final season of Veep, it appears to be getting out while it still has a hope in hell of making its fictional world look more comedic than the real one. It is unbearably harrowing to watch the boys, as young as 13, get violently coerced by police into giving confessions. What we said: The performances are uniformly astonishing — especially from the central five, Asante Blackk, Caleel Harris, Ethan Herisse, Marquis Rodriguez and Jharrel Jerome, most of whom are just a few years older than the teens they are playing.
They capture the innocence, in all senses, of children, and the permanence of its loss. It feels like a great privilege to see them.
The result? Intimate, empowering television, unlike anything that has ever aired before. What we said: A gently but relentlessly radical documentary.
... And here’s one of my own:
Facebook Twitter Pinterest. Reuse this content. Order by newest oldest recommendations. S ince it was launched in The Moth has staged events where more than 3, stories have been told to live audiences.
This hip American storytelling behemoth — named after moths attracted to porch lights when people gather to share tales — also runs Moth Radio Hour, broadcast across stations in the US. It is brilliant, and quietly addictive. You can listen online to the programmes once you register for a free account, and each episode is richly eclectic.
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The only rules, as founder George Dawes Green explains, are that stories must be told "without notes or second takes". The result is an hour of radio that's quirky, passionate, often very funny indeed, and crammed with personality. I've just listened to episode , which begins with performer Bokara Legendre recalling life with her socialite and big game hunter mother Gertrude.
The funniest bits were about Bokara trying to offload the animal heads her mother bequeathed her. She tried a natural history museum "I'm sorry, we only take the whole animal" and then thought more laterally.
He didn't want them either. The next story was from Tony Hendra, and focused on the day he tried to do away with himself with vodka and valium, but nodded off after the first few tablets. The next morning, when he was due on the set of This Is Spinal Tap, he woke up feeling atrocious: "I was still suicidal, but now I had a massive hangover.