#if we don’t get a pick up on this thread from dhawan

[rowanthestrange]

Obviously the Master is a control freak, but I like this idea that he understands, certainly by Yaz’s speech at the end, that the difference between him and the Doctor, is that he doesn’t know how to make people love him. Which would definitely be how he’d see it. What are you doing? What inputs are you putting in to get that result? I want it. Give me it.

It really makes me wish we could have another ‘Doctor’ worth of character development in that sense (in the form of that Master, or just following the thread with a new one), because where it leads is very obvious, and pretty horrible, but also…heart-wrenching. And in its own way, perhaps progress. The Master works best as a foil, a counter view, a dark mirror of the Doctor rather than Evil™, and I think you need those little signs of light, even alternative light, like with Missy, for the character to remain interesting. The Master consciously learning the differences between manipulating someone so they love you, and doing kind things because you must be weak enough to love them to receive it…

And of course he doesn’t know how any of this works. Going with the Timeless Child(ren) base with the Boy On The Cliff and inferences, this is probably not a child who really received love, and who probably had that replaced with utility. If he was useful, achieving, doing big and incredible things - good. But nothing unconditional. And even the Doctor doesn’t provide that - he’s ‘loved’ if he’s doing what other people want. But he doesn’t want that, he wants to be his own Master, and if that means he can’t be loved, then he knows what is more important to him.

But it’s a desire I think he’s aware of. I wonder if in part it has any link to Dhawan!Master’s considerably increased flirty behaviour. A still acceptable viewing for a younger audience version of the classic ‘Sex=Love’ problem perhaps? And it’s something he seems to be at least peripherally aware of with his desire to ‘court’ Yaz into enjoying being with him. From calling her Yaz rather than Yasmin from the start and his greater focus on her in Spyfall, to that ‘Come on, can’t we just give it a go? Can’t you just play along?’ bit in the TARDIS.

I don’t know. But I hope next time we get the Master back, it’s to pick up this thread where we let off.

#power of the doctor #doctor who spoilers #did anything discount #dhawan->missy theory #because you could definitely have fun with that option too #oh and why she’s almost sweet on osgood #cosplay #but missy and clara certainly is unique #and if you see this as going simm-dhawan-missy #it gives it a certain smoothness of characterisations #and ultimate goals #missy wants her friend back #as welk as the clara thing #so i think it’s my preferred interpretation #imagine missy survived via cyberium #would explain why she’d say she was a droid #and go immediately to cybermen #if we don’t get a pick up on this thread from dhawan #i think you could bodge it with missy #and hey makes you feel better re the mental health crisis #(also if you like this i think my margarita sequel will hit for you)

[elizadoolittlethings]

Mark Gatiss on The Madness of George III at Nottingham Playhouse, The League of Gentlemen, Doctor Who and Dracula

'I’m writing Dracula for the BBC with Steven Moffat which will go into production next year.'

This week will see the opening of The Madness of George III at Nottingham Playhouse with Mark Gatiss taking on the lead role. We catch him during rehearsals to talk theatre, Nottingham and the Netflix society…

You’re starring in The Madness of George III at Nottingham Playhouse – what drew you to this story?

Adam Penford, the artistic director of Nottingham Playhouse directed me in The Boys in the Band two years ago and I’ve known him since he was an assistant director at the National Theatre when we did Seasons Greetings together. He asked me if I would do The Madness of George III and I said yes.I’m a huge Alan Bennett fan – he’s one of my formative influences. I love the play and I was very flattered and thrilled to do it. I also love being King!

Why should people come and watch the show?

It’s a marvellous play – obviously it’s one of Alan Bennett’s best-known and best-loved works and I think it’s an ambitious project to do for Nottingham. And it’s very relevant actually – as all the best historical drama is – you can pick out threads which are pertinent to the way that we’re living now… and the idea of a slightly dysfunctional head of state (or leader) - draw your own conclusions!

What drew you to the character of King George III? What can people expect from the show?

He’s an intriguing man - I did George III and his ministers for history ‘A’ Level so I knew, at some stage, quite a bit about Fox and Pitt and the whole set up of the Regency. The big characters of that period, I find, as Alan Bennett does, very interesting and the king himself is a very sympathetic character I think – unlike George I and George II he feels properly British as opposed to German and I think he had a kind of sensitivity – they called him ‘Farmer George’ – he was interested in actually making a success of the monarchy and making his family into an ideal unit – you could cite it as the beginning of the modern monarchy. But then obviously his illness threw everything off track and his terrible relationship with his son came into sharp focus. I think he’s a very interesting and contradictory figure.

It’s a very moving and slightly harrowing drama about mental illness but it’s also a grand, sweeping, historical epic with lots of fascinating political characters - many of whom you can find modern comparisons for.

You said in an interview that before a play you feel ‘terror’ – what makes you so nervous/ terrified/ excited about performing?

Same thing as any actor – weirdly I went to see Alan Bennett’s new play Allelujah at the Bridge Theatre the other night and I got out of the car and saw my friend Sacha Dhawan tucked around the back of the theatre, pacing up and down, nervously going over his lines and I thought I wouldn’t interrupt as I knew exactly what he was going through.

Everybody goes through the same thing – you can’t really imagine why you put yourself through something so stressful and bowel-wracking yet again, but you do – and then you get through it and then it’s ok.

The play is set to be screened as part of the National Theatre Live – what makes this so exciting for audiences and cast alike?

The NT Live scheme I think is a fabulous thing and I’ve done one from Donmar – a nerve-wracking but exciting experience. To think you’re being beamed all over the world from the theatre at that point - it’s lovely to have a record of the show but also to know that it’s reaching far beyond the narrow confines of its original base.

I remember doing Coriolanus and getting a message from a friend in Canada who said they were sitting down in a small cinema on Vancouver Island to watch it – slightly thrilling idea that it was being beamed from Covent Garden all around the world.

NT Live is an amazing opportunity for Nottingham and the East Midlands as a whole – why is it important regional theatre gets a share of the spotlight and raises its profile?

I think the reasons are obvious – this is one of the first NT Live events from outside of London which throws a spotlight on the fact that there is great theatre happening outside the metropolis. It’s fantastic to make people aware and also celebrate regional theatre and its incredible contribution to the national whole.

Do you think performing in a city like Nottingham will be different to London and if so, how?

Yes, I guess so – I’ve toured a lot and there is an interesting difference from city to city. Different places have a certain feel to them and you can get the sense of how audiences are different especially compared to London. I think what’s wonderful is that Nottingham has such a loyal audience and I know Adam’s play about the miners’ strike [Wonderland] recently had an extraordinarily different audience profile to the one you might expect and we can only try and encourage more of that and get people to the theatre who wouldn’t normally think of going.

Why did you want to work with Adam Penford?

It was blackmail, mostly. No, I’ve loved working with Adam and I think he’s immediately done a fantastic job taking over as artistic director at the Playhouse – there’s a real buzz about it which I think is so exciting.

I was very flattered to be asked to play a classic part in a great play and with Adam directing, it’s a great package.

What led you to becoming a writer, actor, producer – who or what inspired you in your life?

Well it’s all I ever wanted to do and I’ve been fortunate enough to get away with it so far. I was genuinely inspired by all kinds of actors – particularly people like Leonard Rossiter and Alistair Sim - people who combined great comic timing with proper dramatic skill – who could make you cry and make you laugh. Those were my heroes.

Alan Bennett himself was a massive influence on me – a fantastic combination of melancholy and truth and proper “Northerness” which is what he’s managed to celebrate. I remember seeing a film of his called Our Winnie with Elizabeth Spriggs taking her daughter to a crematorium on a Sunday and every single thing about it rang so true. I remember thinking: “How does he know all this?” – it was like he’d taken a peek into my own life. That’s why he remains a hero.

If you weren’t an actor and writer, what do you think you’d be doing now in terms of your career?

The only other thing I actually wanted to be was a palaeontologist, but I didn’t have the Latin (as Peter Cook used to say).

What was the first ever production you starred in - were you ever cast as a tree in a school production?!

I was never a tree – the first thing I was in was definitely Old Macdonald had a Farm in 1971. Then I was a carpet bearer to the 'Tsar of all the Russias' in ‘Baba Yaga ‘– the house with hen’s legs. My first starring role was in an adaptation of a children’s radio series called Journey Through Badlidrempt and I played Brains! I can still remember the song I had to sing in it.

In an on demand, ‘Netflix society’ what continues to make the theatre relevant for young people?

Well I think everything goes in cycles. It’s very interesting what the Netflix revolution has done for storytelling. You could argue that longform stories and the boxset mentality has returned us to a similar era when people used to read very long serials or huge Victorian novels. I think it’s all part of the same desire and hunger for stories which people have always had and will continue to have. With theatre it’s genuinely different every night and actually watching people live in front of you is an entirely different experience.

READ MORE

The League Of Gentlemen at Motorpoint Arena Nottingham - first night review

What’s the most valuable piece of advice you were given that you pass on to young people working in this highly competitive industry?

My motto is “Work Hard, Be Kind” – that’s the clean version of it! I would say in terms of writing there’s no such thing as a would-be writer – just get on with it. Have a go. There’s nothing to stop you except the voice in your head telling you that you can’t do it. It may not be great, it may not be any good at all but unless you actually pick up that pencil or tap that keyboard for the first time you’ll never know. Don’t let that stop you from doing it. Generally, as Woody Allen once said: “90% of success is turning up”. There are a lot of people who don’t turn up and there’s always a thought that they might have been able to crack it had they had a go. Don’t hold yourself back – you’ll regret it.

Have you been to Nottingham before? What do you like about the city? What do you like about the theatre?

I toured there with The League of Gentlemen. I’d like to do the Robin Hood experience very much. I went to visit the theatre with Adam to have a look around all the departments. It’s a fantastic theatre – I love its history and the fact that John Neville, who’s one of my favourite actors, used to be the AD there.

I think it’s a fantastic regional beacon and I’m hoping it will once again really boost the East Midlands. It’s a brilliant stage with a brilliant history and you look at the walls of past productions and at John Neville’s past seasons and you can’t quite believe they did all these amazing plays in one season. It has a great history and a great future.

Do you have any other personal or professional links to the East Midlands?

Derbyshire – only because The League of Gentlemen was filmed there in Hadfield. I don’t really know much about the area but that’s the bit I know quite well.

What role/ character do people tend to ‘shout out’ to you the most?

It will be for Sherlock or The League of Gentlemen. Mostly people just say they like my work which is a very nice thing to hear.

What’s been your proudest career moment to date?

I’ve had a lot and I’ve been very lucky. One of my happiest experiences was making An Adventure in Space and Time – my drama about the creation of Doctor Who. That was a lot of things I love coming together at once and it was an almost entirely trouble-free shoot. A very beautiful experience. I’m always very excited about the future and the idea of playing this part is very exciting so hopefully George III will be one of them.

Do you ever get star struck?

Rarely – and I’m not being blasé about that. I always think of the story that the great Anthony Hopkins once told about his father meeting Laurence Olivier and talking to him about the football and Anthony Hopkins getting slightly sweaty that he wasn’t giving Lord Olivier the deference he deserved. His dad just looked at him and said “Well, he breathes air doesn’t he?”

However, the first time I was properly star struck was when I met Michael Palin who, again, was a huge influence on me. I got a bit tongue-tied around him.

Where in your home do you store all of your awards?

They’re on a small shelf that we’ve recently discovered damp under. That must be a metaphor for something.

After The Madness of George III, what’s next for you?

I’m writing Dracula for the BBC with Steven Moffat which will go into production next year.

The Madness of George III runs from Friday, November 2 until Saturday , November 24, including a special Gala performance on Thursday, November 22, with proceeds going towards Nottingham Playhouse’s 70th Anniversary Fund.

The Madness of George III will also be broadcast to cinemas across the globe as part of National Theatre Live on Tuesday, November 20.

For tickets visit nottinghamplayhouse.co.uk or call 0115 941 9419.

To receive one WhatsApp message a day with the main headlines, as well as breaking news alerts, text NEWS to 07790 586202. Then add the number to your phone contacts book as 'Nottingham Post'. Your phone number won't be shared with other members of the group.

#MG #mark gatiss #whats on #the madness of george iii #nottingham post #the man behind the genius #all things MG #interview

[haroldgross]

New Post has been published on Harold Gross: The 5a.m. Critic

New Post has been published on http://literaryends.com/hgblog/dotor-who-series-12/

Dotor Who (series 12)

[3.5 stars]

Honestly, I don’t know whether to be excited or infuriated by this latest series. There are so many possibilities and answers and openings, and yet it was executed a bit ham-handedly and, ultimately, rushed.

Jodie Whittaker (Broadchurch) continues to grow her sense of the Doctor…and does so with aplomb. Our intrepid companions are evolving, though they have been pushed more to the side as the Doctor has gained confidence and energy. The dynamic of the foursome isn’t always smooth from a story point of view, but they all work well together. I think when Chibnall really gets a feeling of the reins, he could equal Davies first few seasons. But first he really has to get some guidance on what building an arc really means.

This season is very reminiscent of Moffat’s disastrous series 8 as show-runner; fractured and confused. Though I think Chibnall’s overall quality is significantly better than Moffat’s awful season. But Chibnall has struggled with the overall arc and flow. He also allowed the series to get “in your face” preachy about too many issues. The ideas, and even presentations, were fine, but the expositions were painful. The same ideas could have been imparted without stating it all out in detail. In other words, he didn’t trust his audience enough. Even kids would have understood the implications without the pulpit speeches. At least, I do think Chibnall has the sensibility of Dr. Who correct (unlike Moffat much of the time). I just wish he’d be a bit more Torchwood and a bit less Saturday morning kid’s show.

Overall, it wasn’t an unengaging season, and it has some things to chew on, but I’m hoping next round will have more control and shape.

And now, the play by play as the series aired, if you want to understand how I came to these statements.

By the episode (with spoilers): 

Spyfall (parts 1 & 2) As a sendup of Skyfall, this Bond-like episode has a lot of fun and opens up some new avenues. However, I missed not having a stand-alone holiday special rather than just launching into the 12th series. In part I was also very, very frustrated with the revelation of the big bad. Not that Sacha Dhawan (Iron Fist) isn’t entertaining (if not exactly a Master I can get behind quite yet), but I really felt like that thread had been tied up ever so nicely during the Capaldi years. I suppose, however, that Chibnall just couldn’t resist trying to tackle one of the primary enemies and put his own stamp on it. What these episodes brought us, however, was the shape of the upcoming season with the reveals at the end. Was it worth it? I guess we’ll see.

Orphan 55 This episode starts off interestingly, but devolves into the worst kind of preachy science fiction that just doesn’t work well. Surprising as Ed Hime wrote one of the more challenging episodes from the previous season, It Takes You Away. It’s a shame as there were missed opportunities and, certainly, some fun riffs on Damnation Alley that could have taken the story in different directions. For instance, what if the Dregs were the results of virus infected terraforming tech that Kane was using. But, as it is, it’s one of the weakest episodes they’ve had a in long while. At least it was well directed and acted. And it was fun to see Laura Lane (The Loch) and Lewin Lloyd (Judy) in some different roles. Perhaps this is the one really weak episode this season (there’s always one)…and we’re getting it out of the early rather than late.

Nicola Tesla’s Night of Horrors Well, I’ll give them this, Edison was portrayed at least a bit like the ass he was. The episode as a whole was OK. It’s another high octane, hand-wavy adventure in history, though this time on American soil with Goran Visnjic (Beginners) and Robert Glenister guesting as Tesla and Edison respectively. Fun, sure, and nice to see Tesla sort of get his due. it was also somewhat clever (and perhaps disingenuous) that Who elevates his ideas, even if the tragic aspects of his life remain.

I do have to wonder, after setting up the larger arc in the first episodes, why have we not even touched on it again yet? There aren’t that many eps to play with so waiting seems like a bad idea to me.

Renegade of the Judoon Now this is what I’m talking about! This was the best and most complex episode of the season so far. It picks up the opening mystery and explodes it with two major reveals of multiple time lines and the delightful return of John Barrowman’s Capt. Jack Harkness. As a mid-season pivot, it’s wonderful. Why they dropped the thread for a couple eps escapes me as there is clearly a lot of material to work with. The mysteries should have at least been tagged into the intervening episodes to keep it more alive. But we’re here now…hoping the momentum continues and it’s a sprint to the finale.

Praxeus Really? They couldn’t just keep focusing on the main thread? We had to have yet another “we’re destroying the planet” PSA? And, by the way, they’re getting a bit much and far too preachy in the writing. I know this is aimed at kids, but they’re smarter than the script allows for as well.

The episode is definitely an energetic and entertaining one. It even brings in Warren Brown (Good Cop), who gets to recap a lot of his characters in this one, but with some nice twists with the help of Matthew McNulty (The Paradise). But we just left off a huge revelation and there isn’t even a hint of that in this story.  There are only four episodes left and a hell of a lot to wrap up. Chibnall needs to get a better grip of his seasonal arcs and learn how to weave a whole cloth.

Can You Hear Me? This fast-paced and energized adventure is great fun and sets up…something. Not sure what yet, but I don’t think this will be the last we know and see of these newest “monsters.” But the story is almost entirely off thread from the main series arc. At least it certainly appears to be stand-alone. What is clear from this episode is that we’re headed to some sort of change-over in, at least, the companions.

The Haunting of Villa Diodati OK, here we are again with another view of the night Frankenstein was created (the most recent being Mary Shelley). Admittedly, this is a fun and unique use of that infamous (though more likely apocryphal) night. And it gets us back on the main arc…though with more questions than answers by the end.

With only two episodes left in the series, and the stakes and issues all finally at the forefront (although a continued aversion to discussing Jack or the other Doctor), I certainly hope they are both about wrapping all this up. This particularly story is fine, but because of the many recreations of this night, the trappings frankly felt a bit tired to me despite the creative concepts.

Ascension of the Cybermen Talk about a long lead. Finally we are closing the loop begun in the first episode. This is an action packed story that raises the horror of the Cybermen another notch. While not an official two-parter, the resolution won’t come till next week’s finale. Frankly, not much really happens in this episode other than some adrenaline-based setup and the pulling in of at least some of the open threads. Mind you, there are still far too many left untouched, but I suspect that will change. I just hope the final episode of the series is super-sized so they don’t have to rush the resolution or, worse, leave it unresolved until the holiday special or next season. In other words, this was a fun and exciting episode, but not a complete or satisfying one on its own.

The Timeless Children As I feared, this episode ended up rushed and, ultimately, open-ended. That said, at least we finally have an answer to Matt Smith’s regeneration from a few seasons back (that infamous number 13) which was never explained. You can buy into that or not, but at least Chibnall has attempted to provide an answer without shattering the canon. However, the depiction of The Master here, both by Sacha Dhawan and as written, is just over the top and weakly supported…and it flies in the face of the most recent incarnations. Sure The Master was always a bit off his nut, and a lot of that was due to his personal competition with The Doctor, but it needed more foundation and explanation throughout the series to get him onto a new path. And the one thing this episode never explained is how The Master survived the end of last season.

And, finally, the tag was more than a little angering. While it pulled back in aspects of the opening episode nicely, it leaves us utterly hanging at least until much later this year (with a possible special). I would have much preferred a conclusion and then a bridging special with tag into the 13th. It felt like a desperate attempt to get folks back after a mixed-result series.

#3stars #Action #Doctor Who #Foreign #grrrls #LGBT #Science Fiction #sequel #Movie Review