Alex Garland is one of, if not the, definitive cinematic sci-fi auteurs of the modern era. He wrote the screenplays for 28 Days Later, Never Let Me Go and Dredd (a surprisingly good Judge Dredd movie that was unfairly overlooked in 2012) and wrote and directed Ex Machina and Annihilation, both of which are awesome and widely acknowledged as such.
Now, he’s turned auteur TV creator, following in the footsteps of Paulo Sorrentino (The Young Pope and The New Pope) by writing and directing every single episode (which will be eight in total, at least for Season One) of his TV show Devs. It’s a big commitment, but results in one-of-a-kind TV.
If you’re into sci-fi, and into Garland (and the latter kind of follows the former naturally), you’ll be into Devs. Garland borrows his visual aesthetic from Annihilation – overly vibrant, almost ‘technicolor-throwback’ colours, a forest setting housing a near-future set of gizmos – and applies it to the story of a Big Tech company, based just outside of San Francisco, which is developing something Very Big Indeed. To motor the plot, there’s a murder mystery, or at least a version of one: we see the murder committed in the first episode, but the meaning of the murder is the mystery.
Everything’s pretty great – including Nick Offerman as our Jack Dorsey / Elon Musk stand-in – with the exception of the lead performance of Sonoya Mizano, a model and dancer (she was the double of Natalie Portman in Annihilation), whose inexperience shows. It doesn’t derail the ship, however, and, frankly, by the end of ep two, I’d adjusted for it and moved on. This is a big, bold, seemingly uncompromised vision. Go in.
It is with no pleasure at all to report that Armando Iannucci’s new show for HBO, Avenue 5, is not good (at least, according to the pilot). Iannucci, my favourite living screenwriter and showrunner/creator/producer/director (I’m Alan Partridge (and various other Alan Partridge shows), The Thick Of It, In The Loop, The Death of Stalin, Veep, and the upcoming The Personal History of David Copperfield). Iannucci has brought some of his long-standing writing and producing crew, including Tony Roche, Will Smith, Ian Martin, Georgia Pritchett, Sean Grey and Simon Blackwell along with him to this new venture; together, these are The Beatles of TV comedy, as astonishingly consistently brilliant group. Let’s call them The Iannuccis. But all artists are fallible, and something happened here.
Political satire has been The Iannuccis’ stock in trade, and they’re at their most dextrous when manoeuvring a group of three to seven nincompoops around a farcically inane situation. Here, they’ve substituted recognisable corridors of power – British Parliament, the White House – for those of a luxury starship cruise liner, led by Iannuccis all-star Hugh Laurie as a witless captain (there’s a twist to that which I won’t spoil). When a galactic incident occurs, the starship is propelled into a new trajectory, stranding the passengers and crew together for three years.
It’s hard to define exactly what went wrong, but something really did, because the show fails, landing its gags with a dead thud. The huge cast – rather than tight groups, we’re deliberately dealing with a lot of passengers – weighs the comedy’s mechanics down; the contrived setting jettisons The Iannuccis ability to deploy satire; mainly, though, the characters who form the key ensemble within the starship just aren’t well conceived. This means we’re stuck with them, drastically reducing the chances of the show ‘finding itself’, at least this season.
Too much money, too much carte blanche, too long working together, too complacent in their brilliance, too much on their plate(s)? Impossible to say. What is clear is that the cast – some individually talented – are clearly trying to play in The Iannuccis style; they’ve watched Veep and they’re doing Veep, and with this many of them, it’s all too much, too loud, too unfocused, and unfunny.
Watchmen remains the equivalent of a sacred text among graphic novels. The 1986 tome by Alan Moore and Dave Gibbons was listed among Time Magazine’s 100 Best Novels in English since 1923. It was adapted into an incredibly faithful film by Zack Snyder in 2009. At the time I wrote of that film that it was an “excellent, exciting adaptation which will please fans no end, but probably bewilder those who have not read the source material. Violent, strange, enigmatic and loads of fun.” Some of those sentiments carry over here.
Damon Lindelof’s new HBO series continues the story world of Watchmen by bringing its given circumstances into the present, but not our present. Like the source text, it presents an “alternative history” narrative. In the 2019 of the show, Robert Redford is President (and that is literal: the actor Robert Redford is not playing “the President” in the TV show Watchmen; rather, in the TV show Watchmen, the actor Robert Redford is the President). Police officers’ handguns, at least in the state of Oklahoma, where the first episode is set, are locked into gun-safes within their squad cars and may only be remotely released by an authorised higher-up back at base. Cops wear masks to protect their identities. And, most intriguingly, race now longer seems to be generally consistent within families: black parents have white children, and vice-versa.
There are a few big barriers to entry. The show’s world-building is clearly going to be deliberately parceled out, and those who need to get a quick grip on everything will feel rootless and probably frustrated. If you haven’t read Watchmen or seen the movie, the whole tone, which is intense, highly ironic (and sarcastic) and really pretty provocative, may be discombobulating or off-putting. And this is a show about vigilantes who wear masks and capes, so it is certainly superhero-adjacent.
I’m in for now. Lindelof is a TV genius (The Leftovers is one of my favourite TV shows ever, and Lost certainly was a thing) and the opening of this episode, dramatizing a horrendous moment in US racial history known as the Black Wall Street massacre, is arrestingly bold. The production values are through the roof, the music propulsive, and Jeremy Irons is in a concurrent storyline as a really weird castle dweller. One thing is for sure: there’s no predicting what’s coming next.
Now halfway through its second season, Succession (HBO / Showcase on Foxtel) continues to overwhelm me with its brilliance; I feel that I am watching some of the greatest television ever made, on par with Deadwood, The Wire and Mad Men. The humour is razor-sharp, the satire sharper even than that, while the drama is intense (and at times quite moving, quite the achievement for a show about privileged brats) and the plotting unbelievably engaging. This show rocks.
This season seems to be slicing even closer to the actual shenanigans of the Murdoch family, while also creating strong facsimiles of Vice and Gawker, Fox News (including a female version of Roger Ailes), Bernie Sanders and the Sulzberger (New York Times) and Bancroft (ex-Wall Street Journal) media dynasties. The directorial craft is exceptional (there are multiple directors), the acting incredible (and never more so than from the three “kids”, played by Jeremy Strong, Kieran Culkin and Australia’s own Sarah Snook) and the design impeccable. But it’s the writing, from series creator and chief scribe Jesse Armstrong, that is always the mic drop. He joins his colleague Armando Ianucci (they did The Thick of It and its movie spin-off In The Loop together, among other projects) as a CJ-Certified genius. If you haven’t tasted Succession, you need to watch season one first. What are you waiting for?