SHREVEPORT – I’m bouncing off John Ruberry’s post this week; he reviewed the Netflix Longmire series and so I’m going to share my favorite series: Detectorists, which is a charming, funny, and beautifully written British series by Mackenzie Crook. Let me stress the “beautifully written” part.
Oh, and the photography – breathtaking.
The show centers on characters Andy (Crook) and Lance (Toby Jones). The two friends are metal detectorist hobbyists; the show is filmed in Suffolk and it’s always beautiful and golden. The landscapes are stunning and the macro shots of bees or butterflies are breathtaking. The ear-worm theme song by Johnny Flynn is perfection. The series is sensory appealing in every possible way but the writing is what sells it.
The writing is smart British humor, not slapstick Monty Python humor (as gold as that is…). Crook does the writing and he has a clear picture of his overall story arc. Originally he planned for only two seasons but after the second series ended, he began to miss his “friends” Lance and Andy as well as their quirky friends in the Danebury Metal Detecting Club (DMCD), and he began to feel like he needed to have his characters put down roots and get settled, so he came back for a final third season.
Another joy of the writing is the host of charming characters that come from it. The supporting characters of the DMDC and beyond are all quietly eccentric and really develop across the two series into a lovely group of oddballs. I particularly love Hugh (Divian Ladwa) and Russell’s (Pearce Quigley) joint mission in series 2 and basically any time Simon and Garfunkel (Paul Casar and the ever-brilliant Simon Farnaby) are on screen it’s comedy gold.
Rachael Stirling is really lovely as Andy’s wife Becky. She could so easily have become the nagging girlfriend sitcom staple but her relationship with Andy is so well drawn she never does. The show never claims that its characters are perfect so on the occasions where Becky does get frustrated with Andy it feels totally justified.
At the core of the show are two brilliant performances from Mackenzie Crook and Toby Jones. As good as everyone else is they are absolutely the glue that binds the show together. The two play their chit-chat and occasional neuroses with absolute honesty; they bounce off each other so naturally that their relationship comes across as unfailingly genuine. Mackenzie Crook has a pedigree in comedy but I don’t think I’ve ever seen him as good as he is here.
Season 3 is running in Britain now and will be in America after the first of the year. Unable to wait, I found the first episode online and watched it and will admit that at the end of the thirty-minute episode I gasped with love and anticipation for what is to come. It was simply beautiful.
If you haven’t yet discovered this little piece of gold, you can stream the first two episodes on Netflix; they are also available on DVD. The trailer for Series One is here.
The Netflix neo-western Longmire has ridden into the sunset after six years. The final season started streaming on the network nine days ago and the results should please its fans. I enjoyed it.
My Da Tech Guy review of the first five seasons of is here.
Walt Longmire (Robert Taylor), a widower, is a sheriff in the fictional county of Absaroka in Wyoming. He and his three deputies patrol an area that is larger than Delaware. While Walt, an old-school lawman who knows the difference between right-and-wrong and who rarely crosses the ethical line, at first glance appears to be an anachronism, he still has the smarts and the brawn to set things straight.
If you haven’t watched Longmire but think you might, I suggest you skip the next paragraph as there are some series spoilers.
At the end of Season Five, Walt’s personal and professional life are in shambles. The smartass mayor of Durant (Eric Lane) wants Longmire to resign, and he gets in a brutal knock-down bar fight with his best friend who has turned into a vigilante, Henry Standing Bear (Lou Diamond Phillips). Henry’s situation gets worse after he is kidnapped by corrupt former Bureau of Indian Affairs police chief Malachi Strand (Graham Greene) and his goons. Walt faces a wrongful death lawsuit from the estate of a businessman who also happened to be the father of one of his deputies and the brother of Longmire’s predecessor as sheriff. (Hey, not many people live in Absaroka County.) Walt’s most trusted deputy Victoria “Vic” Moretti (Katee Sackhoff) is pregnant–no one knows who the father is. And the Native American casino in Absaroka, run by the compromised Jacob Nighthorse (A Martinez), is fostering the crime Walt predicted would result, although I’m pretty sure that he didn’t expect Irish mobsters from Boston being part of it. Walt’s daughter, Cady (Cassidy Freeman) is running a free legal aid clinic on the Cheyenne reservation, but she’s being paid by Nighthorse.
Season Six kicks off a new story thread about a serial bank robber known as “Cowboy Bill.” A stereotypical blogger–who is bearded, overweight, and shoves iPhones into people’s faces while garnering minuscule traffic on his site, causes another headache for Walt when he reports that the sheriff “ambled in” to the robbed bank long after Cowboy Bill made off with his loot. Of course that infuriates the mayor. As for this blogger, I’m thin, clean-shaven, I own a camcorder, and I have many more hits daily on my blog than that other guy has received in the life of his blog. Da Tech Guy of course crushes the traffic of that fictional blogger’s site too.
The lawful death lawsuit against Walt begins. Cady continues to face difficulty striking an equilibrium between the law, her ethics, Native American culture, and Nighthorse. As for the casino operator, his juggling act becomes even more difficult, as it does for Walt’s pal Henry. And we learn that the Irish mob doesn’t take “no” for an answer from a Wyoming sheriff.
The series ends with a surprise twist, one that is satisfactory too.
The first three seasons of Longmire ran on A&E, and while the ratings and the critical response were favorable, the network cancelled the show because the demographics favored older viewers. A&E is run by dopes. Thank you Netflix for rescuing the program.
Much well-deserved criticism has been leveled at the BBC for compelling Doctor Who to go transgender by having, after 41 years, a woman take the lead role. Not because, as DaTechGuy himself noted two months ago, the best performer was hired, but because the Doctor Who franchise apparently needs more diversity.
Keep in mind that the most recent companion of the Doctor was a black lesbian with a Colin Kaepernick-style afro. Oh, I am not automatically opposed to a female Doctor. Let’s say Judi Dench wanted the role. Would I watch? Sure, I would. It would be the same for me if Meryl Streep grabbed the controls of the TARDIS. But that last one can never happen. An American playing the Doctor? And one from New Jersey? Imagine the uproar!
But I’m here to review a different TV show.
Y Gwyll, which is Welsh for The Dusk, is called Hinterland in English. It’s a production of S4C, a Welsh-language public television network in Britain. So far three seasons have been released. Hinterland is also broadcast on BBC Wales–which ironically produces Doctor Who—as part of its commitment to provide more Welsh cultural offerings there. And BBC One offers the show too.
So does a political agenda and enjoyable television viewing mix? In this case, yes, they do.
Hinterland is a noir crime drama, a genre that is very popular in Scandinavia, where some of the funding for the program comes from. It’s an expensive series to shoot as every scene with dialogue is filmed twice, once in Welsh and then in English. And there is much outdoor filming which costs more than controlled studio shots.
After ten years working for the London Metropolitan Police, Detective Chief Inspector Tom Mathias (Richard Harrington) relocates to the coastal town of Aberystwyth in western Wales after a family tragedy. The laconic and brooding character lives in a caravan, what the Brits call a trailer home, in front of the stone ruins of presumably an old farmhouse. Does this symbolism mean that Mathias cannot rebuild his life?
In the Doctor Who spinoff Torchwood, which is set in Cardiff, we see a gleaming modern city, which is not surprising as the Torchwood alien-hunting team is led by a post-American time traveler from the 51st century. The Wales of Hinterland is one of collapsing old homes, crumbling walls, and failing farms. Yes, I love the cinematography here, but remember, I’m someone vacationed in Detroit two years ago to snap urban exploration photos. And in every Hinterland episode it seems to be early March–a stillborn spring. The countryside is gorgeous, reminiscent, to me at least, of the Flint Hills of Kansas.
Detective Inspector Mared Rhys (Mali Harries), a single mother is also burdened by a complicated past, is Mathias’ primary assistant; he is also ably aided by Siân Owens (Hannah Daniel) and Lloyd Elis (Alex Harris).
Hinterland is a slow-moving program–if car chases and gun battles are your Jones, then move along, there is little here for you. And it takes a while for the series plot to play out as a murder in the first episode of season one doesn’t begin to expand into other crimes until the end of that season. It builds from there as Mathias confronts Iwan Thomas (Geraint Morgan) who used to hold his job in Aberystwyth and whose past is as troubled as his own. Chief Superintendent Brian Prosser (Aneirin Hughes), Mathias’ recondite boss, discourages him from pursuing the Thomas angle in his investigations.
Season three was my favorite, as many loose ends are tied up. There are no plans for a fourth Hinterland batch–but the series hasn’t been cancelled either. But as Hinterland also receives funding from the European Union, politics could push the show out of its stillborn spring and into permanent winter.
Ah, politics. It really does ruin everything.
All three seasons of Hinterland are available on Netflix in the United States and in DVD form on Amazon.
Watching awards shows on television is as big a treat as having a colonoscopy without anesthesia. Well, actually, it’s worse. I’ve never had a colonoscopy that lasted three hours.
It doesn’t matter if the host is affable and funny — Billy Crystal and Johnny Carson come to mind — or amazingly irritating like David Letterman. The shows are overstuffed extravaganzas that drain your body and rot your brain.
With an attitude like that, I couldn’t wait to skip Sunday’s Emmy Awards broadcast. I couldn’t stand watching three minutes of Stephen Colbert’s past and present TV shows. Why in God’s name would I want to spend three hours with him and the croaking chorus of Trump haters sharing the stage?
Apparently you and many others felt the same, sending the Emmy ratings to new depths. It’s good to know so many good folks have the good sense to avoid political poison masquerading as entertainment (and so few conservatives are masochists).
Meanwhile, the entertainment establishment, pink to its left-wing core, is studying birds’ flight patterns and reading beasts’ entrails to discern why viewers of its awards programs are vanishing. You don’t have to be a seer to figure out that your numbers will be weak if you don’t mind driving away half your audience. But the movers, shakers and moguls of Hollywood don’t know anybody who doesn’t think about politics as they do, so they’re simply stumped.
Just as fan disgust with Colin Kaepernick isn’t the only reason why ratings have plummeted for NFL broadcasts, partisanship isn’t the only cause for the decline in interest for the Emmys and Oscars.
Thirty years ago, cable TV was a relatively small operation, so most Americans were still stuck with the three major networks: ABC, CBS and NBC. Even poorly rated shows had a dozen million viewers. The series finale for CBS’ MASH was seen by nearly 106 million people in 1983; that audience record stood until 106.5 million viewers watched New Orleans beat Indianapolis in the 2010 Superbowl.
Cable has grown like a monster since 1983 and created a bigger stir in recent years by offering original programming. Many new shows are low-budget reality programs, but some basic cable channels — FX, USA, AMC and SyFy — offer top-notch stuff that was once the purview of HBO and Showtime.
Of course, Netflix was a huge game changer when it threw big money into new programming and brought instant relevance to streaming video.
And therein lies a big problem for the Emmys — they’re elitist. Only a handful of this year’s nominees represented broadcast TV, and even fewer of them took home awards. The big winner, as usual lately, was HBO.
Just as people in showbiz don’t know anyone who supported Donald Trump, they don’t know anybody who doesn’t have cable TV. More importantly, they don’t know anybody who doesn’t have HBO or Netflix, where they presume the best stuff appears. As of the end of 2016, HBO only had about 49 million subscribers, and Lord knows how many of those are hotels, motels and other businesses.
As a result, a good portion of the American public has no skin in the Emmy game since the awards revolve around programs they don’t even have the ability to watch. I guess the entertainment bigwigs have written them off as deplorables.
Then, too, there’s more than one aspect of elitism in terms of the type of shows the nominators enjoy. I watch more than my share of TV, and I’m the kind of guy who won’t abide stupidity on my flat screen. Yet only a couple of my favorites — Better Call Saul, The Americans, Stranger Things — even had an Emmy nomination. Instead, the voters exhumed the long-dead corpse of Saturday Night Live and showered it with glory.
The same thing goes for the Oscars. But that’s another story.
Last night I ended another binge-watching venture, this time it was Ozark, a Netflix original series starring Jason Bateman. Season one, consisting of ten episodes, was released in July and Ozark has already been renewed for a second run.
Marty Byrde (Bateman) is a financial planner who makes a deal with the devil, actually a Mexican drug cartel, to launder its cash. So, Byrde quietly toils away and the cartel graciously thanks him for his efforts and all is well?
Byrde and his wife Wendy (Laura Linney) are the typical smug Chicago area couple who I interact with regularly. Wendy is proud of her political activism, she even worked on Barack Obama’s state Senate campaigns, although it’s difficult to say why she was needed as Obama ran unopposed in all three of his Democratic primary races and the district he represented was far more Democratic than Wyoming is Republican. Perhaps Wendy was the scoundrel behind knocking all of Obama’s primary opponents off of the ballot. If so, it fits her character. Interestingly, there is an early scene of Marty inspecting office space Chicago’s Trump Tower.
Bryde’s handler, Camino Del Rio (Esai Morales), discovers $8 million in cartel cash is missing. After Byrde’s co-workers are well, liquidated, in an act of desperation Byrde convinces “Del” that Lake of the Ozarks, Missouri, which has “more coastline than the state of California,” is a far better place than Chicago to launder his dirty money because it’s not crawling with federal agents.
So seemingly quicker than it takes me to check out of a hotel room the Byrdes and their children, 15-year-old Charlotte (Sofia Hublitz) and Jonah (Skylar Gaertner) do a reverse-Beverly Hillbillies and relocate to the Lake of the Ozarks, one of several places in America known as a Redneck Riviera.
The Byrdes nearly immediately confront a family of small-time criminals, the Langmores, who live in–wait for it–run-down trailers. They are raising two bobcats. Just inside the door of one of the trailers is a a poster of a topless woman.
And like Brewster in the several Brewster’s Millions movies, Marty finds that quickly spending millions, or laundering it, is harder than he thought it would be, particularly in the rural location he chose. An even greater challenge for the Byrdes is a mysterious family of big-time criminals we meet later on. For comic relief, mostly, is the dying old man who lives in their basement–he is convinced Obama is a Muslim.
Even before the move the Byrde’s marriage is on the rocks–and the tension of a disintegrating family operating an illegal enterprise is reminiscent of Breaking Bad. The graphic violence is reminiscent of Sons of Anarchy. And while no genitalia is shown, the sex scenes are also quite graphic. So this family drama is by no means appropriate family viewing. Jason Bateman has come along way since his NBC sitcom Silver Spoons.
I don’t expect there to be a tourist boom to Lake of the Ozarks because of the show, as the redneck cliches and the rampant lawlessness of Ozark will serve as a definite buzz-kill for travel-minded families. The Northwoods region’s vacation dollars are secure. Although outside of a few scenes in downtown Chicago, most of the show is filmed in a reservoir area in northern Georgia. And some of the Chicago scenes are laughably wrong–where do all of these hills come from? And there are no hills in Morris, Illinois either–a wonderful town I’ve visited many times, by the way. Here’s another inconsistency: The Byrdes’ suburban home was in Naperville. So why does their Honda Odyssey have an expensive Chicago vehicle sticker? An astute financial planner wouldn’t waste $136 on a useless decal.
Yes, I’ll be back for the next season. By then end of that one Ozark may have shed the shadow of Breaking Bad.
A few days ago I finished watching season three of Broadchurch, a British mystery series which is broadcast in the United Kingdom on ITV–and here on BBC America–starring David Tennant as Detective Inspector Alec Hardy and Olivia Colman as Detective Inspector Ellie Miller.
Tennant of course is best known as the Tenth Doctor–and the second one of after its revival–in Doctor Who. Except for the first half of the “Tooth and Claw” episode, Tennant uses an English accent as the Doctor, here his natural Scottish accent is utilized for his Hardy character. One of the supporting characters in Broadchurch is Jodie Whittaker, who will accede to the Doctor’s role in the next Christmas episode of Doctor Who and become the first female Doctor, to the horror of some longtime fans, including the founder of the blog you are reading now.
The creator–and sole screenplay writer, save for one episode that he had a co-writer for–of Broadchurch is Chris Chibnall, who has been executive producer of Doctor Who since last year and who will be showrunner for the feminized edition next season. Chibnall was a co-producer and screenwriter for Torchwood, the sexualized “grown-up” spinoff of Doctor Who.
The fictional town of Broadchurch is where this particular show is set, it sits on the Jurassic Coast of Dorset in southwestern England. Broadchurch is a tightly knit–perhaps too much so–small town that, in season one, is wracked by the murder of 11-year-old Danny Latimer (Oskar McNamara). Whittaker portrays his mother, Beth, and Andrew Buchan plays his father, Mark. The suspects are numerous and there are plenty of plot twists to keep you on the edge of your couch for all eight episodes. Season two, which also consists of eight episodes, splits time between being a courtroom drama and the re-opening of the investigation of a murder and disappearance in Sandbrook, which presumably is near Broadchurch. The botched handling of that investigation is what led Hardy to take the DI position in Broadchurch, which Miller assumed was already hers.
In the third season, which is said to be the final one, Hardy after time away from Broadchurch, returns and again is teamed with Miller. Their relationship has always been tense–but by this time they carry on like elderly spouses, albeit there is no physical side of it. When Trish Winterman (Julie Hesmondhalgh) calls the police a few days after being raped at the 50th birthday party of a friend and co-worker, Hardy and Miller oversee another investigation that tears the town apart. This season is just six episodes long.
There are many fabulous performances in Broadchurch, beginning of course with Tennant and Colman, but also by Hesmondhalgh, Eva Myles (Gwen Cooper in Torchwood), David Bradley (Walder Frey in Game of Thrones and the new First Doctor in Doctor Who), Arthur Darvill (a onetime Doctor Who companion), who portrays a vicar attempting to heal the town of its wounds while preaching to mostly empty pews, as well as Carolyn Pickles. She plays a rarity–an honest journalist searching for the truth who goes out of her way not to hurt anyone.
I didn’t include Whittaker in that list, but perhaps not much was asked for her by directors of Broadchurch, although as the mother of a murdered child, that doesn’t make very much sense. Based on what I saw in the program, all the performers listed in the previous paragraph would have been better choices as the Thirteenth Doctor, not that I would expect Tennant to return to Doctor Who. My choice would have been Bradley as the next–the first shall be the latest–Doctor. But perhaps a septuagenarian as a lead character in a classic television show is too broad of a bridge to cross for our youth-worshipping culture to cross.
All three seasons are top-notch, but I’ll give my nod to the first one, which was re-done as Gracepoint for Fox in the United States. I haven’t seen that one and from what I’ve heard, it isn’t worth my time or yours, despite Tennant reprising his role as Hardy and Chibnall’s involvement.
Broadchurch is available on DVD, on Amazon, and Xfinity On Demand. Seasons one and two can be viewed on Netflix.
Netflix binge watching just brought me to Scotland’s remote Shetland Islands for the BBC crime drama Shetland, a series that is based upon books by Ann Cleeves.
Stoic Director Inspector Jimmy Perez (Douglas Henshall), a Shetland native who moved back to the islands from Glasgow after the death of his wife, calmly investigates the archipelago’s murders–and as with many crime shows with a rural setting, such as Longmire, if added up the murder rate in Shetland would rival that of Baltimore. But who will tune in to watch a series about sheep rustling? Besides sheep rustlers, of course.
There have been three seasons so far–a fourth is currently under production. The first season, a two-episode entry entitled “Red Bones,” the series pilot, involves a World War II secret uncovered by an archeological dig, while Shetland’s annual winter celebration, the Nordic-inspired Up Helly Aa, takes place. “Red Bones” was released in 2013, amazingly there is a Donald Trump reference in it.
There are three two-episode storylines in Season 2. There are many, I suspect, in the Shetlands, so not surprisingly an eccentric hermit drives the action in “Raven Black.” The islands’ energy industry inflames tempers and worse in “Dead Water.” The final two-parter, “Blue Lightning,” set mostly on Perez’ boyhood home of Fair Isle, tells us that not even avian research centers are immune from homicide. This is the weakest effort in the series; the story seems stretched out, like a mediocre rock double album that would be a great one as a single disc release. And for much of “Blue Lightning” everyone on Fair Isle is stranded there because of a storm. Except viewers see no evidence of a storm. The BBC doesn’t have stock footage of crashing waves on rocks?
Fortunately Shetland bounces back for for a six-part episode for Season 3, its best. Just as I was wondering why the narcotics trade–a major blight in all European rural areas, particularly far-northern ones–was absent from the series, there it is. An incident on the Shetland ferry brings Henshall and his assistant, Detective Sergeant Alison ‘Tosh’ MacIntosh (Alison O’Donnell) to Glasgow–where much of Shetland is filmed–where they untangle a nine-year-old sexual assault that is linked to organized crime, obstruction of justice, and a senior citizens home.
Rounding out the cast is Steven Robertson as Police Constable Sandy Wilson, Erin Armstrong as Perez’ daughter, Mark Bonnar as her biological father, Anne Kidd as a forensic pathologist, and Julie Graham as Perez’ boss.
The accents are thick–so be prepared to use the rewind button on your remote or to switch on the closed captioning feature on your television while viewing Shetland. Unless of course you are Scottish.
Henshall is not just the lead actor but also the most accomplished one in Shetland. For his efforts he received the 2016 BAFTA award for best actor in television.
As expected, the cinematography is splendid, even though other parts of Scotland, those with treeless hills, often substitute for the Shetland Islands. Watching the series has me pining for a trip to Scotland and of course, the Shetlands.
But watching Season 4 will happen first for me.
In addition to Netflix, Shetland is also available on Amazon.
Most of the main characters in Hell on Wheels, my last Netflix binge-watching adventure, were shaped, and scarred, by the American Civil War.
In this BBC 2 television show, Peaky Blinders, set in Birmingham, England beginning in 1919, World War I casts its shadow over the lead characters.
Three seasons have been released so far. The action–and the violence–is centered upon the Anglo-Gypsy Shelby family, led by Thomas “Tommy” Shelby (Cillian Murphy), a decorated Great War tunneller who returns home a new man–and a better suited one to run the family business, Shelby Brothers, Ltd, a bookmaking operation set in the grimy and noisy Small Heath section of Birmingham. But the gang is generally called the Peaky Blinders by members and their enemies. His oldest brother, Arthur (Paul Anderson) is clearly more psychologically damaged from the war than Tommy, but he’s better suited to serve as the enforcer for the family. “I think, Arthur. That’s what I do,” Tommy explains to him. “I think. So that you don’t have to.” Third son John (Joe Cole), another World War I veteran, is also employed in the muscle side of the operation, while Finn, the youngest Shelby, is only 11-years-old when the series begins.
Tommy has a sister, Ada Thorne (Sophie Rundle), who is married to communist agitator. But she’s still loyal to the family.
While the Shelby men were fighting in France–the family business was run by Elizabeth “Aunt Polly” Gray (Helen McCrory), a kind of a Rosie the Riveter of the underworld. Tommy quickly takes over from Polly, who serves as his senior advisor. Like Edward G. Robinson’s legendary Rico character in Little Caesar, Tommy becomes a small-time-hood-makes-good-by-being-bad by playing one gang faction against the other, first in Birmingham then in London, while largely ignoring Aunt Polly’s warnings.
When the Peaky Blinders stumble upon a large machine gun shipment in an otherwise routine heist, that gets the attention of Secretary of State for War Winston Churchill (Andy Nyman in the first season, Richard McCabe in the second), who dispatches Inspector Chester Campbell (Sam Neill) from Belfast to find the machine guns. Those guns give Tommy power and respect–and enemies. Not only do Churchill and Campbell want those weapons, but so does the Irish Republican Army.
Campbell sends in an Irish domestic spy, Grace Burgess (Annabelle Wallis), to work at the neighborhood pub owned by Arthur, appropriately named The Garrison. She quickly becomes its de facto manager.
In season three, which is set in 1924, Tommy, at Churchill’s request, gets involved in another armaments caper, this time with members of the Whites faction who haven’t ascertained that the Communists have won the Russian Civil War. Arthur warns Tommy to stay out of “this Russian business.” It’s too bad the script writers didn’t take their own creation’s advice. As was the case with season four of Sherlock, what follows is a collection of tangled and confusing plot lines. Possibly realizing their mistake, the writers include quite a bit of gratuitous nudity to accompany the Russian adventure, including a bizarre orgy scene which does nothing to advance the storyline.
On the other hand, the Russian diversion is loosely based on a 1924 scandal that brought down Great Britain’s first socialist-led government.
At least two more seasons are coming.
The cinematography of Peaky Blinders is masterful. Imagine Tim Burton creating a remake of The Untouchables television show and setting it in 1920s Birmingham. And this is an ugly Birmingham. J.R.R Tolkien lived in the city before the Great War and his reaction against it was his creation of Mordor for The Lord of the Rings. Just as the Eye of Sauron looked upon that evil realm–the sparks and the ashes of the foundries oversee the Midlands metropolis here. And the industrial roar is always there too.
Without getting into spoilers it’s a challenge to bring a description of Jewish gangster Alfie Solomons into this review, but his portrayal by Tom Hardy is too good to overlook.
Oh, the name. Peaky Blinders? There was a Birmingham gang by the same name who gained that moniker because its members supposedly sewed razor blades into the peaks of their flat caps. And in fights the hoodlums went for the eyes.
And finally, the music deserves special mention too. Anachronistic goth rock dominates, the unofficial theme song is Nick Cave and the Bad Seeds’ “Red Right Hand.” You’ll find selections from PJ Harvey, Tom Waits, and the White Stripes too.
“So you’ll be paying yourself to build a railroad with government subsidies.” Sen. Jordan Crane to Thomas “Doc” Durant.
“These are exciting times. You and I are opening the way for the greatest nation the world has ever seen.” Major Augustus Bendix to Cullen Bohannon.
“See him driving those golden nails
that hold together the silver bars
That one day’s gonna take us to the stars
cos he’s the man who built America.”
Horslips, from their song, The Man Who Built America.
“A new chapter of American greatness is now beginning. A new national pride is sweeping across our nation. And a new surge of optimism is placing impossible dreams firmly within our grasp. What we are witnessing today is the renewal of the American spirit.” President Donald J. Trump to Congress last week.
Last week I completed my latest binge-watching endeavor, Hell on Wheels, an AMC show that ran from 2011-2016 that is available on Netflix and on Amazon.
The building of the American transcontinental is the driving force of the plot of this series–the Union Pacific heading west from Omaha and the Central Pacific heading east from Sacramento.
The transcontinental railroad exemplified America at its best–getting the job done 16 years before Canada and 36 years before Russia. It also exemplified America at its worst. Racism and corruption–the Crédit Mobilier outrage was one of our nation’s worst political scandals and it forever tainted this monumental achievement.
The Civil War purged America of slavery, the nation was no longer “a house divided against itself,” but in 1865 the United States was in a way like an uncompleted jigsaw puzzle, the east and west coasts, the easy part, were settled but much of the middle–the Great Plains and the Rocky Mountains, still needed to be filled in.
Hell on Wheel’s main character is Cullen Bohannon (Anson Mount), a former slaveholder and Confederate cavalry officer who travels to Nebraska Territory to hunt down Union soldiers who murdered his wife and son in Mississippi. Despite that ruthlessness–make that because of that ruthlessness–Union Pacific president Thomas “Doc” Durant (Colm Meaney) takes him under his wing, although their relationship is mostly turbulent throughout the run of the series.
Bohannon isn’t the only character scarred by the turmoil of mid-19th century America. Elam Ferguson (Common) and Psalms Jackson (Dohn Norwood) are freedmen who quickly learn that freedom from slavery doesn’t mean equality. The Reverend Nathaniel Cole (Tom Noonan) and his daughter Ruth (Kasha Kropinski), suffer from pangs of guilt remaining from Bleeding Kansas. The Rev. Cole’s most prominent convert to Christianity, Joseph Black Moon (Eddie Spears), is estranged from his father, a Cheyenne chief. The most compelling character on the show, Thor “The Swede” Gunderson (Christopher Heyerdahl), is a Norwegian immigrant and former Union army quartermaster–a man who says he is good with numbers, but after his barbaric incarceration at the notorious Andersonville prisoner of war camp, he ascertained that “I had to control people like I control numbers and I learned to practice a sort of immoral mathematics.”
The Swede is Hell On Wheels’ principal villain and if there is ever a Villains Hall Of Fame built, then he belongs as a charter member.
Another intriguing HoW character is Irish immigrant Mickey McGuinnes (Phil Burke), who like Durant, finds a way to make himself a success after starting with nothing. One of his workers is a tattooed former prostitute and a Jack Mormon, Eva (Robin McLeavy). She was captured by Indians after her family’s wagon train was waylaid.
The final season of Hell on Wheels brings in the storyline of the Central Pacific. Movie posters for The Good, the Bad, and the Ugly boasted, “For three men the Civil War wasn’t hell. It was practice!” The Chinese laborers on the Central Pacific can be forgiven for having a similar dismissive view of our Civil War, which killed 600,000 Americans. Emotional scars from the Taiping Rebellion plague many of the Chinese characters. That conflict, which was actually a civil war between Imperial China and a man claiming to be the brother of Jesus Christ, probably killed 20-30 million people–after the famine deaths are added in. Some estimates bring the death total as high as 100 million. If that last figure is correct, then the Taiping Rebellion was the deadliest war ever.
Life is cheap in both the Union Pacific and Central Pacific camps–both are served by brothels, although opium is offered at the latter instead of whiskey.
Durant was a real person, although his portrayal in Hell on Wheels is largely fictional. Other historical figures appearing include Wyoming’s territorial governor John Campbell (Jack Weber), President Ulysses S. Grant (Victor Slezak), and Brigham Young (Gregg Henry). Eva’s character was based on an actual woman, as was the man in the show who survived a scalping. He carries his scalp in a bottle of alcohol–and offers paid listeners a recounting of his ordeal. The phrase “Hell on Wheels” is a real one in this context, it’s what the tent cities that followed the construction of the Union Pacific were called.
In the penultimate HoW episode, there is a prescient moment as black and Chinese workers rush to finish the road in 1869. Above them you see the moon. One hundred years later, yes, in 1969, “the greatest nation the world has ever seen” reached the moon. No country has repeated that feat or even attempted it.
Yes, American exceptionalism is real.
If you enjoy westerns, you’ll find Hell on Wheels worth your while. But if you are looking for romance–then look elsewhere. Mount is a fine actor but love encounters are not his long suit. And what was the point of his sex scene on top of a table with fused nitroglycerine on it?
As with most westerns, the cinematography is first-rate–with Alberta filling in capably for Nebraska, Wyoming, Utah, and California. It would be better if movies about America would be filmed here, but that’s another subject for another time.
A couple of weeks back I completed my latest television binge-watching quest, in this case it was the neo-western Longmire.
Walt Longmire (Robert Taylor) is the Rainier Beer-drinking, unshaved sheriff in the fictional county of Absaroka in Wyoming. He’s a widower putting his life and career back together after the recent death of his wife. It’s easy to imagine Gary Cooper paying this role. His deputies are the loyal Victoria “Vic” Moretti (Katee Sackhoff), Jim “the Ferg” Ferguson (Adam Bartley), and not-so-loyal Branch Connally (Bailey Chase), who runs against Longmire for sheriff.
The series is based on the Walt Longmire mystery books by Craig Johnson.
Originally an A&E show, the network, despite high ratings for the show, cancelled it after the third season. Netflix picked it up, airing the next two editions. It has been renewed for a sixth and final season. The books are set in Buffalo, which is coincidentally in Johnson County, Wyoming. In the show Durant is the county seat of Absaroka. So assuming that Johnson is Absaroka, that would give Longmire’s county 8,500 residents. And since, especially in the first four seasons, there is a murder in almost every episode, that could give this rural county a homicide rate higher than that of Chicago, perhaps, yes, even higher than the small Maine town where the television series Murder, She Wrote, was set. Recurring Longmire character Louis Herthum, has experience with this scenario, as he played a cop in Murder She, Wrote.
Also in Absaroka is a Cheyenne Indian reservation, which isn’t in Walt’s jurisdiction. But just as Captain Kirk was never supposed to violate the Prime Directive in Star Trek, circumstances often force Longmire to pursue police work on “the rez,” which for the most part annoys Mathias (Zahn McClarnon), a Bureau of Indian Affairs police chief. His predecessor, Malachi Strand (Graham Greene), was jailed after Longmire busted him for extortion.
By the third season the murder-a-week package is less relied upon as the events surrounding the death of Longmire’s wife, the release of Strand from prison, the building of a Cheyenne casino, and development projects in Absaroka driven by Deputy Connally’s father, Barlow (Gerald McRaney), collide with Walt and his best friend, Henry Standing Bear (Lou Diamond Phillips), the owner a local bar and restaurant. A Native American Longmire regularly tangles with is casino operator Jacob Nighthorse (A Martinez). Also captured in this web is Longmire’s daughter, Cady (Cassidy Freeman), an attorney who is more like her father than either character realizes, as she also discovers that doing the right thing is often an insurmountable challenge in a flawed world.
I thoroughly enjoy Longmire and I’m eagerly awaiting season six, as season five concluded with things in a very complicated state. As a western, the cinematography is of course superb, although the show is filmed in New Mexico, not Wyoming. Starting of course with the lead character, the acting is superb, and the story lines generally contain much depth. Although I am curious why Phillips’ Standing Bear character, like the young heroine in True Grit, particularly in the Coen Brothers remake, never uses contractions in his speech.
If you prefer westerns that aren’t “neo,” I still recommend that you give Longmire a look. Just imagine cowboy Walt riding a horse instead of driving a Ford Bronco, and replace moonshine with narcotics. And after all of these years there is still conflict between whites and Indians. And vigilantism is also a welcome plot development in any western.