‘Ineffably’ Disappointing: Good Omens (2019)

Everything pointed toward Good Omens being one of the TV highlights of 2019 yet, in truth, it could likely turn out to be one of the year’s greatest disappointments.

The ‘why?’ of this is, to an extent, confounding. Good Omens derives from much loved source material, a one-off 1990 fantasy comic novel by the joint literary powerhouses of Neil Gaiman and the late, great Terry Pratchett. It tells an epic, cosmic story across 6000 years of human history, tackling the classic Biblical concept of Armageddon and the rise of the Anti-Christ through a delightfully oddball British lens. It is festooned with a variety of inventive comic characters, from ancient angels and demons through to surly modern witchfinders and ever-present prophets. It never takes itself too seriously while remaining a potent reminder, right at the end of the Cold War era, of man’s ability to self-destruct in the most apocalyptic of ways. It is also underpinned by an unlikely, history-spanning friendship between two ideological enemies which, again, reflects the end of an era. The world is ending. Long live the world.

While personally I don’t consider Good Omens anywhere near the best work of Pratchett or Gaiman, lacking the finesse, wit and structure of their strongest novels, there is no reason Good Omens couldn’t and shouldn’t have made for a strong TV adaptation. And TV is certainly the ideal medium for a fractured, multi-strand, ensemble story that weaves everyone together at the end. Terry Gilliam was all set to make it in the early 2000’s with Johnny Depp & Robin Williams headlining, boasting a script Gaiman claims was in fine fettle, but you wonder just how adequately a two hour or so film could have threaded everything in Good Omens together. TV gives it room to breathe, room to build up the core dynamic between angel Aziraphale & demon Crowley which exists at the heart of the book. Gaiman’s scripts all live up to this over the six parts and yet… it doesn’t work.

The more I think about why Good Omens doesn’t work, the more the answer becomes… well, ineffable.

Read more…

Game of Thrones – ‘The Wolf and the Lion’

NED STARK: “Jon was a man of peace. He was Hand for seventeen years, seventeen good years. Why kill him?”
VARYS: “He started asking questions.”

Halfway into the first season of Game of Thrones and establishment is beginning to give way to narrative momentum. ‘The Wolf and the Lion’ may not, on the face of it, be as action-packed as some of the previous episodes, and certainly not many of those to come, but in many respects it serves as the lynchpin of the first season and the core of David Benioff & D.B. Weiss’ adaptation so far. Once again, the title says it all. Wolf and Lion. Stark and Lannister. The Dragon will form the culmination of this triptych, but not yet. We don’t see any sign of a Targaryen at any point in this episode.

That doesn’t mean, of course, they are not central and crucial to the conversations and conspiracies swirling around King’s Landing. We spend more time in the Westeros capital in this episode than we have in any other, principally because Benioff & Weiss are beginning to pull the threads of George R.R. Martin’s novel ‘A Game of Thrones’ which lead directly to his next book, ‘A Clash of Kings’, which would form the basis of the second season of the show.

At this stage, their adaptation is faithful. The majority of beats are being followed, characters being established, and storylines being developed, with the odd exception of creative license for television purposes; Littlefinger & Varys’ sparring, the much lauded scene between Robert Baratheon & Cersei Lannister for example, or bulking out the homosexual relationship between Ser Loras Tyrell & Renly Baratheon, more suggested in Martin’s novels.

Read more…