Posts Tagged Tim Bragg

Tim Bragg – Stories 

This story was originally part of my latest novel The Experience [to be published 2025]. It is one of five ‘outtakes’ that were originally threaded through the novel’s opening chapters. The job of these stories was to reflect or counter the nature of the narrative’s ‘reality’. Their style and viewpoint being contrary to that of the novel’s. It was eventually decided to remove them, simply to keep the continuity of The Experience’s particular style. Please feel free to comment. 

  • Tim Bragg

My dad would tell me stories. We’d have fun sitting around the kitchen table when I was very young – him making up stories or all three of us playing board games or a card game. Before Ellie was born but even after she was born and sleeping upstairs, we’d have on a low light or lit candles with the fire crackling in its hearth. That part of my life when everything was normal. Well, perhaps that’s the way everyone views their childhood growing up. My mom would make great food and the children that lived around us knew which house to go to to get well fed. 

A wild stag is depicted in a forest, surrounded by several hunting dogs. The stag appears to be in a defensive stance, while a fawn watches from a distance, amidst dense greenery.

Stories enchanted me. With the other children we’d act out stories I had in my head. Nearby there were fields and barns to play in; hedges to hide behind; woods to disappear within. One simmering summer evening we decided to stay out late. It was safe. We were free. It was my idea that I would act the part of a wild stag and the other children had to hunt me down. My dad had told me a story about a stag that had been cornered by wild dogs, but the stag dropped his head and antlers and held them off. Tossing a dog into the air as they snarled, barked and attacked. The stag was courageous. In the end the dogs retreated. And behind the stag, in a thicket, was revealed a hind with a new born deer – a calf. How I cheered. My dad said that the young of big deer were called a calf not a fawn and that the stag itself would be called a hart. I really liked that. Now I was going to be that stag, that hart – though I had no hind or calf to protect. 

We decided to meet up outside the old pub near the centre of the sprawling village. When I got there, Root was waiting, the first as usual. I had no idea why he was called Root and no-one had ever asked him as far as I knew. I sauntered down the lane that led from the high street. It was only then that the name of the pub The White Hart made any sense. I looked up at the sign as if for the first time. But I’d never connected the painting of the stag with the name. I said hello to Root and we waited for the others to join us. Old Farmer Joe seemed to appear out of nowhere and went into the pub, giving a nod as he passed us. 

Root said, ‘Here’s Josh and Abby.’ Abby was the only girl we let play with us, she was fun. Eventually, Colin, Doug and Rob arrived. 

‘Where are we off to Jim?’ 

‘Down to Gallows Wood, I’ve got an idea.’ I’d wanted to make a headdress that looked like antlers but every attempt had failed. Imagination would do the trick like it always did. We ran down the hill whooping and hollering, pretending we were riding horses. Old Ma Aldington saw us from her garden and waved. She probably thought us quite mad. 

Once over the squat stone bridge, the water constantly gurgling beneath, we climbed the style and went single file down the path. There were lots of blackberry bushes here and in the late summer and early autumn local folk would collect bowls full. 

‘Right,’ I said finally. ‘We’re going to play “hunt the stag”.’ 

‘Dad hates stag hunting,’ Doug said. 

‘It’s horrible,’ Abby added. 

‘Yes, I know,’ I said, ‘but it’s a game. I’m going to be the stag, or the hart,’ I added knowingly, ‘and you have to hunt me down.’ 

‘Why?’ said Root. 

‘Why what?’ 

‘Why do we have to hunt you down?’ Colin answered for him. 

Thinking fast I said, ‘Because I’m not really a stag. I’m a bad wizard that’s been turned into one. And if you don’t kill me, I’ll kill all the crops, and cows,’ I said defiantly. 

‘And sheep?’ Abby asked. 

‘Yes.’ 

‘Not my sheep,’ Rob said. ‘They’ve won prizes.’ Everyone laughed. 

‘I’ll hunt you,’ Josh said. ‘I’ll be the prince…’ 

‘Abby the princess,’ Root teased. 

‘Right. Good,’ I said. ‘Give me ten minutes,’ I said. ‘Has anyone got a watch?’ No-one had. Josh said to Abby, ‘Did you bring your phone?’ 

She shook her head, ‘Mum wouldn’t let me.’ 

The other boys jeered. 

‘Okay. Okay,’ I said, trying to calm them down. ‘Each of you count to a minute but in turns. Then come after me. You’ve got bows and arrows and swords and that’s it.’ 

‘And spears?’ Colin asked. 

‘Maybe,’ I said. I didn’t know if they would or wouldn’t have had spears. Lances perhaps. 

I tore off down the path and the wood began to swallow me up. I could hear Doug counting out loud and deliberately missing numbers out but being told to start again by Abby. Before long there was only the strange quiet of the wood. Not wholly quiet, there was tapping on bark from the distance and insects buzzing close by. But it felt like an entirely different world. Stopping briefly, I decided which way to go. The wood was familiar to me – but you could easily get lost. There were a few well-worn paths but I turned off on a barely recognisable one. The sun was gliding through the branches as I rushed headlong into denser tree trunks. Resting, I could hear shouts from Abby and the boys. Seemed like they were off in another direction. 

After some moments hesitation I carried on and eventually came to the old hut. I’d discovered this a few weeks back but no-one else knew about it. It was the perfect place to hide. Glancing in through a window, with a piece of its glass missing, I saw dark shadows. I could smell the mustiness of the interior. I’d been in before and was thinking of clearing it out and making it a proper den. Pushing on its wooden door, I opened it enough so that I could get in if necessary. I didn’t want to spend my time in the mushroom-smelling dark, so I found a bush nearby and lay behind it under a patch of sky where the sun hovered for a while. I was so comfortable. I hadn’t slept enough the previous night and so I closed my eyes and I was, as my mum would say, ‘out for the count’. 

Waking with a start I looked up to see a man staring down at me. The man had tousled hair, a beard and a look of wildness in his eyes. I attempted to get up but he held me down. As I was about to shout out, he put a dirty hand across my mouth. ‘Please,’ he said, ‘we need help. I’m not going to harm you.’ Releasing his grip on me and removing his hand I had an instance to decide what to do – shout out and try and escape or remain where I was and listen to him. As I looked up at his face I felt an odd sensation, as if I knew him from somewhere. 

‘Are you a tramp?’ I asked getting up on my knees. He shook his head. ‘Are you running from the police?’ I asked. 

Looking around he said, ‘I’ve done nothing wrong. Nothing. I just want to…’ He broke off as screams were heard in the distance. His face contorted in fear. 

‘It’s okay,’ I said. ‘They’re my friends. They’re hunting me down.’ 

‘You too?’ 

I nodded. I was curious. ‘Are you being hunted?’ 

He looked around like an animal sniffing the air. ‘Who’s hunting you?’ 

‘Just some friends. We’re playing a game. I’m a stag.’ 

He smiled, ‘I see.’ There was some silence between us then he said, ‘I’m like a stag being hunted too. Do you think you could help me?’ 

‘Maybe,’ I said. ‘What do you want?’ 

‘We need some food.’ 

‘Is there more of you? Have you broken out of prison?’ I asked. 

Shaking his head he said, ‘Can I trust you?’ I nodded. He’d been crouching down next to me. As one we got to our feet. ‘We’ve been hiding in that old shed,’ he said. ‘Probably a hide,’ he added. 

‘Where are you from?’ 

‘Not far away,’ he said, ‘and very far away.’ Again he looked about, listening intently. Insects still buzzed and whined their way through the trees. ‘Follow me,’ he said. I held back and I knew he could sense that. ‘It’s okay,’ he said, ‘you can trust me. I just need some help. We need some help. Please.’ His face softened. There was something curious about him. I could hear my parents’ voices in my head – don’t go near strangers, never go with any stranger. On cue a voice shouted out in the wood not far away and another answered but more distant. ‘Please,’ he said again. He walked to the old door and pushed it open, motioning to me to come over. I did. With light coming through the doorway I saw a woman and a child. A toddler. They both looked dirty. The woman was younger than the man. 

‘Hello,’ she said. She was sitting in the corner with the child in her arms. 

‘Hello.’ 

‘What’s your name?’ she asked. 

‘Jim.’ 

Looking over at the man she smiled. ‘Can we trust you Jim?’ 

I nodded. They waited. I said, ‘Yes.’ 

The man looked out the door. The woman said, ‘I’m Jen. This is our little girl Elizabeth. Beth.’ 

I looked around the interior of the hut, the shed, and as I got used to the light I could see they’d cleaned it up a bit. ‘How long have you been here?’ 

‘A few days,’ the man said. ‘We haven’t eaten for a few days. Only drunk water from the stream.’ 

I thought about the old stone bridge and the water gurgling beneath it. ‘I can get you food,’ I said. 

‘That would be great,’ Jen said, ‘Beth is so very hungry.’ She looked over at the man. 

‘We ate some berries,’ he said. ‘I need to hunt…or…’ 

‘I can get you food.’ Then, ‘Why are you running away?’ 

‘It’s my time,’ the man said. 

‘Your time?’ 

The man looked at Jen. Jen said, ‘He’s too old.’ 

‘For what?’ I asked. 

‘For this world.’ 

‘Our world,’ the man said. ‘Tell me Jim,’ he said, ‘have you got grandparents?’ I nodded. ‘Are they alive?’ 

‘Of course,’ I laughed. 

‘And are they very old?’ 

I thought for a moment. ‘Yes.’ 

The man looked at Jen. ‘I told you,’ he said to her. ‘We have a chance. We have a chance here.’ 

I was confused. ‘A chance?’ 

‘Can you get us some food, please,’ Jen asked. 

I’d never known someone ask anything in that way before. ‘Yes,’ I said. 

‘Good boy,’ the man said, exchanging a smile with Jen. Beth continuing to sleep. 

Then we heard, ‘What’s that?’ The voice was startlingly close. 

‘Don’t let them find us,’ Jen said. 

‘They’re my friends,’ I explained. 

‘They mustn’t know about us,’ the man said. ‘We can trust you Jim. But no-one else must know we’re here.’ 

‘Okay,’ I said. ‘Let me go out and I can lead them away.’ 

‘Go,’ Jen said. The man moved from the door. 

‘Hide,’ I said. Beth was beginning to move. The man began to put a few large and heavy old cans around them and began unrolling a black covering of some sort. I smiled. ‘I’ll be back,’ I said, ‘with food.’ Then I squeezed out of the doorway into the light of the wood. The door was quickly shut behind me. As I got out I saw Colin looking about. 

Turning, he saw me and shouted, ‘Tally ho!’ 

Root and Rob appeared. ‘We’ve got the stag,’ Rob shouted. 

Root called out, ‘Abby, Josh!’ 

They splayed out around me. I had to escape them and lead them from the shed. 

‘Get him,’ Doug shouted. They tried to grab me. But I fought them back. I wasn’t expecting the game to turn this way. 

‘What’s in that hut?’ Root asked as they prowled around me. 

‘Nothing,’ I said. 

‘Stags can’t talk,’ Abby said, arriving on the scene. 

Again they pounced on me – but I fought them off again. It was as if something had grabbed hold of me and was controlling my limbs. I’d never fought in this way before. Colin went towards the hut. I thumped Root in the stomach and threw myself at Colin, bringing him down. Then they began piling on me and I was like a boy drowning in an ocean of limbs. With all my determination I rose and gulped air. I saw Abby close to the hut’s door and then a blood-curdling scream came from within. Everyone stopped. I knew this was my chance. ‘It’s a ghost,’ I said. ‘It’s a monster,’ I added. ‘I saw it.’ Another scream came from inside. The others were frozen. I took a gamble. I got to my feet. ‘I’m free,’ I called out. ‘The stag is free. You can’t catch me.’ 

Running swiftly, I sensed their dilemma. Whether to go into the hut or save face and follow me. I knew what they would do and sure enough I heard their whoops and shouts again as they made chase. With all my remaining energy I ran as fast as I could. The farther from the hut I could get the safer they would be inside it. I knew this wood better than any of them but I had to lure them away. Keeping a short distance between us, I brought them to one of the main paths and ran hard so that eventually I found myself in open fields. Collapsing in the grass, it wasn’t long before they all arrived. 

‘Got you, you’re dead,’ Root said. And we all laughed. 

We lay in the grass under the hot sun, panting for breath. 

‘I didn’t know you were that good at fighting,’ Doug said. 

‘Nor did I,’ I joked. 

‘What do you think was in that old shed?’ Abby asked. 

‘Maybe a wild animal,’ I said. ‘Or a ghost.’ 

‘We should go back and investigate,’ Root said. 

‘No way,’ said Josh. 

‘Not today, at least,’ Colin added. 

‘If it’s a wild animal it could be dangerous. Best leave it alone and let it escape,’ I said. ‘If it’s a ghost, I’m going nowhere near.’ They all laughed. 

I didn’t say anything to my friends or my family about what I had seen in the hut in the woods. Instinctively I kept it a secret. But I couldn’t get back out on Sunday as my mother announced we were going to see my grandparents. The ones that the man had asked about. By the time we got back it was dark. It was Monday when I got home from school and packed my haversack with food I could find that wouldn’t be missed. I had plenty of time before the sunset, when my parents would worry about me. I told my mum I was off to play football. It was a very safe neighbourhood. 

Finding the hut was more difficult than I imagined and at one point I nearly went back home. But I thought of little Beth. Recalling where I had run as a ‘stag’ I eventually found the wooden hut. It felt as if the wood would eat it up by high summer. Looking around to make sure no-one was about I went to the rotting wooden door and knocked. At first there was no response. Pushing the door open, I heard Jen say ‘Who is it? Is it Jim?’ She sounded worried. I entered. ‘It is Jim,’ she said surprised. For some reason I felt as if she wasn’t expecting me. There was only Jen there. ‘They’ll be back soon,’ she explained as I was looking around. ‘Beth’s going for a bathe in the stream.’ 

‘Is everything okay?’ I asked. ‘Have you eaten?’ 

‘Yep. Monk got some food.’ 

‘Monk?’ 

‘My husband,’ she said. ‘It’s what people call him.’ 

The wooden hut was as tidy as it could be and the window was fixed. Taking off my back pack I handed it to Jen. ‘As much as I could get,’ I said. ‘And a bottle of my dad’s beer too, for…for Monk.’ 

‘He’ll enjoy that.’ Then, ‘You know we’re not from these parts?’ I nodded. ‘We’re not from around here at all,’ she said. I felt she wanted to say more but the door was opened fully and Monk came in holding Beth in his arms. ‘Jim.’ he said. 

‘Sorry I couldn’t get here earlier,’ had to visit my grandparents, then school.’ 

‘I understand,’ Monk said. He sat Beth down carefully and she immediately got herself onto her feet. I was absorbed by her movements. ‘Thanks,’ Monk said. I smiled at Beth. 

‘No-one has seen you?’ I asked. 

‘No.’ 

‘How long will you stay here?’ 

‘Not sure Jim,’ Monk said. They seem able to track us down.’ 

‘Who’s they? The police?’ I ask again. 

‘Not exactly,’ Monk said, looking over at Jen. 

‘Like the police,’ Jen said, ‘but we’ve done nothing wrong…’ 

‘Nothing but get old,’ Monk said. 

‘Monk!’ 

‘Getting old isn’t a crime,’ I said in innocence. 

‘Not yet, maybe,’ Monk said. Then, ‘Are you hungry, will you stay here and eat with us? 

‘You can help feed Beth,’ Jen said. 

Before I left I asked again if they, or Monk, were in trouble with the police. Jen again explained that they’d done nothing wrong but the authorities were after them. 

‘You believe us?’ Jen asked me. I knew she wanted me to believe her, that it was important what I, a boy, thought. I nodded. 

Monk said, ‘It’s been good to meet you Jim. Keep your wits about you. Try not to believe everything you’re told by your teachers or what’s on the news. Times can change. Time can…’ 

‘Monk!’ 

‘Time can be…’ he searched for his words. ‘Time can be a friend or a foe. It can be like the wind or as solid as a tree. But it’s still growing and changing.’ He looked at Jen. She smiled. ‘It’s been nice meeting you Jim,’ he said. ‘I reckon you’ll grow up into a fine young man. Don’t you think Jen?’  

‘Yes, indeed.’ She was holding Beth’s hands and bouncing her up and down. 

‘I’ll come tomorrow,’ I said. 

‘I think we’ll be gone,’ Monk said. ‘Have to stay one step ahead. Time’s catching up with us.’ 

‘Oh,’ was all I could say. I said goodbye to Monk and Jen and then stroked Beth’s hair. ‘She’s very nice,’ I said, ‘and she saved you from being discovered when she cried out.’ Jen and Monk looked at each other puzzled. But then smiled. 

As I left and looked back they were standing outside next to the door. ‘Take care,’ Jen said. ‘Grow up to be a good man. And stop them if you can.’ 

I waved. I wanted to ask ‘who?’. But I stopped myself. The next time I looked back they had disappeared. For some reason a tear formed in my eye and rolled down my cheek. I don’t know why. 

Root had come to the door. It was Friday night and we were going to town to get some pizza and chips for a treat. ‘Hi Root,’ I said. 

‘Hi Jim. Been police all over the village.’ 

‘Police, what’s happened?’ 

‘Looking for a dangerous prisoner who’s escaped. Never seen police that looked like them before.’ 

‘They there now?’ 

‘Don’t know.’ 

‘Hang on, let me get my shoes on.’ 

We ran into the centre of the village where the church was. No-one was about. Nothing. ‘I’ve got an idea,’ I said, ‘follow me Root.’ 

I ran down the lane, past the pub on the left where we had met the previous weekend. Root was right behind me. We got to the bridge and to the style and then we were up and over. Like the wind we rushed along the path and into the wood. ‘Where are we going?’ Root asked nearly out of breath. 

‘Can’t you guess?’ 

We went along a path and then I darted off down another, which was overgrown. ‘Come on,’ I said. ‘I know how to get there.’ We tore through the bushes and got scratched by thorns and spikes of branches but eventually I stopped, Root nearly crashing into me. ‘There,’ I said triumphantly. 

‘That old shed again,’ Root said. 

‘Where I beat you all,’ I laughed. 

I walked up to the door and knocked on it. Root thought this funny. There was no sound so I pushed it open. ‘Nothing,’ I said out loud. Monk had made a make-shift table which still stood there. It still looked quite tidy but the cans had been knocked over and there was no trace of footsteps in the dust of the hut’s floor. No rubbish. Not a mark. Root was looking about. Then on the table I noticed that there were stalks of grass – and they seemed to spell out something. It wasn’t obvious but I could see they spelt out ‘TIME’ and underneath them were two tiny letters written with blades of grass ‘JH’. I wasn’t being fanciful. I was sure they read TIME with my initials underneath. Well, they had to be mine. But perhaps the J stood for Jen? Without thinking I brushed the stalks and blades from the table top. Root looked at me and I looked back at him innocently. 

‘Why did we go to that hut?’ Root asked as we walked back up the lane.  

‘I wanted to see if there was a wild animal there, perhaps a deer’s calf…’ 

In the village a smart-looking man handed us a poster with a photograph on it. At first I didn’t recognise him but I realised it was Monk. Clean shaven, haircut. 

‘Seen him around boys?’ 

‘Who is he?’ 

‘A fugitive.’ 

‘What’s that?’ Root asked. 

‘Someone running from the law. He might have been with a young woman and a toddler.’ I looked at the man. ‘You know anything son?’ he asked. I wasn’t his son. ‘He could be dangerous.’ 

‘What’s he done?’ I asked. 

‘He’s broken the law.’ 

‘What’s he done?’ I asked again. 

‘He has stepped out of society,’ the man said, ‘stepped out of his obligations.’ 

‘What’s that?’ Root asked. 

But I had a strange feeling come over me. I looked up at the man’s face. There was something different about him but I couldn’t explain what. As we walked away the man shouted over to us, ‘If you see him, make sure you report him.’ Then after a pause. ‘We’re running out of time.’ 

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Short story: Glasses for the Blind

This story was originally part of my latest novel The Experience [to be published 2025]. It is one of five ‘outtakes’ that were originally threaded through the novel’s opening chapters. The job of these stories was to reflect or counter the nature of the narrative’s ‘reality’. Their style and viewpoint being contrary to that of the novel’s. It was eventually decided to remove them, simply to keep the continuity of The Experience’s particular style. Please feel free to comment. 

  • Tim Bragg

I arrived at a signpost with paths leading off in different directions. The day was warm, not hot. Spring was in full bloom. It felt as if the world was content with itself. As if there were no wars raging. The globe felt like it was alive and full of energy but at peace. All the destructive forces of humanity channelled into the delicate petals of flowers. The trees were in light leaf, some more than others. Each spring I felt hope and optimism for the future. It was natural.

A wooden signpost with the words 'PAST' and 'FUTURE' carved on two arrows, set against a vibrant blue sky and lush greenery, depicting a winding path.

The signpost was wooden, with its fingers pointing out and destinations carved. I looked up and was confused. There were five paths and on the signs was carved: The same way, A different way, An alternative way, The future, The past. I’d never seen such a sign. I half-smiled. Was it a joke? Someone’s or some council’s ‘bit of fun’? Was it cryptic? The air was still but from the trees that surrounded this meeting of paths came the melodies of birds. I looked down the paths that all began, at least, straight. Dividing the natural, organic nature of the wood.

I had no clear intention of where I was heading. I’d parked the car and left it in the carpark. I saw no-one. Earlier I’d dropped off my wife Hannah, with our twins, at the station. She was going to see her mother in the south of the country. There was nothing for me to do and no pressing engagements. I’d always wanted to see the castle ruins and check out the wood, maybe it was a forest, that surrounded. I had no communication device, just the original sign that pointed from the carpark. ‘Nature Trail’ it read and I followed it. There was no real intent to go anywhere. I imagined that the trail would be circular and maybe there’d be a picnic table somewhere for me to rest.

As I walked along, a whole host of thoughts passed across my mind. Jumbled and incoherent. But the more I walked the less jumbled they became and slowly my mind marshalled them into a coherent narrative. The problems I’d faced, I could view with rationality. Maybe it was the regularity of my steps on the earthen path. Sometimes my attention was disturbed as I found a stone or rock jutting out. But mainly I was lulled into making sense of things. Was life a chaotic mess – or was there order? Order behind it all at least.

I don’t know how long I’d been walking when I reached the sign at the five ways. The path I’d taken had led me there. I suppose I could have left it and gone into the wood. But walking along calmed me and I had the sun above in clear blue skies. Looking up at the sign I was half-amused and half-confused. It would have been reasonable, I presumed, to follow the sign which read ‘The same way’. That would suppose that I was on the right way. And I had no prior intentions as to where I was going. I was just meandering along, with my thoughts, as much as the path allowed. So, I could continue in the same direction or go a different or alternative way. ‘The past’ and ‘The future’ signs were more intriguing. The ‘different way’ would, I presume, take me to a different location, or just a different way to the same place. Taking either the past or the future meant I would have a different experience. ‘An alternative way’ would certainly suggest arriving at the same destination. The question was – what did it mean by alternative? No, I was more charmed by either the future or the past. There I was at the five ways in the present. At the present? What does it even mean ‘the present’? I’d never catch up or slow down enough to be in that present. The present was as elusive…well as elusive as the butterfly that delicately flew before me as these thoughts were forming.

‘The past’ was simply pointing back to the way I had come. But at the start of the path it had signed to the future or even the present. Therefore I was intrigued to think that if I went back the way that I came that I might find the path changed in some way. I couldn’t help imagining that if I returned maybe the path would be changed radically, or I would be changed. It was tempting. If I turned back and found both the path and myself changed then would I even know where I was. And if I panicked and went down the same path again, as I had done originally, would I end up somewhere completely different? Then again would it even be the same path?  Was the past and the future set?

I decided to take ‘The future’. In many ways this seemed to be the logical path to take. The future was inevitable, wasn’t it? Thus, I was compelled to take that way. I might have thought more deeply about this and even considered taking the path to the past was also, in some way, the future. But I was content enough with my decision. And in curious but good spirits I began walking this new way. This future path began in much the way as my old path had been. Trees were either side of me and I could hear the birds singing and the sun was above me shining brightly. And yet everything seemed new to me. Familiar but at the same time strange. As if I were not sure of my place in the world – I felt slightly apprehensive.

As I continued to walk, I noticed from time to time, paths leading off from the one I was on. There were no signs. The paths appeared like the one I was on except some were more used than others. I had no idea where they led so presumed whoever had used them previously knew where they were going. Or perhaps they had simply walked into the wood on a whim, or seen or heard something that they followed. In which case the first person to walk into that now path had randomly or suddenly veered off. Then I thought that all paths began with a single person doing this. There had to be something about that way, or decision, that led others to do exactly the same before the path was used enough to become, well, a path. A recognisable way.

I was thinking all of this when I noticed a figure in the distance before the path turned to the right. It cheered me seeing a fellow human. As I got closer to the figure, I could see it was an old man, dressed in fairly baggy trousers and an old worn tweed jacket. He also had a worn black hat on his head. As I approached I smiled and said hello.

‘Hello,’ he answered.

‘Where does this path lead to?’ I asked.

The old man looked at me. A smile further crinkled his lined face, ‘Don’t you know?’ he asked.

I shook my head and said, ‘I don’t.’

‘Why, tis the future,’ he began, ‘the path here leads to the future. Didn’t you see the sign?’

‘Is that the name of a pub?’ I asked, presuming he wasn’t referring to the sign at the five ways.

‘A pub? You mean a public house?’

‘Yes.’

‘I wouldn’t know,’ he said. ‘I don’t drink. Never have seen a public house where I live.’

‘You live in a dry town?’ I’d heard about such towns and villages but thought they belonged in the past.

‘No idea what that is,’ he said. ‘Gets good and proper wet at times,’ he smiled.

‘What’s the name of the town you live in?’

‘Tis no town, tis a village,’ the man said.

I was feeling a little exasperated, ‘Well the name of your village.’

‘It’s called Foresite. There’s a manor house there, Foresite Manor.’

‘Thank you. How far is it?’

‘Far? Tis no distance,’ he said, ‘tis no distance at all.’

‘Thank you,’ I said again. He touched his hat and we continued on our ways. As we passed, he looked at me with a smile. He seemed familiar. He could have been my grandfather. I smiled back.

I walked on and when I thought it proper, turned and looked back. But the old man had disappeared. The path had turned slightly, so I ran back farther to see where it was straight and a good view beyond where we’d stopped and talked. Nothing. I imagined him sprinting down the path and out of sight. Then I laughed, he was probably in the wood somewhere relieving himself, or maybe he’d taken one of the turnings between the trees. Walking at a brisk pace, feeling somehow renewed, I carried on. I even began whistling. I didn’t normally whistle. Eventually I came to a village.

There was no sign telling me what the village was called. It wasn’t on the path but rather the path forked and it lay to the left. Once houses appeared the path became a road. Not much of a road. No cars about either. The houses were cottages for the most part. They looked old – they were old. What was I thinking. As I continued, I could see a square ahead. And a church spire suddenly became apparent. How had I missed that? There were shops either side of the entrance to the square. I knew they were shops but they looked empty.

‘Looking for anything?’ came a voice. I looked around and across the square with its plane trees and wrought-iron benches. The church was at the top right, its huge wooden doors and metal rivets clearly visible even from where I was. ‘Looking for anything?’

I then realised the voice was coming from an upstairs window above the shop on my left. Looking up I could see a young man staring down at me. ‘Hello,’ I said.

For the third time he asked, ‘Looking for anything?’

‘Is this village called Foresite?’

‘Yes, it is,’ said the young man. ‘Have you come from the past?’

‘The past?’

‘Yes the past,’ he called down. ‘Wait there.’

I waited outside, there was still no-one around. I heard the jingling of a bell and the shop door opened. The young man stood there gazing at me. ‘Come in,’ he said. ‘Come in.’ I followed him inside the shop. It wasn’t empty but sparsely stocked with what looked like wooden gadgets. If they were toys I had never seen their like.

‘Forgive me,’ the young man said. ‘May I touch your face?’

I recoiled slightly, then realised he was blind. ‘Of course,’ I said.

He felt the shape of my head and face, his touch was light and sensitive. ‘Thank you,’ he said. ‘I can gain a sense of someone’s spirit in this manner.’

‘By touching their face?’ He nodded. ‘I didn’t know you were blind,’ I said.

‘Thank you, though it is of little consequence. I have been blind all my life and know this shop and this village as if I could see. Though I don’t know what it is to see. People try and describe sight to me but it makes no sense. I see with my hands and with my body. I can feel when things are around me. When it rains the sound of the rain hitting the rooves of houses or the branches of trees gives me their shape and position. Or I can hear when the wind blows through branches, and if the trees are leafless I can hear the creak of a bough.’

I was impressed. But I had to ask, ‘You asked me if I were from the past.’

‘Yes indeed, but follow me, I have rooms upstairs.’

Deftly, he weaved between obstacles then climbed the old, winding stairs. I followed tentatively. I had some story to tell my wife and the young twins would be spellbound. I watched as he entered a room and bid me follow. ‘Please take a seat,’ he said. ‘Would you like a drink?’

‘If not too much trouble,’ I answered awkwardly. He smiled. There was no look of a blind man about him. His face and eyes appeared perfect.

‘The past,’ he said.

‘Yes, in a manner,’ I replied hesitantly.

‘I presumed you were from the past. The way you sounded as you moved and waited by the shop. And then when you said ‘hello’ I knew for sure.’ Handing me a drink of coffee, which he’d poured from a pot, he also sat down at the table. I wanted to ask him how he knew when to stop. But I thought that impolite. When he spoke he looked directly at me. His eyes were a cool blue colour and betrayed no blindness.

‘I’m not really from any past,’ I began. ‘I don’t think.’ I recalled I was following a sign to the future but surely this village was from the past, rather than me. It certainly felt that way. ‘I suppose, technically, we’re all living in a kind of past,’ I explained.

‘What year is it?’ he asked.

‘1979,’ I answered.

He seemed very happy. ‘Then you are from the past,’ he exclaimed. ‘I thought so, my senses never let me down. Rarely,’ he added. ‘We haven’t introduced ourselves,’ he said. ‘My name is Root. And yours?’

‘James,’ I said.

‘This is quite exciting,’ he said, ‘it’s been a long time since I’ve talked with someone from the past. I was beginning to think I never would again. I always think it strange that you find this village though.’

I was somewhat perplexed. ‘I rather thought this village was from the past,’ I said. ‘It looks quite an historic place.’

Root laughed. ‘Of course not,’ he said exuberantly.

He asked me many questions about my life in 1979 and what I remembered from my past. He was very curious. He wanted to know many details. I was fascinated by this young man and I was more than willing to give him information. He really wanted to know details about my childhood during the war. And as I told him I was taken back into the past.

Abruptly he stopped speaking. I looked into his eyes. Then turned my gaze away for fear that some magic existed inside them and that he could ‘see’ me without seeing.

‘I have to show you something,’ he said. ‘Come with me.’ He retraced his steps to the shop’s front door. I wanted to ask him about the wooden gadgets but he was swifter than me and ushered me outside. As we stepped out, the village seemed full of people. They looked at me quizzically. At least I thought they looked at me, but as I walked with Root in front, they often bumped into me. Eventually I asked Root, ‘Are all the village folk blind too?’

He laughed. ‘No. No, not at all,’ he spoke with an air of playfulness.

‘But they keep bumping into me,’ I said.

‘Yes, of course,’ he replied. ‘Hold my arm,’ he said. I thought it was for me to guide him across the square, milling with people. But I soon realised it was him guiding me. We reached the church doors, the huge doors I had seen from the other side which I now saw contained a smaller door which was left ajar. ‘Be careful,’ he said. ‘It’s very dark inside.’

I smiled.

We walked in and he gently let go of me. I looked around, adjusting my eyes to the lack of light. It was a spectacular cavern of a church. I wanted to shout out or sing.

‘This way,’ he called. I followed him holding on to the end of a pew when he made a sudden turn. We went close to the alter where there was a huge case and many lit candles.

‘This is wonderful,’ Root said. Quickly, he opened the dark-wooded case and searched for something. Instinctively I wanted to help him. Yet, he seemed dexterous, as if he could see in the dark. I even grew suspicious of his professed blindness. ‘Here,’ he said. ‘Here.’ He took a huge heavy book and rested it down on the flat surface in front of the case’s opened doors. Lying the book down – he seemed to know where to turn to – he held out his hand to beckon me closer.

‘Please, tell me,’ he said. ‘Tell me.’

The darkness meant I had to take my glasses case from inside my jacket. Opening it, I took the glasses out and rather self-consciously put them on.

‘Look,’ he said, ‘look.’

And I looked. I peered close to the page he had turned to.

‘Tell me what it says.’

I started to read but I was quite shocked and unnerved as I did. ‘James William Holden a member of this parish, born 1933, died 2013.’

‘You see?’ he asked.

I looked around, a little confused. Whoever this was had the same year and the same date of birth as me.

‘You see?’

‘I’m not sure what I’m meant to see,’ I began.

‘It’s you. You. I knew. As soon as you said ‘James’. I knew. And I’m the only one who can see you.’

‘You can’t see me,’ I said. ‘You’re blind.’

‘I am blind,’ he said gently. ‘But I can see ghosts.’

‘Ghosts?’

‘Yes, ghosts like you James. Dead people. From the past. It’s been some time but they all arrive here eventually. You’re one of the last. Wonderful,’ he said.

I stepped back. Was he a madman, or was I a dead man? Was any of this real?

‘They, you,’ he said, ‘have to come back while you’re alive. But in fact you are really alive and dead. Both at the same time. It’s fine,’ he reassured. ‘You’ve come home,’ he said.

‘But I have no recollection of this village,’ I said.

‘Step outside with me.’

Carefully closing the book and then returning it to the case, Root led me from the dark interior of the church to the outside, where I was blinded by strong light.

I opened my eyes and found myself in my childhood home’s village. Exactly as it was. It could have been before or during the war. People smiled at me but stared straight through Root.

‘Hold my arm,’ I said to him. ‘I’ll take you back.’

He laughed.

Some boys came running through the square. They stopped, saw me. ‘Jimmy,’ they called out. ‘Jimmy where you been?’

I looked at the boy. ‘Root? Is that you Root?’ He laughed out loud. I felt my arm grow heavier and when I turned from the boys, my guide, Root had disappeared.

‘Come on Jimmy, come with us, we’re going to play hide and seek in the wood.’

For a moment I thought I had lost my mind. I could feel my glasses case now in a pocket. But my vision was as sharp as an eagle’s.

The hesitation I felt evaporated. ‘Coming!’ I called and found myself running hard to catch up with my friends.

Overhead a bomber flew low.

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Water on Air

This story was originally part of my latest novel The Experience [to be published 2025]. It is one of five ‘outtakes’ that were originally threaded through the novel’s opening chapters. The job of these stories was to reflect or counter the nature of the narrative’s ‘reality’. Their style and viewpoint being contrary to that of the novel’s. It was eventually decided to remove them, simply to keep the continuity of The Experience’s particular style. Please feel free to comment.  – Tim Bragg

I woke after some vaguely disturbing dreams. I tried to hang onto them, to analyse them, but the more I tried, the more I left them behind. My wife was next to me. She turned around.

‘Are you awake Hannah?’ I asked.

Her eyes flashed open. ‘Hannah?’

Was I back in my dream. ‘Hannah?’ I asked, unsure of her reaction.

‘Who is Hannah?’ she asked.

I sat up in the bed, rubbed my eyes. ‘Hannah?’ I asked again.

She too sat up and stared at me. ‘Are you still dreaming?’

‘I don’t think so.’

She reached over and pinched me. I flinched. ‘You’re not dreaming,’ she said. Then she smiled. ‘I see,’ she said.

‘You see?’

‘Did you have any dreams?’

‘Yes.’

‘Think,’ she said.

‘Think? Of what?’

‘You’re not fully awake,’ she said. ‘You think I’m Hannah.’

I did think she was Hannah. Perhaps I was still in a lingering dream, that somehow touched my awakened state. But that didn’t explain why Hannah was behaving the way she was.

‘Sometimes you’re so strange. After all these years, you’d think I’d be used to you. Jim. Hello Jim, wake up. Wake up,’ she teased.

‘I am awake. And don’t call me Jim. You know I don’t like that.’

‘You do like that,’ she said.

‘Why are you acting so strange,’ I said. ‘What’s going on?’

She seemed to grow a little more serious. ‘Think,’ she said.

‘I am thinking.’

‘This is crazy,’ she said. ‘You’re doing this to wind me up aren’t you? One of your games.’

‘Hannah?’

‘No, I am not Hannah. Who is Hannah?’

I got up and walked to the window and looked out. The trees in the distance were familiar. I wasn’t dreaming. But was I going insane? Is this how it begins? Why was she acting the way she was. Perhaps I was in a dream still – a lucid dream. I said to myself, ‘James, wake up, wake up.’ But I was awake.

‘Who is Hannah?’ she asked again.

I resisted replying that she was. What was I to do. I had to think. ‘This is crazy,’ I said.

‘You’re crazy.’

‘Why me? You don’t even know your own name.’

‘I know my name,’ she said. ‘You can’t even remember liking being called Jim. Have you been smoking?’ She became very serious. ‘Maybe it’s stress,’ she said.

‘This is utterly crazy,’ I said. ‘Are you doing this on purpose?’

She laughed. Then she stopped. ‘You need to see a doctor. Or if this is some great big wind up…or,’ she paused. ‘You’re not playing with me?’

‘Playing?’

She smiled. ‘Am I a character?’

I thought. This was an odd thing for her to say. ‘What do you mean?’

‘Are you creating? Are you trying out dialogue? You’ve done it before. You did it with your last book Which was years ago. But I remember that. I thought you were going mad then, remember?’

Was I creating? ‘Listen,’ I said. ‘I really don’t know what’s going on here. I don’t like this. I don’t like how you’re behaving, if you’re trying to be funny, or clever, it’s not working.’

‘Are you trying to be clever?’ she asked. She got up and walked past me. ‘Who is Hannah?’ she asked.

I could feel the heat of her rage. She was holding herself back, but I could feel it. ‘I thought…’ I was going to say that I thought she was Hannah. But she was Hannah. I was questioning my own sanity.

I could hear her in the bathroom. I could feel the tension. I decided on another tack. Perhaps she was ill? She’d been under some tension, there was a lot going on. I got dressed quickly and went to the bathroom door, which she’d shut. I tapped. ‘Hannah?’

‘Fuck off!’

‘Please. I don’t understand what’s going on. We need to talk.’

‘I don’t want to talk with you,’ she said. And in case you forgot,’ she stressed, ‘it’s Jen. Jen! You remember now?’

‘Jen,’ I said out loud, confused.

‘Ah, now you remember. You just wanted to annoy me. First thing. Put me in a bad mood. Well you succeeded.’

Jen. That was odd. That was an odd name for her to have chosen. I was perplexed. The door burst open and she pushed past me.

‘Jen,’ I said.

‘Too late, you’ve managed to ruin the weekend already. Well done.’ She stamped down the stairs.

Jen. Interesting. She’d chosen the name of my heroine. From my novel. The novel that was fighting for its life. The novel that didn’t seem to go anywhere and I’d left Jen, Jenny in a predicament. Uncertain of which path to take. I’d lost control of the narrative. Perhaps Hannah had read the opening chapters. She didn’t normally. Normally she left me to get on with writing. Writers are admonished not to speak about their work. Write don’t tell.

In the kitchen she was making breakfast. As I entered she turned to me, ‘Make your own. There’s coffee on the table.’ I always drank tea in the morning. ‘Get Hannah to make your breakfast,’ she spat. I wanted to hold her. Whisper to her. But I was unsure. Unsure of everything. We sat in silence at the table in the living room. I sipped the coffee, it tasted dirty. Eventually I broke the deadened atmosphere. ‘Have you been reading my novel?’

‘Why?’

‘I just wondered.’

‘No,’ she said.

I sipped some more of the coffee, looked at her. I could see she was hurt. ‘The main character, well, one of them, is called Jen,’ I said. ‘Jennifer.’ I could feel her brittleness.

‘And?’

‘I think that’s…funny,’ I said.

‘Funny? So now you think my name is funny?’

‘No, no…obviously not,’ I said. ‘The fact that you think your name is Jen. Jennifer.’

‘I don’t like being called Jennifer,’ she said.

‘That’s the same as my character,’ I exclaimed.

‘Perhaps you made me up?’ she said. ‘Perhaps you’ve made everything up.’

‘No, no, don’t be…’ I was going to say ‘ridiculous’ but stopped myself. ‘I mean, it’s funny, a coincidence,’ I stressed. I looked at her. Did I know her? I thought I did. I mean I absolutely did and yet now she seemed more like a stranger. I changed tack. ‘Do you think I’m losing my marbles?’

Looking at me, I could see she wasn’t sure if I was being serious or not. ‘Well you can’t remember your own wife’s name. You think I’m named after a character in your novel. So. Quite possibly.’

‘Seriously, what if I’m, losing it? What if your name is Jen and I’m making it all up?’

‘That’s my name. And I was called Jen long before we met. My dad wanted to call me Rose and my mother Jennifer. That’s why I’m Jennifer Rose, and because my dad wasn’t too happy he’s always called me Jen.’

‘Have you told me this before?’

‘So many times you usually say…’ She stopped herself, realising that whatever I would normally say, I wasn’t saying now.

‘What do I usually say?’

‘It doesn’t matter,’ she said. She became solemn. ‘Jim. James. I think perhaps you need to speak with someone.’

‘Who?’

‘Just one of your friends, or perhaps…’

‘Perhaps what?’

‘One of your friends. What about Doug. He’s level-headed.’

‘Doug. So we agree I have a friend called Doug.’

She smiled. Stopped and became very still. ‘Jim,’ she said kindly, please, if this is some kind of joke, some novel plot you have going, some need to act things out in real life…please…’

‘It isn’t anything to do with any of my writing. But you know I write?’

‘Yes, yes of course.’

‘So I am a writer?’

‘Yes. Not very successful…’

‘No,’ I agreed. ‘Are we married?’

‘Yes, of course.’

‘You’re called Jen’

‘Yes,’ she smiled, ‘do you remember now?’

I shook my head. ‘In my novel the heroine is called ‘Jen’.’

‘Yes, if you say so.

‘I have a friend called Doug?’

‘Yes.

‘And Colin?’

‘Yes, him too,’ she snarled slightly.

‘And Root?’

‘Root?’

‘Yes Root, you know he was my best friend, still is, but he’s in South America now.’

‘Root? Are you kidding me?’ she taunted. ‘What kind of name is ‘Root’?’

‘It’s what all the kids called him, call him…If he even exists!’ I got up and paced up and down the room. ‘Maybe this is you, Hannah, Jen, what-the-fuck-ever. Maybe it’s you gaslighting me. Yeah. Maybe so. You know Doug and Colin but you don’t recall Root. And – let’s get it out in the open – you know why he’s in South America? You had an affair with him. Remember that? Or have you casually forgotten that bit of life.? Like you can’t remember I don’t like being called Jim. Like you can’t even remember your own name. And, funnily enough, you think you’re called Jen. And you haven’t read my novel yet but you probably know that Jen has an affair in that too. Is there something you need to tell me Jennifer?’ I spit out in rage.

‘You’re fucking nuts,’ she said. ‘That’s it I’m done. Nuts. I’m out. Enough of this. I mean I should have listened to Kara…’

‘Kara? That bitch?!’

‘Ah, now it’s out. Now it is out. I thought as much. She said to me, don’t marry that man. He’s a bit, you know…’ she twisted her forefinger against the side of forehead.

‘What did she say?’

‘Spends too much time in his head…making things up. A contender for the funny-farm. You know, that kind of stuff Jim.’

‘Doesn’t surprise me,’ I said. ‘Hey, go ahead and twist the knife now you and Kara have it in my back. She was always a bitch, calling herself a feminist and manipulating all of you uni-pod friends…’

‘Uni-pod?’

‘Yes.’

‘That’s it,’ she said. ‘You’ve lost it. You’ve lost it,’ she was shaking and could only repeat herself.

‘Lost what?’ I taunted.

‘You’re having a breakdown Jim. You’ve let all those words and ideas get in your head.’

‘That’s where they’re from, Hannah. Han-nah. That’s where they’re from. The ideas and thoughts come from my head. Least. Well…’ I wasn’t sure where all my thoughts and ideas came from. ‘I’m going out,’ I said. ‘Getting some air. You think I’m mad. Cuckoo. Ban-na-nas. Don’t you? Well I think you are, whatever your name is. Maybe I’m making you up right now.’

‘That is so fucking typical,’ she said. ‘Such a narcissist.’

‘You don’t even know what it means,’ I retorted.

‘Just get out,’ she said.

‘Try and stop me.’

I left the house and slammed the door. Outside the sun was shining. The postman came whistling down the lane, close to where the pub was. He smiled. Then we both heard a car revving up and Hannah, Jen, whoever she was – blasting down the lane. ‘She’ll kill someone,’ the postman said.

‘She’s upset.’

‘How’s the writing going?’ he asked me. ‘No large envelopes for you recently. Submitting online?’

‘I like the old-fashioned way,’ I said, thinking about Hannah.

‘I had a good idea for a story recently,’ the postman said.

‘Do you write?’ I asked. Glad of his company.

‘Not really,’ he answered, ‘but I do have ideas.’

‘Ideas?’

‘Yes, I had an idea this morning that really stuck with me.’

As a writer, even a writer whose wife was mad and who had run out on him, I was always listening out for ideas.

‘Yes,’ he said. ‘The idea’s probably been done a million times before. But I imagined being in bed and not knowing who the woman lying in bed next to me was. And I don’t even know her name…’

‘Are you kidding me?” I asked.

‘You think it’s good?’ his eyes had lit up.

I brushed my hair back. ‘It could be interesting,’ I said.

‘One of those odd tales you hear,’ the postman continued.

‘Yes. Yes. Listen I have to go back inside and make a few calls. In private.’

‘I understand,’ he said.

I was deeply unsure of everything. And found myself doubting my own sanity. I wanted to be sick. Sick.

Oh, before you go,’ he said, ‘I have this letter for you. Great to get a letter isn’t it? They’re in vogue again. Means something.’ He handed me the letter which had exotic-looking stamps.

‘From Argentina,’ he confirmed. ‘Must be your daughter,’ he smiled.

‘Yes. Yes,’ I said. ‘Must be.’ I looked at the envelope. She was there in Argentina with my best friend. Well he was my best friend. ‘Thanks.’

He waved as he walked on over the road and down the lane.

I took the letter in. I ripped it open and read her words. I sat down and put my head in my hands.

Waking up in the bed I could see my wife next to me. I was half-dressed. I must have drunk to forget. Forget what? I’d had strange dreams and ideas were beginning to form. My wife turned to face me. ‘God you were drunk,’ she said. ‘Never seen you that drunk before James.’

‘Hannah?’ I asked in a soft but gruff voice.

‘What is it?’

I had thoughts come tumbling in but I felt bad and rolled onto my back. ‘Nothing,’ I said.

‘Nothing?’

‘No nothing. I feel rough. Why did I drink so much? It’s this life,’ I said, ‘this, I don’t know, this experience. Gets to me sometime.’

‘At least you’ve finished,’ she said.

‘Finished?’

‘Wow you really did drink a lot. Your novel. You finished the novel. At last.’

‘Jen?’ I asked seemingly out-of-the-blue.

‘She got her just rewards,’ she said. ‘I read the end. That bitch had it coming to her.’

I smiled. But I feel guilty,’ I said.

‘They’re not real.’

‘Who?’

‘The characters.’

‘Not real,’ I murmured. And I was out like a light.

Falling through the air I felt myriad images pulling me this way and that. Would it be like one of those dreams where you hit the bed with a bump – leaving your stomach behind and waking with a start? Or would I be gently held mid-air and slowly, slowly brought to the surface. Tranquil waters resting atop of the cushion of air. Maybe, but the waters were already very choppy.

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Culture Vulture: TV, Film & Streaming Guide for 19–25 April 2025


Culture Vulture: Week of 19–25 April 2025

Selections and commentary by Pat Harrington | Music by Tim Bragg

2,100 words, 11 minutes read time.

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative viewpoint. This week’s standout titles explore trauma and transformation—whether in the searing body-horror fable Titane, the haunted interiors of Accident, or the feverish descent of Scarface. Our 🌟 highlights include Ducournau’s feral masterpiece, a revisiting of Cameron’s cyberpunk prophecy The Terminator, and Penelope—a quiet revolution told through the voice of a woman long kept waiting. Alongside these, we spotlight intimate dramas, political documentaries, and myth-bending reinterpretations that challenge and reward in equal measure.


Saturday, 19 April

🌟 Titane (2021) – Film4, 1:50 AM
With Titane, director Julia Ducournau delivered not just shock value, but one of the most audacious films of the decade—a genre-defying fusion of horror, sci-fi, and emotional melodrama that stunned Cannes into awarding it the Palme d’Or. The film opens with a cold, metallic jolt: a child injured in a car crash emerges with a titanium plate in her skull and an eerie bond with machines. As an adult, she becomes a serial killer, a sex icon, and—somehow—a surrogate son.
Agathe Rousselle’s performance is nothing short of revelatory. Ducournau’s film dares to ask whether love can grow in the wreckage of trauma—and whether our bodies can be vessels of healing as well as pain. A jagged, beautiful miracle.

Doctor Who: “LUX” (Episode 2 of 8)BBC One, 7:15 PM
Miami in 1922 where an abandoned cinema hides a terrifying secret.


Sunday, 20 April

Bryan Ferry plays Baloise SessionSky Arts, 2:50 AM
Ferry delivers his signature cool in this intimate Swiss concert set.

The Horse Whisperer (1998) – Great Movies, 12:45 PM
Robert Redford’s The Horse Whisperer is a sweeping, contemplative drama that unfolds with the measured grace of a prairie wind. Both director and star, Redford crafts a story that bridges the personal and the elemental—tragedy, healing, and the unspoken understanding between humans and animals. It begins with a harrowing accident that leaves a young girl, Grace (Scarlett Johansson in a breakout performance), physically and emotionally scarred, and her beloved horse traumatised. Their mutual suffering forms the emotional core of the film.

Redford plays Tom Booker, a horse trainer with a near-mystical gift for restoring broken animals. But it quickly becomes clear that his gift extends to people too. As Grace and her mother (a taut, quietly moving Kristin Scott Thomas) arrive at Tom’s remote Montana ranch, what follows is not a typical redemption arc but a slow, soulful negotiation between grief and grace. The film is less about solutions than it is about space—space to mourn, to breathe, to reconfigure what love and resilience look like in the wake of catastrophe.

Visually, the film is astonishing. John Toll’s cinematography captures the vast, golden openness of the American West with reverence, lending the story an epic scale that belies its intimate emotional stakes. Redford allows silence to do much of the work—glances, gestures, and stillness speak louder than dialogue, echoing the unspoken connection between humans and animals, parent and child, and ultimately, between self and world.

Part domestic drama, part western pastoral, The Horse Whisperer is a deeply felt meditation on recovery—unhurried, understated, and unmistakably sincere. It asks us to consider not just how we survive trauma, but how we carry those we love through it.

🌟 The Terminator (1984) – ITV4, 9:00 PM
James Cameron’s breakout feature didn’t just launch a franchise—it rewrote the grammar of sci-fi cinema. Lean, relentless, and stripped to its apocalyptic bones, The Terminator is part chase film, part tech-noir nightmare, and part existential warning about the machinery we can’t stop building. What begins with a naked cyborg arriving in 1980s Los Angeles quickly reveals itself as a brutal meditation on fate, survival, and the limits of human agency.

Arnold Schwarzenegger is iconic in his breakthrough role: a monosyllabic killing machine with dead eyes and perfect aim. But it’s Linda Hamilton as Sarah Connor who provides the film’s beating heart. Introduced as a diner waitress with feathered hair and no sense of her significance, Sarah’s transformation into the mother of the future—hunted, hardened, and ultimately defiant—is where the film’s emotional power resides. Her arc is the first sketch of a figure who would become one of cinema’s great female action heroes.

Shot on a shoestring budget and lit in harsh neons and urban decay, the film pulses with dread and grit. Brad Fiedel’s propulsive synth score beats like a mechanical heart, underscoring Cameron’s vision of a world where the line between man and machine is vanishing—and where the future is already sending back its regrets.

For all its explosions and iconic one-liners, The Terminator is steeped in fatalism. It’s about systems too vast to stop, technology too advanced to question, and a future that’s already happening. It predicted the rise of AI and mass surveillance with eerie clarity, and forty years on, it feels less like nostalgia and more like prophecy.

The Cancellation of Kenny EverettChannel 5, 9:00 PM
When a comedian’s past comes back to haunt him, the fallout is sharp, uncomfortable, and all too familiar in our call-out culture.


Monday, 21 April

Accident (1967) – Talking Pictures TV, 9:05 PM
Pinter and Losey craft a chilling study in quiet desperation. Dirk Bogarde gives a performance of eerie stillness in a film where silence speaks volumes.

Tuesday, 22 April

Dickens in Italy with David HarewoodSky Arts, 9:00 PM
Harewood journeys through Italy’s art, politics, and architecture to rediscover Dickens’s evolving worldview.

Rudyard Kipling: A Secret LifeSky Arts, 10:00 PM
This probing documentary peels back the layers of a literary life marked by brilliance, contradiction, and loss. Rudyard Kipling remains one of Britain’s most recognisable and divisive writers—praised for his poetic mastery and narrative craft, yet deeply entangled with the imperial ideology of his time. A Secret Life does not shy away from these tensions; instead, it leans into them, tracing the arc of a man who both shaped and was shaped by the British Empire.

Through letters, rare archival footage, and interviews with historians and literary critics, the film constructs a portrait of Kipling that is at once admiring and uneasy. Here is the Nobel laureate who penned If—, The Jungle Book, and The White Man’s Burden; the son of colonial India who became its most famous chronicler and apologist; the father who never recovered from the death of his son in the First World War.

What emerges is a man torn between personal tragedy and public myth. The documentary delicately balances Kipling’s extraordinary command of language with the imperial convictions that permeated so much of his work. It examines the costs of certainty—moral, political, and artistic—in a changing world, and invites viewers to grapple with the legacy of a writer whose influence is undeniable, yet whose worldview is increasingly interrogated.

Thoughtful, restrained, and intellectually engaged, Rudyard Kipling: A Secret Life offers no easy answers—only the necessary discomfort of reckoning with genius shadowed by history.

Bullet Boy (2004) – BBC Three, 10:00 PM
Raw, intimate, and unflinchingly real, Bullet Boy remains one of the most urgent portraits of inner-city Britain committed to film. Set in Hackney and unfolding with documentary-like immediacy, Saul Dibb’s directorial debut captures the fragile boundary between adolescence and destruction in communities where options are limited and consequences swift.

Ashley Walters, in a career-defining performance, plays Ricky—a young man freshly released from prison and trying, with quiet desperation, to break the cycle of violence. His portrayal is magnetic: full of simmering restraint and bruised determination. As Ricky struggles to keep himself and his younger brother Curtis away from the pull of street life, the film builds its tension not through action, but through the weight of inevitability. Every choice feels like a test; every silence is loaded.

The cinematography is stripped-down and naturalistic, capturing the estate’s concrete sprawl and the fleeting moments of tenderness that pierce through. Dibb’s film is as much about atmosphere as it is about plot—about the pressure cooker of postcode politics, institutional neglect, and familial love stretched to breaking point.


Wednesday, 23 April

Terminator Salvation (2009) – Film4, 11:35 PM
The fourth entry in the Terminator saga shifts gears from time-travelling assassins to boots-on-the-ground warfare in a scorched, machine-ruled future. Christian Bale brings grim determination as resistance leader John Connor, locked in a brutal struggle against Skynet’s rise. But it’s Sam Worthington as Marcus Wright—part-man, part-machine, part-enigma—who anchors the film’s emotional arc.
Terminator Salvation reimagines the franchise’s mythos as a war movie, trading neon-drenched streets for desolate wastelands and moral ambiguity. Though divisive upon release, it’s an ambitious attempt to expand the universe, leaning into themes of sacrifice, guilt, and the tragic limits of prophecy. It asks whether destiny is a blueprint or a burden—and whether humanity can win a war against itself.


Thursday, 24 April

Trump Revolution: 100 Days That Changed the WorldChannel 4, 9:00 PM
An unflinching chronicle of America’s lurch into disruption, disinformation, and destabilisation.

🌟 PenelopeSky Atlantic, 9:55 PM
In this bold and intimate reimagining, Penelope gives voice to one of literature’s most enduringly silenced women. Long cast as the loyal wife weaving and unweaving her tapestry while awaiting Odysseus’s return, Homer’s Penelope becomes, in this solo theatrical performance, something far more complex: not a passive figure of endurance, but a woman caught in a storm of memory, yearning, and rebellion.

Framed through a contemporary feminist lens, the performance strips away epic heroism and grand narrative to reveal the psychological toll of waiting—of being left behind while others get to write history. The staging is stark yet expressive, with poetic monologue, minimalist sound design, and shifting light working in tandem to elevate stillness into tension. Every gesture, every breath, becomes loaded with unspoken challenge.

The writing leans heavily into lyricism and interiority, exploring themes of autonomy, fidelity, gendered expectation, and the aching question of what happens when myth forgets your voice. Penelope is no longer merely the faithful wife—she is a keeper of time, a chronicler of silence, and a witness to her own erasure.

This is theatre as reclamation: emotionally intimate, intellectually resonant, and quietly revolutionary. For those drawn to myth retold through a feminist gaze, Penelope is a spellbinding reflection on waiting not as virtue, but as resistance.


Friday, 25 April

Nazi Ratlines in Franco’s MadridPBS America, 7:05 PM
A chilling exposé of how post-war fascists escaped justice with state complicity.

🌟 Scarface (1983) – Film4, 9:00 PM
Brian De Palma’s Scarface is a baroque, blood-splattered epic that fuses the American Dream with a cocaine-fuelled fever dream. Al Pacino delivers one of cinema’s most iconic performances as Tony Montana—a Cuban refugee who claws his way from poverty to power, only to be devoured by the very excesses he embraces. Snarling, swaggering, and incandescent with rage, Pacino dominates every frame, turning Montana into both monster and martyr.

With a razor-sharp script by Oliver Stone and Giorgio Moroder’s glacial synth score pulsing beneath the surface, the film captures the nihilistic pulse of 1980s Miami. It’s obsessed with surfaces—gleaming mansions, mirrored nightclubs, and tailored suits—but beneath them lie rot, paranoia, and a hunger that can’t be sated. De Palma frames it all with operatic flair: long takes, split-diopter shots, and slow-motion carnage that elevate brutality to something near Shakespearean.

Scarface has long courted controversy and contradiction. It’s idolised by some for its audacious ambition, while others view it as a cautionary tale of masculine self-destruction. It is both. What makes it endure is precisely that tension—between critique and seduction, power and collapse, dream and nightmare.

Forty years on, Tony Montana still looms large: a figure of myth, menace, and tragic grandeur. In a world that worships success at all costs, Scarface asks: what if the cost is everything?

On Radio

​For Culture Vulture readers attuned to the interplay between sound and health, BBC Radio 4’s Loud—airing Wednesday at 3:30pm—is an essential listen. This compelling half-hour programme delves into the pervasive issue of noise pollution, exploring its profound impact on our health, environment, and daily lives.​

Noise pollution is more than just an urban nuisance; it’s a serious public health concern. According to the World Health Organization, it’s one of the leading environmental stressors, second only to air pollution. Chronic exposure to elevated noise levels has been linked to a range of health issues, including hearing impairment, hypertension, sleep disturbances, and even cardiovascular diseases. The programme sheds light on these critical issues, offering insights from experts and real-life stories that underscore the urgency of addressing noise pollution.​

Loud stands out not only for its informative content but also for its engaging storytelling. It weaves together scientific research, personal narratives, and cultural commentary to paint a comprehensive picture of how noise shapes our world. Whether you’re interested in environmental issues, public health, or the cultural dimensions of sound, this programme offers valuable perspectives that will resonate with the Culture Vulture audience.​


and finally, Streaming Choices

HavocNetflix, available from Friday 25 April
Tom Hardy stars in this gritty thriller from Gareth Evans (The Raid), as a bruised cop fighting his way through a criminal underworld. Expect jaw-dropping choreography, grim morality, and relentless pacing.

Dope ThiefApple TV, finale available Friday 25 April
A pair of Philadelphia grifters pretend to be DEA agents—until they cross the wrong cartel. Stylish, tense, and unexpectedly sharp.

Fatherland: 30 Years of WarHistory Hit, available from Thursday 24 April
A powerful documentary based on the diaries of Wilhelm Kurtz, a German soldier and teacher whose writings offer a haunting, deeply personal view of the Third Reich from within.

Picture credits

Titane
By http://www.impawards.com/intl/france/2021/titane.html, Fair use, https://en.wikipedia.org/w/index.php?curid=68035188
The Terminator
May be found at the following website: https://www.imdb.com/title/tt0088247/mediaviewer/rm774208512/?ref_=tt_ov_i, Fair use, https://en.wikipedia.org/w/index.php?curid=22186885
Terminator Salvation
May be found at the following website: [1]Warner Bros., Fair use, https://en.wikipedia.org/w/index.php?curid=20396456
Scarface
By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=964690
Accident
Fair use, https://en.wikipedia.org/w/index.php?curid=4207926
Bullet Boy
By The cover art can be obtained from Movieposterdb.com., Fair use, https://en.wikipedia.org/w/index.php?curid=32687264
The Horse Whisperer
By IMPAwards, Fair use, https://en.wikipedia.org/w/index.php?curid=9554249
Kipling
By Elliott & Fry – [2] [3], Public Domain, https://commons.wikimedia.org/w/index.php?curid=44696911
Charles Dickens
By Jeremiah Gurney – Heritage Auction Gallery, Public Domain, https://commons.wikimedia.org/w/index.php?curid=8451549
Kenny Everett
Fair use, https://en.wikipedia.org/w/index.php?curid=4295379
Bryan Ferry
By Raph_PH – https://www.flickr.com/photos/69880995@N04/52428354709/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=149437412
Donald Trump
By Daniel Torok – Official 2025 portrait on https://www.whitehouse.gov/administration/Also posted at https://x.com/dto_rok/status/1879759515534729564, Public Domain, https://commons.wikimedia.org/w/index.php?curid=158023996

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Culture Vulture 1st to the 7th of March 2025

Welcome to Culture Vulture, your go-to weekly guide for an alternative take on entertainment. This carefully curated selection is brought to you by Pat Harrington. Music by the talented Tim Bragg accompanies the . writing. This week’s highlights are thought-provoking and diverse. They feature a compelling mix of historical drama, Shakespearean intensity, and investigative documentary.

First, we have Suffragette (2015). It is a powerful historical drama. It focuses on the working-class women who played a pivotal role in the fight for the right to vote. Carey Mulligan stars as Maud. She is an ordinary woman whose journey of radicalization reflects the courage of countless suffragettes. These brave women risked everything in the struggle for equality. With its unflinching portrayal of the movement’s violent tactics, Suffragette highlights activism’s personal cost. It is both an emotional and inspiring watch. Viewers are asked to consider the sacrifices behind societal progress.

Next, delve into the gripping modern adaptation of Shakespeare’s Coriolanus (2011). Ralph Fiennes directs and stars in this tense political thriller. The film transports the Bard’s tale of war and betrayal to a contemporary setting. Fiennes portrays a proud and unyielding general. His tragic downfall stems from an inability to connect with the people he serves. Urban warfare forms the backdrop of this adaptation. It resonates powerfully with present-day themes of populism. It also highlights the dangers of unchecked authority.

Finally, there’s The Undercover Police Scandal: Love and Lies Exposed. This investigative documentary series exposes the shocking emotional toll and ethical dilemmas of undercover policing tactics. The first episode highlights the harrowing stories of individuals deceived by covert operatives. It focuses on the profound impact of these betrayals on their personal lives. It’s a deeply unsettling yet essential exploration of authority and trust, revealing a hidden world that demands public scrutiny.

If you’re in the mood for historic justice, you’ll find it. Prefer Shakespearean drama? There is something for you too. This week’s Culture Vulture even features a hard-hitting exposé. It offers something for everyone. Be sure to check out these standout picks that challenge and captivate in equal measure!

Saturday 1st of March 2025

Elkie Brooks At The BBC (BBC1, 8.30pm)

A retrospective of one of Britain’s greatest yet often overlooked vocalists. This documentary features performances spanning decades. It highlights how Elkie Brooks evolved from a rock and blues singer to a powerhouse of jazz and pop. Despite her undeniable talent, she never quite received the industry recognition afforded to male contemporaries.

Brooks’ career is a story of perseverance. She has faced a music business that has often been unkind to women. This is especially true for those who age out of its commercial spotlight. Her voice has remained timeless. It is rich with the experience of someone who has lived through the highs and lows of the industry.

This collection of BBC performances is a reminder of an artist whose music endures, even as the industry moves on. It’s also a reflection. The British music scene often fails to properly honour its homegrown talent. This recognition typically comes much later in the artists’ lives. I recently had the pleasure of listening to Elkie on BBC Radio 2’s Piano Room. Her voice is as powerful as ever.

Elkie: Sight And Sound In Concert (BBC1, 9.35pm)

This special captures Brooks at her prime, performing some of her most iconic songs in a live setting. Unlike today’s auto-tuned, overproduced performances, this concert is a testament to the power of raw vocal ability and genuine musicianship.

Brooks’ performance style is intense yet effortless, displaying her ability to move between genres while keeping her signature emotional depth. Songs of love, heartbreak, and personal struggle take centre stage, performed with an authenticity rarely seen in modern pop music.

For long-time fans, this is a nostalgic gem. For newcomers, it’s an introduction to an artist whose voice deserves to be remembered alongside the greats.

Elkie Brooks In Concert 1987 (BBC1, 10.35pm)

A live performance from the late ’80s, this concert showcases Brooks at a transitional moment in her career. By this point, she had cemented her reputation as one of Britain’s finest vocalists, yet mainstream success remained frustratingly elusive.

Performing with a full band, Brooks blends jazz, rock, and blues influences effortlessly. The show highlights her vocal prowess. It also emphasizes her commanding stage presence. This aspect has often been overlooked in discussions about British music legends.

A reminder of an artist. Despite not always getting the attention she deserved, she remained a singular talent. She consistently delivered emotionally charged and musically sophisticated performances.

Prey (2022) (C4, 9.20pm)

Prey strips back the Predator franchise to its primal roots. It replaces the typical military hero with Naru, a young Comanche woman. She must outthink and outlast the alien hunter. This change in perspective reinvigorates the series, shifting the narrative from brute strength to strategy, patience, and adaptability.

The film’s themes extend beyond the survival thriller. Prey is a metaphor for colonial arrogance. It mirrors the way European invaders dismissed Indigenous knowledge and underestimated those they sought to conquer. The Predator, like those colonisers, assumes itself superior, but Naru’s understanding of her environment becomes her greatest weapon.

The decision to release the film with a Comanche-language dub is significant. It marks one of the first major Hollywood films to treat Indigenous representation with genuine care. This is rather than mere tokenism. Prey is not just a great action film. It’s an important step ahead in how stories about the past are told. It also impacts how stories about the future are narrated.

Sicario (2015) (BBC1, 12.30am)

A brutal and unflinching look at the US-Mexico drug war. Sicario follows an idealistic FBI agent. She is thrust into a world where morality is blurred beyond recognition. She soon realises that the war on drugs isn’t about stopping crime—it’s about managing and maintaining power.

The film’s suffocating cinematography and tense, minimalist storytelling expose the reality of militarised policing. The supposed “good guys” are indistinguishable from the criminals they claim to fight. The US government is not an arbiter of justice. Instead, it is a manipulative force. It is willing to use any means necessary to maintain dominance.

Benicio del Toro’s enigmatic character, Alejandro, embodies this moral decay—a man so consumed by revenge that justice becomes irrelevant. Sicario forces viewers to confront the uncomfortable truth that institutions thrive on conflict rather than resolution.


Sunday 2nd of March 2025

Suffragette (2015) (Film4, 6.50pm)

Unlike many historical films, Suffragette does not focus on the famous leaders of the movement. It focuses on the working-class women who carried the fight. Carey Mulligan’s Maud is an ordinary woman. Her gradual radicalisation mirrors the real experiences of countless suffragettes. They risked everything for a future they might not live to see.

The film doesn’t shy away from the movement’s violent tactics. Bombings, arson, and hunger strikes are shown as acts of desperation. These acts were against a system that refused to listen. Today’s history books celebrate the suffrage movement. However, Suffragette reminds us that these women were criminalised, brutalised, and dismissed as terrorists in their own time.

With strong performances and a deeply emotional core, the film is compelling. It forces us to ask: how much of today’s progress was truly “granted” by the establishment? How much was taken by force?

Mark Kermode’s Oscar Winners (BBC4, 7pm)

Mark Kermode breaks down the major Oscar-winning films of the past. He examines not just their artistic merit but also the wider cultural impact. He looks at the political impact they had. A fascinating look at how Hollywood chooses which stories deserve recognition—and which ones don’t.

Nick Cave: This Much I Know To Be True (Sky Arts, 10.55pm)

is an evocative and deeply personal documentary that transcends the typical boundaries of music-focused films. It serves as a creative chronicle. It is also a raw exploration of human resilience. The film delves into themes of grief, reinvention, and the healing potential of art.

The documentary is set against the backdrop of Nick Cave’s transformative journey following the tragic loss of his son. This devastating event has profoundly shaped his music, which now carries an unparalleled depth, moving toward rawer, more spiritual expressions. The film captures this evolution. It offers an intimate glimpse into the artist’s world. He processes his pain and channels it into his creative work.

The film does not center on the mechanics of the music industry. Rather, it focuses on universal human experiences. It presents creativity as a means to cope with loss. Through candid moments, poignant performances, and reflective interviews, it paints a portrait of Cave as an artist. He navigates the intersection of sorrow and hope. He finds meaning through his art.

This Much I Know to Be True is not just a documentary. It is a testament to the power of creativity as a tool for understanding and overcoming grief. It’s a film that resonates on a deeply human level, celebrating the courage to transform tragedy into profound, transformative beauty.

Glory (1989) (Film4, 11.45pm)

This is a historical war film. It tells the true story of the 54th Massachusetts Infantry Regiment. It was one of the first Black regiments in the American Civil War. Despite fighting for the North, these men are still treated as second-class citizens, their sacrifices often unrecognised.

Denzel Washington’s Oscar-winning performance is a highlight. He portrays a soldier who understands that the fight for equality will not be over, even in victory. The film’s final battle sequence is devastating. This is not just because of the brutality of war. It is also tragically ironic. The men leading the charge may never see the justice they fought for.

Glory is not just a war film. It is a statement on who gets to be remembered in history. It is also about who is erased. It remains as relevant now as ever.


Monday 3rd of March 2025

The Last Duel (2021) (Film4, 9pm)

Ridley Scott’s The Last Duel explores power, truth, and gender in a way that feels disturbingly relevant today. The story is set in medieval France. It tells the tale of Marguerite de Carrouges. She accuses a powerful man of rape. This leads to the last legally sanctioned duel in history.

The film is structured in three parts, showing the same events from different perspectives. The first two—told from the viewpoints of the men—distort reality to fit their egos. Only Marguerite’s account, painful and brutally honest, rings true. This storytelling choice exposes how history has always been shaped by those in power.

The final duel is visually spectacular, but the film’s real power lies in its aftermath. Marguerite’s survival does not bring her justice—just a different struggle. A sharp indictment of how women’s voices have been silenced for centuries.

Israel And The Palestinians (two of three) (BBC2, 9pm)

The second episode of Israel and the Palestinians continues its in-depth exploration. It examines one of the most enduring and complex conflicts in modern history. This installment delves into the intricate web of diplomacy, failed peace talks, and the human cost of the ongoing crisis. The documentary takes a meticulous approach. It examines pivotal moments in the conflict. It offers insights from key political figures, diplomats, and those directly affected. The narrative is both sobering and enlightening. It sheds light on the challenges of achieving peace in a region fraught with historical grievances and geopolitical tensions.

What sets this episode apart is its balanced presentation of perspectives. The filmmakers have gone to great lengths to include voices from all sides, creating a nuanced portrayal of the conflict. The episode highlights the complexities of negotiation through interviews with Israeli and Palestinian leaders. It also features conversations with international mediators. The deep-seated mistrust often derails progress. Archival footage provides emotional weight. Personal testimonies remind viewers of the human lives at the heart of the political struggle.

This episode serves as a reminder of the fragility of peace. It highlights the resilience of those who continue to hope for a resolution. It does not shy away from the harsh realities of the conflict. It also underscores the potential for understanding and reconciliation. Israel and the Palestinians offers a compelling viewing experience. It presents the historical aspects of the issue. It also shows the contemporary dimensions. It is thought-provoking and encourages reflection on the broader implications of the crisis.

Oscars Highlights (ITV1, 10.45pm)

A glittering showcase of Hollywood’s finest combines the glamour of the red carpet with profound reflections. It provokes thought on the industry’s influence on global storytelling. The ceremony dazzles with wealth and celebration. However, it also prompts important questions about representation. We must consider which voices are heard and which are excluded from the narratives we celebrate.

This year’s Oscars showcase a diverse array of films, each contributing unique perspectives to the cinematic landscape. Emilia Pérez leads with an impressive 13 nominations. These include Best Picture and a historic Best Actress nod for Karla Sofía Gascón. The thought-provoking The Brutalist and the vibrant Wicked are other notable contenders. Each has 10 nominations. Compelling entries like Anora and A Complete Unknown also stand out. These films highlight the expanding diversity in storytelling. They also underline the ongoing challenges in creating an equitable platform for all voices.

As the awards are handed out, Oscars Highlights encourages viewers to think critically about Hollywood’s role in shaping cultural narratives. The night celebrates artistic achievements. It also reflects the inequalities within the industry. This challenges audiences to consider how we define and reward greatness in storytelling. Beyond the glitz and glamour, the show reflects broader struggles. It mirrors the quest for authenticity in global cinema.

The Death Of Stalin (2017) (BBC1, 11.55pm)

Armando Iannucci’s The Death of Stalin is a masterful political satire that walks the fine line between absurdity and horror. The film is set in the chaotic days following the sudden demise of Joseph Stalin in 1953. It turns a brutal period of history into dark comedy. The movie exposes the paranoia, incompetence, and opportunism of authoritarian rule. The characters scramble over each other in their frantic bids for power. Yet, the film never lets the audience forget the deadly stakes. Decisions made in smoky rooms determine who lives and who disappears forever.

What makes The Death of Stalin so compelling is its ability to highlight the sheer absurdity of totalitarianism. Every scene is infused with an unsettling mix of humour and menace. Stalin’s ministers awkwardly step over his body, terrified to be the first to acknowledge he is dead. There are also desperate attempts to rewrite history even as it unfolds. Power in such regimes is not about ideology or governance but about survival. Figures like Steve Buscemi’s Nikita Khrushchev are caught in a loop of constant betrayal. Simon Russell Beale’s monstrous Lavrentiy Beria also engages in these treacherous acts. They know that any misstep could lead to execution.

Beneath the sharp dialogue and comedic timing, the film carries a serious message. Authoritarianism doesn’t just rely on violence. It thrives on fear, loyalty tests, and the erasure of truth. The film’s final moments show Khrushchev consolidating power in an eerily similar manner to his predecessor. This makes it clear that tyranny isn’t about individuals. It is about systems that allow such rule to continue. The Death of Stalin is not just a historical farce. It chillingly reminds us of how power operates. History repeats itself when those in control focus on self-preservation more than justice.

Tuesday 4th of March 2025

Seeking Satoshi: The Mystery Bitcoin Creator (one of two) (C4, 10pm)

Bitcoin has long been hailed as a financial revolution, but its origins remain shrouded in secrecy. This documentary attempts to uncover the true identity of Satoshi Nakamoto, the pseudonymous figure credited with inventing Bitcoin.

The first episode of Seeking Satoshi: The Mystery Bitcoin Creator (C4, 10pm) embarks on a fascinating journey. It investigates the enigmatic origins of Bitcoin, the revolutionary cryptocurrency. Bitcoin has transformed the financial world. Journalist Gabriel Gatehouse leads this documentary. It explores the mystery surrounding Satoshi Nakamoto. He is the pseudonymous figure credited with creating Bitcoin. The episode uses investigative reporting and compelling storytelling. It explores the cultural and economic impact of Bitcoin. It also questions the true identity of its elusive creator.

The episode takes viewers to a mega Bitcoin gathering in Miami. It reveals the cryptocurrency’s political ambitions. It also uncovers its ideological underpinnings. It raises thought-provoking questions about the promises of decentralization and financial freedom. These are juxtaposed with the realities of inequality and unaccountability that have emerged in the crypto world. The documentary skillfully balances technical insights with human stories, making it accessible to both crypto enthusiasts and newcomers alike.

What makes this episode particularly engaging is its ability to weave together the technical, cultural, and philosophical dimensions of Bitcoin. It challenges viewers to ask an important question. Does Bitcoin remain a radical alternative to traditional financial systems? Or has it been co-opted by the very institutions it sought to disrupt? Seeking Satoshi possesses investigative depth. Its captivating narrative sets the stage for a gripping exploration of one of the most intriguing mysteries in modern technology.

Coriolanus (2011) (BBC2, 11.05pm)

This modern reimagining of Shakespeare’s Coriolanus transforms the classic tale of war and political betrayal into a contemporary thriller. Ralph Fiennes directs and stars as the titular general. He is revered for his military prowess. Yet, he is despised for his inability to connect with the people.

The film’s urban warfare setting, complete with news broadcasts and riot police, makes it feel eerily relevant. It explores the dangers of unchecked power. It examines the manipulation of populism. It shows how the public’s favour can shift with alarming speed. Coriolanus is a man who sees himself above the masses. His downfall comes not from his enemies but from his failure to understand the people he claims to protect.

The film forces us to think on modern politics. Leaders who refuse to engage with ordinary citizens often find themselves cast out. This is not because they are unworthy. It is because the system demands a balance of power and perception. A striking and intense adaptation that proves Shakespeare’s themes stay timeless.

No Other Land (2024) (C4, 11.15pm)

This powerful documentary captures the reality of Palestinian displacement from the perspective of those experiencing it firsthand. Mainstream Western coverage often dilutes the urgency of the situation. No Other Land refuses to sanitize the brutal destruction of homes. It highlights the forced removal of entire communities.

Filmed by Palestinians on the ground, the documentary doesn’t just present statistics. It shows the human impact of occupation. It highlights the loss of cultural heritage. It demonstrates the resilience of people who refuse to be erased. The film raises pressing questions about international complicity and why certain narratives are amplified while others are suppressed.

For those who rely on corporate media for news, No Other Land provides an essential viewpoint. It offers an unfiltered perspective on one of the most pressing humanitarian crises of our time.


Wednesday 5th of March 2025

Nightmare Alley (2021) (Film4, 9pm)

Guillermo del Toro’s Nightmare Alley is a slow-burning, psychological noir that explores the thin line between ambition and self-destruction. The story follows Stanton Carlisle (Bradley Cooper), a drifter who learns the tricks of mentalism. He manipulates his way into high society. Eventually, his own arrogance leads to his downfall.

Unlike traditional noir films, Nightmare Alley presents its protagonist as both the conman and the mark. Stanton believes he can outwit everyone. In reality, he is simply another player in a system that devours those who reach too far. His journey is a cautionary tale about power and deception. It illustrates the inevitable downfall of those who believe they can cheat fate.

The film’s haunting visuals and chilling performances make it a gripping watch. However, its deeper message is more unsettling. Society itself is built on cons. Those at the top are simply the ones who have mastered the game for longer than others.

A Cruel Love: The Ruth Ellis Story (ITV1, 9pm)

Ruth Ellis was the last woman to be hanged in Britain. Her case remains one of the most controversial in legal history. This documentary examines her trial and execution. It questions whether justice was truly served. It also questions if Ellis was a victim of a system. The legal system refused to acknowledge domestic abuse as a mitigating factor.

The film provides context on how gender, class, and outdated legal standards shaped her fate. Now, discussions on coercive control and domestic violence have evolved. In this context, Ellis’ case feels even more tragic. She was punished not just for a crime, but for daring to defy societal expectations.

By revisiting Ellis’ story, this documentary forces us to ask how much the justice system has really changed. It also questions whether the law still fails those who need it most.

Seeking Satoshi: The Mystery Bitcoin Creator (two of two) (C4, 10pm)

The second episode of Seeking Satoshi: The Mystery Bitcoin Creator (C4, 10pm) delves deeper into the enigma surrounding Bitcoin’s origins. It explores the conspiracy theories and controversies that have emerged over the years. Journalist Gabriel Gatehouse continues his investigation. He uncovers new leads and encounters warnings from veteran hackers. They suggest that the truth about Satoshi Nakamoto might be too dangerous to pursue.

This episode broadens the scope of the mystery. It examines whether Bitcoin was the work of a lone genius or a collective effort. It even entertains the possibility of government involvement. It also highlights the darker side of Bitcoin’s legacy. This includes its use in dark web markets. It also involves its role in financial speculation. These elements raise critical questions. Does Bitcoin still represent the ideals of freedom and decentralization? Or has it become another tool for exploitation and inequality?

With its mix of investigative journalism and philosophical inquiry, the episode challenges viewers. It encourages consideration of the broader implications of Bitcoin’s creation. The episode also examines its impact on the world. It’s a gripping continuation of the series. It blends intrigue with a thought-provoking exploration of the intersection between technology, power, and human ambition.


Thursday 6th of March 2025

The Wicked Lady (1945) (Talking Pictures, 10.50am)

A rebellious and provocative film for its time, The Wicked Lady tells the story of a noblewoman. She defies societal norms by leading a double life as a highway robber. Margaret Lockwood’s performance is electric, turning the character into an anti-hero who refuses to accept the constraints imposed on women.

The film explores morality. It makes audiences sympathise with a thief. The film questions who truly has the right to wealth and power. Although made in the 1940s, its themes of female independence and resistance against rigid social expectations remain strikingly relevant.

Beneath the costume drama, The Wicked Lady is a sharp critique of gender roles and the hypocrisy of aristocratic society. A daring and subversive classic.

The Undercover Police Scandal: Love And Lies Exposed (one of three) (ITV1, 9pm)

The first episode of The Undercover Police Scandal: Love and Lies Exposed (ITV1, 9pm) unveils a deeply unsettling narrative. The story is full of deception and betrayal. It focuses on the lives of individuals who were profoundly affected by covert operations. Through intimate interviews and detailed accounts, the documentary exposes the hidden practices of a secretive unit. It reveals the far-reaching consequences of their actions on personal lives. It also shows the impact on trust.

This episode highlights the intricate dynamics of power and control, as it explores how relationships were manipulated under false pretenses. The stories of those who were deceived are both harrowing and courageous. They recount their journeys of uncovering the truth. They also seek accountability. The documentary does not shy away from exposing the emotional toll. It reveals the long-lasting scars left by these actions. It offers a poignant look at the resilience of those who refused to stay silent.

The episode weaves together personal testimonies and investigative findings. It challenges viewers to think about the boundaries of authority. It also explores the ethical dilemmas that arise when those boundaries are crossed. It’s a compelling start to a series. The series promises to delve even deeper into the complexities of these hidden operations. It will also explore their impact on society.


Friday 7th of March 2025

High Noon (1952) (GREAT!action, 8pm)

On the surface, High Noon is a classic Western about a lone sheriff preparing for a gunfight. But beneath the action, it is a scathing critique of cowardice and conformity. The town’s people, rather than standing against injustice, find excuses to avoid responsibility.

Seen as an allegory for the McCarthy-era witch hunts, High Noon is not focused on heroism. Instead, it highlights the failures of those who choose silence over resistance. It remains a powerful reminder of how easily injustice flourishes when people turn a blind eye.

Event Horizon (1997) (Film4, 11.15pm)

Event Horizon, a sci-fi horror film, delves deeply into the multidimensional consequences of unchecked ambition. Socially, it examines the human drive to explore and dominate the unknown. This reflects the age-old pursuit of progress. Often, progress comes at the expense of ethics and humanity. Politically, it mirrors the Cold War-era space race. During this time, nations pushed the boundaries of space exploration in a quest for supremacy. This reflects the real-world tension and competition between superpowers.

Economically, the film hints at the massive investments required for such space missions. It also touches on the resource allocations necessary. The film questions whether the potential rewards are worth the risks. This notion is particularly resonant in today’s context of space commercialization, where private corporations race to exploit extraterrestrial resources.

Psychologically, Event Horizon explores the terror of the unknown. It delves into the profound impact of isolation and existential dread on the human psyche. The spaceship’s return is now a harbinger of horror. It symbolizes the unforeseen and often catastrophic consequences of pushing beyond human limits. These occur without considering the mental and emotional toll on those involved.

Event Horizon serves as a chilling reminder. Humanity might pay a price for its relentless quest to conquer the cosmos.


Streaming Choices

Walter Presents: The Mantis (All six episodes on Channel 4 streaming from Friday 7th of March 2025)

When a copycat killer strikes in France, police turn to the original murderer for help. A gripping crime drama that exposes corruption, power struggles, and moral compromises.

The First Emperor Of China (Available from Thursday 6th of March on History Hit)

A historical deep dive into how one man unified a nation, but at immense human cost.

The Real Ruth Ellis (Available from Wednesday 5th of March 2025 on ITVX)

A fresh look at Britain’s most infamous execution case, exploring new evidence. Worth watching alongside the new drama about her this week, A Cruel Love.

Picture credits

Elkie Brooks At The BBC
Elkie: Sight And Sound In Concert
Elkie Brooks In Concert 1987
By kitmasterbloke – https://www.flickr.com/photos/kitmasterbloke/49233655996/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=97277764
Prey (2022)
By http://www.impawards.com/2022/posters/prey_ver4_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=70800783
Sicario (2015)
May be found at the following website: IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=46727168
Suffragette (2015)
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=47657815
Mark Kermode’s Oscar Winners
By Julie Edwards – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=132623664
Nick Cave: This Much I Know To Be True
By Raph_PH – https://www.flickr.com/photos/raph_ph/51427635149/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=109766405
Glory (1989)
By TriStar Pictures – Impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=13532520
The Last Duel (2021)
By http://www.impawards.com/2021/last_duel_ver6.html, Fair use, https://en.wikipedia.org/w/index.php?curid=68281500
Israel And The Palestinians (two of three)
Illustration from KollectivFutur with permission
Oscars Highlights
By Oscars: AMPAS Brand Guide, Fair use, https://en.wikipedia.org/w/index.php?curid=77913754
The Death Of Stalin (2017)
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Seeking Satoshi: The Mystery Bitcoin Creator (one of two)
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Coriolanus (2011)
By IMPAwards, Fair use, https://en.wikipedia.org/w/index.php?curid=26505292
No Other Land (2024)
By Berlinale, Fair use, https://en.wikipedia.org/w/index.php?curid=76180863
Nightmare Alley (2021)
By http://www.impawards.com/2021/nightmare_alley_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=68734063
A Cruel Love: The Ruth Ellis Story
Fair use, https://en.wikipedia.org/w/index.php?curid=29759349
The Wicked Lady (1945)
High Noon (1952)
By “Copyright 1952 – United Artists Corporation.” – Scan via Heritage Auctions., Public Domain, https://commons.wikimedia.org/w/index.php?curid=85708724
Event Horizon (1997)
By Paramount Pictures – impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=10657985

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Culture Vulture 6th to the 12th of July 2024

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative standpoint. Writing and selections are by Pat Harrington and music is from Tim Bragg. Highlights this week include: The Night Caller, a tense Channel 5 thriller series where former Hustle star Robert Glenister plays Tony, a Liverpool taxi driver with an unhealthy obsession and The Burnt Orange Heresy which serves as a fitting tribute to actor Donald Sutherland who died last month.

Saturday 6th of July 2024

Prince from 10pm BBC2

This evening starting at 10pm BBC2 treats viewers to a special night of programming dedicated to celebrating the unparalleled musical legacy of Prince. The centerpiece of the night was the program titled “Prince and His Songs at the BBC,” a tribute episode that showcased the enduring influence and brilliance of the iconic artist.

Featuring an eclectic lineup of talented musicians, the episode highlighted Prince’s expansive repertoire through diverse covers of his songs. Artists such as Beyoncé, Muse, Tom Jones, The Bangles, Pink, Alicia Keys, Michael Kiwanuka, and Chaka Khan brought their unique interpretations to Prince’s timeless music. Interspersed with these contemporary performances were rare and unforgettable footage of Prince himself, captured during his appearances on various BBC shows over the years.

Through this compilation of performances, “Prince and His Songs at the BBC” not only paid homage to Prince’s extraordinary talent but also underscored why he remains one of pop music’s greatest icons. Whether performing under his name or as the ‘Unpronounceable Symbol,’ Prince’s music continues to inspire generations of artists and fans alike with its innovation, emotion, and unmatched artistry.

In addition to this musical tribute, BBC Two offers two more Prince-related programs later in the evening. At 11:00 PM, viewers are treated to “Prince: A Purple Reign,” a comprehensive documentary that delved deep into Prince’s life, career, and profound impact on the music industry. This documentary explored Prince’s artistic evolution, his influence on fellow musicians, and the cultural significance of his boundary-pushing music. Featuring interviews with collaborators, archival footage, and insightful commentary, “Prince: A Purple Reign” provided a compelling look into the enigmatic artist’s lasting legacy.

Following the documentary, at midnight, BBC Two airs “Prince and The Revolution: Live,” a Grammy-nominated concert film capturing the electrifying performance of Prince and The Revolution at the Syracuse Carrier Dome during the 1985 Purple Rain tour. This remixed, remastered, and visually enhanced presentation allowed viewers to relive the magic of Prince’s live performances in stunning high fidelity, showcasing his unparalleled stage presence and musical prowess.

Who You Think I Am (2019) 1.20am

“Who You Think I Am,” directed by Safy Nebbou, is a French psychological drama that delves deep into the complexities of identity, social media, and the human psyche. Starring Juliette Binoche as Claire Millaud, a middle-aged professor who creates a fake Facebook profile to spy on her younger lover, the film unravels a web of deception, loneliness, and the yearning for connection.

The film masterfully explores the impact of social media on personal relationships and self-perception. In a world where virtual identities often overshadow real ones, Claire’s creation of a younger, more attractive online persona, Clara, highlights the social pressures faced by women regarding age and beauty. The film raises pertinent questions about authenticity and the lengths individuals go to in order to be seen and validated. It critiques the superficiality of online interactions and the ease with which reality can be manipulated in the digital age.

Ethically, “Who You Think I Am” challenges viewers to consider the morality of deceit, especially in intimate relationships. Claire’s actions, driven by a mix of desperation and curiosity, lead to unintended and devastating consequences. The film does not shy away from portraying the ethical gray areas of her behavior, prompting viewers to reflect on the boundaries of privacy and the potential harm caused by deceit, even when the intentions might seem benign or understandable.

Politically, the film subtly addresses issues of gender and power dynamics. Claire’s struggle with her own identity and self-worth can be seen as a commentary on the societal expectations placed on women, particularly as they age. The pressure to remain youthful and desirable in a patriarchal society pushes Claire towards creating Clara, revealing the intersection of gender politics and personal crisis. The film also touches on the broader implications of surveillance and privacy in the digital era, questioning the power structures inherent in the ability to watch and be watched.

Juliette Binoche delivers a compelling performance, capturing the nuanced emotional turmoil of Claire. Her portrayal is both empathetic and disturbing, making Claire a deeply complex and relatable character. Safy Nebbou’s direction is subtle yet powerful, effectively using visual storytelling to mirror the duality of Claire’s existence and the blurring lines between reality and illusion.

“Who You Think I Am” is a poignant and thought-provoking film that tackles significant social, ethical, and political themes. It serves as a mirror reflecting the modern human condition, emphasizing the importance of genuine connections and the dangers of losing oneself in the quest for an idealized self. With its intelligent narrative and stellar performances, the film is a profound commentary on the intricacies of identity in the digital age.

Sunday 7th of July 2024

The Night Caller (one of four) 9pm CHannel 5

Tony, a lonely Liverpudlian taxi driver played by Robert Glenister, used to be a respected teacher but lost his job, marriage, and confidence. His lifelines are Rosa, a café worker, and a late-night talk show hosted by DJ Lawrence (Sean Pertwee). Tony becomes a “friend of the show,” finding a sense of identity after years of isolation. However, he dangerously misinterprets Lawrence’s views and becomes obsessed with their relationship. Eventually, Tony discovers that the DJ isn’t who he pretends to be.

The Burnt Orange Heresy (2019) 10.45pm

“The Burnt Orange Heresy,” directed by Giuseppe Capotondi, is a captivating neo-noir thriller that weaves art, deception, and moral ambiguity into a stylish narrative. Based on Charles Willeford’s novel, the film stars Claes Bang as James Figueras, a charismatic art critic who gets entangled in a dangerous scheme, and Elizabeth Debicki as Berenice Hollis, a mysterious woman who becomes his unwitting accomplice.

Donald Sutherland, who passed away in June 2024, delivers a masterful performance as Jerome Debney, a reclusive and legendary artist. Sutherland’s portrayal of Debney is both magnetic and enigmatic, infusing the character with a mix of wisdom, wit, and a touch of melancholy. His presence elevates the film, providing a depth that resonates long after the credits roll.

The film’s narrative revolves around Figueras, who is lured by the wealthy art dealer Joseph Cassidy (Mick Jagger) into stealing one of Debney’s paintings. The plot thickens as Figueras and Hollis visit Debney’s secluded villa on Lake Como, setting off a chain of events marked by betrayal, greed, and moral quandaries. The Burnt Orange Heresy skillfully explores themes of ambition, integrity, and the subjective nature of art and truth.

Capotondi’s direction is sleek and assured, with a keen eye for detail and atmosphere. The film’s visual style, complemented by David Ungaro’s cinematography, captures the opulence and underlying tension of the art world. The lush, serene landscapes of Lake Como contrast sharply with the dark undercurrents of the story, enhancing the film’s sense of unease and intrigue.

Claes Bang delivers a compelling performance as the ambitious and morally compromised Figueras. His character’s descent into ethical ambiguity is both gripping and unsettling. Elizabeth Debicki is equally impressive, bringing a nuanced vulnerability to her role as Hollis. The chemistry between Bang and Debicki adds an intriguing layer to the film, as their characters navigate a complex web of trust and deception.

Mick Jagger’s turn as Joseph Cassidy is a delightful surprise. His portrayal of the manipulative and suave art dealer adds a layer of charisma and menace, contributing to the film’s overall tension. However, it is Donald Sutherland’s performance that stands out, serving as a poignant reminder of his immense talent and the indelible mark he left on cinema.

“The Burnt Orange Heresy” is not just a film about art theft; it is a meditation on the nature of art, the power dynamics within the art world, and the ethical boundaries individuals are willing to cross for success and recognition. The film’s climax is both shocking and thought-provoking, leaving viewers to ponder the true cost of ambition and deceit.

In tribute to Donald Sutherland, who died last month, “The Burnt Orange Heresy” stands as a testament to his extraordinary career. His portrayal of Jerome Debney showcases his ability to bring complexity and gravitas to his roles. Sutherland’s legacy in cinema is immortal, and his performance in this film is a reminder of his exceptional talent and the profound impact he had on audiences worldwide.

“The Burnt Orange Heresy” is a dark, stylish thriller that captivates with its intricate plot, stellar performances, and thought-provoking themes. It is a fitting homage to the late Donald Sutherland, whose presence in the film adds a layer of depth and poignancy, making it a must-watch for fans of intelligent, character-driven cinema.

Vice (2018) 11.45pm BBC2

“Vice,” directed by Adam McKay, is a riveting and audacious biopic that delves into the life and career of Dick Cheney, one of the most enigmatic and influential figures in modern American politics. Starring Christian Bale in a transformative performance as Cheney, the film explores his rise to power and the far-reaching impact of his decisions during his tenure as Vice President under George W. Bush.

Christian Bale’s portrayal of Cheney is nothing short of remarkable. Through meticulous physical transformation and nuanced acting, Bale captures the essence of Cheney’s persona—his stoic demeanor, calculating intelligence, and ruthless ambition. Bale’s performance is both compelling and unsettling, drawing viewers into the complex psyche of a man who wielded immense power behind the scenes.

The supporting cast is equally impressive. Amy Adams shines as Lynne Cheney, presenting her as a formidable force in her own right, whose influence on her husband’s career is both significant and profound. Steve Carell delivers a sharp performance as Donald Rumsfeld, capturing the brash and unapologetic nature of the former Secretary of Defense. Sam Rockwell’s portrayal of George W. Bush adds a layer of complexity and humor to the film, presenting Bush as both a figurehead and a willing participant in Cheney’s machinations.

Adam McKay’s direction is bold and innovative, utilizing a mix of dark humor, satire, and unconventional narrative techniques to tell Cheney’s story. The film frequently breaks the fourth wall, employs a non-linear timeline, and incorporates surreal sequences that serve to underscore the absurdity and gravity of the political maneuvers at play. This approach, while divisive, adds a dynamic and engaging layer to the biopic genre, making “Vice” stand out as both an informative and entertaining piece of cinema.

“Vice” also benefits from its sharp screenplay, written by McKay, which deftly balances humor and drama while providing incisive commentary on Cheney’s legacy. The film does not shy away from critiquing Cheney’s policies and actions, particularly his role in the Iraq War, the expansion of executive power, and the use of enhanced interrogation techniques. It paints a portrait of a man whose pursuit of power often came at the expense of ethical considerations and human lives.

The film’s technical aspects are top-notch, with meticulous attention to detail in its production design, costume design, and makeup. The transformation of Bale into Cheney is particularly noteworthy, achieved through exceptional makeup and prosthetics that make the actor almost unrecognizable.

While “Vice” has been praised for its bold approach and performances, it has also faced criticism for its heavy-handedness and lack of subtlety. Some viewers may find the film’s satirical tone and narrative style polarizing. However, these elements are integral to McKay’s vision, providing a unique lens through which to examine a controversial figure and the turbulent era he helped shape.

“Vice” is a provocative and thought-provoking biopic that offers a deep dive into the life of Dick Cheney and his indelible impact on American politics. Christian Bale’s transformative performance, coupled with Adam McKay’s bold direction and sharp screenplay, makes for a compelling and memorable cinematic experience. Despite its polarizing style, “Vice” succeeds in shedding light on the complexities and consequences of power, leaving viewers with much to ponder.

Monday 8th of July 2024

THe Night Caller (two of four) 9pm CHannel 5

Episode 2 (“The Confession”): Tony confronts Lawrence, who reveals shocking truths live on air. Meanwhile, Rosa’s revelation adds to the tension.

Dirty Harry (1971) 11.10pm 5Action

“Dirty Harry,” directed by Don Siegel and starring Clint Eastwood as the titular character, is a landmark film in the crime thriller genre. Released in 1971, it follows San Francisco police inspector Harry Callahan as he pursues a psychopathic serial killer known as Scorpio. While celebrated for its gritty realism, taut direction, and Eastwood’s iconic performance, “Dirty Harry” also grapples with complex social, political, and ethical themes that have sparked significant debate.

At its core, “Dirty Harry” is a reflection of the social anxieties and urban violence of the early 1970s. The film portrays a city besieged by crime and a police force struggling to maintain order. Harry Callahan’s character embodies a rugged, no-nonsense approach to law enforcement, which contrasts sharply with the perceived inefficacy and bureaucratic constraints of the legal system. This theme resonates with the public’s growing frustration with rising crime rates and the challenges faced by law enforcement officers.

Politically, “Dirty Harry” is often viewed as a critique of liberal attitudes towards crime and justice. The film presents a stark dichotomy between the rights of criminals and the rights of victims. Scorpio, the film’s antagonist, exploits legal loopholes and due process protections to evade capture and punishment, highlighting the tension between civil liberties and public safety. Harry’s methods, while effective, are extralegal and often brutal, suggesting a controversial endorsement of vigilantism and a rejection of the legal safeguards designed to protect individual rights.

The film’s portrayal of police brutality and vigilante justice raises significant ethical questions. Harry Callahan’s willingness to bypass legal procedures and use excessive force to achieve his goals challenges the moral integrity of law enforcement. The famous line, “Do I feel lucky? Well, do ya, punk?” encapsulates Harry’s confrontational and authoritarian approach. While some viewers see Harry as a hero who gets results, others criticize the film for glorifying violence and undermining the rule of law. This ethical ambiguity makes “Dirty Harry” a provocative and polarizing film that continues to inspire debate about the limits of police power and the balance between security and civil rights.

Clint Eastwood’s performance as Harry Callahan is central to the film’s impact. His stoic demeanor, piercing gaze, and minimalistic dialogue create a character that is both intimidating and compelling. Eastwood’s portrayal captures the essence of a man driven by a personal code of justice, willing to cross lines that others will not. This complexity adds depth to the character, making him more than just a one-dimensional enforcer.

The music score by Lalo Schifrin is another standout element of “Dirty Harry.” Schifrin’s score combines jazz, orchestral, and avant-garde elements to create a soundtrack that is both eerie and intense. The music enhances the film’s tension and atmosphere, underscoring the suspense and unpredictability of the cat-and-mouse game between Harry and Scorpio. Schifrin’s use of dissonant tones, rhythmic patterns, and unconventional instruments adds a layer of psychological depth to the film, reflecting the chaotic and menacing world that Harry navigates.

Don Siegel’s direction and Lalo Schifrin’s haunting score contribute significantly to the film’s tense and foreboding atmosphere. The use of San Francisco’s urban landscape enhances the film’s gritty realism, while the cat-and-mouse dynamic between Harry and Scorpio keeps viewers on edge. Andrew Robinson’s portrayal of Scorpio is chilling and unpredictable, serving as a counterbalance to Eastwood’s controlled intensity.

“Dirty Harry” also touches on themes of alienation and disillusionment. Harry Callahan is depicted as a lone wolf, isolated from his peers and the system he serves. His disillusionment with the bureaucratic constraints of the police force reflects broader societal disenchantment with institutions that are perceived as ineffective or corrupt.

“Dirty Harry” is a seminal film that transcends its genre to explore profound social, political, and ethical themes. Its portrayal of crime, justice, and the use of force remains relevant and thought-provoking. Clint Eastwood’s iconic performance, Don Siegel’s adept direction, and Lalo Schifrin’s evocative music score ensure that “Dirty Harry” is not only an influential crime thriller but also a cultural touchstone that continues to provoke discussion and analysis. The film’s legacy is marked by its ability to engage with contentious issues in a way that is both entertaining and intellectually stimulating.

Tuesday 9th pf July 2024

THe Night Caller (three of four) 9pm CHannel 5

Episode 3 (“The Australia Day Shootings”): Eric Edgar Cooke’s role in the shootings comes to light, exposing a corrupt police force and seeking exoneration for John Button.

Ordinary Love (2019) 11.05pm BBC2

“Ordinary Love,” directed by Lisa Barros D’Sa and Glenn Leyburn, is a poignant and tender drama that explores the enduring power of love in the face of life’s most challenging adversities. Starring Liam Neeson and Lesley Manville, the film follows middle-aged couple Tom and Joan as they navigate Joan’s diagnosis and treatment for breast cancer.

Liam Neeson and Lesley Manville deliver deeply affecting performances, capturing the nuances of a long-term relationship tested by illness. Their chemistry is palpable, portraying a love that is both resilient and vulnerable. The film’s strength lies in its authenticity, presenting the couple’s journey with honesty and sensitivity.

The narrative focuses on the everyday moments of their lives, highlighting the small acts of kindness and support that define their bond. The film’s understated direction and naturalistic dialogue emphasize the ordinariness of their situation, making their love story universally relatable.

“Ordinary Love” is a beautifully crafted film that celebrates the quiet strength of enduring love. It is a moving tribute to the unspoken understanding and unwavering support that sustain relationships through the toughest times. This heartfelt drama is a testament to the resilience of the human spirit and the profound connection that binds us together.

Wednesday 10th of July 2024

The Night Caller (four of four_ 9.30pm Channel 5

Episode 4 (“Cleared of Murder”): John Button’s case prompts a royal commission, and Cooke’s crimes continue to impact the community.

Cat Balou (1965) 4.35pm Film4

“Cat Ballou,” directed by Elliot Silverstein, is a charming and whimsical Western comedy that stars Jane Fonda as the titular character, Catherine “Cat” Ballou. The film follows Cat, a schoolteacher-turned-outlaw, as she seeks revenge for her father’s murder and fights to save their ranch from a corrupt developer.

Jane Fonda shines as Cat, delivering a performance that is both spirited and endearing. She is supported by a standout cast, including Lee Marvin in a dual role as the washed-up gunslinger Kid Shelleen and the villainous Tim Strawn. Marvin’s performance, particularly as the comedic and drunken Shelleen, earned him an Academy Award for Best Actor and remains one of the film’s highlights.

“Cat Ballou” expertly balances humor and action, with witty dialogue, slapstick comedy, and memorable musical interludes provided by Nat King Cole and Stubby Kaye as the balladeers narrating the story. The film’s lighthearted tone and playful spirit make it a refreshing take on the Western genre.

With its engaging story, delightful performances, and clever humor, “Cat Ballou” is a classic that continues to entertain audiences. It’s a joyous romp that showcases the versatility of its cast and the enduring appeal of a well-crafted comedy.

C’mon C’mon (2021) 1.301m Film4

“C’mon C’mon,” directed by Mike Mills, is a deeply moving and introspective film that beautifully explores the complexities of human connection and the innocence of childhood. Starring Joaquin Phoenix as Johnny, a radio journalist, and Woody Norman as his precocious nephew Jesse, the film delves into their evolving relationship as they embark on a cross-country trip.

Joaquin Phoenix delivers a nuanced and empathetic performance, portraying Johnny with a blend of vulnerability and warmth. Woody Norman is a revelation, capturing the inquisitiveness and emotional depth of Jesse with remarkable authenticity. Their chemistry is the heart of the film, driving its poignant narrative.

Shot in striking black and white, “C’mon C’mon” exudes a timeless quality, enhancing its reflective and intimate tone. The film’s contemplative pacing and thoughtful dialogue invite viewers to ponder life’s big questions through the lens of its endearing characters.

“C’mon C’mon” is a tender and beautifully crafted film that celebrates the bonds that define us. It is a testament to the power of empathy, understanding, and the simple, yet profound, connections we share with one another. This heartfelt journey is a must-watch for anyone seeking a deeply human and emotionally resonant cinematic experience.

Thursday 11th of July 2024

The Velvet Touch (1948) 6.25am BBC2

“The Velvet Touch,” directed by John Gage and starring Rosalind Russell in a tour de force performance, is a classic film noir that weaves together elements of suspense, drama, and psychological intrigue. Set in the glamorous world of Broadway theater, the film follows the story of Valerie Stanton (Rosalind Russell), a successful actress who becomes entangled in a web of deceit and murder.

Rosalind Russell delivers a captivating performance as Valerie Stanton, portraying her as a complex and multifaceted character. Valerie is a strong-willed and ambitious woman navigating the challenges of fame and artistic integrity in a male-dominated industry. Russell’s portrayal captures Valerie’s vulnerability and inner strength, making her a compelling protagonist amidst the film’s noirish atmosphere.

The plot unfolds as Valerie accidentally kills her manipulative and abusive husband (played by Leo Genn) in self-defense. This sets off a chain of events involving blackmail, suspicion, and betrayal, as Valerie attempts to cover up the crime and protect her career and reputation. The film masterfully builds tension and suspense, keeping viewers on edge as Valerie’s world unravels.

Director John Gage creates a visually striking and atmospheric film noir, utilizing shadowy cinematography and moody lighting to enhance the sense of intrigue and danger. The film’s evocative score complements the suspenseful narrative, heightening the emotional impact of pivotal scenes.

“The Velvet Touch” also explores deeper themes of power, ambition, and the price of success. It confronts issues of gender dynamics and the challenges faced by women in the entertainment industry during the post-World War II era. Valerie Stanton’s journey from victim to survivor is a testament to resilience and determination in the face of adversity.

“The Velvet Touch” stands as a compelling example of classic film noir, anchored by Rosalind Russell’s powerhouse performance and John Gage’s skillful direction. With its gripping plot, atmospheric cinematography, and exploration of complex themes, the film still captivates.

The Lodge (2019) 11.50pm Film4

“The Lodge,” directed by Veronika Franz and Severin Fiala, is a chilling psychological horror that delves deep into the darkest corners of the human psyche. Set against the backdrop of a remote lodge buried in snow, the film weaves a tale of isolation, grief, and escalating paranoia that grips viewers from start to finish.

The story revolves around Grace (Riley Keough), a young woman with a haunting past, who finds herself snowed in with her fiancé’s two children, Aiden (Jaeden Martell) and Mia (Lia McHugh), at a secluded lodge. As tensions mount and eerie occurrences begin to unfold, Grace’s fragile sanity is tested, revealing unsettling truths and blurring the lines between reality and nightmare.

Veronika Franz and Severin Fiala excel in creating an atmosphere thick with dread and uncertainty. The desolate winter setting enhances the film’s sense of isolation and impending doom, effectively mirroring the characters’ psychological states. The directors employ slow pacing and a deliberate buildup of suspense, allowing tension to simmer and intensify with each passing scene.

Riley Keough delivers a captivating performance as Grace, navigating a complex spectrum of emotions from vulnerability to menacing intensity. Her portrayal is hauntingly authentic, drawing viewers into her character’s unraveling psyche. Jaeden Martell and Lia McHugh complement Keough with equally compelling performances, portraying the conflicted and increasingly wary children caught in Grace’s turbulent orbit.

“The Lodge” is not a typical horror film reliant on jump scares; instead, it relies on psychological depth and a sense of impending dread. It explores themes of trauma, guilt, and the fragility of the human mind, challenging viewers to confront uncomfortable truths about grief and psychological manipulation.

The film’s cinematography by Thimios Bakatakis is stark and atmospheric, capturing the claustrophobic confines of the lodge and the vast, unforgiving landscape outside. The score by Danny Bensi and Saunder Jurriaans enhances the film’s eerie ambiance, heightening suspense without overpowering the quiet moments of introspection.

Overall, “The Lodge” is a haunting and thought-provoking psychological thriller. With its powerful performances, atmospheric direction, and chilling narrative, the film stands as a testament to the enduring allure of psychological horror done right. Whether you’re a fan of the genre or simply intrigued by tales that probe the depths of human fear, “The Lodge” is a must-watch for its unsettling and unforgettable journey into darkness.

Friday 12th of July 2024

Dawn of the Planet of the Apes (2014) 10pm C5

“Dawn of the Planet of the Apes,” directed by Matt Reeves, is a stunning and immersive sci-fi epic that continues the saga of intelligent apes and their evolving relationship with humanity. Set in a post-apocalyptic world where a deadly virus has devastated human civilization, the film explores themes of survival, conflict, and the precarious balance between empathy and aggression.

The story picks up years after the events of its predecessor, “Rise of the Planet of the Apes,” with Caesar (Andy Serkis) leading a thriving community of genetically enhanced apes in the Muir Woods near San Francisco. Their peaceful existence is disrupted when a group of human survivors, led by Malcolm (Jason Clarke) and Ellie (Keri Russell), seek access to a dam located within the apes’ territory to restore power to their decaying city.

Matt Reeves masterfully crafts a narrative that delves into the complexities of coexistence and mutual distrust. The film explores the parallels between the ape and human societies, both grappling with internal power struggles and external threats. The evolving dynamics between Caesar and Koba (Toby Kebbell), a scarred and embittered ape, exemplify the tensions simmering beneath the surface and the consequences of fear and mistrust.

Andy Serkis delivers a tour de force performance as Caesar, imbuing the character with a profound sense of leadership and inner turmoil. Through Serkis’ motion-capture performance, Caesar emerges as a complex and empathetic protagonist, torn between his loyalty to his fellow apes and his desire for peace with humans. Toby Kebbell’s portrayal of Koba is equally compelling, capturing the character’s descent into extremism and the tragic consequences of unchecked hatred.

Visually, “Dawn of the Planet of the Apes” is a marvel of modern filmmaking. The seamless integration of motion-capture technology and breathtaking cinematography by Michael Seresin creates a vivid and immersive world. The apes’ lifelike expressions and movements, coupled with the lush landscapes of the Muir Woods and the crumbling ruins of San Francisco, add depth and authenticity to the film’s dystopian setting.

Michael Giacchino’s evocative score enhances the film’s emotional resonance, underscoring key moments of tension and introspection. The haunting themes of loss, redemption, and the quest for peace resonate throughout the narrative, elevating “Dawn of the Planet of the Apes” beyond mere spectacle to a profound exploration of humanity’s capacity for both greatness and destruction.

“Dawn of the Planet of the Apes” is a masterfully crafted sequel that surpasses its predecessor in both scope and emotional depth. Matt Reeves’ direction, coupled with outstanding performances and groundbreaking visual effects, delivers a gripping tale of survival, moral complexity, and the fragile bonds that define us as individuals and societies. Whether you’re a fan of sci-fi epics or thoughtful dramas, this film offers a compelling and thought-provoking experience that will leave a lasting impression.

Manhunter (1986) 12.05am BBC2

“Manhunter,” directed by Michael Mann, is a gripping psychological thriller that dives deep into the mind of a criminal profiler and the ethical dilemmas he faces in pursuit of justice. Based on Thomas Harris’s novel “Red Dragon,” the film follows FBI agent Will Graham (played by William Petersen) as he comes out of retirement to track down a serial killer known as “The Tooth Fairy.”

Ethical themes pervade the narrative as Graham grapples with the psychological toll of entering the minds of violent criminals. His ability to empathize with killers, a gift that aids his investigations, also threatens to consume him morally and emotionally. The film confronts the ethical implications of using unconventional methods and delves into the ethical boundaries law enforcement officials navigate in their pursuit of justice.

Michael Mann’s direction creates a tense and atmospheric backdrop that enhances the film’s exploration of ethical dilemmas. The cinematography and soundtrack contribute to the film’s noirish ambiance, amplifying the psychological intensity of Graham’s pursuit of the killer.

William Petersen delivers a compelling performance as Will Graham, portraying his internal conflict and moral ambiguity with depth and nuance. His portrayal captures Graham’s dedication to his work and the personal sacrifices he makes in his quest to protect society from violent predators.

“Manhunter” also explores ethical questions surrounding the nature of evil and the human capacity for violence. The character of Francis Dollarhyde (played by Tom Noonan), the serial killer at the heart of the story, raises profound questions about the roots of criminal behavior and the potential for redemption.

“Manhunter” is a thought-provoking thriller that delves into ethical complexities and the psychological toll of confronting evil. Michael Mann’s direction, coupled with William Petersen’s riveting performance, makes for a compelling exploration of justice, morality, and the blurred lines between good and evil in the pursuit of truth.

and finally… streaming choices

Disney+ has Mastermind: To Think Like a Killer available from Thursday 11th of July 2024. The show consists of three episodes and offers a fascinating perspective on the woman whose crime-hunting innovations changed history. Dr Ann Burgess, a psychiatric nurse and professor, must learn to think like a serial killer to stop them. With unprecedented access to the mastermind behind modern serial-killer profiling, the series delves into Burgess’ tenacious story and her compassion for victims, making her central to solving America’s most infamous true-crime cases. From well-known cases like Ed Kemper and Ted Bundy to lesser-known ones, Burgess investigates and studies both victims and the damaged psyches of their attackers, piecing together the puzzle to catch a killer. Directed by Abby Fuller, the series is produced for Hulu by Campfire Studios in association with Lewellen Pictures. Elle Fanning, Dakota Fanning, and other talented individuals serve as executive producers. You can also check out the trailer for the series!

Netflix has Exploding Kittens. Season One is available from Friday, 12th of July 2024. this adult animated comedy series is based on the card game. The show stars Tom Ellis as “Godcat,” and it promises to be a hilarious and entertaining watch.

Picture credits

Who You Think I Am (2019)
The poster art can or could be obtained from the distributor Diaphana Films., Fair use, https://en.wikipedia.org/w/index.php?curid=63973505

The Burnt Orange Heresy (2019)
By Studio and or Graphic Artist – Can be obtained from film’s distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=63024812
Vice (2018)
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=59040750
Dirty Harry (1971)
By Warner Bros./ movieposter.com, Fair use, https://en.wikipedia.org/w/index.php?curid=7391508
Ordinary Love (2019)
By Studio and or Graphic Artist – Can be obtained from film’s distributor, Fair use, https://en.wikipedia.org/w/index.php?curid=63106722
Cat Ballou (1965)
Fair use, https://en.wikipedia.org/w/index.php?curid=5575765
C’mon C’mon (2021)
By http://www.impawards.com/2021/cmon_cmon.html, Fair use, https://en.wikipedia.org/w/index.php?curid=68670014
The Velvet Touch (1948)
By RKO Pictures – Distributor of film – http://www.movieposterdb.com/poster/0f88885d, Fair use, https://en.wikipedia.org/w/index.php?curid=40242487
The Lodge (2019)
By NEON – https://neonrated.com/films/the-lodge, Fair use, https://en.wikipedia.org/w/index.php?curid=60697078
Dawn of the Planet of the Apes (2014)By 20th Century Fox – http://www.movieinsider.com/posters/131057/, Fair use, https://en.wikipedia.org/w/index.php?curid=39545166
Manhunter (1986)
By http://www.impawards.com/1986/manhunter_ver1.html, Fair use, https://en.wikipedia.org/w/index.php?curid=6084921

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The Mirror by Tim Bragg: A Dystopian Novel of Human Resilience and Artistic Redemption

Click on image to buy book

631 words, 3 minutes read time.

Tim Bragg is an engaging writer, novelist, poet and multi-instrumentalist singer-songwriter and musician with an impressive bibliography of both fiction and non-fiction works and recorded albums to his credit, the very latest being the cyber gothic slow burner and critically important ‘The Mirror’ (Sycamore Dystopia 2023).

The Mirror is a dystopian novel set in a not too distant future – 2073 – where humanity is held captive in a society completely run by a system of artificial intelligence and technocracy similar to that envisaged by both one-time Fabian socialists Aldous Huxley (Brave New World) and George Orwell (1984), both of whom portrayed ‘one world’ collectivist states run by an elite of central planners where life, language, media and ‘entertainment’ are completely regulated and controlled. Bragg here offers a very compelling and highly relevant take on this theme for the contemporary times but with perhaps a story more reminiscent of the film ‘Blade Runner’ (itself based on the novel ‘Do Androids Dream of Electric Sheep?’ by the gnostic Philip K Dick) and Mary Shelley’s classic ‘Frankenstein’, but with a much more uplifting and positive affirmation of the human capacity for self- transcendence through the essence of creativity and art; the nature of art being one of the central themes of the book but also how art can be captured and simulated by technology (witness now how AI can itself write poetry and paint images of incredible complexity etc.).

There is a cryptic relevance in the story to how the world changed in 2030. Some of the characters in the book who hold positions of power have names that appear rather ‘hipster’ or eco-themed although the world they inhabit is anything but ‘natural’ – cloning, eugenics, genetic engineering and mass surveillance. Even personal reproduction, itself reduced to life inside something resembling a panopticon, is closely screened in the name of ‘mother earth’.

Given that Tim Bragg is connected with the excellent ‘Off The Left Eye’ YouTube channel having composed music for some of its broadcasts and podcasts which serve to popularise the esoteric Christian spirituality of the 18th Century Swedish mystic Emmanuel Swedenborg, it was no surprise to see space given in the book to themes of human immortality in the face of individual extinction, particularly as one central character has a near-death experience, this theme being central to the novel’s central premise – do humans and nature have a Soul or Spirit? Are we Soul and Spirit, or merely biological machines with neither? Does consciousness actually exist independently of the mind? Do we think thoughts or are thoughts thinking us? What does it mean to be human? (Another work worthy to be mentioned in this context here would be C.S. Lewis’s ‘That Hideous Strength’, an anti-transhumanist classic.)

Tim Bragg has succeeded in writing a highly readable novel depicting what the world would look like should Klaus Schwab’s vision of the Great Reset and Agenda 2030 actually come to fruition and succeed in reducing all of humanity to automatons. Given the indefatigable spirit of humanity though, Bragg gives us much inspiration to suggest that a single blade of grass could cut through concrete given time and genuine human values like compassion, friendship and love and the redeeming capacity of art to transcend and ennoble life which will win through in the end somehow.

This is a multi-layered work with good characterisation and many textures and tones which slowly draws the reader in, with twists and turns in the tale amidst a mounting fear that builds to its shocking conclusion. A gripping polemic against transhumanism which succeeds without either preaching or condemning but clearly displaying the author’s obvious empathy and sensitivity to the human condition.

Reviewed by Wayne Sturgeon

Promotional image for 'Lyrics to Live By 2' by Tim Bragg, featuring a vinyl record with a white sleeve and yellow background, inviting readers to buy the book.

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Survivors – Comparing the TV Series, Covid-19 & the Future Part 2 ‘Law & Order’ 

Survivors_LogoReviewed by Tim Bragg

Law & Order

Spoiler Alert: the following talks generally about ideas from the series, with specific information related to ‘Law & Order’.

Law and order will be key to any major crisis. During current times we have virtually imprisoned ourselves in order to stop the spread of Covid-19. In China the Government used and continues to use draconian methods to control movement of people and the spread of the virus. The Government monitors Chinese people through their mobile phones (which appear ubiquitous) and phone users now have to have their faces scanned and their devices linked to their real identities (which are also monitored through their national identity cards). There are nearly a quarter of a million face recognition and surveillance cameras throughout the country. In the UK and France we have seen some ‘heavy-handed’ policing operating alongside quite ‘laissez-faire‘ attitudes. In France we have ‘attestations’ to fill out if we move from our homes (to exercise, shop, work etc.) and some places have had curfews installed. In the UK, alongside drones hunting down lone or small groups of folk walking in rural areas, it seems a ‘blind eye’ has been turned to certain communities who have carried on as normal. Along with some police acting as if their new ‘apparent’ powers have gone to their head: insisting on ‘social distancing’ in parks – other folk have carried on travelling in overcrowded public transport. In France some local governments have instructed the CRS (the riot-control police) NOT to enter certain unofficial ‘no go zones’.

Most people are complying with the emergency measures governments have introduced and, it seems, have enthusiastically embraced the wearing of masks and gloves. In France (as currently in other countries such as the Czech Republic) mask wearing will soon become compulsory. It’s certainly an odd situation to find oneself in. Humans are social animals where most communication is non-verbal – but we find ourselves isolated and masked. We find ourselves complying with every governmental decree – partly I would argue because it is our natural inclination to protect others and partly because we readily seem willing to obey. As I discussed in Part 1 the mortality for Covid-19 is running very low – maybe 0.34% – but maybe we neither know the true figures at one end or the possibly manipulated figures at the other. We just don’t know. Where I live in France we have the lowest death rate (as I write) – these include folk transported into this area as we have vacant hospital beds. It’s likely you could count the poor local souls who have died on one hand. And yet I see people acting with palpable fear. It’s likely our department will seal itself off (as all others) while the borders around France are closed for exit but open for entrance. It’s all a tad odd.

In Survivors the first real brush up against Law & Order occurs in Episode 2. Abby arrives at a house (and small commune) run by an ex-Trade Union official called Arthur Wormley. He has effectively declared himself ‘Protector’ of the surrounding area. Wormley also hints that he has, or has had, some insider knowledge of the pandemic through government contact. This seems an attempt to give him legitimacy. While Abby is there she witnesses a ‘Kangaroo Court’ and a man taken to be a threat to the commune is summarily executed. Wormley’s men are encountered in Episode 3 too when they lay claim to the goods in a supermarket which Abby, Greg and Jenny are taking food from. Apparently they would be allowed to take what is ‘fair’ if they first obtain ‘official chits’. On the one hand we could argue that this is a reasonable attempt to manage resources and distribution – on the other it appears more as if Wormley is setting up as a ruthless and authoritarian ‘Chieftain’.

Again – I’m not attempting to re-write the plot of this first series but to highlight certain issues. It is obvious that Wormley will become both an active and an existential threat. His dictatorial regime is one manifestation of government. This idea has a volt-face in the Episode; ‘Garland’s War’. In a sense this episode looks at a Feudal System of government, with a twist of course. The main character, Garland, has found himself evicted from his ancestral home by a chap named Knox and his followers. Garland is waging a one-man guerrilla war to get his place back. At one point we have the idea that Knox is the reasonable alternative to how he sees Garland – as a despotic feudal baron. A few twists of the plot later and it’s clear that Knox is the ‘bad guy’ and Garland – though still an outcast – has an old-fashioned, patriarchal but also benevolent and romantic idea of how the estate should be run. There’s a definite spoiler possible here for you – so I’ll quickly move on!

There are a few clashes between groups as one would expect, with independent groups, militia-type groupings and even a small settlement with a tank! But the main episode for Law & Order is interesting and a defining moment, perhaps, of the first series (for a number of reasons). It has been decided within our group of survivors that they need some entertainment – and those of us under lockdown in 2020 can readily relate to this. There’s dancing to Greg’s guitar and singing (not bad at all in fact and realistically portrayed in the way these scenes most often aren’t) but also alcohol freely flowing. Price, the Welsh chap, has defected back to the group and has struck up a relationship with Barney (who is simple-minded but has useful natural skills). Price also has his eyes on a young woman called Wendy who joined the group with an old Jewish woman she’d been staying with.  Barney leaves the festivities and main hall first, obviously drunk. Wendy goes to bed soon after and Price follows her. It’s obvious what he wants and in her bedroom she is knifed to death by Price – presumably as she struggles against his advances. The next day when Wendy’s body is found Price manages to frame Barney as her killer – who is unable to articulate his innocence. There follows a form of trial where Barney is incapable of defending himself. He is found guilty of the murder and it is decided he should be killed (as opposed to ‘banishment’). Which he is. This is quite startling and unexpected (in these Hollywood-ending times). Price in fact finally owns up to his guilt but in a discussion between Greg and Abby, Greg states that they can’t admit they have killed the wrong person to the group and they can’t afford to kill another man. Thus there is a secret between Price, Abby and Greg. (Without giving the game away further this IS resolved.)

As a result of this episode the actress playing Abby had a massive barny (no pun intended) with the director and effectively left the series (with a further four episodes remaining to which she must have agreed to continue acting as Abby). I also noticed that the writer of this episode didn’t write any further ones! This episode being discussed is actually called ‘Law and Order’ and set a dark and most realistic tone, in many ways. It made me question the whole procedure of guilt and innocence. Some thoughts:

  1. How reliable can evidence be?
  2. How can a man without full faculties be tried for a crime?
  3. How responsible would that person be with ‘diminished responsibilities’?
  4. How else were the group to respond to what seemed like ‘overwhelming evidence’
  5. Would ‘banishment’ have been a fairer sentence? (It was presumed Barney would have died alone once away from that commune.)
  6. Could he have had an alternate form of punishment – such as working longer and harder for x amount of time to ‘repay his debt’? But could they continue to trust him – might ‘he’ not strike again?
  7. Had they the right to execute him?
  8. Had they the right NOT too? (There would always be the apparent chance of him doing something like that again and if he were ‘rescued’ from banishment might he not do the same to a girl from another group? In that case they would have to share some of the guilt for letting him free!
  9. Greg became the ‘executioner’ by lot. Was it fair for any of them to be so?
  10. How would a New World Order re-create laws and justice? In a new situation what would the laws be based on? The Bible? Common-group-sense? Biased-group-sense? The Old Order?  ‘Might is Right’?
  11. An innocent man was executed having been ‘tried and sentenced’. What precedent would that set for the group and other communities?!
  12. A guilty man effectively went free. His ONLY redemption being that he confessed – albeit too late.

The fewer the people and the greater the existence of ‘strong men’ (or violent men or psychopathic men) would mean that, as with Wormley, the greater the chances of summary execution. Again there would have to be a correlation with maintenance of law and order and the amount of people LEFT in society. For us ‘here and now’ law and order is largely maintained – but not completely. People that think differently – ACT differently. People who think differently or live their lives under different mores won’t see a situation in the same manner.

I usually say: the more people there are the greater the laws needed to control us (well, I paraphrase) and with fewer people, of course, there might possibly be: fewer laws, concentrated laws or specific laws. In response to an epidemic such as that found in ‘Survivors’ it would seem that laws have been put into place, such as they are, in a piecemeal fashion. Thus the laws are concentrated in certain areas where certain groups either have, or wish to have, control. The laws we are experiencing at the moment across the globe often reflect the nature of our existing governments – with the CCP (Chinese Communist Party) coming in the hardest. The dangers for freedom/liberty are that the extended powers given Western governments (such as the UK and France) will not be wholly rescinded. Further, there is always the danger of tyrannical measures arriving on the coat-tails of disaster.

We have therefore two opposites: next to no law (and certainly no national, coherent law in ‘Survivors’) and a kind of emergency regime in democratic nations with more hard-line governance in dictatorial regimes. And with some countries taking a more ‘relaxed’ approach to the virus (re ‘social distancing’, wearing of masks, etc.). I imagine that differing amounts of people would reflect in the nature of any imposed law and order – perhaps a certain balance between government officials and number of survivors would bring in even MORE draconian measures. If a million folk, say, were to survive in a nation then the Government might try hard to keep these folk ‘together’ under their preceding law and order regime and in so doing might well resort to heavy-handed military force.

In the last episode of the first season of ‘Survivors’ (which I have only recently watched) Greg says: we are all out for the best for ourselves. By the end of the episode he has begun to communicate with other groups with the idea of creating a Federation. It’s going to be interesting to see how these pockets of Law & Order either coalesce or separate like oil and water.

Tim Bragg is the author (amongst many books) of ‘Lyrics to Live By – Keys to Self-Help; Notes for a Better Life’ available from Amazon

survivorsboxsetSurvivors

  • Starring: Denis Lill , Lucy Fleming , Ian McCulloch and Carolyn Seymour
  • Directed by: Pennant Roberts , Terence Williams and Gerald Blake

You can buy Survivors – Series 1-3 Box Set [DVD] [1975] here

 

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Survivors – Comparing the TV Series, COVID-19 & the Future Part 1 ‘Introduction’

Survivors_Logo

Reviewed by Tim Bragg

Spoiler Alert: the following talks generally about ideas from the series, with specific information related to Episode1.

Survivors was a successful TV series first broadcast on television in 1975 (with further series in ’76 and ’77). The episodes I have re-watched thus far have been mainly written by Terry Nation, creator of the Daleks (from Dr.Who) among many other credits. When the series first aired I was a youth discovering life and this had an impact upon me. We would wait from week to week to discover the unravelling fate of the eponymous ‘survivors’. I think all (or most episodes) of the series are available on YouTube – I’ve seen a playlist containing 24 episodes, though that would be two short for series one and two (both 13 episodes respectively). Regardless, I shall deal with each series generally and maybe hone in on the themes of particular episodes. Throughout I shall try to marry the narrative of the 70s survivors with both the reality NOW and how we might have responded to a similarly exaggerated situation. In the fictional account, only 1 in 5,000 people have survived – rendering the UK’s population to around 10,000. We are probably looking at a contemporary COVID-19 death rate of between, say 8 and 17 per 5,000 of those WITH the disease. Thus against the survival of ONE per 5,000, we have something like 4,990 – it’s hard to be accurate as we don’t know how many have had (or will have) the virus. The figure could well be closer to 4,995 plus survival rate. Currently, we only have stats for those dying from the virus and even these figures are questioned. In the area I live in in France the death-rate is roughly equal to our previous year (we seem to have the lowest rate of infection in France). Okay – its current speculation set against a fictional creation. But you get the idea. ‘Survivors’ REALLY IS about surviving.

The flavour of the series is interesting in that it marries prescience with a now almost achingly old-fashioned and nostalgic sense of England. For instance, the virus has come from China and is a pandemic/epidemic (as far as is known). The Government response seems incompetent with deliberate lies about the extent of the effects of the virus. Everything we are experiencing now seems to have been considered but obviously highly exaggerated because of the death-rate. The infrastructure of the whole of the UK seems to have quickly shut down, with no electricity and faltering public services. As I respond I’m going to relate my ideas to this fictional account with what we are currently experiencing – and how we might deal with a virus such as that NOW. How would we modern humans cope compared with those fictional mid-70s characters?

The main figures I have encountered thus far are Abby – a middle-class married woman whose young son is at boarding school. She contracts the illness but survives, whereas her husband dies. At least the first half of Series 1 is structured around the search for Abby’s son (who isn’t among the dead boys at the school and is apparently part of a group of healthy students sent camping into the countryside). Contrasted with Abby is Jenny – a young working woman from London. Most of the characters speak with middle-class accents. (On a side note – have a listen to musicians from the 1970s and you will be surprised at how ‘well’ they speak, Roger Waters springs to mind but remember should you watch any music documentaries). The final main character (thus far) is Greg. Greg is resourceful and ‘handy’. Another adult character that crops up and is intertwined throughout is Tom Price – a Welshman. He adds an element of ‘humour’ and represents, perhaps, a typically useless (as well as devious) survivor. Though full of seeming bravado his only real skill is in ‘wheeling and dealing’ and the ability to ingratiate himself into any situation or with any company. I’ll introduce other characters as they occur.

Abby responds to the death of her husband by leaving their house after burning it down. This seems both extreme and odd. This would surely be the place her son would head for if he has survived (and she finds out later that there is such a chance). Though we are constantly, and rightly, told that the chances of ANYONE surviving are extremely low. Abby is later framed as a leader, though I am yet unconvinced. Jenny walks out of London to find herself in the countryside where Abby is from. I’m not going to re-write the plot, but the first major idea of the series is presented in this episode: that society must start again. Everything must be re-learned and that though there is plenty to go round for the moment all of that will be gone in one or two further generations. At that point, humanity would have to stand on its own two feet and not rely on the spoils of previous generations. In this case, Greg is a very useful figure but not the most competent as we later find out when other characters’ skills become apparent. But he is useful and can turn his hands to most things.

My thoughts on what might happen as a virulent virus scythes down a population and how best to make initial responses will be compared with both the series and a modern highly lethal variant of Covid-19. If you were to find yourself surviving amid utter carnage with the collapse of everything around you – what would or what MUST you do? The responses will be as varied as the survivors themselves of course – with both cool heads and crashing emotional reactions. I found Abby to be quite cold emotionally but maybe she was stunned by the lightning changes brought about by the virus. Whereas we have experienced an abstract response perhaps to Covid-19 (unless we have lost someone close or are working on the ‘front-line’). I do recall the gradual sense of ‘awakening’ to what was happening as elements of normal life were shut down and civil liberties curtailed in quick succession. In a quick and total collapse, there would be NO government and NO law. This is something I will discuss later.

What do you do? Where do you go? With dead bodies everywhere diseases would soon spread. Do you get away from humanity as fast as possible or should you attend to local things first? Should you look for babies or children in the neighbourhood who might have survived? Or anyone else? Or as society disintegrates, and people are freed of any moral shackles – would there be an interim of utter lawlessness, chaos, and danger? How would ordinary people behave? The reaction in a village would surely be completely different to that in a metropolis. Jenny is ordered out of London by her doctor friend (who knows exactly what’s going on and the effect of the virus). She encounters some youths on her escape. I found this moment almost touching. The youths were like I was back then – bell-bottomed jeans and long hair. They were not particularly aggressive. Today it might not be quite the same. We have lost the hegemony of culture and depending upon where we live – the surrounding society might not be so ‘high trust’. What we have NOW – low numbers dying but a great degree of fear leading to initially appalling scenes of people fighting for toilet rolls and general looting in certain areas – might have been much worse. In ‘Survivors’ there would have been a brief time of immediate danger – but as the numbers rapidly thinned then the danger would – for that moment – have been different. In other words – the death rate of a virus will mirror both how folk respond and the real danger of immediate groupings. How quickly would some of us turn savage?

Ideally, bodies would be disposed of – but if the numbers became overwhelming the remaining few could do very little. Would pets be kept, or killed (the latter as an act of mercy)? In ‘Survivors’ there is a fear that roving packs of dogs could well be rabid. Would folk remain in their own areas or run? Either way, they would need the wherewithal to note where food could be obtained and petrol – especially if traveling on foot or by car (perhaps ‘stolen’ cars. Jenny had to walk from London as the streets were either congested by folks fleeing or blocked by abandoned cars).

With the whole environment opened-up as it were – then survivors would need clean water (or the means to boil or purify); wood stoves or Calorgas stoves and heating and – though this might not pop into the head of a survivor in a state of absolute shock – to know where a library was and get as many books as possible on HOW to survive. I imagine many would think ‘help was at hand’. In one episode Tom Price goes on about the Americans or Japanese helping – to which he is abruptly shut up. There is no-one to help. All this makes me wonder about the numbers of folk required to survive to maintain any notable infrastructure and I will talk about this later. The first generation of survivors would be the ‘lucky’ ones. Food shops, chemists, cars, petrol, goods of all sorts readily available. Seemingly. Garden Centres might be prized as they contain tools/clothes/poisons etc. as well as plants and seeds. The transition from modern to medieval would be extremely hard. But at least those plunged into darker ages would have modern knowledge.

Tim Bragg is the author (amongst many books) of ‘Lyrics to Live By – Keys to Self-Help; Notes for a Better Life’ available from Amazon

survivorsboxsetSurvivors

  • Starring: Denis Lill , Lucy Fleming , Ian McCulloch and Carolyn Seymour
  • Directed by: Pennant Roberts , Terence Williams and Gerald Blake

You can buy Survivors – Series 1-3 Box Set [DVD] [1975] here

 

 

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Co-Void 19 Thoughts From a Rural Location Part 3

countrysidewild-geese-3379677_640As I was walking down the slope into the small valley I could hear voices ringing out and the heavy sound of machinery. This was unexpected. Gradually the sounds quietened. It got me thinking about what a surreal dream we all inhabit – bordering on a nightmare. I’ve mentioned this before but it came to me so clear. What exactly is going on? I was thinking about how we are becoming afraid of our fellow beings. Mind forged manacles indeed – now we are not simply ‘isolating’ ourselves but imprisoning our minds. I carried on and dropped still further to a stream. There stood a man, alone, looking at the waters flowing. It was an encounter. Briskly I continued and as he turned and walked to me I gave him a wide smile (the only form of ‘reaching out’). He seemed perturbed. Maybe this was just my interpretation – but it felt awkward. I said ‘hello’ (‘bonjour’) and he replied in like. After crossing the stream I watched him climb the slope I had previously come down. His trousers were salmon pink in colour – I have this fanciful idea that he came from the stream and took human form! What better time for another species to tread warily into human society. They must never have witnessed us so scared and vulnerable.

The way from the stream is a fair climb – but with rocky outcrops on the path to aid the ascent. I could feel my heart beating and my lungs filling with breath and subsequently exhaling. My legs moved with the will of my mind – thankfully they have the strength to do my bidding. We are physical as well as mental creatures. We need to move. It’s inbuilt. By the time I reached the top, I was panting but I could see back down towards the valley. The trees are clothing themselves and soon the ‘clear-season’ and its sights will be fully clothed and veiled. Dare I say it, masked! From the heights, I felt stronger – mentally and spiritually. But what is going on? What is happening to us? Will this nightmare become but a thing half-remembered, to haunt us only in future fears and anxiety?

Everything we think we know comes to us through a screen. Even if others speculate upon this theory or another, their information has also come from a screen. Well, I suppose there must still be some of us reading non-virtual newspapers! It is speculated that the virus might have come from one of Wuhan’s infamous wet-markets (which apparently are beginning to re-open!); others maintain it has come either deliberately or by accident from the Wuhan Institute of Virology (manslaughter or mass-murder); others think that the problem lies with 5G (and its towers/masts) and that the coronavirus is simply – dare I say it again – a mask. As a result of the virus there are others who point out possible dangers via enforced vaccination (that might well carry a chip too – so all of our movements would be tracked not simply car journeys); the linking up of our minds (and bodies) with A.I.; a cashless society – whereby we all become slaves of the banking system. The latter reminds me of the proposed UBI (universal basic income) – maybe that will be used as a ‘sweetener’ to gain our compliance? But it might also mean that everyone is reduced to a slave wage with JUST enough to survive. I mean if you tie all these in together – it’s harrowing reading. The image of humans linked in to an artificial web – food for thought, or food for an emerging spidery elite?

  • Maybe this ‘Strange New World’ we find ourselves in will herald a bright future for us and our fellow creatures. It’s entirely possible. Isn’t it? That would mean altering our relationship with SCREENS and our fellow humans. For the moment it feels like reality is processed through a screen. Can we be as brave as Alice and step through the looking-glass? Do we need to live our lives through screens? Surely this dream we are living through has shown us the potential of a different way of life – if only viewed askance. It surely must have prompted many of us to ask basic (and not so basic) questions, such as:
  • What is REALLY important?
  • What is the true nature of REALITY?
  • Who (or what) provides us with our apparent reality? 
  • What will give us real and deep happiness?
  • Where do we belong and what do we belong to?
  • Do we need to constantly complicate our existence?
  • Can we be happy with less?
  • Is it more important to have silence than noise?
  • Are we being manipulated by the media?
  • Who can we trust?

Is it more important to share and live a spiritual rather than materially based life?

I could go on. But I’ll spare you. You get the drift.

So – what’s it to be folks? Or is it a question of ‘wait and see’ (hopefully not followed by ‘hide and seek’)? Is it a question of looking at the chessboard and guessing our opponents next three moves? Or are we all on the same side? And this is where I can only re-iterate: reality presents itself through screens! I really don’t know anything. Absolutely nothing for sure. I wait. I watch. I listen. I think. I ready myself. This spectacular BLIP in the history of ‘Our kind’ might just be that – a BLIP! A nasty blip nevertheless. Once we’re through the looking-glass and then back again into ‘reality’ it might be as if it were all just a bad dream. No technocracy; no crashing of the economy; no mass unemployment; no One World Government – but rather families, extended-families (and Nations) getting on with their lives anew. A major spiritual change moving across the still, silent oceans and passing over the towns and sprawling cities of the World. A return to deeper and simpler ways of living. Can we be trusted with FREEDOM?

Time will tell.

By Tim Bragg
Tim Bragg is the author (amongst many books) of Lyrics to Live By – Keys to Self-Help Notes for a Better Life available from Amazon
Image by Antonius Ntoumas from Pixabay.

 

 

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