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Alex Moreland
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On the importance of endings, and why you need to get them right
So long, and thanks for all the clicks: on endings, and why it's important to get them right.
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Did ‘The Handmaid’s Tale’ Season 2 go too far?
There’s a palpable tonal shift in comparison to season one, with The Handmaid’s Tale now marking itself as a much spikier piece - but does it go too far?
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On 'Succession', likeable characters, and the scope of a series
Succession is the story of a programme that lost a lot of viewers before eventually reclaiming them - so what does that tell us about the scope of a series?
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'Doctor Who': Everything we learned about Series 11 at SDCC 2018
There was lots of Doctor Who news at SDCC 2018 today - all of which is explained here, from details about the companions to what we know about new monsters.
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'Doctor Who': Breaking down the new trailer for Jodie Whittaker’s first season as the Thirteenth Doctor
She's coming home: Take a look at the new Doctor Who series 11 trailer, and our breakdown of what it tells us about Jodie Whittaker's Thirteenth Doctor.
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How 'Elementary' managed to avoid the Moriarty problem with its latest villain
Elementary, like many Sherlock Holmes adaptations, struggled to find a villain to match Moriarty - until season 6 introduced Desmond Harrington's Michael.
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'Genius: Picasso' interrogates how gender has defined our understanding of genius
How Genius: Picasso, through its depiction of the women in Picasso's life and their artwork, interrogates the way gender defined "genius".
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The politics, passions, and people of 'A Very English Scandal'
A Very English Scandal doesn't just have one victim, it has two - both Norman Scott and Jeremy Thorpe were victims, in a way.
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Westworld, and the possibility of change
Change has always been a key theme in Westworld, as the hosts began to grow beyond their programming, but it looks set to be the defining idea of Season 3.
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Flowers, a quiet comedy with the feel of a melancholy fairytale, is strikingly brilliant
Flowers, since the beginning, has always had something of the feel of a fairytale; the second series is grounded in "a pagan and mystical heritage".
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How The Good Fight found clarity in chaos, and answers in absurdity
The Good Fight’s title sequence marries ordered elegance with violent disruption, establishing chaos as the status quo. It begs the question: what next?
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The Resident is a medical show that hates the medicine industry, and there’s something weirdly captivating about that
The Resident initially seemed like a retread of the abrasive medical antihero drama, but it gradually became more interesting (if not necessarily better)...
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With Solo struggling and a Boba Fett movie on the horizon, what does Jon Favreau’s Star Wars TV show need to be to survive?
As Solo: A Star Wars story struggles at the Box Office, the question turns to Jon Favreau's Star Wars TV show. What does it need to be to succeed?
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Innocent didn’t live up to its potential, but mostly worked – until it fumbled the final reveal
ITV's Innocent had a lot of interesting ideas, and was elevated by Lee Ingleby's performance, but it didn't quite stick the landing.
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Safe’s story of paranoia and secrecy does an impressive job of standing out in a crowded genre
Immediately, Safe arrives in a crowded genre: crime dramas centred on a missing or dead child. Despite this, however, Safe does manages to stand out.
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How The City and the City renders the noir genre within liminal spaces
What’s most important about The City and the City is all the ways in which it’s unfamiliar - and how it's able to render the noir genre as something new.
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The Assassination of Gianni Versace is an intimate portrait of a killer, granting him the fame he always sought
It’s not about Versace. No, The Assassination of Gianni Versace is about Andrew Cunanan, the events that shaped his life, and the stories of his victims.
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How Come Home asks audiences to understand characters that are difficult to like
Come Home subverts typical assumptions about parents, posing potentially difficult questions. Can they understand the characters, even as they dislike them?
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Save Me was a visceral character drama about people driven to extremes
Save Me can perhaps be best summed up as a show about people driven to personal extremes, and the difficult acts that become necessary as a result.
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How The Good Doctor responds to and moves on from House
The Good Doctor is a clear spiritual sequel to House, with overt parallels between the two dramas, but responds to its predecessor in many interesting ways.
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Why wasn’t Electric Dreams as popular as Black Mirror?
Electric Dreams seemed poised to inherit Black Mirror's crown - but why, in the end, wasn't it as popular as its predecessor?
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Jamestown and the dynamics of power
If Jamestown can be said to be about one thing, it’s power. The series examines and interrogates this theme, exploring the dynamics between the settlers.
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In season 2, Jessica Jones became more of a superhero show – but that’s not exactly a good thing
In its second season, Jessica Jones became more like a traditional superhero show - but in doing so, did it lose some of its human insight?
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Collateral is an intimate drama fascinated by individuals and sceptical of institutions
Collateral is pointedly not a whodunnit, nor even necessarily a crime drama - it's a piece fascinated by individuals and personal power within institutions.
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The problem with poor pacing, and increasingly overlong television
Having a more flexible runtime is supposed to be an advantage of online television - but just how much of a benefit is it?
