Heated Rivalry - This is a pretty enjoyable slow-burn romance between ice hockey players, developing over a 10 year period. Is it any good? ‘I mean, yes, I think so, probably’. There's a lot of snobbery about the romance genre, but this is interesting, not just because of the work itself, but also the way it has captured the zeitgeist and pulled together lots of live debates into one place. So, this is a slightly longer essay than usual, feel free to skip past.
Firstly, what is this about? This is a Canadian word of mouth success that blew up in the US and Canada before Christmas and left networks around the world scrambling to get in on the action, arriving in the UK in January. Most of the early noise was about the spicy sex scenes but it settles down into a proper old school yearning romance. In addition to the character development and recognition of self, which is always central to a solid romance, there are the external pressures of being rival sports personalities in a homophobic and highly competitive sporting environment. It’s well executed with articulate, thoughtful, and sometimes really beautiful cinematography. It’s on a tight budget and that sometimes shows but it’s clearly done with love and it adds a charming indie-ish edge with some pretty virtuoso camera work in places. The lead actors fully inhabit their roles too which adds a layer of veracity to what is, at its heart, a classic romantic fantasy. Hudson Williams plays Shane Hollander, a perfectionist, slightly neurodivergent and intense Japanese-Canadian, and Connor Storrie plays Ilya Rozanov, a loud and antagonistic Russian with a lot of family trauma and a need to win. The character development is well done, and the writing and performances are closely based on the source material (An already highly popular six book series by Rachel Reid). And the sound design is fab too, crisp and intimate, whilst, with a couple of exceptions, the musical choices are largely on point as well; I now have a couple of new earworms from the series constantly running in my head. The sex scenes are one of the reasons for the fuss, particularly in the first couple of episodes; when the characters are just hooking up there is a definite and deliberate soft porn vibe, but it’s worth recognising that these scenes are preparing us for what comes next as the men recognise their feelings, with the sex used to demonstrate intimacy, character development and move the plot.
So, apart from the obvious, why is it interesting ?
Firstly, one of the main reasons it is getting so much love is that it’s a romance between men that works just as well for straight as it does for LGBTQ+ people, following all of the basic tenets of a romance, so much so that sex aside you can line the up many of the scenes and plot points pretty effectively with an Austen novel. Apparently women (straight and otherwise) are the biggest consumers of this show, which aligns with women being the main consumers of romance in general. That’s driven a lot of discourse (for example here) which includes recognition that the romance genre is generally undervalued as it’s ‘for women’. And alongside that, discussions around why women are consuming MM romance in such large numbers, reasons including the breaking of patriarchal norms, lack of gendered assumptions and behaviours, equality in relationships, plus there is often a focus on consent.
Secondly, representation. That this is a mainstream romance between men and with a happy ending is also notable, because although there have been more of those in the last few years (Heartstopper, Red White and Royal Blue, Schitts Creek for example) this builds on that trajectory, giving positive and joyous representation which is still a bit too hard to find in mainstream media, and in the current political environment feels like a bit of light in the darkness. I like the way that Shane's internalised homophobia comes to the fore when he is seeking perfection, and his overcoming that is one of the main character arcs for him. The series also includes a really clever circular moment of representation, highlighting its importance, where a representative moment shown on tv of a gay couple is a pivotal point in the drama, and we see that it gives the characters the courage to imagine a future for themselves. There's also a trans hockey player in the cast, not much remarked upon, but noticed by those it matters to. As a side note though, this show is good for the G and B, but we are still waiting for more of that mainstream positive representation for the other letters of the LGBTQIA+ alphabet.
Thirdly, the high level of attention means that the show has received has also attracted the usual debates about whether people without lived experience have the right to tell other’s stories. In this case it is because the books are written by a woman and the lead actors are refusing to discuss their own sexual orientations, but it could just as easily be about race or other characteristics. The show runner Jacob Tierney has pushed back on these, pointing out that empathy and allyship, and willingness to do the work are more important, but it’s a debate that has been going on for centuries - for example Jane Austen had a view on this! I had more to say but it was turning into an essay of its own so I will save it for another time, just noting that the debate rumbles on.
Finally, another pretty important point is the cultural and political war going on between the US and Canada (and the rest of the world). This is a Canadian show partly funded by the Canadian government who stepped in when the US big studios with large budgets were only interested if the story was sanitised to fit a more generic format. When Mark Carney, Canadian Prime Minister, takes the time to meet a lead actor from the show and wax lyrical about a spicy MM romance adaptation, there’s something else going on here, and that clearly has to do with the feud between Canada and the current US administration, with Carney and others making the case that Canada is a home for creative people and independent minds who don’t feel the need to kowtow to the overbearing US corporate or political machine. A win for Canada there then.
I did read the books when they were still included free in Kindle Unlimited - that is sadly no longer the case (although according to the New York Mayor the libraries in NYC were offering the ebooks for no charge during the recent storms). The books are pretty firmly in the spicy romance genre, but they are good examples with proper characterisation and character development for the lead protagonists at least, covering some heavy topics with a light touch, and are largely well written, although if you think there was a lot of sex in the tv series you have a bit of a shock coming! The tv series was based on the first two books, and there is currently a seventh book in progress. I gather another series has been commissioned so I look forward to seeing more of Shane and Ilya as well as some of the other characters from the later books.
Should you watch it? I mean, yes, I think so, probably, if you want to understand why Tuna Melt or the ‘stupid Canadian wolf bird’ the loon is suddenly popular, or why phrases like ‘I’m coming to the cottage’ and ‘ok, not good, probably bad’ have been cropping up everywhere. It's not perfect, but this is a solid romance, taken seriously, and they are not so common that this should be ignored. (Series, streaming on Sky/NowTV)
Waiting for the Out - This is the best telly I have seen for a long time. Dan (an excellent Josh Finan) is a teacher of philosophy starting his new job in a prison. He is a bit of a mess, with OCD and trauma particularly focused around his aggressive and criminal dad in prison that he hasn’t seen for 20 years but who is still negatively affecting the family so many years later. His family are well drawn too, with Stephen Wight as his brother, Samantha Spiro as his mother, and Phil Daniels as his uncle, all dealing in different ways with the stuff life has thrown at them. At work Dan has a bunch of prisoners discussing all sorts of philosophical points which we can see reflected in his own life. It’s excellent writing by Dennis Kelly, a bit stagey and theatrical in places (it would make an excellent play), but it's also thoughtful and articulate about the long term impact of parents in prison, versions of masculinity, fatherhood, family, freedom, choice, luck, destiny and how you can escape your past, with lots of other things besides, and I found it moving, harrowing, but strangely uplifting too. I can't recommend this highly enough (
Series, BBC1 and streaming on iplayer)
- it took me a while to get around to the second series of this romcom. Joanne (Kristen Bell) and Noah (Adam Brody) are now dating but Noah doesn’t get the job he hoped for as a senior rabbi because Joanne isn’t sure about converting to Judaism. The performances are great and the leads have good chemistry, and I like Justine Lupa as Morgan, Joanne’s sister. But I do struggle with some of the other characters who feel a bit cookie cutter-ish to serve the plot (exhibit 1 is Seth Rogan as a hippy rabbi) . I do know this is based on a real story so I’m prepared to cut it some slack but I’m a bit frustrated that they have fallen into the lack of communication trope to drive the drama, and what that means is by the end of the series they seem to be back where they started. I do enjoy this in an occasionally scrolling my phone sort of way but I hope that the next series stops stalling and gets on with the plot a bit rather than just going round in circles.
(Series streaming on Netflix)
Dying for Sex - based on a real life podcast by Molly Kochan with her friend Nikki Boyer after Molly received a diagnosis of stage IV breast cancer. She decided her bucket list was going to be about sex, but it also turned out to be about control, accepting that she was losing it, and letting go of her demons. It has Michelle Williams in the lead role, and Sissy Spacek and Rob Delaney amongst others in supporting roles, all doing a really good job. The title sounds like it’s going to be making a joke of it all, and in some ways it is - there are definitely some laugh out loud moments. But it’s also an incredibly moving story about one woman’s choices when she found she was dying. Trigger warnings undoubtedly apply but it's worth it. (
Series, streaming on Disney+)
Bridgerton - series 4 has arrived, or at least part one of it. It looks as gorgeous as ever, with fabulous costume design and spectacular sets. I am still interested in what happens to these characters, but is it just me, or has the arch coyness of the narration become a bit stale? This time we are focusing on Benedict, who used to be an entertaining rake but is now yearning after a mystery woman, and there are some diverting side stories. The side stories though are sometimes feeling like they are there to eke out the good bits. I had to laugh at the episode spent at the ‘cottage’, inadvertently referencing Heated Rivalry, which has ripped the sexy romance crown away from this series. The raunchiness and sense of fun that made it stand out originally felt a bit muted this time. I will be back for the second half, but let’s hope they stop messing about and get on with the good stuff.
Only Connect - I just wanted to call out my favourite geeky quiz show which held the final competition of series 21 on the last Monday in January (there are still specials to follow!!) . This good natured and genteel cryptic clue-fest is my favourite of the BBC2 Monday quiz night shows, sandwiched between Mastermind and University Challenge. I only occasionally get the right answers but I don’t care. Everything about it makes me smile, from the Egyptian hieroglyphs indicating each question, the cute and very silly introductions to each of the team members, impromptu singing, right through to quizmaster Victoria Coren-Mitchell’s sign off at the end of each episode which often would make Samantha and Sven from
I'm Sorry I Haven’t a Clue, really proud with the level of innuendo squeezed into a couple of sentences. The contestants are all clever and all kinds of diverse, and never afraid to be silly in an awkward and self conscious way. Love it. (
Series on BBC2 and iplayer)
The Night Manager series 2 - I am just half way through so far (got distracted by Bridgerton) I’ve got a bit used to the slightly more shambolic style of Slow Horses and that sense of not taking itself too seriously, so the slick intensity and the James Bondishness of this is a bit of a shock. Lovely expensive looking cinematography with lots of sweeping drone shots, although the music constantly signalling how I am supposed to be feeling is annoying me at the moment, and some of the dialogue feels a bit old school clunky. But, the plot is nicely twisty turny, although sometimes a bit too ridiculous. And if you are going to throw in big plot twists, try not to make them so obvious - I mean, the clue is in the cast and producer lists!! I will be following it through to the end anyway though. (
Series BBC1 and streaming on iplayer)
People We Meet On Vacation - classic friends to lovers romcom with Tom Blyth as the grumpy and slightly awkward dull man who lets his hair down each year when he goes on an annual holiday with Poppy (Emily Bader) who is the fairly cookie-cutter ditsy fun girl. They are a pair of engaging leads and, although I found the time skip structure a bit annoying, it’s an easy and enjoyable watch. Great soundtrack and there were some random but fun little turns by Jameela Jamil and Layton Williams amongst others. (Film streaming on Netflix)
Benediction - a biopic about Siegfried Sassoon, this is steeped in sadness from beginning to end. From Sassoon’s decorated heroism in the First World War and abortive attempt to stand against it, his friendship with Wilfred Owen and then a run of unsatisfactory relationships with Ivor Novello and others before a marriage, which, in this film at least, is seen as sadly disappointing too. Jack Lowden is brilliant in this as the young Sassoon, but I have to say I struggled a bit with Peter Capaldi as the older version of Sassoon, mainly because his accent and diction was tighter and more old fashioned than the younger version played by Lowden and it kept taking me out of the moment. This is a fragmented narrative, with documentary footage of the war, jumping between the old and bitter Sassoon and the younger, sad but still trying version. Then there were chunks of the poetry overlaying the screen action to bring it all together. Very well done but desperately sad. (
Film streaming on BFI Player)
Who We Love - This starts like a romcom/coming of age film. Lily has worked out she prefers girls, but a crush on a girl at school turns toxic and it turns into a fairly clunky film but with the right messages about standing up to bullies and bigots. (
Film streaming on Prime/BFI Player)
Angels in America - I’ve also subscribed to National Theatre at Home now. It’s not quite the same as being at a live performance so I am going to tuck my notes here with film and tv stuff. Apart from rewatching plays I have already seen I also watched Angels in America parts 1 and 2 (about 7 hours long in total!) with a fabulous cast including Andrew Garfield , Nathan Lane, James McArdle, Denise Gough and Russell Tovey. I missed it live and so really enjoyed the chance to see it now. It feels a bit dated but it captures a moment in time (the AIDs epidemic) really well. It’s terribly sad, but the performances and staging are great and I can see why it was so well received.
(Play, streaming on National Theatre at Home)
People We Meet On Vacation - classic friends to lovers romcom with Tom Blyth as the grumpy and slightly awkward dull man who lets his hair down each year when he goes on an annual holiday with Poppy (Emily Bader) who is the fairly cookie-cutter ditsy fun girl. They are a pair of engaging leads and, although I found the time skip structure a bit annoying, it’s an easy and enjoyable watch. Great soundtrack and there were some random but fun little turns by Jameela Jamil and Layton Williams amongst others. (Film streaming on Netflix) 
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