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At first, nine-year-old Leon struggles to care for Jake, while their fragile, mentally ill mother (Poppy Lee Friar) lies catatonic in bed. It’s set in 1980s Birmingham at the time of the race protests. Written by Shola Amoo and directed by Lynette Linton (artistic director at the Bush theatre in London), it stars newcomer Cole Martin as a mixed-race boy in foster care who yearns to be reunited with Jake, his white baby half-brother. The unmissable My Name Is Leon, on BBC Two, is a 90-minute adaptation of Kit de Waal’s acclaimed novel. Four episodes along, I’m finding that the hooks are in deep and dragging me towards the finale.
#FINDY FIRST LOVE TV SHOW SKIN#
Bernthal in particular is superb: his very skin seems to ripple with twitchy, righteous, gum-chewing toxic energy. That aside, it is brutal and compelling, with appearances from actors from The Wire (including Jamie Hector, who played drug boss Marlo Stanfield) and eerie nods to the recent past, such as passersby filming arrests on cameraphones. WOTC zips around multiple time zones so manically that it dislodges and undermines the narrative.
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British actor Wunmi Mosaku plays one of the investigators doggedly, elegantly, trying to stop the rot. “If you want to do this job, you’re going to get complaints for doing this job,” drawls dead-eyed Hersl. Officers such as Wayne Jenkins ( The Walking Dead’s Jon Bernthal) and Daniel Hersl ( The Good Wife’s Josh Charles) do what they want – steal, racially target, wrongfully arrest, abuse – but are still praised for bringing in criminals. This is a portrait of a warped world in which violent sociopaths prosper in plain sight, so long as they have police badges slapped on to their quasi-Alpha puffed-out chests. ‘Gum-chewing toxic energy’: Jon Bernthal in We Own This City. There are elements of that and so much more besides. All of which sounds akin to an ersatz, factual version of the Wire, but with the cameras spun 180 degrees to retrain on corrupt cops.
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Based on Justin Fenton’s nonfiction book, it details the venality, corruption and fall of the Baltimore police department’s gun trace task force, against the backdrop of the police killing of Freddie Gray in 2015.
#FINDY FIRST LOVE TV SHOW SERIES#
Now there is Sky Atlantic’s six-episode series We Own This City, developed by Simon and Wire collaborator George Pelecanos, and directed by King Richard’s Reinaldo Marcus Green. I was a huge fan of The Wire, David Simon’s bleakly unravelling drugs-and-guns saga set in Baltimore. It’s a credit to her performance that when, eventually, Maggie is coldly denounced as “exhausting”, you feel a protective pang on her behalf. Appleton plays Maggie like someone realising a beat too late that she isn’t a character in a Lana Del Rey song. But it illuminates a certain stripe of millennial rite of passage: the seismic emergence of dating apps (this generation, after all, was the swipe-right canary sent down the Tinder coalmine) class A drugs chopped out in toilet cubicles “walks of shame” executed with a giggle. Undone by the ultimate rejection, her cool girl persona turns to ashes.Ĭontrolled emotional screen-detonations, as in the recent Conversations With Friends, have their place, but I found myself drawn to the stumbling warmth, the honest human mess of E verything… It’s not on the level of Girls: the other two friends, played by Aliyah Odoffin and Marli Siu, are underdrawn, and it can be self-conscious and rambling. However, as much as Maggie is gorgeous, bohemian, “an Anita Pallenberg drag act”, she is also laceratingly self-deprecating (“I’m the tragic drunk who buys all the rounds”) and, you come to realise, a bottomless pit of vulnerability. Birdy is Maggie’s opposite, the safety bucket of sand to her reckless firework. Fresh out of university, gifted with a vast, cheap-as-chips Camden pad that could only happen on television, she and three flatmates whirl around their chaotic twentysomething lives like a millennial operetta of love, lust, drugs, first jobs, dating apps and vodka shots.Įntitled, self-dramatising Maggie has a crush on swaggering poseur Street (Connor Finch), but remains devoted to her childhood best friend, sensible Birdy, beautifully played by Bel Powley, who reminds me of the late, great Charlotte Coleman. Created and largely written by Alderton, directed by China Moo-Young and Julia Ford, it tells the story of Maggie, a fictionalised version of Alderton, played by Emma Appleton. Set in 2012, it’s based on Dolly Alderton’s bestselling memoir.
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