Shows and TV

Netflix's enormously popular Korean drama returns later in November.

What shows have you grown out of, or has society grown out of? Were they popular in their time? Were they not so much? Why do you feel like they've aged? I'll leave mine below

cross-posted from: https://feddit.uk/post/19488736

We all agree, obviously, that assassins are cool, and TV and film sequences where someone plans a high-stakes, impossible-angled shot (then actually pulls it off!) are really cool, too. The problem with assassin stories is, necessarily, they kind of have to be about the downfall of the assassin. They are plunged into a mess, or a disaster, or a pulse point of family is pressed upon, and they have to think on their feet for as long as we can hold our breath until, ultimately, they are caught. And as soon as that starts happening, they are immediately less cool. Watching a guy make a shot from a mile away is amazing; watching him run into an obvious trap because they used a voice recording of his wife is lame. Many assassin stories speed through the good bit (cool kills!) to race to the more boring and rubbish bit (badly written scenes where a small child says: “Daddy, are you going away?”).

Thankfully, The Day of the Jackal has avoided all that, and it is amazing for it. I, like you, wondered whether Eddie Redmayne – an astonishing actor who nevertheless feels as if he still wears a prefect badge – had it in him to play a calculated, controlled, elegant weapon of astounding horror, but he really, really does. His Jackal is chameleonic and ice-cold, a different man from scene to scene, never really knowing who he is and how he ended up here but seeing that he is doing a thousand calculations at once while he’s doing it. Redmayne doesn’t actually have much dialogue, and he doesn’t move his face much either, but somehow he conveys all this by stalking around the screen in a turtleneck: it’s as if he’s secretly uncovered a new way of acting.

A cat-and-mouse chase wouldn’t work, though, if the cat weren’t as compelling as the mouse, and Lashana Lynch’s Bianca is a wonderful foil. A slightly annoying co-worker at MI6, a stretched-too-thin mum at home, a double agent when the need arises, she’s grabbed on to a few grainy CCTV screenshots of Eddie Redmayne running away from Germany with both hands and all her teeth. The pair haven’t even met in the episodes I’ve seen – I’m sure their “Heat diner scene” is in the post, and I personally can’t wait – but they somehow manage to play off each other anyway. Hey: wouldn’t it be ace to wake up and make a TV show that good?

High Potential is driving big audiences in the seven-day viewing window