"I am at a loss to conceive how a man should permit himself to write anything that would be truly disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man."

05 October 2010

Welcome to the company, Mary Poppins...

Always attempted and always failed. I doubt this year will be different, yet I still keep trying. The goal is: each day during the month of October to watch one horror movie or show. I have plenty of stock, and now with DVR even more to choose from. I've never been able to succeed at every day, and I know this year won't be any different, but progress tracking seems as though it may be helpful.

Day one: Jekyll.

This is one of the first series I remember watching on BBCAmerica once I had DirecTV installed in my very first, very own place.

Every time I watch it I find something new to entertain, frighten, enlighten, amuse and inspire. Right now I'm invigorated by the clippy dialogue, brilliant industrial-meets-Glass-horror score, and Michelle Bloody Ryan. I mean, damn, that is one gorgeous woman. Then again, my girl crush and adoration fades as soon as she's off screen and James Nesbitt gets to go full on let's-play-lions crazy. I'll get to Nesbitt and his brilliance at a later time.
Michelle Ryan captures a perfect balance between intelligent, professional, strong young woman and yet emotionally vulnerable and a victim of unrequited love with the 'sane' persona of her bosses. And yeah... she's smoking hot.
The music alternates between an eerie choral motif and an industrial, yet sometimes piano-driven, creepfest. It's deceptively simple and affecting in the moment -- one of those scores you think works at the time but you won't ever think of again. That's what the music wants you to believe. I've dreamt about this music, had delicious nightmares fueled by it. If there's one thing I love about music in British series, it's that they don't muck around with it. It's as much a part of the production as plot, writing, casting, directing, editing, etc. This makes for some truly amazing British compositions in their shows, and for horror-drama scores it's hard to beat this one.
The writing is... well, I'm biased when it comes to Steven Moffat. However, there's a solid, strong reason for that: he's a brilliant writer. The whole arc of this series screams of genius, but added to that is some incredible character development and stunning dialogue. While I can't imagine any other actors in the main roles on this show, I know that even competent performers could make gold with these words -- it's just that well done.
For now, let me say that if you have not seen this revitalization of Stevenson's tale and world, you are missing out on one of the best horror re-imaginings out there. I haven't yet been able to see Moffat's recent Sherlock Holmes adaptation, but with Jekyll as his maiden voyage into this genre I'm very excited for it. I know that to talk this up so much only sets it up for failure in the sense that not everyone views the universe, the horror genre, or British television as I do. Yet I have trouble believing that anyone who enjoys the Brits, twisted dark humour, classic horror themes, solid acting, great writing and/or psychopaths who slaughter lions with their bare hands and then sing "The Lion Sleeps Tonight" might dislike this series...

"Ever killed anyone before, Benjamin?"
"Not personally. I have people."
"You're missing out. It's like sex only there's a winner."


  1. we are seriously night and day lol.

    can you please come and be my girlfriend stand in for mark? he needs someone to watch scary movies with. i refuse.

  2. I'm up for it so long as he watched decent horror movies. I'm not doing a SAW marathon with him or anything...

  3. I hope "Audition" is in your list for the month.. "May" was also pretty disturbing.

  4. Typically, I try to stick to films already in my collection (or on my DVR) as I have yet to successfully make it through even that number during any given October, but I'll put those down for future horror-fests.


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