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The onus is on Fogg’s companions – Ibrahim Koma as roguish valet Passepartout Leonie Benesch as an intrepid journalist – to provide the vim: first amid Paris riots, then on board an Italian train as, with Fogg’s ingenuity, they cross a wrecked bridge to save a child’s life. Ibrahim Koma, David Tennant and Leonie Benesch in Around the World in 80 Days. Set in 1872, this eight-part version of the Jules Verne story about the gentleman-adventurer, dramatised by Ashley Pharoah and Caleb Ranson, stars David Tennant: a good actor (so scary in Des), but his Phileas Fogg is so underpowered, navel-gazing, feeble, it’s a surprise he can cross the road unaided, never mind take on wagers to circumnavigate the globe. Sadly, watching the opening two episodes of Around the World in 80 Days (BBC One) felt like it took 80 days. I have only seen the opener, but already The Tourist feels taut, jagged and distinctive, the best Williams offering since The Missing. Tension builds as the Man manoeuvres his wheelchair down a dark hospital corridor. The outback scenes burn through the screen, grimy and desperate. Dornan convinces as the good guy who could be a bad guy, and there’s a rough, homemade feel to the proceedings that at times turns nightmarish, hallucinatory. Photograph: BBC/Stan/HBO Max & ZDFįrom there, The Tourist is a blur of mysteries: who is the Man? Does he genuinely have amnesia? Who’s the other guy we see buried alive in the desert? Other characters drift through: Danielle Macdonald ( Dumplin’, Unbelievable) as a self-effacing, underestimated cop you could imagine ambling about in Fargo Shalom Brune-Franklin ( Line of Duty) as a waitress who seems more involved than she’s letting on.
Shades of Spielberg… Jamie Dornan in The Tourist. When he goes to a meeting in a diner he has written on a scrap of paper, he narrowly avoids being blown up. After being rammed off the road, Dornan wakes up in hospital, with amnesia, as the Man.
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Dornan is driving alone in the sweaty, hazy outback when he’s menaced by a dusty truck with an unseen driver – all we see is a boot pressing on a pedal. It starts out like a homage to Steven Spielberg’s 1971 film Duel. Harry and Jack Williams ( The Missing, Liar) wrote The Tourist, an Australian-set, six-part thriller starring Jamie Dornan ( The Fall) and directed by Chris Sweeney and Daniel Nettheim. She may not be a perfect fit for feminist or heroine, but she was a woman born cruelly out of time.
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Within a few short years, the 60s would be swinging sure, predominantly for men, but free spirits like Margaret may have benefited. You’re rooting for her as she sticks out her chin in court and admits to being the woman in the photograph. Wisely, Foy doesn’t focus on making Margaret sympathetic instead she makes her human – complex, messy, bold. Though she was an early victim of media-shaming, she’s too haughty and entitled to break your heart. There are no innocents here: Margaret, the third wife, forges letters to try to get his sons disinherited. After the duke steals the photographs, and the divorce turns even more rancid, Margaret is expelled from elite circles: “We will close ranks.” Margaret stammers helplessly in front of her scathing mother (Phoebe Nicholls, chilly and superb). The duke, acidly played by Bettany, is vile, druggy, violent and after Margaret’s money. And I’m extremely good at it.”Ī Very British Scandal isn’t really about sex it’s about the hypocrisy surrounding sex. Later, Margaret rounds on Maureen for mocking her sexual appetite, snapping: “I do like it.
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Less so when she attends the sex party of her aristo-friend Maureen (a viperish Julia Davis), where debauchery is represented by a somewhat tragic clockwork penis trundling across a table top (toff-swinging, it seems, wasn’t all it was cracked up to be). The decadence is there when she and her future husband flirt up a storm on a train. Margaret is just as porcelain-skinned, but also glacial, sexual, a pouting wolf. The appeal of her Elizabeth in The Crown was as a young housewife-queen: flustered, blushing, eager to please. Here, then, is another high-end soapy serving of sexed-up British history (2018’s A Very English Scandal dealt with the Jeremy Thorpe affair), with Foy as an intriguing duchess.
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