scrH HEROES 8802, Wed 25 Jul, 9pm 00
‘Hokum’ doesn’t even begin to describe Heroes. Essentially a long-winded version of X-Men, the opening volume follows a group of strangers from around the globe who come to realise that they have been endowed with incredible powers.
The characterisations here are pure pasteboard, from the vaguely ‘mystical’ Indian taxi driver and the smart-mouthed cheerleader to the wide-eyed Japanese computer programmer and the troubled artist who ‘paints’ the future. As these furrowed-browed, plump-tipped outsiders drift together to prevent some vague foretold disaster (a plot to destroy New York, natch) we are exposed to some of the most horribly stilted dialogue to spew forth from an American network (‘A global eclipse; it makes one realise how small we all are’).
The intended message here is that ‘ordinary’ people can be heroic, which is a squalid little premise for an escapist, comic book-style fantasy in itself. But the series is inevitably founded on that time-honoured lie that beautiful stereotypes with smooth skin can transcend their mortality and defeat indefinable evil so long as they choose the right team. The biggest problem, however, is that, despite endless dreary dwellings on what a frightening responsibility it is to be endowed with supernatural powers, there is in fact nothing truly mysterious or even vaguely threatening about the perils these characters face. The most fantastical thing about Heroes is that it has inexplicably become the highest rated drama in recent US television history. (Allan Radcliffe)
diplomatic correspondent for fire Dal/y Marl. in 1954. [he dramatic reconstruction is interspersed wrth corrtrihutions from gay rights campaigners of the time and eye witnesses. including Lord Montagu himself. ‘lhese segments. in which ageing gay men reflect on a crueller era in which they were mercilessly hounded by the press. police and hlackmarlers is compelling and frequently movrng. but it's hard to escape from the impression that this is two programmes welded together rather than complementary ingredients of the same cake. Moreover. the story might have benefited from a slightly more lyrical adaptation. lilting the events above the level of prosaic courtroom drama.
Nazi Pop Wins (Channel 4. lhu 1‘.) .Jul, 10.30pm .0. ) offers an intriguing insight into the unpredictable nature of documentary-making. Filmmaker James Quinn starts out promising an enquiry into America's
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Allan Radcliffe finds that, while reality doesn‘t necessarily suck. it often lacks bite
The old adage that the truth is stranger than fiction appears more crucial to programmerrnakers now than ever before. While reality shows and emotive (locumentaries dominate the schedules. drama is in terminal decline. Even something that looks and smells like an original drama could well turn out to he a drama dOCumentary. as in the case of A Very British Sex Scandal (Channel 4. Sat 21 Jul. 9pm 0.. l. Screening as part of a season marking the 40th anniversary of the decriminalisatioii of homosexuality. the film recreates the landmark arrest for homosexual activities of Lord Montagu of Beaulieu (Orlando Wells). a 28—year- Old socialite. and his friend. Peter Wildeblood (Martin Hutson). the
82 THE LIST 1E) Jul ‘2 Aug 9007
white nationalist movement from the perspective of Prussian Blue, the neo na/i folk duo that comprises hlonde haired. hlue eyed teenage twrns. lynx and Lamb Caede from Bakersfreld. California. Initially the film delivers its prurient pound of flesh as the Caedes are seen touring radio stations regurgitating their elders half formed Views on immigration and the innate Wisdom of Adolf Hitler. But what emerges is an unexpectedly intimate family portrait as these Aryan teen worms turn against their pathetic mother manager. April and monstrous grandfather. Bill, who joshes ahout shooting Mexutans and whose cattle are hranded with swastikas. Quinn shows admirable restraint in simply allowmg his guietly outraged camera to observe the Gaede clan disintegration at a safe distance. the detached narrator only breaking his impartiality to challenge April's
inarticulate mutterings right at the end.
'l he piece undeniath makes for coriipulsive vrewrng. hut in scrutinising this phenomenon through such a narrow prism, the director makes little or no attempt to get to grips wrth the root causes of simmering racial tensions. Nor does it admit to the fact
that ugly racism is not confined to extremists and is regularly pandered to by so-called centre ground politicians on hoth sides of the Atlantic.
You rnignt think that recent events would have rather busted the flush ot another portentous piece of forthcoming factual televrsion, The Insider: Britain’s Gambling Addiction (Channel (’1. l n Qt) .J‘o‘l, r'.(5()pm 0.. l. But the shrieks and shouts that greeted Cordon Brown's hints that he wrll scrap plans for the Manchester super casino rather overlooked the fact that the government still plans to pr 2st; ahead With its gamhling act this Septemner. ‘Refoims' mainly consist of green lighting to new casinos and loosening up regulations governing hetting shops. many of which will he built In some of the country's poorest areas. the film tollows refornred addict .lake Brindell who argues that lill‘. legislation. coupled with an exponential rise l'i telephone and internet hettrng. means that there are more opportunitres for Brihsh people to become add-cter to gambling lhe UK is already uni/toe iii the rtewloped world in allewrng children tr) garn‘plr- on slot machines. Vhile hardly revelatory in pointing out the futilrt'y of pumping money into s.ot rnacnrnes and l adhrokes online site, thrs still offers an eye popp:ng insight into the voracious cynicism of the gambling industry not to mention the lack of help for addicts.