‘A Young Doctor’s Notebook’ – Previewing Season Two

Article originally published as ‘A Young Doctor’s Notebook’ – Previewing Season Two on Blogcritics.


A Young Doctor’s Notebook, now subtitled & other stories, returns this week for a second four-episode season on Ovation. Picking up this year with 1918 and 1935 timelines (about a year after the first season left off for both versions of the protagonist), this is both a continuation of the plot, and an entirely new tale. Based, in part, on the short story “Morphine” by Mikhail Bulgakov, the writers are tying that text back into the setting and characters introduced in season one.

When last we’d seen him, the older doctor (Jon Hamm) had been caught prescribing himself morphine. Now, released from a mental institution, he travels back to the office where he spends the Russian Revolution, determined to confront his past — while sober. Whether he can face up to the man he’d at one time been, and the things he’s done, is a central question to this second season, especially where a certain woman is concerned.

As the second season narrative begins, the younger doctor (Daniel Radcliffe) is in the throes of addiction. In an unhealthy sexual relationship of convenience with Pelageya (Rosie Cavaliero), he is much more concerned about his next fix, and not getting caught skimming drugs than he is about romance. Yet, there is some sort of affection between them, if only because she enables the Younger Doctor in his habits.

During season one, the under-the-influence older doctor had been spinning out of control as he relives the beginning of his tumultuous journey, while the younger doctor is a naive, optimistic lad; season two turns the tables. Now the younger doctor is the reckless one, out of control, while the older doctor sits in judgement, knowing full well that he is fact sitting judgment on his younger self. This created a complex dynamic, allowing both actors to explore the psyche of their damaged parts in different, unique ways.

This is a very poignant time for A Young Doctor’s Notebook to air in the United States, given the recent death of Robin Williams. Mental health and addiction are at the forefront of the public consciousness, and the series delves into the subject in an interesting, entertaining, enlightening way.

Students of history may find in A Young Doctor’s Notebook several tidbits of interest. Season two takes place during the Russian Revolution, bringing the war to the very doorstep of the hospital for most of the four installments. Natasha (Margaret Clunie), a member of the ruling elite, and The Colonel (Charles Edwards, Downton Abbey), her protector, stop over in the chaos and each catch the eye of one of our central cast. I’m not sure how much actual, factual past is included in this story, but the pair of new characters do help it feel like the office is set in the real world, rather than existing apart, on its own, as it sort of did in season one.

A Young Doctor’s Notebook is funny, but through an extremely dark brand of comedy. Whether joking about a dead horse or trying to get laid, there’s a pathetic sadness to the characters who exist within the series narrative. Tears may not make it to the audience’s eyes, but they do emanate from the characters on multiple occasions, and with good reason. This is a dangerous, tragic world, and the misfortunes, while amusing because of the cartoonish, over-the-top manner through which they occur, are genuine.

I don’t know if A Young Doctor’s Notebook return for a third season, given the lack of more source material. It’s a unique series I have very much enjoyed, thoroughly impressed by the talent behind it. I watched all four episodes of the second season in one sitting and craved more, a testament to its quality.

A Young Doctor’s Notebook airs Tuesdays at 10 p.m. ET on Ovation.

Downton Abbey celebrates romantic Christmas

Article first published as Downton Abbey celebrates romantic Christmas on TheTVKing.

Grade: 94%

PBS completed its airing of Downton Abbey's third series this week with the hour-and-a-half Christmas special. While much of the drama does usually revolve around romance, this installment kicks it up a notch, and for awhile, it seems like everyone is coupling up. Which is a sweet note to end the year on, even if they all won't work out.

Robert (Hugh Bonneville) Crawley, Cora (Elizabeth McGovern), and their closest relations are invited to Duneagle Castle, the home of Violet's (Maggie Smith) niece, Susan (Phoebe Nicholls, Brideshead Revisited). Unfortunately, during their stay, it becomes increasingly obvious that Susan and her husband, Shrimpie (Peter Egan, Death at a Funeral), don't get along in the slightest. This leads to Robert appreciating Cora more than ever.

Robert and Cora's marriage isn't always smooth sailing. We've seen some up and downs, especially when losing a child. However, they always manage to work things out, and there is real, tangible love between them. We see this in their occasional quiet moments alone. Contrasted with such a terrible pair, it's nice to know that our protagonists recognize that they have something special, and remind each other of it.

Susan and Shrimpie make the wise decision to try to spend some time apart by the end of the episode, but they do have a problem: what to do with their daughter Rose (Lily James, Secret Diary of a Call Girl). Why, send her to Downton, of course!

I'm not sure yet if I like Rose, but she will certainly add some conflict to the upcoming fourth season, in which she has been promoted to main character. She will surely clash with the more traditional members of the household, and test the family's patience as she acts out even more than their own daughters have. It should be scandalous, if nothing else. As long as she doesn't bring ruin on the family, she will likely be more fun than annoying. Maybe even get some of the others to lighten up.

Anna (Joanne Froggatt) and Mr. Bates (Brendan Coyle) don't have much story in this Christmas special, but it's satisfying just to see them enjoying one another's company. After the far-too-drawn-out arc that lands Mr. Bates in prison, getting to witness them spending time together will bring a smile to many a face, and that is all we need from this couple for now. They deserve some peace.

Lady Edith (Laura Carmichael) is denied her own peace when her editor, Michael Gregson (Charles Edwards) follows her to Scotland. Physically, he looks a lot like Edith's previous suitor, though younger and healthier. Sadly, he comes with his own baggage that makes it impossible for them to be together. Edith definitely has a type. The family would like to warn Michael off, but Edith, as usual, will have none of their meddling, preferring to settle her own matters of the heart.

I do feel bad for poor Edith. After everything she has been through, she just can't find an easy path to love. There is much to admire about her, and she has firmly established herself as a character that should be well liked and respected. If she wants Michael, she'll get him. But let's hope that his wife, locked away for the past several years in an asylum, dies first, providing a convenient resolution to their issue so that she can finally be happy.

This isn't about any couple of characters, like the other paragraphs in the review are, but it is highly amusing to see Mrs. O'Brien (Siobhan Finneran) tussle and come out ahead against her Scottish counterpart, Wilkins (Simone Lahbib). O'Brien may be the least pleasant member of the cast, but at least she's one of ours, and Wilkins proves to be even more grumpy. Plus, their little battle of wits leads to a drunken dancing Mr. Molesley (Kevin Doyle), which is a sight we definitely needed to see.

Back at Downton, Tom (Allen Leech) is left to mind the house by himself, making him easy prey for the new maid, Edna (MyAnna Buring, Ripper Street). This does shine a light on the fact that Tom is lonely, and deserves a little happiness. Maybe that will be in the cards for him next year.

For now, though, Edna is acting highly in appropriate, and I am glad to see her promptly fired. No matter what Tom's background is, he's a gentleman now, part of the upper crust. It's one thing for him to dine with his former co-workers in the basement. It's quite another for him to take up with one of them in his in-laws' house. Maybe Tom's next romance will be from the lower class, but it cannot come among the staff at this particular place. It would be a slap in the face to Robert, and Tom would wind up being a driver again.

While most of the Crawleys are away, the staff decides to take a little break, much to Carson's (Jim Carter) dismay. Carson is entirely too stuffy for his own good, and like Robert, he needs to modernize a bit. However, we do get to see a softer side of him as he bonds with baby Sybil, a welcome glimpse of the soft heart we all know he tries to hide so well.

Isobel (Penelope Wilton) spends some time with Dr. Clarkson (David Robb) in this episode, who would like to begin something serious with the widow. It's disappointing that Isobel isn't interested, because it would be nice to see her with a man for a change, but at the same time, one has to admire the way she gently cuts Clarkson off at the pass, anticipating his intentions, and giving him a way to save face. She is a remarkable woman, and any guy would be lucky to have her.

Mrs. Patmore (Lesley Nicol) is invited to a local fair by a new vendor, someone who offers her a date, followed closely by a proposal. But Mrs. Hughes (Phyllis Logan) notices that this new beau has a wandering eye and a flirty hand. She warns Mrs. Patmore, who is relieved at not having to make a choice about being a wife.

Mrs. Patmore is one of the most enjoyable, fun characters on Downton Abbey. It's nice to see her get some positive attention from a man, even if it's just for her cooking. But I also adore the friendship she has with Mrs. Hughes, and this plot is as much about the two women as it is a chance for love. In this, it's a wonderful side trip that I hope to see more of.

Jimmy (Ed Speleers) also runs into trouble at the fair when he gets drunk and is mugged. Thomas (Rob James-Collier) comes to his rescue, taking the beating himself, and allowing Jimmy to escape. It's what Jimmy finally needs to put the past unfortunate incident with Thomas aside, and even form a friendship. I will be very interested to see where this might take the two characters next year.

Thomas has long been a thorn in the side of Downton Abbey, an unlikeable jerk who should have been kicked out long ago. Yet, when his homosexuality is exposed, his pain and suffering laid bare for us to see, the family and staff alike close ranks to protect him. I think this causes a fundamental shift in Thomas, knowing he is valued and cared for, no matter what he is, for the first time. I like this nicer Thomas, and hope his villainous days are behind him.

Lastly, we get to Lady Mary (Michelle Dockery), who goes into labor a little early after her journey. The family rushes home to be by her side after she has her baby, and it's a beautiful boy, finally providing the next in line to inherit Downton Abbey, extending the line of successions. For a moment, we see Mary, Matthew (Dan Stevens), and the unnamed infant together, a perfect picture of a happy family.

And then Matthew is tragically killed in an automobile accident. This is a necessary twist, given Stevens' selfish desire to quit the series that has made him famous. But it's unwelcome, both to the story, and to the fans, many of whom are as invested in events as the characters. We already are still reeling from Sybil's passing. It's not fair to introduce another child who will be raised by a single parent. It took so long for Matthew and Mary to get to this place, it's highly disappointing to see them ripped apart now.

Knowing ahead of time what would come, I expected Matthew to die before he could make it to the hospital to see his son, but am relieved the he didn't. At least he dies happy, and we have that image of him with wife and baby. But it still sucks as a story, and the only blame that can really be laid is upon the actor himself, as it is his decision to go.

This is a lengthy review, just touching on so many characters, and leaving some of the main ones out. Downton Abbey has a fantastic large ensemble, and I cannot wait to see more of the same quality storytelling they have delivered these past three years. I have no complaints about the installment (save Matthew's death), just an appreciation for a job well done.

Downton Abbey will return for a fourth series.

Holy Flying Circus alights on DVD

Now available from Acorn Media in a Blu-ray/DVD combo pack is the comedic docudrama, Holy Flying Circus. Is this a sketch film? Is it a Monty Python parody? Is it a retelling of historical events? Is it purposely offensive to religious people? Yes, to all of these things, and more.

The main focus of Holy Flying Circus centers around the release of the 1979 film, Monty Python's Life of Brian. For those who may not remember, Life of Brian follows a guy named Brian whose life parallels Jesus Christ, and is mistaken for the messiah, even as evidence stacks up to contradict this assertion. When the movie originally came out, it was steeped in controversy, and some Christians took offense to the themes and jokes, especially if they hadn't actually seen the movie.

What Holy Flying Circus does is to re-create those events with a very Python-esque flavor, making the movie in the style of Python's classic films and shows. This does a couple of things. One, it makes Holy Flying Circus way funnier than most documentaries. Two, it should appeal to the sensibilities of Python fans, who are most likely the target audience of this piece. Three, it sneaks messages into the silliness, providing much fodder to think about. And four, it honors the comic legends who ruled Britain's funny scene a couple of decades ago.

Now, one might argue Holy Flying Circus isn't very good, as the writing veers off in odd ways, not always the direction the viewer would like it to go, especially with the fantasy sequences. It also borrows heavily from the existing Monty Python works, meaning there's a degree of copying. These are valid arguments.

However, what saves Holy Flying Circus is the fantastic ability of the performers to mimic the real life people that they are based on. Each member of the great cast, which includes Steve Punt (Mock of the Week) as Eric Idle, Phil Nichol (The International Sexy Ladies Show) as Terry Gilliam, Rufus Jones (Mongrels) as Terry Jones, Thomas Fisher (The Illusionist) as Graham Chapman, and especially Charles Edwards (Murder Rooms) as Michael Palin, and Darren Boyd (The Jane Show) as John Cleese, deliver uncanny imitations. Jason Thorpe (Little Dorrit) as the BBC executive and Stephen Fry (Bones, Jeeves and Wooster) as God also lend much to the proceedings, making for a memorable movie.

Besides the terrific casting, there are also a number of tongue-in-cheek references to the Pythons and their various projects, including things they did after this movie, in the "future." They are numerous, and many are sly. The more you times watch it, the more you are likely to catch.

The central question at the heart of Holy Flying Circus is, is it alright to poke fun at religion? Not in a mean-spirited way, of course, but in the service of legitimate comedy. Especially in America's currently heated presidential campaign, the debate the rages on, not always in the public spotlight, but ever important to a sizable percentage of the population. It almost makes the Pythons seem ahead of their time to have tackled this back in the day, though they weren't the only ones doing so. Should the religious community have a sense of humor about themselves and their beliefs? What if the jokes come from people who believe the same things?

This is not a debate quickly settled, and as we see when Cleese and Palin appear on the British series Friday Night, Saturday Morning; this may be a debate not many are willing to actually have. The characters, much as it happened in real life, find themselves pitted against religious leaders who are not willing to budge from a stance, nor listen to logic and reason if it conflicts with this opinion. Are they justified in acting that way? This movie has a view on the subject, and it is one likely shared by many would-be watchers, though not necessarily by the population at large.

The extras are a little disappointing. The nine minutes of deleted scenes are pretty good, although the nearly 20 minutes of outtakes drag on a bit. The sole exciting featurette shows how the opening sequence was made, which is very complicated and cool. But that's it. Nothing from the Pythons themselves, which is what I would really like to be included, though it seems unlikely they would want to participate in such a project. Still, the draw is the film, and it is worth watching.

Holy Flying Circus is available now.

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