todthedog wrote:Totally agree on Lethal White, poor in all respects abandoned 10 minutes into episode 2. Makes Midsomer Murders look Oscar-winning material.
Killing Eve loved the first series, second was OK abandoned in series 3.
The Bridge now on iPlayer brilliant all seasons.
Liked Code 37 sex crimes on all4
Lethal White was so-so - a decent pot-boiler but nothing to write home about.
The Bridge? - now there's something in a different class. Watched it first time round and hooked on this repeat airing. Sophie Helin just amazing and her character can have you in tears or laughing depending on mood.
Mystery Road, watched the first one or maybe two, then gave up. Can't get into the characters and feel no empathy for them
Singapore Grip I'm giving the benefit of the doubt for now. My problem is, I do that and then feel I have to plough on to the bitter end even if it's rubbish - which this probably is. Isn't that the sunk cost fallacy in action?
The program on BBC4 on forgotten black composers had rave reviews, but I couldn't help feeling something missing. It was all a bit too fervent and Lenny Henry, god bless him, was quite annoying at times. Thank goodness for Suzy Klein to add a little weight, but only a little. Those of us into radio 3 already knew several of those so called forgotten composers, so they aren't really forgotten, though they
are underperformed. There could be a good reason for that, of course, but Florence Price definitely needs more airing. I'm not convinced it's all down to racism: the classical world is very competitive but also subject to fashion. Composers come and go - Sibelius, Vaughan Williams, Mahler, and even Bach, for example, and it's no good promoting someone as "Mozart" if they aren't. The truth will out.
Chineke! are brilliant, but are they really the most diverse orchestra in the world? Only if one thinks that "diverse" = ethnic minority, largely black. But the point is well made that black musicians are deserving of more appointments which should come through blind auditions. Strangely, I know one orchestra quite well, which uses only blind auditions but doesn't have a single black musician, How does that work? It does have a good gender balance, though.
And whilst I believe Sheku Kanneh-Mason is a lovely guy (I've met him at Wigmore) and potentially one of the greats, let's not overlook another potential great of the same generation who just happens to be white - Laura van der Heijden. She is fully deserving the same accolades but tends to be overshadowed by Sheku and his newsworthy family which includes the marvellous pianist, Isata.
Sorry, this turned out to be longer than expected!
Arb.
