Hugh Bonneville, in lead roles.
Having seen the first series, I must mention that the show
stays true to its source material. This means that the
state of the English language seen originally in Shakespeare’s work is used. Iambic pentameter is resurrected
and as you watch the show, you realise that the creators
of the show didn’t twist the language around to make it
more palatable for a younger audience.
Ben Whishaw’s terrifying and terrific portrayal of King
Richard is a landmark performance that will always
come under discussion anytime someone looks for a
worthwhile adaptation of Shakespeare’s works.
Hollow Crown is not just the story of a Monarchy but an
intelligent exploration of political power, the seduction
and psychopathy that lies behind power, the question of
identity, and the pull of the throne. As Richard, brought
to life by Ben Whishaw, banishes both his cousins in the
opening episode after calling off a duel, his careless demeanour and disinterested decisions as a leader makes
you cringe and wonder.
The stories of great and vile men, who are both noble
and difficult to accept as heroes makes the Hollow
Crown a show that not only merits a view but one that
demands several revisits to truly understand its many
layers.
Moving away from the Monarchy, our second case study
is the Shonda Rhimes series, How to Get Away with
Murder. While the show, fast-paced and quick-witted
like all Rhimes productions looks like a law-driven series, full of thrilling moments and a murderous group of
students, it goes beyond. Look closer and the show is
actually about deeply flawed individuals who are tainted
and complex. They live in greyscale and invite you to
explore the same.
Take for example, the second season of this particular
series when the show’s lead star, Viola Davis, whose
portrayal of Professor Annalise Keating is not just memorable but very human, heads home back South after
things continue to fall apart in her professional and personal life.
During that quiet, slow-burning episode, we learn about
Keating’s loss of a child and the long shadow of grief
that she’s been carrying around. In a show driven by
shocking moments, this particular episode not only
showcased Davis’ versatility as an actor but also made
one understand why she is the way she is. It’s a heartbreaking performance, one that says so much about the
unspeakable grief of losing a child without saying too
much. However, the show doesn’t feature Davis in an
endless loop of trauma. It presents this subplot in a delicate fashion and helps us in exploring the motivations
that drive each and every character.
The third example comes from a show called Law and
Order: Special Victims Unit, an American crime-legal
procedural drama that is often credited with creating
awareness about the subjects it tackles.
Anchored by Mariska Hargitay, the long-running series
is based around the issues of sexual violence and con-
REPORT
sent within the parameters of the show. And though it
makes for difficult, almost physically painful watch if