Babylon

Very well put together spoof fly on the wall drama along the lines of 2012 and W1A and just as good. You can see bits of Peep Show shining through from the same team. Funny, well acted and with a story line that builds throughout the seven episodes.

Seriously, don't be out of by the few negative reviews and you'll see what I mean after a couple of episodes.

A year ago I watched the first episode of House of Lies and found it as witty and sharp as Babylon. It takes a while to get into it, but the scene where they storm the house is brilliant. No American hero worship, but utter incompetence at the top which results into total confusion further down command. A total lack of communication and nobody is taking responsibility, because everybody is looking out for themselves. Very close to what many people are experiencing in their own jobs. Is it drama or comedy? Really can't say but I really enjoyed it. Something fresh and original and I guess that is not everybody's cup of tea.

This is not for everyone. But nothing worthwhile ever is. If you have no sense of humour, if you live in Britain and feel threatened by the portrayal of the Metropolitan Police as a bunch of ignorant, prejudiced Neanderthals, if you are American and have no sense of irony then this is not for you. As a Brit who's made Los Angeles his home, I loved it. It rings horribly true. But then, I don't read the Daily Telegraph. Brit Marling is worth her weight in gold. Casting got it right and direction only endorsed it. She plays the perfect foil to the wonderfully stereotypical Brits. The best satire is grounded in the truth. I was heavily involved in the music business in 1984 when This Is Spinal Tap was released and it was frighteningly accurate. I feel the same way about Babylon and that should be cause for concern for every citizen of Britain. How well this will translate into a series remains to be seen but for the moment, I'm glad I can enjoy the joke from a distance.

ADDENDUM

Since I wrote my original review of the pilot, the series has come and gone. I've watched the first three episodes and want to change nothing I wrote. It's wonderful satire which will be fully appreciated only by those who have lived in England but its real genius lies in its tone. It's found the perfect balance. Nothing that happens is implausible, the tension is visceral and the emotions utterly grounded. But it's funny. Not laugh out loud funny but smart funny. Put a smile on your face when you remember it funny. Unless you still live in England or you are or were a policeman.

With a nod to political satires such as HOUSE OF CARDS (1991) and THE THICK OF IT (2005-8), BABYLON offers an energetic satire of the Metropolitan Police and its relationship to the contemporary media. The connection with THE THICK OF IT is no coincidence; the co-writer of BABYLON, Jesse Armstrong, worked on episodes of the earlier series. In BABYLON there are two plots unfolding simultaneously: Commissioner Miller (James Nesbitt) has to deal with a series of shootings in the Uxbridge area, while finding the best way to present the police's response to the incident in the media with the help of his communications director Liz Garvey (Brit Marling). Meanwhile TSG Officer Robbie (Adam Deacon), together with his colleagues, have been selected as subjects for another television reality series on the workings of the police. Director Danny Boyle shows how both plots are linked by the preference for style over substance; it doesn't matter what you do, so long as it's presented effectively on television or through other media. The officers tend to fall into two stereotypes; they are either thuggish, incompetent or both. Although presenting a co-ordinated image, they appear incapable of making any coherent decisions, let alone formulating any effective policing strategy. Commissioner Miller seems more concerned with maintaining good relationships with Mayor Boris Johnson (whose voice has been effectively impersonated by Jon Culshaw) rather than improving his staff performance. At the level of communications, Liz tries her best to present something approximating to "the truth" about the shooting through the media, but finds herself constrained by her co-workers. Most of these satiric targets are predictable (the Metropolitan Police seems to have a perpetual problem with its operations, as well as its media presentation), but the direction is lively and the performances full-blooded, to say the least. There is definitely potential here for further episodes in serial form.

Bitingly funny and relentlessly profane take on public relations and police work in London. As someone who thinks The Wire is the best TV series ever made, I was very happy to find something with a similar, dirty yet hilarious tone. Like in The Wire, we follow both the people at the top and a couple of different groups of cops in the streets. There is no educational angle on what life is like for the criminals, though, or how institutions are affected by a serious social problem like the black market drug trade.

Our very self-righteous heroine is an American PR social media guru brought in to help the police reform their image. It's an uphill battle, and the street cops (think Herc, Carver, and Fuzzy Dunlop now) provide wonderful, reckless everyday examples of why. People used to stuffy British crime mysteries will not enjoy this show's sense of humor, which is irreverent and often comes from the gutter and the gallows. This is not your grandmother's Masterpiece Mystery. But if a quip from a lout that reminds you of how contemporary blue collar cops might really act makes you laugh then you're in the right place. Nesbitt is especially witty as the stern, snarling commissioner who snaps out sarcasm through gritted teeth to his smiley-faced softie aide. Danny Boyle has cooked up another something special. Definitely more like Trainspotting than, say, Millions, though. Dark.