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This magnificent 3-part series is practically perfect in every way. The writing is of the highest standard, the cinematography is superb, the directing is skilful, the all-round storytelling is truly top-notch, and the performances are extraordinary - in particular the lead role played by a supremely talented young actor named Callum Booth-Ford. His performance was so ultra-real, so confident and assured, so intelligent, so nuanced, so truthful that I actually had to check early in the first episode to see if they'd been cowardly and cast a girl in the role. To their credit they hadn't. They cast a young boy in a complex role that required not only immense self-confidence and supreme acting chops to pull-off, but also a willingness to risk much of the same ignorance, prejudice, and narrow-mindedness in his real life as was being experienced by the character he portrayed. And I'm not just talking about potential bullying from other children - though we all know how cruel and despicable they can be. But also by unenlightened adults, well-meaning or otherwise, or might seek to "protect" him when actually they'd be doing harm.

One of the very few aspects of the modern world that can be regarded as an improvement is the fact that young people in films, TV, and theatre are occasionally allowed to portray all their complex, three-dimensional reality, even if that reality is scary or disturbing for some adults. Back in the early 80's when I was a preteen, I would not have been allowed to play a gay character, or a trans character, or even a cross-dressing character, and I would not have been allowed to see such characters portrayed by others. I wasn't even allowed to be gay or bisexual myself. It was illegal for my teachers to acknowledge that such people even existed, let alone help us through our self-discovery, confusion, and angst. There wasn't even the suggestion that polysexual or non-binary people or lifestyles existed. The world has moved on, thankfully.

So I am overjoyed to see such intelligent, well-made dramas being produced, not as propaganda, or education, but as entertainment for ALL to enjoy, in a free-thinking world where people of all types and persuasions can be represented in a non-fearful way; openly, without shame, and without judgement.

The world has moved on. Not soon enough, not far enough, and not fast enough. But we're getting there. The more "normal" people are given the opportunity to expose themselves to lives and lifestyles that to them are "atypical", the better chance they have to break down their own ignorance and prejudices before they become damaging, and to embrace and explore a wider and more tolerant world. Enlightenment is free and available to anyone willing to let it in. All they have to do is be open to it. And to have available such works of literature, drama, music, and any other art form that can illustrate, elucidate, and inform them. An exquisite drama like Butterfly is most definitely a large step in the right direction. More, more, more!

The first two seasons of Ray Donovan were exquisite, with a fabulous cast, strong writing, and a compelling plot that made this a true binge-watch. The third season was very nearly as good, but perhaps not quite so polished. Season Four, however, introduced a major story element that made my heart sink. Cancer. (Yep. That tired old soap-opera trope!)

Now I should point out that my disappointment at the direction the show took was, of course, highly subjective. But I feel that if I had been adequately warned in advance about where things were heading plot-wise, I would NOT have spent the money to buy this otherwise excellent show. Because for very personal reasons I have a deep and powerful aversion to the subject of cancer, and watch shows like Ray Donovan SPECIFICALLY to escape from having to think about it. So my heart sank when it was introduced, and it sank even further when it became clear that the producers intended to use it as the MAJOR storyline going forward.

However, I had paid the money, and the rest of the show continued to be high-quality and riveting. In fact, so compelling - during the brief interludes that didn't involve watching someone slowly dying from cancer - that I couldn't stop watching, even though the show was now a serious downer. I binge-watched the remaining two seasons (4 and 5) in one go. But it was more of an endurance event than the sheer delight that it had started out as.

Season Five was a HUGE departure too, for stylistic as well as narrative reasons, and judged on its own merits would only have scored 2 stars from me. Aside from being a major downer due to the bulk of each episode being about multiple characters dying slowly from cancer, it also changed its storytelling style from a linear, straightforward narrative to a needlessly convoluted and messy miasma of flashbacks and flashforwards, crashing clumsily and confusingly backwards and forwards in time with no particular structure and nothing to ground the viewer or help them orient themselves in the story. Frankly it was a bleak, depressing, confusing mess. It also introduced another stylistic element that had previously been blissfully absent: Dream sequences and hallucinations. I passionately despise these things, as they are a lazy storytelling device, as well as being clichéd and annoying!

However, and here's the thing with Ray Donovan; the bits of the show that actually focused on dodgy deals, hiding bodies, blackmailing scumbags, and managing the various disasters created by Mickey and his sons, remained as compelling as ever, and I still couldn't stop watching - despite not enjoying the majority of each episode.

The show lost its way badly after its third season. But it is still a great series, with a top cast, excellent writing, and a gripping story. And based on what happened in the Season Five finale, I'm going to lay out more of my precious money to buy the next season ASAP - despite mostly hating the last 24 episodes I've watched. That's how good it is.

Jed Mercurio has done it again! The man behind such thrilling rides as Strike Back, Line of Duty, and Critical has once again brought his unique blend of adrenaline, sex, and intellect to a top-quality UK drama series. He's done soldiers. He's done police officers. He's done surgeons. And now he's added politicians to his ever-expanding catalogue of everyday people in tense and death-defying situations.

Bodyguard gets off to a nerve-jangling start, and doesn't let go. The pressure builds. The action intensifies. The corruption and ineptitude of people in power is once again highlighted in all its ugliness and hypocrisy. Action and thrills are counterbalanced with politics and intrigue. And behind it all, a set of interesting and well-drawn human characters.

More, more more!