Now that trips to the cinema are out of the question for many people in Ireland, television recommendations are needed more than ever. So, without further ado, take a look at No More Workhorse’s television picks of the week and boot up that gogglebox!
If you are looking for some lighter viewing, the four-part miniseries Us will debut on BBC on September 20. This comedy-drama, which stars Tom Hollander and Saskia Reeves, follows middle-aged control freak Douglas Petersen (Hollander) as he takes his wife and son on a grand tour of Europe with the intention of repairing their failing familial relationship. According to author David Nicholls, whose book this series is based on, the intention of the production was to “make something funny, touching and beautiful, to really explore marriage and family life, all against this incredible backdrop”. Expect plenty of laughs, and perhaps a few tears as well.
Whose Vote Counts, Explained
If you, like many of us, are reeling about the government’s general incompetence this week, Whose Vote Counts, Explained is a must-watch. This new documentary series will make you feel considerably better about certain Dáil dwelling buffoons because our broken political system is revealed to be exemplary in comparison to that of the United States. From gerrymandering and voter suppression to billionaire donors and ballot fraud, this Netflix production unpacks the factors which contribute to the rigged nature of the so-called land of the opportunity’s voting system. Just in time for the next American election, get ready to lose even more faith in humanity.
Based on Donald Ray Pollock’s novel of the same, The Devil All the Time is a period drama which boasts an ensemble cast including Tom Holland, Robert Pattinson and Bill Skarsgård. Set in rural Ohio and West Virginia, Antonio Campos’ film follows its cast of characters from the end of the Second World War into the 1960s. Judging by its reception so far, it is a disturbing and gratuitously dark feature dealing with rape, murder, suicide, corruption and revenge. Despite what you might think, it’s not actually an allegory for Trump’s America – Campos just really likes making films about sociopaths and violent criminals.