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Imported ‘Joan’ and ‘Last Days of the Space Age’ are period pieces with distinct drama

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Imported 'Joan' and 'Last Days of the Space Age' are period pieces with distinct drama

As a seasoned viewer who’s seen more TV than I care to count, let me tell you, these series are as diverse and captivating as a box of colorful chocolates. The Australian drama, “Finding Tonky,” with its rich tapestry of characters and intricate plotlines, is reminiscent of a fine wine that improves with each sip.

Regardless of who’s at fault, it’s clear that television is experiencing disruptions due to issues in its content delivery system. This doesn’t mean there’s less TV overall, but across various channels and streaming services, there’s an increased reliance on foreign-bought shows to fill the void created by these interruptions.

It seems logical to champion products produced domestically, such as cars and technology, and also those made in iconic locations like Hollywood. However, art transcends borders, and we’ve moved beyond the era when film sets stood in for any part of the globe. Imported content, even if not exceptional, can provide unique perspectives on global life and human existence.

Starting on Wednesday, we’ll be premiering two series hailing from opposite sides of the English-speaking globe. From our television relative, the UK, we have “Joan,” a true-crime drama airing on The CW at 9 p.m.; meanwhile, “The Last Days of the Space Age” arrives from Australia, a place that is both a country and a continent. Both shows are set in the latter part of the 20th century and feature actors who previously worked on “Game of Thrones,” which, given its popularity, isn’t entirely surprising.

Located in a Perth suburb during 1979, “The Last Days of the Space Age” carries an air reminiscent of ’90s American dramedies, such as “Picket Fences” or “Northern Exposure”, albeit not quite as eccentric or masterfully crafted. The show subtly grapples with weighty themes while maintaining a light-hearted approach that allows the viewer to acknowledge their gravity without becoming overly somber. (It centers around a small town, yet is connected to a larger community.) This series is brimming — overflowing, even — with characters, each having distinct issues or ambitions. However, in the four episodes (out of eight) I’ve had a chance to review, the narrative momentum seems somewhat restrained. Nevertheless, this lack of urgency isn’t necessarily a drawback, as television often focuses more on character development than resolution, and some of these characters make for enjoyable companionship.

Imported 'Joan' and 'Last Days of the Space Age' are period pieces with distinct drama

In this production, Rhada Mitchell portrays Judy, the mother figure to two distinctive daughters: Tilly (Mackenzie Mazur), an academically gifted girl with aspirations for space travel, and Mia (Emily Grant), a truant surfer who grooves to Plastic Bertrand’s “Ça plane pour moi.” Initially, I was planning a humorous remark about the low royalties likely charged for using that song due to its frequent appearances in TV soundtracks. However, it turns out that the song actually peaked at No. 2 on Australian charts in January 1979, making its usage quite fitting. The contrast between the sisters is cleverly demonstrated when Mia defaces Tilly’s John Glenn poster by drawing a mustache on it.

Judy is married to Tony (Jesse Spencer), who serves as a union leader at an electricity company. Currently, there’s a strike happening at the company, which means power outages are common. Despite its unstable condition and the apparent incompetence of its management, the company somehow manages to supply power to more than just a few houses – though I’m not entirely sure how Australian utility companies work, so let’s move on. Judy holds a job in administration, which unfortunately adds strain to their marriage due to financial struggles. They’re struggling to make ends meet, and they risk losing their rented TV because they can’t keep up with the payments. To top it off, Tony hasn’t paid the mortgage, and Judy is overwhelmed trying to balance work and managing the household.

But wait, there’s more. Indigenous next-door neighbor Eileen (Deborah Mailman) is having an affair with Judy’s dropout dad, Bob (Iain Glenn), who lives in a trailer on the beach, near where a family of Vietnamese refugees (also neighbors), including Tilly’s friend Johnno (Aidan Du Chiem), sell pho and fish and chips, mourn the loss of a child and are harassed by young surf-thugs, who are also rude to Mia. (Just as Tilly’s ambitions are dismissed by a hidebound sexist guidance counselor, who suggests she find work at a local department store, Mia’s surfing skill are mocked by the boys. Feminism is just getting to Perth.) And then there is Mick (George Mason), Tony’s gay brother, an ambitious video journalist (“TV’s going to be huge in the ‘80s,” he says, without irony).

As Tony and Judy’s neighborhood buzzes with excitement, real-life events intertwine with their story. It’s the 150th anniversary of Western Australia, and everyone in their cul-de-sac can’t wait to celebrate. Meanwhile, space history is unfolding as the American space station Skylab’s orbit deteriorates. We know that some parts of it fell to Earth back in 1979, right here in Western Australia. To top it off, the Miss Universe pageant is taking place in Perth, attracting a throng of international contestants eager to let loose and enjoy themselves. Amidst all this excitement, Mick sees an opportunity to advance his career, setting his sights on Svetlana (Ines English), Miss USSR, and her handler, Yvgeny (Jacek Koman).

Everybody knows everybody.

Titled “Joan,” this drama series, set in 1980s London, features Sophie Turner as Joan Hannington, a character inspired by the real-life jewel thief who wrote the memoir “I Am What I Am: The True Story of Britain’s Most Notorious Jewel Thief” in 2004. While screenwriter Anna Symon consulted with Harrington, it is important to note that this series should not be considered a factual portrayal of events. Given the nature of television storytelling, one might anticipate certain creative liberties taken.

Imported 'Joan' and 'Last Days of the Space Age' are period pieces with distinct drama

The primary focus of the season hints at a continuation, yet leaves some uncertainty – it revolves around Joan’s determination to retrieve her daughter, Kelly (Mia Millichamp-Long), who has been placed in care due to protection from her abusive father. Her ultimate goal is to establish a secure living situation as advised by social services. However, despite attempting conventional employment and facing unsuitable work environments and harassing superiors, Joan’s preferred method – hiding diamonds she steals by swallowing them – consistently jeopardizes her chances of success.

On her rapid ascent in this particular profession, she encounters Boisie (Frank Dillane), a crafty antiques dealer with a knack for illegally acquired goods and a genuine admiration for quality items. He’s a crook, yet not violent, and they form an alliance in theft and romance. (Softer lights, gentle guitar melodies begin to play.) The duo, though charming and intelligent, are hardly saints, and one hopes for their success, but obstacles persist. Bosses who make you uncomfortable, terrorists, or sometimes Joan herself, seem to thwart their attempts to go legit. Despite Joan’s periodic urgings that they should change their ways, complications always arise. Her bosses are often creepy, she’s a self-reliant, quick learner, adept at bargaining, mastering disguises with just a wig, some stylish clothes, and an elegant British or American accent. She insists on calling the shots.

Boisie: You love all this, don’t you? Dressing up, pretending.

Joan: Job satisfaction isn’t a crime.

Boisie: But the rest of it is.

The production is quite straightforward, embodying what I’d describe as traditional British aesthetics – not kitchen sink drama, but simple, realistic. Turner delivers an exceptional performance in a role designed to be both empowering and tragic, which adds a layer of frustration because it seems she could have used her power for good rather than evil. However, that’s a tale for another time.

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2024-10-02 21:31

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