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    Blimey! 135 phenomenal hours of streaming British television to keep you rightentertained

    Garland Grey
    Jan 22, 2012 | 7:00 pm

    The conventional wisdom used to be that Americans wouldn’t watch British television. The jokes weren’t relatable, the drama was too stiff and formal and none of the actors looked like runway models. Then, The Office premiered in 2001 and America awarded the UK with one of our highest cultural honors — the remake.

    In the years since, our friends across the pond have been enjoying a golden era of television, with shows like Misfits and Downton Abbey drawing international acclaim and fan bases. So in this midseason television drought, I bring to you an oasis of phenomenal storytelling: seven British television shows currently streaming on Netflix that will keep you glued to the couch for days.

    1. Doctor Who: 53 hours

    This series follows the exploits of The Doctor, a 900-year-old Time Lord who flies through time and space in a blue police box, saving creatures across the Universe from monsters and tyrants.

    If you look past the occasionally cheesy special effects and the constant use of Deus ex Machina, you’ll find a show that draws you in with its fascinating storylines and courageous characters.

    And don’t worry about going back to the original series’ 1963 debut to catch up — the 2005 reboot is a perfect place to start your life as a “Whovian.”

    2. Downton Abbey: 5.5 hours

    Who could have guessed that the breakout BBC hit of 2011 would be a period drama about an English household before the First World War? Downton Abbey manages to establish and develop a large cast of distinct and interesting characters without sacrificing the flow or quality of the story, keeping you invested in so many different relationships.

    The first time someone tried to screen it for me I pretended to be asleep, so they’d get the hint that Masterpiece Theatre was too stale and boring for my time — within 20 minutes, I was yelling at the screen and mooning over the costumes and set design. Season Two is airing on PBS; I’ve seen it and it is breathtaking.

    3. Black Books: 7 hours

    A few weeks ago, I trapped three friends in my apartment for hours simply by starting the pilot to Black Books. They had plans for the day, errands to run, places to be, but all that evaporated once they got an eyeful of Dylan Moran’s hilarious misanthrope, Bernard Black.

    Moran is a brilliant stand-up comic aided by two great supporting characters; you find yourself watching some episodes over and over again, laughing at the same jokes and catching new ones. If you like this clip of Dylan Moran’s stand-up, you’ll adore Black Books.

    4. Shameless: 39 hours

    Frank Gallagher is an unemployed lush raising six children on government assistance, and it would be charitable to say he does his best.

    The Gallaghers don’t have a lot of money or resources and, left to their own devices, they get up to some hijinx that might shock and scandalize certain viewers. But when they are working together to get one of their own out of a jam (or throwing a fake wedding for their neighbors) it truly is heartwarming, and makes you see how little they have to be ashamed of.

    5. The IT Crowd: 9 hours

    Moss and Roy are two computer geeks who find themselves with a new boss, Jen, who doesn’t know anything about computers. As they teach her about technology, she teaches them how to interact with the world. The high point of the series is definitely Richard Ayoade’s deadpan delivery and stoic demeanor:

    In the second episode, a small fire starts in the office; after the fire extinguisher catches on fire, he sets it down, saying: “I’ll just put this over here with the rest of the fire,” and sits down to write an email to the fire department. You can watch the scene online and find out how quickly nine hours can fly by.

    6. Sherlock: 4.5 hours

    Just returned from service in Afghanistan, Doctor John Watson agrees to room with Sherlock Holmes of 221-B Baker Street. It isn’t an easy partnership: Sherlock keeps body parts in the fridge to test decomposition rates, shoots at the wall when he’s bored, and alienates everyone around him with his arrogance and cruelty.

    There is no shortage of shows on these days about eccentric, anti-social geniuses who solve mysteries and don’t bother being polite about it, but this is best of them all. The only drawback? Each episode is an hour and a half, there are only three episodes per season, and the new season isn’t airing in America yet.

    7. Peep Show: 17 hours

    Each episode of Peep Show is a long, slow train wreck brought about because the main characters, Mark and Jeremy, make terrible decisions and have very little self awareness.

    Fans of It's Always Sunny In Philadelphia will love their reprehensible behavior and their non-existent crisis management skills, with the added bonus of being able to hear the characters' internal monologues. Watch Peep Show with a friend or a group of friends; mortified embarrassment and uncontrollable laughter is best shared with those you love.

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    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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