The problem with boxetting is that the thought purpose of the scheduler is lost and shows like this need to stand on their own.
Beowulf was shown on a Sunday at roughly 6pm on the main commercial terrestrial network in the UK a spot normally taken up by game who re-runs or many moons ago 'religious telly'. The time slot may have suited the show, but watching it at random times during the week from a hard drive meant that it just did not connect.
The casting of Beowulf was interesting and to my knowledge this was my first sight of Kieran Bew in the lead. He played the hard/soft approach that Harrison Ford refined in the Indiana films very well but he was never fully believable as the hero of the Shieldlands. Joanne Whalley did her best in a scene chewing role as Rheda the Yarl - head honcho - of the Shieldlands, mixing the cod lines with the various action scenes as well as an actress with her level of experience should. Gregory Fitoussi as Razzak the Warrig prophet enjoyed himself greatly with his bad boy role and lit up each of his scenes with his mischievous delivery. And finally Edward Hogg as Varr, as Rheda's counsel, had a stand out performance passing menacing comment in a manner that mixed Robert De Niro with Julian Clary. Beyond that the acting was no better than day time soap standard for which the directors must play their part in being named and shamed.
The show itself seemed to be hamstrung by its time slot and the modern need to be all things to everybody with unrealistic feminine heroes and a box ticking balance of cast members. Money had clearly been spent on this show as the sets and costumes were of high quality and even the CGI was credible in most cases, especially in the scenes that involved any interaction with the real life characters. The humanization of Elvina's (Laura Donnelly) son was especially well done.
But sadly Beowulf was a punt at the Game of Thrones market which largely failed. The back story of Beowulf and his hidden familial secret, the struggle for power between Rheda and her brother Abrecan (Elliot Cowen), the good vs evil battle between the mudbornes and the red bloods and even the love and lust triangle between Beowulf, Elvina and Slean (Ed Speleers) took too long to develop.
I stayed with this until the final credits on episode 12 but thought of bailing before then. The final battle which straddled the last two episodes was well played but if there had been more of this early on the show may well have kept its audience and got extended.
Clearly the producers were confident of telling more yarns and the final scene with Razzak in the temple of the giants hinted at something worth waiting for, but we will never know. The show has been cancelled.
It is a shame when shows like this get the shunt as it only encourages programme makers to play things safe with more reality or quiz shows. But unfortunately the safe nature of Beowulf is what killed it off. With no edge and a clear target towards the 12 rather than the 15 rating Beowulf will have to rise another day.
Beowulf was shown on a Sunday at roughly 6pm on the main commercial terrestrial network in the UK a spot normally taken up by game who re-runs or many moons ago 'religious telly'. The time slot may have suited the show, but watching it at random times during the week from a hard drive meant that it just did not connect.
The casting of Beowulf was interesting and to my knowledge this was my first sight of Kieran Bew in the lead. He played the hard/soft approach that Harrison Ford refined in the Indiana films very well but he was never fully believable as the hero of the Shieldlands. Joanne Whalley did her best in a scene chewing role as Rheda the Yarl - head honcho - of the Shieldlands, mixing the cod lines with the various action scenes as well as an actress with her level of experience should. Gregory Fitoussi as Razzak the Warrig prophet enjoyed himself greatly with his bad boy role and lit up each of his scenes with his mischievous delivery. And finally Edward Hogg as Varr, as Rheda's counsel, had a stand out performance passing menacing comment in a manner that mixed Robert De Niro with Julian Clary. Beyond that the acting was no better than day time soap standard for which the directors must play their part in being named and shamed.
The show itself seemed to be hamstrung by its time slot and the modern need to be all things to everybody with unrealistic feminine heroes and a box ticking balance of cast members. Money had clearly been spent on this show as the sets and costumes were of high quality and even the CGI was credible in most cases, especially in the scenes that involved any interaction with the real life characters. The humanization of Elvina's (Laura Donnelly) son was especially well done.
But sadly Beowulf was a punt at the Game of Thrones market which largely failed. The back story of Beowulf and his hidden familial secret, the struggle for power between Rheda and her brother Abrecan (Elliot Cowen), the good vs evil battle between the mudbornes and the red bloods and even the love and lust triangle between Beowulf, Elvina and Slean (Ed Speleers) took too long to develop.
I stayed with this until the final credits on episode 12 but thought of bailing before then. The final battle which straddled the last two episodes was well played but if there had been more of this early on the show may well have kept its audience and got extended.
Clearly the producers were confident of telling more yarns and the final scene with Razzak in the temple of the giants hinted at something worth waiting for, but we will never know. The show has been cancelled.
It is a shame when shows like this get the shunt as it only encourages programme makers to play things safe with more reality or quiz shows. But unfortunately the safe nature of Beowulf is what killed it off. With no edge and a clear target towards the 12 rather than the 15 rating Beowulf will have to rise another day.