With Ann Dowd playing a key role in a show that shows no fear in examining the actual and potential victimisation of women by organised religion and the complicated,often divisive role that faith plays in gender dynamics, the comparisons with Handmaids Tale are inevitable. But whereas Handmaid takes a journey through a harrowing Orwellian dystopia, Lambs of God takes us back to the early Nineties and reminds us what life was like so very recently and so very long ago. The differences do not end there with Lambs offering a female-led redemption to the problems men cannot help but create for themselves in trying to run a world with only one (male) voice. The satire is as disturbing as it is hilarious and the mainly female cast carry the narrative, passing it between them in a whirlwind - showing skill, dexterity and team spirit in their performances that is sure to draw crowds of adoring fans and which might make their counterparts in the 'men's game' take note. The show is full-on for the first two episodes and may deter some, but persevere because it's also full of of laugh-out-loud moments; uncomfortably accurate in their depiction of all that is not to like in institutions run by men - for other men.
Though unselfconsciously pointing a long-overdue flashlight at some the hypocrisy, condescension and worse, that women face up to every day in a patriarchal society, the show is not just riding the #MeToo zeitgeist. Sarah Lambert's objective is not to promote empowerment for its own sake - and her message is not one of division or revenge, but of healing and humour with the male and female protagonists each undertaking their own personal journey of Shawshank(like) redemption. Like in Shawshank, there are numerous twists and some lovely reveals throughout the four episodes that keep you guessing - and wrong-foot the unwary viewer. If the end offers as many satisfying feel-good moments as an episode of Ballykissangel, then more power to it. After all, who can really sit through another season of Handmaid!
Well done Sarah Lambert for this clever adaptation of a book written before its time, and look out world!
Though unselfconsciously pointing a long-overdue flashlight at some the hypocrisy, condescension and worse, that women face up to every day in a patriarchal society, the show is not just riding the #MeToo zeitgeist. Sarah Lambert's objective is not to promote empowerment for its own sake - and her message is not one of division or revenge, but of healing and humour with the male and female protagonists each undertaking their own personal journey of Shawshank(like) redemption. Like in Shawshank, there are numerous twists and some lovely reveals throughout the four episodes that keep you guessing - and wrong-foot the unwary viewer. If the end offers as many satisfying feel-good moments as an episode of Ballykissangel, then more power to it. After all, who can really sit through another season of Handmaid!
Well done Sarah Lambert for this clever adaptation of a book written before its time, and look out world!