'Not even the 広大な／多数の／重要な Olivia Colman can 救助（する） the BBC's Woke Desecrations': CHRISTOPHER STEVENS 爆破s 'imbecilic' re-imagining of 広大な／多数の／重要な 期待s - which sees 行方不明になる Havisham as an あへん （麻薬）常用者 - as a 'joyless travesty' in scathing ONE-STAR review

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広大な／多数の／重要な 期待s

率ing: *

How Charles Dickens would have loved and hated the pan-jandrums of the BBC. Loved laughing at them, hated them for 廃虚ing his finest story.

Ferociously 保護の of his novels and his characters, he could never have forgiven the 会社／団体 for this joyless travesty of 広大な／多数の／重要な 期待s (BBC1).

But it’s 平易な to imagine his hoots of gleeful contempt at the arrogance, ignorance and self-満足させるd stupidity that has gone into its making. Dickens spent his career satirising hypocritical clergymen and deceitful lawyers, pompous, petty 公式の／役人s and incompetent blowhards.?

What fun he’d have had with the (n)役員／(a)執行力のあるs of Broadcasting House?? Mr Josiah Stallywart the 法人組織の／企業の (n)役員／(a)執行力のある 生産者, 行方不明になる Creempufe the 監査役 of 数字表示式の 大臣の地位 Content, Mr Wyseacre the 長，率いる of In-House Creative, or Mrs Anunciata Wimpletop, the 上級の 編集（者）の Editor.?

If only the Inimitable Boz had lived long enough to sneer at the goings-on in W1A, that 奮起させるd mockumentary series which satirised BBC 管理／経営.?

'How Charles Dickens would have loved and hated the pan-jandru ms of the BBC. Loved laughing at them, hated them for 廃虚ing his finest story'

'Estella (Chloe Lea), who should be haughty and cruelly mocking, behaved more like a cheeky servant girl'

But then again, it’s a good 職業 for his sake he didn’t. His beloved 広大な／多数の／重要な 期待s has been mashed up into Woke Desecrations.

The spine-冷気／寒がらせるing first 一時期／支部, where Magwitch the escaped 罪人／有罪を宣告する 掴むs young Pip by the throat in a graveyard at night, was relegated to a scene halfway through the episode.?

Worse, Steven Knight, who wrote the adaptation, discarded much of the language that makes the moment so unforgettably 脅すing.?

In the novel, Magwitch tells Pip he has a friend, hiding in the 不明瞭, who can find his 犠牲者 wherever he hides. ‘A boy may lock his door, may be warm in bed, may tuck himself up, may draw the 着せる／賦与するs over his 長，率いる’... but still the 殺し屋 will ‘softly creep and creep his way to him and 涙／ほころび him open’.

What 冷気／寒がらせるing poetry. Those lines 脅すd the living daylights ou t of me at 12 years old and are as gripping today as when they were written.?

This is a very different country to the Britain of Victorian times, but one thing hasn’t changed ? we’re still obsessed by the spectre of 殺人 in our beds.?

Yet Knight ignored the 初めの words, and wrote some tin-eared 脅し for Magwitch to say about eating a man’s heart.?

Director Brady Hood was 平等に vague with Dickens’s 正確な scene-setting: he kept the icy もやs stealing over the Kent 沼s, but failed to 含む the scariest element ? the gibbet, a sort of gallows for a 死体, where the 団体／死体s of hanged men were 陳列する，発揮するd in chains.?

Why Knight decided to 引き裂く up?Dickens’s perfect 開始 and 取って代わる it with his own bodged 見解／翻訳／版 is anybody’s guess.?

'She and Mr Pumblechook (Matt Berry) have a good giggle over Christmas dinner about the word ‘sex’, which seems ありそうもない in a Victorian home'

Perhaps he has started to believe his own publicity, which is always dangerous. As far as the Beeb is 関心d, he can do no wrong: he created Peaky Blinders, which has made countless millions for the 会社／団体.?

Say what you like, but Charley Dickens never had a 世界的な 粉砕する with an ultra-violent ギャング（個々） serial, did he??

The result is that Pip (Tom 甘い) is no longer a quick-thinking innocent with an over-active imagination, but a morose, insolent adolescent with a foul mouth.?

Magwitch (Johnny Harris) is a decent man from the start, the 犠牲者 of a terrible 不正 ? a 新たな展開 Dickens 隠すs at first from his readers, letting us imagine the 罪人／有罪を宣告する is a monster.?

READ MORE: CHRISTOPHER STEVENS reviews last night's TV: 遺伝子 geniuses made sure 殺し屋s can't 残り／休憩（する） 平易な

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Estella (Chloe Lea), who should be haughty and cruelly mocking, behaved more like a cheeky servant girl.

?Joe the blacksmith (Owen McDonnell) is no longer a simpleton, and his wife is now called Sara, 推定では because it would be dreadfully sexist to keep calling her ‘Mrs Joe’.?

She and Mr Pumblechook?(Matt Berry) have a good giggle over Christmas dinner about the word ‘sex’, which seems ありそうもない in a Victorian home ? but not as ありそうもない as the scenes of spanking we are 約束d in later episodes, as Mrs Joe turns dominatrix.?

We glimpsed 行方不明になる Havisham, played by Olivia Colman with a malicious smile behind her bridal 隠す of cobwebs.?

She might be the saving of this 生産／産物, but によれば the BBC’s publicity office, she has been reimagined as a 麻薬-addled あへん smoker. Even an actress as brilliant as O.C. won’t be able to 反対する that imbecilic 革新.?

All the characters have been needlessly rewritten, and nothing about the way they live （犯罪の）一味s true either. It’s pointless and unbelievable for Joe to blaspheme in church, or for Pip to skulk and 断言する の中で the 墓／厳粛／彫る／重大なs where his parents are buried.?

We had to wait いっそう少なく than five minutes for the first F-word. At least the actors sounded comfortable when they were 悪口を言う／悪態ing.?

Whenever the grammar acquired a 19th-century flavour, some of them sounded as though they were reading from an autocue.?

All of it looked stagey, 発射 in the studio with computer graphics dropped into the background like painted scenery. The only blessing is that the whole thing is so underlit, it’s 事実上 invisible.