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Little Birds is a series that honours them and their spirit, adding even more to them and making them resonate anew.
With big, knowingly written female characters to the fore, it's an exotic trip.
The acting is strong, but you've got a lot of time to take it in -- and the scenery, and the camerawork, and the bursts of period-friendly Peggy Lee tunes in the soundtrack -- when the characters spent so long doing so terribly, terribly little.
Beyond the lush aesthetics -- themselves a kind of voyeurism after months of staring at the same interiors during lockdown -- it's hard to work out what the point of it all is
On the one hand, it's very silly and gloriously camp. On the other, there are serious themes of coercion, enforced medication and psychological manipulation, as well as a subplot about colonialism in Fifties Morocco.
If I had to describe the show's vibe, I'd say: wasted Sloane "Arabian Nights" party in a marquee in Cornwall. The funny thing is that I'm really quite enjoying it.
Most of the acting is rather good, the whole is superbly stylish, and it's grand to see actors Hugh Skinner and Nina Sosanya reunited.
I'm not even sure this adaptation of Anaïs Nin is even trying to be truly erotic, which is a bit like remaking the Fast & Furious films but deciding you can do without the cars and just focus on the dialogue and acting.
There was a sense of everyone and everything trying too hard. This was a drama that clearly wanted to be David Lynch when it grew up, but it came across as a bunch of kids hitting the dressing up box.
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