KIRSTY SEXTON, YEAR 13
A story devoted to an illness was always going to be a hard sell but in no year would it have been harder to make successful than in 2020. Despite this Russel T Davies Its a sin, a devastating snapshot of the AIDS pandemic through one LGBT friend group in London, was a smash hit. This is in part due to the masterful writing by a veteran of the field. Davies has been a prolific writer for the last 20 years, best known for his revitalisation of doctor who despite this none of his original work has managed to perforate the cultural zeitgeist. It’s a sin changes that, I will not be surprised if in years to come it is this mini-series he is remembered for.
The crux of the show is the oftentimes jarring contrast between the vibrant lives of the characters and the looming dread of their bourgeoning awareness of the AIDS pandemic. The presentation of AIDS through the majority has more in common with a thriller than your conventional story of illness. Creating the omnipresent dread which powers the insane watchability of the show, like waiting for a jump scare. Not to say that it shy’s away from the uncomfortable aspects of illness, some moments are toe curlingly uncomfortable, refusing to glamourise a story that could easily become melodrama in the hands of a less thoughtful writer.
The most memorable character is, by a country mile, Richie. Something I would bet my Netflix subscription on being entirely intentional. Despite being as far from an everyman as one can imagine he is made insanely likeable and relatable. Early in the season we see his strong intellect and his boundless charisma this is contrasted by him being delightfully selfish. Davies walks a very thin line of letting him be uncannily human in his understandable flaws without making him unlikable. What saves it is the mesmerising performance by Olly Alexander, who is able to imbue even the most self-centred of lines with a charm and undeniable cool. This is contrasted by his dependable best friend Jil the only principle cast member to really see the danger in the first half of the season. Jil is compassionate and dependable sticking by her friends through this crisis that she theoretically could have run from. Likely a stand in for the innumerable LGBT women who championed gay men during the aid’s crisis.
When I finished the show, all in one sitting and two packets of tissues shorter, I was not initially sure whether I liked it. The overwhelming theme of grief made my contrarian nature wish to find fault in it to assuage the pain of having my heart steadily ripped out over the course of 5 hours. But I couldn’t. It was too tightly plotted, visually stylish and rippling with heart and passion. I have not managed in this review to touch on half of the things I thought were stupendous in the show including the ending which I believe I would not be able to explain or interpret the themes of better than the show does innately (it also seems bad form to give everything away). I have made it sound like every moment was misery, but the show is only so effective in its darker moments because of the joyous compelling characters. It is one of a kind and if it wasn’t abundantly clear before I will say explicitly that I highly recommend it.