Against the backdrop of evolving times (Duran Duran, Princess Diana et al), a varied roster of interviewees included people with the disease, medics and scientists at London hospitals such as St Mary’s and St Thomas’s, organisations and activists (from the Terrence Higgins Trust to Act Up) and more, including the Rev Richard Coles, formerly of the Communards, and Michael Cashman, whose groundbreaking gay soap role inspired the infamous Sun headline “It’s Eastbenders”.Ĭhapman’s series showed the diversity of HIV-positive people, including Emma Cole, who, on learning of her HIV status, bought herself a coffin because she thought she’d need it – later filling it with her vinyl music collection. The UK Aids story is immense and labyrinthine, and Positive should be commended for taking a wide-ranging approach. Michael Cashman in Grace Chapman’s wide-ranging documentary series Positive. Directed by Grace Chapman in three parts, it travelled from 1981 through decades of prejudice and devastation to the present day of infected TikTokers valiantly spreading the world about PrEP (pre-exposure prophylaxis) and preventive care. The docuseries Positive, from Sky Documentaries, marked World Aids Day and the 40th anniversary of the first recorded UK case. Viewers still need to feel threat, the sense that the wicked worst of human nature is prowling in the bushes. The inevitable comparison is with superior Sky Atlantic stablemate Mare of Easttown, but American Rust proves it’s not enough for established actors to plaid up beside abandoned steel mills. A late twist? More for the slag heap of dragged-out subplots: young gay guy leaves town a sprawling wedding scene the attempted unionisation of Tierney’s workplace, and so on. It’s all very solid (you sense the Philip Meyer novel it was based on), but with the crime (seemingly) solved so early, I’m left wondering where American Rust can go. Kendall has spent the entire series floundering like a playful billionaire without the playfulness or the billions By the fourth episode (all are streamable), it’s revealed who dunnit, but it’s hard to care because the victim (a former cop turned addict) is so sketchily drawn. His attraction to seamstress Tierney leads him to protect her son (Alex Neustaedter), who’s implicated in a murder. We know that he’s (ping of characterisation xylophone!) His Own Man because, early on, he saunters off to shoot deer off-season. Daniels plays a local police chief and Iraq war veteran, trying to ease himself off medication in the fictional rust-belt town of Buell, Pennsylvania. This is the problem with American Rust, created by Dan Futterman, directed by, among others, John Dahl ( The Last Seduction): it doesn’t hold the attention, meandering and sighing along as though it needs to kill time before a clapped-out Greyhound bus arrives.
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