maceoin

As a former lecturer in Arabic and Islamic Studies, who has written a major report on radicalization in Muslim schools, and who has written many articles about radical Islam, I was worried that this series might be filled with all sorts of misunderstandings and inaccuracies and mistakes. In fact, it was well researched, down to subtle things such as distinguishing between jihad al-akbar and jihad al-asghar, using both terms in Arabic. And saying fard (duty) without translation. The portrayal of ISIS in Raqqa seemed to me most convincing, based as it was on authentic film and reportage. As the author of ten international thrillers (several bestsellers and three or four with Islamic themes), I found the tension well built, making many episodes nail-biting. The characters are well developed, if at times frustrating. I have taken one star off on account of the coincidences and other plot holes. Despite these, the series works in terms of character, pace, and plot lines. I strongly recommend it to anyone who likes well written and well performed drama that will keep one watching through the eight episodes with speed. As for the several people here leaving 3, 4, 5 or other low ratings, I would pay them no heed at all.

I'm glad PlanktonRules enjoyed this charming documentary. But I was puzzled by his/her comment that 'despite being in Israel, the school is open to all religions, ethnicities and nations.' What sort of country does he/she think Israel is? Israelis come from almost every corner of the earth, from all over Europe and America, from Africa, from almost every Muslim country, from Russia. It's actually the most ethnically and religiously diverse country in the Middle East and beyond. It's important to stress this because the school emerges precisely out of this welcoming attitude and this ability to create a unifying culture out of so many. The little boy who could not speak Hebrew is far from the first. It was because so many Jews spoke so many languages that it was decided to revive Hebrew as a spoken language, and the Israeli achievement in doing so is inspiring.

This is just about as good as it gets in costume drama. Even the BBC, which is so good at this sort of thing, got it absolutely right, even though this version ran at a much shorter length than the equally excellent 1980 version. The cast is good enough to eat: no-one strikes a wrong note, and some of the acting is downright fabulous (watch Lady Mondore's emotions shift and change). The period detail is, as one has come to expect, far superior to most other attempts at this period. As for the luscious sets, especially those in Paris — what can one say? Watch for the moment when Lady M., having breakfast in bed, says to Fanny that she married for 'all this' and the camera snaps back to show her, not just in a bedroom, but in one of the most sumptuous rooms you could ever hope to see. Deborah Moggach's adaptation strikes the right note all the way through, even for Nancy Mitford fans. But when will a version of the 1980 serialization be made available???