New to SoHo in May

SoHo has rescheduled The Man Who Fell to Earth to premiere on May 11 (8.30 Wednesdays).

It was meant to launch this month but a delay in the materials means the reboot of the 46-year-old Nic Roeg movie starring David Bowie as an alien now joins a stellar line-up of May newcomers that includes:

  • The First Lady (9.30 Sundays from May 1)
  • S3 of Barry (8.00 Mondays from May 2)
  • The Staircase (9.35 Mondays from May 9)
  • S2 of Gentleman Jack (8.30 Tuesdays from May 10)
  • S4 of Mayans M.C. (9.30 from May 12)
  • We Own This City (9.30 Wednesdays from May 18) 

Most of these already have started streaming on Neon or will do so before their SoHo debuts.

For instance, City will stream from May 3 and Staircase from May 5.

But Earth will be a SoHo exclusive for the time being. The Hollywood Reporter summed it up as “basically the premise of Alien Nation, V, two different television versions of Roswell and more sci-fi movies than I can count.

“That doesn’t mean it isn’t entertaining to see an allegory handled well, and Showtime’s The Man Who Fell to Earth uses the allegory as a solid point of entry before aiming for a greater exploration of what it means to be human and, more than that, to be the steward of an entire planet.”

Variety said the series “continues the David Bowie version with care, but fewer risks” while Collider reckons the TV version “lightens its heavy conceit just enough to make the series accessible to people who aren’t necessarily sci fi fans”.

The Guardian hailed the return of Gentleman Jack as “one of the greatest British period dramas of our time …

“Suranne Jones is an alchemical force of nature in the gleeful, radical return of this rollicking, romantic and exquisitely scripted show … It is a masterpiece.

“A gleeful, radical shake-up of period drama that repositions history, sexuality and class with the wink of an eye and poke of a cane.”

The Evening Standard dubbed it “a swaggering comeback” and The Telegraph “a rip-roaring romp … It’s never dull, but the jostling subplots remain extremely uneven.”

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