Making garish pantomime of the colonial imaginary
By the time of its fourth episode, the point at which this review was written, Taboo, which had occasionally teetered on the edge of greatness, had collapsed into rather grotesque pantomime. The aloofness of Tom Hardy’s performance, which in earlier episodes had given his character, James Delaney, a brooding malice, is petering out into ridiculousness, as he growls his way through a script peppered with faux-profound cliches (“There is business afoot tonight” he says, climbing into a carriage.) The dark Other of the colonial imaginary looms large in the world of Taboo: Delaney begins the show...