But between them they’ve juiced up the scripted drama so it can compete with the on-demand satisfaction of reality television ( Squid Game takes this a step further by depicting the production values of the reality genre as an integral part of its monstrous netherworld). With its symbolic critique of wealth’s disparity, Squid Game holds a harsher thematic gaze than Vigil, which eventually makes do with floppy geopolitics. That’s a 21st century version of being tied to the railroad tracks. It’s the same with a Vigil cliffhanger, where a trapped police detective comes to inside a torpedo tube filling with water. Rivers of sweat roll off the show’s characters as they play life-or-death games, and there is a theatrical tinge to the acting that’s so old-fashioned it’s new. Australian child suffers burns trying to recreate Squid Game challenge. New this week: Power of the Dog, Annie live and Kenny G. Squid Game makes use of South Korea’s knack for revving up genre works and matching them to a breadth of performance styles that isn’t afraid to stress the florid edges of a role. Satisfaction is an Australian television drama series which screened on the subscription television channel Showcase. The 65 best original TV shows to watch on Netflix UK. Tom Edge’s Vigil, for example, is from the same philosophy (and production house) as Line of Duty and Bodyguard – clipped, shock-laden whodunits. Each in their own way feels like the overflow of hardy creative eras. America’s free-to-air networks have increasingly been airing urgent weekly procedurals such as the FBI and 9-1-1 franchises, but they are blunt, repetitive objects compared to Vigil and Squid Game.

Getting past the dominance of HBO requires a different perspective.

It’s not a coincidence that neither title emanates from America.

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