Wednesday, February 25

Heartfelt and entertaining: Our Gay Wedding: The Musical.FREE TO AIR

Forever, Nine, 8.45pm

Welsh actor Ioan Gruffudd plays Henry Morgan, a 200-year-old man   employed as a forensic scientist at the New York City morgue. It’s a creative   twist on the murder mystery genre, which underscores each whodunit with weighty and hypothetical themes of life and death.    Henry is weary of being young and beautiful and searches each fresh case for clues for the cause of his ‘‘condition’’.  Tonight’s stiff is the apparent victim of commercial quacks, who spruik treatment that reverses the ageing process, at least cosmetically.

Rectify – season final, SBS One, 9.30pm

Thank goodness the Sundance Channel has commissioned a third season of this exceptionally good drama, because there is so much left unanswered in this finale to the second. Aden Young’s central character, former death row inmate  Daniel Holden, becomes more complicated and secretive as each new piece of his puzzle is teasingly revealed. His flashbacks to conversations with his cell neighbour are nothing short of art, plumbing the depths of humanity like a Sam Shepard play. The dreamy, melancholic setting of Paulie, Georgia, looms as a player in its own right, all eerie wooded glades and evocative plains. All manner of disturbing information comes to the fore as Daniel is forced to gamble with his freedom  and,  potentially, his life.

Our Gay Wedding: The Musical, ABC2. 9.30pm

If ever there was a compelling argument for legalising same-sex marriage, this is it. If only every wedding were as passionate, heartfelt and thoroughly entertaining as that of composer Benjamin Till and actor Nathan Taylor, who got married in Britain on March 29, 2014, the first day that same-sex marriage became legal in England and Wales. With an emotional introduction by narrator Stephen Fry, this is a hilarious and brilliantly penned musical about 21st-century love rights, with some showstopping numbers sung by the full cast of guests, and some wonderful solos sung by the grooms-to-be and their   friends and family.     Video messages from gay icons including Boy George, Kylie Minogue and Olivia Newton-John, and some non-singing background material break up the   extravaganza, which ranges from moving to funny without overindulging in campery. Our Gay Wedding is a glorious celebration of love and persistence, which makes  its unarguable point in a way that is truly spectacular. Bridget McManus


The Matrix: Reloaded (2003), GO!, 8.30pm

1999’s The Matrix was revealed as a self-contained delight – a synthesis of superhero mythology, dystopian technology and elegantly refined computer effects – as soon as the first of two flawed sequels appeared. Acclaim, complete with academic stroking, robbed creators Andy and Lana Wachowski of their genre focus, with the clean rules that governed their fictional digital environment being rewritten so a new storyline could be generated. If you had to pick a moment the series turned sour it would be the tribal rave sequence, where the remnants of humanity hiding underground from their machine oppressors in the city of Zion, greet the news of an imminent fight to the death by throwing a huge party. There are still moments of pleasure surrounding Keanu Reeves’ Neo, including a masterfully choreographed battle amid vehicles on a freeway, but what the filmmakers were able to imply via deed and allusion in the first movie is here reduced to explicit philosophising, with the notions of free will and fate pounded into you.

Only Lovers Left Alive (2013), Masterpiece Movies (pay TV), 8.30pm

As a pair of diffidently cool vampires – married since 1868, but now separated – Tilda Swinton’s Eve and Tom Hiddleston’s Adam are the ultimate hipsters in Jim Jarmusch’s viscous-like take on the blood-sucking undead. The two, he morose in Detroit, she comfortable in Tangiers, are cultural custodians, possessors of not just first edition books and rare guitars but memories of revered figures. They consider humans “zombies”, and don’t lower themselves to hunting them, instead procuring blood from suppliers, including Jeffrey Wright’s uneasy medical researcher. Jarmusch’s camera matches the long, hypnotic guitar drones Adam records but refuses to release, engaging in tracking shots through the nocturnal cities, and it’s only with the unexpected– and hungry – arrival of Eve’s younger sister, Ava (Mia Wasikowska), that energy overtakes the serene torpor.Craig Mathieson

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