Series 16 of Silent Witness benefits hugely from the introduction of David Caves and Liz Carr as Jack and Clarissa and the booming final scene
“The Lyell Centre will need to change or die”
Starting with the off-screen departure of Harry and ending quite literally with a bang that further shuffles the cast, Series 16 of Silent Witness finally bites the bullet of the significant change that it needed probably 2 or 3 seasons ago. The introduction of David Caves and Liz Carr as Jack and Clarissa allows for the incorporation of forensic science more explicitly in the Lyell’s work. And if nothing else, the addition of new blood just freshens up the whole place.
In reality, there isn’t a huge amount that is altered fundamentally in the show. The cases run the usual gamut of dodgy police, dodgy military and dodgy foreign countries (Afghanistan in this case) and the Lyell remains holier than thou in pursuit of the truth. It takes Jack just a couple of episodes to learn the ropes in that respect, opting to call Nikki with a vital update about a suspect rather than the police officer managing the active crime scene. Priorities eh?! Continue reading “TV Review: Silent Witness Series 16”
Tea Ern? I finally catch up with the delightful 2017 TV film Eric, Ernie and Me
“So, let’s see you butcher another one”
Written by Neil Forsyth, Eric, Ernie and Me is a rather delightful thing. Just an hour long but perfectly formed, it follows the relationship between erstwhile fruit and veg man and TV comedy writer Eddie Braben and an up-and-coming comedy double-act by the name of Morecambe and Wise.
In the 8 years that they worked together at the BBC, they became responsible for the most popular TV show in the country, an unthinkable 28 million viewers watching their 1977 Christmas special but perhaps unsurprisingly, it wasn’t always the smoothest of sailing for the three of them. Continue reading “TV Review: Eric, Ernie and Me”
Guest stars such as Lesley Manville, Adam James and Elizabeth Berrington help elevate an interesting Series 3 of Silent Witness
“I’d’ve thought you’d learned by now, this is police work not yours”
Series 3 of Silent Witness brings a new recurring police team for us to get to know, a(nother) new handsome man from Sam’s past who is waiting to jump into bed with her, and a new set of cases for Sam to get overly invested in. It gets to beyond the point of mockery when almost every episode has a line like the above quote in it but you sense the writers acknowledging this, as the opportunity to work in a different capacity in London is presented at the end of the season.
Which is probably right as there can’t be many more police officers in Cambridge that Amanda Burton’s Sam Ryan hasn’t royally pissed off. And in a Midsomer Murders/Morse way, surely there’s a limit to the number of crimes that can take place in a single locale. The casting is on point in this series though – Adam James and Mark Umbers appearing as posh students and somone had clearly been watching Mike Leigh films as Lesley Manville, Heather Craney and Elizabeth Berrington all make appearances here.
Top guest appearences
- a baby Nicholas Hoult appears briefly as a grieving child
- a fresh-faced Adam James as an earnest undergrad who describes someone as “a bit of poof but he didn’t deserve to get beaten up” (1998 doesn’t feel that long ago…)
- there’s a performance of striking froideur from Lesley Manville in ‘Fallen Idol’
- Jimi Mistry makes up the numbers in the incident room for one scene in one of the cases early on, never to be seen again
- and no spoilers but Josette Simon is brilliant as the slick Drug Squad DCI at the heart of ‘Divided Loyalties’
Maybe I missed the point but I really rather enjoyed the campy, ridiculous side of submarine drama Vigil
“They’ve tried to disable us. Now they’re hunting us”
I think a lot of people were expecting Vigil to be the new Line of Duty, the Guardian even set up one of their episode-by-episode blogs. But somehow I missed that memo, assuming it was less of a serious drama and more of a campy thriller from the off, hence finding its increasingly improbable twists and turns juicily enjoyable and never expecting much realism from it.
Which is how I think we should take most TV shows these days, escapism serving as a valuable corrective tool for our times and allowing drama to flourish in enjoyable ways. Created by Tom Edge, Vigil is a police procedural mostly set on a Trident submarine and thus has even more opportunity to piss off the growing number of armchair experts whose voluble online responses are increasingly being used as new stories by an increasingly lazy media. Continue reading “TV Review: Vigil”
Linda Bassett and John Heffernan have been cast in Caryl Churchill’s new play What If If Only, which will be directed by James Macdonald. With set design by Miriam Buether, lighting design by Prema Mehta, sound design by Christopher Shutt and assistant direction from Grace Duggan.
What If If Only will run in the Royal Court Jerwood Theatre Downstairs from Wednesday 29 September 2021 – Saturday 23 October 2021. Performances run Monday – Saturday at 6pm, plus Friday 8, 15 & 22 October 2021 at 10pm. The running time is a lush 14 minutes. Continue reading “August casting update”
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
The National Theatre has today announced that two new filmed productions have been added to its streaming service National Theatre at Home: the Young Vic’s Cat on a Hot Tin Roof and the National Theatre and Out of Joint’s co-production Consent. Continue reading “News: National Theatre adds Cat on a Hot Tin Roof and Consent to streaming platform”
Johnny English, Johnny English Reborn and Johnny English Strikes Again prove ideal brainless festive watching
“I’ve been dropped into the Kalahari Desert carrying nothing more than a toothbrush and a packet of sherbet lemons”
I don’t believe in any of my pleasures being guilty, if something makes you smile then who is anyone else to dictate whether that’s acceptable? The Johhny English film trilogy – Johnny English (2003), Johnny English Reborn (2011), and Johnny English Strikes Again (2018) – holds a special place in my heart (well, the first two do) as they formed the backdrop to a couple of great family holidays and several of the funnier lines have snuck into the family vernacular.
Written by Neal Purvis, Robert Wade and William Davies and directed by Peter Howitt, Johnny English is an amusing entry into the series. Rowan Atkinson’s English is a hapless MI7 employee whose bumbling sees their top agent accidentally killed and then all their other agents massacred in a bomb at his funeral. As the sole agent left, he has to thwart a plot to steal the Crown Jewels and decipher John Malkovich’s comedy villain French accent. Continue reading “Film review: the Johnny English trilogy”
A pair of star-studded staged readings of Agatha Christie thrillers will support the Theatre Support Fund+ and Acting for Others.
Agatha Christie’s Spider’s Web – 9th December, 7.30pm
Clarissa, wife of a diplomat, is adept at spinning tales of adventure but when a murder takes place in her own drawing room she finds live drama much harder to cope with.
Desperate to dispose of the body before her husband arrives with an important politician, she enlists the help of her guests. Hilarity ensues when they are interrupted by the arrival of wry detective, Inspector Lord.
Starring: Nari Blair-Mangat | Nick Blakeley | Brian Bovell | Richard Clifford | Adam Gillen | Jessica Hynes | Sir Derek Jacobi | Matthew Kelley | Gerard McCarthy | Helen Monks | Gloria Onitiri | Stephanie Siadatan
Agatha Christie’s The Hollow – 10th December, 7.30pm
An unhappy game of romantic follow-the-leader explodes into murder one weekend at The Hollow, home of Sir Henry and Lucy Angkatell. Dr. Cristow, the Harley Street lothario, is at the centre of the trouble when, assembled in one place, we find his dull but devoted wife Gerda, his mistress and prominent sculptor Henrietta, and his former lover and Hollywood film star Veronica. As the list of romantic associations grows so does the list of potential suspects when someone is shot dead.
Nearly everyone has a motive but only one of them did the deed.
Starring: Samantha Bond | Simon Callow | James Dreyfus | Kathryn Drysdale | Richard Fleeshman | Beth Granville | Angela Griffin | Laura Haddock | Tom Hughes | Adam James | Valentine Olukoga | Nina Sosanya | Nia Towle
The Jonathan Creek specials from 2009–2013 undo much of the damage from Series 4, with Sheridan Smith largely to thank for that
“I’ve got a very important presentation to Weetabix in five minutes”
After the horror show that was the fourth series, Jonathan Creek disappeared from our TV screens for five years and for the subsequent five, returned only intermittently for three feature-length specials from 2009–2013. And I think the break did everyone a world of good as these episodes rival some of the show’s best in recapturing the sense of investigative fun that lay at its heart.
Chief in this is the casting of Sheridan Smith as wise-cracking paranormal investigator Joey Ross. Their buddy relationship is well drawn, wisely kept clear of any romantic entanglement and yet still deeply affectionate at its heart. Complex, multi-faceted mysteries are allowed to unfold more effectively in the longer format, although Renwick can’t help himself with women as porn stars and clod-hopping trans jokes. For the most part, everything just hangs together better – until Jonathan get a wife that is…More of that in Series 5. Continue reading “TV Review: Jonathan Creek Specials (2009–2013)”