I had already started a rewatch of Spooks earlier this year as part of a planned Nicola Walker retrospective but as it turns out, I’ll have to use that Britbox subscription for something else!
“When will you tell her that your real name is Tom Quinn and that you are a spy”
It is interesting to look at back at much-loved shows and be reminded of how not everything is always how you remember. So much of Spooks has aged remarkably well – not least its choice of subjects that have remained terrifyingly evergreen – that it is easy to forget that this opening season of 6 episodes sees them still searching for that house style.
It is undoubtedly a bit shonky in look and feel, the slick Thames House set isn’t yet in place and the focus on the lead team at the expense of too many nameless supporting bods gives the personal dynamics a somewhat off-balance feel as we delve into too much of the personal lives of Tom, Zoe and Danny.
But airing in May 2002 in the immediate post 9/11 climate gives its geopolitics real currency. And the threats they face – homegrown far-right movements, fears over immigration, the push for Kurdish self-government, US abortion rights, Russian spies being murdered on British soil… – are compelling throughout. And any show that has Jenny Agutter and Nicholas Farrell dry-humping in a corridor has to be a winner right?!
To be honest, I’d forgotten Ruth wasn’t a member of the team from the start, so these six episodes pass by with an outrageous lack of Nicola Walker. Continue reading “Lockdown TV Review: Spooks Series 1”
“I’m a second generation immigrant, the generation that makes it or breaks it”
In its opening quarter, Stephen Laughton’s Screens
manages to be that rare thing indeed, a play that actually comes close to capturing the way in which technology has utterly transformed both our everyday behaviour and interpersonal relationships. Georgia Lowe’s smartly spare design allows for Richard Williamson and Dan English’s projections to take us through Al’s faltering first steps into gay online dating on Grindr, Ayşe’s hashtag-heavy documentation of her teenage strife on Instagram and crucially, a peek into their mother Emine’s inbox on her brand-new smartphone
It’s an ingenious route into the lives, both online and off, of this British Turkish Cypriot family living in Harlow but we soon come to see that Laughton’s scope is wider, much wider, than this, as he folds in issues of the immigrant experience, splintered cultural identity, homophobia, post-Brexit racial antagonism and much more besides. Thus Screens becomes a highly ambitious piece of writing about the difficulties in finding your self when personal and political circumstances are in such flux.
So Emine’s world is shattered by the dual revelation of a family secret and the murder of her cat, Al’s insistence on meeting a nice guy (ie blocking anyone who sends him a dick pic) leads to the best worst date I think I’ve ever seen, and Ayşe’s frustrations threaten to boil over. What Cressida Brown’s production shows us effectively is the ease with which we present different facets of ourselves to get what we want, even whilst professing to search for a singular sense of self. This is brutally and effectively shown not just through the Cypriot conflict but also in a British society that feels on a precipice.
At just 70 minutes, there’s a slight sense of abruptness as Laughton winds up to a hurried climax where I’d’ve happily taken a second half to further explore this fascinating interconnected tangle with its arrestingly hyper-modern references (the first play to feature Pokémon Go perhaps?). And it helps that it is powerfully performed by its five-strong company and particularly Declan Perring and Nadia Hynes as the siblings who don’t know how to work out their anger about feeling like they don’t know who they are.
Running time: 70 minutes (without interval)
Photo: Pank Sethi
Booking until 3rd September