TV Review: Silent Witness Series 23

What the… Series 23 of Silent Witness maintains a rich vein of form but then really upends the apple cart 

“What would Thomas do?”

All good things must come to an end, eh? Having settled into an excellent run of form with all four members of the Lyall team firing on all cylinders, Series 23 of Silent Witness culminates in some serious upheaval with the departure of no less than two of them in a brutally effective final story that probably ranks as one of the best ever.

So farewell to Clarissa, leaving on her own terms to pursue new opportunities, Liz Carr’s performance hands down one of the best on TV in and of itself before you even factor in the shot in the arm it has been for representation. And with a pleasingly meaty storyline involving her mother, it proved a satisfying journey although a gutting loss for the show. Continue reading “TV Review: Silent Witness Series 23”

TV Review: Jonathan Creek, Series 3

Elements of David Renwick’s writing starts to show signs of flagging as the magic starts to fade in Series 3 of Jonathan Creek

“What exactly does all this add up to?”

After a decent first couple of series, the third season of Jonathan Creek sees the show start to wobble a bit as the raft of impossible crimes sways from ingenious plotting to improbably convoluted. Episodes tackle disappearing aliens and a man who thinks he has sold his soul to the devil and it doesn’t always come off.

That said, there’s still some classic tales in here too. The revelation of ‘The Eyes of Tiresias’ is artfully done and ‘Miracle in Crooked Lane’ is properly, admirably fiendish even with its meta-theatrics. Alan Davies and Caroline Quentin both continue in good form but David Renwick’s writing doesn’t permit more than piecemeal character development which, three series in, leaves them a little flat. Continue reading “TV Review: Jonathan Creek, Series 3”

TV Review: Waking the Dead Series 9

The ninth and final series of Waking the Dead works well as a brutal finale even if it never quite addresses Boyd’s key issues

“Get the collar and the ‘how’ doesn’t matter”

Series 9 proved to be Waking the Dead’s last and I’d say it goes out on a good’un. Stacey Roca’s DS Howard suffers the familiar fate of so many of the show’s non-OGs, hustled out off-screen. But her replacement is actually cleverly worked, by not being a replacement at all. Instead, Eva Birthistle’s Detective Superintendent Sarah Cavendish is transferred in from Counter-Terrorism and with the subject of Boyd’s retirement brought up from the off, there’s a completely different dynamic in the team for once.

And I really liked it, particularly with the brutal honesty with which Cavendish diagnoses the screwed-up relationships of the cold case team and the almost-Stockholm Syndrome nature of everyone’s defence of Boyd’s behaviour, even when it is threatening their lives and careers (btw whatever happened to Spencer working for CID?). But in the way of these things, she is made to suffer for this (and how!) as the show careers towards the kind of final scene you just know is on its way. Continue reading “TV Review: Waking the Dead Series 9”

Lockdown TV Review: Spooks Series 1

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?!   

Nicola Walker-ometer
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”

TV Review: Humans Series 3

I can’t help but think Humans might have run its course as a uniquely intelligent and British sci-fi drama

“…the coming together of man and machine. You can change the course of history…”

I’ve enjoyed where Humans has taken us thus far, and the beginning of a third series seemed promising. But as I got to the end of this season and twist after twist pointed at where the story might well continue, it felt like I might have reached my expiration date with the show.

The human/synth baby that Mattie is carrying, Niska’s transformation into ur-Niska, V’s survival…it’s hard not to feel that any of these feel far less interesting than where Humans are trod thus far in its carefully balanced but uniquely British brand of sci-fi. Continue reading “TV Review: Humans Series 3”

TV Review: Humans Series 3, Episode 1

All hail the return of nuanced, intelligent sci-fi – series 3 of Humans starts on Channel 4

“Lemonade not included”

I’m not entirely sure why Gemma Chan and Emily Berrington haven’t become hugely famous due to the world-class performances that both have been delivering for two series of Humans, the third of which has just started on Channel 4. As Synths possessed of consciousness, they manage the not-inconsiderable task of translating the world of sci-fi improbability into something deeply, deeply affecting, and this latest series shows no sign of that changing.

Following on from the events of Series 1 and Series 2, this third season takes us a year further into the future. With the consciousness code uploaded to all synths worldwide, the ensuing chaos led to ferocious reprisals from the human population which has left the synths decimated, ghettoised, shut off from the society they longed to join. And its the chill of recognition here that makes Humans works. You can call this near-future or dystopian but the anger and prejudice against the ‘other’ is as current-day as they come. Continue reading “TV Review: Humans Series 3, Episode 1”

Review: Limehouse, Donmar

“The Labour Party is fucked”

I know a bit about a few things but for some reason, UK politics has never figured that highly on the list. So whilst Steve Waters’ new play Limehouse might well be familiar territory for the vast majority of the matinee audience I saw this with, for me it was a bit of a history lesson. It was also a bit of a challenge as I’d skipped lunch and the smell of the pasta bake being made onstage left me near-ravenous!

Limehouse follows a small group of Labour politicians as they despair at the militant leftwing direction their party is taking and try to decide what, if anything, they can do about it. Perhaps not accidentally, parallels can be drawn with the situation at the moment but this drama is set in 1981 and the quartet are Bill Rodgers, Shirley Williams, Roy Jenkins and David Owen – the Gang of Four who went on to form the SDP. Continue reading “Review: Limehouse, Donmar”

Countdown to new Who: Doctor Who Series 4

“Donna Noble has left the library. Donna Noble has been saved”

And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.

It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in  Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.

Continue reading “Countdown to new Who: Doctor Who Series 4”