My Top 30 Shows Of The Decade! (2010-2019)

Now that we’ve ticked over into a decade that actually has a name it’s time to process a time that many have named a “golden age” in television. By the way, if you’re one of those people who actually think the twenties start in 2021 then stop reading this blog because you are clearly insane and need help. And a calendar. When we’re born we’re not suddenly aged one are we?! There’s a bit of time between! They’re called months!

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Sorry, where was I? Ah yes. Here is my personal list of my favourite shows of the last ten years. There’s no Fleabag because no matter how good it is there’s the inescapable feeling that it is overrated. There’s no Game of Thrones either. I saw the first episode and once you’ve seen Emelia Clarke naked it’s not going to get any better than that is it?

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This has been an intense work about a great passion of mine.. TV that is – not Emelia Clarke’s bum. That’s a blog for another time. Feel free to debate, disagree and even rave about the show’s in my list. It’s all a matter of opinion. There will never be a definitive list because art speaks to us in many different ways. These are the show’s that made my heart beat faster, made me laugh and made me cry. God bless television…

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30: What Remains (BBC1) 2013

David Threlfall couldn’t be further from Frank Gallagher here. As Detective Len Harper he finds himself on the other side of the law in this claustrophobic whodunnit. When the decomposed body of a woman is found in an apartment all of the houses residents are suspects. Intriguingly and thoughtfully paced, What Remains is an underrated work.

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29: Catastrophe (Channel 4) 2015-19

From a dysfunctional couple to an even more dysfunctional family, creators Sharon Horgan and Rob Delaney put their namesakes through the mill with a mixture of highly developed intelligent comedy and plenty of potty mouthed goodness. A warts and all look into modern relationships.

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28: People Just Do Nothing (BBC3) 2014-18

The mockumentary on a mock pirate radio station kurupt FM. Consider yourself mocked with strange garage beats and the ridiculous adventures of a gang with the common sense of school children. Funnier that Craig David’s back catalogue, People Just Do Nothing has a unique flow and poetry to its comedy.

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27: Rhod Gilbert’s Work Experience (BBC Wales) 2010-18

It’s official, Rhod Gilbert can make anything funny. In one of the episodes he works in a hotel and changes beds yet manages to weild more laughs than Basil Fawlty achieved before serving breakfast. He flies a plane, becomes a vet and even poses as a male model. However, what truly makes the show is Rhod’s gruff, cynical and quick-fire narration. His unrelenting one-liners prove he should stick with being a comedian.

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26: Doctor Foster (BBC1) 2015-17

Suranne Jones gives a powerhouse performance as a woman betrayed by the equally screen stealing Bertie Carvel. It’s a small town show with grand ideas, some of them absolutely barmy, but Mike Bartlett’s script pushes the intrigue and suspense to extreme levels. It’s a theatre play portrayed as a glossy small screen spectacle. Doctor Foster is about the complexities of adult relationships but with a heightened, melodramatic fizz.

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25: Stewart Lee’s Comedy Vehicle (BBC2) 2009-2016

You know Stewart Lee, you’ve seen him. On the telly. His Comedy Vehicles are thirty minute, meandering diatribes and they are essential. Between his takes on “The UKIPS” and Chris Moyles, Lee berates himself and the audience in ever decreasing stages of madness. Iconic television that deserved more love.

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24: Broadchurch (ITV) 2013-17

It’s easy to forget the cultural impact of Broadchurch back in the first season. The nation was hooked on the mystery of Danny Latimer’s death but it was in the harrowing effect on the local community where writer Chris Chibnall really struck gold. David Tennant and Olivia Colman as Hardy and Miller, two cops thrown together, were the definition of chemistry.

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Yes, series two was a bit of a letdown but the change of direction in the last run got the show back within touching distance of greatness again with a difficult subject handled with class. Series one won’t just be a classic of the last ten years, it will forever be a classic nonstop.

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23: Taskmaster (Dave) 2015-

Put a bunch of comedians in a room and you’re bound to be entertained. Get them to do ridiculous tasks and put them in a room to talk about doing the ridiculous tasks and you have an instant comedy franchise. Greg Davies and Alex Horne monitor proceedings in the hope things get out of hand and they often do. For instance, that time Liza Tarbuck got Alex to sit on a cake with his naked bottom.

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22: Bang (S4C) 2017-

A multilingual crime drama based in Port Talbot, Bang was an intense thriller which was essentially about one single gun and the chain of effects it has. Dark, twisty and so beautifully shot the town itself was a main character. Stories are rarely told from these corners of Britain and the good news is there’s a second series starts in early 2020.

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21: Stranger Things (Netflix) 2016-

It was acceptable in the 2010s. Hmm, not quite so catchy is it? The Duffer brothers piled on the nostalgia and dayglow horror to provide Netflix with one of their biggest ever hits. While evil tree branchy type things are the focus of the show’s evil, Stranger Things is all the classic buddy movies brought to the small screen.

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Let’s face it, things with child actors are usually fucking awful but the show’s biggest success is how wonderful the main cast are. The third series saw an evolution and change of direction so hopes are high for the future of Stranger Things.

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20: Dave Gorman: Modern Life Is Goodish (Dave) 2013-17

Imagine Black Mirror if it was much more obscure and performed by a comedian. That’s the pitch. Dave Gorman is in the form of his life as he studies the intricacies of modern day living with his own unique perspectives. Be it online shopping, hassling Alan Sugar with billboards or furrowing the real depths of the internet – the comment sections. Cynical but warm, opinionated but friendly. Modern Life is Goodish was most excellentish.

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19: Cucumber (Channel 4) 2015

Russell T. Davies wrote a study on modern day homosexuality through they eyes of Henry (the excellent Vincent Franklin) a middle-aged man who has his life turned upside down after a party that involves a death. He flees his previously stable relationship to house share with a flat full of young strangers led by 19 year old Dean.

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In typical Davies style Cucumber is laced with innuendo and high energy plotting. It’s some of the bravest drama commited to television. It’s funny and heartbreaking and leaves you on a constant seesaw between the two. There is one particular scene that is so shocking it’ll effect you for days. You’ll know it when you see it.

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While being crude without ever being tasteless, Cucumber was always about the bigger message. By challenging society’s perceptions of gayness and all sexuality it stands the test of time. The last, subtle line uttered by Henry is quite the ending for this one and done series.

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18: Spotless (Netflix) 2015

Jean Bastiere’s life was perfect on the surface with his lovely family and big house but appearances are deceiving. His job could almost be a metaphor for he runs a business that cleans up after crime scenes. His world is turned upside down when his brother Martin visits with a freezer and a dead body inside. Like you do. What follows is a chain of events that spiral out of control, so much so they end up working for a mob by clearing up their dirty work.

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Spotless is dramatic, cinematic and full of bleak humour in the darkest of circumstances. It’s the compelling story of a good man taken way out of his comfort zone but it’s Denis Menochet who plays Martin’s scruffy womanising bad boy with glee that steals the show.

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As compelling as it was gory, a second series was on the cards but sadly it seems network wranglings have put paid to those hopes. We’ll have to keep Spotless as an eternal sunshine of our minds.

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17: Misfits (E4) 2009-2015

Not all superheroes wear capes – some wear boilersuits. Cruder than Superman in a brothel, more disgusting than Batman’s coke habit but funnier than Ardal O’ Hanlon in My Hero. Seriously.

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Five juvenile offenders team up to do community service but a freak thunderstorm gives them powers they don’t understand and the magical ability to kill all their probation officers. Clumsy.

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If Misfits had been American then it’d have been glossy and the superpowers would have been useful. Instead these delinquents botch their way through misadventures while trying to shag eachother.

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Misfits flows with energy and off-kilter weirdness. From the bizarre (sample line: “Fuck the Tortoise, Alex”) to the blasphemous (THAT nativity scene).

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While it didn’t quite adjust to an entirely new cast with as much comfort as a certain show that is higher on this list, Misfits was and will always be a riot.

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16: My Mad Fat Diary (E4) 2013-15

An eye-catching take on teenage life based on the real-life experiences and book of Rae Earl. It’s Sharon Rooney’s task to express Rae’s issues with body image, mental health and self-abuse and she does so with great dignity and humour. If this had been a movie and not tucked away on E4 then all the awards would have been falling at Rooney’s feet

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Set in the nineties, My Mad Fat Diary tells the story of her interegration into a group of school friends, one of whom is Chloe, played by the then up and coming Jodie Comer. You may have heard of her?

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Colourful, brash and highly inventive yet all that still ignores the kick ass nineties soundtrack. By using The Charlatans’ ‘One To Another’ as the theme song it was never going to do wrong was it?

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15: Sherlock (BBC1) 2010-17

These Sherlock Holmes adventures set in present day London were full of writer’s Steven Moffat and Mark Gatiss’ usual sense of wonder and wilful deception. Everything clicked from the first minute and in Benedict Cumberbatch a rising star shone brightly.

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The feature length episodes flew by with the help of brilliant dialogue and eye-catching cinematography, a lot of which has been copied to death since. Sherlock was fun and over the top but it’s extremity was what made it a trendsetter. Incredibly crafted plotlines took unexpected tangients and series 4, which many hated, was all the madness spilling over. Did it jump the shark by the end? Yes. Was it still highly watchable crime drama with twists galore? Absolutely.

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14: Uncle (BBC3) 2014-17

Nick Helm plays the dishevelled Andy who is forced to be young Errol’s (Elliot Speller-Gillott) uncle in nature more than just in name and a beautiful if strange friendship results. So far, so very twee you’re thinking? Except it’s done under the influence of alcohol and drug addiction while bursting into inappropriate songs. Dylan Moran even appears as a wizard. Potty mouthed but full of emotional resonance, Uncle was a family pack of laughter.

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13: Black Mirror (Channel 4 & Netflix) 2011-

Black Mirror’s first ever episode involved the Prime Minister fucking a pig and that’s one of the more normal plots that bears resembence to our times. Charlie Brooker’s anthology series on mankind’s relationship with technology might have dystopian overtones but sometimes the stories reflect the news in the months that follow transmission.

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Dark, twisted, satirical, frightening and sometimes, just sometimes funny. A constant parade of strong casts and intriguing plots mean Black Mirror continues to be worryingly relevant and episodes such as ‘San Junipero’ and ‘Hang The DJ’ prove it’s not all doom and gloom.

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12: Luther (BBC1) 2010-2019?

Idris Elba is commanding as detective John Luther. Sure, his personal life is complex but it gets a lot weirder when he runs into Alice Morgan (played with a devilish viguer by Ruth Wilson). Alice is a murderer our antagonist can’t lock up. Against all odds they form a crime fighting partnership which surprisingly doesn’t follow rules.

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In short, Luther is a mad show. A crime drama that’s permanently heightened and that’s where the fun lies. Writer Neil Cross revels in the world of this alternative London with a dark hearted crime drama that’s both thrilling and extremely gory. It’s a near perfect balance of murder mystery and action. You’re either not into Luther or you’re along for the whole ride. Just don’t get the night bus, eh?

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11: Happy Valley (BBC1) 2014-

Writer and creator Sally Wainwright had a prolific decade of not just hit television, but top quality television at that. Last Tango In Halifax, Scott & Bailey and Gentlemen Jack add to what was an already impressive CV but arguably the high-water mark is Happy Valley.

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Sarah Lancashire is sensational as police sergeant Catherine Caewood, a woman struggling with her daughter’s suicide and living with her alcoholic sister. Tommy Lee Royce, played by James Norton who is clearly enjoying going dark side. Tommy has recently been released from prison. The thing is, he raped Catherine’s daughter and was ultimately responsible for for her death, not that he got locked up for that. His new found freedom causes fractures in catherines personal and work life.

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Gritty is a word that could sum up Happy Valley as the backdrop for all this is a small working class town riddled with poverty and addiction. These are themes that run through the show.

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The dialogue is so masterfully constructed and real to life and an impressive cast brings life to this little world with big problems. Wainwright has such a natural ability to make characters real and not just half-arsed sketches.

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Despite such a huge chasm of time since the last series there is a third in the works but it’s likely we’ll have to wait at least a couple more years. The pace of life in the country is slower to be fair.

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10: Inside No.9 (BBC2) 2014-

From the, let’s say perverse, minds that gave us The League Of Gentlemen and Psychoville came a horror anthology as shocking as it was surprising. Reece Shearsmith and Steve Pemberton dreamt up the surreal, the creepy, the mad and everything else on the bonkers spectrum.

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By it’s very nature there will be episodes that disappoint, it’s range of tone and subjects won’t translate to everyone at all times, but if you don’t take to one episode it’s likely you’ll fall in love with the next. When it excels it’s one of the best things committed to telly. The variation and depth of material is to be respected.

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The silent episode ‘A Quiet Night In’ was the first hint that we had something special but the tone always shifts. Take ‘The 12 Days of Christine’ which is genuinely heartbreaking. Or Zanzibar which is a hotel based farce spoken entirely in spoof Shakespearian. In ‘Diddle Diddle Dumpling’ a man becomes obsessed with a stray shoe. There’s plenty more where that came from.

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2018’s live Halloween special could have been the moment Inside No.9 ate itself but they mastered every detail to perfection and so high was the concept they got viewers switching off in droves. That’s art that is.

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The new decade will usher in the fifth series and as usual we have no idea what to expect other the the number nine being involved. Who knows, maybe even that’s not a guarantee.

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9: Detectorists (BBC4) 2014-17

In a decade where cynicism grew exponentially, MacKenzie Crook offered an obscure form of light relief. Tucked away on BBC4 and offering a comforting hug to those who discovered it in the ditches of the TV schedules, Detectorists was never really about metal detecting – it was about friendship. Hapless though Lance and Andy were the important thing is they were nice. That’s it. It’s not very fashionable is it? We willed them to be better with women. We hoped they would find their pot of gold.

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Through stunning shots of the English countryside Detectorists brought a warm glow even if the weather conditions were drizzly. Lance and Andy nattering about nonsense was the heart of the show of course but no show is complete without a nemesis and in the ridiculous form of the ‘Antiquisearchers’ (or Simon & Garfunkel to be more precise) they definitely didn’t meet their match. So much comic gold was mined when the pairs squared up against each other.

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Let’s also not forget the oddball characters that made up the Danebury Metal Detecting Club and their awkward, mostly pointless meetings. It all added to a small world with a big heart. This should go down as an all-time classic comedy, one that gave our flawed antiheroes the ending they deserved.

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8: Community (NBC & Yahoo Screen) 2009-2015

Meet Jeff Winger, a lawyer who finds himself at Greendale Community College after having his degree revoked. Jeff stands as the morale conscience of the show despite not having many morals. He meets dipsy Troy, geeky Abed, grouchy Pierce, bubbly Shirley, cutesy Annie and not so brittle Britta. They’re the seven dwarfs of pop culture references and meta comedy.

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What starts out as pretty standard fare soon blossoms into a programme full of creativity and fierce intelligence. Community starts descending, or rather ascending into a world of crazy parodies and obscure ideas with the crazy dial up at eleven. There’s the spectacular episode where we visit many different timelines including Abed’s darkest. There’s the paintball episodes where Greendale keeps becoming a surreal shooting range. Then there’s the episode that is entirely animated. If these sound a bit too gimmicky then there’s the bottle episode where they’re in one room just looking for Annie’s pen.

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Creator and lead writer Dan Harmon (now in charge of Rick And Morty) was absent from the often ridiculed fourth series which the show itself later referred to as “the gas leak year”. We had six seasons in the end but will we ever get the movie?

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7: Mongrels (BBC3) 2010-11

RUSSELL HOWARD’S EYES! Yes this is a high placing and it’s fully deserved. Welcome to the back garden of a pub in the Isle of Dogs, this way madness lies. Maybe “welcome” isn’t the word because being called a cunt may not be considered de rigueur in polite society… and this isn’t polite society. Only posh fox Nelson could fall under that category for he’s a metro-sexual il Divo fan.

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The rest of the puppet reprobates that make up the cast are Vince the sweary fox, Kali the bad pun pigeon and Destiny the selfish dog but the less said about her the better (if only they’d followed up on the hint that she’d died at the end of series one) Lastly, and certainly not least there’s Marion the bin dwelling cat who is many furballs short of common sense.

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While clearly influenced by fast-paced American comedies, Mongrels revels in the shitness of Britain. It’s crude, lewd and even offensive if you’re of a certain disposition. No subjects are off limits and it proved more cutting than any satirical show out there. They managed to do this in stories about Marion getting stuck in a wheel and training Michael Jackson’s monkey to stop masturbating.

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It’s scattered with pop culture references, some of which have admittedly dated in the past ten years but many still stick. There’s also lots of brief appearances from celebrities willing to be ridiculed. Let’s face it, some are more known than others. Who’s Paul Ross?

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Then there are the songs, oh boy, those songs. Marion’s ode to his underage sweetheart Lollipop, Nelson’s tourist advertisement for Millwall (“No-one’s been stabbed here since Friday / Arson is on the decline”). The previously mentioned monkey singing of his desire to murder Justin Bieber. There are so many slices of inappropriate should have been hits.

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The attention to detail in both the puppetry and blink and you miss them visual jokes show a real creativity that’s gone into making of the show. The voice work is exceptional too with nods to Rufus Jones as Nelson and Dan Tetsell’s baffling transilvanian accent for Marion being the true stars of the show.

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Mongrels was cut short when in its prime as the best things often are, like Princess Diana and Fuse bars.

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6: Utopia (Channel 4) 2013-14

Meeting people you know online in real life isn’t as frowned upon as it once was but if Utopia is anything to go by, perhaps it should be. Foul mouthed Becky (Alexandra Roach), straight laced Ian (Nathan Stewart-Jarrett) and the paranoid Wilson Wilson (Adeel Akhtar) had been chatting together on a forum about ‘The Utopia Experiment’. This is a graphic novel which allegedly predicted the disasters of the previous century but it’s the unpublished follow up which everyone thinks will save the human race, that makes people lose their minds.

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This new strange alliance sets out to find the manuscript for good reasons but ‘The Network’ want it for bad and go on a killing spree. Neil Maskell is fascinating as the sullen Arby, the murderer who has his own catchphrase in “Where is Jessica Hyde?!” We, the viewer soon find her and she’s played with relish by Fiona O’ Shaughnessy.

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In keeping with the comic book theme, the palette in Utopia is visually striking with its bright, bold colours where yellow is the stand out. Look very closely and you’ll see how much it subtly filters into virtually every element of the show. It adds to the uniqueness of a thriller that would stand on its own anyway.

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The brilliant soundtrack supplied by Cristobal Tapia de Veer is another important factor. The electronic glitches and uneasy bleeps sit perfectly with the oddness of the world Dennis Kelly has created. Imagine The Chemical Brothers on antidepressants.

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Utopia is darkly comic and comically gruesome. While not the fastest moving of shows, the storytelling, humour and sense of farce are what give the urgency. Never a show to play it safe, so much so that the first episode of the second run was a genesis story featuring none of the main cast. From humble beginnings to eugenics and the dark forces behind it, this was a television masterclass and it’s influence on television dramas that followed is clear.

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Everyone on the screen is playing a blinder (that’s an in-joke for fans) but there are two stand out performances. Alexandra Roach embodies the opinionated and strong willed Becky with classic one liners and Adeel Akhtar’s nerdy, complex Wilson Wilson is so good they named him twice.

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If Utopia has one major flaw it’s that there was no resolution. The story hadn’t finished and that is an insult to the writer, cast and fans. Series two ended on a cliffhanger and then Channel 4 pulled the plug. The Network were evil commissioners all along. There was talk of a streaming site taking it on but nothing ever materialised. There is however an American remake in the offing but that must be greeted with cynicism. The original story wasn’t fully told, why start a new one? There wasn’t a show like this before and there hasn’t been one since. Utopia is small screen paradise – if paradise involves a lot of bad language and killing.

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5: Peaky Blinders (BBC1) 2013-

Back in 2013 the thought of Cillian Murphy playing a gangster would have seemed like we’d entered Abed’s dark timeline again. “Remember I’m an actor” he told writer Steven Knight when doubts were raised and what an actor he is. This slight, pretty man inhabited the demons of Tommy Shelby and made him walk tall into TV history.

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Peaky Blinders tells the story of a family between two wars. Brothers Tommy and Arthur are struggling to cope after returning as soldiers. Their PTSD manifests itself in different ways, Tommy is the brains of the operation and Arthur is the attack dog. The Shelby Company limited sets up an illegal bookies and they also start exporting booze and drugs. Needless to say they get caught up with all the wrong kinds of people. Or wronger kind of people.

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Peaky manages to be extremely violent and yet sumptuous to watch. It is crafted to near perfection to create a believable if grim world. Aesthetically no other show can compare as a period piece with this amazing interpretation of the times.

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Backed up by a stellar cast including Helen McCrory and Sophie Rundle and guests such as Sam Neil, Paddy Considine and some bloke called Tom Hardy, Peaky Blinders continues to deliver shocks and emotional gut punches. Should we care so much about a criminal gang? Of course not but the combination of Knight’s writing, the remarkable direction, loud as fuck soundtrack and perfect cast means we can loosen our morals a little.

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4: No Offence (Channel 4) 2015-18

Crime Dramas have been ten a penny the last ten years but creator Paul Abbott had his own take on the genre. Sure, there were elements of ‘Shameless’ in the DNA but this was like no show ever seen before. No Offence was chaotic, bizarre and hard hitting. It was fast moving and dialogue heavy, so much so it could almost be disorientating. Hilarious one liners and ludicrous situations mixed effortlessly with big issues such as the murders of girls with Downs Syndrome, child slavery and far right politics.

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With all that going on you need the performances to pay off so step forward Joanna Scanlan as Viv Deering. Viv is intense, playful, hard as nails and vulnerable. Most of all though she’s funny as hell. There’s so many wonderful quotes that there’s no point going into them all. If she’s not using breath spray on her privates she’s breaking the rules in her own style. Deering has to go down as one the TV greats.

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It’s not all about Viv though. No Offence is an ensemble piece and everyone has their moments. Elaine Cassidy as the intensely moral but wayward Dina gives the performance of her career. Alexandra Roach as the innocent but kick ass Joy is a revelation. Then there’s Paul Ritter having the time of his life as Miller, a man who revels in the moribundity of it all and takes everything that bit too far. He is outstanding and one of his greatest moments came when he shouted “I’VE GOT GOAT ON ME!” before licking it off his coat “No, it’s Curry” Oh, by the way, they blew up a goat with a bomb. Of course they did.

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Sadly this year Channel 4 announced that No Offence was not coming back and that is a dreadful loss. Television needs brave, visionary storytelling like this. One day it will be considered as a classic and when it is Viv will be raising a wry smile knowing she was right all along. As always.

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3: Car Share (BBC1) 2015-18

On paper Car Share had all the appeal of being stuck in traffic with Jack Whitehall as a your passenger. Frankly, the premise of two colleagues going to and from work is hardly something to get the pulse racing. In an age where comedies are fast paced, abruptly edited and over the top, Car Share proved there’s hilarity in the mundane and plenty of heart in the normal. While it defied genre norms it also set a benchmark by smashing iPlayer viewing records.
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If you’re looking for epic plot twists and convoluted storylines then you won’t find them on the not so mean streets of Bolton. If however you want to see someone accidentally drink some piss then this is for you. It’s the mix of slapstick and intelligently observed long-form conversation that gives Car Share a warm, comforting feel and that’s nothing to do with the urine.
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Charm is a word used way too often in TV circles but this has it in spades. Two opposites collide and the results are fun and often bizarre. John (Peter Kay) is a grumpy cynic worn down by years of middle management. Kayleigh (Sian Gibson) on the other hand is the bright, perky and sometimes irritating angel on his shoulder. John’s view out of the windscreen is a foggy grey mist whereas Kaleigh sees sunshine and rainbows through the same glass. The actor’s real-life friendship shows on the screen. Opposites attract as the wise prophet Paula Abdul once said.
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Speaking of pop music, let’s hear it for the show’s third main character – Forever FM. The local radio station it’s ok to listen to. It’s upbeat music and oddball adverts soundtrack the show’s feel good tone perfectly. While your ears digest the cheese your eyes are distracted by ridiculous road signs and billboards. Ugly city landscapes are turned into comedy art. The attention to detail isn’t just in the script. Just don’t mention that dirty back window.

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While Peter Kay is on top form, the undoubted star of the car is Sian Gibson. Her portrayal of quirky Kayleigh is totally endearing. No-one has delivered a line about an iceberg lettuce quite so beautifully.
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There are so many classic moments from John’s loudspeaker call to his boss to Kayleigh’s neighbour going dogging. The standout might just be Reece Shearsmith’s appearance as a smelly fishmonger with anger issues. His scenes are full of such joy and the three of them together is comedy gold. Who doesn’t need a whiffy rendition of ‘Here Comes The Hotstepper?’

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They almost messed things up by giving the second series just four episodes that culminated in an unhappy ending. Due to public demand they came back with two specials in order to prevent the politest riot ever. Curiously one was an unscripted special which basically amounted to a DVD extra. The finale made up for everything though with an ending that was happy but not overly saccharine.
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Car Share first aired in 2015 and if you feel weighed down by all the gloom of current affairs then why not treat yourself to a rewatch and transport yourself back to more innocent times. Yes, it’s been a really long decade indeed but thank God John and Kayleigh were there to make us smile.

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2: Line Of Duty (BBC1) 2012-

First put out in 2012 during what will potentially be our last ever summer of love, Line Of Duty was the antithesis of the countries mood. While everybody was preoccupied with the Olympics and being proud of our country AC-12 were rooting out bent coppers before it was fashionable.

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Comprised of Ted Hastings (Adrian Dunbar) Kate Fleming (Vicky McClure) and Steve Arnott (Martin Compston) the anti-corrupton unit were hot on the tail of Tony Gates, a man they believed to be fiddling the figures. What seemed like a fantastic one series arc soon bleeds onto the new story of series two. Keeley Hawes took on the role of the hunted for one of the best moments of her career. From then on each new run catches you off guard and pulls your pants down. Everything, no matter how unconnected it seems, turns out to be part of a far bigger conspiracy.

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Jed Mercurio’s writing is so intricate and clever. Things don’t make the final draft for no reason. The sheer audacity to stick to the conspiracy whilst throwing in curveballs as bullets is the sign of a master at work. In Line of Duty he has created a vibrant, suspenseful thriller, the like of which has not been seen before. Far from being boring, thirty minute interrogation scenes are heart racing slabs of perfect melodrama. The beat to those interviews are almost hypnotic.

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Adrian Dunbar is in great form as Ted, a man so full of principles he might burst and let some secrets out. He’s authoritative, charming and has many a catchphrase to cause a chuckle in the most heated of moments. But every good man needs a nemesis and AC-12 has had its fair share so it’s worth mentioning that Lennie James, Keeley Hawes, Daniel Mays, Thandie Newton and Stephen Graham have all been worthy adversaries. All villains with shade and complexity. If they walked on stage at a panto they wouldn’t get booed. They’d be greeted by confusion. Mainly because five year olds won’t have watched Line of Duty. Craig Parkinson’s excellently sinister Dot would not only get booed but kicked out the theatre – by the children’s parents.

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2020 will see our favourite anti-corrupton unit (BOO TO AC-9!) return. Is Ted really dodgy? Will Arnott buy some more waistcoats? Just remember one thing – don’t trust anyone.

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1: Being Human (BBC3) 2009-2013

“So a werewolf, a ghost and a vampire decide to live like humans do. They get jobs, a house and a TV license. They make friends they will lie to, take lovers they will infect-in fact, the only part of humanity they successfully adopt is its ability to deceive and destroy”

A small scale domestic drama with a supernatural twist. It’s a simple houseshare premise but this time the inhabitants are a vampire, a ghost and a werewolf. The scope of creator Toby Whithouse’s vision meant BBC Three’s modest little show transcended it’s humble beginnings. The balance between mundane domesticity and ambitious science fiction is just part of what makes Being Human truly special. This isn’t grandiose Dracula style mythology nor is it tepid Twilight / Vampire Diaries nonsense.

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Initially set in Bristol with Mitchell (Aidan Turner) George (Russell Tovey) and Annie (Lenora Crichlow), series one could almost be classed as the innocent times. Innocent here translates as bloody killings, haunting your ex from the grave, being accused of fiddling with kids and a gruesome battle with an arch enemy. The masterstroke is that all these things happened between conversations about mouli graters and Marigolds. This balance continued perfectly throughout all five series. Switching between brooding intensity and full-on funny within seconds came naturally to a show that never played it safe. There were two mass murder sprees and a baby was blown up yet this doesn’t come close to describing the blood shed or services rendered as Mr. Snow might say. This deep mood is darkened further by composer Richard Well’s atmospheric original score.

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Being Human evolved further with a move to Barry Island and enforced cast changes that would’ve been a stake through the heart of most shows. In series four and five we were gifted with newcomer Damien Molony and his awkward bromance with Michael Socha’s Tom which, along with a move deeper into science fiction territory gave proceedings a new lease of life when it wasn’t thought to be needed. Kate Bracken’s Alex soon completed a new trio that weren’t given enough time together because the axe fell in 2013. While general consensus lies with the original trio being the best, what followed them is extremely underrated. The first three years may have been more consistent but when the last two years peaked the episodes were equal to and sometimes even better than the original incarnation. ‘Making History’ stands atop a very busy podium.

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One of the biggest factors in Being Human landing the top spot is the dialogue. Oozing with quotability and natural conversation, everything flows so bloody well. There isn’t a show around with dialogue this special. Take Hal’s tense reunion with Mr Snow in the cafe. Take George calling Mitchell “deadly furniture”. Take Herrick’s last speech in the cellar. Take Alex berating Hal for causing her death. Take the epic Captain Hatch speech in the finale. Take Ivan’s shruggles to stay clean (“I’m this close to wiping out an entire branch of Argos”) Take it all for goodness sake and annoy your friends by quoting it all the sodding time. Who cares if they have no idea what the hell you’re talking about.

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It goes without saying how strong the aforementioned actors are but Being Human was chock full of talent everywhere you looked. Sinead Keenan’s Nina was an undervalued character but a vital part of the story. It may be because she dumped George and challenged Mitchell as to why praise wasn’t heaped on in spades but it’s easy to forget that she started out human. Nina is us, the viewer, except she actually inhabits this strange world for the first time but still with all her natural instincts and moral convinctions at her core. In the second and third installments particularly Sinead deserved equal billing.

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Then there was Herrick, the greatest baddy there’s ever been. On the surface he looked about as threatening as a lamppost but Jason Watkins took a great villain on paper and twisted him into something special. He acted his socks off with knowing smiles and wicked grins. So good was Watkins that on Herrick’s grand return he made us think the old rogue could have some redemption inside his cold, cold body. Silly us.

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The acting credits are an impressive rollcall featuring respected names such as Donald Sumpter and Phil Davis to early roles for up and coming performers. Craig Roberts played a perverted teenager in his forties, Alexandra Roach fell apart as a decomposing zombie, Sacha Dhawan hunted vampires so badly they slayed him and Sara Pascoe was a widow ghost mum. There are too many to mention because it’s bewildering and that’s before you hear who some of the writers are. As you ask, Tony Basgallop, Lisa McGee, Sarah Phelps and Jamie Mathieson to name some.

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Long story short, if you haven’t watched Being Human then make a start on it today. If you have watched it then do it again and again until Toby Whithouse is in 10 Downing Street and its script is taught on every school syllabus. SHOW NO MERCY.

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Trauma (ITV) Episode 1 Review

Perennial drama stalwarts John Simm and Adrian Lester come face to face in a battle of wills that’s more concerned with morality than anything else. It’s a hospital procedural without the technical lingo and west country accents. It’s a crime drama without any of the forensic detective work. Simm, who is omnipresent on the day Trauma airs because he’s also appearing in Collateral on BBC1 at the same time, plays Dan Bowker, a father of three down on his luck. On the same day he’s given notice of redundancy his son ends up in hospital after a knife attack. The cause of the crime isn’t the main issue here, it’s strongly implied a school friend did it as an act of girl related jealousy but the focus is placed on the cause of his death in hospital and the fallout from it.

As a panicked Dan comes to his son’s side in the hospital halls he’s alerted to trauma surgeon Jon Allerton’s (Lester) casual approach. He’s assured his son’s condition is not going to be fatal. In true TV fashion he breaks in (or rather walks in unchallenged) to the surgery room to witness the operation and finds himself further concerned by the man in charge of a loved one’s life. Of course, he needed to see this for the sake of the storyline but it is an overused cliche. Minutes later Dan and wife Susie, played by the brilliant but thus far underused Lyndsey Marshal, are told of his death and what follows is a battle of wills in a similar vein to last years Liar. It’s not like a character played by John Simm to distrust a Doctor is it?

Of course, we know Dan isn’t hiding anything but is he imagining something that isn’t there? Like he did when picturing his dead boy in the park? The harassment by Bowker is unnerving at times but it’s understandable given his situation. Simm plays the heartbreak  and bitterness well, never leaning into unsympathetic territory. Yet. He stalks Jon on the internet, he hangs around the school of his daughter and he makes the surgeon’s words come back to bite him. From little things like “I’ll be be back in five minutes” to the acceptance he had drinks on his birthday which, due to internet research we soon find out was the same night of the operation (Jon was called in on a night off). Will all this boiling resentment and bitterness result in Dan doing something incredibly stupid and/or dangerous?

Allerton is holding his cards close to his chest but as Dan spotted, his eyes are telling a different story entirely. the surgeon walks and talks with charm and confidence but guilt covers him like paint on a canvas and Lester shows the two sides of the canvas well. We’re never quite sure what he’s thinking. The powerful funeral scene is an excellent example of this. Bowker stands in front of everyone (including a certain medical professional) to express how angry he is, how he wants to hold someone responsible, how the loss of such a young life is a waste. Yet despite this, Jon approaches them afterwards with kind words before the accusations fired at him show worry behind those eyes.

It’s not clear what relevance Allerton’s family have in all this but they have much more screen time than Dan’s. In particular, daughter Alana’s relationship and work ambitions. As this is written by Mike Bartlett, a playwright and the man responsible for Doctor Foster, it’s likely the seeds have been planted with good reason. It’s a compelling opening that sets up plenty of intrigue. At times the music may be almost as intrusive as the offending knife but that’s a phase gritty dramas are going through. At least there weren’t any shots of people staring out to sea. 7/10

 

 

Reviews Of ‘Victoria’ By A Jenna Coleman Fan Who Hates Period Dramas AND The Monarchy – Series 2, Episode 8

Actual title: The Luxury Of Conscience

What it should have been named: The End Of Foreboding

And so it comes to pass, the final chapter of the second series is designed to pull at the heartstrings with little concern for historical accuracy. Relationships formed are torn apart and a death is on the cards.

Albert’s war with Lehzen seems a bit out of the blue. Sure, they’ve never got on but I suppose if anything is going to trigger the prince’s ultimatum of “either she leaves or I do” it’s Lehzen’s total disregard for the health of their daughter. Here is unseen footage of the baroness plotting the death of an innocent child..

It turns out alright in the end though because the grim reaper has another appointment this episode and he can’t be in two places at once.

Victoria has to choose between her husband and her slave and so it’s Lehzen that gets the marching orders. Nobody is shedding a tear. Well, the Queen is but there’ll be another servant to fill her horrid, cold boots soon enough.

Drummond and Alfred’s flourishing relationship is put down before its dog has had a run in the park. Drummond is shot protecting his dad outside parliament (a fictional take on proceedings) leaving Alfred understandably heartbroken but unable to grieve in public.

A more legal Bromance ends in tears too. Robert Peel’s determination to repeal the Corn Laws succeeded but it was political suicide.

Peel offers his resignation and that means there will no longer be excitable conversations between him and the Prince about trains. Truly the saddest moment of all in this finale. Other than that, it’s difficult to find sympathy with infighting Tories. Seasons change, fashions change, even aspect ratios on televisions change but the Conservatives will always be self-obsessed bigots and that’s something even a lightweight period drama got down to a tee.

Things look on the up for E(r)nest and his chances of getting into Lady Sutherland’s garments but it’s a good job their tête-à-tête was interrupted as we soon learn that he is not free from his syphilis and that makes him indisposed from sexy pants action.  Even I felt a little sorry for the fella.

It was a dark hour of telly all in all, especially those bloody Mercedes adverts, but there was one ray of sunlight through the clouds. Francatelli and Miss Skerrett are finally courting (as my dad still calls it) and a kiss was caused by what could be the two most Victorian chat up lines yet: “You do make very good tarts” and “would you like to come under my parasol”. Let’s hope that this is a relationship that lasts and that the  dressmaker doesn’t accidentally put a pin in her heart or the chef has a soggy bottom.

A second series is wrapped up and after eight weeks of magically multiplying babies, heartbreak and deaths it’ll be good to have a break and focus on the rubbish stuff that’s going on in our own lives. After it’s refusal to start early on in the series, Victoria finished strongly like a horse on speed at the Cheltenham festival. Speaking of horses, a small one (I believe they’re called ponies) has invaded the palace and is seen as some sort of happy ever after. Sure it is, until it shits everywhere. Perhaps that’s the plot of the Christmas special.

Lame of thrones:

• Why hasn’t Albert punched his dad yet? The poor wall that was on the receiving end did not deserve that.
• There wasn’t enough Vicbert snogging this series. Dear ITV…

Sex, Lies And Videotape: Liar, An Evaluation Of Series One And Where The Show Can Go From Here

Given the raw issues at the heart of Liar, whatever route the show followed, whatever conclusion it landed upon, it was always going to be divisive to some. You can’t please all the people especially when a section of the public still, as the credits rolled, believed Andrew Earlham could still be proved innocent. On the very day the ‘Me Too’ hashtag (a way for women to communicate they’d been victims of sexual abuse and harassment) was storming Twitter, the grim reality of Liar’s message could not have been laid more bare. The scale of a societal problem mostly unspoken covered unsuspecting timelines and with Liar, issues not usually given such public attention flickered out of eight million televisions and laptops.

Did it convey the message it was trying to get across well enough? Mostly, yes. It covered the issue of victims living in fear and embarrassment for the actions of someone else, and showed they blamed themselves partly because the legal system and general public perceptions put those doubts into them.  It showed a limp justice system that was yet another barrier to women coming forward. There has been the argument that the women in Liar were all weak but being battered by a system designed to keep their voices unheard means they’re more tired than weak. Yes, they could all have organised together, spoke up as one and put Andrew away but this is television. While it would be a satisfactory ending of sorts, it wouldn’t be an exciting one. They must have wanted Laura to stand on her own as a main character, to be the odd one out and the one that stood up to her oppressor. They referenced her stubbornness and failure to back down a few times as Andrew himself told her “you’re different”. In a her versus him scenario, and that is what the series was set up as, it makes perfect sense that Laura challenged him as an individual, even when friends and family were telling her to move on.

Just one look through the Twitter comments on Liar suggests there are many who didn’t understand these simple messages. They didn’t trust Laura despite all the evidence staring everyone in the face because she wasn’t a very likeable character. To an extent she wasn’t very endearing but that doesn’t mean there shouldn’t be sympathy for what she was going through. At the other end of the scale, Andrew’s charm was always enough to convince some of his innocence despite being shown drugging his targets and filming his crimes. What show are these people watching?! It’s the personification of rape culture and exactly why women stay silent. It’s why Earlham’s past victims never came forward in the first place. If you voiced total disregard for Laura’s plight and sympathised with the attacker you are contributing to rape culture. You are building further barriers for truth to break through.

Liar was by no means perfect. The heightened reality element of the break ins  and abductions maybe took away from the ultimate message but to wait six episodes to reveal the culprit would have tiresome so the show needed to go in different directions. On the surface, secondary story lines involving cheating exes and sisters felt a little incidental to the series and in a way they were – to series one. Without us even knowing the writers were expertly plotting the arc for the second run right under our noses. They’ve built up an impressive list of potential murderers while we were preoccupied with bringing Andrew Earlham to justice. The candidates are:

• Laura: After fighting so hard for justice it would seem hard to believe she’d take the law THIS far into her own hands. But she might have been pushed to far by a failed third attempt to get him locked up.
• Katy: Could she have killed Andrew as a perverse way of getting back in her sister’s good books? She’s lost her sibling and her fella so might feel she doesn’t have much to lose.
• Tom: Hates Andrew for being partly responsible for losing his job, hates Andrew for raping Laura (fair enough on that one) and clearly one who doesn’t like playing by the rules. A big contender.
• Luke: Luke had become increasingly frustrated by his dad and looked sketchy as hell when the cops showed up. Does he resent being an alibi in the Laura case and most of all, does he blame Andrew for his mum’s death. Now he really does have an alibi.
• “G.I Jennifer”: She certainly has the skills to dispatch a man’s body somewhere and her hatred for what he did to Vanessa is clearing tearing her up.
• Vanessa: Unlikely as she plays so by the rulebook as a cop. The same can be said for colleague Rory.
• Ian: Why not? His relationship with Laura may be blossoming and seeing effects of the trauma Andrew had on her might trigger an inner madman.
• Mia: Did she know what was in the shed all along? Does that shed also contain suitable murder equipment?
• Or maybe more than one person? A joining of forces? Mix any of the above.

It can be long debated about whether the murder of a rapist is a satisfactory ending but it has certainly been a big talking point. Many have stated how Liar bears no similarities whatsoever to Broadchurch but everything from it’s seaside set Nordic Noir style to the plots prove the comparisons are more than worthy. It’s just doing things the other way round. A rape case in series one rather than the third, a murder whodunnit in the second rather than the first. By all accounts the next run of Liar will be the last which at least slims the chances of iffy courtroom nonsense. In switching the default setting let’s hope Liar doesn’t lose sense of all the important issues it has tried and sometimes succeeded in getting across. It’s a big ask and even even bigger wait as the eta is late 2019. Does it need a second series? Absolutely not. Will the country be watching? Almost certainly.

Liar (Episode 6 Review)

There’s a moment just a few minutes into this finale where the words “three months later” flash up on the screen and it plays like an instant mood killer. Until that point things had been bubbling up nicely. Andrew’s confident facade about not being caught soon fades as he tearfully crawls to his son, begging for an alibi and he dutifully promises to give one. It’s needed as the very next scene Andrew is walking into work only to be confronted by police officers, only for us to be confronted by those three words.

The momentum feels lost. There’s palpable fear that so many questions will remain unanswered. That Andrew has been locked up off screen and the remaining time we have with Laura will be her moving on and getting on with her life, which is great for her but from a dramatic viewpoint, televisual deadwood. We’re transported to a date between Laura and her mysterious man from the Edinburgh hotel and the staples such a meeting that entails, like awkward small talk and gentle flirting. It feels flat but Harry and Jack Williams have thankfully lulled matters into false sense of security. Befitting of his sinister omnipresence, Earlham is spotted outside with another woman and we soon learn that the charges didn’t stick second time round either. While Ian is a gentleman and kisses Laura goodnight before heading to his hotel bed alone, Andrew is using that trademark creepy charm on a lady named Charlotte.

With regards to the side stories, there are some unresolved issues. Katy steals Andrew’s phone from his locker because Laura asks her to but a reconciliation seems far away. That’s not the only thing that’s still up in the air for her. Liam is in their house with her kids and it’s not looking like he wants to give the relationship another chance. These are the little loose ends that don’t really have a conclusion but it’s not a major issue either way because Liar will ultimately be judged on how the Laura versus Andrew story is resolved because that has been the selling point all along.

In the middle of the night, Andrew not only phones Laura but does it while loitering outside her home saying totally unreassuring things like “you sound scared. Don’t be, because if I wanted to have you again don’t you think I could have you whenever I wanted”. But in a rare moment of guard dropping let’s slip his knowledge obscure details about her bedroom, declaring “I play that back whenever I get the chance” about the night in question.  It’s enough to raise the suspicion he has recorded his crimes and Laura returns to undercover police officer mode and that’s why she requires Andrew’s phone from her sister.

In a very sudden twist (considering we were only introduced to her two short scenes ago), Charlotte is actually an over cover police officer and is working on the case against the villain of the piece. The next phase of her plan being a dinner date at his house. What could possibly go wrong? As it turns out, lots could and does. The finale ramps up the tension in spectacular style from this scene onwards as her attempts to take a sample from the wine glass are foiled. At least Laura never gets found out when searching for information by nefarious means. Speaking of which, she has hacked his mobile with help from Tom, the “I’m sorry about shagging your sister” ex-boyfriend. They find a text from his mum’s carer Mia about picking up his things which leads Laura to the shed of iniquity and all the evidence she’s needed is in her hands. There are heart stopping moments hoping she can get out of the house with the goods as we fully expect Earlham to be walking up the garden path as she does so.

After six weeks of allegations and heartache, we finally have the happy ending within our reach. The SD cards are with the police and “the tech guys” have seen evidence of seventeen rapes, which surely isn’t in the job description at Currys. Andrew Earlham is going down and against his consent, which is rather ironic. It’s all too good to be true though as all those previous aerial shots of marshlands take a darker twist as we float from the sky and down towards the cold, seemingly dead body of Andrew Earlham.

Killing off the bad guy could be further commentary on the ineptitude of the criminal process. Had justice not been so slow and surrounded by red tape, Andrew would be behind bars and rightfully suffering for his actions (sadly chopping rapist’s balls off isn’t legal). It also vindicates the extreme actions Laura has undertaken in her quest for the truth to come out. But it also leaves a void where satisfaction should be, not only in the fact that he won’t serving time for his crimes but in the assumption that he had enough remorse and shame to go through with suicide, if indeed that is what happened.  Since the reveal, Earlham has only shown disregard for the law, constant belittling of his victims and a joy at getting away with it. He felt invincible. The man that has been shown to us would take his day in court and get locked up fighting his corner. It seems an about turn that could prove to be genius or a mistake. It sure as heck makes a second series more difficult to imagine unless his eyes burst wide open in the very first scene before shouting “I’M BACK BITCHES!”. Let’s not rule it out, eh? 8/10

hh

 

 

 

Reviews Of ‘Victoria’ By A Jenna Coleman Fan Who Hates Period Dramas AND The Monarchy – Series 2, Episode 7

Actual title: The King Over The Water

What it should have been named: The Queen Under The Duvet

Not for the first time, Victoria is subject to assassination attempts and this spurs the royals to seek temporary pastures new. Much like their visit to France, they try to swot up on the local customs. They endure bleak Scottish poetry.

They endure the “beastly instrument” of the bagpipes.

Albert angrily insists it “sounds like the noise a Deer makes when it is being slaughtered” but his wife finds it “rousing”. Or arousing depending on how you blow on it.

The plan of this visit over the border was to escape but King and Queen still find themselves surrounded by security so do a runner deep into the countryside in the style of Mark and Jez in the Quantocks. But on horseback. The cold and mist sets in they chance upon a cottage in the middle of nowhere. Rather than sharing rations of a chocolate bar they get an offer to stay the night. The alternative was freezing themselves into an early coffin.

Exactly Mark, this isn’t southern England. Keep up.

This is the most beautifully shot Victoria to date. The cinematography of the vast Scottish glens is absolutely breathtaking and place Jenna Coleman in shot too and it’s a veritable feast for the eyes.

As for the mystery of what a Scotsman keeps under his kilt, Miss Skerrett almost finds out but for her loyalty to Francatelli, a man who has yet to show the chief dressmaker what’s under his pans. Things are moving a bit quicker for Drummond and Alfred who stroll around the forest half-heartedly looking for the Queen. There are more pressing matters on their mind and it’s not just the trees that have got wood.

They finally get their freak on while overlooking a scenic lake with an orchestra playing. All of our first kisses have been like that though haven’t they? Will it be a case of what happens in Scotland stays in Scotland? Will their love remain unrequited? It’s unlikely to have a happy ending. At least they get the chance to suck on something when Wilhelmina insists they have a go on the bagpipes before returning home.

Matters of the heart still persist between E(a)rnest and Lady Sutherland and assuming his diseased genitals have cleared up, the death of her husband may have left a vacancy for him to..erm.. fill. However, his condolesences are initially brushed away.

But the old charmer is sure to get his wicked way and spread more of his creepy germs.

This penultimate episode was genuinely funny, heart warming and in complete contrast to last week’s heavy tone. When it gets the balance right, Victoria is a light, entertaining romp that’s worthy of the budget. Like last series it has improved towards the end and this may be down to no more secondary stories being set up uncomfortably.

Lame of thrones: 

• Albert: “Safety must come before our inclinations”. Well, if you wore condoms, mate you’d have less children.
• Cooking fish on a fireplace has never had more sexual overtones.
• I want to go round saying “MY FELICITATIONS!” to random people for no good reason at all.
• Who else thought / hoped Jenna was going to get naked in this scene?
  https://twitter.com/emiliastormborn/status/917152683693367297

Liar (Episode 5 Review)

While last week’s effort was in no way mediocre there was a worry that exposing the liar at the halfway stage left the story with very little life left. With hindsight, the trip to Scotland was used as a measure of Laura’s last attempts to get justice through honest means. So far things have had at least two feet set in reality, concentrating on emotions and personal politics first and foremost. Episode five ups the heightened drama element it has mostly avoided. This is not meant as an insult or an implication that what happens in the closing stages couldn’t occur in real life, it’s just the foot has well and truly been put on the pedal.

Everything about the penultimate showing is exaggerated from what has gone before. When the music isn’t even more tense, it’s soaringly beautiful. As for the direction, the claustrophobic intensity grows. The camera lurks in even more distant places. Spying on proceedings from around further flung corners, windows and tables. It’s like they want you to feel like you’re spying in on conversations you shouldn’t be. A voyeur on other people’s misery. It works in a forty five minutes that surprises.

Who knew that an umbrella could cause so much distress? Due to Katy leaving one in Tom’s car and their stories not matching, Laura is told about the affair. It’s something that was expected to be said next week but like Scotland trip, the betrayal of a sister and an ex-boyfriend is used as an explanation for the actions Laura undertakes. The GHB  in Tom’s hand last week proves to be a red herring. rather than going ahead with the plan to plant the drug in Andrew’s locker, Laura resorts to the bottle. Earlham continues his charm offensive, with emphasis on the word offensive. Like everything else, his darkness takes a new level as we discover he has films of all his crimes. What’s the betting some viewers will still inexplicably think he’s innocent?

DI Harmon discovers there are abrasions at a baby scan (‘Abrasions At A Baby Scan’ sound like a long lost Smiths song title but let’s not get distracted) and asks to be tested for any GHB in her system. Despite it not showing up Vanessa knows exactly what has happened to her and who the man responsible is. It’s a chain of events that results in permission to track Andrew’s car being granted. Let’s overlook the logistics and go with the flow because it’s worth it.

This is where a psychological drama turns to an almost Michael Jackson level of thriller. OK, so there are no dancing zombies but Laura has a nefarious master plan. She tricks Andrew into a drink and while he’s unguarded slips GHB into the man’s bloodstream, bundles him into his car and takes him down to the baron marshes. The justification being that she will lie to make sure her attacker is sent down. She will claim he kidnapped her. Why? Because telling the truth got her nowhere. It’s a twist curvier than Kim Kardashian’s backside and in a tale that has already preached of the injustices in a system designed to make victims suffer more, makes complete sense. The tone may have changed but the elements of the message remain the same.

The stand off at the marshes (this has turned into a Morrissey lyric generator) between Andrew and his most recent targets should, in theory, be the moment he is arrested. Having stated that he’s been drugged to the DI, he claims that he can’t be arrested with the GHB in his system. While this may be factually correct, how would one person’s word be construed as fact, especially when faced with the law? Surely anyone could claim that. Robbed a bank? “Sorry guys, there’s still a bit of GHB in my system.. laters”. As we know only too well, the law is an ass and so is Andrew, who walks away without denying his crimes and one hundred percent confident he will evade punishment.  His SD cards might prove to be his downfall but with limited time left, Liar has cliffhanger and a two year wait written all over it. 8/10

 

 

 

 

Liar (Episode 4 Review)

They say the truth will always find you out but Laura takes it upon herself to find Andrew’s truth herself. Earlham is a man with a charm strong enough to get away with the crime and as things stand the charge against him has been dropped. His creepiness in the fourth installment is enough to make anyone’s skin crawl. While Laura is in Edinburgh tracing old footsteps, the villain of the piece is succumbing to his impulses again.

Turning up at the doorstep of Mary’s (Andrew’s ex-wife) mum is a bold step which is understandably rebuked. Laura finds more luck with Catherine, a woman who spent a night with Andrew and her experience matches. She promises to come forward to the police but unfortunately Mary’s mother calls a halt to progress and Laura goes back to square one. There looks to be more to Mary’s death and what follows strengthens those suspicions.

There’s a strong counter balance at play as the effects on the victim are shown through Laura’s interactions with a stranger at the hotel. He is polite yet flirty but her vulnerability is on full display. As she states to him “I am broken”. The assault being a form of physical and mental abuse long after the night in question. Earlham however, feels more indestructible and literally cocksure. Having walked into the office and declared himself fit for work he breaks into a house we soon learn is that of DI Harmon, spikes her drink and leaves before chillingly crawling into her house at night and well, you don’t need the words just as Liar didn’t need to give us the images. It’s not the kind of scene one would expect from a prime time drama. It’s uncomfortable and maybe the point is to take you out of the comfort zone and be shocked. Being shocked surely means the message is getting through. Earlham’s arrogance is magnified by a lawsuit sent through the post. In a doorstep confrontation we find out that his demand is for a public apology or legal action will ensue. It’s more fuel to his fire, more power to the ego and another way of chipping at Laura’s confidence.

Other than the surprising but welcome progression of Vanessa into the story not much else happened this week. With regards to the love triangle of Sam, Liam and Tom, the latter almost confesses to the affair in a drunken state. In words that will surely resonate shortly he insists on having “nothing left to lose”. His list so far is quite impressive: He’s been suspended from the force, about to break up a marriage, about to tear two sisters apart and after stealing GHB at the behest of Laura could be set to damage the chances of justice being served for good. Tom is the shaky ground everyone else is standing on. Where will the drug be planted? Where did he get it from? Did he really steal it at all? Trust no one, but then why would you trust anyone in a show called Liar? 6/10

Reviews Of ‘Victoria’ By A Jenna Coleman Fan Who Hates Period Dramas AND The Monarchy – Series 2, Episode 6

Actual title: Faith, Hope and Charity

What it should have been named:  Carbs, craps and STD’s

While last week was a jolly jaunt over the sea, a ‘Victoria Abroad’ if you will, the subject matter here is a much more bleak spectacle. The Irish potato famine is no laughing matter and is covered with great sensitivity and a subtle approach not usually associated with the show.

The sort of subtle approach this blog has I’m sure you’ll agree. Anyway, Robert Peel (who seems to live at Buckingham Palace) speaks of the “time war” to set us up. Hang on, the time war? What if there was some sort of massive button that if pressed can stop people dying of hunger?

Oh wait, it’s the tithe war. Sorry.

Elsewhere in Ireland we meet the Reverend Robert Traill who is battling his own religion and country in trying to get help for the starving. He soon gets an audience with the Queen, the lucky bastard.

Peel won’t budge from his usual stubborn mindset and when Victoria tells him to “come with me” and storms off to the bedroom he probably thought he was well in there. Sadly it just turned out that she wanted to guilt trip the Prime Minister into helping the Irish. He takes a little persuading by stating that “principles are a luxury” which made me wonder if the man was a surprising fan of two album noise makers Kinesis.

Alas, the chances are unlikley because the band formed in the year 2000, long after Peel’s death. Though what if he had access to some sort of box that could travel through time?

Tonight is all about doing the right thing. Francatelli offers his expensive swag to Miss Cleary so she can send money back to her family in Ireland. Victoria offers help too and even Peel stands up for his principles in parliament. And looks very smug about it. As the stats acknowledge at the end in a moving funeral scene, it was nowhere near enough.

Albert was not initially concerned with the lack of food of people in a different country and much more interested in food after it’s been digested by the people living in his country. It’s the circle of life.

The Palace was built on a sewer system apparently (make your own jokes) and installing new thrones with flushing capabilities is his piss de resistance.

Hygiene is less of an issue for E(a)rnest who pops up like a bad rash again. Ironic given he’s caught something nasty off one of his conquests. It’s not all bad news though as the husband of his lost love, the Lady of Sutherland has died in a freak accident. This paves the way for him to get his wicked way with the woman of his dreams at last. Just as long as he has a wash first. And wears protection.

Faith, Hope and Charity felt like the most cohesive work of the run to date and shows just what Victoria as a show is capable of when remaining focused. Not an easy watch by any stretch of the imagination but it deftly translated a time of huge human suffering onto the screen AND had a toilet joke.

Lame of thrones:

• Was anyone else expecting Ted Hastings to pop up and mumble about bent coppers?
• Is the Skerrett / Francatelli love story over and done with? They don’t seem that bothered by each other anymore.
• I can’t get that bloody Elton John song out of my head now.

 

 

Safe House (Series 2, Episode 4 Review)

Safe House lives up its title in a finale that plays it so bland it makes Shredded Wheat exciting in comparison. Safety first is the order of the day but even worse is the contempt in which the viewers are treated. If writing has the guts and imagination to follow through on everything it sets up, to answer the questions it’s had had the nerve to want to be asked, then any faults will remain niggles rather than a banging your head against a wall sort of frustration. Safe House has a San Andrea sized fault running through the carpets. It constantly disregarded the premises set out. Most of the things that happened in the first three episodes were meaningless and of no consequence, the actions of character’s weren’t explained or vaguely logical. Threads were unfurled and left dangling.

The villain here was never going to be Roger Lane as he was only introduced in the penultimate episode and the fingers were so blatantly pointing at Liam come the credits it was unlikely to be him either. But in making Simon The Crow it makes a mockery of a series that was a shambles already. What was Simon’s motivation? We’re fed a sudden back story at the dinner table as Liam says that his dad used to get very angry with his mum and if you hadn’t guessed already, it was then clear who the traitor was. This is at odds with the ideal of The Crow making the men suffer. Why would he kidnap his own wife if that’s the case? To make his son suffer? He didn’t have an affair with his wife. Though it would have been a plot twist! Did Simon kill MacBride? Did he kill John? If he did, the premise being that he took Liam away from him to Manchester because.. that’s a reason to kill? Also, pushing someone down a ladder confuses The Crow mythology more. Jason Watkins makes sinister and creepy at the reveal and is frankly the only one giving the script more power than it deserves.

There’s so much more left unanswered that you wonder if they binned the last four episodes in the writer’s room and went to the pub instead? What happened to Griffin after he got attacked and did he still have some sort link to the murders? What on earth was that John and Dani kissing stuff all about? Add to that, we never even saw a glimpse of Julie and her daughter in the finale so we didn’t see their reaction to his death (throwing a party presumably). Three episodes built around a family that are discarded at the last moment is insulting an audience that is asked to care. Then there is Tom’s fling with Elizabeth which had been signposted more than a Wonderbra campaign in the nineties. He admits to Sam they had a one year fling but it doesn’t seem much of an issue as he answers his phone mid confession. Was John going out with Sam at the time or was it before? Anyone? Dervla Kirwan must have fancied a cold holiday as she was only in about four scenes.

If TV shows could win awards for ending a series with unsatisfactory nonsense then the mantelpiece in this safe house would be chock-full. You can question plenty of the closing twenty minutes so here goes: Why did Simon bring his gun to the safe house, pretty much waving it under a cop’s nose. Not just any cop’s nose either, the one that has been chasing you for years. Why didn’t Liam go straight to Tom? All the evidence was there. In another deviation from The Crow’s past, Simon seems to have disposed of Sam’s body (dead or alive) rather than locking her up. Here’s the thing – we don’t know do we? Anything. As Brook wrestles mad Duke in the world’s worst wet t-shirt contest the series is over and what strives to be an epic cliff hanger is simply the act of a programme drowning in it’s own unsavoury fluids.

Cast and script changes have clearly had a big affect on a project that looked low on confidence. Ironically for a show so slow moving it might have been the battle against the clock to get everything up to scratch after all the production problems and this more than shows on screen. It’s already had a second breath of life but a third will be prolonging the misery. If Sam is alive she’ll stay locked up somewhere and this house on the rugged North Wales coast should get a change of locks, be boarded up and condemned. 2/10