Burly miner struts across the Cornish cliff, rippling his muscles. ‘I’ve a message from Trenwith. Where’s Poldark…?’
‘He’s behind youuuuuu….!’
Sorry, I thought we’d got lost in panto-land for a minute. I’ve watched both the previous series and it seems they’re certainly ratcheting up the ham-factor this time round if the opening episode was anything to go by. Perhaps this is inevitable after the first couple of series – Downtown Abbey certainly suffered the same fate.
Maybe it’s the new telly I got last year, but the colours seem to be set permanently to one of those especially lurid filters, such as Lark or Juno, that you find on Instagram. Our three central heroines – Demelza, Elizabeth and Caroline look like Charlie’s Angels in olde worldy frocks or maybe a Timotei ad, so lustrous are their floating manes and improbably perfect white teeth and flawless complexions.
There was much consternation in the nation that Ross, Every-Woman’s eye-candy (hashtag #hotstuff), didn’t flash his torso in Episode One. Normal service was swiftly resumed in Episode Two, with Demelza’s brothers also plunging obligingly bare-chested into the sea for good measure.
No, Episode One was about LAYING ON THE DRAMA. Continue reading
(Series 19, ep. 36 ‘For the Love of Maureen’ by Joe Ainsworth 13.6.17) The end of the episode saw Mo, Mr T and Hector drive off into the Holby sunset in Mo’s funny little pink car. It was a lovely happy-ever-after for them, and the whole episode was a beautiful send-off for Mo, who ever since her first heavily-pregnant appearance has been a wonderful warm, funny, feisty character. She got to say goodbye to all her Holby family in touching little one-to-one scenes and a funny party scene at the end. Chizzy Akudolu said on Twitter that her tears in her scene with Sacha were real, and there was genuine emotion also in a scene with Ric and a wonderful one with Jac, where Jac paid tribute to Mo as a black working class woman in a posh white man’s world. It’s not often you hear Jac Naylor’s voice break up, but it did at the end of that speech. Continue reading
Gah, script-writers! What is going on?? I know it’s not the first time I’ve said that to you, and doubtless won’t be the last. But look here, Pip has had three addresses in as many weeks, and I just know that there won’t be a decent pay-off. If the only reason you’ve dragged us through her boring house moves is so that the following scene will play out in an episode several years in the future, I will be quite aggrieved.
Pip: Oh no, this official form will to take ages to fill in [sound-effect of pen being hurled onto the desk].
Toby/Rex/Tom [it’ll be one of these three who wins the dubious Pip prize in the end, mark my words]: Why’s that, Pip?
Pip: It asks for all my addresses in the last five years! Do you remember that time after we/me and Toby split [delete as applicable] and I left Rickyard and went back home, then ended up slumming it at Lower Loxley?
T/R/T: Oh yes, that’s right. Fancy a coffee?
Pip: Go on then. [Sighs, sound-effect of pen being picked up.] I’d better get on with this.
Brian [entering randomly]: I say Pip, you look awfully glamorous considering you’re just filling in a form.*
(Series 19, ep. 34 ‘Twist of the Knife’ by Jon Sen) Of course we know that Mo wouldn’t ever harm her baby. She’s a doctor, for one thing, and she’s Mo, for another thing. Mo just wouldn’t do anything like that. And yet she almost persuaded herself that she could have hurt him, and she did it so well that she almost persuaded me. Mr T was already thinking she might have (and that’s what got Mo to doubting herself in the first place). Continue reading