Tag Archives: Daniel Mays

Doctor Who (6.9): “You’re not from social services, are you?”

Night Terrors might not rank as the scariest Doctor Who ever (and to be honest I’m not sure I want them to make anything scarier than Blink or The Empty Child/The Doctor Dances) but last week’s trailer was sufficiently creepy to have Hat Jr considering watching this in daylight…

In the end, she not only couldn’t resist watching it tonight, she rated it seven out of ten. And as I write I can only hear happy sounds coming from her bedroom. Phew!

(Spoilers below the line…)

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Outcasts: Is there anybody out there?

It’s lonely out in space, as Elton John once informed us, and it’s lonely watching Outcasts these days, as plummeting ratings have shunted it to a slot in the dwindling hours of Sunday evening and I’m the only person left in Britain still watching it.

I can see why many people fell at the televisual wayside. The negative aspects are pretty obvious. Plot-wise and theme-wise, it’s all over the place. Partly it’s about how people use and abuse planetary resources (“This planet doesn’t want us here,” said a wizened old man, who, as officially the first human settler on the planet in question – Carpathia – was required to embody the wisdom of the ages and some kind of mythology all on his own); partly it’s about the morality of creating then disposing of genetically modified people as and when it suits you. A supernatural element has recently been introduced, with people being visited by their presumed-dead relatives (and pets). And in the most recent episode it looks like some alien life form is able to create doppelgängers of existing people. There’s also a power struggle going on between the President of the planet’s only settlement, Forthaven, and a man who we know is very evil because he does everything apart from go “Mwah hah hah!”

Further silliness is provided by the set, which requires anyone who has to run anywhere to do it along the same small, curved length of corridor, and by the small character pool which means that two under-equipped and fairly useless police people (Cass and Fleur) end up doing everything. “We’ll send back up!” the President announces, and off go Cass and Fleur in their leisurewear. “We need a search party!” says the President, and barely have Cass and Fleur had time to change their socks than they’re off again for another hike into the desert.

So why am I watching this stuff when there are two perfectly good episodes of Treme on my Sky+ waiting to be watched? Darned if I know, really, but I’m sort of hooked. Having come this far, I want to find out where it’ll all lead, although the writer Ben Richards said in an interview that it was all going to finish with a cliffhanger, so possibly an “end” will be frustratingly elusive. I enjoy watching Hermione Norris, whose stiff upper lip is practically a character on its own (she should send it out on missions with Cass and Fleur). I like the idea (or ideas) behind it, even if the execution doesn’t always work. It is getting better as the series continues (too late to save those ratings, though).

So I will stick with it till the end, to find out who’s on this spacecraft that evil Julius keeps communicating with and whether they will be defeated by Hermione Norris’s stiff upper lip. And whether Fleur really did see a snake in the grass.

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Ashes to Ashes (3.8): A love letter to Gene Hunt

Two questions. One, how can a mere blog do justice to a proper thrilling TV event like the conclusion of Ashes to Ashes? And, two, did you guess correctly what was going on? Actually – make that three: Did you make it through without crying? Me, neither.

I’m sure I wasn’t alone in approaching this episode with some trepidation – we Life on Mars and Ashes to Ashes fans have invested heavily (time, theories and emotions) over the past five years and if the writers fell at the final hurdle it wouldn’t just be disappointing now – it would devalue everything that went before (not to mention taking all the fun out of those DVD boxed sets).

I don’t know about you, but I take my hat off to Matthew Graham and Ashley Pharoah. They crammed the episode chock full of the things we love about LoM and A2A: the great, incomparable Gene Hunt (Philip Glenister in his finest hour yet), a daft TV reference (well done whoever made the papier mache heads of Alex and Gene for that It’s a Knockout run), wonderful Huntisms, spine-tingling tension and some serious chills too. If it wasn’t enough that we’re wrapping up five years of questions (well the most important ones anyway), we get a crime of the week too.

And the truths we’ve been hankering after? Gene tells the truth about Sam in a moment you might otherwise miss – the DCI sent him to get a pint in. It brings a whole new meaning to Last Orders, doesn’t it?

The policeman who’s been haunting Alex? Poor old Gene… a green PC who thought he was Gary Cooper in High Noon and was buried in a shallow grave back in the fifties. But from the moment Gene experiences his own weird TV flashback in Keats’ office, you know your heart is really going to get broken.

Philip Glenister has been the star of the show from Day One (if you don’t believe me, read the reviews of Harvey Keitel trying to wear the Gene Genie’s cowboy boots), but, boy does he blow you away here. The look of trepidation on his face as he drives onto the farm, the terrible, un-Gene-like look on his face as Alex uncovers, first, the bones and then the awful, awful truth. The poignant story-telling in the decrepit farmhouse. Who could blame Gene for forgetting his past, and that this world is a place where coppers go to sort themselves out?

Which answers another question – Ray, Chris, Shaz – they’re all dead coppers working through their issues. But who is Jim Keats? Some sort of demon determined to wrestle some souls into hell it would seem. If there was a line where Gene explained it, we’ll have to wait for the 100-minute version of this episode on the DVD extras I guess. We can only go on the heavy symbolism (Ray, Chris and Shaz being led downstairs for their ‘transfer’) and plentiful hissing noises emanating from Daniel Mays for now. I don’t know which I found more disturbing – Keats driving the Quattro back to London or him stroking Alex in his office. Both had my flesh creeping though.

Neither matches the horror of him leaving the death tapes for Ray, Chris and Shaz though (and let’s not forget the incredible performances of Dean Andrews, Marshall Lancaster and Monserrat Lombard here) or the manic insanity as he tears down the walls of the world. For all that, I love that the team’s love and loyalty is enough to repair the world – and that Alex can restore the Gene Genie to his full powers (and in time to solve that crime of the week).

Funnily enough, for all the revelations, it was the moment that the Dutchmen ‘killed the Quattro’ that really drove home that the end was nigh. Of course, the sight of the Railway Arms – and Nelson – really started the tears falling. And as Gene’s beloved team finally move on, bickering, Alex faces her final test, Gene finally gives Keats that smack in the face and Alex at last kisses that man… well, it’s a good job the tissues were close to hand.

And then, just when you think it’s all over (in every sense), in stumbles some poor sod looking for his iPhone…

So what am I taking with me to bed now? A satisfying explanation for five years of weirdness and the stand-out performance of Philip Glenister – from the vulnerability in the farmhouse to the full-on Armed Bastard. I’m glad that the Gene Genie lives (as it were) to fight many more days – even if we won’t get to see them. Thank you Ashley, Matthew, Philip, Keeley, Dean, Monserrat and John (not forgetting the rest of the cast and crew) – you gave us something wonderful and unique. The Quattro may be dead, but Gene Hunt will live on in our hearts for many years to come.

Posted by Jo the Hat

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