Doll parts

He’s shagged Susan Lynch, stolen a bus (causing pensioners to miss their regular game of bingo!), blown up a house (using its central heating system!!) at precisely 6pm and much, much worse in Cracker… attempted to blow up a London railway terminus, as a terrorist in Spooks… mutinied, then had his back flayed for his trouble, in Hornblower… and, if all that wasn’t enough, he wasn’t a particularly pleasant character in Survivors either… but Andrew Tiernan never short changes the viewer. Andy, as he was credited in this week’s episode of Doctor Who, always turns in a bloody good performance. He played the landlord of a rundown block of flats in Bristol, demanding rent money with the menacing aid of his bruiser-of-a-dog, Bernard! Andy had many of the story’s best lines and moments, bemoaning there was nothing to watch on television except thirty-year-old repeats of Bergerac. Lord knows why he was tuned into Yesterday if he was after the boxing! He brilliantly got sucked into his mangy old carpet much to the total disinterest of his pet but, best of all, was his transformation into one of the demon dolls! Possibly the finest use of special effects since Richard Wilson grew a gasmask in the first series.

Then there was Daniel Mays, whose career continues to be in the ascendancy. ITV3 have been running the 2007 movie Atonement, in which he co-stars with James McAvoy, a romantic drama where a man is accused of a rape he didn’t commit. More recently, Daniel attempted to sort out Gene Hunt’s nick, not the easiest task you can imagine, in the third-and-final series of Ashes To Ashes before being banished to the outer reaches of the solar system in Survivors-style drama Outcasts. In Doctor Who he played Alex, father to a little boy, George, unsure how to connect with his son’s phobia of the dark - when all the scary things come out to play. Boy George turned out not only to be adopted but also alien, living his life in fear of rejection. The coming together of father and child, at the story’s climax, was a pure Railway Children moment, and all the more moving for that! If you’re going to “borrow” then do it from the best!!

And the man who wrote Night Terrors, which may well turn out to be this year’s finest episode of Doctor Who… well, all his previous scripts have been set in the past whereas his latest is set in the present day. He tackled Dickens in The Unquiet Dead, when the novelist was in the last year of his life and about to embark on The Mystery Of Edwin Drood, while Christopher Eccleston was The Doctor… bullying in The Idiot’s Lantern, set during the Queen’s Coronation in 1953, was his next choice of subject after David Tennant had taken over the role… and, after a few years away from writing for Doctor Who, he returned to the fold, last year, to pen Victory Of The Daleks, in which the pepper pots from Skaro were outgunned by Matt Smith, with a great deal of help from the forces and spitfires assembled by a certain PM Winston Churchill. I’m talking about Mark Gatiss, author of all three, whose latest (fourth) instalment of everyone’s favourite science fiction series also included the death of a dear, little old lady by multiple black bin bags! Maybe it was because she looked like Patricia Hayes whilst sounding like Frank Spencer?! When Steven Moffat relinquishes his post as show runner, and assuming he wants the responsibility of the top job, surely Mark is his natural successor.

Breaking the silence

I haven’t written about Doctor Who in this Journal for three months. I’ve not even mentioned the programme in passing! Give the man a medal!! With the second half of Series Six fast approaching, it’s perhaps time to take a little look at the present state of affairs. I wasn’t happy with the cliff-hangers of the last two episodes. Why? After a terrific and traditional two-part story in which The Doctor advocated living in harmony alongside our Doppelgänger cousins, just as he’d done in Doctor Who And The Silurians in 1970, he whipped out his sonic screwdriver and reduced Amy to sludge. The Time Lord had suspected that, for the last half-dozen episodes, his long-standing companion was a double, constantly checking to see whether or not the TARDIS registered her as pregnant. But, why couldn’t he practice what he’d been preaching… tolerance. Why couldn’t Doppelgänger Amy exist together with her flesh and blood counterpart? The audience was fobbed off with some lame excuse about transmitting signals. Confine her where this couldn’t happen would’ve been a more sensible solution but nowhere near as melodramatic as the shock value of seeing The Doctor seemingly bumping off his friend. Writer Matthew Graham, co-creator of Life On Mars and Ashes To Ashes, was asked to add this ending by show runner Steven Moffat to lead into the mid-season finale but, for me, only succeeded in spoiling The Rebel Flesh and The Almost People.

And so to the cliff-hanger of Episode Seven, A Good Man Goes To War, in which we learn the real identity of River Song. She’s none other than Amy’s long-lost daughter, Melody Pond. Doctor Who had been building up to this revelation for some time. Ever since River was introduced in 2008, in Steven Moffat’s two-part story Silence In The Library and Forest Of The Dead, the writer has been teasing us as to her true persona. The resolution is a bit of a cheat, in all honesty, as Amy had yet to be introduced to Doctor Who at the time of her offspring’s inception in the series. Karen’s character was still two years away. It needed to be something that was already in the many and varied worlds of Doctor Who for an audience to be truly taken by surprise. Something connected to The Doctor himself would’ve been best, where it doesn’t matter that Matt’s Doctor was also two years away when River was inaugurated because, central to the concept, the Eleventh Doctor is the same character as the Tenth. Maybe the familial connection, now established as mother and daughter, is a red herring to throw the audience off the scent of a much greater surprise, yet to come over the next six episodes. I hope so because, as it stands, the big mid-season denouement was nothing short of pure soap opera, which wouldn’t have been out of place as the climax to an episode of EastEnders! I wonder when I’ll write about modern day Doctor Who again? Soon, all being well!

Warden’s Watch: Bonekickers & Spooks: Code 9

The BBC doesn’t seem to be having much luck with some of its latest fantasy-drama output! I watched the first episode of “Bonekickers”, “Army of God”, on BBC One, and decided that, amongst its many faults, the series’ title is four letters too long!! I didn’t watch any more, not feeling the need to dig deeper into this illogical archaeological nonsense. I tuned in, in the first place, because “Bonekickers” is written and produced by the same team who brought us “Life on Mars”, and that series’ excellent sequel “Ashes to Ashes”. And, because Martha’s sister, from “Doctor Who”, is in it! I can only presume “Bonekickers” is an attempt to replicate “The Da Vinci Code” for television with a touch of “Indiana Jones” thrown in for good measure. Unfortunately, it appeared ludicrous and, with the inclusion of a gratuitous decapitation of a Muslim, at the hands of ex-“EastEnders” actor Paul Nicholls, over the top… I believe a second series has already been commissioned!

Hot on the heels of the BBC One disaster, and switching to BBC Three, follows “Spooks: Code 9” which I haven’t really warmed to either, although, in this case, I have stayed with the series so far. That’s probably, solely, because Georgia Moffett plays one of the MI5 operatives! I am a fan of parent series “Spooks” and especially enjoyed its Fourth Season, when the show seemed to start all over again with renewed grit and determination. The spin-off killed one of its main characters in the opening episode, obviously inspired by the notorious demise of Lisa Faulkner’s character, Helen Flynn, in the second episode of the original. “Torchwood” had already copied “Spooks”, in killing off Susie, in its debut story so, by now, it’s all getting to be rather old hat. The remaining cast of hip young things with poor diction, in “Spooks: Code 9”, includes (from left to right) Andrew Knott as Rob, Georgia Moffett as Kylie, Heshima Thompson as Jez, Liam Boyle as Charlie, Ruta Gedmintas as Rachel and Chris Simpson as Vik… Only two more episodes to go, thank goodness!

Pounding the Beat

Gene Hunt returned, last night, his reputation preceding him! And, I was along for the ride in the back of his Audi Quattro!! What a trip it was too. Laying my cards right on the table, I loved the opening episode of the new eight-part series “Ashes to Ashes”, successor to “Life on Mars”. I never got into the Seventies show which is strange in itself because that was the decade in which I grew up. The soundtrack is an important feature of both series and yet the Eighties was the decade when I began to lose interest in pop music of the time. But the producers have been clever enough to set the new show in 1981, before the Eighties have really gotten into full swing, which enables them to carry on using the music of the Seventies! Smart move!! Thus, many of the featured bands/artists originate, or were at their peak of success, in the preceding ten years. I absolutely adored the moment Gene and his fellow coppers sped through the Thames, in hot pursuit, to the guitar-crunching, keyboard-swirling, Hugh Cornwell-snarling sound of The Stranglers! I was at Uni in ’81, in the last year of my first degree, in a band called The Disturbed, and “No More Heroes” was one of a few cover versions we played to much acclaim. It was our calling card, if you like, and the energy of this particular scene, in “Ashes to Ashes”, brought it all back.

“No More Heroes” wasn’t the only song in the first episode to bring on feelings of nostalgia. Bizarrely, the show featured both “Vienna” by Ultravox and “I’m in Love with a German Film Star” by The Passions and I can clearly remember buying both records on the same day in Woolworths, in Beeston, while studying at Nottingham. There are so many records they could’ve chosen so it really made me sit up and take notice when the second of the pair filtered its way into my consciousness! As a teenager in the Seventies, two of my major influences were Roxy Music and David Bowie. Again, both featured in episode one. “Ashes to Ashes”, the song, is actually a sequel to the “2001: A Space Odyssey”-influenced Sixties hit “Space Oddity”, not the track “Life on Mars”, and details what happened to Major Tom once he returned to Earth from his voyage in space. The line “I’m happy, hope you’re happy too” was one of the driving forces of the narrative. Meanwhile, “Same Old Scene” by Roxy Music, from their penultimate album “Flesh and Blood”, closed the show, suggesting the familiar setup of the previous series is firmly re-established. For me, though, the male/female dynamic, of the two leads, is a more interesting one than the male/male partnership of the previous programme, and that’s despite my fondness for “The Sweeney”. Oh, and isn’t Montserrat Lombard cute as newcomer WPC Sharon “Shaz” Granger!

From Funk 2 Funky!!

Gene Hunt is back, bigger and brasher than ever before – but he’s no longer the self-styled “Sheriff of Manchester”. Gene has transferred from the Manchester of “Life on Mars” to London’s Met Police where he’s about to finally meet his match with DI Alex Drake.

He can’t take his eyes off her, he desperately wants her, knows he’ll never have her – and at the same time she drives him up the wall! Having risen through the ranks of the Met in the modern world of 2008, Alex is an intelligent, independent DI and single mother who suddenly finds herself in 1981 surrounded by speedboats, city dealers, guns, brothels, well-dressed criminals and New Romantics.

The police are no longer seen as friendly coppers – they’re resented by the communities they’re trying to police. It’s the year of the Brixton Riots, the Royal Wedding and the Docklands Development, and Thatcher is here to stay. DS Ray Carling, DC Chris Skelton and new team member WPC Sharon “Shaz” Granger are on the front line helping Gene and Alex in their quest against crime.

They’ve donned Ray-Bans, bomber jackets and leather ties, and Gene’s bought himself a brand, spanking new red Audi Quattro, but their attitude is still the same – scum is scum wherever you are and they’ll get results whichever way they can. “Ashes to Ashes” stars Philip Glenister, Keeley Hawes, Dean Andrews, Marshall Lancaster and Montserrat Lombard. The eight-part BBC One series starts Thursday, 7 February, at 9pm.

Thanks 2 the Beeb 4 the blurb!

Cast Away!

Fans of time-travel cop drama “Life on Mars” should be counting their blessings! While “Doctor Who” fans have been lumbered with Catherine Tate for the whole of its fourth season in what feels like a lump-it-or-leave-it scenario, “Ashes to Ashes”, the sequel series to the two eight-episode seasons of “Life on Mars”, has fared rather better in the casting stakes. The lovely Keeley Hawes is to replace the dastardly John Simm alongside the abrupt Philip Glenister, reprising his role as no-nonsense DCI Gene Hunt from the original. Keeley is perhaps best known for her portrayal of Zoë Reynolds in MI5 drama “Spooks” which she left in 2004. She has, of course, starred in many other things, not least the notorious lesbian drama “Tipping the Velvet”. In “Ashes to Ashes”, Ms Hawes will play psychological profiler DI Alex Drake, an up-and-coming member of the police force in 2008, who finds herself trapped in 1981, eight years on from the previous series. Named after another David Bowie song, it will be broadcast on BBC1 in 2008. Roxy Music and The Human League will feature on the soundtrack which, to my ears, is preferable to the choice of tunes recently featured in “Doctor Who” but, more importantly, appropriate to the setting! “You were working as a waitress in a cocktail bar, When I met you”!! Maybe I should switch allegiance? Only kidding, but it should be worth a look…

In casting news pertaining to the third “Doctor Who” Christmas Special, and greeted with more optimism by me than the inclusion of La Tate next year, Clive Swift is to appear in “Voyage of the Damned”. He has appeared in the series once before, opposite Colin Baker’s Doctor back in 1985, as Chief Embalmer Jobel, a bit of a ladies’ man lusting after Peri - the cad, in one of my all-time favourite stories “Revelation of the Daleks”. He’s, no doubt, best-known as Richard Bucket, put-upon husband of Hyacinth, in the dreadful BBC1 sitcom “Keeping Up Appearances”, though I prefer to remember him as the equally downtrodden Bishop Proudie in “The Barchester Chronicles”. My imagination has been working overtime at the thought of Mr Swift having a read-through with Kylie! Equally intriguing is the casting of Geoffrey Palmer as the Captain of the Titanic. Another good actor but I wonder if, at 80, he isn’t a little too old to be playing Edward Smith. He, like Clive, has worked on the classic series, though in his case twice and both times opposite Jon Pertwee. 37 years ago, he appeared in “Doctor Who and the Silurians”, by far the best of the pair, and resurfaced two years later in “The Mutants”. His son Charles directed the first two episodes and the Paul Cornell two-parter of the most recent series so it’s likely Geoffrey has watched it since he last took part himself! Like Clive Swift, Mr Palmer senior is probably also best-known for his sitcom work, notably in “Butterflies”, the excellent “Fall and Rise of Reginald Perrin”, and opposite Dame Judi Dench in the appropriately titled, considering this latest role, “As Time Goes By”!