The Television Set

“Heartbeat” returns on Sunday evening for its final run of nine episodes to conclude its twenty-four part eighteenth series. Have no fear, this isn’t a post about to sing the praises of this easy-going show. Its demise has prompted Alison Graham, on page 51 of this week’s Radio Times, to claim that “the era of the long-running television drama is over”. In her conclusion she goes on to suggest that “maybe even “Doctor Who” should call it a day after another couple of series - there’s nothing like going out on a high”. I don’t actually think “Doctor Who” has reached anywhere near its full potential and could continue as long as there is the imagination and creativity to invent “new worlds and new civilisations”, to borrow a popular American slogan! Is Ms Graham suggesting that television drama, from here on, will become totally transient? I enjoy series with returning characters. It’s one of the reasons I prefer television to cinema.

What exactly constitutes long-running? I’ve often thought, in the back of my mind, if a series makes it to its seventh year then that show is a commercial success. Other folk may have different ideas. There are no hard and fast rules. American seasons have greater episode counts than their British counterparts. “Medium” is about to enter its seventh year of production, and seems to alternate between sixteen and twenty-two episode runs. It has reached the benchmark set by most of the series in the “Star Trek” franchise! Were “Doctor Who” to finish at the end of Matt Smith’s three-year run then Russell T Davies’s baby would achieve approximately the same. It would be a mistake for Alison Graham to assume that “Doctor Who” has been running since 1963. It was as good as off-air from the end of 1989 to early 2005. It was given a long rest and this new interpretation is but five years old. That’s not to say it won’t be rested again, when ratings eventually fall, only to be reincarnated again another day.

I’m not even sure I would’ve resurrected “Doctor Who” in the first place. It suggests a lack of new concepts and ideas where once there was an abundance. “Doctor Who” was a happy memory and RTD’s vision tainted it for me. I was forgiving when the original series presented weak stories where, now, I’m relentlessly unforgiving. Perhaps it’s because I’m older, more critical, cynical, and probably less accepting of writing that falls short. I’m a loyal personality, though, and will stand by the programme through hell and high water! I remember Alison Graham being a fan of “The Cops”, a short-lived, relentlessly grim, police drama. That appeals to one type of viewer while “Heartbeat” appeals to those who find pleasure in stories about something other than drugs and prostitution! Live and let live!! And, now that Nikki Sanderson has taken off Dawn Bellamy’s mini-skirt for the last time maybe the actress should consider joining the cast of “Doctor Who” before it’s too late!!!

Opening Gambits

Watching television in recent years, I’ve noticed a decline in the importance of the opening title sequence and accompanying theme tune. Take “Torchwood”, for example. Did I hear somebody reply, “I wish you would”?! It has a title sequence, listing the actors, but is very brief. And now “Heroes”. Shorter still, it imparts the show’s title and creator, Tim Kring. These two examples aren’t going to go down in the annals as anyone’s favourites. Maybe they just want to get on with the story. “Heroes” theme tune, in terms of length, is a far cry from other American series of the same genre. Look at all the “Star Trek” series, the opening title sequences of which all seem to go on forever, especially “Deep Space Nine” with its slow dirge-like fanfares. The cynic in me suggests the longer the opening melody the less material has to be produced before reaching the closing credits. Veering slightly off subject, BBC ONE never shows any closing titles for “Spooks”. I have no idea why? They made a big deal of it to begin with, as being a radical departure from the norm, but these credits do exist as they are shown on BBC THREE. That makes the BBC ONE transmissions of “Spooks” incomplete to my way of thinking, not remotely radical, but simply a thorn in the side of the completist!

Of course, you all know I’m going to cite the original version of the “Doctor Who” theme tune as one of the finest examples of the art of opening a show! Written by Ron Grainer and electronically realised by Delia Derbyshire, it knocks spots off the most recent, overblown and bloated, orchestral reinterpretation. The piece of music itself is actually quite thin when you analyse it. This is because, like early Roxy Music, there are no thirds in the accompanying chords. I’ve no doubt, however, that this was the intention as it’s one of the aspects that contribute to the underlying eeriness of the composition. One of the best matched of theme tunes to image is that of Gerry Anderson’s “UFO”. I have a feeling this is because the pictures were edited to Barry Gray’s piece of music rather than the music written to accompany the completed piece of film. Done the traditional way, of adding music to the final cut, would’ve been nigh impossible to synch in this instance. The pace of both music and image is remarkable. It’s commonly believed that television is faster today but just look at this particular sequence. The “UFO” opener holds up well and is, perhaps, only let down by numerous shots of ladies’ bottoms, undoubtedly now regarded as sexist in our politically correct world! I think it’s brilliant and not necessarily for the reasons you may now be thinking!! In the space of just over a minute, it cleverly introduces all the main characters, concepts and machines, telling a potted version of the story so that you know what to expect from each episode. They knew how to make television back in 1969!

A Meeting of Minds

There’s a bonus for buffs of “Heroes”, in this coming Wednesday’s episode “The Fix”, with the guest appearance of not one, but two actors from sci-fi bedrocks: Christopher Eccleston from “Doctor Who” and George Takei, alias Mr Sulu in “Star Trek”. As Claude the Invisible Man, Eccleston is typically perky, and happily rejects the traditional English-actor-in-US-drama accent, while Takei is glimpsed briefly in the role of Hiro’s father. And, although the plot hardly shifts at warp speed, there are enough bite-sized intrigues to keep regular viewers hooked.

Behind the scenes of the science fiction drama series, producers of “Heroes” trawled the globe to pick the right actors and actresses to appear in the show. Creator Tim Kring reveals in the eleventh episode of the supporting documentary series “Heroes Unmasked”, entitled “The Invisible Touch”, why he chose British actor Christopher Eccleston to play the role of Peter Petrelli’s reluctant mentor. Greg Grunberg, who plays police officer Matt Parkman, describes how he caused chaos at his audition, and George Takei talks about his role as Kaito Nakamura.

Save the Cheerleader, Save the World!

The smash-hit US drama series “Heroes” makes champions - and villains - of ordinary people, by gifting them with extraordinary abilities: a Japanese office worker able to manipulate time; a cheerleader with incredible regenerative powers; a struggling single mother with a deadly alter ego; a drug-addicted artist whose work predicts a catastrophic future; and a serial killer capable of absorbing all their abilities. Meanwhile, geneticist Mohinder Suresh continues the work of his murdered father - have these gifted men and women entered a new phase of evolution, or are their abilities the result of something far more sinister? Hayden Panettiere is Claire Bennet, the high school cheerleader from Texas with a key role to play in uncovering the truth…

Of particular interest to fans of “Doctor Who”, ninth Doctor Christopher Eccleston joins the cast of “Heroes”, midway through its first season, as Claude for five of its twenty-three episodes. The former Time Lord appears in “Godsend”, “The Fix”, “Distractions”, “Unexpected” and “Company Man” (episodes 12, 13, 14, 16 and 17). And, of note to “Star Trek” fans, Sulu-actor George Takei also guest-stars in five episodes, as Kaito Nakamura, namely “The Fix”, “Distractions”, “Company Man”, “Landslide” and “How to Stop an Exploding Man” (episodes 13, 14, 17, 22 and 23). I draw your attention to the fact that three episodes (13, 14 and 17) feature both actors, though whether or not they are in any scenes together remains to be seen! “Heroes” starts on Wednesday 25th July at 9pm, on BBC TWO, with a double bill comprising “In His Own Image” (broadcast in the States as “Genesis”) and “Don’t Look Back”…