In its quivering excitement last week’s Radio Times didn’t seem quite sure if it was advertising the American remake of this comedy (picked up by Funny Or Die and set to star Will Ferrell) or the Australian original. Happily for UK viewers the accents gave us a clue. No Activity sees three pairs of colleges all trapped in classic sitcom situations, cleverly linked to create something much funnier than the sum of its parts. And those parts are pretty funny to begin with. There’s a clever use of the classic cop show opening credits – it looks like it’s going to be dark, tense and packed with bad-ass action. But from the title we know that’s not going to be the case.
On a stakeout outside a suspected drugs warehouse is Detective Hendy, a young and ambitious chap and his senior Detective Stokes, who seems a bit of a bumbling dreamer. They’ve spent far too much time together and will discuss just about anything that pops into their mind. The chief concern in episode one is the plaster dolphin statue in the back seat that just might stand out to any watching crims, but Stokes couldn’t bear to leave it sitting there on the street for the binmen. Their later chat about how Stokes has a vasectomy face made me laugh out loud.
Jed Mercurio’s new six-part drama has been teased by pretty much all of the journalists and bloggers who were lucky enough to catch previews this week. He’s riding high with the continued success of Line of Duty, the next series of which was delayed Bodyguard – a timely story about trust, fear and terrorism. As promised, the first 20 minutes were edge-of-your-seat action hero stuff, but is there enough here to maintain interest for five more episodes?
Richard Madden is David Budd (looking about 600% more macho than the late lamented Robb Stark he played on Game of Thrones), a traumatised soldier back from Afghanistan. His brave and selfless actions foil a terrorist plot to blow up a train filled with passengers, including his own children. Both terrorists are also unharmed, again thanks to him. Desperate brainwashed Nadia (we find out her name a long way into her and David’s conversation – I thought textbook negotiation tactics are to get people’s names as a priority) is talked down from pressing the button on her suicide belt by stony-faced Dave. He then embraces her to keep the army from shooting her dead. Interestingly, everyone on the train ready to pull the trigger and make a mess is female. He’s in the nurturing role, caring for his children, for poor confused Nadia and trying to keep the peace. Everyone escapes, traumatised but alive. Well of course – not even Mercurio is going to blow up his main character in the first episode. Or at least, not this time.
SPOILER warning: this post deals with the final episode of Unforgotten Series 3. Do not read on unless you are up to date with both series 2 and 3. Catch up with all the box sets on ITV Hub now.
Unforgotten bowed out after a tremendous third series at the weekend. No one disagreed that it was an acting masterclass from start to finish, led by stalwarts Nicola Walker as DCI Cassie Stewart and Sanjeeve Bhaskar as DI Sunny Khan. Since inception this show has attracted top quality British actors. This series was dominated by awesome performances particularly from Alex Jennings, James Fleet and Neil Morrissey (getting better and better in each drama part,although here he certainly need more screen time). But I wasn’t expecting such a split opinion on the ending, especially as this has become a truly beloved British drama. I wasn’t immediately on board back at their humble beginnings, and I admit I snarked at the first episode back in 2015. I was very happy to be proven wrong; the atmosphere wasn’t lacking in comparison to Scandi drama – it was just different.
Online, people seemed annoyed that there was no twist in the tale and that the final episode ran out of steam. Although, thinking about it, do any of the series so far provide a neat and satisfying ending? In series 2 because of the nature of the crime, the number of perpetrators and the time passed the police decide there was no value in pursing and prosecuting anyone. Was this what the audience wanted? Do we demand everything tied up neatly in a bow? Or do we realise if you strive for realism on TV in style and storyline that endings will inevitably be messy, just like in real life?
The hero of Netflix’s first Indian drama is Sartaj Singh (played by Saif Ali Khan) who cuts a rather lonely figure. He’s a honest and honorable detective who refuses to be intimidated by his corrupt colleagues in Mumbai’s police force. Probably because he refuses to tow the line he’s never landed a big case. He’s trapped in a corrupt system with no way out. In good cop show style, he’s unhappily divorced, scarred, gaining weight and taking medication for anxiety. No wonder as he’s under immense pressure from his station chief to lie under oath about a unarmed teenager shot down right in front of him.
This seems like more than enough to be dealing with, but no. Right from the outset Sacred Games is a game to be played by two. His opponent is Ganesh Gaitonde (Nawazuddin Siddiqui), a notorious gangster and a fugitive in hiding for 15 years. He makes contact with Sartaj out of the blue seemingly to spill his guts about his extraordinary life. He also has a cryptic warning. Mubai’s time is numbered – there’s 25 days until the whole city is destroyed. Is he threatening the city both men say they love or is he tipping Sartaj off in the hope of saving them all? His personal god complex is clear; his first words to Sartaj are “Do you believe in God?”, but after all he’s been through he thinks he might really be immortal. And the way the show sets him up, he really could be.
Thankfully Alice Roberts, Professor of Public Engagement in Science at the University of Birmingham, is here to build the perfect female form – part science, part sci-fi and all nightmares. With doctors, sculptors and SFX experts she rebuilds her own body from scratch, and fixes the flaws that natural selection has embedded in our collective DNA. Her intentions are the best; making giving birth safer, solving the problems of our bad backs and giving us excellent sight and hearing. She unveils the life-size model in London’s Science Museum to gasps of amazement, but certainly not delight. Part elf, part bird and part kangaroo I think I’ll stick to human 1.0. Thanks all the same Alice.
Spoiler alert: Contains plot details for Series 4 of The Bridge
Writers Hans Rosenfeldt and Camilla Ahlgren promised great things with the final series of this international Scandi hit and viewers arrived back on the iconic Øresund Bridge with high hopes for our heroes Saga Noren (Sofia Helin) and Henrik Sabroe (Thure Lindhardt). Were they the awesome crime-fighting duo we’d seen at the end of series 3? Were they working together to solve the disappearance of Henrik’s daughters? Well, yes and no.
The series begins with Saga behind bars serving time for her wicked mother’s murder, patiently awaiting a re-trial. We know she didn’t do it, but how on earth can a cop with such limited social skills survive the system unscathed? Devoted Henrik who is trying hard to turn his life around is a frequent visitor. Absence really does make the heart grow fonder – their relationship seems much stronger than ever before. And a good job too, as there are some incredible storms to weather in this series – new highs and desperately tragic lows that are quite alien to Saga’s usual even keel. There’s heartbreak for all here, especially Saga as she finally has to confront her dreadful abusive childhood, and how it’s shaped her adult life. Saga in therapy is powerhouse acting from Sofia Helin, pushing at the limited scope in her character’s movements and facial expressions. I’ve not seen more entertaining and revealing therapy sessions since The Sopranos.
This is a full review of The Bridge: Series 4, Episode 7. Catch up with all the reviews here. Don’t read on unless you’re completely up-to-date on the BBC2 schedule!
An urgent message about the identity of the killer is left in an in-tray of a man who is on some sort of compassionate leave. Not a detail everyone will have noticed, but it makes administrators livid. So our professional runaways Julia and Ida are back in the storyline and on the run from Niel’s mild-mannered assistant Susanne Winter. Back in the day she also answered to Steph, and was having an affair with tragic Tommy as a lot of people suspected by the end of the last episode. Prior to that she flew under the radar throughout the series, but she’s a badass brutal thug, who doesn’t give a shit. Tasing kids in the middle of suburbia in broad daylight and stuffing them in the boot of a car, with zero concern for nosey neighbours hiding behind their net curtains.
And after that scene I nominate Sofia Helin for the next James Bond. Saga’s presence of mind is like nothing else on earth. She’s just been shot but she finds her gun and takes out Susanne’s moving car. It’s interesting to me how Steph/Susanne has hidden so well behind a respectable mousy exterior, perhaps assisted by the European stereotypes of being an Asian woman. Her carefully constructed identity jars with the idea that she would be boastful, keeping trophies as Saga mentions and as the police find in the prop department, I mean, flat. Also, we all know the case can’t be wrapped up neatly with a bow on top in just 20 minutes.