The Suspect | Blackpool's Dance Fever | Animal Airlift: Escaping the Taliban

This article was originally published in The Courier on 27 August 2022.

NEXT WEEK’S TV

The Suspect – Monday, STV, 9pm

Joe O’Loughlin (Aidan ‘Poldark’ Turner) is a reputable psychologist who’s recently been diagnosed with Parkinson’s. 

Joe becomes a national hero when he stops a young terminal cancer patient from jumping off a high window ledge. He’s also researching a book about attitudes towards sex workers, so when a young sex worker – her identity unknown – is brutally murdered, the police call him in to profile her. A series of weird coincidences – or are they? – ensue. 

On the evidence of episode one, The Suspect is more intelligent and sensitive than your standard TV crime drama. It appears to have some depth. 

Turner is a charismatic actor, but the subtly scene-stealing star is Shaun Parkes as our weary chief investigating officer.

Blackpool’s Dance Fever – Monday, BBC One, 8pm

Blackpool, as every devoted Strictly fan knows, is the universal heartland of ballroom dancing. Why? Well, for almost 100 years, the Blackpool Dance Festival has attracted hoofing contenders from all around the world. It’s an institution, albeit one which has never quite received the widespread attention it deserves. This amiable documentary delves behind its sequined scenes. 

The dancers have various personal stories to tell, they’ve tangoed and strived from all walks of life. Taking part in this event means the world to them. 

It’s also a tribute to those beautiful Blackpool ballrooms, the Winter Gardens and the Tower. I’m not one for sentimentality (I am one for sentimentality), but they’re absolute works of art.

Fastest Finger First – Monday to Friday, STV, 4:30pm and 4pm

There are few things I enjoy more in life than utterly trivial pursuits. So this new weekday afternoon quiz show, which I’m afraid I haven’t seen, sounds like something I’ll enjoy. 

If you’re anything like me – and God knows, I wouldn’t wish that on anyone – you’ll probably be intrigued by the sound of it too. A spin-off from Who Wants to Be A Millionaire, it presents us with various contestants who, should they triumph in this scenario, will secure a guaranteed place on the mothership. A gangplank leading up to one actual million pounds. 

It’s basically a prequel expansion of the first Millionaire round we’re all so familiar with. Your host is Anita Rani.

Jamie’s One-Pan Wonders – Monday, Channel 4, 8:30pm

This week, your friendly neighbourhood millionaire chef whips up some smoky noodle soup, a pan of home-made bread, and a chicken ‘n mushroom pie. 

The whole point of this particular Oliver vehicle is how simple yet delicious his dishes are. These easy to follow recipes won’t take up much of your valuable time either, they can – as per the show’s simply descriptive title – be cooked in just one pan. 

I don’t mind Jamie Oliver, and I’m sure he’d be delighted to hear that. Yes, he’s a rather silly person, but he’s harmless. And he has at least used his magical powers to effect some positive social change, the fella’s heart is in the right place.

Animal Airlift: Escaping the Taliban – Monday, Channel 4, 10pm

Last August, during the West’s utterly chaotic withdrawal from Afghanistan, the former Royal Marines commando Pen Farthing worked around the clock to ensure the safe evacuation of his charitable organisation’s Afghan staff and the animals they shelter. 

The sad images released by Farthing and his team mobilised support from the animal-loving British public. Boris Johnson officially declared his approval. But portions of the British media turned on Farthing when he left a deeply frustrated, angry voicemail for an aide to the Secretary of Defence. He was accused of prioritising pets before people. 

This probing documentary examines the ways in which the widespread perception of a public figure can turn on a dime when politics are weaponised.

999: On the Frontline – Trauma – Monday, Channel 4, 11:05pm

The West Midlands Ambulance Service deal with major trauma cases on an arduous daily basis. In this thematically-linked episode of the stalwart observational documentary series, we follow paramedics in the thick of it all. 

They come to the aid of a woman whose newly born child is experiencing severe breathing difficulties, an 87-year-old man who has fallen off a ladder and damaged his pelvis, and a teenager who was, to say the least, lucky to survive a freak horsing accident. 

I sometimes complain about the hollow voyeuristic nature of programmes in this ‘Oh the humanity!’ genre, and I’ll never be entirely comfortable with them, but 999 does at least boast some semblance of integrity.

Grand Designs – Wednesday, Channel 4, 9pm

After all these years of dealing with sometimes ludicrously unrealistic building projects, you’d think that Kevin McCloud would be a broken man. But no, he’s still somehow managed to retain his wryly sceptical yet fundamentally sympathetic persona. He’s a hero of sorts, a better man than I. 

The umpteenth series of Grand Designs begins with a curved glass family home plonked into the middle of a Manchester suburb. Colin, a man possessed of undeniable ambition, wants to make his dream abode look like it’s floating. 

This doesn’t go down well with his rather more pragmatic Swedish architect, Italian interior designers, and Latvian building company. But – hey! – maybe Colin is a kind of maverick visionary.

LAST WEEK’S TV

Investigating Diana: Death in Paris – Sunday 21 August and Monday 22 August, Channel 4

There are so many conspiracy theories surrounding the death of Princess Diana, hence why there have been so many television programmes made about the death of Princess Diana. 

This series, which concludes on the 28^th and 29^th of August, is just another cog in an ever-revolving wheel. It doesn’t reveal any new information, because of course it doesn’t. Diana’s death was a tragedy, that’s all we can say with any certainty. Anything else is pure speculation. 

Which isn’t to suggest that we should just forget about the whole thing, far from it, but programmes such as this add up to very little. That said, I haven’t seen the last two episodes. Maybe they’ll sort it all out.

Saving Lives at Sea – Thursday 25 August, BBC Two

Imagine if your job involved rescuing people in distress. Perhaps it does, in which case I sincerely doff my cap to you. I’m writing this on a Sunday evening with a cat on my lap while eating a packet of Monster Munch; I have contributed nothing to society and the wellbeing of others. 

Saving Lives at Sea, which returned last week, is a humbling endeavour. Yes, we’ve all seen shows of this nature a thousand times before, but familiarity in this case doesn’t breed contempt. 

Equipped with their own cameras for maximum spume-sprayed drama, these unassuming rescuers set about their business with the utmost professionalism. Lives were saved. It’s just what they do. Someone has to.

TV Review: POLDARK + FEARLESS + THE LOCH

This article was originally published in The Dundee Courier on 17 June 2017.

https://www.thecourier.co.uk/category/lifestyle/entertainment/tv-film/

POLDARK: Sunday, BBC One

FEARLESS: Monday, STV

THE LOCH: Sunday, STV

Were it not for POLDARK, Britain would be lost without its desperate fix of brow-clenched, bosom-heaving, stubble-jutting 18^th century stoics galloping urgently atop rugged coastlines.

Occasional viewers of this, if you will, handsomely mounted melodrama needn’t worry about picking up the storyline, as nothing ever changes in Poldark’s world of tricorn brouhaha.

Ross broods, Demelza frets, Warleggan smirks. Rinse and repeat. Watching Poldark is like leafing through a yellowed Georgian volume of relationship advice columns; mildly diverting, but of no lasting interest.

It might sound odd to describe a drama steeped in death and betrayal as comfort viewing incarnate, but that’s precisely what it is. A slick cake of antique soap. Howard’s Way in mud-caked britches. Take a Break by candlelight.

Which is fine, up to a point. God knows we all need some escapism in this sense-forsaken cesspit of a world (Corbyn should’ve campaigned on that slogan). But this adaptation of the Poldark saga, for all its solidly professional drive, lacks the heightened dynamism of truly great escapist entertainment.

I used to quite admire its knowing sense of straight-faced camp, but even that seems to have dissipated. Without that saving grace, that enemy of blandness, Poldark is little more than a slightly above average Sunday evening time-passer.

Still, Mammoth Screen, the prolific production company behind Poldark, deserve their reputation as fine purveyors of prestigious period dramas. Parade’s End, Victoria, Endeavour and their macabre Agatha Christie adaptations all testify to that.

However, their newest venture is an atypically contemporary thriller steeped in millennial anxiety; catnip for fans of jittery camera-work, steel-blue lens filters and clandestine meetings in multi-storey car parks, but unfamiliar territory for this team.

Has their detour paid off? Well, you certainly can’t fault FEARLESS for scrimping on Big Topical Issues. Starring Helen McCrory as Emma Banville, a successful human rights lawyer famed for taking on particularly difficult cases, it takes in state surveillance, police corruption, tabloid hysteria and Syrian refugees. Bingo!

Chain-smoking Banville’s latest client is a convicted paedophile and murderer who claims his confession was coerced. She believes him, but the case is hardly cut and dry. 

Her reputation as a maverick liberal trouble-maker is an inconvenient barrier to exposing powerful establishment cover-ups, plus she’s haunted by some unspecified childhood trauma, as protagonists in dramas of this nature tend to be.

For Emma Banville, this will be The Toughest Case Of Her Life.

For all its heavy-handed dialogue, clichéd beats and ropey performances – Sam Swainsbury as the possibly innocent man and comedian John Bishop as Banville’s husband are glaringly poor – Fearless gets by so far on the intrigue of its central mystery plus strong work from McCrory. But the jury’s still out on Mammoth’s shaky foray into 21^st century turmoil.

Curling! Murder! Christian fundamentalism! The aged jowls of John Sessions and Callum Gilhooley! 

You won’t find a more accurate or sobering portrayal of post-Brexit, post-Nessie Scotland than THE LOCH, a fairly enjoyable formulaic crime drama which, unlike Fearless, doesn’t take itself too seriously. 

The recent triumphant return of Twin Peaks reminds me that David Lynch basically invented the oft-copied template of dark, offbeat TV thrillers based in hauntingly beautiful, remote communities.

While The Loch is no Twin Peaks – needless to say, no one involved in this shameless Broadchurch and Happy Valley rip-off is a visionary genius - if only for its wry blend of forensic gore and pretty pictures, it’s a welcome Sunday rival for mouldy old Poldark.

TV Review: POLDARK and NURSE

This article was originally published in The Dundee Courier on 14th March 2015.

http://www.thecourier.co.uk/lifestyle

Poldark: Sunday, BBC One

Nurse: Tuesday, BBC Two

Paul Whitelaw

It's oddly satisfying, humbling even, that one of Britain's biggest ever TV exports concerns a man in a tricorn-hat struggling to revive his tin mine. A massive hit in its 1970s heyday, the BBC's first adaptation of Winston Graham's Poldark novels cemented forever our worldwide reputation as stalwart purveyors of high-end period drama.

It's therefore fitting that this grand tradition continues with the latest version, which – mark my soothsaying words – will be an enormous hit. Why? Because it ticks all the right boxes in brazenly confident style.

Self-evidently, no expense has been spared in bringing this savagely romantic world to life. Set in Cornwall in the late 18^th century, it mercilessly exploits the area's rugged coastlines and vast, God-fearing skies. While it doesn't quite match the almost docudrama feel of Wolf Hall, it does boast a fairly authentic sense of candle-lit time and place. Visually, it's a resplendently photographed treat.

But pretty pictures are all for naught without a sturdy mainframe to support them. Fortunately, this epic saga is told in rip-roaring style. Though played deadly straight by a fine ensemble cast, it benefits in execution from a kind of sly knowingness.

Scenes of Poldark on horseback galloping dramatically along the coastline, or removing his shirt for no earthly reason, flirt outrageously with barnstorming camp. Casting Aidan Turner from Being Human as Poldark is a master-stroke. A charismatic, handsome actor, he broods and twinkles most effectively. Artfully stubbled and tousled of barnet, this saturnine hunk spends much of his screen-time glowering intensely as clouds gather ominously, yet somehow sexily, overhead. It's a star-making performance.

A charming scoundrel with a sturdy moral core, he's ably supported by a rich cast of characters including Phil Davis in unabashed scowling mode as a ruddy-faced manservant, and the late Warren Clarke in his final screen role as Poldark's scheming uncle. Though she doesn't come into her own until later episodes, newcomer Eleanor Tomlinson is suitably feral yet delicate as Poldark's vulnerable peasant ward.

Normally I'd criticise a drama for leaning on blunt exposition - I lost count of the number of times a variation on “Cornwall is changing, these are difficult times” was uttered in episode one – but here it forms part of a slightly heightened, charming sense of melodrama. Subtlety is grabbed by the seat of its britches and hurled into the crashing briny. In the rampant world of Poldark, understatement is as welcome as a bout of scurvy.

The bold antithesis of a staid Sunday night period drama, it's tremendous fun.

A tender new vehicle for Paul Whitehouse, Nurse is as low-key as Poldark is bombastic. Essentially a series of bittersweet character sketches linked by a loose yet effective through-line, it follows a community psychiatric nurse as she visits her patients, most of whom are played by the heroically versatile Whitehouse. 

Stand-out characters include a depressed ex-con struggling with agoraphobia, and a delightfully ingratiating Jewish OAP. Whitehouse is an extraordinary actor, yet his multiple turns never feel like egocentric grand-standing. He's fully invested in these three-dimensional characters.

Though often very funny, ultimately Nurse is a sensitive and humane study of issues surrounding mental health and community care. I can't recommend it enough.