OUR NHS: A HIDDEN HISTORY + KATHY BURKE: MONEY TALKS + THIS WAY UP

This article was originally published in The Courier on 10th July 2021.

NEXT WEEK’S TV

Our NHS: A Hidden History – Thursday, BBC Two, 9pm

Hosted by the always reliable and eloquent historian David Olusoga, this thoughtful documentary unpacks the stories of people who migrated to Britain to work for the NHS. 

From day one, the NHS owed its survival to the recruitment of doctors and nurses from all around the world. They were needed, but – to put it mildly – weren’t always treated with the respect they deserved. 

Olusoga makes the point that one of our most beloved national institutions is intrinsically entwined with one of the most divisive political issues of the last 70 years: immigration. 

He speaks to several first-generation migrants and the descendants who have followed in their footsteps. It’s both a proud celebration of unsung NHS heroes and a despairing indictment of racial prejudice.

Kathy Burke: Money Talks – Monday, Channel 4, 10pm

In the concluding episode of her acute and generous study of wealth inequality, Burke shifts her attention to people living in poverty. 

She visits Jaywick, the most deprived area in England, and drops in on a food bank – “they shouldn’t exist in this country, it’s disgusting.” 

She also addresses the way in which poor people are negatively stereotyped in the media. Burke, who is entirely self-aware, worries that the Slobs sketches she made with Harry Enfield may have contributed to this demonisation. 

“The majority of people who are poor, it’s not their fault,” she says. “But they’re always told by society and the media, ‘Oh, anyone can get a job.’ It’s such a crock of sh*t."

She wouldn't thank me for saying this, but Burke is an absolute hero.

The Dog Rescuers with Alan Davies – Tuesday, Channel 5, 7pm

Warning: this series contains scenes of dogs in distress. It’s not gratuitous, the whole thing is handled sensitively, but it may prove upsetting to some viewers. 

In the latest episode, Davies presents another tranche of bittersweet stories. The centrepiece involves an RSPCA inspector who is concerned about William, an overweight black Labrador with a large painful tumour on his paw. 

William’s elderly owners have refused further treatment following a dispute with their vet. They’re not cruel people at all, but initially they don’t quite grasp how serious the situation is. The RSPCA inspector must tread gently yet firmly. Much like William etc. Oh, please yourselves.

I don’t think I’m spoiling anything by revealing that things do get better for William. It would be unbearable otherwise.

The Two Ronnies: Ronnie Corbett’s Lost Tapes – Wednesday, STV, 9pm

Messrs Barker and Corbett (a soubriquet always bestowed upon them by TV continuity announcers) were BBC men through and through, so one wonders why this documentary has ended up on ITV. They’re presumably hungry for some of that hot Ron dollar. 

I haven’t seen the programme, it wasn’t available for preview, but failing to highlight it would be a dereliction of duty. 

We’re promised unprecedented access to Corbett’s home movies and some rare behind the scenes footage. It also features contributions from his widow, Anne, his daughters Emma and Sophie, plus celebrity friends and admirers such as Rob Brydon, Harry Hill and Jimmy Tarbuck. 

In short (pause; adjusts glasses), an affectionate tribute to a master comic. Sounds lovely.

This Way Up – Wednesday, Channel 4, 10pm

Aisling Bea’s comedy-drama about a young woman gradually recovering from a nervous breakdown is charming and frank. It’s not plot-driven as such, the hook is the relationship between Aine (Bea) and her protective older sister (co-producer Sharon Horgan). 

Bea and Horgan share a warm, natural chemistry, they’re entirely convincing as a pair of siblings with years of history behind them. Some of their dialogue sounds improvised; a typical episode involves the sisters just hanging out and talking nonsense. But it never comes across as a self-indulgent vanity project. The characters are likeable and amusing, it’s a pleasure spending time with them. 

Before series two begins, I recommend catching up with the first one on All 4. 

Can I Improve My Memory? – Thursday, Channel 4, 8pm

Sandi Toksvig hosts this new series in which five celebrities from various age brackets attempt to sharpen their powers of recall. Each week they’re tasked with mastering general knowledge topics they previously knew nothing about. 

The celebs are boxer Chris Eubank, Love Island winner Amber Gill, hoofer Len Goodman, TV presenter Anna Richardson and actor Nina Wadia. 

Eubank is ordered to learn about dinosaurs; Gill gets to grips with great British birds; Goodman throws down with 1990s American hip-hop; Richardson investigates the solar system; and Wadia embraces the human skeleton. They’re coached by a memory man who clearly regards himself as a bit of a character. 

Memorising facts isn’t the same as learning, though, is it? Think on.

Michael Ball’s Wonderful Wales – Friday, Channel 5, 8pm

This week, Britain’s second favourite amplified Welshman – Sir Tom will always reign supreme in that hotly contested niche – pitches up in southwest Wales, a part of his homeland he’s never visited before. 

While striding along the Pembrokeshire coastal path, he visits a protected haven for seals and seabirds, delves into some local history and ancient myths in the company of a charismatic storytelling tour guide, and rustles up a soufflé with a French chef who moved to Wales to improve his English. He also meets two direct descendants of Dylan Thomas (Ball is a big fan). 

And yes, it concludes with another lusty hillside musical performance. A standard-issue travelogue, the show fulfils its utterly harmless, gentle brief.

LAST WEEK’S TV

Pride Hits at the BBC – Saturday 3rd July, BBC Two

This joyous deep-dive into the BBC archives served as a reminder – as if we needed reminding – that LGBTQ artists and gay icons have been responsible for some of the best pop music ever made. 

Highlights included Scissor Sisters performing I Don’t Feel Like Dancin’ (a co-write with Elton John, who was represented by a 1970s performance of The Bitch is Back); The Weather Girls barnstorming through It’s Raining Men (a song, fact fans, co-written by David Letterman’s bandleader Paul Shaffer); and some thrilling footage of Frankie Goes to Hollywood, who were briefly the greatest and most subversive band in the world. 

But the best moment of all was Gloria Gaynor being introduced by Keith Harris and Orville.

Diana’s Decades – Thursday 8th July, STV

What a strange series. Presumably in an attempt to differentiate itself from the sombre mien of ITV’s recent Diana documentary (ITV are utterly obsessed with the Royal Family; let it go, guys, you’ll never get a knighthood), it opts for an incongruously jocular tone. 

I’m not the sort of person who thinks the Royals should be treated with uncritical respect – heaven forfend – but telling Diana’s story with a cheeky nod and wink makes for awkward viewing. 

It nominally presents itself as a sweeping piece of social history shot through the prism of the People’s Princess, but episode one was largely preoccupied with cheap gags about 1980s fashions. Who is it aimed at? What is it for? Baffling.

 

TV Review: DAMNED + THE FALL + THE LEVEL

This article was originally published in The Dundee Courier on 1 October 2016.

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

Damned: Tuesday, Channel 4

The Fall: Thursday, BBC Two

The Level: Friday, STV

  

There was once a time, not so long ago, when Jo Brand was negatively pigeonholed as a sardonic comedian who joked about nothing apart from chocolate and how rubbish men are. Yet in the last few years, quietly and assuredly, she’s recast herself as the tragicomic queen of socially conscious sitcom.

Having tackled the thankless lives of NHS nurses and community care assistants in the wonderful Getting On and its recent sequel Going Forward, she now turns her attentions to social workers in Damned. Like Getting On, it’s a sympathetic yet unsentimental comedy inspired by her own experience – a former psychiatric nurse, she’s the daughter of a social worker – in which harassed carers strive to do their best under trying circumstances.

The title comes from the apt observation that social work is an unfairly vilified occupation in which employees are damned if they do and damned if they don’t. It’s set in a Children’s Services department where the lifts, toilets and especially the people who work there, are knackered.

Brand’s character, Rose, is the spiritual twin of Nurse Kim Wilde from Getting On, a caring professional whose jaded surface belies a genuine desire to help.

Her similarly careworn friend and co-worker Al (Alan Davies) is the only other “normal” member of a staff which includes Peep Show’s Isy Suttie as a bafflingly exuberant temp, Himesh Patel as an ex-policeman and humourless stickler for the rules, and the great Kevin Eldon, that always welcome Zelig of British TV comedy, as an endearingly innocent office manager.

It’s a classic workplace sitcom in many ways – long-suffering protagonists surrounded by “wacky” supporting characters – but it’s largely successful in its attempts to fuse traditional gags with unforced pathos. Despite the necessarily stark backdrop of abuse, neglect, illness and desperation, it’s a fundamentally warm, likeable show.  

Co-written with Morwenna Banks and Will Smith of, respectively, Absolutely and The Thick of It renown, Damned confirms Brand’s status as one of the most thoughtful writer/performers in TV comedy.

Back, unbidden, for a third series, exasperating thriller The Fall is a textbook example of a show that doesn’t know when to quit.

It began as a gripping, if questionably violent, cat-and-mouse drama about a detective hunting a serial killer, but gradually devolved into a self-indulgent, risible chore.

Its failings were epitomised by this opening episode, which was preoccupied by an interminable effort to rescue Paul Spector from death’s door. Why should we care if he dies or not? He’s a psychopathic, misogynist murderer, and a boring one to boot.

Whereas once she proved intriguingly aloof, Gillian Anderson now looks truly fatigued as DS Gibson. The Fall should be put out of its misery.  

Philip Glenister scored the easiest pay cheque of his career in The Level, a silly crime drama in which his character was murdered within the first 10 minutes.

He’ll presumably return in flashbacks/dream sequences, but the sound of him laughing all the way to the bank is the only note of joy in this drab account of a compromised detective trapped in a mild nest of intrigue while self-medicating her preposterously lenient gunshot wound with ibuprofen and gauze.

You know you’re watching a redundant thriller when the scenery – Brighton in this case – is more engaging than the story.

And how’s this for dialogue?

“The boss says you used to be school friends.”

“Yeah, when we were kids.”

The ideal age to be school friends, I find.

TV Review: SILK and JONATHAN CREEK

This article was originally published in The Courier on 1st March 2014.

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

Silk: Monday, BBC One

Jonathan Creek: Friday, BBC One

Paul Whitelaw

The problem with idealistic QC Martha Costello is that she's far too human and empathetic for her own good. If only she could somehow dispense with her feelings and carry out her job with the ruthless efficiency of a programmed assassin. Until then, she's doomed to wrestle with ethical dilemmas on a weekly basis at 9pm on BBC One.

That, in a nutshell, is the recurring theme of Silk, the diverting legal drama that returned last week for a third series. As played by Maxine Peake and written by former barrister Peter Moffat, Martha is certainly one of the more convincing lawyers to grace our screens. Her ability to balls things up almost as often as she gets things right makes her infinitely more sympathetic and believable than your standard maverick courtroom hero. I'm no legal expert, but Moffat's work always carries a persuasive ring of authenticity.

Her latest case was typical in that it found her getting emotionally involved to the detriment of her professional acumen. While the problem of a professional getting TOO DAMN CLOSE to a case is a terrible genre cliché, Silk tends to handle it with relative aplomb.

“There's too much mothering and not enough lawyering,” frowned Clive, her Harrow/Oxford-educated paramour and colleague. You could hardly blame Martha for embracing her maternal instincts while defending the son of her own Head of Chambers. A vulnerable teenager with mental health issues, he'd accidentally killed a policeman while taking part in a protest march. What unfolded was a slickly executed rumination on police brutality, corruption and the compromised values of insular institutions.

Peake, who has a knack for delivering dramatic courtroom speeches without ever overselling them, was as solid and affecting as ever, while Neil Stuke, as morally ambiguous chief clerk Billy, handled his terminal cancer sub-plot with admirable restraint.

Although Silk is essentially a case-of-the-week courtroom drama – and therefore fairly forgettable in the grand scheme of things – it's realised with such skill that it rarely fails to engage. Plus this week's episode treated us to the sight of Peake dancing badly to Joy Division's Love Will Tear Us Apart. Beat that, Law & Order: UK.

Despite its layers of black comedy, whimsical mystery drama Jonathan Creek has always struck me as rather too cosy for comfort. I admire David Renwick as a writer, but I've never been taken with this particular creation. At its worst it's little more than Midsomer Murders with a self-aware sense of humour.

To give Renwick his due, the latest episode did feature an enjoyably sly dig at the success of Sherlock, an increasingly tricksy and self-regarding show that's usurped Jonathan Creek in the nation's affections. Creek, competently played as always by Alan Davies, was lumbered with an unwanted sidekick: a young, cocky David Tennant lookalike who constantly rattled off detailed yet entirely incorrect deductions a la Sherlock on a bad day. But it was Creek, of course, who solved the case.

Even so, Renwick's attempts to spice up the formula by showing us, a la Columbo, how the murder happened in the first act felt half-baked. The inherent pleasure of Columbo is in watching the faux-naive detective lure his quarry into a trap. But Creek has none of that character's endearing charm. He's just a dull middle-aged man solving crimes in his spare time.

While the episode hung together more coherently than some of the recent feature-length specials, tonally it didn't quite gel. The story of a mentally ill mother hanging herself after losing her baby and murdering an actress jarred rather harshly against the jokes about Piers Morgan and unsubtle Alien references. With the addition of a superfluous sub-plot involving Paula Wilcox and an urn of ashes, it all felt like something of a hodgepodge. 

I was more entertained by the notion that the moment where Creek was bitten by an angry theatre-goer was a cheeky nod to the real-life incident in which Davies bit a homeless man's ear. Do I deduce correctly?