THE GALLOWS POLE | CHANGING ENDS | OUR LIVES: MY HUSBAND THE MMA FIGHTER

This article was originally published in The Courier on 27th May 2023.

NEXT WEEK’S TV

The Gallows Pole – Wednesday, BBC Two, 9pm

The great Shane Meadows usually directs social realist dramas set in the present day or fairly recent past. The Gallows Pole marks his first foray into pre-20^th century history. 

A fictionalised account of a true story, it follows 18^th century working-class Yorkshireman David (Michael Socha) as he ignites a revolution. 

As you can imagine, this is not a typical period drama. Etched in shades of folk horror, it’s populated by characters who convince as actual human beings, they’re not carefully curated museum pieces. 

It bears all the usual hallmarks of Meadows’ work: naturalistic performances and semi-improvised dialogue combined with themes of social injustice, fraternal bonds, redemption, revenge and some understated comedy. 

It’s also a perfect showcase for Socha’s gruff, sad-eyed charisma.

Once Upon a Time in Northern Ireland – Monday, BBC Two, 9pm

Episode two of this engrossing Troubles documentary unfolds in early 1970s Belfast. It begins with Bloody Friday, an IRA attack during which nine people were killed. That tragedy drew support for the nascent Ulster Defence Association, a loyalist paramilitary group. 

Interviewees include former IRA and UDA members, who candidly reflect upon their younger selves and everything they once stood for. 

“I was in charge of guns when I was seventeen,” says one older man who came of age in a society divided by sectarian hatred and violence. “I have a granddaughter of seventeen, and I could not imagine handing her a gun. I could not imagine handing her anything other than a strawberry f***ing milkshake, to be honest. But anyway…”

A Paedophile in My Family: Surviving Dad – Wednesday, Channel 4, 9pm

Emily was sexually abused by her father for the first eighteen years of her life. In this intimate, powerful and deeply moving documentary, she tries to understand why her abuse remained unnoticed for so long. 

Emily wants to help other survivors. Her incredibly brave yet painful journey involves encounters with a clinical psychologist, the sympathetic police officers who investigated her case, and a restorative justice officer. Emily’s abusive father has recently been released from prison. There’s a part of her that wants to confront him. 

The programme culminates with a difficult, heart-breaking conversation between Emily and her loving mother. It’s marked by guilt, shame, anger and confusion. An important piece of television.

Changing Ends – Thursday, ITVX

There comes a time in every comedian’s life when they must devise a sweet-natured television series about their childhood. Now it’s Alan Carr’s turn. 

His dad was the manager of a fourth division Northampton football team, a vocation entirely at odds with little Alan’s gay and geeky world. He wasn’t ‘normal’ according to the homophobes who impinged upon his otherwise happy life, so he attempted to fit in by faking an interest in so-called manly pursuits. 

Changing Ends is charming. It’s a coming-of-age story set in less inclusive times, but the underlying message is positive. Carr, who occasionally appears as an in-vision narrator, has co-written it with love for his kind and supportive family.

Taskmaster – Thursday, Channel 4, 9pm

This column is a resolutely spoiler-free zone, so I obviously can’t go into any great detail about the latest thrilling Taskmaster grand finale. 

All I’m prepared to say is this: while dressed in the studio like Sgt Pepper’s Lonely Hearts Club Band, the five competitors – Frankie Boyle, Jenny Éclair, Ivo Graham, Kiell Smith-Bynoe and Mae Martin – unveil some bespoke Greg Davies merchandise while wrestling in the Taskmaster field with pint glasses, buckets, hoses, balloons, rubber bands and ice. 

Psychedelic feathered hats off to the deserved winner. But who will that be? I am, as you’ve presumably gathered, trying to create some suspense here. Taskmaster is a delightful distraction, it aims only to please.

Untold: The Secret World of Boy Racers – Thursday, Channel 4, 11:05pm

In this documentary, filmmaker Ben Zand embeds himself within the incredibly dangerous and irresponsible world of Britain’s underground car scene, a subculture in which young men race noisily souped-up cars along motorways in the dead of night. 

At the risk of sounding like Alan Partridge, they’re an absolute bunch of immature idiots with no thought for the consequences of their actions. All they care about is the fleeting futile thrill of it all. 

Zand meets someone who was left paralysed while traveling in a car with his adrenaline junkie driver. Two innocent bystanders died in that collision. “People” he laments, “don’t ever consider the severe impact of it going wrong until it’s too late.”

Our Lives: My Husband the MMA Fighter – Friday, BBC One, 7:30pm

Natalie is married to one of Scotland’s foremost cage fighters, Stevie ‘Braveheart’ Ray. 

This typically sensitive Our Lives documentary follows the Kirkcaldy-based couple and their four young children, one of whom is epileptic, as Stevie prepares for a potentially life-changing world title fight in New York. 

It’s been a tough year. As Natalie admits, she’s basically looked after the kids as a single parent while Stevie has been consumed by his training regime. 

Natalie and Stevie are nice, bright people. They reflect upon the necessary sacrifices they’ve made in the hope of Stevie setting the family up for life with a $1 million jackpot. A real-life Rocky love story, you’ll be rooting for ‘em throughout.

LAST WEEK’S TV

Reel Stories: Pet Shop Boys – Saturday 20th May, BBC Two

In the latest episode of this intermittent series, Neil Tennant and Chris Lowe settled into some plush cinema seats while watching archive clips of themselves. 

The duo’s memories were jogged by an 1980s BBC Breakfast Time report on Smash Hits – “I haven’t seen this since when it was on!” exclaimed former Smash Hits editor Tennant, who sounds uncannily like Steve Pemberton at times – and their very first TV appearance together. The boys were reliably lovely and amusing. 

They wouldn’t thank me for the compliment, but PSB are bona fide national treasures. 

The programme also afforded our preternaturally affable host Dermot O’Leary an opportunity to utter the phrase “Larkian lyrics” for the first, and presumably last, time in his career.

Strike: Inside the Unions – Thursday 25th May, BBC Two

Our dire cost of living crisis has resulted in the biggest wave of strikes this country has witnessed in decades. 

A probing two-part documentary, Strike: Inside the Unions follows national hero Mick Lynch and other prominent trade unionists as they campaign on behalf of our underpaid frontline workers. 

Lynch is a subversive character. Witty, erudite and entirely committed to his cause, he runs rings around politicians and journalists with blunt statements of inarguable fact. And you’re not supposed to do that. 

Episode one began with this caption: “The Government departments and many of the companies featured in this series declined to take part.” Why, it’s almost as if they have something to hide. Up the workers.

TV Review: THIS IS ENGLAND '90

A version of this article was originally published in The Dundee Courier on 19 September 2015.

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

This Is England '90: Sunday, Channel 4

Paul Whitelaw

The biggest shock of the TV week? An archive cameo from Scottish soap Take The High Road. Its cardboard charms cropped up briefly in This Is England '90, the third and presumably final TV sequel to Shane Meadows' BAFTA-winning 2006 coming-of-age classic.

The background presence of STV's stinging riposte to Dallas was sweetly indicative of Meadows' offbeat attention to period detail. As everyone surely knows by now, this is the continuing saga of a group of working-class Midlands pals growing up in 1980s Britain. The latest chapter catches up with Beaky, Choo-Choo, Fliegel and the gang as they stumble into adulthood in the Madchester era.

True to form, it began with a craftily assembled, scene-setting montage of period news footage. The music used on the soundtrack this time was There She Goes by The Las. Why, I ask you, what could possibly be the connection between that song title, the poll tax riots, escalating unemployment, homelessness, drug abuse, mad cow disease and Thatcher's ignominious exit after eleven years in power? As an amusing piece of blunt satire, it worked a treat.

We then lurched into a charmingly lackadaisical episode that touched upon the growing sense of nostalgia one feels in your early twenties – sweetly symbolised here by the Proustian tang of school dinner chips – and the awkward transition into 'settling down' when you've barely grown up yourself.

Lol and Woody (Vicky McClure and Joe Gilgun, whose droll comic timing is second to none) are now living together and raising Lol's daughter. Woody's bizarrely boring yet well-meaning parents are, without being broad caricatures, beamed in from a universe far less grounded than the one inhabited by their son.

Meadows' ability to shift seamlessly from low-key character comedy to drama and pathos in the space of a single scene was encapsulated by these stand-out moments of domestic absurdity. While This Is England '86 was rightly criticised for its jarring leaps from knockabout farce to harrowing scenes of sexual violence, thankfully he hasn't repeated that clumsy error since.

Despite being the original film's protagonist, young Shaun's role in the overarching Woody/Lol narrative remains fairly inessential. Nevertheless, as played by Thomas Turgoose, who these days resembles a forlorn potato, Shaun is TV's most convincing teenager by far: the hurt and confusion on his face speak volumes about the anxieties of wading through that awkward age.

Rarely do you come across such unaffected performances and authentic-sounding, semi-improvised dialogue in British TV drama. Meadows' work harks back to the days when the likes of Alan Clarke and Ken Loach cropped up in the schedules to present powerful slices of social-realism hewn from genuine warmth and compassion. He actually makes us care about these characters as if they were – gosh! - real human beings.

Granted, as enjoyable though it was the episode did contain a few self-conscious “Hey everyone! It's 1990!” howlers. And I wish Meadows' would ditch his unnecessary penchant for slow-motion, sad piano montages. He doesn't need to labour the point, we know how we're supposed to feel in those moments.

Still, at least the inevitable scene of the gang taking drugs and grooving to The Stone Roses was dispensed with early. In any case, the Madchester disco sub-plot was worth it for Woody's throwaway reference to indie dance-floor classic “Idiot's Gold”.

Anyone familiar with Meadows' work knows that it won't be long before these light-hearted japes give way to tragedy. The monstrous ghost of Lol's abusive father, Mick, still haunts this world; it's only a matter of time before his pervasive evil causes another explosion. And what of Combo (Stephen Graham), who's still in prison for making it look as though he, not Lol, murdered Mick? His redemption isn't yet complete.

However it unfolds, I'm cautiously confident that we're in for a satisfying conclusion to one of the best British dramas of recent years. We'll miss it when it's gone.