I had already started a rewatch of Spooks earlier this year as part of a planned Nicola Walker retrospective but as it turns out, I’ll have to use that Britbox subscription for something else!
“When will you tell her that your real name is Tom Quinn and that you are a spy”
It is interesting to look at back at much-loved shows and be reminded of how not everything is always how you remember. So much of Spooks has aged remarkably well – not least its choice of subjects that have remained terrifyingly evergreen – that it is easy to forget that this opening season of 6 episodes sees them still searching for that house style.
It is undoubtedly a bit shonky in look and feel, the slick Thames House set isn’t yet in place and the focus on the lead team at the expense of too many nameless supporting bods gives the personal dynamics a somewhat off-balance feel as we delve into too much of the personal lives of Tom, Zoe and Danny.
But airing in May 2002 in the immediate post 9/11 climate gives its geopolitics real currency. And the threats they face – homegrown far-right movements, fears over immigration, the push for Kurdish self-government, US abortion rights, Russian spies being murdered on British soil… – are compelling throughout. And any show that has Jenny Agutter and Nicholas Farrell dry-humping in a corridor has to be a winner right?!
To be honest, I’d forgotten Ruth wasn’t a member of the team from the start, so these six episodes pass by with an outrageous lack of Nicola Walker. Continue reading “Lockdown TV Review: Spooks Series 1”
“If I knew…
If I knew that…
It’d be ok.”
Telling the contrasting but complementary stories of two young women who have gone missing – one from t’north, one from the capital – Abigail Hood’s Dangling is a brutal, at times harrowing play to watch. The London-based strand is the stronger. Not-quite-16-year-old Carly’s disappearance has left a huge hole in her parents’ lives and Hood explores the myriad ways this impacts on them with a real questioning intelligence. In a devastating scene, Tracey Wilkinson’s Jane finds herself driven to entertain thoughts of the worst kind about her husband and the fact is that Jasper Jacob’s Greg does have touches of a moral queasiness about him.
He’s paying young women to dress up as his daughter and roleplay conversations with him, and he’s under investigation at the school where he teaches for potentially inappropriate conduct with female pupils. He’s also distraught about his inability to look after his child, haunted by dreams of her in some painfully authentic writing. Wilkinson and Jacob are superb together and those notes of ambiguity from the latter are beautifully effective, especially in his scenes with Hood’s Charlotte – the lookalike – who has her own emotional issues with which to deal. Continue reading “Review: Dangling, Southwark Playhouse”
“It’s the Middle East Shlomo, enemies is what you make”
Only by chance did I find out that The Honourable Woman was leaving Netflix at the end of this month, so I quickly took the opportunity to catch up with Hugo Blick’s political spy thriller and as is so often the case with these things, was left wondering how I could have taken this long to watch it.
Political intrigue and personal drama coming from kidnapped children, suspicious suicides and betrayals ranging from old blood feuds to intra-familial conflict set the scene immediately for a typically dense and complex story from Blick, centred on a refreshingly new take on the Israeli-Palestinian conflict and the seeming impossibility of finding a solution when the wounds of the past are still felt so keenly and deeply. Continue reading “TV Review: The Honourable Woman”