Inspector Lewis: The Mind Has Mountains

I can't believe we're already looking at the end of Inspector Lewis's fourth series run on Masterpiece Mystery next week. :-/ This year's episodes have been extraordinarily good, and for Hathaway fans (such as yours truly *wink*), last night's episode The Mind Has Mountains gave one plenty to savor -- Hathaway was on fire and the zingers just never stopped! *happiness* Here's the episode summary from the PBS website:

"Call the guinea pigs, would you," directs the brilliant psychiatrist Dr. Alex Gansa. The assorted subjects pile in to get their medication — all part of a week-long antidepressant drug trial taking place on the Oxford campus. The drug being tested is a form of ketamine — a horse tranquilizer and party circuit favorite. When trial subject Amy Katz is found dead, the drug-induced veil of contentment starts to tear. Katz was the unwitting object of obsession for several other patients, under the dubious care of the morally questionable Gansa. Lewis and Hathaway, aligned in their quiet distaste for psychiatry, uncover a number of provocative clues — condemning phone messages, notes and the remnants of a damning video diary made by the dead patient. The facts are furiously lining up. But in the mysterious realm of the human mind, sometimes certainty is deceiving. Kevin Whately and Laurence Fox star alongside Douglas Henshall (South Riding, Collision) in Inspector Lewis: The Mind Has Mountains.

From the moment this episode began, I had a suspicion that it would quickly become a favorite of the series and happily, I was not disappointed. Not only does The Mind Has Mountains feature hands-down some of the best guest star appearances in the show's history, it is a real corker of a mystery, fast-paced, tightly plotted, and with so many twists and turns and red herrings that I nearly gave myself whiplash trying to guess the outcome. And as an added bonus, the opening scenes promise some forward momentum (finally) into the tangled "mystery" of the Lewis (Kevin Whately) and Hobson will-they-or-won't-they-romance.

I loved the enclosed setting of this mystery -- yes, the location of the antidepressant drug trial is in a building on the Oxford campus, but the location is on the surface idyllic enough, and the motley collection of participants eclectic enough, that it struck me as vaguely reminscent of a "country house" mystery in the Agatha Christie vein. You know someone in the house did it, the only question is how many people will meet their end before the perpetrator is discovered. Most exciting of all for me was the fact that the doctor running this trial was played by one of my favorite actors, Douglas Henshall. Henshall came to my attention when I started watching Primeval (and goodness I have got to say that show misses Cutter!), and he's followed that up with appearances in Collision and South Riding. As Dr. Alex Gansa, Henshall is charming and charismatic -- it's quite easy to see how he might become the object of a patient's fantasy, the only question is whether or not he's the type to act on those "opportunities."

Hathaway (Laurence Fox) was just ON FIRE for this entire episode. While Hathaway maintained his usually calm and unflappable demeanor, there was this constant undercurrent of barely controlled energy -- frustration? -- that seemed to be simmering just below the surface of Fox's performance (LOVED it). From the opening scene when he witnesses Hobson (Clare Holman) on a dinner date WITH SOMEONE OTHER THAN HIS BFF LEWIS, Hathaway kicks the snark and sarcasm into overdrive. What is amazing to me about Hathaway's reaction is that you can sense so much of the snarkiness in his demeanor -- he doesn't actually have to verbalize anything (which is good, because he hardly ever does that -- however, in this episode, the man was in top verbal sparring form!). Two moments in this episode will in particular go down as series favorites. The first, when Gansa calls Hathaway "an odd policeman...I mean odd for a policeman" (Henshall's delivery of this line is pitch-perfect); the second, when Hathaway has an ACTUAL PHYSICAL CONFRONTATION with Dane (Sam Hazeldine), an ex-soldier and one of the trial's test subjects. All I could say to that was rawr. *wink* (Side note: Hazeldine looked familiar, and today I discovered he's appeared in Foyle's War, Robin Hood, and Persuasion.)

Speaking of the patients, it was great to see Thomas Brodie-Sangster as Adam Douglas, a student dangerously obsessed with the first victim. I rather feel as though I've watched Thomas grow up on-screen, as he started his career with roles in films like Nanny McPhee and The Last Legion, and progressed to a memorable turn in the two part Doctor Who story arc "Human Nature"/"Family of Blood." Adam was just one of many who had very strong reactions to the presence of Amy in the test house. Gansa's wife Claire (Christina Cole) was actually a former patient of her husband's (oh what a tangled web this show weaves!) who resented Amy's obsession with her spouse. It was really quite refreshing to see Cole play a sympathetic character -- I'm used to her more villainous/manipulative turns, such as in Jane Eyre where she played Blanche Ingram, or Emma where she played Mrs. Elton.

It was really quite interesting to watch the Lewis and Hathaway dynamic in this episode. Let me be clear -- that's always the main draw of this series -- but in this episode I felt like Whately and Fox brought a little something extra to their performances. This storyline -- both the investigation and the insights into their personal lives -- allowed both of them to cut loose a bit, to relax and really explore how comfortable the two have become since the somewhat testy early days of their professional partnership. I loved that Hathaway thought he should keep mum about Hobson's non-Lewis date, while Lewis couldn't understand why he didn't share the intelligence. Hathaway's rejoinder at the end of the episode was PRICELESS -- "I hope that you and Dr. Hobson work it out. Whatever it is, which you've got to admit, is a bit of a mystery." HA!

So, this is my theory about the Lewis and Hobson relationship. In the final episode of Series 3 (Falling Darkness), the burgeoning romance hit the rocks and its progression ground to a halt when Hobson's murky college past came to light. Lewis is SUCH a straight arrow, and such a S-L-O-W mover that I could see something like those events causing him to step back a bit. Perhaps that's why we've been getting this dance around their attraction issue for the past two episodes? Either way, it was quite funny to have the Lewis/Hobson non-relationship relationship so much at the front and center of this episode, to the point where the Chef (Rebecca Front) actually comments on how she wants to bang Lewis and Hobson's heads together. *wink*

I have to give the script a ton of credit for the whiplash pace that this mystery unfolded at, to the point where it kept me guessing until almost the finale. I really expected Henshall's character to take the fall for Katz's death and his wife's attempted murder -- so it was really a pleasant surprise when Lewis discovers that the arrogant doctor's assertion that his assistant Bethan (Lucy Lieman) is obsessed with him, bent on destroying anyone she views as a threat to their imaginary relationship. Apparently the good doctor and I were both a little slow on the uptake in that regard, because I really didn't see that coming until the final 15-20 minutes, because I SO expected Gansa to be the guilty one. (And who was expecting Lewis to get involved in a physical altercation with with Bethan???) Instead, I get surprised with HENSHALL ANGST as his character vows to stay by his coma-stricken wife until she awakens. Just goes to show you NEVER know, hmm? :P

This episode was extraordinarily well-constructed and fast-paced, definitely a favorite of mine in the Lewis canon. Fully of sparkling, sarcastic one-liners, unexpected action sequences, and some forward momentum in the Lewis/Hobson romance, and you have a winning formula all the way around. I'd love to hear your thoughts!

Inspector Lewis continues with "The Mind Has Mountains"

Just a quick reminder, tomorrow Inspector Lewis continues with the third episode of the fourth series on Masterpiece Mystery, entitled The Mind Has Mountains. Here's a brief teaser about the episode:

When a student is found dead during a clinical drug trial, the motives of an enigmatic professor are questioned. Douglas Henshall (South Riding, Collision) co-stars.

Obviously, aside from what's sure to be more Hathaway goodness, is that this episode features Douglas Henshall. Douglas Henshall. DOUGLAS HENSHALL!!!!!!!!!!!

Goodness, I wish that man had never left Primeval. See you on the other side with my review!

South Riding, Part Three

South Riding concluded on Masterpiece Sunday night, and with it the somewhat hit-or-miss Classic portion of PBS's 40th Anniversary season has come to a close. I'm somewhat conflicted about this production - on the one hand, I had some issues with the program trying to cram too much info into too little time, giving character and relationship development the short shrift, while on the other hand, I have to give the program credit for ending on a much better note than I was anticipating after last week's installment. So let's discuss for a bit, shall we? :) Here's the Part Three episode summary from the PBS website:

Sarah returns from Manchester disappointed and anxious, as her efforts to find Robert are dashed, and Lydia greets her with nothing but bitterness. A bottle of Scotch and the companionship of Joe Astell ease her loneliness, but the new year brings her back to business. Sarah firmly pleads with the complacent Mr. Holly to try to find a solution for Lydia, but he continues to think only of himself. Meanwhile, in the face of relentless worries, Robert turns to Mrs. Beddows for reassurance about Midge, who finally begins to show acceptance of her situation. But when Huggins asks Robert to drop his opposition to the land deal, suggesting it could be to his own financial benefit, the enraged Robert loses control and makes an accusation with devastating consequences. What follows are hard choices for the residents of South Riding, who face a future of uncertainty and heartbreak, but also of hope.

After the hookup that wasn't to be, Robert (David Morrissey) leaves Manchester without a word to Sarah (Anna Maxwell Martin), who's disappointed and understandably concerned. Though I have to say, to Martin's and the script's discredit, Sarah comes across as less worried about Robert's panic/stress-induced attack and more concerned with the fact that he wasn't stroking her ego and making a second try at their little would-be affair. Thoughts? While I really like Martin in a general way as an actress, I rather wish this storyline had allowed her to play a more mature "inspirational" teacher figure. For someone so determined to blaze a progressive trail, Sarah can be occassionally quite clueless and immature about the realities of the situations she finds herself faced with.

Christmas comes and goes and Sarah's prize pupil, Lydia (Charlie Clark), is still unable to resume her scholarship and return to school following her mother's sudden death. Sarah meets with Lydia's father, Mr. Holly (Shaun Dooley), to pressure him into finding another solution to his childcare problems so Lydia doesn't "waste" her educational potential. That scene annoyed me a bit, primarily because if Sarah is so gung-ho and insistent on getting Lydia back in classes, why isn't she doing something about the Hollys childcare issues herself? I thought Mr. Holly's initial resignation to Lydia's fate, if you will, was interesting and very realistic - he apparently holds the view that since his own opportunities for educational advancement didn't pan out, and since his request for aid was denied there is nothing more to be done. Really rather tragically pragmatic - and one would wish that since Sarah finds this viewpoint so abhorrent she would actually do something to change the situation, instead of gripe about it. All things considered, Lydia's terse response to Sarah's overtures is completely understandable - Sarah should count herself lucky that Lydia didn't bite her head off.

Mr. Holly surprised me in this episode, though upon further reflection I think his way of "fixing" the caretaking issue was really quite moving. I was reminded of pioneer stories, where people married out of necessity, and hoped for love after the vows. I really enjoyed the sparks between Holly and the widowed Mrs. Brimsley (Marie Critchley). Lydia is, of course, understandably reticent about having her mother "replaced" so quickly - and I wish as a viewer I'd been given more time to see a relationship develop between Holly and Mrs. Brimsley beyond their casual, flirtatious banter. Dooley and Critchley had a really lovely screen presence together that I would've liked to see more of - sadly a casual of the enforced three hour run-time.

When I heard that Douglas Henshall was appearing in this production, I was really hoping for a major role, i.e. that his character would be a viable love interest for Sarah - but alas that was not to be. Henshall's character, Joe, the politician and activist, was sadly for Sarah consigned to the role of "pal," since she was determined to throw her affections away on a married and unbalanced man. *sigh* I was happy to see Joe's screentime increased in this episode - especially since he finally calls Sarah out, and no longer content to play the best friend role in her life, announces he's leaving South Riding, unless Sarah gives him a reason to remain. And of course, the stupid woman lets him go. However, I have no doubt Joe is better off in the long run. :)

I was thrilled to see Mrs. Beddows (Penelope Wilton) at long last finally come into her own in this final installment, and become the critical, pivotal character I expect an actress of Wilton's caliber to play. Better late than never, I suppose. :) In Part Two it was revealed that Mrs. Beddows was present at the birth of Robert's daughter Midge (Katherine McGolpin), so it makes sense when Robert, facing finanacial ruin, asks his old friend to serve as Midge's guardian should anything happen to him. Robert's request proves eerily prescient when he turns up dead. Gossip immediately starts flying that Robert committed suicide, since he was facing total ruin when the corrupt Snaith (Peter Firth) sues him for slander.

Sarah is, predictably, crushed at the news of Robert's death. Her reaction and vocal insistence on denying Robert's suicide borders on the ridiculous. Their "relationship," such as it was, was based on a single unconsummated hook-up and a handful of friendly encounters liberally interrupted with clashes over South Riding's future. Sarah's reaction to Robert's death and the loss of their "relationship" reminded me a bit of Mary's over-the-top reaction to the death of her diplomat "lover" in Downton Abbey. Both women annoy me by their insistence at becaming so consumed by these dead-end (no pun intended) relationships that never were anything meaningful to begin with, they ignore the positive possibilities staring them in the face. Sarah's reaction is especially disappointing, because she's presented as a character you think should know better. Oh well...c'est la vie...perhaps in the book she does. (Robert's death is revealed to be an accident, and I have to admit the fact that he dies in a freaking landslide - well doesn't it just figure? Oh the dramatics...)

Midge suffers an interesting - and disturbing - fate when her maternal grandfather (Ralph Risch) shows up at Robert's funeral and essentially demands custody from Mrs. Beddows. Midge, who's done another 180 and become unnaturally (for her, anyway) calm since her father's death decides to move in with her grandfather - the man who has basically ignored her for her entire life. The girl appears consigned to a loveless future, and considering her mother's mental problems who knows what secrets her grandfather hides. Vaguely creepy and oh so sad - Midge appears destined to repeat her mother's life.

Unsurprisingly, Sarah decides to flee South Riding following Robert's death - and this leads to perhaps my favorite moment in the series, when Mrs. Beddows calls her out for cowardice and shames her for running from her grief. Joe had tried to give Sarah a reality check earlier, which she (stupidly) brushed off, but Mrs. Beddows knows the one way to reach Sarah, to get her to stop thinking about herself, is to appeal to her passion for seeing students like Lydia better themselves. And after delivering a cheer-worthy dressing-down and slap-upside-the-head reality check, Sarah (thankfully) decides not to go to London to wreck Joe's life (pure speculation on my part - HA!), and stays in South Riding - where, hopefully, she grows up.

In spite of my frustrations with some of the storylines (honestly, if you couldn't tell, the whole land-grab deal didn't interest me at all, even though it did have a direct impact on Robert) and some eye-rolling and predictable moments, South Riding ended on a better note than I expected after last week's installment. I've got to give Andrew Davies credit for scripting such a save - there's a reason the man has been one of the "go-to" writers for adapting classics for over a decade. Robert's old home is turned into a mental hospital, and the troubled Muriel (Lydia Wilson) finally gets her dearest wish - she can go "home." Since it was abundantly clear she was never going to get better, I really liked this resolution to her tragic story - and since she's back in South Riding, I like to think Mrs. Beddows will keep an eye on her. Lydia lives up to her academic promise and goes to Oxford, and Sarah gets her longed-for new school building (just don't think about the months - at least - that the show crammed into the final five minutes). And I like to think that Sarah will live up to the promise of her introduction - that, having shed some of her immaturity and naivete, she's grown into a teacher to cheer for.

I plan on watching South Riding on DVD, as I'm curious what the full three-hour program looks like. Historically the "missing" 6-10 minutes PBS trims from Masterpiece productions for ads more often than not vastly improve the tone and flow of the show. I'd also like to read the novel - since it clocks in at over 500 pages, I'm confident that there is a wealth of character and story development that, due to the budget constraints of cramming the story into three hours, were trimmed or cut beyond recognition.

While South Riding did not live up to my expectations, it was an interesting and well-filmed period piece, gorgeous to look at - full of great detail and delicious 1930s costumes. This is not a "happily ever after" for all story, and I just wish that Masterpiece viewers had been given the luxury of five or six hours to see this little-known classic brought to life - I think more time would've helped my reception of the show tremendously. If you watched South Riding, I'd love to hear your thoughts!

• Read my review of Part One
• Read my review of Part Two

South Riding, Part Two

South Riding continued last Sunday with Part Two of its three-part run on Masterpiece Classic, where events for all characters took a decidedly darker turn. Here's the episode summary from the PBS website:

With the inspiration of Joe Astell, the razing of the squalid Shacks and development of modern new housing is brought to a vote, in spite of Robert Carne's disapproval. But it comes too late for the Holly family, and the gifted student Lydia, thriving under Sarah's mentorship, must give up her talents and dreams.

For his part, Robert is unable to imagine a future for South Riding precisely because he is a prisoner of the past, as the secret agony of his guilt is revealed. Guilt also torments the lusty Methodist minister Alfred Huggins — guilt and a pair of blackmailers. He plays directly into the hands of Councilor Anthony Snaith, whose gentle prods toward investment in an area of land called the Wastes send Huggins head-first into a risky scheme. Financial woes compound Robert's troubles, and he ventures to Manchester in the hopes of heading off the bank from repossessing his ancestral home. Sarah, on her way to visit her sister, has too stopped in Manchester for the night, and their chance meeting leads to events for which neither is prepared, and an all-too-temporary respite from the messy collisions of life's complexities.

I finally got the chance to watch this episode Thursday night. I have to say, South Riding is not turning out to be quite the type of program I was expecting (i.e. a straightforward romance), based on the previews and episode information I'd managed to read online. It is much, MUCH grittier and darker than I was anticipating. I don't mind "gritty" and "dark" when it is done well (preferably shot through with rays of light) - and that is where this miniseries falters just a bit. One cannot, I think, help but get the feeling that the filmmakers are trying to do way too much in way too little time. While I applaud it for "aiming high," character-wise South Riding is suffering in my view from a lack of time for character development.

One problematic character is Midge Carne (Katharine McGolpin). It was clear from the first moment she's introduced that she is a wildy unbalanced child - the question is, how and to what degree? Father Robert (David Morrissey) is clearly incapable of helping her as she needs, since he carries around such guilt about her mother (more on that in a second) and stress about his nearly-bankrupt estate. Based on Midge's introduction in Part One, and then her subsequent appearances, I have to think she's been very ill-served by the script and pace of the show. One moment she's hysterical, the next she's eerily calm and by all appearances functional, even capable of tormenting an ill-equipped schoolteacher. There is no middle ground, but maybe that is accurate for her type of mental issues, I don't know. The way her inner "switch" flips back and forth just doesn't quite add up to me, at least how it's been presented thus far. Ultimately Midge strikes me as a tragic, ticking time bomb. Even her fascination with Sarah (Anna Maxwell Martin) feels dangerous - she seems to have the type of personality that needs to obsess, and that obsession(s) leads to wildly imbalanced emotional responses.

I haven't been overly fond of the show's decision to have Robert played in flashback by another actor, in this case Daniel West, while Muriel is portrayed by the same actress (Lydia Wilson) in both flashback and "present day" scenes. Personally I don't think David Morrissey looks so "old" that a younger version is required, but given the revelations about Robert's past in this episode I have a theory. It is revealed that upon his return home from the front in WWI, Robert found his wife flirting with three men in their home. Enraged and frustrated (which is understandable), he proceeds to rape her (UGH!), the act resulting in the pair's only daughter. This scene was not for the faint of heart - while it isn't explicit nudity-wise, it's a horrifying, emotionally charged scene, compounded by the revelation that Muriel is very cognizant of the fact that she's not "supposed" to have children (or has been advised against it in the past, that is not specified), and takes precautions to prevent pregnancy - precautions that Robert, in his jealous rage, doesn't care to make sure are in place. So my theory is that the filmmakers cast West in the role in some attempt to make the older Robert more sympathetic. I have a hard, hard time with this. Any way you slice it, rape is a heinous crime - and in films or books, even when the perpetrator expresses guilt/remorse after the fact, I have a hard time "forgiving" them - because with that act, a switch irrevocably flips in my perception of the character in question. Thoughts?

Robert has a lot on his plate, I get that. In addition to the after-effects of being gassed during the war (hence the amyl nitrate, which was apparently used as - a highly addictive? - treatment for cyanide poisoning), he's in danger of losing his anscestral home to repossession by the bank. On top of all this, there's the crippling guilt he carries that his actions - the rape - resulted in the pregnancy that completely tipped Muriel over the edge into full-blown insanity. David Morrissey is an excellent choice for playing the "post-attack" Robert, I will give the casting director that. As I mentioned in my review of Part One, Morrissey proves quite adept at playing the tortured soul. While I am disappointed that the storyline went the direction it did regarding Robert and Muriel's past, I can't think of an actor better than suited than Morrissey to play the repentant/tortured Robert, who feels so guilty and overwhelmed by life that he's on the verge of a mental breakdown himself. I just wish that this miniseries had more time to develop the consequences of the weighty issues South Riding's characters are (trying to) cope with. If as a viewer I'm supposed to somehow "look past" Robert's actions, I really need more of his backstory - perhaps that backstory is provided in Winifred Holtby's novel. Just thinking out loud here...

Anna Maxwell Martin continues to shine as Sarah, making her mark on the school and generally becoming a favorite of students. However, her character suffers in this installment of the series for lack of time to really delve into what makes Sarah "tick," if you will. In Part One, the filmmakers gave us a hint of the romantic tragedy in Sarah's past - losing her fiance in the war - and she shares a meaningful exchange with Joe Astell (Douglas Henshall), South Riding's most vocal crusader for social change. That conversation marked a spark of real connection between Sarah a Joe, a connection that I admittedly favor over Sarah's insistence to pursue a relationship with Robert. Yes, she and Robert shared that whole tremendously exciting (to be read with sarcasm) interlude in the barn with the cow giving birth, but beyond that I don't feel like I've been allowed to see why she is so invested in Robert.

Prior to the failed Robert/Sarah hook-up in Manchester (spectacularly blown up by either a PTSD attack or guilt), Sarah and Rober do share two rather nice scenes. The first occurs after Midge's goading leads the harried teacher Miss Sigglesthwaite to snap, striking her with a ruler across the face. Sarah is, of course, equal parts horrified by the act and perhaps a bit concerned how her failure to see that one of her teachers was on the brink of a nervous breakdown impacted the child of her most vocal critic. But since Robert knows a thing or two about mental strain, he's quite forgiving - Morrissey plays Robert brilliantly, with a balance of bone-tiredness and kindness. The second scene occurs in Manchester when Sarah and Robert meet for dinner - and oh, I am such a sucker for romantic dancing in film. SUCH. A. SUCKER. Sarah's dressed to the "nines" as they say and Robert is quite dashing in a tux - the whole scene is a prime example of how well this film recreates the fashion, romance, and atmosphere of the 1930s - a favorite moment.

My favorite storyline is turning out to be Lydia's (Charlie Clark), the scholarship student at Sarah's school who makes her home in "the Shacks," South Riding's slums community. Under Sarah's watchful tutelage, Lydia is thriving at school, but her future is put at risk when her family endures a shocking tragedy with the untimely death of her mother (Jennifer Hennessy), who bleeds to death - a tragic consequence of trying to terminate an unwanted pregnancy. Her father (Shaun Dooley) applies for hardship aide to the village council, and since Lydia's education is an "option," not a life-or-death necessity, the family's application is rejected, leaving Lydia no other choice than to assume her mother's role as care-taker to her younger siblings. The scene where the once-jovial Mr. Holly humbles himself before the council asking for aid and his summarily rejected just broke my heart - despite the family's hardships, Lydia's father was anxious to do anything necessary to further his daughter's dreams of a future beyond the squalid Shacks - and the blow to their efforts shakes father and daughter to the core. Lydia had quickly become Sarah's star pupil, and I loved their scenes together - but I thought it was interesting that Sarah came across as so - clueless, for lack of a better term, in regards to the harsh reality of Lydia's family situation. That's one of the things that I think fuels Lydia's anger toward Sarah at the end of the episode - coming to her with essentially platitudes instead of concrete aid must've felt like rubbing salt into an open wound.

I could touch on the whole blackmail plot involving Huggins (John Henshaw) and Bessy (Janine Mellor), as well as the land deal with shady developer Anthony Snaith (Peter Firth), but to be honest with you those story threads just weren't all that interesting to me. They felt extremely tangential to the Sarah/Robert and Lydia storylines, which were infinitely more absorbing. I have to admit to being quite disappointed by the lack of scenes involving Joe in this episode - I wonder if he receives additional screentime in the DVD cut of this miniseries? One can only hope, because Douglas Henshall is too fabulous to waste IMO. As is Penelope Wilton as councilwoman Mrs. Beddows!

If you've watched South Riding thus far, I'd love to hear your thoughts! While I thoroughly love the world of this miniseries - the clothing and period detail are superbly handled - I'm a little less enchanted with the pacing and character development in this hour of South Riding - major actions, especially between Sarah and Robert, seem to be developing without the backstory or plausibility that I'd like. The "great" Andrew Davies can only do so much with a script that only allows for three hours. *sigh* Anyways, please share your take on Part Two if you watched it Sunday, as I'd love to discuss!

South Riding, Part One

Masterpiece began airing its final presentation of the Classic Season with Part One of South Riding, based on the novel by Winifred Holtby. Being entirely unfamiliar with the novel, but intrigued by the previews and the stellar cast (not to mention how much I love the 1930s!), I didn't know what to expect. In short, I loved it and can't wait for next week. Now on to the LONG post. :) Here's the episode one summary from the PBS website:

It's 1934, and Sarah Burton, the new headmistress of Kiplington Girls High, is returning to her native, conservative northern town, bringing fiery determination to empower her girls and yank the sorely outdated school into the future. But everything from her fashionable ensembles to her anti-war sentiments and modern ideas attract the disapproval of the stern, brooding landowner, Robert Carne, who doggedly clings to a vanishing way of life even as the past tightens its malicious grip on him. Oppressed by overwhelming debt — and his absent wife's portrait hanging in the estate he can no longer afford to upkeep — he is forced to send his beloved but unstable daughter, Midge, to Kiplington Girls High, where again, he crosses swords with Sarah.

The Depression has hit hardest in the local slums, the Shacks, where Sarah's other standout student, Lydia Holly, is trying to overcome the squalor that surrounds her. A development scheme to provide sanitary housing, advocated by Sarah's ally and admirer Joe Astell, pits him against the reactionary Carne. But Carne's animosity toward Sarah is alleviated, however temporary, when the two share an exhilarating, intimate encounter at the very boundary of life and death.

Host Laura Linney mentioned in her introduction to this episode that an entire generation of young men was lost in World War I, leaving a "surplus two million" women without husbands and therefore traditional lives as wives and mothers. Author Winifred Holtby was one of those women, who made a name for herself as a novelist and journalist, and the heroine of her most famous novel is an unconventional teacher determined to fling open the doors of the world to her young students, determined to teach young women that above all they not allow themselves to be limited by birth or convention.

The teacher in question is Sarah Burton, brought to life by Anna Maxwell Martin. Martin is a familiar face to fans of British drama. She played the role of Bessy Higgins, Margaret Hale's best friend in North & South, followed by her breakout role for Masterpiece Classic audiences as Esther Summerson in the fabulous, amazing, epic, and beloved Bleak House (fun fact - also scripted by Andrew Davies). Martin is a wonderfully expressive actress, with a rather magnetic screen presence, all qualities put to excellent use as she introduces audiences to the fiery, forward-thinking Sarah. From her fashionable, colorful (I want that red dress SO BADLY! Yes, I love it so much it deserves TWO photos!) ensembles to the passionate energy she exhibits in her interview for the position of girls' school headmistress, it's clear that Sarah is a woman who will not be denied, determined to make a difference in the lives of her pupils. Sarah may be a native of the South Riding area of Yorkshire, but it's abundantly clear that she is returning to her hometown determined to change it - and that drive meets with stiff opposition from more conservative, set-in-their-ways townsfolk.

Chief among those who cling to the old ways is Robert Carne (David Morrissey), a local landowner, whose manner is as stern and brooding and stormy as any ardent fan of Jane Eyre's Rochester could wish. Morrissey (deservedly) gained notice among Masterpiece viewers with his portrayal of Colonel Brandon in the 2008 miniseries version of Sense and Sensibility. I've got to admit, in fairness to Morrissey, I really underestimated his ability to play the tortured soul so well. Carne is barely getting by financially, is haunted by memories of his wife, Muriel (Lydia Wilson), who was clearly unbalanced, and has the rearing of an emotionally unstable young daughter, Midge (Katherine McGolpin).

I loved the way the film sets up the introduction and conflict of ideals between Sarah and Robert. Sarah, dressed to the nines, is running to catch a train to the headmistress job interview, while Robert is first seen on a horse, racing to the same destination as he makes up part of the interview committee. First of all, WHO DOESN'T LOVE A MAN ON A HORSE? But beyond that deliciously enjoyable moment, the scenes nicely juxtapose the the clashing ideals and ways of life that are being brought to bear on the South Riding community. Modern vs. traditional - I just thought those moments were really well staged and visually stunning.

Midge is an interesting character. I need theories on her behavior, so chime in with comments. Is she crazy like her mother, or is she unstable because she thinks she killed her mother? That somehow she's responsible for her mother's death? Because that's how I read Midge's crazy behavior in the scene that introduced her. Thoughts? Also, while the child is clearly, desperately in need of some positive reinforcement, did it unsettle anyone else just a bit the way she "flips a switch" to become all quiet and functional at school? What sort of crazy family are the Carnes, exactly? OH THE DRAMA! I love it. :)

Admittedly one of the primary reasons I was excited about this program was the presence of actor Douglas Henshall, playing war veteran and activist Joe Astell. Henshall first came to my attention as the dearly loved and missed original team leader Nick Cutter on Primeval, followed by a fantastic turn in the Masterpiece Contemporary drama Collision. Earlier this year he appeared in the theatrical release The Eagle, and later this summer it looks like he'll be appearing in a new episode of Inspector Lewis (YAY!). First of all, and I just need to get this out of my system - Henshall's accent is absolutely TO DIE FOR in this show. Seriously, I could listen to the man talk rubbish ALL DAY and be perfectly happy.

Astell is one of the board members who interview Sarah for the headmistress position, and I loved watching his face react to her unconventional answers. You could see him thinking this, this is a woman whose interesting, this is someone I would like to know better. And happily for Astell and myself, his unspoken wish comes true when the two sit together a musical evening showcasing local "talent." :) During the patriotic medley at the end of the program, Sarah - much to her chagrin and embarrassment - is overcome with emotion. Astell's quiet and kind demeanor draw forth the story of the fiance killed in the war, the man whose loss changed her life forever, by forcing her to make a life for herself, instead of the one she'd planned to live at his side. I loved the moment the two of them shared, quietly bonding over the shared pain of loss and scars sustained through the war. Robert is all nice and brooding, don't get me wrong, but I needed more Joe in this episode. Oh that accent...it just kills me. :)

In addition to exploring the changing roles that were opened to women in the 1930s, South Riding is a glimpse at a small town and the effect change, secrets, and gossip can wreak on a close-knit community. One such plot thread that will be interesting to see the consequences of is the minister Alfred Huggins' (John Henshaw) inability to keep his pants zipped. He indulges in an affair with Bessy Warbuckle (Janine Mellor), exposing himself to blackmail when she turns up pregnant with another man willing to marry her, both desirous of being paid off. It will be interesting to see how Huggins' frantic desire to maintain his "good name" in the community backfires as its guaranteed to do in a drama of this type. And I just have to say, while I'm enternally grateful that the scene where Huggins and Bessy get it on in the alley refrains from being explicit, seriously what was up with the noises Huggins was making?! I really thought the man was going to drop dead of heart failure - it would've been interesting to see what the show made of that, hmm? :-P

Another plot line sure to prove critical to the storyline is how the town council handles South Riding's slum community. Astell is at the forefront of the drive to develop a new, affordable and sanitary housing development, which pits him against anyone opposed to rapid change (i.e. Carne) or those only looking for financial return (i.e. Anthony Snaith, played by Peter Firth). I am familiar with Firth as a rather casual viewer of MI-5, but I've never seen him in a period drama so that change of scenery is nice. 

Sadly, councilwoman Mrs. Beddows (Penelope Wilton) is introduced and then practically dropped from the hour's activities. I adored Wilton's turn as Isobel Crawley earlier this year in Downton Abbey. Mrs. Beddows promises to be a possible ally for Sarah on the town council, though she tempers her support for Sarah's endeavors with an injunction not to "move too fast," because that's simply not the way things are done in South Riding. Wilton is a joy to watch on-screen, her characters are so full of life, and I am hard pressed to think of an actress better-suited to the role of lone woman on a council of men than she.

The slums is home to Lydia Holly (Charlie Clark), a scholarship pupil at Sarah's school who quickly proves to be one of her most promising students. A bit rough around the edges, and sensitive about her less-than-privileged background, Lydia is hungry for knowledge and affirmation, and education could be her ticket out. I look forward to seeing the teacher/student relationship develop between Sarah and Lydia, as Sarah is sure to be a fierce advocate of anything that will benefit Lydia's future. I loved the scene where Sarah has Lydia read her poem in front of the class, and the glowing look that overcomes her when her efforts are applauded. As Kaye reminded me on the Facebook feed that developed on my wall regarding South Riding, the school aspect of this series has a very Dead Poets Society feel to it.

Sadly for my Douglas Henshall-loving heart, the end of this episode sets up Robert as the romantic forerunner in Sarah's life. *sigh* Because of course, Sarah and Robert are going to fall in love because they take such an instant dislike to each other - and those Pride and Prejudice-esque sparks, when they fly they can be pretty irresistable. But I have to say, Morrissey is proving much more adept and interesting in the role of tortured, angst-ridden male lead than I expected. However, I have got to comment on the turning point scene. Sure, I love drama of Sarah's car running out of petrol, and in her search for help she comes across Robert attempting to help his prize cow deliver her calf (which was in breech? I think?). After all, nothing says love like taking turns STICKING YOUR HAND UP A COW'S UTERUS, RIGHT? RIGHT?!? Um, eewww. I freely admit in respect to situations like this I am a city girl through-and-through. :)

And perhaps my favorite twist - the closing scene where it is revealed that Muriel is alive. YES. CRAZY WIFE IN THE ATTIC (whoops, I mean asylum) FOR THE DRAMATIC WIN. I approve. I feel like this proves Holtby must have possessed an appreciation for the Brontes and Jane Eyre, therefore I like her.

I thoroughly enjoyed the start to this new series, and I cannot begin to tell you how exciting it is to see a story that is fresh and new and unknown (to American audiences, anyway) presented on Masterpiece. Fast-paced and engrossing, and thanks to the prolific Andrew Davies smartly scripted, I found the first hour of South Riding to be smart, engaging television. I adored all of the period detail - the 1930s were known for such fabulous clothes! And the filmmakers did an excellent job with the use of color (particularly with Sarah's ensembles) and light to showcase the push-and-pull between tradition and progress. The 1930s is such a meaty decade, full of terrific story possibilities, and a time period I'm admittedly biased towards - I couldn't be more thrilled to see period dramas exploring this time, bring something fresh and gloriously different to my TV screen. Here's hoping the next two installments live up to the promise of the first.

I am so looking forward to the continuation of this series next week. And then, after that, a re-viewing of the miniseries on DVD, which should be the unedited, full three hour version. Based on last night's runtime which clocked in at about 50 minutes, like Upstairs Downstairs it looks like Masterpiece cut about ten minutes per hour from South Riding to allow for the introduction and ADS. *sigh* Frustrating, but not unexpected given PBS's history with editing. I am hoping of course for more scenes with Douglas Henshall, and really all of the secondary characters that populate this drama.

If you watched last night's broadcast I'd love to hear your thoughts!

• For a limited time, you can watch episodes of South Riding online at the PBS website
• Read Rachel's thoughts on South Riding at a Fair Substitute for Heaven
• Preorder South Riding from Amazon, scheduled to release 5/17/11

South Riding starts Sunday!

I am so incredibly excited about the next presentation on Masterpiece Classic, starting this Sunday. South Riding is a new three-part drama with a script penned by the prolific Andrew Davies and brought to life by a slew of Masterpiece veterans. Here's a bit about the story we have to look forward to:

Don't miss Bleak House's Anna Maxwell Martin as a feisty young headmistress campaigning for change and avoiding love in Depression-era Yorkshire when South Riding debuts this Sunday, May 1, 2011, on MASTERPIECE Classic. David Morrissey (Sense & Sensibility) and Penelope Wilton (Downton Abbey) also star in Andrew Davis' adaptation of Winifred Holtby's classic novel.

The above teaser neglects to mention that a favorite of mine, Douglas Henshall (yay for Primeval!) is also in this production. You can watch a short preview below:

Watch the full episode. See more Masterpiece.

Look for my review of Part One on Monday! :)

South Riding trailer!

I was thrilled to see this trailer in my Facebook news feed this morning. South Riding is coming to Masterpiece in May, starring Anna Maxwell Martin, Douglas Henshall, and David Morrissey, with a script by Andrew Davies.

Collision

The 2009 Masterpiece Contemporary season is now over, and I thought I'd be taking a pass on the entire schedule...but then I was reminded that Collision starred Douglas Henshall (the dearly departed Cutter on Primeval), so of course I had to watch. :) I am SO glad I did. This program was a real treat, full of intricate plot twists and fascinating characters. When I looked up the show on the IMDB, I was even more thrilled to discover it was scripted by Anthony Horowitz. In case you've never heard of Horowitz, let me tell you, for what it's worth I think he's some sort of freaking genius. It's my understanding that any book he releases is guaranteed to be a huge bestseller in England (you can check out his work on his website here - books, film, television, & theater credits!). The primary reason I love Horowitz though is because he created the absolutely fantastic, perfect, wonderful mystery series Foyle's War. I love, love, love that show and should write more about it in the future. Just warning ya. :)

So anyway, back to Collision. I'm not going to do my usual critique/spoiler-fest that normally accompanies any post I write about yet another British show I love and adore. ;-) Shocking, I know. But I really think this program is such a wonderful surprise, such an intelligent drama, that I would wish any new viewers to the story to enjoy the surprises as they unfold. Here's the brief story summary from the PBS website, just to whet your appetites:

Point of impact — Friday afternoon on England's busy A12 highway. Six cars collide in a terrible spectacle leaving two dead. Detective Inspector John Tolin (Douglas Henshall, Primeval) is called in to clean up, and quiet the cries of racism coming from the family of one of the victims. But a methodical investigation only scratches the surface of the ten strangers involved, and the surprising and touching ways they are transformed after the accident. Senior Investigating Officer Ann Stallwood (Kate Ashfield, Poirot), herself entangled with Tolin, joins the inquiry as allegations of corporate crime, infidelity, shameful secrets and murder slowly rise from the wreckage. Written by Anthony Horowitz (Foyle's War) and Michael A. Walker, Collision investigates human nature, fate and the intriguing ways the truths of our lives are revealed.

This show is a veritable who's who of British acting talent, so without giving too much away I do want to give a couple of casting shout-outs:

• Douglas Henshall (DI John Tolin) - This show was a really, really smart move - showed a completely different side of his personality than the one I came to love on Primeval. And check out his dorky "everyman" hair - adorable. :)
• David Bamber (Sidney Norris) - When isn't it fun to see Mr. Collins (from the 1995 version) make another appearance on TV?
• Lucy Griffiths - Also known as Maid Marian from Robin Hood. (Moment of silence for the dearly departed, please!) Since season 2 of RH has turned out to be the show's creative high-water mark, I no longer think Lucy was completely nuts for wanting to leave the show to pursue other projects. In fact, crazy blonde hair dye job nothwithstanding, I think it's brilliant she got to play in Collision because she got to star opposite...
• Paul McGann - I freaking love Paul McGann. We go WAAAAYYYY back, starting with his appearance as Lt. Bush in the Hornblower films (still bitter about how that series ended, A&E!). His voice will just make you melt, I kid you not. And while his character is not as admirable as one could wish for, dang it the man has never looked better. Wowzers. *swoons* It was SO nice to see Paul in a major project that actually got the chance to air in the US. Made me positively nostalgic for the ol' Hornblower days... ;-)

Sorry, didn't meant to get carried away there. ;-) Those four actors are just a small sampling of the faces I recognized in the cast. The show is a true ensemble piece, superbly scripted and executed. This is a story that will leave you thinking about the ripple effect our lives have on each other, and how the smallest actions - or inactions - can have enormous consequences. It's a fascinating program. The DVD releases December 15th.

Here's a short video interviewing some members of the cast:

Primeval 3.4

Yes, I know, still haven't caught up on the Primeval blogging. *sigh* ;-)

Spoilers...

Episode 4 marks the first episode without Cutter (Douglas Henshall) *SOB*, and somewhat to my surprise I really liked it. This show (so far, anyway) has done a very good job handling the impact of characters' deaths on those who remain behind. It's acknowledged, it actually appears to matter, but they don't dwell on the point at the expense of moving forward with the story. This episode brought us two great examples in Connor (Andrew Lee Potts) and Jenny's (Lucy Brown) respective reactions to Cutter's death. Connor really appears to feel the weight of Cutter's last words ("it's on you now") and really wants to do good work. Now being Connor he is still going to screw up, but he's so dang cute one can't help pulling for him. LOL!

This ep had some excellent Connor/Abby (Hannah Spearritt) angst as well. It's a very solid indication that maybe, just maybe, their relationship will get somewhere...someday...for two seconds (I'm getting desperate, people!). Connor's reaction to the phone call from Abby's little brother (question - is it weird that he didn't know she had a little brother apparently?) about giving her a night out was priceless!!

Jenny's reaction is a bit wrenching. She's clearly living with "what might have been's" and deeply regrets never telling Cutter how she felt about him. The question is, can she handle working at a Cutter-less ARC? She's professional and driven as always but clearly it's a struggle. You know she's not quite herself when she can't keep Danny Quinn (Jason Flemyng) in line. Speaking of Danny - I really liked his character in this ep. Now that he's come to terms with the fact that something from an anomaly killed his brother, he's fully embraced the idea of working with the ARC - whether they like it or not. His rather laid-back, devil-may-care attitude is a refreshing change to throw into the established dynamic of the team. I think he's going to bring a breath of fresh air to the show (and annoy Lester, which will really make my day). ;-) How can you not love a guy who'll commandeer a helicopter after only two "unbelievably fantastic" flying lessons to fight off a dinosaur? Seriously!! Plus he's really hot when he's wearing black and riding a motorcycle. Just sayin'... ;-)

Lester (Ben Miller) is quickly becoming my favorite character of the season. His scenes never fail to crack me up. He's got the extreme "stiff upper lip" thing going on, so it's absolutely freaking hilarious watching him attempt to keep his frustrations under control. I LUV how Christine-the-witch's character (Belinda Stuart Wilson) brings out this sort of protective team player side of his personality. It's perfectly okay for him to throw around sarcastic remarks about the ARC crew, but if an outsider does it, well that's crossing THE LINE, people. LOL! I'm getting VERY curious about how Christine got her own anomaly set up and what exactly it is she's trying to accomplish. Speaking of Christine, I'm a little worried about Becker (Ben Mansfield) since he apparently one of her military team members was an instructor of his at Sandhurst. Note to Becker: Learn from Stephen's example and don't let yourself be emotionally blackmailed!! I'm getting too much of a kick out of the Connor-Becker team dynamic to want Becker gone anytime soon (the nerd versus the G.I. Joe type is too funny).

The G-Rex in this episode is a really prime example of how good the CGI-effects can be on this show. It works best when they're recreating a dinosaur instead of a futuristic creature IMO. I love seeing the G-Rex rampage around the airplane hangar and in relation to the 747...very nicely done IMO. I'm not going to even COMMENT on the stupid reporters because they just get on my last nerve (note to reporter dude, GET A FREAKING HAIRCUT!). I almost forgot, though, the Crocodile Hunter-type filmmaker the annoying reporter people brought to the anomaly - that guy had the animal show-host type nailed. Quite funny when prehistoric creatures are involved, ya know?

I guess that about covers my thoughts on this episode of the show. Of course it will take a few more episodes for the fallout of Cutter's absence to really be felt, but I have high hopes for the show's future. I'm still mulling over just a bit why Cutter's death hasn't had a greater impact on my view of Primeval...but that is subject to change at any moment, I suppose! The showrunners need to keep in mind, however, that Lester's character is my line in the sand...kill off Lester and I will be crushed, do you hear me, CRUSHED!! ;-) Hopefully I'll get my thoughts on episode 5 up this week...we'll see. LOL!

Primeval 3.3

...or, OMG I still can't believe they did that!

Serious spoilers ahead, do not cross line here...

I know I'm really late in blogging about last Saturday's episode of Primeval, but what can I say, I'm still emotionally scarred. And I KNEW what was coming (thank you, Lori!). I never met a spoiler I couldn't stay away from, what can I say?

Let's just get right to the point, shall we? I know that British shows don't hold back and when it comes to casting changes, nothing is sacred. They are always willing to change things up, to do the unexpected...but I really didn't expect them to knock off Cutter (Douglas Henshall) in the series' overall 16th episode! I'm just not sure the man was given his due, especially since the main antagonist is his own ex-wife, Helen (Juliet Aubrey).

Rest in peace, Cutter...SOB!!

There was a lot that I liked about this episode...the creatures that came through the anomaly at the hospital were too freaking adorable, and I'm awfully glad two of them will be rooming with Connor (Andrew Lee Potts) and Abby (Hannah Spearritt). The first half of the episode was a nice showcase for Potts's, and even Henshall's, comedic talents. The way Connor interacts with Becker (Ben Mansfield) is really funny, especially when he can't even remember the new guy's name! And having Cutter and Abby assist a woman who's been freaked out by the mole-like dinos was really fun - especially because Cutter is so out of his element. *wink*

The reporter guy from the 2nd series "mammoth on the freeway" episode is back, and he annoys me so much I'm not going to even bother to look up his name. Seriously, does the guy have a mop on his head or something?! And he is so freaking WHINY, I just want to smack him. I'm really hoping his stint on the show will be of short duration.

Helen is back, and in a big way obviously. She's such a fantastic villian...definitely in my top 5 most hated villains of all time. Maybe top 3...I seriously loathe that woman. But I want her hair! (Sorry for the A.D.D. moment there...)

Anyways, it annoys me just a bit that Helen ALWAYS got the drop on Cutter, so to speak. I know they hadn't been a couple in quite sometime, but still, she could read him way too easily, always staying several steps ahead. Cutter was always too reactive where she was concerned for my liking...poor guy! *SOB* So this episode gave us Cutter and Cutter Clone (a bit like Spock and Spock Prime, HA!!), and Helen spinning some yarn about how the work Cutter's doing at the ARC is the reason humanity will go to hell on a freight train, so she has to stop him and that's why she's raided the ARC, blah blah blah. If this show has taught me anything, it's that you should never EVER believe a word that comes from Helen's mouth. Personally I think her whole story was because she knew it was the type of thing to get to Cutter, because Helen doesn't have an altruistic bone in her body. That and the fact that Helen is a class A kook and a SERIOUS stalker...she doesn't like rejection and so I think she's driven to destroy men who don't fall in line with her plans (i.e. stupid Stephen!!).

Now, the whole thing about who did Helen actually shoot, Cutter or Cutter Clone, is vague enough that it's POSSIBLE Douglas Henshall might come back at some point - however, I will tell you thanks to my inability to avoid spoilers, Henshall's not coming back this season. It's an open door, though. Especially if Helen's cloning technology is better than she thinks, and Cutter Clone survives and develops consciousness and freewill, etc.

I think Connor, Lester (Ben Miller), and Jenny (Lucy Brown) had some of their best moments in this episode. When Cutter gives Connor charge of the anomaly artifact (anomaly maker?) and tells him that it's on him now, it was a nice little "passing the torch" moment. Connor showed a lot of growth and maturity in this episode, first when he runs inside the burning ARC to retrieve Cutter's body (who the heck could've guessed he was that strong - LOL!), and two when he accepts Cutter's charge...he'll always be a bit goofy, but I think losing Cutter amounts to losing a big brother or father figure, and it's going to hit Connor's life in a big way. Lester and Cutter have ALWAYS been at odds, and while Lester would rather boil in oil than show emotion and shows appreciation or praise only under EXTREME duress, you just knew he was gobsmacked by Cutter's death in the way he was standing around screaming for an ambulance. Poor Lester...note to ITV, if you ever kill off Lester I might have to quit watching this show. Thanks. And last but certainly not least, poor Jenny. The whole Claudia/Jenny thing has been quite a roller coaster ride, but dangit Claudia/Jenny and Cutter were MEANT to be together!! It just broke my heart when Jenny started going on about how there was something she had meant to tell Cutter, and now she never would be able to (there's a lesson here, folks!). So very, very sad. Cutter and Claudia/Jenny will go down as one of the great television romance tragedies of all time in my book...they were so good together, only to have stupid Helen wreck it all! *sigh*

So while the door is open to Cutter's possible return, whether or not I actually care about him returning depends on how the new assortment of cast members "gel" over the rest of this season. Dr. Page (Laila Rouass) got to do some nifty sound editing work in this episode, but I think Becker's character is being better developed, with a tad more screentime, and he says less so that's saying something. They've got to figure out more for Rouass to do in an episode. And I will never, ever complain about more Becker screentime, unless he just gets really stupid all of a sudden. :-)

Primeval 3.2

Spoilers...

Last week's episode of Primeval was, in a word, excellent. The whole episode had a nice creepy tone, and unfolded in a slightly slower, more suspenseful way than we're used to seeing from the series. What you can't see is often scarier than what you can, ya know? The whole tone of the episode felt like something you'd see on Torchwood or Doctor Who (it really reminded me of the Who episode "Blink," from series 3). This is a very Abby/Connor (Hannah Spearritt & Andrew Lee Potts) centered episode, which I absolutely love - the two of them are so stinking cute together! Hopefully Abby will light a fire under Connor sooner rather than later. *sigh* And Connor is hilarious - Potts can strike just the right balance between sarcasm and dorky humor.

A new character is introduced this week - policeman Danny Quinn, played by Jason Flemyng. Quinn's character is given what is probably one of the best introductions in the series (so far, anyway). If we're supposed to buy into the conceit that anomalies have been appearing for years, it only makes sense that other people would have encountered them (prior to the whole government conspiracy thing). Quinn's brother was one of two kids who'd disappeared thirteen or so years earlier, in a house that just happens to be the location of an anomaly and inhabited by a gremlin-like creature that looks like Gollum on crack. He's immediately suspicous of the government's interest in the abandoned house, and makes life extremely difficult for Abby, Connor, and Jenny (Lucy Brown) - all of this results in a hilarious scene where he carts Connor off to jail. That was really funny!

Dr. Paige (Laila Rouass) and Captain Becker (Ben Mansfield) didn't have too terribly much to do this week, though both were much "looser" and more relaxed than previously seen in their introductory episode, which was nice. Becker is too hot to make me want him to disappear from the show any time soon, so I really want his character to get better developed. And I like Dr. Page - she's obviously brilliant, but not terribly serious as to be boring. She's still enjoying learning the ropes of her new job, methinks.

And finally, Helen (Juliet Aubrey) and her cloned doofus solider are back, and this time they're out to steal some of Cutter's (Douglas Henshall) DNA. I loathe Helen. Absolutely cannot STAND her. It's hard to believe that Aubrey's been able to pull off the creation of such a fantastic villain, considering her past "good girl" roles in shows like Middlemarch and Bertie and Elizabeth. It was awfully nice to see Becker get the drop on creepy cloned soldier though. Obviously Helen is looking to expand her cloning experiments...not knowing her evil master plan, though, is a bit maddening! And so frustrating that Cutter is so dense when it comes to Helen...I mean he was freaking married to her, you'd think he'd be able to guess her next move once in a blue moon. Men! *sigh* ;-) Definitely looking forward to tonight's episode which promises to be a game-changer!

Primeval 3.1

Spoilers...

Quick thoughts on the first episode of the new season of Primeval before the second episode airs tonight. I know this can be a bit confusing because British shows are often commissioned for an odd number of episodes per season or series. While this is for all intents and purposes season two in the US, it's really series three (series one consisted of episodes 1-6, and series two episodes 7-13). So that's why there's a "3.1" in the title of this post.

ANYWAYS...I thought this was an extremely strong start to the new series. I absolutely loved it! This show has consistently gotten better and better with each successive episode. The mythology and the conspiracy factors introduced in episodes 7-13 last year really ratcheted up the intrigue and tension, making this a bit more than "just" a dinosaur adventure show. The show is actually really lucky in regard to how well all the pieces of the puzzle have worked as they've been introduced. I don't know how much of an overall "plan," if any, the show runners had from the beginning - either the brilliant pieces of the puzzle were already in place, or the showrunners are geniuses. Maybe both.

Series three picks up right where last year's fantastic cliffhanger left off - the team is still reeling from the aftershock of Stephen's (James Murray) death. I appreciate the fact that the team didn't just forget Stephen and automatically move on with their lives. Though to be quite frank I was ready for his character to die - he'd gotten way too stupid over Helen (Juliet Aubrey). Speaking of Helen, I still hate that chick. She has got to be one of the best villains to come along on television in ages. LOL!

This episode also introduces two new team members - hottie Captain Becker (Ben Mansfield) and Sarah Page (Laila Rouass), a smart and sassy Egyptologist (BTW, loved the action in the British Museum!). All of the other regular team members are back, including Cutter (Douglas Henshall), Connor (Andrew Lee Potts), Abby (Hannah Spearritt), Jenny (Lucy Brown), and my favorite, the acerbic Lester (Ben Miller). Lester had some of the best lines in the episode IMO. When he "cracks jokes" I was just rolling with laughter...love his dry, dry sense of humor. I loved Connor's interaction with Sarah. Not only did she do an excellent job messing with his head (HA!), but he got to prove that he knows a thing or two about what he's talking about - even if his spastic, goofy personality makes him a bit hard to take seriously. Good work by Potts in this ep!

I loved the way this episode introduced the idea that the anomalies are somehow tied to ancient cultural landmarks (like the Egyptian sun cage) and traditions. It makes a lot of sense (as much as a show like this could make sense, HA!!). Myths = anomalies. Should be a lot of fun for the next nine weeks. I also loved the fact that Lester's got a few more headaches to deal with besides the fact that he can barely control the Cutter's team - the government apparently wants to interfere more in his work, as seen by the introduction of Christine (Belinda Stuart-Wilson). Christine's role in the conspiracy has me very intrigued - apparently Helen has some competition for power, artifacts, and a general megalomaniacal desire to control the world and alter the fate of mankind...nothing major. LOL!

I guess that's about it...love Lester, really like the new team additions, still hate and loathe Helen, and I'm so freaking happy this show is back on the air. Remember, new episode airs TONIGHT!