Inside No 9

2018’s Contribution to TV Comedy

January 17, 2019 by Becca Moody Leave a Comment

2018 was a solid year for British comedy on television. We had a deluge of excellent new sitcom series, particularly those with teenage protagonists, from the Northern Irish school kids of Derry Girls to Conor and Jock of The Young Offenders and Gloucestershire cousins Kerry and Kurtan in This Country. Dark and surreal comedy has also been thriving, with the return of Inside No. 9 and Flowers, and also Vic and Bob’s Big Night Out. This article will explore 2018’s TV comedy highlights (let’s just forget about that The Inbetweeners reunion, shall we?)

The fourth series of Inside No. 9, which broadcast at the start of January, certainly lived up to past instalments. The anthology series (created by Reece Shearsmith and Steve Pemberton) dabbled in Shakespearean comedy, dark and twisted mystery and heart-breaking trips down memory lane. On Halloween, a special ‘live’ episode aired, which was a half hour of comedy that certainly divided its viewers (that is, those who didn’t accidentally tune out before the end…).

Another stand-out programme that no doubt every fan of dark comedy has watched this year is The End of the F****** World, which originally aired on Channel 4 in 2017 but was released on Netflix in January 2018. With short twenty-minute episodes, vibrant characters and unexpected plot developments, this series is a punchy rollercoaster unlike anything else. With a new series expected later this year, this is certainly not the last we will hear from murderous teens James and Alyssa.

February saw the return of This Country; one of the greatest new comedies of recent years. This mockumentary series about the lives of teenagers in rural areas has plenty unbearable moments of awkwardness that rival Ricky Gervais’ The Office. But the message is a rather sad one; these teenagers are limited in opportunity and experience. But Kerry and Kurtan (played by siblings, and writers of the show, Daisy May and Charlie Cooper) are, unsurprisingly, the stars of the show. Their childishness, pettiness and naivety is what makes This Country a stand out. The dialogue is always unexpected, which brings the hilarity, but all the while the message behind the humour really packs a punch.

Flowers is a truly beautiful tragic comedy. it picks up on family rifts, personal anxieties and implications brought about by mental health issues, alluding to them incredibly subtly in the characters’ actions and words. Series two, which aired in June, showed each character’s gradual demise to be looming ever nearer, often making for an uncomfortable watch (especially when our concern changes focus and hones in on Shun, who is struggling to come to terms with the loneliness he faces in this strange, foreign place). Flowers features stunning comic performances from Olivia Colman, Julian Barratt and Will Sharpe (who also writes and directs).

In July, Bob Mortimer and Paul Whitehouse brought us the hilarious and wholesome Gone Fishing; a documentary series for BBC2 about the beauty of natural wildlife and the importance of looking after our health. The two legendary comics (both now bordering on 60) have had their fair share of health scares in recent years, with both having experienced major heart problems that gave them a bit of a re-awakening. Mortimer and Whitehouse are clearly great friends and their shared humour makes this programme a thoroughly enjoyable watch.

And who could miss the return of Vic and Bob in Vic and Bob’s Big Night Out at Christmas? This revamp of Reeve’s old show format is exactly what we would expect from the absurd duo, with the addition of some up-to-date satirical references (featuring the likes of Piers Morgan and Donald Trump), as well as a visit from George Ezra. But some old favourites are back, including Graham Lister, The Man With The Stick and The Stotts.

So now that we’re comfortably into the flow of a new year, we can really start to look forward to what’s to come in terms of comedy on our TV sets (or laptops, or smartphones, or tablets, or microwaves). In 2019 we will be treated to new instalments of Inside No. 9, The End of the F****** World, This Country and Gone Fishing. Other returning programmes include a final series of Rob Delaney and Sharon Horgan’s Catastrophe as well as a TV series of vampire mockumentary film What We Do in the Shadows. But for now, perhaps a re-watch of some of the programmes above from 2018 will help fight the January blues.

THIS ARTICLE WAS ORIGINALLY PUBLISHED ON THE SPROUT

TV Review: Inside No. 9, Series 4

March 30, 2018 by Becca Moody Leave a Comment

That familiar tinkle of the Inside No 9. theme has gradually become a strange source of nostalgia for me over the years. That 10-second-or-so piece of music signals the beginning of another journey into a mysterious, multi-layered microcosm of our world, each episode seemingly a polar opposite to the last. The latest series of Inside No. 9 was broadcast on BBC2 throughout January and February, and here is a (spoiler-free) breakdown of each episode.

Zanzibar

Zanzibar, the first episode in this new series of Inside No. 9, is a beautiful production of yellows, golds and greens, as a group of unconnected strangers are brought together by something as simple as their hotel room numbers. Smiling bell boy, Fred (played by Jaygann Ayeh) and bright-eyed gem, Colette (Helen Monks) make a great, ditsy pair, contrasting perfectly against the asides and Shakespeare-like soliloquys from the episode’s somewhat shadier characters. This is an episode that really showcases the skill of its diverse cast, from Marcia Warren to Kevin Eldon and, of course, Rory Kinnear. The rhyming couplets are always pleasing, and the music score is wonderful. Zanzibar is a humorous culmination of disastrous misunderstandings and sly underhands; very cleverly executed indeed.

Inside No. 9, Zanzibar © BBC

Bernie Clifton’s Dressing Room

Bernie Clifton’s Dressing Room is the tale of Len Shelby and Tommy Drake, previously known as comedy duo Cheese & Crackers. Their material is now unbearably outdated, yet they meet for the first time in thirty years in order to attempt to rekindle their old material. Tommy, or ‘Thomas’ as he now prefers to be called, appears starchy and emotionally detached from the very moment Len walks in, often coming across as horrendously rude. But as the story progresses, the pair’s old emotional ties, deep friendship, and pure love of comedy become clearer. They’re not the people they used to be, in different ways for each man, but there is an old, almost brotherly love that shines through despite the unbearable tension. This episode really shows not only the acting skills of Pemberton and Shearsmith, but the great connection the two share whilst performing.

Once Removed

Beginning with the arrival of a removal man from a company named Handle Me Gently, Once Removed begins rather cheekily, but quickly progresses into a series of shocking catastrophes. Most of the episode is spent working out who each character is, where they’ve come from and why they’ve done what they’ve done. The viewer is always left one step behind (or, in this case, one step in front) of the goings on. It’s certainly a bit of a brain exercise, but a very satisfying one when the order of the narrative becomes less foggy. It’s not easy to keep a track of what’s happening, even after multiple viewings. Perhaps watching it backwards might help you make sense of it, but that might spoil all the fun.

To Have and To Hold

This episode is another turbulent ride full of mystery and realisations. Adrian and Harriet have become a frustrated and loveless couple over the years due to past issues, which are soon brought to the surface. In order to reignite their love for each other, the pair are preparing to re-take their wedding vows, but it is not easy to rekindle feelings when so much bad air stands between them. To Have and To Hold is a rather bleak story, quickly transforming into something disturbing, even quite sickening in parts. And with such a dainty, innocent-seeming piano score accompanying a large portion of this twisted fairy tale, To Have and To Hold really packs a punch.

Inside No. 9, To Have and To Hold © BBC

And the Winner Is…

A group of largely intolerable actors, directors and critics are stuck between four walls, unable to leave until they reach a verdict on who is to win a Best Actress award. The premise is unique but refreshingly simple, and the idiosyncrasies of the characters are allowed to naturally bloom. Pemberton and Shearsmith are undeniably skilled at assembling a bunch of diverse characters in a relatively plain setting and allowing them to slowly reveal their personalities, humour and hang-ups. Featuring Zoë Wanamaker and Noel Clarke, this episode doesn’t shy away from the silly, and serves as a bit of light relief from other recent episodes in the series.

Tempting Fate

‘Glorified bin men’ Keith, Nick and Maz are beginning the task of clearing out the council flat of deceased hoarder Frank, when they come across a mysterious parcel locked away in his safe. Although not quite as punchy as other episodes in this series, Tempting Fate is characteristically sinister and multilayered. Maz’s character (played by Weruche Opia), as opposed to most characters written by Shearsmith and Pemberton, doesn’t seem to be as sensitively written. Her blunt mannerisms and lack of empathy lead to quite a patronising view of the type of person her character represents, but in a way she serves as an interesting contrast against the world-weary seriousness of Keith (Pemberton) in particular. This story is about the disturbing inner workings of fate and shows how easily our greed can get in the way, with disastrous consequences.

Inside No. 9 is, and shall remain, a dear favourite of mine. Everyone you speak to will have a different favourite episode (though the name Migg often crops up in my house when discussing standout storylines). As ever, I eagerly anticipate the next series, so much so that I’ve even started the whole lot again in an attempt to find every hidden hare.

SERIES 1 AND 2 (THOUGHT NOT YET 3 AND 4) OF INSIDE NO. 9 ARE AVAILABLE TO WATCH ON NETFLIX

TV Review: Inside No. 9, Series 2

April 28, 2015 by Becca Moody Leave a Comment

Reece Shearsmith and Steve Pemberton have produced another series of their critically acclaimed Inside No. 9, which was, for me, undoubtedly one of the best pieces of television to come out of 2014. And the ingenuity of the plot development and sharpness of the writing have certainly not been diluted.

I marvel at the innovation of Shearsmith and Pemberton who seem to be continuously crafting such carefully constructed and hilarious pieces of comedy. They understand the importance of character development, as well as appreciating the value of the underdog: characters that we may lazily write off as “boring” are explored in great detail and the effects are astonishing. The number of core characters in each episode is limited to enable the writers to get close to the action and get inside the heads of those involved. Plot twists are a key aspect of each episode, which we come to expect but are still somehow caught off guard on every occasion. Shearsmith and Pemberton know how to incorporate shock elements into their writing, despite viewers already expecting to be shocked, which is an unequivocally admirable craft. The resultant effect is that these creatives have yet again shown their uncanny ability to disturb audiences with multi-layered impacts and heavy undertones.

Sheridan Smith is a remarkable actress, and her role as the lead in The 12 Days of Christine made that starkly obvious to anyone that wasn’t already aware of her talent. This episode was a favourite amongst critics with its disjointed and truly gut-wrenching storyline; its powerful emotional impact was aided no doubt by Smith’s inspired performance. The characters in The 12 Days of Christine have depth and are incredibly well-developed for a stand-alone episode. I can’t help but wish we’d been given time to get to know them better, and maybe that’s what makes the story so compelling. My personal favourite, however, was Cold Comfort due to its definite sinister edge and uncomfortably bitter humour. I didn’t know it was possible to build such levels suspicion and mystery into thirty minutes of stand-alone television, but this episode cleverly established a powerful snapshot image of the goings on at a crisis helpline call centre with its subversive characters and ominous service users. But if unnerving comedy isn’t your thing, there might still be something for you, shown in the diverse cast, which includes the likes of Tim Key, Jack Whitehall and Claire Skinner.

Inside No. 9 is one of those pieces of television that demonstrates such undeniably skilled writing that it is near impossible to not be inspired to the point of envy. For me, Shearsmith and Pemberton have created a piece of televisual art that investigates the human condition and what it means to be a part of society. It helps shed a new light on eras we may have forgotten, or people who appear to be easily forgetful themselves, and I honestly believe it is one of the best things to be created for television this decade.

CATCH UP WITH SERIES TWO OF INSIDE NO. 9 ON BBC IPLAYER

TV Review: Inside No. 9

June 9, 2014 by Becca Moody 2 Comments

I had the whole series of Reece Shearsmith and Steve Pemberton’s Inside No. 9 recorded to watch when my exams were out of the way and with three exams left and half a day at home I managed to watch all six episodes in the space of a few hours.

Inside No. 9 is my favourite kind of comedy: dark, twisted and thought-provoking. Each episode is an entirely different storyline with new characters and setting yet they are all set at ‘Number 9’, be that a house or a dressing room in one case. With this vague link connecting the stories, it enabled Shearsmith and Pemberton to explore many entirely different groups of people, which I found fascinating. Each episode is given half an hour so the situation always gets worse and worse until the end and they just cut off. Resolutions aren’t really important for Shearsmith and Pemberton which I think is very brave and very unnerving.

Two episodes stood out for me as the cleverest and creepiest (what’s not to love?) and these were episode one: Sardines and episode three: Tom and Gerri. I’m going to give a brief overview of these as my heart is fully invested in them.

EPISODE 1, SARDINES

This episode featured the beauty that is Katherine Parkinson and generally had a very quaint, slightly ‘off’ feel. That is something I think Shearsmith and Pemberton are very skilled at: creating an atmosphere and evoking a reaction without necessarily relying on laughs to do so. The story follows a well-to-do family who are playing their traditional party game: Sardines, which is like hide-and-seek except once you find the person, you must join them in their hiding place until everyone is there. A magnifying glass is held up to the group dynamics and many dark secrets are hinted at and eventually revealed at the very end. The plot of this episode is incredibly clever and a wonderful start to the series.

EPISODE 3, TOM AND GERRI

This episode freaked me out because it’s all about the stability of the human mind, which I personally find terrifying and I’m guessing the writers must do as well. The basis of the story is that Tom is a primary school teacher living in a comfy apartment with his wife, Gerri, and one day he lets a ‘tramp’ come into his home for a few hours in return for him bringing him his wallet that he somehow, conveniently, lost. This is the beginning of a drastic downward spiral for the stranger rapidly begins to take over his life and, in turn, Tom’s health and motivation for life decreases. It is a tragic tale and I’m still a little confused by it in all honesty as the audience are left questioning which parts are real and which are fabrications from Tom’s distressed mind, but that doesn’t detract from my emotional connection to it. I also like the way the names Tom and Gerri may have been a hint at the idea of a cat and mouse chase, like the cartoon, which made it particularly poignant.

The other episodes were all brilliant with many laughs, but also many shivers of absolute disgust. Many talented actors popped up throughout such as Tamsin Greig in episode four: The Last Gasp and Julia Davies in episode five: The Understudy. I think it’s hilarious that Julia always gets given the role of ‘the bitch’ (think, Dawn from Gavin and Stacey or Jill from Nighty Night). Of course I’m not suggesting that’s anything to do with her own personality, just that she is stupidly good at playing it! One fabulous moment was in episode six: The Harrowing where Katie is asking about Tabitha’s disabled brother: “That’s Andras, milk and rusks, that’s all he can have.” “…the disability?” “That and the fact he doesn’t have a mouth.”

This series has been punchy, eery and absolutely fantastic and I am genuinely so excited for some more from Shearsmith and Pemberton (and am so annoyed that I can’t find anywhere to watch Psychoville online!).