Good Cop

This new BBC1 prime-time four-parter had what is now standard lurid trailer treatment, with quick cuts of violence, anger, despair and love.  We tend to watch things despite trailers these days, not because of them, since similar ad offerings can result in anything from great (Line of Duty) to unwatchable (we'll be circumspect) tv.

The good cop of the title is John Paul Rocksavage (Warren Brown), who looks after his dad but once upon a time wasn't a great boyfriend to Cass (Aisling Loftus).  It opens with his having literal blood on his hands and in possession of a gun, and we then revisit his last eighteen hours.  Unsurprisingly he's had the Mother of all bad days.  By the closing credits, his partner and a lowlife called Noel Finch (the currently ubiquitous Stephen Graham) are both dead and he faces a three-way cat and mouse game with vicious criminals and DCI Costello (Mark Womack).

Gripping yes, but within the bounds of TWH?  We're not so sure.  The villains in question - sneering, brutal and downright nasty, so no grey areas here - appear being rowdy and offensive to a waitress in a restaurant, and then causing a disturbance in a rundown house complete with prostitutes.  Their motivation for ambushing and beating a policeman to death isn't clear, and as a criminal you would surely have one?  These are not teenagers high on drugs, and anyone more sober or experienced would be unlikely to target a uniformed officer, knowing that the penalty would be severe.  Then there are the coincidences: Rocksavage's three encounters with Finch and co. and his finding the bereaved mother he'd been called to earlier at the hospital in a city the size of Liverpool are just a little far-fetched.  Maybe there's some murky design going on here, and this one episode is good enough to keep the viewer watching until all is made clear, but hopefully there will be no more unlikely scenarios.  Wouldn't the scene of crime be manned day and night, for example?  It enables a crucial plot point and there's a throwaway line later about there 'not being a spare uniform' to secure the scene, but it felt like a TWNH nevertheless.

We hope the remainder of the series entertains, and asks pertinent questions about the nature of justice today, either of which requires believable characters in believable situations.

Parade's End

Ford Madox Ford's is a big tome and deserves a five-hour adaptation, with a good script and the best actors.  This is about as good on all counts as money can buy, and echoes the successful adaptation of Waugh's 'Sword of Honour', similarly about a decent man in an unhappy marriage who goes to war.

The only TWNH was that a member of the audience would fall asleep, but we're sorry to say that one of us did.  Why?  Well the sex was boring, as Sylvia (Rebecca Hall redefines 'shallow' in a great performance) would say.  The unpardonable lapse, though, was during a set-piece scene of a lunch.  It looked beautiful, and featured wonderful actors delivering witty lines impeccably, but overall it was underwhelming and slightly self-conscious.  No doubt things will improve when we reach the Great War (unlike 'Downton Abbey', but this is in a different league altogether) and it isn't as though it lacks pace, but the episode was concerned only with repressive, class-ridden pre-WWI society and felt very much like a light drawing-room comedy.  All the better to contrast with the grim conflict approaching and the post-war disillusion, but that is where the episodic structure reveals its flaws.

Those with more patience and energy, and fans of drawing-room comedies, will enjoy it all.

Accused - spoilers!

This was the first episode in the second series of the 'Accused' strand.  We weren't too impressed by the first series: it was one of the reasons we started this site.  There were too many cases where characters did illogical things - the 'that would never happen' moments that we hate.

This was far better than most of the earlier episodes.  The story concerned Simon, a slightly wimpy teacher, who only really became himself when dressed as Tracie Tremarco.  As Tracie he met Tony, an outwardly geezerish bloke, who was a very repressed gay man.  Both of the leading actors were terrific - Sean Bean was brilliant as both the sharp-tongued Tracie and the English teacher Simon, and Stephen Graham was also very good as the slightly unsure Tony.  Sean Bean has to be up for a BAFTA for his role.  Not to denigrate his achievements in 'Sharpe' and 'Game of Thrones' to name but two, but this is such a departure from those characters and yet after a minute or two we were rooting for Simon/Tracie.  It's probably the best performance he's ever given.

However we did have a few issues with the story.

• Was it likely that Tracie would get dolled up to go out and sit in a confrontational boozer, given that there were gay clubs in the town?  If (s)he wanted to find a nominally straight man, wouldn't she be better off on the internet?

• Was it likely that Tony wouldn't recognise Tracie as Simon when they were in the same pub, given they'd slept together?  Albeit while drunk, as far as Simon was concerned.

• Was it possible that the judge would let Simon appear as Tracie in court (& who bought the new clothes?  The ones he'd been wearing when arrested would have been ruined.)

We don't know enough to comment on Tracy's 'gentleman caller' romantic life, but that seemed a bit TWNH too.

Overall though, we forgave these bits because the performances and the characters were so good.  

One final point about the format.  There are two similar single drama threads on the BBC, this and The Street.  This could probably have worked in both (and in fact Stephen Graham had been a reluctant boyfriend in The Street last year).  Let's hope that they don't give us stories that have a murder shoe-horned in, to make it into the 'Accused' slot.