One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06 – Series Retrospective #6)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

We continue by looking at the sixth and final episode of the first series, The Return of the Speckled Band, which first aired on February 8th, 1990…

As befits the traditional sitcom format, particularly the British sitcom format, the final Series 1 episode of One Foot in the Grave comes with no great moment of cathartic realisation for Victor Meldrew. Life goes on.

Whether the series would go on at this point was an open question. Critics remained divided, as they had been all series, about whether One Foot would become a classic or be consigned to the far more cluttered wrecking yard of failed British sitcoms. This being the era before online discourse, it was down to the print newspaper and their in-house critics to gauge the pulse of comedy, and while papers such as the Daily Mirror, the now-defunct Today or the Daily Express were favourable come the end of Series 1, others such as the Independent or the Daily Telegraph were quite the opposite. Christopher Tookey in the latter remarked that he felt the series offered “in general, a distorted and depressingly old-fashioned view of old age”.

The irony is that The Return of the Speckled Band might actually be the funniest half hour of the series so far. While by no means vintage One Foot, it certainly feels like David Renwick manages to latch here onto several strong comedic threads and take them to some satisfying conclusions, in a manner the previous five scripts never quite managed to do. Two that stand out in particular are the recurring problem of the hat palmed off on Victor that he tries to rid himself of but keeps coming back to him, and Mrs Warboys with her chronic sickness which intertwines with what otherwise would have been an enormously random narrative of an escaped python quite brilliantly. We haven’t quite seen Renwick weave his plots this skilfully yet in One Foot, and it displays what the series is capable of.

The Return of the Speckled Band also, in a relatively quiet fashion, dovetails with the opening episode of the series in suggesting Victor is trapped in an existential spiral he can never quite escape.

Continue reading “ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06 – Series Retrospective #6)”

One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06)

As befits the traditional sitcom format, particularly the British sitcom format, the final Series 1 episode of One Foot in the Grave comes with no great moment of cathartic realisation for Victor Meldrew. Life goes on.

Whether the series would go on at this point was an open question. Critics remained divided, as they had been all series, about whether One Foot would become a classic or be consigned to the far more cluttered wrecking yard of failed British sitcoms. This being the era before online discourse, it was down to the print newspaper and their in-house critics to gauge the pulse of comedy, and while papers such as the Daily Mirror, the now-defunct Today or the Daily Express were favourable come the end of Series 1, others such as the Independent or the Daily Telegraph were quite the opposite. Christopher Tookey in the latter remarked that he felt the series offered “in general, a distorted and depressingly old-fashioned view of old age”.

The irony is that The Return of the Speckled Band might actually be the funniest half hour of the series so far. While by no means vintage One Foot, it certainly feels like David Renwick manages to latch here onto several strong comedic threads and take them to some satisfying conclusions, in a manner the previous five scripts never quite managed to do. Two that stand out in particular are the recurring problem of the hat palmed off on Victor that he tries to rid himself of but keeps coming back to him, and Mrs Warboys with her chronic sickness which intertwines with what otherwise would have been an enormously random narrative of an escaped python quite brilliantly. We haven’t quite seen Renwick weave his plots this skilfully yet in One Foot, and it displays what the series is capable of.

The Return of the Speckled Band also, in a relatively quiet fashion, dovetails with the opening episode of the series in suggesting Victor is trapped in an existential spiral he can never quite escape.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘The Return of the Speckled Band’ (1×06)”

One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03 – Series Retrospective #3)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

We continue by looking at the third episode of the first series, The Valley of Fear, which first aired on January 18, 1990…

Thus far, One Foot in the Grave has portrayed a dim view of British society at large through the prism of Victor Meldrew, and The Valley of Fear continues that trend.

Alive and Buried saw Victor the victim of a heartless corporate machine, replacing human capital with technological without so much as a second thought for what it might do to the self-esteem of a long-term, loyal employee. The Big Sleep sees Victor frustrated by boorish neighbours who think nothing of playing loud music and throwing garbage over the fence into his garden. The Valley of Fear compounds these societal problems that Victor faces by having him, off-screen before the episode begins, mugged by a gang of youths who steal his jacket and daub rude graffiti on the side of his house. David Renwick expressly tackles very present anxieties for the elderly when it comes to youth culture or youth subculture, but ends up inverting them for comic effect, and perhaps to make a wider sociological point.

Outside of this, The Valley of Fear sees Renwick starting to construct elements of the more labyrinthian plotting we will see refined in later seasons, particularly with the central gag involving sweet, kindly old Mrs Birkitt being unintentionally locked away in the Meldrew’s loft overnight as Renwick stitches together a confluence of plotlines including a radiator making a recurring tapping noise and community attempts to assemble a neighbourhood watch group, all of which climax in Victor’s realisation he has become the one-man gang he has been so afraid of. One Foot’s comedy is almost entirely built on misunderstanding inflected with hints of horror and moments that are just plain uncanny – the sideboard everyone can smell but Victor until the end, when the gag is reversed, is one of those unexplained One Foot mysteries designed for another purpose.

The result of this is that you can continue to see One Foot’s comedic elements slowly coming together in The Valley of Fear, even if it lacks the initial strength of the opener and the pathos of its immediate predecessor.

Continue reading “ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03 – Series Retrospective #3)”

One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03)

Thus far, One Foot in the Grave has portrayed a dim view of British society at large through the prism of Victor Meldrew, and The Valley of Fear continues that trend.

Alive and Buried saw Victor the victim of a heartless corporate machine, replacing human capital with technological without so much as a second thought for what it might do to the self-esteem of a long-term, loyal employee. The Big Sleep sees Victor frustrated by boorish neighbours who think nothing of playing loud music and throwing garbage over the fence into his garden. The Valley of Fear compounds these societal problems that Victor faces by having him, off-screen before the episode begins, mugged by a gang of youths who steal his jacket and daub rude graffiti on the side of his house. David Renwick expressly tackles very present anxieties for the elderly when it comes to youth culture or youth subculture, but ends up inverting them for comic effect, and perhaps to make a wider sociological point.

Outside of this, The Valley of Fear sees Renwick starting to construct elements of the more labyrinthian plotting we will see refined in later seasons, particularly with the central gag involving sweet, kindly old Mrs Birkitt being unintentionally locked away in the Meldrew’s loft overnight as Renwick stitches together a confluence of plotlines including a radiator making a recurring tapping noise and community attempts to assemble a neighbourhood watch group, all of which climax in Victor’s realisation he has become the one-man gang he has been so afraid of. One Foot’s comedy is almost entirely built on misunderstanding inflected with hints of horror and moments that are just plain uncanny – the sideboard everyone can smell but Victor until the end, when the gag is reversed, is one of those unexplained One Foot mysteries designed for another purpose.

The result of this is that you can continue to see One Foot’s comedic elements slowly coming together in The Valley of Fear, even if it lacks the initial strength of the opener and the pathos of its immediate predecessor.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03)”

Dracula, Season Reviews, TV

DRACULA is a sinewy, self-aware deconstruction of power, control and consent (TV Review)

The funny thing is that this all happened because of a joke. As Mark Gatiss recalls, at a Sherlock premiere, he commented to the commissioner of BBC drama that Benedict Cumberbatch’s attire made him look a little like Dracula and was asked if it was something he and writing partner Steven Moffat wanted to do. The answer, eventually, inevitably, was yes.

In a sense, Dracula feels like the project this duo have spent their entire partnership building towards. A partnership born during Moffat’s tenure running Doctor Who, in which, as he had done for previous showrunner Russell T. Davies, Gatiss would contribute scripts to each season; a partnership which then gained huge success adapting another iconic character in Victorian literature, Sherlock Holmes, for the BBC. Even before this, both were headed in the same direction. Moffat penned Jekyll back in 2007, updating the Robert Louis Stevenson 19th century classic for the modern day, while Gatiss developed The League of Gentlemen which drew on a significant knowledge of Hammer horror and occult, British portmanteau cinema.

As a result, this version of Dracula—based on the 1897 novel by Bram Stoker which has been adapted countless times in cinema and on TV over the last century—would not be a clear, simplistic adaptation. That’s just not how Moffat & Gatiss operate. They are both too cine-literature, too aware of narrative tropes, too ensconced in the lore of classic horror fiction. To take on Dracula, a text that almost everyone even with a passing knowledge of drama roughly knows the story of, would be to invert, subvert and reclassify. As they did with Holmes & Watson in Sherlock, so they would do with the Transylvanian Count played by Nordic actor Claes Bang here. That approach was inevitable, as anyone with a passing awareness of their work would be anticipating.

Their Dracula, as a result, is both exactly what you expect from them, and at times not at all what you expect from this story. It is a Dracula born of the 21st century. The take of an immortal symbol of toxic masculinity seeking to control and dominate not just female, but human sexuality, human life and human death.

Continue reading “DRACULA is a sinewy, self-aware deconstruction of power, control and consent (TV Review)”