TV Review – DOCTOR WHO: FLUX (2021)

DOCTOR WHO: FLUX (2021, UK, Colour, 6 x 49-60m) ***
BBC One
Adventure, Drama, Sci-Fi
Chapters: 1. The Halloween Apocalypse ***; 2. War of the Sontarans ***; 3. Once, Upon Time **; 4. Village of the Angels *****; 5. Survivors of the Flux ***; 6. The Vanquishers **
Exec pr. Chris Chibnall, Matt Strevens; pr. Nikki Wilson (1, 2, 4), Pete Levy (3, 5, 6); w. Chris Chibnall, Maxine Alderton (4); d. Jamie Magnus Stone (1, 2, 4), Azhur Saleem (3, 5, 6); ph. Robin Whenary (1, 2, 4), Phil Wood (3, 5, 6); m. Segun Akinola; ed. William Webb, David Head; pd. Dafydd Shurmer; cos. Ray Holman.
Cast: Jodie Whittaker (The Doctor), Mandip Gill (Yasmin Khan), John Bishop (Dan Lewis), Jacob Anderson (Vinder), Craig Parkinson (Grand Serpent), Craige Els (Karvanista), Kevin McNally (Professor Jericho), Annabel Scholey (Claire Brown), Jemma Redgrave (Kate Lethbridge-Stewart), Thaddea Graham (Bel), Rochenda Sandall (Azure), Sam Spruell (Swarm), Steve Oram (Joseph Williamson), Barbara Flynn (Tecteun), Nadia Albina (Diane), Jo Martin (Fugitive Doctor), Jonathan Watson (Sontaran Commander Stenck / Skaak / Sontaran Commander Ritskaw), Dan Starkey (Svild).
Ambitious and epic in scope this thirteenth series of the revived Doctor Who was also complex, confusing and populated by too many characters. In Flux, the Doctor and her companions navigate a Universe-ending anomaly called the “Flux”, while dealing with enemies and secrets from the Doctor’s past. The story is told in six inter-linking chapters. The result is a decidedly mixed bag. The chapters that could, with some slight tweaks, serve as standalone episodes – the almost traditional “War of the Sontarans” and the deliciously creepy “Village of the Angels” (superbly directed by Stone)  – are the ones that work best. As for the rest we had the enjoyable but overly frenetic scene-setting opener “The Halloween Apocalypse”, the baffling and confusing “Once, Upon Time”, the slightly less baffling “Survivors of the Flux” and the largely unsatisfying conclusion “The Vanquishers”, which left as many unanswered questions as answered ones. The production was certainly the most extravagant ever attempted by the series – crossing various timelines on Earth and locations across (and outside) the Universe. Each of these settings was superbly realised by excellent visuals and great CGI and the series has never looked better. The technical team can hold their heads high. The lead performances were, overall, good. Whittaker has settled into her Doctor well and at times showed the gravitas that had been missing in the previous two seasons. Gill had much more to do, and Yasmin became a stronger and more pro-active character. Bishop provided some good laughs and was likeable as was Els’ dog-like Karvanista. McNally was also extremely likeable as Professor Jericho and he played the role with conviction. Parkinson’s Grand Serpent was enigmatic and the Sontarans have never looked better. The side story concerning Anderson and Graham’s characters, however, felt phoney and could easily have been excised. Where the story was really lacking, once again, was in the writing. Chibnall has had problems throughout his run in creating engaging drama and logical plots. That malaise continued here despite the additional space. Instead of letting the story breathe, he decided to fill it chock full of confusing exposition and too many peripheral characters. The best stories of the previous two seasons had been those from other writers and the best story of this series included the considerable contribution of Maxine Alderton – the others were all written by Chibnall. Playing loose with the show’s mythos through adding more back story to the Doctor with the use of Flynn (as the Doctor’s “mother”); the re-appearance of Martin as another incarnation of the Doctor; and the mysterious Swarm and Azure holding the Doctor’s memories in Gallifreyan watch. But none of this is resolved in the finale with the Doctor fractured across three timelines. Chibnall may well address these loose threads through the specials to follow, but the immediate problem is the story concluded with the big questions remaining unanswered and it asks a lot of casual viewers to stick with it. When Russell T. Davies finally takes back the reins in 2023 my biggest hope is he takes the programme back to its core roots with more straightforward and engaging plots that use temporal physics as a travelling device rather than a central plot premise. History has shown that the episodes which play with temporal themes and settings are those that tend to satisfy the least. For now, we are left with a third successive frustrating series, albeit an improvement on the previous two, and the prospect of a New Year’s special which once again will put time at the centre of its plotline.

TV Review – CRACKER (2006)

Image result for cracker a new terrorCRACKER (TV) (UK, 2006) ***½
      Distributor: Granada Television; Production Company: Granada Television / ITV Productions; Release Date: 1 October 2006; Running Time: 109m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: Super 16; Aspect Ratio: 1.78:1; BBFC Cert: 15.
      Director: Antonia Bird; Writer: Jimmy McGovern; Executive Producer: Andy Harries; Producer: John Chapman; Director of Photography: Florian Hoffmeister; Music Composer: Gillian Gilbert, Stephen Morris, Conboy Corker; Film Editor: Chris Barwell; Casting Director: Andy Pryor; Production Designer: Tom Bowyer; Art Director: Anna Pritchard; Costume Designer: Rhona Russell; Make-up: Jessica Taylor; Sound: Dennis Cartwright.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Anthony Flanagan (Kenny Archer), Nisha Nayar (DS Saffron Saleh), Richard Coyle (DI Walters), Rafe Spall (DS McAllister), Kieran O’Brien (Mark Fitzgerald), Andrea Lowe (Elaine Archer), Stefanie Wilmore (Katy Fitzgerald), Lisa Eichhorn (Jean Molloy), Demetri Goritsas (Harry Peters), Sara Roache (Chief Super), Matt Rippy (Molloy – American Comedian), Leo Gregory (Wallet Thief), Rosina Carbone (Maria Fitzgerald).
      Synopsis: Fitz returns to Manchester for his daughter’s wedding, but is soon involved in another murder investigation when an American comedian is killed, apparently without motive.
      Comment: Ten years after the last special (CRACKER: WHITE GHOST) was broadcast, Cracker returned along with its creator and chief writer, Jimmy McGovern. The result is an absorbing and heavily political portrait of a former soldier struggling to come to terms with PTSD. Faced with self-loathing and a hatred for Americans due to their perceived support of the IRA and their response to Nine-Eleven. There are echoes of McGovern’s masterpiece TO BE A SOMEBODY in this story’s portrayal of the soldier’s descent into murder in order to extract his own form of justice. Coltrane slips easily back into his role of psychologist Fitz, called in by the police to help track down the murderer. Flanagan is also excellent as the damaged soldier. Where this story falls short in comparison to the series is in its portrait of the detectives – who here are two-dimensional in characterisation and lacking in the dark humour of their earlier counterparts. On the whole, though, this is a satisfying conclusion to the series and significantly better than the last couple of stories – although the finale, which again resorts to genre convention, lacks the finesse seen across the rest of the story.

TV Review – CRACKER: TRUE ROMANCE (1995)

Image result for CRACKER TRUE ROMANCECRACKER: TRUE ROMANCE (TV) (UK, 1995) **½
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 20 & 27 November 1995; Running Time: 100m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 15.
      Director: Tim Fywell; Writer: Paul Abbott; Executive Producer: Sally Head; Producer: Hilary Bevan Jones; Director of Photography: Dick Dodd; Music Composer: Rick Wentworth; Film Editor: Anthony Ham; Casting Director: Marilyn Johnson; Production Designer: Stephen Fineren; Art Director: Mark Stonehouse; Costume Designer: Tudor George; Make-up: Sue Milton; Sound: Phil Smith.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Geraldine Somerville (D.S. Penhaligon), Ricky Tomlinson (D.C.I. Wise), Emily Joyce (Janice), Rosemary Martin (Irene Jackson), Robert Cavanah (D.C. Temple), Wil Johnson (D.C. Skelton), Clive Russell (Danny Fitzgerald), Kieran O’Brien (Mark), Fleur Bennett (Nena), Tess Thomson (Katie), Will Knightley (Pathologist).
      Synopsis: A lab technician, working at the same university as Fitz, begins to electrocute male students in order to gain the attention of the psychologist.
      Comment: The final story of the regular series run for Cracker is an overly-contrived thriller with strong echoes of FATAL ATTRACTION (1987) and BASIC INSTINCT (1992). As such it comes across more as derivative than innovative, separating this production from the best stories of the series by some distance. Joyce as the besotted and twisted killer lacks subtlety and depth in both the characterisation and performance. Coltrane’s Fitz acts out of character at numerous points in the story, betraying Abbott’s detached nature from Jimmy McGovern’s creation. Two specials followed – CRACKER: WHITE GHOST (1996) and CRACKER (2006).

TV Review – CRACKER: BEST BOYS (1995)

Image result for cracker best boysCRACKER: BEST BOYS (TV) (UK, 1995) ***½
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 6 & 13 November 1995; Running Time: 99m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 15.
      Director: Charles McDougall; Writer: Paul Abbott; Executive Producer: Sally Head; Producer: Hilary Bevan Jones; Director of Photography: Dick Dodd; Music Composer: Rick Wentworth; Film Editor: Tony Cranstoun; Casting Director: Marilyn Johnson; Production Designer: Stephen Fineren; Art Director: Bill Crutcher; Wardrobe Supervisor: Michael Richards; Make-up: Anastasia Shirley; Sound: Phil Smith.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Geraldine Somerville (D.S. Penhaligon), Ricky Tomlinson (D.C.I. Wise), Liam Cunningham (Grady), John Simm (Bill), Robert Cavanah (D.C. Temple), Wil Johnson (D.C. Skelton), Clive Russell (Danny Fitzgerald), Annette Ekblom (Diane Nash), John Langford (Brian Nash), Edward Peel (Chief Superintendent), Kieran O’Brien (Mark), Tess Thomson (Katie), Paul Barber (Ian McVerry), Will Knightley (Pathologist).
      Synopsis: Stuart Grady, a lonely factory foreman, befriends a young male employee and the disturbed runaway involves them both in murder.
      Comment: The second story of the final full season of Cracker is written by Paul Abbott (later famous for creating the TV series Shameless). Whilst Abbott fashions another solid psychological crime drama, he dumbs down some of the detective work with most of Fitz’s deductions requiring a substantial leap of faith. The strength of the show lies in its excellent performances and this story is well served by a very strong cast – with Cunningham and Simm particularly notable in early roles. The finale drops back into genre convention and the scene’s climax is predictably shocking. Technical credits are strong with Wentworth’s moody score adding to the atmosphere.

TV Review – CRACKER: BROTHERLY LOVE (1995)

Image result for cracker brotherly loveCRACKER: BROTHERLY LOVE (TV) (UK, 1995) ****½
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 22 & 29 October 1995; Running Time: 150m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 18.
      Director: Roy Battersby; Writer: Jimmy McGovern; Executive Producer: Sally Head; Producer: Hilary Bevan Jones; Director of Photography: Dick Dodd; Music Composer: Rick Wentworth; Film Editor: Edward Mansell; Casting Director: Marilyn Johnson; Production Designer: Stephen Fineren; Art Director: Bill Crutcher; Costume Designer: Tudor George; Make-up: Sue Milton; Sound: Phil Smith.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Geraldine Somerville (D.S. Penhaligon), Lorcan Cranitch (D.S. Beck), Ricky Tomlinson (D.C.I. Wise), David Calder (Michael Harvey), Clive Russell (Danny Fitzgerald), Mark Lambert (David Harvey), Brid Brennan (Maggie Harvey), Robert Cavanah (D.C. Temple), Polly Hemingway (Denise Fletcher), Ruth Sheen (Jean McIlvanney), Ron Donachie (Barney), Edward Peel (Chief Superintendent), Paul Copley (Pathologist), Isobel Middleton (Catriona Bilborough), Kieran O’Brien (Mark), Tess Thomson (Katie).
      Synopsis: A prostitute is found raped and murdered, opening old wounds at the station. Beck returns to work after a breakdown, and tensions rise between him and Penhaligon. With the main suspect under lock and key, the police are stunned to uncover two more brutal murders in the space of a few days, and whilst suffering the distraction of becoming a father again, Fitz has to cope with a complex case, the tormented Penhaligon, and a far from recovered Jimmy Beck.
      Comment: The first story of the third series of Cracker sees McGovern bring to a head a number of threads carried forward from earlier stories against the backdrop of the hunt for a serial rapist. The script is top-notch and expertly builds tension through its exploration of themes of Catholicism, prostitution, guilt, retribution and redemption. In fact, so much is packed into the story that McGovern does well to keep all the plates spinning right to the shocking conclusion. The cast is first-rate – notably Brennan as the wronged wife and Cranitch as the guilt-ridden detective who is gradually becoming psychologically unravelled. Coltrane continues to live and breathe his flawed psychologist hero whose professional expertise is at odds with the mess of his family life, now with a new addition. This would be McGovern’s last contribution to the series until its one-off revival eleven years later and the series never got this good again.

TV Review – CRACKER: MEN SHOULD WEEP (1994)

Image result for cracker men should weepCRACKER: MEN SHOULD WEEP (TV) (UK, 1994) ****
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 21, 28 November & 5 December 1994; Running Time: 149m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 18.
      Director: Jean Stewart; Writer: Jimmy McGovern; Executive Producer: Sally Head; Producer: Paul Abbott; Director of Photography: Ivan Strasburg; Music Composer: David Ferguson; Film Editor: Tony Cranstoun; Casting Director: Gail Stevens; Production Designer: Stephen Fineren; Art Director: Nick Wilkinson; Sound: Phil Smith.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Geraldine Somerville (D.S. Penhaligon), Lorcan Cranitch (D.S. Beck), Ricky Tomlinson (D.C.I. Wise), Graham Aggrey (Floyd Malcolm), Colin Tierney (Harriman), Alexander Newland (Marvin Malcolm), Julie Saunders (Bev Malcolm), Rachel Davies (Mrs Malcolm), Ludmilla Vuli (Trish), John McArdle (Tom Carter), Marian McLoughlin (Catherine Carter), Wil Johnson (Skelton), Isobel Middleton (Catriona Bilborough),Kieran O’Brien (Mark), Tess Thomson (Katie).
      Synopsis: Floyd Malcolm, a black taxi driver, lashes out at white men who disrespect him by raping their wives and destroying the evidence, and strikes at the heart of Fitz’s personal life when Penhaligon is raped.
      Comment: Jimmy McGovern returns to script the final story of the second series of Cracker and it is an absorbing drama. The central story of a serial rapist fuelled by racial insecurity is well-written. The drama also has a twist which brings matters closer to home as Penhaligon (Somerville) becomes a victim – only to realise her attacker is not the man the police are hunting down. Performances are top-notch as usual and the drama only loses its shape in its final act, when genre conventions threaten to de-rail it. Fortunately, the direction and acting are so strong it just about makes it through as we are left on a cliff-hanger ending.

TV Review – CRACKER: THE BIG CRUNCH (1994)

Cracker (UK) - 02x04 The Big Crunch (1)CRACKER: THE BIG CRUNCH (TV) (UK, 1994) ***½
Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 31 October, 7 & 14 November 1994; Running Time: 147m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 18.
      Director: Julian Jarrold; Writer: Ted Whitehead; Executive Producer: Sally Head; Producer: Paul Abbott; Director of Photography: Ivan Strasburg; Music Composer: David Ferguson; Film Editor: Oral Norrie Ottey; Casting Director: Gail Stevens; Production Designer: Claire Kenny; Art Director: Chris Coldwell; Sound: Chris Coldwell.
Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Geraldine Somerville (D.S. Penhaligon), Lorcan Cranitch (D.S. Beck), Ricky Tomlinson (D.C.I. Wise), Jim Carter (Kenneth Trant), Cherith Mellor (Norma Trant), Maureen O’Brien (Virginia Trant), Samantha Morton (Joanna Barnes), James Fleet (Michael Trant), Darren Tighe (Dean Saunders), Roger Sloman (Mr Barnes), Ellie Haddington (Mrs Barnes), Colin Tierney (Harriman), Kieran O’Brien (Mark), Emma Cunniffe (Sarah Jennings), Nicholas Blane (Father O’Ryan), Tess Thomson (Katie).
Synopsis: A young girl missing for several days is discovered naked, covered in strange symbols and quoting the Bible. The trail leads to a fringe Christian sect and its charismatic leader, Kenneth Trant.
Comment: Fifth story in the Cracker series is the first not to be written by Jimmy McGovern. The setting switches from the inner-city working-class to middle-class suburbia. The story’s focus on religious hypocrisy is a little heavy-handed with its denouement seeming contrived and unconvincing. The strengths of the production lie in the performances of its strong cast, notably Morton as the young girl besotted with Carter’s sect leader. Coltrane is as captivating as ever as Fitz, whose verbal sparring with Tomlinson’s chief of detectives is one of the highlights.

TV Review – CRACKER: TO BE A SOMEBODY (1994)

Image result for cracker to be a somebody castCRACKER: TO BE A SOMEBODY (TV) (UK, 1994) *****
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 10, 17 & 24 October 1994; Running Time: 148m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 18.
      Director: Tim Fywell; Writer: Jimmy McGovern; Executive Producer: Sally Head; Producer: Paul Abbott; Director of Photography: Ivan Strasburg; Music Composer: David Ferguson; Film Editor: Edward Mansell; Casting Director: Gail Stevens; Production Designer: Stephen Fineren; Art Director: David Butterworth.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Christopher Eccleston (D.C.I. Bilborough), Geraldine Somerville (D.S. Penhaligon), Lorcan Cranitch (D.S. Beck), Robert Carlyle (Albie), Ricky Tomlinson (D.C.I. Wise), Beth Goddard (Clare Moody), Colin Tierney (Harriman), Edward Peel (Chief Superintendent), Tracy Gillman (Jill), Isobel Middleton (Catriona Bilborough), Wil Johnson (Skelton), Badi Uzzaman (Shahid Ali), Kim Vithana (Razia Ali), Kieran O’Brien (Mark), Glyn Grain (Professor Nolan), John Henshaw (Quarry Foreman), Tess Thomson (Katie), Paul Copley (Pathologist).
      Synopsis: A working class man, distraught at the recent death of his father, impulsively becomes a skinhead and murders a Pakistani shopkeeper over a perceived insult.
      Comment: First story of the second series of Cracker is perhaps the best example of the show. It’s an absorbing study of one man’s disintegration through anger and hatred and Carlyle delivers a superb performance in the central role. The link to the Hillsborough disaster is a theme close to writer McGovern’s heart and he uses both direct references and the symbolism of Albie’s paranoia to make a strong point around the injustices of its portrayal in the media. Coltrane is again superb as Fitz, a character that is tailor-made for his world-weary cynicism. The resonant script is also laced with dark humour and all the regular cast have gotten to grips with their characters. The result is a top-class psychological crime thriller.

TV Review: CRACKER: ONE DAY A LEMMING WILL FLY (1993)

Image result for CRACKER: ONE DAY A LEMMING WILL FLYCRACKER: ONE DAY A LEMMING WILL FLY (TV) (UK, 1993) ****
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 1 & 8 November 1993; Running Time: 97m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 18.
      Director: Simon Cellan Jones; Writer: Jimmy McGovern; Executive Producer: Sally Head; Producer: Gub Neal; Director of Photography: Ivan Strasburg; Music Composer: Roger Jackson; Film Editor: Chris Gill; Casting Director: Gail Stevens; Production Designer: Chris Wilkinson; Art Director: Deborah Morley.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Christopher Eccleston (D.C.I. Bilborough), Geraldine Somerville (D.S. Penhaligon), Lorcan Cranitch (D.S. Beck), Christopher Fulford (Cassidy), Lee Hartney (Andy Lang), Frances Tomelty (Mrs. Lang), Tim Healy (Mr Lang), Amelia Bullmore (Catriona Bilborough), Kieran O’Brien (Mark Fitzgerald), Tess Thomson (Kate Fitzgerald), Geoffrey Hutchings (Pathologist), John Vine (Lindsay), Trevyn McDowell (Leslie), Edward Peel (Chief Super), Wesley Cook (Tim Lang), Linda Henry (Mrs Perry), John Graham-Davies (Francis Bates).
      Synopsis: A young boy, Timothy Lang, is found hanged in a nearby wood, drawing the ire of the city, and the main suspect appears to be Tim’s school teacher, Mr. Cassidy.
      Comment: Third and final story from the first season amounts to a psychological battle of will between accused, the law and Coltrane’s psychologist. This is another dark tale and the ambiguity surrounding the accused man’s guilt or innocence presents a conundrum for Fitz. McGovern deftly sets about the psychological conflict keeping the viewer guessing right to the story’s conclusion and likely beyond. Again, the performances are top-draw with a rich cast headed by Coltrane. Fitz’s flawed character gives Coltrane plenty to work with and his performance has depth and is laced with humour and cynicism.

TV Review – CRACKER: TO SAY I LOVE YOU (1993)

Image result for cracker to say i love youCRACKER: TO SAY I LOVE YOU (TV) (UK, 1993) ****
      Distributor: ITV – Independent Television; Production Company: A&E Television Networks / Granada Television; Release Date: 11, 18 & 25 October 1993; Running Time: 153m; Colour: Colour; Sound Mix: Dolby Stereo; Film Format: 16mm; Aspect Ratio: 1.66:1; BBFC Cert: 18.
      Director: Andy Wilson; Writer: Jimmy McGovern; Executive Producer: Sally Head; Producer: Gub Neal; Director of Photography: Ivan Strasburg; Music Composer: Roger Jackson; Film Editor: Oral Norrie Ottey; Casting Director: Gail Stevens; Production Designer: Chris Wilkinson; Art Director: Deborah Morley; Costumes: Janty Yates; Make-up: Helen King; Sound: Phil Smith.
      Cast: Robbie Coltrane (Fitz), Barbara Flynn (Judith Fitzgerald), Christopher Eccleston (D.C.I. Bilborough), Geraldine Somerville (D.S. Penhaligon), Lorcan Cranitch (D.S. Beck), Susan Lynch (Tina Brien), Andrew Tiernan (Sean Kerrigan), Beryl Reid (Fitz’s mother), David Haig (Graham), Susan Vidler (Sammy), Tim Barlow (Judith’s father).Kieran O’Brien (Mark Fitzgerald), Ian Mercer (D.C. Giggs), Patti Love (Mrs Brien), Keith Ladd (Mr Brien), Tess Thomson (Katie Fitzgerald).
      Synopsis: Sean Kerrigan and Tina Brien, two of society’s rejects, are drawn together and will do anything to stay together forever, even murder. Fitz is drawn into the conflict when he begins to uncover the murder of Tina’s loan shark.
      Comment: Second story in the first season of Cracker is a dark and violent take on film noir and Bonnie & Clyde. It is another absorbing story with a superb Jimmy McGovern script and fantastic performances from the cast. Of specific note are Lynch and Tiernan as the unlikely criminal pairing. The set pieces are directed with a strong sense of authenticity by Wilson and Coltrane brings his flawed and intelligent character to life with a central performance that dominates whenever he is on screen and is laced with caustic humour. The production only slows in its final protracted act before it picks up again for its explosive finale.