And so we’ve followed The Shadow Line all the way to its vanishing point. But did all the pieces of Hugo Blick’s puzzle fit together into a satisfying big picture? Or was all the build up ultimately a disappointment?
Well depending on where you stand, the big reveal that the whole mess was about pensions might be a letdown. There are few less exciting words in the English language. If pensions were a colour they would be grey. They are grey pounds collected from grey post offices in dreary grey villages by grey haired foot soldiers of the drab and grey retirement brigade. All the talk of far reaching Cold War and government conspiracies on internet forums seems rather laughable now. But wouldn’t it have been more interesting and satisfying to find out that it was all more significant than a pension fund? Doesn’t all that killing seem rather OTT for a secure retirement?
A part of me was certainly a little underwhelmed by the explanation of it all, delivered by the retired Commander Penney on his yacht before he blew his own brains out. He explains to Gabriel, who refuses to let the case drop even after the really bad copper at the top has been found out and given the boot because Petra was hired by him to take out Gatehouse, that Counterpoint was official at first. But then after amassing £70 million through drug deals the authorities ordered it to stop, as its activities were entrapment and therefore useless to prosecutors in the courts. Counterpoint carried on, below the radar and unofficially. It laundered money through its deals in order to fund the pensions for the entire police force.
My initial reaction was; seriously? But by the end of the episode I liked the idea and I was sold on it as a good explanation. The way Blick ties things up again emphasises what this series was about; the lives of both sides of the line, cops and crims, and the overlap in between. Police corruption was vital to the entire series and it was fitting that the solution to most of the questions raised throughout was one of complete self interest on behalf of the boys in blue. More than anything though I liked the Britishness of the pensions answer, in keeping with earlier lines like “typical fucking British car chase”. Blick could have tried too hard for a grand an all important finale. But right until the end this series remained original despite emulating the production standards and story arcs of popular American shows.
So what about Gatehouse? Were the shadows around him illuminated with a little light? Yes, a little. We find out that he’s a MI5 agent and in charge of the operations of Counterpoint in the field. He set up Glickman and Harvey Wratten long ago, and by the end of this episode he’s found replacements for them in Jay Wratten and rent boy Rattalack.
Incidentally Jay, who was completely absent last week, has been cunningly manoeuvring behind the scenes. He put the cops onto his uncle in the first place. As Gatehouse says, he has “hidden depths”. Jay gets some of his best lines in a climactic scene with Babur; “It’s never nice to watch an old man refuse to leave a disco…someone had to bundle him off the dance floor”. For all his camp menace, I think most of us who followed The Shadow Line to the end came to love Jay as a character, slimy pantomime villainy and all.
For Gatehouse the whole thing was about control, as Glickman hinted in previous weeks. The head honchos of Counterpoint thought he might have gone rouge to pocket the money for himself, hence the UV tags, but he was only ever trying to restore the stability of the system. With replacements in place, by the end it’s like he’s hit the reset button on the whole series.
Our two principal characters on either side of The Shadow Line, Christopher Eccleston’s Joseph Bede and Chiwetel Ejiofor’s Jonah Gabriel, are both extinguished. Bede is shot in a car in exactly the same way Harvey Wratten was and then officers examine the carnage as they did in the very first scene of the series. Bede knew he was going to his death, he’d been warned and had his own suspicions about Jay, but in a powerful piece of understated acting from Eccleston, he leaves his gun on the kitchen table. His plan to save his wife had failed; she attempted suicide twice and was put into care.
As for Gabriel, it seemed like he could do no more. He might just have to accept the promotion that his corrupt superior Patterson, but perhaps slightly less corrupt in that he only follows Counterpoint rather than pocketing the cash for himself, had given him. But then Gatehouse phoned him. They arrange a meet and Honey accompanies him, after repeatedly assuring him throughout the episode of her loyalty to him.
Yeah it was fairly obvious. Honey has her gun trained on Gatehouse but after some final tying off of loose ends and some chit chat about shadows, Gatehouse flicks his lighter and Honey shoots Gabriel dead. So Gatehouse always wins, Counterpoint is back to normal. Honey seems to feel a bit remorseful but Gatehouse assures her she’ll get over it, presumably in retirement with a nice fat pension.
At times The Shadow Line was atrociously bad, usually in a funny way. At times it tried far too hard to be stylish, with one example of this being a fetish during the last two episodes in particular for a close up of cigarette tips as they were lit. However overall it was ambitious and absorbing TV. I haven’t seen anything like this on the BBC or anywhere else. Hugo Blick should be applauded and I hope he gets the chance to make more things in the mould of The Shadow Line. I shall miss both watching and blogging about such twisty, exciting and quality television.
What were your thoughts on the answers, the pensions and the series as a whole? Did you want more? Would you welcome a second series or a spin-off for a particular character?
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Tagged 2, 9pm, affair, Anthony, arc, assassin, baby, BBC, Bede, best, Blick, Brydon, Chiwetel, Christopher, climax, cops, corruption, Counterpoint, criminals, dead, deceit, drugs, Eccleston, Ejiofor, episode 7, Eve, event, exciting, finale, Gabriel, Gatehouse, Glickman, Harvey, Honey, Hugo, iplayer, Jay, Jonah, Joseph, Kierston, line, Marion and Geoff, menace, Money, Mrt'sblog, Nicholson, online, pensions, Peter, Petra, police, Rafe, Rea, Rebecca, reveal, Rob, schedules, secrets, Series, series blog, shadow, Sher, son, Spall, Stephen, story, television, The, The Guardian, The Shadow Line, Thursdays, tradgedy, tragedy, tragic, TV Guide, Wareing, website, wife, Would I lie to you?, Wratten
This penultimate episode started to bring things closer to the big reveal and end of series climax. However rather than my usual attempt to sort out the threads of the plot, I am driven by a minor detail to starting this week’s summary with a rant about realism and the suspension of disbelief.
Gatehouse, played with quiet menace by Stephen Rea, has been the most mysterious figure in a story arc stuffed full of secrets and deceit. In this episode he finally appeared to meet his match. Anthony Sher’s Glickman, who had that thrilling standoff with Gatehouse last week, uses Chiwetel Ejiofor’s confused Detective Jonah Gabriel, the one with the bullet in his brain, to set the perfect trap for Gatehouse. Both men lie in wait for Gatehouse in the home of Gabriel’s secret family.
After a tense conversation between Gatehouse and Gabriel, Glickman pounces from the little boy’s room (the son’s bedroom not the toilet). He fires several times with his silenced weapon, hitting Gatehouse decisively at least twice. The action slides into dramatic slow-mo as Gabriel’s son runs from his room, getting caught in the crossfire. Glickman shoots Gatehouse to make sure before stumbling from the horrific and tragic scene his trap has inadvertently created. Even in death Gatehouse finds and hurts the weak points of those in his way.
Except Gatehouse isn’t dead. He’ s taken to hospital and Gabriel says the doctors insist he has the heart rate of a twenty year old. I said last week that Glickman seemed to be far more human than Gatehouse despite his similar efficiency, and I was right. Distraught after accidentally killing an innocent boy, Glickman rings Petra, his jilted girlfriend. She meets him in an alleyway to console him. And then she stabs him several times, leaving him to die in a heap.
That was certainly a surprise I didn’t see coming. I had assumed Glickman’s abandoned love was simply to give his character weight and also give Christopher Eccleston’s Joseph Bede a forbidden love interest to spice up his inner battle with his wife’s dementia. But no, it turns out she’s an assassin. Who is she working for? With Gatehouse taken out, we assume he has powerful friends or subordinates seeking swift revenge.
However then she turns up, right at the end of the episode, at Gatehouse’s private hospital room. His only security is a nurse with a fondness for Dairy Milk and an unfortunate knack of dropping her precious snack to the floor as killers lurk outside looking to sneak past. Petra is clearly a cunning and formidable opponent to deceive so easily and completely someone as wary and careful as Glickman. Here she unzips her top to reveal an ample cleavage and a mass of wires clinging to her chest. She proceeds to hook herself up to the immobile Gatehouse, seemingly doing something complicated to swap heart beat readings. She has a lethal injection ready and waiting. As she says aloud “bleep bleep” to make sure she gets the timing of the switch right, Gatehouse rolls over, says “bleep” and kills her like he was just having a power nap.
And so, finally, to my big gripe. Gatehouse has not a single sign of being shot on his body. Blood could be seen spreading around his head and trademark black coat after Glickman fired. He must have been substantially wounded, taking bullets somewhere on the torso. I am quite willing to accept that Gatehouse turns out to be the unbeatable top dog, as he has been all along. I wouldn’t have minded Gatehouse summoning the strength to kill his would be killer, if there had simply been a bandage or stitch or something to indicate the earlier ordeal. We get that Gatehouse is stronger than normal men. But such inconsistency and laziness of detail when shooting a pivotal scene, severely limits the audience’s ability to inhabit the increasingly sensational story.
Most of you are probably thinking I’ve blown such a tiny detail out of proportion. I may have done. But for me things like that have always been important. It is often a trait of men to pick fault in the believability of a story. It’s not that I didn’t enjoy the excitement of the scene and all that went before it. And it’s not that I wish everything to be so plausible that it becomes mundane.
Such mistakes leave me with a feeling of annoyance though. This is a huge shame because The Shadow Line has been largely consistent and quality in terms of such details. And all I really wanted to do was commend this episode. Of course, it might be revealed next week that Gatehouse knew Glickman was planning a trap and had taken precautions. In which case this was an even more pointless rant.
What about the rest of the episode then? Well finally we got some satisfying focus on Gabriel’s character. For most of the episode he was the narrative focal point, right up until Glickman’s trap was sprung, adding to the drama, emotion and awfulness of the death of his son. We start by watching him get a brain scan; it seems he’s getting his memory back. His wife nearly loses the baby but then things turn out to be fine. Glickman tells him to follow the money, not the drugs as he said last time. Would have helped if he hadn’t mucked us about wouldn’t it? He tells Gabriel to harass the retired police commander about Counterpoint, which will bring Gatehouse out of the shadows to hunt down his weak point. We learn that the journalist, otherwise known as M’s assistant in Casino Royale, met his maker because he pestered the commander too much.
The police corruption goes higher and deeper than anyone could have imagined. A senior civil servant seems to be pulling the strings as he issues instructions to our crooked inspector at a funeral. He orders the convincing suicide and murder of Gabriel and his family. Does this mean Gatehouse is working for people within the law and government (as he killed Andy Dixon in the same way)? Meanwhile Gabriel finds out he’s a good cop. He didn’t log the operation the night he was shot because he knew there were rotten elements on the police side. And the police were buying the drugs as well as selling them. Baffling.
Other asides: rent boy Rattalack is getting his money from Gatehouse to buy Bede’s drugs. But with Gatehouse almost dead, everyone gets panicky when the money doesn’t turn up. And Bede’s right hand man is going to sell details of the deal. We still don’t know what Counterpoint is or who Glickman’s ex was working for, seeking to tidy up the situation with some slick murders. Gabriel’s wife gets a lecture from his ex, the mother of his dead child, at the boy’s funeral. She basically tells her to get Gabriel out of the mess and that the truth isn’t always worth it. Will he be able to keep a family together even if all the mysteries are solved?
Next week, light will illuminate the shadows. Will everything fit together? Supposedly Hugo Blick plotted the whole series with massive interconnecting mind maps, so it should. And will Jay Wratten, absent this week, go out with a whimper or a bang?
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Tagged 2, 9pm, affair, Anthony, arc, assassin, baby, BBC, Bede, best, Blick, Brydon, Chiwetel, Christopher, cops, corruption, criminals, dead, deceit, drugs, Eccleston, Ejiofor, Eve, event, exciting, Gabriel, Gatehouse, Glickman, Harvey, Honey, Hugo, iplayer, Jay, Jonah, Joseph, Kierston, line, Marion and Geoff, menace, Money, Mrt'sblog, Nicholson, online, Peter, Petra, police, Rafe, Rea, Rebecca, Rob, schedules, secrets, Series, series blog, shadow, Sher, son, Spall, Stephen, story, television, The, The Guardian, The Shadow Line, Thursdays, tradgedy, tragedy, tragic, TV Guide, Wareing, website, wife, Would I lie to you?, Wratten
Let’s not muck about: this was the best episode yet. The first twenty minutes to half an hour in particular, were as gripping as anything on TV. The quality of the opening alone made this the highlight of a bold series.
What made the beginning so absorbing was the reveal of the much talked of, but never seen, Peter Glickman, and some superb writing and acting. Indeed it was the acting above all else that made this so good, especially when Stephen Rea’s Gatehouse squares up to Anthony Sher’s Glickman. Before that unbelievably tense encounter though, we’re treated to Sher’s portrayal of Glickman’s alter ego Paul Donnelly, who lives a simple life as a clock shop owner in Ireland.
The unlucky passing of an old business associate, an American flashing plenty of cash, transforms our Irish accented and mild mannered old chap devoted to his clocks into a slick and ruthless criminal. The script excels itself as we see Glickman follow the man from his shop, cleverly work out the number of his hotel room and then pull off a near perfect murder.
The conversation between Glickman and the American in his room is chilling and realistic. The moment Sher’s performance switches from one persona to another is astounding. Glickman is a quietly menacing character very much in the mould of Gatehouse but also somehow on another, less predictable level. The murder itself was surprisingly brutal, jumping out at you just as Glickman is showing a compassion Gatehouse seems to lack and contrasting starkly with the meticulous but unnoticeable preparation.
Accomplished ad hoc killing complete, Glickman slots seamlessly back into the shoes of an old fashioned and harmless shop owner. He has cultivated the last resort escape route of his alter ego for twenty years, making regular but short appearances in Ireland as Donnelly to flesh out the believability. Echoing all the talk of him dividing his life into boxes in previous episodes, he describes his double life as a room kept ready for him and where nothing looks odd when he moves in full time, because really, he’s been there all along.
Despite his calculating nature and devious credentials to match Gatehouse, Glickman nevertheless seems more human than Stephen Rea’s character. He claims to have genuinely loved his girlfriend and to deeply regret not having the opportunity to say goodbye. Later in the episode he meets Christopher Eccleston’s Joseph Bede for a dead drop on a bench, ignorant of the fact that he’s been banging the woman he misses. She has sought comfort in the arms of the florist/drug trafficker, somewhat predictably after last week’s flirtatious behaviour, because they both live in the “loneliness of the past” or something.
Anyway what do we actually learn when Gatehouse and Glickman have that awesome standoff? Admittedly I’ve been putting off an explanation because I’m not quite sure I’ve digested it all. But the big thing that surprised me, amongst the quick fire, back and forth dialogue was that Gatehouse is Glickman’s “controller”. I always assumed Glickman was the real big cheese and that Gatehouse was pissed because he’s the hired help, albeit a rather active, expert and efficient employee. But I guess a theme of the series is that people appear to have roles and responsibilities which they don’t, to protect the real puppet masters (e.g. Bede).
Glickman got Wratten out of jail because the two had been working together for thirty years. Gatehouse disapproved because Wratten was threatening to expose something massive, an extremely secretive operation called “Counterpoint”. Gatehouse implies he wanted the satisfaction of killing Wratten himself, rather than having him eliminated in jail. Glickman of course ends the conversation by trying to blow up Gatehouse, unsuccessfully, thus postponing the real showdown for a later date.
Crudely ejected from his cover life, Glickman tips off Gabriel about the drugs, kick-starting an unveiling of police corruption on a huge scale and taking us closer to the truth about Gabriel’s memory loss. The police are selling drugs from the evidence room (Honey and Gabriel discover UV codes; two sets from the police and one from customs) and even very top officers know about it. Gabriel, in trying to confront his superior, is confronted with his own apparent corruption and the extent of the rot. Blimey.
As if that wasn’t enough for one episode, Bob Harris pulls out of the deal to buy Bede’s drugs, only for his rent boy to bump him off and take his place. Someone must be backing him and this becomes one of the new mysteries, along with what exactly is “Counterpoint”?
As I’ve said before, this is a series that can infuriate as well as inspire, with some of the many references to “shadows” in this episode deflating the subtlety somewhat. But undoubtedly, The Shadow Line is now beginning to reward commitment in a big way.
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Tagged 2, 9pm, acting, affair, Alice, alter ego, Alzheimers, Anthony, baby, BBC, Bede, Blick, Bob, bomb, boy, British, Brydon, car, Children of Men, Chiwetel, Christopher, cliff hanger, Clock, clocks, Comment, corruption, Counterpoint, criminal, debate, dementia, dialogue, Doctor Who, double life, drama, drugs, Dublin, Eccleston, efficient, Ejiofor, Euros, event television, Gabriel, Gatehouse, girlffriend, glasses, Glickman, gripping, Guardian, gun, Harris, Harvey, Honey, Hugo, iplayer, Ireland, Jay, Jonah, Joseph, killer, Lesley, Liam, line, love, Marion and Geoff, menacing, meticulous, million, Mrt'sblog, music, Nicholson, original, police, pregnant, Rafe, Rea, Rebecca, rent, reviews, Rob, script, series blog, sex, shadow, sharp, shop, sinister, Spall, Sper, Stephen, story arc, TARDIS, The, theories, thoughts, thriller, Thursday, tick tock, time, Trim, tv, Two, wife, Wratten, writer
After things really seemed to be getting somewhere with episodes 2 and 3, last night (the first time I have watched The Shadow Line as scheduled, 9pm BBC 2) things once again became a blend of baffling plot lines and bad dialogue, punctuated by the odd superb scene. This is one of those programmes so determined to keep us guessing that no sooner are we given a clutch of answers, a bucket full of more questions is splashed into our bemused faces.
The answers come in the form of customs officer Robert Beatty, who was the guy sultry sidekick Honey had a fight with last time. He’s one of these deep cover types working beyond the police, doing things they can’t like he doesn’t give a shit. It turns out that the drugs murdered Harvey Wratten used to get his rare Royal Pardon were already his. Beatty also reveals there was a second requirement for the Pardon; saving the life of a cop. In this case information was given to save him and his family from a car bomb. But it quickly emerges that the bomb was probably planted by Wratten too. So Wratten arranged a get out of jail free card for himself. Well mostly free, just minus millions of pounds worth of drugs.
Obviously Gabriel thinks this is getting somewhere with the case, that he’s been given three extra weeks to save. But it’s difficult to say where this breakthrough leads or what it means and his boss has a problem with that. Even though they’ve got a blurry picture of Gatehouse on CCTV too AND they’ve linked him to a big drug deal, where Gatehouse appeared to be acting on behalf of the vanished but ever present Glickman, who was in turn acting for Wratten because he was banged up. Confused much?
And that’s just the professional side of the police case. We haven’t even mentioned Gabriel’s personal problems. He didn’t have any agonising moments staring at that inexplicable briefcase full of cash this week but the mother of his secret child told him to tell his wife of their existence, who is finally pregnant. This is the cue for just one of many terrible lines in this episode. Gabriel, clearly in a sticky situation, blankly says “I’m in hell” only for the mother of his child to hit back with “No, we’re in limbo”. She then says she won’t have her son growing up in the shadows, which is far too forced a reference to the show’s title.
On the criminal side of the case, Bob Harris is sweating his hairy backside off because one of his supply lines has been compromised by customs, which is how the police know about Glickman getting the drugs for Wratten. How do I know he has a hairy backside you ask? I don’t for sure but I’m judging by the rest of his portly, sagging, ageing body. We’re treated to a scene with Harris and a gay lover, with Harris sporting a pair of very tight pants and awkwardly resting on his side like a beached whale, and the lover wearing nothing at all. He is sprung from a police station by an anonymous benefactor at the beginning of the episode and ever since has been stuck in camp seductive mode. He also gets some terrible lines and provides Harris with the information that apparently Jay Wratten is responsible for the busting of his line.
Jay of course, has been told by Andy Dixon the driver, that Harris killed Harvey. So he has a reason to piss him off. But Christopher Eccleston’s Joseph Bede interrogates Jay and he insists he didn’t do anything. We see very little of Bede this week, apart from when he’s questioning Jay and Glickman’s girlfriend, but Jay does get to pay another over the top, intimidating visit to Glickman’s son. And this is where we see the mysterious, deadly Gatehouse again.
Perched atop a mountain of office furniture, Gatehouse is across the street from Glickman’s son with some very fancy tech for listening to phone conversations etc. Eventually he decides to pop round to the home of Glickman’s son and play the kindly old fashioned gentleman card. Glickman’s sceptical daughter-in-law is won over by his harmless demeanour and Gatehouse gains access to the downstairs loo. After opening and closing the window briefly, he lets himself out. After calling her husband about the visitor, the wife goes upstairs to check on the wailing baby, prompted by the baby monitor. Their little girl is not there.
I was glad when Gatehouse showed up eventually last night because the rest of the episode had been poor. With Gatehouse though you know things are going to be suspenseful and tense and that something is going to happen, even without him doing very much. Here he’d magically whisked the baby outside, simply by opening and shutting a window in the toilet. Surely he must have had help? After dashing about the house absolutely distraught, she finds her baby and then Gatehouse, who chillingly tells her to call her husband “NOW” via the baby monitor. Glickman is then told Gatehouse wants to hear from him.
This episode has time for one more confusing but majestic scene. The journalist, otherwise known as that bloke from Casino Royale, who has been investigating police corruption throughout the series, features strongly in this episode asking people questions without really getting anywhere. Then he’s given the job of city editor at his paper, along with a far from feasible pay rise. Prior to this Gatehouse calls him up for an anonymous meeting but does nothing; not even speaking to him. Instead he gets hold of his home address pretending to be a deliveryman. Then comes the outstanding scene.
McGovern (name of said journalist) rides out of the city in his leathers and into the countryside towards home and his wife, where he can tell her the good news of his promotion. The tension slowly builds as it’s evident something will happen. Then we see a car in the distance on a straight road, with McGovern heading towards it. Both vehicles, bike and automobile, disappear into a dip in the middle of the road. We hear a screech and only the car emerges on the other side. The episode ends with a close up of our fallen journalist, in the middle of a sun drenched road, blood dripping in vivid drops from his helmet against a background of bright blue sky.
Scenes like that are the reason I continue to watch The Shadow Line. Some of them use too much style but most are refreshingly well executed, subtle and classy. This episode was full of irritating performances, including McGovern/Casino Royale man’s intonation that made everything sound like a question, hardly a subtle portrayal of an investigative journalist. It also had some of the worst dialogue so far and perhaps more of it. And the plot development became frustratingly unsatisfying too. But occasionally I am still gobsmacked, even in this mostly bad episode, and I am still intrigued.
With some questions answered new ones arise. Why kill the pestering journalist when he appeared to know very little? More interesting still, why did Gatehouse kill him, when he was investigating police corruption? Do Gabriel and Gatehouse know each other? Perhaps Gabriel simply can’t remember with that bullet inconveniencing his brain. And how exactly did it get there? Was Gabriel responsible for the death of partner Delaney? Can Chiwetel Ejiofor put in a good performance despite increasingly ludicrous plot twists for his character and sledgehammer emotional dialogue? Will Bede and Glickman’s girlfriend get together? Will next week be more enjoyable and make more sense? Will I get to see Bob Harris completely naked?
I’ll keep watching for the answers.
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Last week I confessed my confusion as to what precisely constituted “event television”. The first episode of The Shadow Line offered up an answer full of lingering shots of shiny details and realistic, stylised dialogue. Opinion was split between the lovers and the haters. Some drooled over the glossy detail and ominous script, whilst others gagged over the pretentious direction and fakery of the lines. I fell somewhere between the two extremes. I welcomed a British show oozing quality and ambition, but I grimaced at some of the glaring blemishes when the script tried too hard.
All in all it was a mixed opener, which set up a myriad of competing plot lines to speculate about. Thankfully the second episode built on the strengths of the first, whilst ditching most of its failings. Last night it felt like The Shadow Line properly broke into its stride. Literally. The episode ended with a selection of the key characters running at full pelt across a park, and then through London streets.
It was a chase sequence that prompted Chiwetel Ejiofor’s character to shout “SHIT!” and “I am on foot. Typical fucking British car chase”. But it didn’t feel like a typical action sequence from British TV for the audience. And it certainly wasn’t shit. Perhaps I was finally beginning to understand this “event television” nonsense. The climax to the episode was brilliantly judged, with the chase sequence moving up through the gears of drama. It featured only one standout stunt, a relatively simple car crash, but it shunted characters from cars to parks to tube stations (Bethnal Green incidentally, one I am familiar with) with expert fluidity.
The episode finally got its hands dirty with some plot progression after all of last week’s posturing and half formed questions on beautiful lips. Essentially it was the story of the hunt for the driver. Young Andy Dixon certainly doesn’t look like your average murderer, but he witnessed the killing of drug lord Harvey Wratten and is the only clue to the puzzle either side, criminal or police, has thus far. Wratten’s nephew Jay, played by Rafe Spall, quizzes Dixon’s mother and pregnant girlfriend menacingly, whilst Ejiofor’s Gabriel interviews them for the police. A third side also emerges, in the form of a character that may or may not be called Gatehouse, played by Stephen Rea.
The characters of Jay and Gatehouse illustrate exactly why audiences are split over The Shadow Line. Both could either be interpreted as colourful villains wonderfully acted or caricatures being painfully over acted. I’m inclined to agree with a comment from “dwrmat” on The Guardian series blog with regards to Spall’s portrayal of Jay: “ Whenever he’s on-screen, I can’t make up my mind whether he’s very, very good or very, very bad, which is a little distracting.”
The same could be said of Rea’s performance, although I instinctively found his mysterious and enigmatic character intoxicating, despite some far from subtle dialogue (“What I’m about to tell you is the most important thing you’ll ever hear. Ever”). His technique of scaring the family and friends of the fugitive driver is subtle however, when compared to Jay’s. The mental nephew of the deceased half drowns a cat and threatens to kill an unborn child to extract promises of cooperation. Rea’s character intimidates via a shadowy knowingness to his words and muted manipulation of his interviewee’s fears.
The main mystery now is who is Gatehouse, and which side of the investigation does he fall under? But other strands of the plot rumble on. Christopher Eccleston’s Joseph Bede managed to appease another disgruntled drug lord who hadn’t been paid with some dazzling calculations and a promise of ten million back instead of one. He again insisted to other characters he was simply a front man, installed by recently murdered Harvey as innocent and legit cover. Last week though he seemed to be far more important than that and in charge of things, and this week he’s still making the big deals and having people report back now and then. Ejiofor’s Detective still has a bullet in his brain, his wife wants to try for babies again, and the bullet might yet kill him. Glickman, another vanished but presumably still alive drug lord, remains undiscovered. Could Gatehouse be Glickman? Or working for him? Or is he a corrupt cop or some other darker side of the law?
By focusing on developing these irresistible mysteries and zipping along at a gripping pace, the second episode of The Shadow Line upped its game and got me looking forward to next week.
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It’s a cliché that you can’t rely on politicians for anything. But as I recently discussed with someone, clichés are clichés for a reason. Most people think that you can at least rely on MPs, particularly party leaders, to be dishonest and always on the lookout for an opportunity to score cheap points against their rivals and amass political capital. However Britain’s recent icy snap proved there are depths the media strategists will not dare sanction for their employers to sink to.
It really is a mystery why no one had the guts or guile to pounce on the targets laid bare by the blankets of white stuff. About a month ago I was reading an article in a hotel lobby in sporadically sunny Spain. Back home the country had already groaned to a moaning, bemused halt under the weight of the snow. This article was in The Times and I forget the identity of the writer, which is regrettably locked behind Murdoch’s News International Paywall. It made the very interesting point that neither leader of the two main parties had utilised a huge moment to deliver defining, resonant messages. The snow touched every single person in the country. It was a destructive but unifying force. The potential for delivering a knockout political blow was immense.
And yet our notoriously backstabbing, corrupt, two-faced politicians did nothing. Well nothing worthwhile. Of course there were the usual gripes about lack of planning and the inevitable shortage of grit. Labour had its half-hearted dig at the government, knowing full well it couldn’t overdo it because the previous administration had been responsible for much of the preparation. Most surprisingly of all, I remember the article in The Times highlighting, was David Cameron passing up his moment to finally win the public’s hearts over to the “Big Society”.
With all the complaints about councils failing to grit icy pavements and elderly neighbours slipping and sliding to serious injury, surely this was Dave’s moment to urge us all to lend a helping hand? This was the closest we were going to get to a modern day Blitz spirit. Everyone was out enjoying the beautiful change, waving to complete strangers, engaging in snowball fights; except those blocked in and cut off. Free those trapped in your area, band together and get by, show the true power that community still had. The Prime Minister said none of this and his chance to convey what his key policy might mean in reality was quickly gone.
It would have been an extraordinary moment for a Prime Minister under fire to show leadership and go on the offensive with a more optimistic message. The distraction from constant protests against cuts would have been welcome and may have lingered memorably in voters’ minds, but instead Cameron chose to wait it out till Christmas for his respite. Ultimately his characteristic caution probably held him back from any such message. It would have been open to ridicule. Evidence, his critics would say, that the Conservatives are leaving you to do it all alone, another excuse for incompetent governance, dressed up as positive ideology. Those criticisms of the “Big Society” might be true and are longstanding, but if Cameron genuinely believes in his policy then why did he have reservations about seizing his best opportunity yet of hammering its message through?
There seems to be an unwritten rule that a crisis caused by natural causes is off limits for use as political ammunition. Even so it is perhaps even more surprising in some ways that Ed Miliband didn’t capitalise on the snow. Miliband didn’t have a readymade policy to bolster like Cameron, but he needs to set his party on a new, distinctive course at some point. As a former Climate Change Secretary he could have pointed out the changing nature of Britain’s climate and the more frequent occurrence of extreme weather. He could have been extremely bold and announced that Climate Change would become a central, unifying theme of all Labour policy, especially now that it was proving directly damaging to the UK economy and its citizens everyday lives. However he needn’t have been so specific to achieve an effect, and with his policies still under review a vaguer, flexible approach would have been preferable. He could have simply called for greater provision to deal with such extreme conditions in future and indicated how Climate Change would be one of several of his key priorities, whether he meant it or not. This week Miliband demonstrated he could make decisions and announcements that were at once cynical and correct. Declaring he wished to see the banking bonus tax extended is sensible but he is only willing to commit to this policy ahead of so many others because it wins support. Why then did he not show similar political pragmatism with the snow?
Of course ideally Miliband would have used the snow as a platform, from which to launch a new sustainable set of policies which would see Britain cope better with such circumstances in future and begin an inspiring new assault on Climate Change. Sadly such genuinely motivational and good natured politics is so rare no one expects it. It is reassuring though that some areas, perhaps still considered by some to be acts of God, are still considered off limits for cheap, manipulative political point scoring.
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Two Eds are better than one? Well perhaps not as Labour’s new leader opted not to make his namesake Ed Balls shadow chancellor, despite the weight of expertise, a strong leadership campaign and many votes in the shadow cabinet elections behind him. His wife Yvette Cooper then, who topped the poll of Labour MPs, would surely get the chance to carve Labour a new, distinctive position on the deficit in response to the Con-Dem’s cuts? No. 60 year old Alan Johnson, the earliest backer of Ed’s elder brother, was chosen by young Ed as his right hand man. Despite David’s choice to bow out from frontline politics, his shadows hangs heavy over his brother’s first team selection.
Of all the shadow cabinet roles assigned it was obviously that of shadow chancellor that carried the most importance and also Johnson’s appointment to that role which was the biggest shock. Ed Miliband has been either slammed for his caution or praised for his unifying skills and his courage to make the right choices regardless of popularity. I happen to think that making Johnson shadow chancellor is a missed opportunity for Labour’s new generation but there are some well selected roles in Ed’s team. Andy Burnham is a good match for the education brief, given his reasonably strong leadership campaign, working class background and accessible, relevant character traits such as his love of football. His ordinary accent will contrast well with Michael Gove’s nasal snobbery in the Commons. Likewise Jim Murphy seems a good choice to shadow the MOD and Liam Fox, with his dour Scots accent he shall be able to pour scorn on government defence cuts whilst emphasising the needs of the ordinary soldier and citizen. There is also no reason why Harriet Harman, Douglas Alexander and John Denham ought not to succeed in their new roles in International Development, Work and Pensions and Business respectively. Alexander and Denham in particular have their work cut out, with capable coalition opponents in Ian Duncan Smith and Vince Cable, but both are able ministers themselves.
However in my view Miliband has made a mistake in his handling of where exactly to place the popular and talented husband and wife team of Ed Balls and Yvette Cooper. Both are wasted at the Home and Foreign office. Those who support the leader’s decision say that it was unavoidable to maintain party unity and to avoid the mistakes of the Blair-Brown years. An economic policy handed to Balls, they say, would have conceded this ground to him permanently as Blair did for Brown, dividing the party again and sowing the seeds of future turmoil. My response to the argument of unity is that by appointing Balls Shadow Home Secretary Miliband has not necessarily pacified him. Balls will be gutted as it is to have missed out on his shot at the Treasury yet again; he made no secret of his desire for the job. To be so bluntly snubbed and given what many regard as the jinxed ministerial brief will not endear him to the younger Miliband. Besides there was no reason for Balls and Miliband to be enemies as Blair and Brown were, especially if Miliband had trusted Balls and rewarded with a job he had long coveted. If Miliband was uncomfortable handing his most important role to the volatile Balls though, he should have given it to his wife Cooper. Cooper won the shadow cabinet elections, and therefore had democratic legitimacy as well as the additional merits of youth (only 40 years old and part of the new generation), expertise (she was previously Work and Pensions secretary, a closely related role), intelligence (Harvard educated, a journalist at the Independent) and the fact that she is female. Appointing her to his top job would have sent exactly the right sort of modern, fair message but instead Miliband played it safe. Whilst being Foreign Secretary is an important, prestigious position, shadowing the area is less glamorous and less crucial to the argument defining British politics at the moment; how best to respond to the deficit.
With Johnson’s appointment Miliband signalled that he is planning to stick largely to Alistair Darling’s failed election pledge to halve the deficit in four years. This is disappointing as frankly Labour need a new idea to be championed by their new generation. Ed Miliband needs his equivalent of David Cameron’s “Big Society” and he has an enormous opportunity if he can find his big idea, because voters refuse to buy into the Prime Minister’s. Appointing Johnson though is unlikely to lead to a distinctive, radical or inspiring position on the deficit with credible, imaginative solutions. Yes Johnson is a capable minister, having held high profile jobs as Home Secretary and Health Secretary amongst others, but he has always taken a back seat and kept a low profile. He has shown the capacity to be popular with ordinary voters; with his working class charm often talked about, but lacked the desire or courage to use it. In the past he has passed up opportunities for advancement and you wonder if he is genuinely enthused by the task set him by his new leader and the opportunities to make a real difference to fairness he has, or whether he is merely grimly descending to his task for the sake of previously mentioned, holy party unity.
Forging a successful, coherent and credible economic policy that is also electable is THE challenge facing Labour. The coalition is struggling over issues like universal benefit, tuition fees and the spending reviews. Tension is set to rise, with the NUS leading students to the streets on the 10th November to highlight the backtracking of Lib Dems. The shadow chancellor should be the spearhead of Labour’s new generation, with new ideas gradually forming a fresh vision, one more accessible than Cameron’s “Big Society” and fairer too. He should be prepared to examine ideas like the Robin Hood tax, mansion tax and graduate tax, whilst also backing the more sensible reforms of the coalition, such as a standard benefit payment and lifting the income tax threshold, as long as they are carried out properly. Labour needs to propose ideas for a new sustainable economy that can support essential and modern public services, whilst always striving for growth. It should look at green taxes, green jobs and green industries and offer a new deal with concrete investment. It should be prepared to ring fence areas of spending the Conservatives are set to cripple, whilst being ready to remain credible and a force in the argument by suggesting alternative means of revenue. Labour has to offer the opportunities a modern day, liberal British society craves in a way that can be paid for and delivered on; not the idealistic, vague promises of Cameron’s individualistic rhetoric, which merely serves as a cover for a smaller state, no matter how well intentioned.
Unfortunately I fear that Miliband’s selections for his shadow cabinet and his chancellor in particular, will lead to half baked, over cautious policies that lack the passion for real change. Indeed an incoherent policy on the deficit will lead to policy clashes throughout the party that might give Labour’s new generation an identity crisis. Balls as shadow chancellor would have relished the chance to set out a genuine alternative to the coalition and Miliband would have had to rein him in at times when he was wrong. But ultimately I feel the dynamism glimpsed in the Labour leadership campaign would have been better channelled towards George Osborne than given a bitter, limited home in opposition to Theresa May. Balls is likely to propose tough, populist positions on crime, driven by his resentment at missing out, policies that could undermine his new leader’s courtship of liberal Britain. Cooper too could have been a far more effective weapon against Osborne than Johnson and shall be wasted in her standoff with Hague, on issues like Afghanistan where there is no real disagreement. She also could have been a far better symbol of the new party Miliband is trying to create. Ultimately I can only assume Miliband feared she would be the puppet of her husband and his appointment of an ensemble of women to less important ministerial positions shows that he may not be as pro-women as he likes to make out. His appointment of an unknown to his previous brief as Shadow Energy and Climate Change Secretary also shows a disappointing lack of regard for an issue he led supporters to believe was vital to him, but now may well have proved to be a mere rung on his career ladder. A high profile appointment to this area in his shadow cabinet could have been a signal of intent. Despite my criticisms though it’s possible that the team Ed has chosen, with its mix of his and his brother’s supporters, will offer a unified and passionate opposition. It is wrong to judge before they have set to work, after all the road to the election is a marathon not a sprint, it just might have been possible to set out at a faster pace.
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