But a lot better in many respects. With only one episode left this has been an interesting ride.
Shearsmith & Pemberton work/write very well together and their pedigree is indisputable. Some of the twists could have been less telegraphed but overall the quality of the work is high and evident and its diversity will find fans amongst most viewers.
What works well is the casting done afresh for each episode (other than Pemberton and Shearsmith who are chameleons.) It shares the love and lends separation between tales. A mix of big hitters and new blood can make the writing shine.
I confess that Sardines was making me impatient at first - the mortifying awkwardness of Ian for example - but when we finally are given the reason for "Stinky" John's aversion to soap and the darkness really begins to gather it becomes compelling.
Tom and Gerri was a really sterling tale. The twist was neatly concealed and delivered with a sting. Gemma Arterton was a great choice for Gerri with that rare combination of flawless beauty and earthiness that is the golden rock to which Tom's life is moored. The pathetic figure of Migg was so woebegone that it made the thing work - who couldn't feel sympathy for such a bedraggled battered figure? So when things turn sinister it feels like a betrayal.
Last Gasp fell a little flat for me though Tamsin Grieg added a frisson with salty language and a heartless character. The Understudy was fun, particularly Pemberton's drunken thespianic rants and the twist another kicker.
Overall a splendid work. I sincerely hope these gentlemen can produce more like this because contemporary television needs all the help it can get.
--- update 2020 Feb 18 ---
Just recently caught up (as far as Zanzibar, more on that in a moment) and ... I see that I rated it 9/10 six years ago?
I'm older and wiser now so: 10/10 and holding fast.
I'll avoid spoilers but Zanzibar: being a big fan of Upstart Crow, to cast Helen Monks was delicious. (As I mentioned in another review of an In#9 episode "A Quiet Night In" in the use of Oona Chaplin for a largely silent comedy was a graceful nod. I've surely missed a hundred hidden homages and nods to past writers and works embedded in these little gems, a fine excuse for a few more viewings.)
To produce work of such consistently high quality, presented each time with a deep scoop of diverse plot (worthy of a mescaline trip) topped with fresh sprinkles of guest talent and wrapped in excellent production are what makes these series shine so very brightly.
I'm so proud that we have the supremely talented Misters P & S and that they have a voice.
(doffs hat)
Shearsmith & Pemberton work/write very well together and their pedigree is indisputable. Some of the twists could have been less telegraphed but overall the quality of the work is high and evident and its diversity will find fans amongst most viewers.
What works well is the casting done afresh for each episode (other than Pemberton and Shearsmith who are chameleons.) It shares the love and lends separation between tales. A mix of big hitters and new blood can make the writing shine.
I confess that Sardines was making me impatient at first - the mortifying awkwardness of Ian for example - but when we finally are given the reason for "Stinky" John's aversion to soap and the darkness really begins to gather it becomes compelling.
Tom and Gerri was a really sterling tale. The twist was neatly concealed and delivered with a sting. Gemma Arterton was a great choice for Gerri with that rare combination of flawless beauty and earthiness that is the golden rock to which Tom's life is moored. The pathetic figure of Migg was so woebegone that it made the thing work - who couldn't feel sympathy for such a bedraggled battered figure? So when things turn sinister it feels like a betrayal.
Last Gasp fell a little flat for me though Tamsin Grieg added a frisson with salty language and a heartless character. The Understudy was fun, particularly Pemberton's drunken thespianic rants and the twist another kicker.
Overall a splendid work. I sincerely hope these gentlemen can produce more like this because contemporary television needs all the help it can get.
--- update 2020 Feb 18 ---
Just recently caught up (as far as Zanzibar, more on that in a moment) and ... I see that I rated it 9/10 six years ago?
I'm older and wiser now so: 10/10 and holding fast.
I'll avoid spoilers but Zanzibar: being a big fan of Upstart Crow, to cast Helen Monks was delicious. (As I mentioned in another review of an In#9 episode "A Quiet Night In" in the use of Oona Chaplin for a largely silent comedy was a graceful nod. I've surely missed a hundred hidden homages and nods to past writers and works embedded in these little gems, a fine excuse for a few more viewings.)
To produce work of such consistently high quality, presented each time with a deep scoop of diverse plot (worthy of a mescaline trip) topped with fresh sprinkles of guest talent and wrapped in excellent production are what makes these series shine so very brightly.
I'm so proud that we have the supremely talented Misters P & S and that they have a voice.
(doffs hat)