Man About the House
The final episode of the second series sees Robin fail his catering course exams, facing the prospect of having to move back to Southampton and work in his father's tubing firm. We have met Robin's friend Larry before but this episode seems to mark the start of him taking a more regular role in the series. Larry is a tad less subtle than Robin but is still a rather likeable character. The star of the episode for me though was Robin's dad, played by Leslie Sands. Despite the family living in Southampton, Robin's dad has a broad Yorkshire accent. He comes across as an intelligent, self-made man who has provided all he can for his son. He also takes it in his stride after discovering that Robin's descriptions of his flatmates 'Chris' and 'Joe' are a touch out. Despite his mother's claims it turns out that Robin's dad is not so keen to have Robin return to join the family business. Robin's father sees his son as a good lad, but with no brains. He generously offers to pay for another year of catering college. The elder Mr Tripp is a stereotypical no-nonsense, straight to the point fellow. When Robin asks "You sure Mum's not going to be too disappointed?" the reply in a very matter-of-face tone is "Nay, nay. lad. nay. I'll get her a goldfish." Mr Tripp probably doesn't need to return but he really should.
Man About the House
The first episode of series three gives us new titles that reveal new haircuts for Robin and (I think) Chrissy (I'm not very good at these things). Richard O'Sullivan is now less of a, as Mr Roper would put it, "long-haired layabout" and has also lost most of his frankly magnificent sideburns. I wouldn't have expected to be keen but I actually think it rather suits him. I thought both he and Paula Wilcox's Chrissy looked rather attractive in this episode. Well, ahem, moving on... Larry has been staying with the three amigos for a fortnight. He's had the last of the milk, eaten their bacon for a late-night snack and to top it off he's smoked a pack of Robin's fags overnight. I haven't much touched on the booze and fags in Man About the House. It is something I half-notice every episode and yet it also feels very natural. In a manner only familiar to me previously from The Sweeney, the characters act very natural. Of course Robin casually drags on a fag whilst lying on the sofa and of course the very first thing Larry does upon waking is light up. Though it is undoubtedly in part down to a sitcom's limited number of sets, the trio's local, The Dirty Duck, is visited every episode. My favourite thing? Both the ladies drink beer. How often do you see that on 70s' telly? I cheer seeing it on contemporary programmes, though admittedly I have noticed lately that a few of the ladies of Coronation Street are partial to a pint. Cheers.
Man About the House
Robin is rather keen to sleep with a girl he's recently met. We've seen Robin with numerous dates in the first two series but none of the cast have so far had any luck in that department. The Ropers aren't even in the right store. Robin has planned a romantic evening in the flat and as he attempts to usher Chrissy out she meets his date. It turns out they were at convent school together but she's only been in London a few months. Chrissy becomes worried that her friend is less 'worldly' and a bit naive because she has only just made it to the big smoke. I was rather hoping the young lady would prove Chrissy wrong but when she and Robin finally get a night in together it becomes clear Chrissy was right. When Robin not so subtly hints that having had a chat and got to know each other it was time they got it on, the woman quite casually mentions it is her first time. As she speedily undoes her dress Robin panics. She thinks she is with a man who is serious about her whilst Robin was thinking they were both having a fun fling. Seeing Robin back out is great, hilarious and certainly redeems him. One of my favourite moments in this though was Mr Roper fixing the kitchen sink and when calling out, he manages to rhyme "Bucket" with "Fuck it".
Man About the House
It wasn't entirely clear before now but Chrissy and Jo do actually work for the same company. Mrs Roper is gripped by a romance novel of Chrissy's about a Jesuit priest. Meanwhile it is the annual office dance and the bloke Chrissy fancies already has a date so she convinces Robin to come with her. A black tie, formal evening is not quite his scene. Chrissy has given him a long list of things not to do including swearing, drinking too much or telling people he's a cookery student. When they sit down with an accountant and a solicitor Robin tells them he's a Jesuit priest. As the evening goes on he speaks to various people. He tells one that he's a brain surgeon and another that he's an MP. Man About the House is getting quite filthy. The double entendres are pouring down at times. I thought my mind could be dirty but the studio audience for Man About the House have imaginations like sewers. I love it.
Public Eye - The Morning Wasn't So Hot, Don't Forget You're Mine and Works With Chess, Not With Life
Recently I have had a procedure whereby I acquire DVDs from Network of programmes so good that I want to hold on and savour every episode. The result is it takes me a very long time to work through shows because I will only watch one single episode at a time. On Tuesday afternoon this procedure was chucked out of the window because Public Eye was just too brilliant. Prior to this I had watched only one episode from the set. The programme follows Frank Marker, an 'inquiry agent', who takes on all sorts of cases.
The Morning Wasn't So Hot sees Marker looking into a young girl who had come down to London from Hull and then disappeared. She turns out to have been recruited by a pimp. This episode is superbly constructed as we see a young fellow, Mason, recruit the girls at a cafe in a train station as soon as they have stepped off the train. We can guess what has happened long before Marker follows the trail there. The first girl Mason meets, Jenny, is a sullen, moody character who is not immediately taken in by his "What a pretty name" routine but nonetheless ends up with him. The second, Sue, is considerably more naive and falls for "actually a lot of my friends are models" hook, line and sinker. Bigger boys make their presence felt and Mason suddenly disappears. The basic plot doesn't feel particularly new to me but the scenes are all so tense and I love how things tend to be alluded to or hinted at. It makes this world feel dirtier. The episode's ending was unexpected and I was initially convinced it must be a two-parter. There is no great resolve and several of the character's futures are left looking bleak.
|Carole Ann Ford as Jenny|
Don't Forget You're Mine sees Frank move up to Birmingham. Being a native of the West Midlands I welcomed this move with open arms, only to find that Birmingham seems to have welcomed the rest of London too. In the previous episode there had been a young man supposedly from near Bridgnorth/the Black Country. His accent told me he certainly hadn't grown up anywhere near either areas. Whilst these Brum based episodes do contain a small number of attempts at 'Brummie' accents (Marker even puts one on over the phone), the main casts are all rather Queen's English and public schools. Marker starts on a missing person case that turns into divorce that turns into something else. It was an inventive shock twist. The attitudes to unmarried couples at that time are made firmly clear and makes me thankful for how far we've come.
|A non-Brummie school teacher|
Works With Chess, Not With Life also has the subject of divorce woven in. It feels an odd one as Marker gets three people involved all asking him to take on essentially the same case. None of the episodes are actually ever about Frank Marker. So far there is no private life - we don't see him so much as enjoying an off-duty drink at the pub. The clear conclusion to draw is that this is because he has none. The job is his life. But surely he can't spend every day as an 'inquiry agent'? There must be lulls in business. He must have free time. What does he do with it? Marker doesn't strike me as a sociable bloke. I can see him sitting at home reading or watching television. It is difficult to imagine much else. Marker is a fascinating guy and I love his no-bullshit approach. He is very confident, is not easily intimidated and has his own moral compass. I am curious as to where the series will take him.
Throughout these episode there are a few gaffs of bumbled lines or a boom mic dropping in. But my favourite is near the beginning of 'The Morning Wasn't So Hot' when the camera is positioned slightly too far to the right in Marker's office. It's swiftly corrected but we just about have time to see a member of crew standing in the corner.
Sleuths, Spies and Sorcerers: Andrew Marr's Paperback Heroes
The 'Sorcerer' element this week as Marr looks at fantasy stories. Whilst I was initially more interested than I expected to be, my interest dropped off as the episode went on. I want to say it's because I hadn't read most of the books mentioned but I hadn't last week either and the 'Sleuths' element had still held my attention. As I said before, the 'Spies' episode is what I am most looking forward to.
You just can't sum up this show - it needs to be seen. My favourite task this week was the special effects.
Man About the House
There is a mouse on the loose in the house and Robin uses it as a way to so very nearly get into bed with Chrissy. One of the highlights of this episode is a scene in Larry's room. He has brought a girl back after telling her he's a fashion photographer and Robin interrupts. On the table you can spot a Double Diamond beer lamp!
Public Eye - The Bromsgrove Venus
There are only five existing episodes from Public Eye's first three series and I watched four of them in two days. In this episode a librarian spots a photograph of his (tastefully) naked wife in a competition exhibition. The photo, dubbed 'The Bromsgrove Venus', has been entered by the assistant librarian. It is not explained exactly why the photograph is given that name. There are nearer places to Birmingham than Bromsgrove but I suppose 'The Solihull Venus' doesn't have quite the same ring to it. We also still don't know what part of Birmingham Frank Marker is operating in. It is increasingly apparent that wherever it is, it has a high population of people who were born elsewhere. There is barely a Brummie accent at all in this episode, though we do get a Liverpudlian one and a 'French' one. The librarian asks Marker to track down who took the photograph. This fairly simple task takes us down a complicated path that picks up blackmail on route.
|The Bromsgrove Venus|
Among my highlights in this episode was Marker's visit to the young assistant librarian, John Ingleby. He answers the door in a Japanese-style, slightly short dressing gown. He is anxious to get rid of Marker as he has the lights dimmed and someone coming over. When the guest arrives Marker opens the door to let them in as he is leaving. An older man enters and Ingleby is noticeably uncomfortable as Marker clearly works it out. Nothing is said though and Marker leaves. I am rather astounded and impressed they got away with this in 1968, only a year after the decriminalisation of homosexuality in England and Wales. My second highlight is Marker's visit to a nasty little shop run by a scruffy old woman. They have boxes you can rent to have mail sent to and Marker is trying to find out the name of one of the box renters. The woman doesn't fall for his talk though, calls him a "bastard", accuses him of being a copper ("I don't want coppers in a respectable shop!") then chases him out of the shop with her broom. As with the episodes of Callan I've watched (which also favours this word), the swearing has a lot of impact for me because I am really not expecting it. Such language is almost expected in post-watershed dramas now, it being argued, quite reasonably, that it is necessary for realism. I am not informed enough to know whether this would have been as true in the late 1960s. As well as 'bastard' there have been several occurrences of 'bitch' in Public Eye. I feel the need to read some sort of 1960s' handbook on the etiquette of swearing/blaspheming on television, a statement that I realise probably tells you plenty about me. If anyone should come across such a lovely book, Christmas is coming...
|The scary old shop keeper|
The Great British Bake Off - The Final
I had to go to great lengths to avoid having the result spoiled for me, like simply not looking at social media for a few hours. It was long, it was tough but I am so bloody thankful this series is over. Overall I have not felt as enthused as in previous years. The winner was fairly obvious early on. I don't know if this year's lot just weren't as good or if Mary and Paul have become more critical but it was the flippin final and bakes weren't perfect! Previous years' finals have been so close it seemed impossible to call because everything was just so big, so precise, so scumptious-looking. Not so much the case this year. Despite this, there were some masterpieces (I adore meringue) and there were two -TWO - Hollywood Handshakes. Let us all mourn the demise of BBC Bake Off.
Man About the House
Chrissy starts getting flowers and chocolate from "an admirer". She passes them on to Mildred who lets George believe they have been sent to her. When George finds out the truth he is a bit of a mean bastard, telling Mildred that the idea of anyone admiring her is farcical and he sits next to her laughing. Fast forward forty years and Mildred would have divorced George long ago. I do enjoy their scenes and obviously their marital strife is usually used very well for the comic effect. However to see George belittle Mildred so harshly was, I thought, a step too far. I am increasingly curious to see their spin off series.
Man About the House
Mildred goes to her sister's for a week and George takes the chance to give Chrissy, Jo and Robin their marching orders. His friend, Jerry (Roy Kinnear), is a builder and has convinced George to turn the flat into several "individual dwellings" to be able to make more money. I do find this plot a little iffy as it has been established previously that George doesn't actually own the house. The trio find out they are legally supposed to have three months notice but when Jerry tells the flat is needed for George's sick (also already dead) mother they start flat hunting. I have absolutely no idea of current rental prices in London but in 1974 the trio were willing to pay up to £12 a week each so £144 a month total. Thankfully Mildred returns home and order is restored. One thing never addressed in this episode is: what about Larry? He now lives in the converted attic but is neither seen or referred to during this episode.
Callan - Red Knight, White Knight
With the feeling that I could end up working though my Public Eye box a mite too fast I decided it would be a good idea to watch some Callan, a box set I previously left alone for fear I might work through it a mite too fast. Callan is, well it's difficult to say exactly. Spy, secret agent, assassin? They could probably all apply. Like Marker, Callan is individualistic. But whilst Marker chooses to do his work, Callan is considerably less keen and his old boss has been blackmailing him into it.
The opening of this episode was rather exciting for me because of the Thames Television logo used. This episode, the first of the second series, is also the first to have been made by Thames. I had never seen this logo before.
There is a new Colonel Hunter now (Michael Goodliffe) and Toby Meres slips Callan's file across his desk. Despite his dislike of Callan - "I detest him" - Meres rates him as an agent. Callan has been coming in to use the shooting range. New Hunter is appalled that someone who is no longer with them can walk in whenever he wants. Meres replies "He never officially left" and Hunter tells us that no one is ever officially in the department to begin with. Callan is called in and gets quite a shock that old Charlie is gone. He is his usual insolent self until this Hunter blackmails him too, saying they could easily get Callan "back inside". The "back" is interesting and I have no idea whether it is a slip of the tongue because it's the only allusion to Callan being in prison I've come across so far. We know he was in the army prior to joining the Section but that's the only background we have on him. After Hunter says "let's drop the informality", Callan stops calling him "mate" but it amuses me how Callan manages to inject the word "sir" with such a fantastic amount of contempt.
|A slightly stunned Callan meets the new Colonel Hunter|
Callan is tasked with helping to look after a defecting Russian. Callan was once sent to kill him but failed because "we were too good for each other". Callan doesn't trust this fellow, Bunin, at all, insisting from the start "Bunin's not a defector". When they go to meet Bunin at the airport he ropes in Lonely to check if they are being followed and the truth soon unravels. Bunin has come to assassinate the new Hunter, who used to be in the Foreign Office. This leads up to a tense and exciting final few scenes.
The new Hunter, Michael Goodliffe, has an odd and annoying parting in his hair. He also seemed very familiar to me and it took me a while to work it out. He reminds me of Jim Broadbent. That's it.
|Annoying parting is just visible on faux-Jim Broadbent|
Callan - The Most Promising Girl of Her Year
A young "lady biologist" (yes, they actually use this phrase) who has been assisting in work on a new nerve gas suddenly decides she wants to leave the job. This doesn't go down well with the powers that be as she has a photographic memory and they fear she could take her secrets elsewhere. Callan is asked to look into her and then when he finds out she has an East German boyfriend, to capture the bloke. Callan worms his way into Joan's life by striking up a conversation during the interval of a classical concert. He's very good at acting like a 'normal' bloke. He's friendly, makes jokes and pretends to be nervous. They go back to hers after to listen to records and she asks more about him. He tells her he used to be in the army so she asks whether he liked it because her dad did. "Oh yeah, it was great. Best time I ever had" he lies and internally thinks "*She likes you for that, Callan*". When Callan returns the next day he reveals himself to Joan (not like that!) and Meres follows afterwards so they can catch the guy that Donner, the East German, has sent to pick up Joan. The fellow is taken away and pumped full of drugs so he will tell them the whole plan. It is only then that Joan starts to believe the truth but she still loves Karl Donner and refuses to help the Section catch him. Hunter tells Callan to convince her, giving us a brilliant scene between Callan and Joan. He reads her some of Donner's file out, telling her how he's tricked another woman before. He tells her that Karl is highly trained and can look after himself with a gun. "Karl told me he hated killing" she objects, "I hate killing, I sometimes do it." "You don't hate it - you love it!" Callan's face instantly turns sour.
He yells "Look I don't have to justify myself to you, dar-lin'!" But after composing himself he takes a calmer approach, choosing to scare her instead. "It's very very real and very very nasty. Alright?You're trapped in it, darlin'. You can't get out." Thinking there's less chance Callan will have to kill Karl if she's there, Joan agrees to go along with it.
Callan's expression when Joan asks about the army gives him away completely to the audience and he is livid later with the way Joan sees him. Callan is not an emotionless, cold-blooded killer and I don't think he wants to be thought of as one either. He clearly has firm feelings about why he doesn't want to work for the Section but he is rather lumbered with it, whether they blackmail him or not. Hunter has pointed out previously that there is not much else men can do when they leave the Section. Callan's time as a bookkeeper has bored him rigid therefore I think secretly he probably enjoys the excitement of the job, if nothing else.
One thing I have finally got round to mentioning is Callan's inner voice. It's an aspect of the programme I have really grown to love. Sometimes it reveals Callan's true feelings to us and often it's just used for him to be sarcastic. Having not seen this used in any other similar shows, I've found it a superb little addition.
Armchair Theatre - A Magnum for Schneider
It had been a while since I watched the first few episode in my Callan box set so I decided to rewatch them. This Armchair Theatre episode is a sort of Callan pilot. I thoroughly enjoyed my rewatch of this and the following two episodes. I started writing some things down on this and the following episode, The Good Ones Are All Dead, a while ago so the details will come in a future post. Spoiler: I love it. Callan's opening titles are wonderful in their own way but I also adore the groovy Armchair Theatre ones used for this.
Callan - The Good Ones Are All Dead
One random note: Edward Woodward's haircut is much better in this than in Armchair Theatre, by which I mean it suits his thinning hairline far better. As the first actual episode of Callan we are introduced to the great titles I alluded to above. The black and white version isn't on YouTube so make do with a couple of screenshots, including the exploding lightbulb.
Callan - You Should Have Got Here Sooner
Lonely gets beaten up at home, only saved by the sudden arrival of Callan, causing the bloke to scarper out the back window. I spent the first few minutes of this episode rather distracted as I tried to work out where I recognised said bloke (Derek Newark) from. A little help from IMDB (regularly my savior) tells me I know him as Greg Sutton in a 1970 episode of Doctor Who - Inferno. This episode was a departure from the previous two as Callan doesn't actually have a job to do. Instead, he gets involved of his own volition after finding out Lonely robbed a flat occupied by a man Callan had put in prison. It's clear Callan has no loyalty to the Section as he undermines Toby Meres' work. We're starting to see that Callan has his own ethics and prefers to stick by them than support his former employers.
An exciting final episode of a series I have thoroughly enjoyed. Only a few days left and four contestants out of a starting ten are within reach of £100,000. The young girls are sadly caught out when someone dobs them in, despite a mighty attempt to escape. They got into a car with an old woman, Maureen, who nearly ran the hunters down in helping them escape and didn't mind them shouting 'fuck'. Bloody love Maureen. Despite nearly getting caught several times, Ayo managed to hold out. He had a lot of luck on his side and undoubtedly splitting up from his buddy Madu was a wise move. The other winner was only lovely Nick Cummings! I have loved this guy from the start. He seemed a really ordinary bloke but as the series went on we started to realise just how clever he was. His deception of the hunters with someone else dressed up like him was masterful and fantastic to watch. He was so nice and humble to everyone he met, which is probably why, unlike some of the other participants' helpers, no one turned him in. Things may have got him down at times but Nick never suffered the misery and paranoia of the rest of the fugitives. It was clear that he thoroughly enjoyed himself and his victory was well deserved.
Final episode of the new series. The Cat is the centre of attention for once and pulls it off superbly. I have enjoyed this series but no episode has stood out as outstanding. I feel a rewatch of them all is needed but as anyone who read my slagging off of the UKTV website can guess, I will be waiting for a DVD.
Whilst a chunk of the population were playing fancy dress, I began a thrilling Saturday night in by glancing over my ITV 60 box. I didn't really know what I was in the mood for but I had heard of Gideon's Way and knew it was a 60s' detective programme so took my chances. Like a few other programmes I've watched from this period, the opening doesn't follow the show's leads but instead gives us the background of the guest characters that week. A young couple are seen heading off to work and the young man later tells his coworker he's had a big win - £720 - on the football pools. After buying his wife a fur coat on the way home, he shows it to the landlord and tells him about the win. The landlord asks for a loan of £100 but the young man refuses. Shortly afterwards the man catches the landlord trying to steal the money, they fight and the man is killed in the struggle. The body is hidden and the young man's wife thinks he's disappeared. George Gideon of Scotland Yard ends up helping to solve the case. Gideon himself barely features in the episode. The tension is kept throughout as the landlord and his wife struggle to go on concealing what's happened. It was a nice, reasonably paced drama but I think the lack of a central character to follow is what caused me not to warm to it. I haven't checked but I would guess it had a fairly early evening time slot.
Four Feathers Fall - The Horse Thieves
Another ITV 60 programme. Having never heard of it, I didn't know what this was. I read the brief description and thought it was a sitcom. I laughed considerably when the episode started and it turned out to be a pre-Thunderbirds Gerry Anderson puppet show. Tex Tucker has four feathers in his cowboy hat that do some sort of magic, meaning his dog and horse can both talk. The dog sounds like Scrappy Doo and the horse is undoubtedly an English butler in another life. I spent the first few minutes flitting between open-mouthed awe and a huge grin. It was only fifteen minutes long and the story was just right for it. The traditional cowboy town has Tex 'Two Gun' Tucker defending it, which is best as the rest of the population seems to be entirely made up of a barman and three very old men. All five of their horses are stolen by Mexican bandits who positively piss their pants when Tex catches up with them. After Tex calls them "a couple of no-good horse thieves" one of them gives us this stupendous line of dialogue "What do you mean, 'no-good horse thieves'? We're very good horse thieves. Trouble is, we don't do it proper." This was a lot of fun. I'm familiar with Thunderbirds of course and have seen several episodes of another Gerry Anderson series, Fireball XL5, which I really like. Four Feathers Fall is the earliest of these I think. The puppets here don't blink, something I'm very glad was corrected for later shows because I found it incredibly disconcerting.
|'Two Gun' Tex himself|
|Those pesky bandits|
Gideon's Way just couldn't make up for the excitement I have been enjoying this week with Callan and Public Eye. With so much of the first three series missing, I have swiftly reached series four. This is the first series made by Thames Television instead of ABC so as with Callan we get a new opening. Callan was 1968 but this is 1969 so it's now similar to the one I'm used to seeing in colour.
I am gutted that the final episode of series three is missing because series four starts with Frank Marker banged up at H.M. Ford Prison. The opening titles are marvellously done and a neat idea.
He's about to be released on licence after serving time for possession of stolen goods. On reflection this really isn't too much of a shock. The nature of his work meant Marker always operated close to criminality and finally something caught him out. The lack of any authentic Brummies in Brum has at last put him off the place and he is setting up a new life in Brighton. Aside from looking up the wife of a fellow convict, Marker has no work of any sort to do in this episode. It is certainly a lot slower than the usual Public Eye episodes and it probably wouldn't be a good episode with which to introduce someone to the programme. However, after seeing several episodes' worth of Frank now it is a fantastic look at him as a person and I was intrigued throughout.
On getting to Brighton on the day of his release one of the first things Marker does is get himself a bottle of whisky and stand drinking it whilst looking out at the shore. He is soon picked up by a woman and they head back to her place. Marker's been such a blank canvas up until now that I have pretty much viewed him asexually so this was quite a surprise. There is a very distracting sight of the woman's black stockings and they get down to a bit of smooching.
Before things can really get going he pops to the smallest room and whilst he is gone the woman takes a note from his wallet to stuff down her bra. Marker checks as soon as he returns and demands it back. She's glanced over his release papers too though and grins at him as she says "Look, you got out this morning. You call the police, tell them your version, I'll tell them mine, see which they believe." There is a fair struggle and Frank gets more and more pissed off. I feel so bad that such an unsociable guy speaks to someone for once and ends up with someone trying to rob him.
|"You wouldn't!" "I would if I had to!"|
Marker has several chats throughout the episode with his probation officer and one with a fellow who, I think, is the prison governor. They've sorted out somewhere to live for Marker, a room in a B&B, but he's less than happy about it because he's used to being secluded on his own. This independence is basically what these conversations centre around. They are worried because Marker has no one on the outside to turn to - no family, no friends. He has been a model prisoner but they feel his chances of coping out of prison would be improved if he had someone, anyone, to talk things over with. Marker is somewhat baffled by this reaction as he has managed fine so far. We also find out he is perhaps not just content on his own but possibly even prefers it. When his probation officer asks about making friends, Marker replies "I've never really tried." Going through his details on a form the officer notes that Marker has never married and isn't "queer" to which Marker replies "How do you know?!" though he afterwards admits that he isn't. At their final meeting in the episode, Marker sits there clock watching. The minutes go by slowly and he is clearly anxious to leave. Discussing the terms of his probation, he gets angry. He doesn't like the idea of having people checking up on him and he doesn't see what there is to talk about with his probation officer every week or fortnight or whatever. Marker doesn't want the intrusion. He wants to go back to going it alone and doing things his own way. This was such a fascinating episode and I am curious to see whether Marker does slip back into things perfectly well or not.
Callan - Red Knight, White Knight and The Most Promising Girl of Her Year
Yep, that's right, I rewatched two episodes I had watched only a few days earlier. May have taken my enthusiasm too far. Red Knight, White Knight was more background telly whilst I did other things but I did particularly enjoy the scene between Callan and the new Hunter. The Most Promising Girl Of Her Year meanwhile soothed me into dreamland. Sort of. It's rare I will watch telly immediately before bed and Sunday night proved why. I struggled to sleep, still being too wrapped up in the excitement of what I'd just watched.
5 new - the only things I watched this week that were first broadcast after 1975
Best: Another very strong week, especially with the Callan episodes, but Public Eye's The Morning Wasn't So Hot nudges ahead to be the outright winner.
Worst: Not woeful - Sleuths, Spies and Sorcerers: Andrew Marr's Paperback Heroes although the Man About the House with 'an admirer' came close.