33 posts tagged “philip glenister”

Just been brought to my attention: your own downloadable Gene Genie cellphone illustration!

http://www.voeveo.com/images/wallpaper/81694

It’s Ashes to Ashes Gene rather than Life on Mars Gene. And, fortunately, not US Life on Mars Capt Gene Hunt of the LAPD.
   I should also note that Voeveo is a Wellington, New Zealand-based company (as all the great internationals should be), one that has done well globally in spite of our government.

[Cross-posted] A very established New Zealand designer, Margarita Robertson of Nom D, and a newer label, Fly Guys, are profiled on the Lucire site this week. Sam Mitchell’s Q&A with Margi is probably the most in-depth that has ever been published. And we’re running another ex-print piece: my interview with Design Museum senior curator Donna Loveday, who curated When Philip Met Isabella, the exhibition about milliner Philip Treacy and his designs for the late Tatler editor Isabella Blow. That was one of those interviews that went very smoothly, since Donna and I share tastes in modernism and music. Beyond Treacy and Blow, she has rubbed shoulders with designers such as Pablo Ferro and the daughter of Robert Brownjohn, Eliza—and, on a more trivial note, she banks at the same place as Ashes to Ashes’ Philip Glenister—TV’s Gene Hunt. I hope you enjoy this trio of articles.

Quite a lot of the f word in this following segment of bloopers from the 2006 series of Life on Mars, but some of these are very funny. The first, and the last three, are among my favourites. Liz White’s bloopers are rather adorable.

Although I am a long-time Vox user (even a beta tester), this is the first time I have tried embedding something into a post. If it works, then enjoy!

The first time I read about Philip Glenister getting his driver off for speeding (35 mph in a 30 mph zone) I chuckled, as he adopted his Gene Hunt persona. The cop saw the actor and said, according to Glenister, ‘I’m terribly sorry about this sir, I’ll let you off this time if you don’t mind.’
   Glenister had apparently said to him prior, ‘Yes, I’m the one on the booze, not him. Go and catch some proper criminals.’
   Then I found the earliest article on the incident in the Daily Mail tabloid which contrasted this with others in the UK:

   Earlier this week it emerged that Sydney Duffy was fined for doing 35mph in a 30mph area when he tried to leave the road quickly as his wife had an epileptic fit. The 63-year-old has appealed against the fine from Cumbria police and will appear in court.
   And Stephanie Cornwall was issued with a £60 fine after rushing to hospital when her six year-old son Alfie was mauled by a dog. The mother, 40, from Leicestershire, was travelling at 37mph in a 30mph zone.

   One law for celebrities?
   The Met should have more sense than to fine people like Mr Duffy and Ms Cornwall.
   At least here the traffic cops allow for some speedometer error and that humans cannot be expected to constantly monitor their speed when traffic safety is at issue. If you kept staring at your speedo, you might get involved in an accident!
   It is worse here in New Zealand than it was 30 years ago but by and large, 5 mph is not something for the cops to get that upset about.
   I know there are exceptions but I am talking in a general sense. As we work in metric, 5 mph is roughly 8 km/h.
   The second incident probably would have been frowned on more today, less so 30 years ago: 7 mph goes past that 10 km/h leeway that some cops have as a rule of thumb.
   I tend to drive at the legal limit but realize that due to speedometer error I can be anywhere between 5 km/h over or under.
   The ‘Your speed is’ digital signs around some parts of New Zealand are helpful as a means of calibrating my own speedometer—so why do so many of them have their displays closed?
   They tend to show that my car’s 50 km/h is actually 47 km/h so I tend to go closer to 55 km/h on my speedo.
   The problem is that speeding here is governed by legislation that brings strict liability, which basically means “no excuses”.
   But I would think a Kiwi copper would have been able to judge in both cases somewhat better than his or her British counterpart.
   I am not sure if we would distinguish between celebrities and everyday folk. Any stories? I know of one incident told to me by an eyewitness (the passenger) where a rich driver was let off because of the car he drove, and the officers wound up going into macho mode to discuss the vehicle and neglected to issue a fine for excessive speeding. I cannot reveal more since I am not permitted to, and I would hope it is exceptional rather than commonplace.
   If a flash car could get me off a fine, I would have really opened up the Astons and Porsche 911 I have driven, but I prefer my clean licence (knock on wood) and was much more careful.

Ashes to Ashes’ final-episode viewing numbers were down, sadly, though the series average was still high enough for the BBC to commission a second series.
   They are logically down on Life on Mars because viewers didn’t expect there to be any surprises on Alex Drake’s predicament this time round. (Boy, did we get a big surprise.)
   I believe as word of the final filters out—that Alex Drake’s situation is different from Sam Tyler’s and raises the possibility that Gene Hunt and his team are real—the second series might do slightly better, especially its final.
   Reports are coming in that Ashes “only” scored 5·4 million viewers, still a healthy 23 per cent share, though it is down from the 7 million of the première.
   Compared with Life on Mars, this isn’t too bad given that people thought (and the producers allowed us to think) that there was less novelty to the premise.
   Some figures may help put this into perspective:

• Life on Mars’ first series average: 6·8 million
• Life on Mars’ first series final: 7·1 million

but:

• Life on Mars’ second series début: 5·7 million—despite heavy promotion and YouTube trailers
• Life on Mars’ second series, third episode: 4·8 million
• Ashes to Ashes’ first series début: 7 million
• Ashes to Ashes’ first series, second episode: 6·1 million
• Ashes to Ashes’ first series, fifth episode: 6·6 million

   While the final’s viewing numbers are poorer than episodes during the preceding seven weeks, the series has averaged well and now that there is an apparent twist, those who watched Life on Mars for a mindbender might just tune in to the second series of Ashes to Ashes. The BBC made the right call to renew.

Some of the best lines from the whole series were in Ashes to Ashes’ finalé:

Gene: ‘Is it just me, or are you talking in another dimension?’
Gene: ‘I can grow a moustache but I draw a line at a perm.’
Viv: ‘Pickpocket, a drunk, a guy who thinks he’s Sheena Easton. Same old, same old.’
Gene: ‘I’ve seen your rump, and I’ve seen more padding strapped to Ian Botham’s legs.’

and these only work in the context of the show:

Gene: ‘Bye, little lady. Any problems, you just call the Gene Genie.’
Gene: ‘I’m everywhere, Bolly. I was needed and I was there.’
Shaz: ‘I’m good, thanks to you, a guardian angel.’

   Final line was ‘Luigi, get me a beer,’ which takes me back to the same point in Life on Mars (final line, ‘Pub’).
   Well done Ashley Pharoah!

Keeley Hawes gave an excellent performance in the final of Ashes to Ashes last night—best I’ve ever seen her in anything. And the story—wow (spoiler alert).
   I know some fans are dismissing it as “not as good as Life on Mars” but I say the series was redeemed in that one episode, penned by co-creator Ashley Pharoah.
   Because Ashes finally gave a good mindf*** that makes you now wonder if it’s all inside Alex’s head as ‘constructs’—or is it now her memory?
   That finalé, where it was Gene, not Evan, who takes young Alex’s hand, was a total surprise to me. Her Dad turning into the evil Pierrot clown—amazing. It is better than Sam finding out that his Dad could have killed Annie. It also becomes very apparent why the première’s director, Jonny Campbell, was called back to do this episode.
   Geoffrey Palmer’s guest role as the real-life Lord Scarman, the comic turn of Alex in the tank, the two sides of Gene, the two ages of Alex in the police station—all these were brilliant elements in an episode that finally sees all eight outings of Ashes to Ashes come together. Talk about nicely tied together in a story arc.
   I can now say, ‘I told you so,’ when I said that Alex’s predicament is different from Sam Tyler’s and that Gene, Ray and Chris exist in another timeline—which brings back the validity of Soozanne’s theory penned this time last year.
   We were promised more of the ‘Gene Hunt mythology’ from Matthew Graham and Ashley Pharoah—and we got it. Fantastic! Best episode ever.
   The scene is now well set for the second series, which, after this, should do incredibly well.

As predicted (though you hardly needed to be a psychic medium to do so), Ashes to Ashes will get a second series, The Daily Telegraph reported today. It might not get a third, even though the BBC has an option for it: star Philip Glenister was quoted as saying, ‘We’ll start shooting a second series sometime in August. They’ve got an option for up to a third series.
   ‘But you tend to get an instinct about when something should finish. And I certainly wouldn't want to drag it on and on.
   ‘The character’s too good for that. I care about the character too much.’
   I know I am reading too much into this but remember, during Life on Mars, Glenister was also the one who said that they didn’t people to begin thinking, ‘Do you remember when Life on Mars was good?’ That, and Simm’s family commitments, saw that series end after two seasons.
   Meanwhile, in the tabloids:

The last two episodes of Ashes to Ashes have got better—either that or we are getting into the new universe of Alex Drake, where she is neither mad, in a coma nor back in time (at least not exactly). Keeley Hawes’s performance as Drake is getting stronger and as she is the protagonist, the show needs this. The whole annoying smart-arsed posh-tart Bolly Knickers approach has been toned down.
   Being a show that has to be shown in order, this development was probably unavoidable. In the old days, with self-contained episodes without story arcs, a TV series could start off with a stronger episode as the “pilot” and a weaker one later on. The Professionals was a good example: the first filmed was not the first aired.
   It is true that Ashes is no Life on Mars: it’s still not of the same quality, and the scripts are shallower. One blogger wrote that it has turned into yet another period cop show. That is not that unfair: Alex Drake doesn’t hear life support machines from 2008 and with the many scenes that do not involve her, it is clear that she is not in the same predicament as Sam Tyler in Life on Mars. Social issues are not dealt with the same contrast as in the earlier show, because the writers don’t feel the 1980s are as different from our present time as the 1970s.
   The characters, too, are shallower, with the exception of Drake, who is getting additional layers, and to an extent, DS Ray Carling (played by Dean Andrews). Philip Glenister seems more a copper put there to react to Alex’s psychobabble—I think I said Gene Hunt Lite a few weeks ago. There are no more memorable Geneisms, at least not of the level of Life on Mars—are we meant to believe he has mellowed since the passing of Sam Tyler? (I only remember two lines in two weeks: ‘You know, you might talk with a plum in your gob, luv, but I would rather go with one of them than waste my money on some bitter, twisted, messed-up, clenched-arsed, toffee-nosed bitch like you.’ And it’s hardly of the ‘armed bastards’ standard. Slightly better is ‘Who’s your mother? Marianne Faithfull?’ when confronting a drug courier who claims he’s transporting garden gnomes for his mother.) Gene’s whiny after being punched by Alex. Marshall Lancaster’s DC Chris Skelton is now there for comic relief. Both characters are shadows of their former selves.
   The story arc surrounding Alex’s parents works well and I am finally getting excited about the final episode for this year, which probably does finish with a bang (viz. the supposed murder of her parents).
   There are still slip-ups on cars: the fourth episode has a mid-1980s Austin Maestro van. Why do these shows get the wrong year Austins in? And I’m pretty sure the Transit in the third episode is newer than 1981—possibly 1984 or 1985?
   Mid-season episodes not written by their creators can become more formulaic and routine—Life on Mars was affected by this, too, in its first year, covered by the novelty of the re-creation of the 1980s. Ashes to Ashes has done well with a couple of episodes which I think are better than co-creator Ashley Pharoah’s second one.
   So, does anyone have any theories about Alex and where she is? Has she really leapt into someone’s body in 1981, in time for returning to 2008 by the end of the 16th episode and being able to find evidence of Sam Tyler’s 1973–80 past, leaving us on a cliffhanger?