Inside No. 9

• Shearsmith and Pemberton’s previous endeavour, the underrated Psychoville, wasn’t given a third series by the BBC, more’s the pity. The silver lining is Inside No.9, one of the best pieces of British television in years, and a testament to what happens when talent is trusted.

• Unlike other anthology series, Inside No. 9 not only reinvents itself with each episode, its multi-genre approach gives the showrunners plenty of chances to experiment. One episode could be science fiction, and then the next is a comedy. There is really no telling what’s in store for viewers as they tune in.

• As with series one’s completely silent episode A Quiet Night In, the gimmickry works to set the scene and enrich the episode. Here, the stage/set is in the split screen, the space for the actors/characters to perform the play/film. Cold Comfort’s slick merging of stage and screen formats is fitting for writers/performers Pemberton and Shearsmith’s first outing as directors. What must have been a nightmare of a puzzle to put together during filming, results in some impressive television.

• Inside No. 9 is an odd TV series. In every respect. But Inside No. 9 is also a perfect series, at least in its pilot. It is odd because it is not a traditional series, but an anthology where standalone episodes are completely separate from one another. It is perfect because its writing is crafted so impeccably that it genuinely commands applause.

• Behind every shiny wrapper is a new take on an old genre, and no two are alike. One minute, writers and stars Steve Pemberton and Reece Shearsmith are clowning around, giving it the full spinning bow tie, the next they’re scaring the life out of you or plumbing the depths of utter turpitude. Or just skilfully and cruelly breaking your heart, as they did in series two’s astonishing episode, The 12 Days of Christine: still one of the finest half-hours of television ever made.

1 / 5