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Inside No. 9

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Inside No. 9
Series one DVD cover, featuring Pemberton (top) and Shearsmith (bottom) as they appeared in episode 1, "Sardines"
Genre
Created by
Written by
Directed byDavid Kerr
Starring
Country of originUnited Kingdom
Original languageEnglish
No. of series1
No. of episodes6
Production
Executive producerJon Plowman
ProducerAdam Tandy
Production locationVarious
Running time30mins
Production companyBBC Comedy
Original release
Network
Release5 February (2014-02-05) –
12 March 2014 (2014-03-12)

Inside No. 9 is a British dark comedy anthology television programme written by Reece Shearsmith and Steve Pemberton and produced by the BBC. The first series was broadcast between 5 February and 12 March 2014 on BBC Two, and a second series has been commissioned. Each half-hour episode is a self-contained story with new characters and a new setting, and all star at least one (usually both) of Pemberton and Shearsmith. Aside from the writers, each episode has a new cast, allowing Inside No. 9 to attract a number of well-known actors. The stories are linked only by the fact that each takes place at a number 9, whether this is a suburban house, a gothic mansion or a dressing room. Pemberton and Shearsmith took inspiration for Inside No. 9 from an episode of Psychoville, a previous project, which was filmed in a single room. This episode was, in turn, inspired by Alfred Hitchcock's Rope. Inside No. 9 was also a reaction to Psychoville, which featured a long overarching story realised over multiple series.

The first series of Inside No. 9 was made up of six episodes. Themes and tone varied from episode-to-episode, but all had elements of comedy and horror. "Sardines" concerns a game of sardines at an engagement party. "A Quiet Night In", an episode almost entirely free of dialogue, follows a pair of hapless burglars breaking into a modernist house. In "Tom & Gerri", an aspiring novelist invites a homeless man into his flat. "Last Gasp" sees a popstar die while blowing up a balloon on a poorly girl's birthday. In "The Understudy", an understudy in a West End production of Macbeth longs for the lead role. The series's final episode was "The Harrowing", a gothic horror story in which a schoolgirl housesits a mansion belonging to a brother and sister. An online-only episode composed of cinemagraphs, "The Inventors", was also released by the BBC, but was not written by Pemberton and Shearsmith.

Inside No. 9 as a whole was very well received by critics, who praised the humour and creativity of the scripts, as well as the acting talent of the featured actors. The programme was variously described as "never less-than-captivating"[1] and "consistently compelling".[2] In addition, Inside No. 9 won the Sketch and Comedy prize at the 35th annual Banff World Media Festival Rockie Awards, and was nominated for the Best TV Sitcom prize at the 2014 Freesat Awards. However, sympathetic critics suggested that the programme may be an acquired taste; despite generally high acclaim, some journalists were highly critical of Inside No. 9, and the viewing figures were comparatively low. The first series was released on DVD on 17 March 2014.

Format

Inside No. 9 is an anthology series, with each episode featuring a new story, with a new setting and new characters.[3] Episodes last around half an hour, with the self-contained story reaching a conclusion.[4][5] The stories are linked only by the fact that each takes place in number 9, be that a mansion, a dressing room or a flat. Every episode stars at least one of Shearsmith or Pemberton, and normally both.[6]

As is typical of Shearsmith and Pemberton's work,[4] the scripts address dark topics, with, for instance, the first episode touching upon incest, child sexual abuse and murder.[5] The plotlines make use of twists and surprises of various sorts.[7][8] In an interview, Pemberton said that "there is always a desire to wrong-foot the viewer. That's what you strive to do".[9] The tone varies episode-by-episode. For example, while gothic horror was a major component in one case, other times slapstick comedy was used extensively.[9] Typically, the episodes begin with scenes of "utter banality", before the darker elements are revealed;[10] Inside No. 9 is generally more grounded and realistic than the writers' previous work.[3][11] Despite the various episodes featuring unrelated plots and characters, one reviewer said that they are all linked "by a mercurial synthesis of morbid comedy, wicked social commentary and a genuine creepiness".[3]

Production and development

In 2012, after the cancellation of their Psychoville, writers Steve Pemberton and Reece Shearsmith were commissioned to produce two series for the BBC by controllers Janice Hadlow and Cheryl Taylor, partially in response to Sky beginning to produce comedy. At the time, it was unclear whether this would be two series of Inside No. 9, then known by the working title Happy Endings, or a series of Inside No. 9 and a series of some other programme.[12] Inside No. 9 was to be produced by a BBC team,[12] which was later revealed to be David Kerr (director), Jon Plowman (executive producer) and Adam Tandy (producer).[13] The BBC ordered a second series of Inside No. 9 before the first episode had aired.[14]

Pemberton and Shearsmith took inspiration for Inside No. 9 from "David and Maureen", episode 4 of the first series of Psychoville, which was in turn inspired by Alfred Hitchcock's Rope. This episode took place entirely in a single room, and was filmed in only two shots.[5] At the same time, the concept of Inside No. 9 was a "reaction" to Psychoville, with Shearsmith saying that the two of them had "been so involved with labyrinthine over-arcing, we thought it would be nice to do six different stories with a complete new house of people each week. That's appealing, because as a viewer you might not like this story, but you've got a different one next week."[13] The pair returned to writing macabre stories, according to Shearsmith, as they "always feel slightly unfulfilled if [they] write something that's purely comedic, [as] it just feels too frivolous and light".[15] During the filming Inside No. 9, Shearsmith professed excitement to be working on the programme, saying that "[b]eing in the middle of filming a third series of Psychoville would be utterly depressing".[13] Pemberton and Shearsmith aimed for a simpler experience with Inside No. 9 than they had experienced with Psychoville, describing "Sardines", Inside No. 9's first episode, by saying that it was "just about some good actors in a wardrobe with a good story."[13]

Reece Shearsmith (pictured in 2003) cowrote Inside No. 9 with Steve Pemberton

The anthology series is a rare genre for British television programmes. Previous horror anthologies include Tales of the Unexpected, The Twilight Zone and Alfred Hitchcock Presents; while these would sometimes utilise comedic elements, they are more prominent in Inside No. 9. Murder Most Horrid followed a similar format, but was far more comedic than horrific. Other anthology-like series on British television include Seven of One and Comedy Playhouse, though these programmes lacked horror elements, and, unlike Inside No. 9, served as pilots for potential series. In more recent years, anthologies have become less popular with television executives. According to journalist and broadcaster Mark Lawson, this is because anthologies can fail to motivate viewers to stay with a series, and, further, new sets and casts must be paid for each episode, meaning that a six-part anthology series will generally be more expensive than a six-part series in a more standard format. For Lawson, Inside No. 9 was able to overcome these problems through the "pleasing coherence" offered by the fact each episode was set in a number 9, and "the wit and inventiveness" of the opening episodes, which could sufficiently engage viewers.[6]

Inspiration and production varied from installment to installment. After Shearsmith and Pemberton had decided that each episode would be about confinement, and having written some of the later episodes, they were inspired by a wardrobe in their working space for "Sardines". The writers were keen to see how confined they could make the characters,[16] aiming to induce feelings of claustrophobia in viewers.[15] The anthology format allowed Pemberton and Shearsmith to revisit prior ideas, which is what they did with "A Quiet Night In" and "Tom & Gerri". The former was inspired by the writers' efforts to include a long segment without dialogue in an episode of Psychoville. Both episodes followed break-ins.[17] The Pinteresque "Tom & Gerri" was based upon a play written by Pemberton and Shearsmith while the pair were living together and job seeking. The setting was based upon their own flat, while the character Tom's development evoked the experience of job-hunting.[18][19] "Last Gasp" was inspired by a person Pemberton had seen on Multi-Coloured Swap Shop who collected jars of air, as well as the death of Michael Jackson and the death of Amy Winehouse.[20] "The Understudy", the plot of which is partially based upon and concerns Macbeth, took longer to write than any other episode; the writers rewrote the script several times, as they were unsure of whether the characters should be amateur or professional actors.[21][21] "The Harrowing" was the writers' attempt to produce a gothic horror episode. They made use of more horror tropes than previous episodes, but the setting allowed them to include modern elements.[2][3][22][23]

Episodes

Series 1 (2014)

Overall
no. 		Title Location Original air date Viewers
(in millions)
1"Sardines"Bedroom in a country estate5 February 2014 (2014-02-05)1.1[24]
Rebecca and Jeremy hold an engagement party at Rebecca's family's mansion. The guests play the parlour game sardines, in which one person hides and the other players have to join them in their hiding place once they are found. As Rebecca's friends and family are packed into a wardrobe, secrets are gradually revealed.
2"A Quiet Night In"Modernist house12 February 2014 (2014-02-12)0.9[25]
Hapless cat burglars Eddie and Ray break in to the luxury house to try to steal a painting while Gerald and Sabrina, the couple who live in the house, argue. The episode progresses almost entirely without dialogue.
3"Tom & Gerri"Flat19 February 2014 (2014-02-19)1.1[Note A]
Tom is a frustrated primary school teacher and aspiring author. One night, a homeless man named Migg returns Tom's lost wallet, and Migg ends up living with Tom, to the frustration of Tom's girlfriend Gerri. Tom's life changes dramatically as a result.
4"Last Gasp"Suburban house26 February 2014 (2014-02-26)0.9[26]
Pop star Frankie J Parsons (accompanied by assistant Si and WishmakerUK representative Sally) visits the poorly Tamsin on her ninth birthday, but suddenly dies while blowing up a balloon. Graham, Tamsin's father, realises that Frankie's last breath could be highly valuable, and he, Sally and Si argue over ownership of the balloon.
5"The Understudy"Dressing room5 March 2014 (2014-03-05)0.7[27]
Successful West End actor Tony is starring in a production of Shakespeare's Macbeth. His understudy Jim has always wanted a starring role, and Jim's finacée Laura encourages him to push for Tony's job. The episode is written in five acts, and is loosely based upon the plot of Macbeth.
6"The Harrowing"Gothic mansion12 March 2014 (2014-03-12)0.8[28]
Katie is hired to housesit Hector and Tabitha's gothic mansion while the pair attend an important event. The house is is filled with paintings depicting Hell, and kept below freezing for Hector and Tabitha's heavily disabled brother, Andras, who is staying in his bedroom upstairs. Andras is not to be disturbed.

Online episode

A special online-only episode of Inside No. 9, "The Inventors", was launched by the BBC on 12 February 2014. "The Inventors" stars Tom Verall and Dan Renton Skinner as brothers who lost their mother in the Great Storm of 1987. The story is told through a series of cinemagraphs with dialogue. The episode is interactive, advancing only with input from the viewer. "The Inventors" was developed by media agency Kanoti, and produced by Jon Aird,[29] who had previously produced BAFTA-winning online content for Psychoville,[30] with executive producer Will Saunders.[29] It was directed by Martin Stirling.[31]

Cast

Gemma Arterton (pictured in 2013) played Gerri in "Tom & Gerri"
Tamsin Greig (pictured in 2010) played Sally in "Last Gasp"

As each episode of Inside No. 9 features new characters, the writers were able to attract actors who may have been unwilling to commit to an entire series.[5] The writers' reputation also helped attract writers, with journalist David Chater saying that they "have developed such a track record over the years that many of the finest actors in the country jump at the chance to appear in their dark imaginings".[32] Though Pemberton and Shearsmith generally starred in each episode, they did not necessarily take on the main roles. Shearsmith explained this by saying that they "didn't write this for us to be in. We wrote the stories first then thought, could we be in them?"[5]

"Sardines"[33]
"A Quiet Night In"[34]
"Tom & Gerri"[35]
"Last Gasp"[36]
"The Understudy"[37]
"The Harrowing"[38]

Distribution

The first series was released on DVD on 17 March 2014. In addition to the six episodes, the DVD featured Inside Inside No. 9, including unseen interviews with Pemberton, Shearsmith and Kerr, and a photo gallery with previously unreleased photos.[39] Published by 2 Entertain,[40] the DVD was rated 18 by the British Board of Film Classification.[39] "The Understudy" was the only individual episode rated 18, specifically for "strong gory images of suicide".[41] Other episodes were rated 15; this was for strong language ("Tom & Gerri" and "Last Gasp"),[42][43] strong language and sexual references ("Sardines"),[44] strong bloody violence ("A Quiet Night In")[45] and strong horror ("The Harrowing").[46] To publicise the DVD, the writers appeared at the Oxford Street, London, branch of HMV for a signing event on 20 March.[47] The DVD was reviewed by David Upton for webzine PopMatters, who gave the main feature an 8/10 rating, and the extras a 5/10 rating,[3] and Ben Walsh for The Independent, who gave the DVD overall 4/5.[40]

Reception

External videos
video icon "Boo"
Carl (Pemberton) finds Rebecca (Katherine Parkinson) and Ian (Tim Key) in the wardrobe. Taken from episode 1, "Sardines".
video icon "A canine inconvenience"
Burglars Eddie (Pemberton) and Ray (Shearsmith) are almost revealed by a barking dog. Taken from episode 2, "A Quiet Night In".
video icon "I'm not a vampire"
Katy (Aimee-Ffion Edwards) is introduced to Hector (Shearsmith) by Tabitha (Helen McCrory). Taken from episode 6, "The Harrowing".

Many critics responded very positively to Inside No. 9. After the final episode, comedic critic Bruce Dessau said on his website that the series "really set an early benchmark to beat for comedy of the year. It has been consistently compelling as each week we entered an entirely different world."[2] On the same day, David Chater, writing in The Times, said of the series as a whole that "[i]t's hard to know which to admire more – the rich and perverse imaginations of Steve Pemberton and Reece Shearsmith or the extraordinary range of acting talent that has brought this strange and memorable series to life."[48] Chater had previously described "A Quiet Night In", the second episode of Inside No. 9, as "the funniest, cleverest, most imaginative and original television I have seen for as long as I can remember – one of those fabulous programmes where time stands still and the world around you disappears".[49] Mark Jones (The Guardian) considered the whole series, saying that the Inside No. 9 was "never less-than-captivating",[1] while a review in the Liverpool Echo described every episode as "intriguing and lovingly-crafted", though it was felt that the first three episodes were stronger than the latter three.[50]

Writing before Inside No. 9 was televised, broadcaster and journalist Mark Lawson suggested that, among anthology series, the programme possessed "the potential to be remembered as a singular achievement".[6] Commending both the acting and writing of Inside No. 9, New Statesman television critic Rachel Cooke offered a positive verdict of the programme after seeing the first half of the series. Cooke expressed particular admiration of Pemberton and Shearsmith's ability to squeeze "perfectly formed narratives – characters with proper backstories, scenarios that are complicated and unwind relatively slowly – into just 30 minutes".[51] Also writing mid-series, journalist Gareth Lightfoot called Inside No. 9 "hands down the best, freshest thing on [television] at the moment" in the Evening Gazette, though he doubted whether it could truly be considered comedy.[19]

Donal Lynch, of Irish newspaper the Sunday Independent, suggested that, like the previous work of Pemberton and Shearsmith, Inside No. 9 may be something of "a cult hit/acquired taste".[52] Barry Didcock, of The Herald, expressed a similar sentiment, calling Inside No. 9 "probably the most Marmitey programme on television".[53] The Times published a response to a complaint received from a viewer, who was unhappy with Chater's positive reviews of Inside No. 9, suggesting that "A Quiet Night Night In" was more traumatic than humorous.[54] Some tabloid columnists also expressed dissatisfaction with the programme. Virginia Blackburn, of the Daily Express, wrote a highly critical review of "Last Gasp". Blackburn considered Inside No. 9 an example of the weakness of contemporary television comedy, saying that the episode is "not funny, it's not clever and is so utterly, irredeemably, naffly silly that it ends up being incredibly irritating and nothing else".[55] Another journalist unimpressed was the Daily Mirror columnist Kevin O'Sullivan, who dismissed the programme by saying simply "BBC2's alleged comedy Inside No. 9: didn't even smile".[56]

Cooke observed the difficulty in reviewing Inside No. 9 as a whole due to the fact that each episode is different from the last.[51] "Sardines" was commended for its cast and acting,[14][57][58][59] as well as the scripting,[57][58] but critics had a mixed response to the twist ending.[4][11][58][59] "A Quiet Night In" was a change in approach, relying on physical comedy,[60] but it was well-received as funny,[49][61] and inventive.[49][62] "Tom & Gerri" was less comedic but darker than previous episodes;[63][64][65] critics commended the plot,[66][67] but disagreed about the portrayal of mental illness in the episode.[63][66] Less horrific than other episodes in the series,[3] "Last Gasp" dealt with themes of celebrity culture and fandom,[68][69][70] and was considered a weaker installment.[68][71][72] Critics called "The Understudy" a "return to form".[73][74][75] While it was based upon Macbeth, a knowledge of the play was not necessary for enjoyment,[73][76] and the plot's divergence from the play was praised.[77][78][79] "The Harrowing" was the most horrific episode of the series,[3][80][81] and was considered genuinely scary by critics.[2][3][23][82]

Viewing figures

Despite the generally positive reception among critics and viewers,[83] the viewing figures for the series were poor.[2] The average viewing figures for the series were 904,000 people, or 4.9% of the audience, lower than the slot average of 970,000 (5.1% of the audience).[28] The series had a strong start,[2] with 1.1 million viewers, which was 5.6% of the British audience, watching "Sardines".[24] The series low was the fifth episode, "The Understudy", which attracted 720,000 viewers (4.1% of the market).[26][27][28]

Awards and nominations

Due in part to her role in "The Harrowing", Aimee-Ffion Edwards was shortlisted for WalesOnline's "Daffta" award for best actress, but lost to Eve Myles. The Dafftas celebrate Welsh television talent and prizes are awarded based on a public vote.[84] Inside No. 9 itself won the Sketch and Comedy prize at the 35th annual Banff World Media Festival Rockie Awards.[85] The other nominees were Do I Have to Take Care of Everything?, It's a Date, Tiny Plastic Men, Gangsta Granny and The Revolution Will Be Televised.[86] In response to the nomination, Shearsmith tweeted that he was "[t]hrilled", joking that the programme was "in 'Comedy'. I knew it was one".[87] Inside No. 9 was also nominated for Best TV Sitcom at the 2014 Freesat Awards,[88] which celebrate the best of free British television. The programme lost to BBC2's The Wrong Mans, as determined by a panel made up of television experts and commentators.[89][90] The other nominees were Birds of a Feather, Mrs. Brown's Boys and Toast of London.[88]

Explanatory notes

  • 1 Broadcast did not publish the viewing figures for "Tom & Gerri", but they can be approximately calculated given the series average and the viewing figures of the other episodes.

References

  1. ^ a b Arnold, Ben; Robinson, John; Stubbs, David; Catterall, Ali; Jones, Mark; Verdier, Hannah; Davies, Hannah J.; Bakare, Lanre (8 March 2014). "Television: Wednesday 12". The Guide, The Guardian. p. 64.{{cite news}}: CS1 maint: multiple names: authors list (link)
  2. ^ a b c d e f Dessau, Bruce (12 March 2014). "Preview: Inside No 9: The Harrowing, BBC2". Beyondthejoke.co.uk. Retrieved 18 April 2014.
  3. ^ a b c d e f g h Upton, David (26 March 2014). "'Inside No. 9' is a bit like a box of chocolates, albeit one full of dark, bitter sweets". PopMatters. Retrieved 21 April 2014.
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