Golden Globe Awards 2012

It was a triumphant night for British talent at last night’s Golden Globes.

Click here for photos from the ceremony and the red carpet

British recipients of the Golden Globe awards included Kate Winslet, Idris Elba and period drama Downton Abbey.

An emotional Kate Winslet picked up an award for Best Actress in a Miniseries or TV Movie for her role in Mildred Pierce. She told the audience: "I'd like to thank the Hollywood Foreign Press for giving this award to me and for putting me in a category with such incredible heavyweights whom I feel honoured to stand alongside."

Discussing the show's win at last year's Emmy Awards, the New Statesman's Ryan Gilbey questioned whether all the best directors are heading to TV:

Not too long ago, this would have looked like a knock-out cast list for a mid-budget, grown-up Hollywood movie: Glenn Close, Alec Baldwin, Forest Whitaker, Kelly Macdonald, Steve Buscemi, James Woods, Guy Pearce, Michael Pitt, Gabriel Byrne, Kathy Bates, Minnie Driver... Now, it represents a cursory roll-call of US television.

ITV period drama Downton Abbey about the aristocratic Crawley family and their servants was named best television miniseries, proving the show's success on both sides of the Atlantic. The show's creator, Oscar-winner Julian Fellowes, who accepted the award at the Beverly Hills ceremony said: "The whole Downton Abbey adventure has been an extraordinary one, like spotting a promising child and waking up to find they won the Olympics."

However, Rachel Cooke in the New Statesman opined:

How is it that this much-hyped series has turned out to be such a disappointment? I was determined to love it and, after struggling to feel even remotely involved during part one, I decided to keep my doubts to myself. Perhaps it would pick up. Yes, I felt patronised by the explanatory dialogue. Yes, the soundtrack was intrusive. Yes, virtually every costume-drama cliché one can think of had been concertinaed into a little over an hour's worth of television... Yet, now that I've seen part two, I'm already thoroughly sick of the bitchy servants and couldn't care less who inherits Lord Grantham's pile. If they turned Downton into timeshare flats, I'm not sure I would be exactly sad. Julian Fellowes, who won an Oscar for his script for Gosford Park, another big-house-in-changing-times drama, is obsessed by social class and I think Downton Abbey is a victim of that fixation: the series has no light and shade because its only preoccupation is where anyone stands in the house's hierarchy. As a result, everything else - plot, character - has been bleached out...

This is status-quo television, uncomplicated and undemanding, with backstories that are easily tied up between ad breaks."

British star Idris Elba collected a best actor award for his role in BBC crime series Luther at the ceremony, which was hosted for the third time by British comedian Ricky Gervais.

HELEN SLOAN / THE FALL 3 LTD
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The Fall is back - and once again making me weary

Five more episodes to go, after which its “feminist” writer (his word, not mine), Allan Cubitt, should pull the plug on it at last. Plus: Damned.

It is with much weariness that I return to The Fall (Thursdays, 9pm), the creepy drama that still doesn’t know whether it wants to be a horror-fest or a love story. I’ve written in the past about what I regard as its basic misogyny – to sum up, it seems to me to make a fetish of the violence committed against women, a preoccupation it pathetically tries to disguise by dint of its main character being a female detective – and I don’t propose to return to that theme now. However, in its early days, it was at least moderately gripping. Now, though, it appears to be recovering from some kind of nervous breakdown. If in series two the plot was wobbling all over the place, series three has misplaced the idea of drama altogether. Nothing is happening. At all.

To recap: at the end of the last series, Paul Spector, aka the Belfast Strangler (Jamie Dornan), had been shot while in police custody, somewhat improbably by a man who blames him for the demise of his marriage (oh, that Spector were only responsible for breaking up a few relationships). On the plus side for his supposed nemesis, DSI Stella Gibson (Gillian Anderson), before he fell he led them to Rose Stagg, the ex-girlfriend he’d locked in the boot of a car some days previously, and she is going to live. On the minus side, Spector’s injuries are so bad, it’s touch and go whether he’ll survive, and so Gibson may never see him brought to justice. Of course, the word “justice” is something of a red herring here.

The real reason she wants Spector to live is more dubious. As she stared at his body in the ICU, all tubes and monitors, her expression was so obviously sexual – her mouth opened, and stayed that way, as her eyes ran over every part of his body – that I half expected her to reach out and stroke him. Just in time for this nocturnal visit, she’d slipped into another of her slinky silk blouses that look like poured cream. (Moments earlier – think Jackie Kennedy in 1963 – she’d still been covered in her love object’s blood.)

The entire episode took place at the hospital, police procedural having morphed suddenly into Bodies or Cardiac Arrest. Except, this was so much more boring and cliché-bound than those excellent series – and so badly in need of their verisimilitude. When I watch The Fall, I’m all questions. Why doesn’t Stella ever tie her hair back? And why does she always wear high heels, even when trying to apprehend criminals? For how much longer will the presumably cash-strapped Police Service of Northern Ireland allow her to live in a posh hotel? Above all, I find myself thinking: why has this series been so acclaimed? First it was nasty, and then it was only bad. Five more episodes to go, after which its “feminist” writer (his word, not mine), Allan Cubitt, should join Gibson in the ICU, where together they can ceremonially pull the plug on it at last.

Can Jo Brand do for social workers in her new comedy, Damned, what she did a few years ago for geriatric nurses in the brilliant Getting On? I expect she probably can, even though this Channel 4 series (Tuesdays, 10pm), co-written with Morwenna Banks and Will Smith, does have an awfully inky heart. Hungry children, drug-addict parents, a man who can go nowhere without his oxygen tank: all three were present and correct when Rose (Brand) went to visit a client who turned out to be a woman who, long ago, had nicked her (Rose’s) boyfriend. Ha ha? Boohoo, more like.

Damned is basically The Office with added family dysfunction. Al (Alan Davies) is a hen-pecked wimp, Nitin (Himesh Patel) is a snitch, and Nat (Isy Suttie) is the stupidest and most annoying temp in the Western world. This lot have two bosses: Martin (Kevin Eldon), a kindly widower, and Denise (Georgie Glen), the cost-cutting line manager from hell. And Rose has a plonker of an ex-husband, Lee (Nick Hancock). “I’ve been invited to the Cotswolds for the weekend,” he told her, trying to wriggle out of looking after the children. “Is that why you look like a knob?” she replied.

Jerky camerawork, naturalistic acting, a certain daring when it comes to jokes about, say, race: these things are pretty familiar by now, but I like it all the same.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 29 September 2016 issue of the New Statesman, May’s new Tories