Reviewed: The Politician’s Husband on BBC2

Blond ambition.

The Politician’s Husband

Wouldn’t it be great if TV baddies sometimes went into restaurants and ordered, say, a little bowl of miso with some steamed greens on the side? Alas, they never do. In The Politician’s Husband (25 April, 9pm), Paula Milne’s almost-reprise of her 1995 series, The Politician’s Wife, there is a baddie with the preposterous name of Bruce Babbish. Mr Babbish is a politician of uncertain hue – one’s party seems not to matter in this kind of series, a fact I find somewhat disorientating – and rather posh and bland to boot. But we know he is a baddie because at lunch he orders calves’ liver, rare, with a bottle of something expensive and red.

Crikey it’s weird, this series – and if we’re going to count the ways, we might as well start with David Tennant’s hair, which has been dyed blond so very inexpertly, I wondered if someone at the BBC, working under the pressure of budget cuts, had simply set about it with the Sun-In. Talk about Eighties: the poor sod looks like David Van Day from Dollar, which really doesn’t help when you’re pretending to be Aiden Hoynes, a Machiavellian former secretary of state for business with designs on No 10.

On the plus side, at least his wife, Freya Gardner (played by Emily Watson), the new secretary of state for work and pensions, looks nothing at all like Thereza Bazar (also late of the pop duo Dollar) – though it must be said that some of her moves in the bedroom could have come straight out of one of the band’s videos. Crikey, again. Is this how Ed Balls and Yvette Cooper carry on of an evening? No, don’t answer that. It was a rhetorical question.

But I’m rushing ahead of myself. What is The Politician’s Husband about? Apparently it’s about the “cesspit” of British politics (copyright: Hoynes’ father, a retired lecturer at the LSE) – a stinky world where you can’t trust anyone, not even your own wife. The set-up goes like this. Hoynes resigned from the cabinet, Hezza-style, hoping that this would trigger a leadership election that he would then win. However, his best friend and fellow cabinet member, Babbish – played with all the aplomb of a teak sideboard by Ed Stoppard – refused to back him in front of the cameras, with the result that, isolated and outcast, he has had to fall back on plan B: his wife. Having encouraged Freya to accept her own seat in cabinet, he intends using her as a spy and a weapon.

The only trouble is that the worm appears to be turning. Freya is clearly rather enjoying her taste of power. On Newsnight, she couldn’t even bring herself to tell Kirsty that she agreed with her husband’s dissident views on immigration. Poor Aiden. Where will this disloyalty end? He must be worried. Any minute now, she’s going to ditch their rampant sex life and cuddle up with her red box instead. Either that, or she’ll end up boffing Babbish, his nemesis.

Watson is a decent actor, but she’s not my – or anyone’s – idea of an MP, especially not a Tory one (the “dissident” immigration thing – in his resignation speech, Aiden claimed to be in favour of more of it – makes me think they must all be Tories after all). Those googly eyes, that tremulous voice; they just don’t work in this context. You can’t feel her ambition. Called to a meeting at Downing Street, she wandered into the cabinet room and, in a reverie of aspiration so intense I half expected Derren Brown to appear from behind the nearest baize door, lowered herself slowly into the PM’s seat. Instead of looking hungry, though, she merely looked like she had taken too much Valium.

Of course, this isn’t only Watson’s fault. What possessed Milne to come up with such an utterly lame scene? A good bit of writing would have had Freya greedily flicking her eyes in the direction of the cabinet table over her powder compact, not breaking her cover entirely. Because if she’s this obvious at the very epicentre of power – the chief whip, aka Roger Allam, might have strolled in at any moment – what chance does she have at home, where Aiden prowls anxiously in his dressing gown? (Another odd overstatement; he’s still an MP, after all.)

Not much, I’d say – though you can perhaps forgive her for having a false sense of security so far as her husband goes. Anyone would, given that hair.

David Tennant in The Politician's Husband. Photograph: BBC

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 April 2013 issue of the New Statesman, What makes us human?

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The new Gilmore Girls trailer is dated, weird, nostalgic and utterly brilliant

Except, of course, for the presence of Logan. I hate you, Logan.

When the date announcement trailer for Gilmore Girls came out, an alarm bell started ringing in my ears – it seemed like it was trying a little too hard to be fresh and modern, rather than the strange, outdated show we loved in the first place.

But in the lastest trailer, the references are dated and obscure and everything is great again. In the first five seconds we get nods to 1998 thriller Baby Moniter: Sound of Fear and 1996 TV movie Co-ed Call Girl. The up to date ones feel a little more… Gilmore: Ben Affleck, KonMari, the Tori Spelling suing Benihana scandal.

As in the last trailer, the nostalgia is palpable – a tour of Stars Hollow in snow, misty-eyed straplines, and in jokes with the audience about Kirk’s strange omnipotent character. It seems to avoid the saccharine though – with Rory and Lorelai balking at Emily’s enormous oil painting of her late husband.

What does it tell us about the plot of the new series? Luke and Lorelai are still together (for now), Rory has moved on from Stars Hollow, and Emily is grappling with the death of her husband (a necessary plot turn after the sad death of actor Edward Herrmann). In fact, Emily, Lorelai and Rory are all feeling a bit “lost”: Emily as she is trying to cope with her new life as a widow, Lorelai as she is questioning her “happy” settled life in Stars Hollow, and Rory because her life is in total flux.

We learn that Rory is unemployed and living a “rootless” or “vagabond” existence (translation: living between New York and London – we see skylines of both cities). But the fact that she can afford this jetset lifestyle while out of work, plus one plotline’s previous associations with London, points worryingly to one suggestion: Rory and Logan are endgame. (Kill me.) This seems even more likely considering Logan is the also the only Rory ex we see in a domestic setting, rather than in a neutral Stars Hollow location.

As for the other characters? Jess is inexplicably sat in a newsroom (is he working at the Stars Hollow Gazette?), Lane is still playing the drums (we know a Hep Alien reunion is on its way), Sookie is still cooking at the inn (and Melissa McCarthy’s comedy roles seem to have influenced the character’s appearance in the trailer’s only slapstick moment), Paris is potentially teaching at Chilton, Dean is STILL in Doose’s Market, Michelle is eternally rolling his eyes (but now with a shiny Macbook), Babette and Miss Patty are still running the town’s impressive amateur theatre scene, and Kirk is… well, Kirk.

The budget, context and some of the camerawork has evolved (the show’s style of filming barely changed excepting the experimental season seven), but much remains the same. For me, it’s the perfect combination of fan service, nostalgia, and modernisation (except, of course, for Logan. I hate you, Logan) – and seems to remain true to the spirit of the original show. Bring on 25 November!

Anna Leszkiewicz is a pop culture writer at the New Statesman.