BBC Description for Episode 6: “After the events of recent weeks, Nathan and Charlotte’s marriage faces its greatest test yet.”
Credits:
Nathan Appleby: Colin Morgan
Charlotte Appleby: Charlotte Spencer
Matthew Denning: Nicholas Woodeson
Gwen Pearce: Kerrie Hayes
Gideon Langtree: Malcolm Storry
Lara: Chloe Pirrie
Sylvia: Diana Quick
William Payne: David Oakes
Gabriel: Arthur Bateman
Dr Kahn: Sudha Bhuchar
Ben: Royce Pierreson
Harriet Denning: Tallulah Haddon
Mary Denning: Marianne Oldham
Masked Man: Jacob Fortune-Lloyd
Writer: Simon Tyrrell
Producer: Eliza Mellor
Director: Sam Donovan
Psychiatric Nurse: Syrus Lowe
… I copy/paste these credits from the BBC’s website. Why is the actor Syrus Lowe credited after the major production staff roles? Either someone was lazy adding it to the end instead of in correct order next to Sudha Bhuchar who he shares scenes with …or maybe its time to play the [play the racism card] due to an unintended slip up.
Victim of the Week: Nathan by his nearest and dearest (dead and alive and, unintentionally, not even born yet). Charlotte I guess due to her husbands mental instability (I don’t side with such aggressive behaviour towards the mentally ill which is excused due to the person being ‘frustrated’). The town as a whole really as the landowner has gone downhill rapidly.
Synopsis:
Nathan is stood at the edge of the lake mirrored on its surface. He demands Gabriel show himself. He will do whatever it takes to see him.
We see a modern interior and someone asleep in bed. Rock-a-by-baby is being sung by a boy walking down the corridor towards the woman in her bed. ITs red coat. She always looks cross-eyed. She asks what Gabriel wants. ‘Help me’ he says. The boy’s a bad actor. This episode is going to be fun…
Red coat is being served breakfast in bed by a man. It seems she is a mental hospital patient. I wish I could say I’m surprised but this series really comes across as an ardent skeptic told to write fantasy and so goes about it in the most half-hearted derogatory way possible. She is given her pills to take. She has a visitor so she can go down to the day room and he will take care of the baby. It’s going to be an inanimate doll isn’t it? She spits the pills out.
Red Coat’s name is Lara. Ben told granny Lara had admitted herself for seeing things. It’s her granny who has visited her. Asks how the baby is. Lara saw the boy. So did Lara apparently. It was blamed on post-natal depression. postpartum psychosis in Lara’s case. Granny brings an attaché case out and has Lara open it. Nathan is her great-great grandfather. RIGHT WELL THERE WE GO END OF SERIES – LETS ALL LEAVE NOW. WE KNOW THE UNBORN BABY THUS SURVIVES AND DOOPDY DOOPDY DOO WE GET HERE AND THE FAMILY HAS VAGUE TELEPATHIC ABILITIES CASE CLOSED. Gran calls him a handsome devil. Lara also see the boy’s photo. Granny recounts that Gabriel drowned. And then they look at Nathan’s work book from 1894 the year her mother was conceived. Lara photo’s them with her tablet. The Appleby house, Shepzoy, was sold when Lara was a baby and all of this was hidden from Lara’s mother (who at this point is the missing link of this family) but Granny reflects she should have let her know.
Granny hopes seeing this doesn’t make it worse. Lara replies maybe that’s what she needs – to get worse. to get better. (Movie logic which in real life would never be beneficial). The staff members, and Asian doctor and a black attendant (from earlier) discuss Lara’s request to leave. She claims the hallucinations have stopped though only last week she was reporting suicidal ideation. ‘And the family history’ she adds at the end. Lara’s mother killed herself when Lara was three months old. The doctor decides they must keep her in – under section if necessary.
Lara’s baby (who is real) is cradled by its daddy. He is mixed race. Why am I mentioning people’s’ ethnicities? Well recently the BBC have really taken to their equal representation policy seriously by having casts for as many shows as possible to have multiple ethnicities. If you saw the recent War and Peace production it definitely has a more varied cast than the 1970s version. In shows of fantasy or family orientated programming, such as Merlin, they always ensure this. My point? They had an all white cast in this series until this episode and seem to feel the need to include as many non-white actors now they can during the modern parts and its a bit of an overkill. They’ve had black actors in Charles Dickens productions before so they could have had some of the itinerant field workers be non-white without breaking the quasi-realism of the series. It almost feels like they believe there were only Western European Caucasians in Britain in 1894. Admittedly other ethnicities were much rarer but for their mandate I think everyone would have excused it. Is that why this series was premiered online as a box set? Because someone thought it wasn’t representative enough? That is an awkward situation if so. I would rather they just get the best actors for the roles than give the impression that they are being forced to follow a mandate when needed.
They say its a shame that she has to say but they’re the professionals and know best. She sends her partner to get a toy left in the day room while she steals the car keys and escapes with her child. They head to the Appleby house. You would think it is being lived in but apparently not. Partner leaves her a voice message noting his missing keys and child, named Lottie, and is concerned but just wants to know they are alright.
They arrive at the house and we see her enter as she did at the end of one of the other episodes. In the window we see Gabriel looking down.
Back in 1894 Gwen tells Charlotte that Mr Payne is waiting for her. so that’s his role in the story is it? To swoop in and save Charlotte? Charlotte doesn’t want to see him and asks if Gwen has seen her husband. NO. Unfortunately Mr PAyne has turned up and they have an awkward exchange similar to Hugh Grant in a rom-com. He has a proposition for her. Nathan appears dishevelled. Mr Payne hopes they do not miss the workers who hae abandoned their farm ‘a lack of faith’ he offers as reason. Charlotte says ‘we do not lack faith’ to which Nathan laughs disjointedly.
Mr Payne wishes to purchase the two acres of marshy land that border his estate. ‘By the lane? It’s worthless’ Nathan replies. Mr Payne intends to drain the field on his side and pump it. Charlotte says it is ambitious and takes a shine to him. Nathan stalks towards him commenting on him ‘advancing with your speculator’s fortune, step by step, parading you innovation and determination (So Nathan is no longer the man he was at the start, a man of science and modernity, but obsessed by the supernatural). Qualities he notes his wife admires. So he is also paranoid now. He says he was joking when Charlotte gets this impression too. ‘The bog is yours if my wife is willing’ he says as he exits.
She excuses him saying ‘he has been working late. Writing.’ Mr Payne politely says he is a gifted man. She excuses herself. She goes to Nathan and says she has suffered through hell with him and his madness. She asks if they can at least appear competent. Author on board condemning of mental illness rather than demonstrating how societal norms have changed. If the intention was otherwise this dialogue was a bit clumsy.
He notes she is being cold with him after she asked him to be more animated and that he had lost the spring in his step. She says she is going with mr Payne to look ast the land because they need more money to pay wages. ‘to keep going’ he mocks as he has clearly given up on life since the revelations regarding his son’s spirit still being around. He comments ‘A good man, an ideal husband.’ as she walks away.
In the field Charlotte and Mr Payne discuss matters but her dress gets caught on a rusty piece of metal protruding from the land. Is Payne a killer who has hidden his wife’s corpse? It seems like they want to hint this, or some other hidden agenda, but don’t dedicate to it.
Back in the house Nathan appears at the door to the kitchen surprising Gwen. He mocks that she took him ‘for a ghost of my former self’. She offers him breakfast but he says his appetite seems to have waned. He asks about her hedge witch cures. She is a witch (albeit actually quite a fair depiction of the ‘wise/cunning man/woman’ who used to actually exsist providing folk remedies and such to thier local community. I wish they had made more of this not just toy with the idea to explain why she had poison – in an era where posions in all homes were even more commonplace than they are now). He wants to see those. She shows him them in her locked case. He looks through the bottles. He finds a bottle of psilocybin mushrooms – hallucinogenics which Gwen claims are ‘to help explore a difficulty, to see it, to feel it differently. To be used with caution’. He says he saw them being used on two melancholy patients. One, a woman, broke through her malaise emerging shaken but much better but the other, a man, saw more tha his doctor bargained for before taking his own life. ‘kill or cure’. He finds a bottle containing deadly nightshade. She says she has only used a trace as ‘more could be the death of you’. He sees why she locks it, thanks her and leaves. Quickly she locks it again looking concerned.
Charlotte returns with Mr Payne and speaks to Gideon the foreman. They are short-handed but he has a merge collection of turnips. She commiserates the effect it has had on him being one of the few left.’Thems that left got fainter hearts’ he assures her ‘maybe we don’t need them’… but he is an old man and the signs of the strain show on him. She says he saw her with mr Payne. She asks if Gideon can help dig up the abandoned machinery there. Gideon wonders if that’s what he is after. Charlotte laughs about it being buried treasure. She thanks him and invites him to the kitchen for some warm cider brandy when he is done. He continues his work having thanked her.
Charlotte returns to see Nathan trying to see Gabriel in a mirror but she distracts him by appearing in it instead.
The reverend Denning is walking down the road as more people leave declaring to him the place to be cursed. He hopes may the lord watch over them and is returned the courtesy. Charlotte is walking behind them. The Reverend invites her into the Wheatsheaf to sit by the fire. In the now empty pub he gives her warm sugar-water and a dash of brandy. He asks how her husband is. ‘Somewhat remote. More so every day’ she answers. Then she begins to tear up saying that their baby is growing inside her and she doesn’t know what to do. The reverend offers to talk to him. There is a lot of people thanking each other in this episode.
Denning finds Nathan in the forest wandering. ‘Lost you flock’ Nathan mocks. ‘Always hoping to find one gone astray’ the Reverend answers back. Nathan apologises for mishandling him and for what he did to Harriet, Denning’s Daughter, but he is best left alone now. Denning says Charlotte fears for Nathan’s happiness. ‘What is happiness? A man needs peace of mind. you have your faith. You should be in a monastery. If I had it I would be. I’d sit in a cell. I would watch the light move from wall to wall. I would contemplate eternity.‘ Denning challenges him that he would not miss the world, his wife or the child that is coming? Nathan speaks of Gabriel which Denning believes is causing Nathan to fear that he will lose this child as well. But maybe tis not fear but guilt but the pregnancy is a gift. ‘A gift of God‘, Nathan mocks, ‘so it was God who took my son away, sending down this angel with her book of light to lead him to his doom, she who appeared to you daughter and to me? I fear… I fear she hasn’t Denning. His soul is living. His soul, which you believe, is not at peace. He’s isolated, he’s tormented.‘
‘Its YOU you are describing!‘ shouts Denning. ‘You in purgatory unable to move on. And its you pulling others into your unhappiness. My daughter. The village. It’s you Nathan!‘
‘Me. The lost soul? I must find a way out.‘ he replies.
Denning tells him to be with his wife not the dead. Nathan mocks that its sensible advice.
Back in modern times Lara’s partner has left another voice mail asking if she is okay as she checks the house. She breathes heavily… just to make it more creepy. The house is unlit and she is using a torch. She goes up the creaking stairs leaving the baby alone. Gabriel appears near the baby and looks down on it making it cry. Lara appears with the torch under he face. She has Nathan’s snowglobe and has found the cot. She makes the fire and they sit in that room. She listens to her partner’s voice mail saying he needs her to pick up the phone. Apparently he had also texted her. She texts back ‘Sorry I left like that, I just need a few days we’re fine’. It is 22.00 and she looks at old photos on her tablet. Hell of a battery life on that thing then. She looks at photos of Charlie, Martha, Jack and Nathan’s book. She notes references to a book of light and sees the stick figure drawing and finally pieces together its her it’s referring to. Apparently its an iPad specifically. How she can tell the brand of the item I have no idea but then this is part funded by American money so who knows. She hears a door bang and goes to investigate.
In the corridor, only lit by her iPad, she tells Gabriel she knows who he is. She wants to help him but doesn’t know how. Gabriel says ‘he wants a new baby’ and before she can explain he has disappeared.
Bak in 1894 Nathan is writing. He criticises Charlotte for not knocking and disrupting his privacy while he tries to find privacy. She says he doesn’t want the new baby. She asks if he wants her to fall down the stair and give him his miscarriage. ‘No, of course not.’ She says it’s what he wants – she can ‘feel it like ice’. He asks why would he want her to miscarry? ‘Because you cannot bear to be a father again’ she answers disdainfully then leaves saying she is going away from his cold eyes. ‘What do you think I’ll do, freeze the baby in your womb? And you look at me as if I’m the mad one. But it’s you. You’re afraid of giving birth, of motherhood, and so you project this infanticidal urge onto me, making me the thing you fear, which is not only unfair… but stupid!‘ She answers back ‘And you’re so clever because you found a profession where you could feel less damaged because everyone else is damaged more… and now down here you have to face it. There’s something wrong with your mind… and your heart… and your soul!‘ He attacks saying he can’t recall what he liked about her. She leaves holding back tears. He apologises after she leaves.
She walks across the fields with a hat on looking lost inside.
He is in his study taking baby shoes and other items out fo a box. He says ‘just us now just you and me’ looking at a photo of Gabriel.
The next morning Gwen apologises for arriving late and asks if Charlotte is there. Nathan tells her to take a few days off. He says Charlotte is gone and the sooner Gwen follows the better. So Gwen leaves confused.
In modern-day Lara is filming a walk through the dilapidated house going towards the kitchen. She is filming it for her grandmother. How does she know where this place is if it was sold shortly after her birth and no one spoke of it? Presumably the granny told her but it was off-screen. There are modern fixtures in the house so it wasn’t empty too long ago. Theres graffiti tags on the wall and Lottie, the baby, begins to cry again. She sets up a baby monitor so she can go explore the house. Quite prepared for someone who fled a mental ward and headed straight to the house. Of course Gabriel is lurking in the background.
Lara reads Nathan’s note-book recounting how Gabriel’s guardian angel was otherwise. ‘Who is the woman with the book of light? Gabriel saw her too. he drew her, thinking she was a guardian angel when she was the opposite… come to take him away. Did you lure him to the lake that day and let him drown?‘
She speculates, to thin air, that Gabriel wants someone to blame. ‘Well that’s not me‘ she states defiantly. ‘I am not here to be punished‘.
Gabriel is looking at the baby.
She is sat outside smoking wondering to herself what she is doing.
Then back inside she has a voice message from granny saying Ben, her partner, is worried and maybe Granny should have told her as it was ‘playing with fire’. Really? You told your grand-daughter in a mental ward about where she might find answers to her ghost delusions and you thought it was okay? Granny can guess where she is and is sure Lara doesn’t want her to say where she is but if she doesn’t come back soon she’ll have to. She says not to stay there to long.
…um yeah just do it now. She has a baby with her. Seriously. If you were that concerned you would. Don’t do this just for narrative conventions as it’ll still take them long enough to get over to the house so there is plenty of time.
Lara hears Gabriel singing rock-a-by-baby to the baby. She rushes over and sees him stood across the room from the baby. She begins explaining that Gabriel’s daddy wished he never lost him as she’s seen his notebook and that her would ‘give anything, ANYTHING, to have [him] back’
‘He didn’t save me’ Gabriel replies.
‘That’s not his fault, it’s no ones fault‘ Lara replies. Yes it is. Gabriel fell in instead of being cautious and he wasn’t supervised by someone who could save him. Hell I kind of hope it’ll turn out to reference the witch drowning thing as a sudden twist so it’s the townsfolk who are at fault hence why they kept on about how cursed the place was. Lara says Nathan is so desperate to see Gabriel. Does she think Gabriel will pass on just because she said that or he can time travel then? She tells him to go to him and tell him he forgives him. Tell him your alright. Well obviously Gabriel doesn’t. He’s one of those sorts of ghosts’ The sort to hold an everlasting grudge that can’t be resolved. Face it this is a horror film setting. Gabriel part 5: Ring-Around-The-Corpses.
Back in 1894 Nathan breaks into Gwen’s stash of poultices. Well actually he just turns the key. That isn’t very secure then. Did he get the key off her at some point? I know you don’t have to show everything of screen, in fact some director’s make it part of their style, but when you mention how a character locks something away and the other accesses it so easily you have to indicate why. ‘Plot convenience’ isn’t enough. So he heats something deadly. Swallows it. The camera pans back slowly and we cut to Mr Payne stood by the fireplace of the vicarage as he heard Charlotte. He heard she was there and was just passing. He has a pineapple. She notes how odd it is to just be walking about with a pineapple.He says he heard it was good for expectant mothers although it maybe hogwash. WOAH SLOW DOWN 1) She’s still married you lotharo and 2) that’s quite needy 3) we get it, you’re the more balanced guy and the better option for her with you indulging in hearsay but also happy to dismiss it.
She thanks him saying she has kind neighbours as Mrs Denning lent her a dress, which he says becomes her, just as Harriet walks in the room. He excuses himself saying he must leave her rest. Harriet calls him Charlotte’s guardian angel. ‘ wouldn’t call him that’. Harriet suggests ‘A saviour, perhaps?’
We cut to Nathan swaying back and forth before the fire in the study. the ‘do not cross the hayfield’ song from a previous episode plays. He is delusional and calling himself ‘one of them, a lost soul’. He hears Gabriel’s voice beckon him saying he is going to sail his boat.
Nathan goes down to the lake and relives the day Gabriel drowned. Gabriel was poking the boat further on using a long stick and leaning out over the pond/lake. (It might be missing the point of his costume in this episode but as Nathan is in an undershirt and suspenders he looks like he is from a tribute band for Mumord and Sons.) Of course he doesn’t save him and we see Gabriel’s ghost looking up at him from the pond’s jetty.
He returns to the house distraught and does a ‘I’m in distress/deep remorse’ pose of agony. Then he hears Lara’s voice speaking to Lottie. He chases her up the stairs and she keeps turning corners so we narrowly miss her. He gets to the end room and sees Gabriel stood there. Nathan is glad to see him and beckons the boy to him. Gabriel doesn’t move. Nathan asks if ‘she’ is here but Gabriel says he is on his own. (Was the actor told to speak in a monotone or does that come naturally – it’s not good and its unbelievably distracting in this pivotal scene. Also his ‘ghost status’ seems to be informed by having some wet/recently dried hair). He tells the boy he has been looking for him. ‘I’ve been hiding’ the boy replies. Nathan asks if he didn’t want to see him to which his son replies ‘you didn’t want to see me’. Well that’s realistic kid dialogue so well done on that.
Again Nathan, now in front of his son, says he would give anything. Gabriel tells him ‘stay with me, Daddy. Look after me.’ ‘How’ asks Nathan. ‘You know how’ answers the boy…. oh my goodness this is far too realistic children’s dialogue. Nathan blinks and the ghost is gone.
In the modern-day Lara is stood at the lake. then the camera cuts back suddenly to the same shot and she leaves to go to the house. What was the point of that edit? It was like some attempt at a subtle jump scare.
Inside we see from her perspective filming bits of the interior lit by her torch. So I’m guessing we are going to get a jump scare. She calls out to Nathan by name asking if he wants to know who she is. She explains she is his great-great-grand daughter and isn’t trying to haunt him or his son. she just wants to get on with her life. She just wants to go home she sobs. she just needs prove she’s not mad.
Is the baby going to die ironically in a mirroring of his circumstances. If it does they’ve really telegraphed it.
She wants to see Nathan and he has seen her. She sees… Harriet?… in a bloody dress. SO yes there was a jumpscare… Oh also shaky cam. So the last 20 minutes of this series has shifted drastically from drama to horror I guess.
Back to third person and she slams a door behind her sniffling. She checks her recording but the girl wasn’t caught on it. She phones Ben and in tears explains she had to come here to stop it from haunting her and Lottie. He says the police are involved. She realises they know where she is and that Sylvia, a.k.a. granny, told him. She puts the phone off and packs everything up in order to run. She loads the car and drives away with Lottie.
We see Nathan stood in the road shielding his eyes. – Remember a few episodes ago? Yes it’s coming full circle seeing it from her perspective. It looks like we are going to be checking the list off of all their crossover moments. She sways off the road.
Next we see her lying down and Gabriel stood over her says ‘Daddy’s coming’ – Is she dead? Probably. She asks what Gabriel means. Well its obvious but he repeats himself. (You know I just realised who she reminds me of. She has the exact same face as the actor Kevin Sussman who plays Stuart Bloom, the eternally down on his luck comic book shop owner, from The Big Bang Theory).
Nathan dresses and sits writing. He has an Ernest Hemingway look today. He recalls things Charlotte said about being alive and there’s just her and him. He scrunches up the start of a letter to her. It seems days are passing by and he doesn’t know how to word this suicide letter to her.
Charlotte is speaking to Mr Payne about photography and how timing is essential and the amount of light you admit. GET IT ITS ABOUT NATHAN CLOSING HIMSELF OFF AND EVERYTHING. ‘Like the moment you capture between the taker and the taken’ GET IT HE’S MAKING A MOVE ON HER and she is smiling. She brushes a strand of loose hair aside and Mr Payne reaches for it. She excuses herself and says she must go home to her husband. BIT LATE NOW.
Nathan takes bottles from Gwen’s stock. Lara is walking down a corridor. She can see him through the interior door and its lace netting. He is using a pestle and mortar. She rushes in shouting ‘No Nathan, stop!’ REMEMBER THAT SCENE WHEN HE DROPPED THE PIG’S BLOOD – it’s that except she saw him making a deadly substance while from his side she appeared when he was going to wash the bucket out. Obviously the rooms empty when she gets inside but Gabriel appears.
‘He’s killing himself’ she declares, ‘what about his wife and baby?’ – Um… you’re in the future so you know how it turns out. Why are you speaking in the present tense as if you can change history? Anyway Gabriel, the littlest grim reaper, declares they can come too. No they can’t otherwise there’s a time paradox where Lara’s great-grandmother isn’t both. She shouts No, no at him and leaves as he stares blankly at her. I swear the boy’s related to someone on the crew since he seems to just be serving as a place holder.
Back in 1894 and Charlotte is heading down the road while Mr Payne calls after her. She’s on foot and he’s in his trap and pony. That seems more effort than it’s worth to be honest considering the time to get it all ready would cause.
He fears for them both, her condition and Nathan’s desperate state, he implores her to stop. He understands she loves Nathan but sometimes a man needs to be left alone to lick his own wounds. He asks she give him one more day alone and return tomorrow. Considering how confusing the editing has been regarding Nathan putting his clothes on multiple times I don’t know if one more day makes any real difference. Really it might be revealed this too is a bit non-chronological too and Nathan’s events occurred a week or two before Charlotte’s thus she will find a bloated rotting corpse either way.
Mr Payne asks to drive her back to the vicarage but she hears Lara call out to her from the nearby boundary. ‘He’s going to kill himself’ she shouts and Charlotte hears her.
…Wait so it’s not just Nathan’s bloodline, the local bloodline, which has ‘ghost/time travelling communication’ skills? Maybe because of the baby she has them temporarily? I’m joking obviously but it makes sense in context.
Mr Payne asks what the matter then grabs Charlotte’s arm saying ‘Must I force you, like a lunatic, for your own good?’ Oh So he’s an antagonist with false positive traits revealed in the final act then… which was kind of obvious. *cough*Hans*cough*Frozen* (okay he had the ‘almost shot a man running away’ thing too but that probably happened more in reality than anyone likes to admit). She tells him to unhand her and he does. Then he does puppy dog eyes which is hilarious. It is Gif bait if I ever saw any.
Rotting fruit and the empty swing then we see Nathan preparing his poultice. Charlotte walks in the y say its good to see each other. Nathan says he is sorry he has to do this. she asks how they got there when they were going to be so happy. ‘My fault’ he says ‘you were damaged when you met me. Deeper than I knew’. She replies saying ‘your secret ingredient. You insoluble grief… I believed that one day I;d find a solution, I might be the solution and just by being with you I would erode it’.
Which is a classic mistake of those who are around depressed people. Of course what does she do? Blame him some more. Which is realistic sadly. No wonder he is going to kill himself with support like that.
He says she made him so happy but he has seen ‘him’ out there and spoken to him etc. She says ‘if you believe it, I will believe it… I think I’ve known for some time. Maybe even from the beginning. you want to join him?’
[Okay on a side note, though it’s never properly mentioned, I am assuming that Gabriel is his son from an earlier union. If it was mentioned I completely missed it. Seriously at this moment you could see some underlying aspect of her being a woman wanting ‘good prospects’ and latching onto Nathan due to his weakness. It’s an extreme reading of her character but she seems a bit too obsessed with ‘making him happy’ when he wasn’t morbid but demeaned him and ran once he became difficult to deal with.]
‘You want to leave me?’ she asks.
‘No’, he replies, ‘but I have to’.
She says ‘No you don’t. Let’s go together. Let me drink first. Trust me’.
She cradles his face in her hand as she holds the drink.
‘Is it strong enough for both of us?’
He says she doesn’t have to do this but she insists she does because she can’t live without him. As she raises the glass to her lips he slaps it out of her hand shouting ‘no’! They embrace and cry and he sees Gabriel. He shouts ‘I’m sorry I wasnt there. I’m sorry I failed you.’ Is he saying it to Gabriel or Charlotte? You decide. Then he adds ‘…I let you die’ as Gabriel stands there staring at him. ‘I love you’ Nathan says smiling. Gabriel was apparently smiling but stops doing so and goes into a neutral face.
Charlotte says he’s gone. We see he is gone at the kitchen door. Nathan says he’s gone. Yes he is gone. Part of me wishes every other character, the dead and the living, came in saying ‘he’s gone’ too. Such a hammy over wrought moment… The music swells, Nathan smiles, Charlotte’s face… is non-committal but maybe concerned? They say they love each other.
Gideon, the foreman, is walking through the fields towards the house and the doors open. he is surprised to see her there and says it’s a tonic to see them both. They both thank him. Good dog, lie down, roll over, now play dead.
He tells them they’ve been digging the old machine out od the east marsh and thinks they should see it.
SEQUEL HOOK TWIST TIME!!!!!!!!
It’s Lara’s car being pulled up by tethered horses. The yellow modern one. So she went off the road. She is dead. More importantly these country bumpkin’s need to get off to the patent’s office and get this stuff registered. It would kick British industry ahead of the world by about a century! No loss of empire or any of that! Old Blighty would remain old Blighty evermore!
Denning and everyone left is present and don’t know what to make of it.
Gwen says ‘maybe this is what’s troubling the land?’ Denning says ‘if it was it’s all over now’. Everyone moves to get a closer look but Nathan. We get a quick camera zoom up on Lara at the lake as she is seeing these events unfold.
She begins to relive the car crash. The snowglobe flying through the air. Did you see the film ‘Dredd’ about 2000AD’s Judge Dredd? It’s like the slo-mo scenes from that with the same sort of music. We see her head hit the windscreen and she shouts ‘no’ and in the distance people are huddled together.
Gabriel takes her hand. She wonders what happened to Lottie. Gabriel says her father came and took her home. She wasn’t hurt and she’s safe. (He knows she is the mother so why not call Lottie her… oh maybe Lottie wasn’t her daughter just she was in a relationship with a single father?)
Gabriel says Lottie is his mummy now. (I got 9th Doctor Who vibes from him earlier on… you know the episode I mean. The one with the gas mask ghost virus). It makes her her own adoptive Great-Great Aunt too logically then. She looks down at him and smiles as the music swells.
Nathan turns around from the crowd and sees Gabriel and Lara hand in hand and walking away into the forest. He looks sad but smiles acceptingly. Or has gas. One or the other.
Summer 1895 we see standing stones and the house. They baby has been born and Nathan cradles it in his arms by the fire as Charlotte strokes its head. Then a short moment of the couple walking across the fields as the sun sets. The director must have realised they got the shot and didn’t want to waste it though it is a bit jarring. Maybe they could have used this at the standing stone bit a few seconds earlier?
As he lay away at night, Charlotte asleep next to him, Nathan hears a man’s voice calls out to him asking if he is there. A woman giggles. SEANCE SEANCE SEANCE He puts on his evening gown and goes to look. Lights are on downstairs. It’s a modern lamp. The woman is continually giggling for a good 15 seconds so the joke must have been hilarious. Nathan asks if anyone is there. The man asks if anyone is with us. They all look up from the table. They are dressed in 1920s cocktail dresses and tuxedos. The man says that the ‘notorious Nathan Appleby’ is with them when Nathan reaches the foot of the stairs. He welcomes him to the land of the living and wants to ask a question.
“Why did you kill your wife?”
DUN DUN DURR ZOOM IN ON HIS FACE
Blatant sequel baiting stinger/hook…
[edit: Which, as I write this in March 2018, clearly is never going to happen.]
Review:
Do I want to see more? Personally I felt it wasn’t focused enough and the final scene on its own would have been an excellent twist. The Lara stuff was pointless. If they omitted her sequences to maintain the mystery (although she is a modern-day person obviously) this would be a far better series as the question of ‘is it ghosts or just mental illness and bad luck’ would have been more than strong enough. The car appearing in 1894 is completely out-of-place and some effort to create an unexplainable mystery to make people want answers. There will be time travel or more likely a return to the ‘its purgatory’ twist used in the writer’s previous work. I feel like there must have been some outside interference here insisting it be more like Life On Mars and so the modern era stuff was forced into it. Also I think the cinematography is very similar to Poldark so that either has the same team or they were told to replicate it as trailer fodder.
It felt uneven and I think it’s because they didn’t make clear certain things:
Charlotte’s relation to Gabriel (his biological mother or just the second wife of his father?)
Why did he return? Did his parents die? Did he leave after Gabriel’s death? Was there a first wife? (Well the ending implies this and maybe I just wasn’t paying attention when a first wife was mentioned – thus Charlotte is safe and it’s not going to be a case of ‘why did he kill Charlotte’ if there is a second series.)
Gwen’s sex scenes, except to make clear she isn’t a prim and proper Victorian woman (and imply paganism as ‘sex = pagan’ in some writer’s minds), provide nothing extra to the narrative. She is a hedge witch but these scenes feel forced in for no good reason and otherwise she is nothing but a sycophantic servant saying ‘yes sir/ma’m’ in most of her scenes.
Charlotte’s whole character development is a very jaded character. Initially she is a progressive woman in the early episodes, aping Bathsheba Everdene from the novel ‘Far From The Madding Crowd’, only to later give way to becoming a opportunisitic critic of her husband, abandoning him but then suddenly deciding in the end to love him once he seeks death. It paints a quite sexist image of women throughout the series as the only women not to be helpless or hysterical are those not focused on in any great detail (e.g. Mrs Denning, Charlie’s mother, field workers). Even more so than an intentionally sexist depiction it suggests Charlotte chose to break her vow, both marital and personal, to always support him which in those days was a very serious breach of decorum (and probably why novels like Moll Flanders and Anna Karenina were so popular of course).
Charlotte’s character seems to have taken a very sudden and severe shift. The progression from loving wife to hard-hearted mistress in this single episode has neither been developed over the series nor justified save that Nathan has given into his grief over his dead son. I have to wonder if there was a member of the production staff supervising the continuity of the series as we have a scene early on where Charlotte notes the dark side of Nathan’s personality and vows to be there for him to keep it from consuming him but when that time comes… she condemns him and moves into the Reverend’s house. Of course there was. This is no accident but an intentional development in her character and it is very bitter. Again the writers are showing a very pessimistic view of their character’s humanity towards each other under the guise of a Victorian ghost story series. When times are good she is loving. When they are bad she ascribes to the depiction of married women as harridens sniping at their suffering husband when given the opportunity. The recovery at the end is forced and far too quick. Would a woman who had fled the home because of her husbands mental instability really be so quick to return to him? She saw a ghost and that is all that is needed to recover the relationship? Convenient.
I cannot in the final scene feel any connection or sympathy with the main characters due to how throughout the series little effort, beyond heavyhanded moments, is made to endear them to the audience. They try but there is no energy in the interaction when you contrast it with something like Poldark. Maybe the actors didn’t have chemistry? But if that was the case edit around it, do things to create for the audience the atmosphere at least – not just a smile, giggle and kiss. This is a married couple not school children. Saying that maybe, in the event of there being a second season, we will be presented by people who knew Nathan before his son’s death and it be explained he has always been a bit detached. They tried at the start of the series with Charlotte saying how he had been stoic but… it all just rings so hollow in the end result.
Overall the series is well done on the technical side. The cinematography, lighting and sound are all to be commended. However all this is for naught in a multi episode drama if the script is weak and sadly I find fault in it time and time again. At the start of the series the near parodically unblemishable ‘goodness’ of the protagonists is almost a caricature. They come in and improve society taking up the reigns of the previous generation and try to improve it but, as whould be expected in a better drama, their challenges seem to have little effect on them. After the farming machinery fails it goes unmentioned until the last episode. People dying in the community seems to have little effect on their estate and day to day lives if they don’t get involved. They’re just drifting through the events of the series and only get truly affected once Gabriel becomes involved.
Perhaps the writers meant to show us how they are not so perfect with Charlotte’s efforts to be farm manager and to modernise the processes failing? But that conflict is a reasonable narrative drive for a storyline not a narrative device to be used so flippantly. Are we to accept that Charlotte, having purchased a very expensive piece of equipment, would leave it to rust after its initial breakdown? Even for that era the Applebys would have sought the aid of an engineer to repair the machine and ensure workers know how to maintain it correctly. But no its just gone after the first episode or so, and ignored until the last, to be a red herring for the reveal of the modern car. However it fails if that was the intention.
There is no consistent logic to the diegesis as we are meant to accept one thing at one point then expected to shift our opinion on the basis of a single scene. Charlotte the loving supportive wife becomes the damning wife over the course of one opening scene in episode 5 but after the attempted suicide at the denouemount of episode 6 we are to believe they made up so quickly? You can argue that between the suicide scene and the ‘twist’ in the series final scene that quite an extensive period of time has occurred. Enough that their daughter has been born and they have settled back into a routine but as the transition is so sudden the average audience will be caught unaware by the off-screen re-establishment of their relationship. Due to her quick assumption of the role as farm manager and her behaviour during Nathan’s mental breakdown she ultimately comes across more as a character concerned about control than a sympathetic figure who we are meant to vie for.
Nathan is a bland lead. We are told he is a practitioner of the new science of psychology thus a young, handsome, well off male protagonist who is also intelligent. However when do we see his skills used and not just suggested in passing? Admittedly they can only use the level of psychology that was available at the time which was pre-Freud/Jung. So what Nathan uses is an even more basic version than those now surpassed, yet well established in the public consciousness, landmark works. So how do they present it in the series? He hypnotises Harriet Denning twice during the series. You could argue he applies his skills when dealing with others during the series but really could we not argue that his words could have come from any other character in the positions he finds himself in? His major arc is seeing ghosts which he initially dismisses but eventually is driven to a state of high agitation by.
We see him in turn either be the authoritarian landowner ordering his workers about or in scenes where he sympathises with distraught characters – except he is at these points patronising them as he himself hasn’t seen Gabriel’s ghost yet which causes him to act in the exact same way as them. The change in his character is too sharp a turn. The fall from ‘man of science’ early on debating Denning to ‘occult dabbler’ hoping for reunion with his deceased son is done in the space of, the space of about 4 scenes bridging episodes 5 and 6.
The other characters are a mixed bag. Some have greater potential than they are allowed (Denning, Harriet and Charlie’s family), others serve their purpose well as supporting characters (Gideon, Maud Hare and her son) while others feel underdeveloped (Gwen, the old man of episode 2) and some poorly implemented (the deceased whose backstories serve as the crux of each episode specific story).
Each episode has a good concept for a standalone story but overall the narrative across the series doesn’t flow smoothly and feels more like we reach checkpoints where the next major development must occur. There is a way to do this but I feel that somewhere in the process, perhaps the episode editing, the developments occur so jarringly that we as an audience are given little time to accept developments and so with each episode the overarching storyline regarding Nathan and Gabriel, supported somewhat at odds with the modern-day narrative which itself ultimately serves little point other than to create plot teasing conveniences for the 1894 storyline, leaves the series feeling poorly paced and somewhat aimless unintentionally.
They seemed to have a theme to each episode but it was always handled clumsily. Episode one we had farming practises and possession. The end result was people were stuck in their old way and potentially lethal methods (baptism of an unconscious person which likely would result in drowning). Episode two was child labour. The end result was… inconclusive really. The story wrapped itself up but this episode does seem out of keeping with the tone or the rest of the series. Episode three we had anti-intellectualism with the character missing from the rest of the series. Episode four was elopement and homosexuality where, through a sequence of convoluted situations, the lovers are both dead and the lesbian is shot dead at point-blank range by the character depicted having heterosexual promiscuous encounters with itinerant-workers. Episode five Nathan has a mental breakdown due to seeing Gabriel’s ghost and Charlotte abandons him. Episode six Lara escapes a mental ward in a hospital with her baby runs away to the house and gets in a car crash having seen Nathan as a ghost.
Lovely life affirming messages and social commentary here. It doesn’t know if it wants to be. A drama discussing social issues, a supernatural horror or commentary of an isolated community. It wants to be something to everyone but ends up being a less than pleasing sequence of events featuring predominantly unlikable characters. The Dennings, Hares, Charlie’s and Gideon’s families are the backbone of the series and I wish it had focused on them with the Applebys being far less in focus as there was much more potential for the series as an ensemble piece than what we got.
I would however be happy to see a second series as there is great potential here and the technical side of the series is very strong if somewhat behind its contemporaries, in a period where many BBC dramas are almost nearing instant classics through both talent and the budget they receive allowing more freedom, but the writing and pacing here needs to be seriously focused on next time and anything like the modern-day teasers needs to be reviewed and potentially excised if it doesn’t serve the main storyline where it was little than a distraction and made the final episode a damp squib of a resolution.
Good idea, good technical side and good acting but something about the execution of the end result was off. Thus making this more in line with the Merlin, Musketeers, Atlantis level of BBC dramas and not anywhere near the level of Sherlock, War and Peace or the period dramas the BBC is famous for producing – nor indeed anywhere near the standard of writing we saw in Life on Mars or Ashes to Ashes.
Comment, like or follow if you want. Or don’t. It seems like no one watched this in the end as seems the case with their adaptions of Joseph Conrad’s The Secret Agent…
Rambling At The Bridge Head 
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