As Broadchurch has finally finished (for this series anyway), I thought it would be timely to write a few words on the program that has gripped the nation. I've watched both series and have nothing but praise for David Tennant, Olivia Colman and of course Chris Chibnall, the man responsible for such terrific TV. 

In season two, we've seen the arrival of several new characters, all in charge of fleshing out an old case that's been haunting Alec Hardy (Tennant). I have absolutely relished the Sandbrook case and, even with only the final episode to air, cannot figure out who was actually responsible for the murders. James D'Arcy has been positively coercive as Lee Ashworth but I think the stand out performance has to be that of Eve Myles. Her performance as Claire Ripley was just exceptional. I've been accustomed with Myles since the early Torchwood days, so had no doubts about her acting ability. She has nonetheless surpassed any of my expectations by playing the one character I simply cannot figure out! I'm sure much of this is down the unquestionably good writing Broadchurch is based upon but I think Myles has given stellar performances in every single episode, encapsulating the myriad of emotions a woman in Claire's position might easily be experiencing. 

I also really liked the back stories of  Sharon Bishop and Jocelyn Knight, two new characters who are long-time acquaintances appearing in opposition over the Latimer case, although I am somewhat less keen on Abby Thompson and all that she has to offer. I still have my reservations about Arthur Darvill's vicar, though. There have been criticisms that some of the plotlines have been somewhat implausible; to that I say that it is, first and foremost, a fictional drama. Whilst being based in reality, its premise is not that of education. Broadchurch is not a documentary. Does it need to be 100% wholeheartedly realistic? If so, then why do we still watch the long-running soaps, which are way more far-fetched than anything we've seen on-screen during Broadchurch. So whilst the implausibilities could perhaps have been straightened out, I still think it's one of the best British shows on the TV right now. I think there is, not surprisingly, a tendency to compare the second series to the first and of course there is a noticeably much slower pace in comparison (although my heart rate did not agree when episode seven left us on that almighty cliffhanger).

As we know now for certain that a third series has been commissioned, I hope what remains is it's intrinsic Britishness. Too many of my favourite British shows have become commercialised, with bigger budgets and unnecessary effects. I love American TV and many of my favourite boxsets are American, but I like that British TV can still be quieter, less shouty. Broadchurch showcased some brilliant lighting and incredible capturing of scenic shots but most importantly for me, it remained quietly confident and full of grit. Whatever the plotline of the next series of Broadchurch, I hope it never loses what makes the series so good. As long as we get some answers after that slightly underwhelming taxi exit, I'm all for whatever Series 3 entails.

Has there ever been a vicar I was like to jump in a lake with more than James Norton's Sidney Chambers? The answer is definitely no. You see, I have this problem whereby I spiral into terrible obsessions with ruthless, wretched male TV villains. It happened on Homeland with Nicholas Brody and again on Happy Valley with James Norton's portrayal of Tommy Lee Royce. Although I will admit that it was James more that Tommy who caught my eye, so finding out he was starring in new ITV drama Grantchester essentially ensured I'd be tuning in.

Norton doesn't play a villain this time, but  a local vicar in the 1950s, who loves good jazz and women a little more than he should. He is given the cutest little dog (who he names Dickens - even cuter), which more or less assures I'll love the character whatever he does. Yesterday's episode followed a supposed suicide, which Sidney Chambers is led to believe was more suspicious than it first seemed. Chambers teams up with reluctant copper played excellently by Robson Green, who discover that a string of affairs marred the deceased gentleman's life; something Chambers can perhaps relate to. As a vicar who easily succumbs to the affections of beautiful women - or rather one woman in particular who has recently married someone else - Chambers isn't your usual religious figure.

And Grantchester is not exactly your usual crime drama. It was certainly intriguing, that's for sure. The use of flashback often and aptly was quite a bold visual move, and certainly helped to drive the audience directly into the drama. Not to mention a certain infatuation with specifics: whether it's Jameson's whisky, the game of backgammon or the long-standing disappointment with England's footballing performance, Grantchester was a great expose of good British Drama

 

Scott and Bailey are back with their second episode of series 4 and as expected, things are already kicking off. Launching straight into where episode 1 left off, it is quickly confirmed that the body found was that of Mandy Sweeting, who was murdered some 20-odd years earlier. Alongside the need to find the "killer", the "freezer" and the "dumper" who, as the team quickly suggest, could be one and the same, there is also the challenge of dealing with the initial investigation conducted at the original time of death.

 

Which was handled (or maybe headed) by Rob's dad, who claims his team did nothing wrong in pegging Mandy Sweeting's husband, Gary. I thought it was a really interesting way to handle the episode actually, having the relationship between Rob and his dad dealt with in such a way. We know, from earlier series, that Rachel's relationship with her own mother leaves something to be desired. Having Rob so stringently defend his father at the start of the episode is potentially an alien activity for Rachel and it's clear from Rachel's attitude that Rob's initial inability to see past his bias and recognise his father's mistakes, is something she doesn't have any time. Although it's also kind of clear Rachel has a bit of attitude towards a few other colleagues too (which Suranne Jones employs brilliantly. Always adding a tough of humour to a very heavy drama). The interchange between Gill and Rachel in the bathroom was perhaps the pinnacle, which Rachel shoving two fingers up to Gill's back and retracting them just in time.

 

To me, this parent-sibling relationship can be seen to be underlying the entire episode. We had the obvious examples of Rob and his Dad and the mother of Gary and Anthony Sweeting (whose name I have embarrassingly forgotten). Then there's the growing distance between Janet and her eldest daughter and of course the teaser to next week, where Rachel's mother pops back into the picture. But there is also - and I may be jumping the gun a bit here - a slightl mother-daughter tinge between Rachel and Gill. And Janet too, of sorts. The job hierarchy almost situates Scott and Bailey as two of Gill's children, who have distinctly different personalities. We know from the interactions between Janet and Rachel, often conducted in the privacy of the bathroom, that Rachel is after Gill's approval. She doesn't necessarily need it as such, but we get the sense that she would appreciate it. Not in a motherly love kind of way, let me just clarify, but in the way of wanting recognition. It's a commonality for Rachel to turn to Janet for reassurance, which she does again in this episode despite technically now being above her in the police food chain, and I hope that element of their friendship never disappears. The way that the relationship between Rachel and Gill differs massively from a mother-daughter relationship is that, as Rachel states, Gill chose her (albeit after choosing Janet first) to become sergeant. Rachel wants Gill's respect but in a professional, not personal, manner. Everyone else - Janet excluded - Rachel just wants to get one up on, prove her mettle. Which is what makes the dynamic between Scott and Bailey so fun to watch.  

 

I love how it's always in the loos or when Rachel's smoking that they talk about the real stuff. As in, their real lives - outside of work. Like Janet casually stating she now wants a boyfriend, before listing off her attempts at online dating. I like the way Amelia Bullmore - who impresses me no end as both an actor and writer - didn't make this a laughing point. Too often online dating has been viewed with a certain stigma, especially when women take to it. It was spoken about so matter of fact , that no comedic value could possibly be gleamed from it. I did have a giggle at Janet's slight dig towards Rachel earlier on though, saying that becoming sergeant had really mellowed her. As if.

 

Getting back to the actual plot, Anthony Sweeting was odd. Rachel had him pegged early on as the guilty party and though she was right, she was reluctant to take on Rob's advice towards the close of the ep. I love getting to watch Lesley Sharp act as Janet in the interview room; much of her previous work has proven her ability to generate high levels of intensity with small amounts of dialogue (see Afterlife and Doctor Who) and it's always fun to see a suspect freak out. As Anthony Sweeting did. His outburst actually made me jump out my skin, so congrats Amelia Bullmore for fitting in the shock factor! Which brings me to the end of this review and the sad news that Bullmore has written her own character's retirement. Four months and counting is how the episode ends and though the focus of the show has always been Scott and Bailey, Gill has been an integral part of that. I hope these four months she mentions last as long as the series and she doesn't die off before then, or anything equally dramatic. And of course I'm looking forward to the return of Rachel's mum next week too.

Episode 14 of The Mindy Project, "The Desert", left us with an almighty cliff-hanger. After weeks of near misses and thinly veiled flirtations, Danny and Mindy finally locked lips in the middle of flight back from LA. I know in the US Season 3 is about to air (or has already aired ... my knowledge of world clocks leaves something to be desired), meaning this episode has probably already had the stuffing blogged out of it. But here in the UK we are as behind as ever, so I'm going to go ahead and add my thoughts to the mix anyway. I'm only, what, five months behind?

 

With a title like "French Me, You Idiot", it was clear from the outset there would be a fair bit of frenching. Which there was. And who knew counting to four could cause such lust-filled tension. The scene in the plane bathroom was full of the type of physical comedy that really sets the show apart and literally showcased a number of my nightmares. I'm a terribly flier, I feel awfully claustrophobic on planes so to have either my hair stuck in the loo or my hand stuck in the trash whilst on an airborne plane would, I have no doubt, cause me to pass out cold. But top marks for humour!  Then in typical sitcom form, the budding new relationship is off to a rocky start when Mindy fails to break up with Cliff, who up until the flight home from LA, she had been trying to win back. A few hours later, Cliff's grandmother dies and the break up is put temporarily on hold. In a bid to reaffirm his Catholicism, Danny refuses to engage with Mindy until she's fully separated from Cliff which unsurprisingly fails (cue more frenching), but with added religious based banter between the two.

It was actually a pretty funny episode, which I think was kind of necessary following on from last week. "The Desert" was quite emotionally heavy, what with the reunion between Danny and his estranged father and the culmination of the long building chemistry between the two lead characters. Adam Pally as Peter Prentice is great comic relief in "French Me, You Idiot"; his desperation for the ballet rehearsal to end was genius (but also, I must admit as a dancer and ballet teacher, mildly offensive. Ballet's not that bad, yo.) To be fair, all the ballet bits were brilliantly scripted and I am never averse to watching some pros en pointe. How anyone makes pointework look that effortless remains one of life's biggest questions.

Although the episode was quite death heavy (what with the previous attendee to the ballet company and Gram both leaving for pastures new), it was weirdly romantic too. Cliff's Spanish band was kind of cute (if you like being serenaded, which I can confirm I do not. At all. It makes me want to shave off my eyebrows) and of course prior to the fire-causing kiss, the holding of hands during the funeral was touching. It does worry me slightly that a qualified OB-GYN would use a word such as "sadliness" in an eulogy but I love the show too much to really mind (even though made up words go against my innermost instincts as an English graduate). I have to say I thought the actual bona-fide break up was written really well though. It gave Mindy Lahiri back her respect after the whole eulogy escapade and the way she words it bids well for hers and Danny's future. Which of course really means the opposite. It's TV, when is anything ever that smooth?

(Sorry for the capitals. Might have got a bit ahead of myself there.) But it's true. I spent one l o n g  university semester studying a lot about the Beatles, which served to bring me one of my greatest achievements to date, and now they seem to be following me everywhere. My brother, a budding musician, has started playing their music (at increasingly loud decibels, may I add); they pop up in a question on every single quiz show and now they're springing up on ITV1s Cilla.

 

Now I have nothing against the Beatles per se, so don't shoot me. I'm just not one of their many super fans. Their music is catchy at times but my opinion on them is not too dissimilar to that of Wuthering Heights. I will say, however, that I feel qualified enough to say that the actors chosen to portray the band are pretty bloody beautiful. And that always helps.

 

Not that much else is needed to keep me tuning in. Sheridan Smith oozes everything I have come known about the real Cilla - charm, charisma and confidence - whilst also illuminating me to what happened in her early years. As the introduction to this post might have insinuated, I was not aware for instance how close Black and the Beatles really were. The scene where Cilla falters on the stage in front of Brian Epstein followed by the shot of her back at her office job is one all arts people can relate to. The eternal dilemma between dreaming it and doing it.

 

I love the failing hair styling, I love the ever-hopeful portrayal of Bobby and I can't wait to see what happens next week.

 

It makes me very happy that ITV's Scott and Bailey is back on our screens. If it wasn't for my love of writing and fear of institutional racism, in an alternative world I would love to work for the police. I have a freakishly good ability to remember and recall facts and I really like paperwork. But, since I don't foresee myself actually traversing that route, I do tend to get overly excited by good police TV dramas. Scott and Bailey is perhaps the best of the best.

 

Featuring essentially all-female leads in Janet Scott (Lesley Sharp), Gill Murray (Amelia Bullmore) and Rachel Bailey (Suranne Jones), the series has long been receiving outstanding reviews. I'm also going on record right now by saying if I do not have a best friend female friendship like Janet and Rachel's by the time I'm in my thirties, I will have failed terribly in life. Just saying.

 

I think that it was makes me enjoy the show so much (and is something I'm investigating later this week, when I pick apart my top TV female friendships). To be work colleagues in what we can appreciate is a challenging work environment, and be really good - if not best - friends on top of that, is what my dreams are made of. I've never really had that unmistakeable best friend status, not since I was a child and boy, do I long for it. It's also not the type of friendship that feels forced - they argue over the big things and are strong enough to tell each other how they really feel. This is something I am spectacularly bad at. Sharp and Jones (which would make just as good a title for the show, by the way) are absolutely flawless as always. I'm so happy the characters are back on positive terms and I thought the way the episode depicted the two of them going up for the same job was handled excellently.

 

We've all had moments where we've been in direct competition with friends and family. It is not a place I, personally, particular like to be. If you "win", there's always elements of doubt, fear of consequence and genuine disappointment on their behalf, as well as relief and excitement. If you "lose", you have to learn to deal with a confidence knock, jealousy and envy. We had known from the teasers and trailers that Janet and Rachel were both going for the sergeant's job and though I predicted both would pass the board, I was expecting Janet to get it. Purely because I thought she killed the interview. That was A class writing in that scene, not just for the drama itself but for the media and TV industry. Turning 50 is not when women should be gearing down and it was so good to hear that voiced out loud. I may not even had reached half way to 50 yet but once I get my feet firmly planted in my career path, I'm planning on sticking with it way past my 60s.

 

I have to admit, I do tend to favour the rebel though. In terms of temperament, I am Janet through and through but like with every drama I watch, I always lump in favour of feistiness. Something Rachel Bailey has in abundance and I lack almost completely. The wardrobe department are also hitting the nail on the head for this show; again I love the way they dress Rachel and I wish to death I could pull off work clothes that well. I think both Lesley Sharp and Suranne Jones are some of Britain's best actresses and I can't wait for the rest of the series to unfurl. This Mandy Sweeting storyline is already setting up to be a good one and I'm intrigued once more to see how such career-strong women balance a life at home too.

I know we're way behind in the UK in terms of The Mindy Project airing but after watching episode 12 (Danny Castellano is my Personal Trainer) on E4 on Tuesday, I felt utterly compelled to blog about it. 

The premise of the episode is this: Mindy's current love interest Cliff wants to take the two of them away on a ski break, complete with a bikini-wearing hot tub facility. In a moment of panic, Mindy commits herself to getting a body so hot, Cliff would still fancy her even with a terrible personality. If it's not already clear, Mindy Lahiri (the lead character and not the actress playing and penning her) can say a few salacious things. In a cute, intentional and completely expected way, Danny swiftly becomes Mindy's trainer (the title gives it away, no?) Cue amusing montages of celebrity-based motivational tactics which Mindy Kaling herself has spoken about in a hilarious interview on Conan. But the scene that I think is most pivotal comes near the close of the episode (after a perfectly acceptable amount of on-screen time has been dedicated to Chris Messina's torso. I am not complaining, the guy is gorgeous.) As her personal trainer (and, from the spoilers I've seen, future love interest), Danny offers his opinion on Mindy's body after accidentally seeing her naked. Twice.
 

Now I am sure I am in the majority when I say I've felt incredibly self conscious about my body image at times. Am I slim enough, am I toned enough; is my hair too curly, or too frizzy; why is my stomach not flat; why do my thighs always touch; the list really is endless. It's sad but true and I think a lot of women can relate. I found an extract of the scene in question on Tumblr which I reblogged onto my own page, and have copied it here to really break it down.
 

I'm sure there are probably feminists out there who don't think it should take a (let's be honest, ridiculously attractive) man to tell us women we're fine how we are. You are welcome to hold that opinion; I'm not here to tell you what to think. But we're not, by and large, great creatures of self empowerment, and I mean that as humans, not just women. We like the encouragement of others, we seek the approval of people we work and interact with. It's not unusual to have preconceptions of what other people find attractive and to strive towards these assumptions with obsessive commitment. To me, this scene is not just a guy telling a girl she looks hot to get her to stop worrying about her image; it's about a man telling a woman to be assertive in herself. You have no reason to be self conscious - how can this scene be anything other than empowering? We need more body positivity in the world and if it takes American comedies to voice it on screen in order for it to resonate off screen, then so be it. 

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I mean, there's a fine line to be drawn here. The "look like a woman" comment is great in so many ways but I think there does have to be a distinction made too. I'm an English student, so I'm basically hardwired to look into lines a little too much, but I would put money on the fact that this line was meant to be taken positively. To me, the line embodies the idea that we should embrace our bodies which is, as ever, easier said than done. There is however, perhaps unintentionally, a suggestion that "real women" are more curvy, or should embrace the "womanly shape" but many women, many of my friends in fact, are naturally slim and they are just as real and just as easily feel self conscious as anyone else. So the real take home message I think is that we need to start liking ourselves a little bit more, whatever we look like, as long as it's healthy.

As a side note, it does jar me slightly that there is the underlying suggestion that this is all for a man's benefit (Cliff, the weirdly hot lawyer) but again, can we really criticise someone wanting to look good for other people? I think it is as much for Mindy (the character) as it is for Cliff it seems, and it's not exactly unheard of for a positive comment from a boyfriend or partner to work wonders for self esteem. So yeah, I'm going to go out on a limb and say it is an empowering piece of television because someone has finally said something all women need to hear. Mindy Lahiri starts the scene in question storming (as well as one can on crutches) into Danny's office, berating him that just because he's an exercise enthusiast with, and I quote the show, zero percent body fat, he has no right to tell her what's wrong with her body. As it turns out, Danny doesn't think there is anything wrong with her body, and rightly so. And let this really sink in, anyone who is still reading what has rapidly turned into an essay: absolutely no one but yourself has any right to tell you what they think is wrong with your body. It is your body and your opinion on it is the only one that matters.

Jade x

In amongst all the reality shows and talent shows and reality talent shows, there's one programme that still gives me goosebumps. Don't get me wrong, I will probably (read: almost definitely) be tuning into X Factor this coming Saturday but it is Sky 1's Got To Dance that has my continued allegiance. And when you look at this year's finalists, is it any wonder why?

 

All of the acts who have made it through to the final and a few of those who didn't (I'm looking at you in particular Marvel) are talented beyond words. Watching performances like the ones we've been privileged enough to see are nothing short of inspiring and Got To Dance has me itching to get back into training myself. But of course there can be only one winner so out the nine remaining, here are my top favourites.

 

1. Dance Illusion.

 

 After being in university competition squads, I'm used to performing in big groups so watching an act like Dance Illusion always appeals to me. These guys were so tight in their performance and technique, and I am so excited to see what they bring to the final. I thought their Grecian-style semi-final piece was off the charts, so I really hope they showcase a performance as inspired as that one was.

 

2. Bitter Harvest.

 

I can't lie - I am a ballet girl at heart. I love everything about ballet and how antithetical it is; its rigidity versus its fluidity, strength versus suppleness, performance versus precision. Never underestimate how hard it is to make ballet look as effortless as Bitter Harvest manage to. Sometimes in a pas de deux it can look as if the man is little more than muscle but his primary role is to make his partner look good which, in Bitter Harvest,  happens with ease. Whether they'll have enough of a presence to compete with the larger groups in the final is yet to be seen, but I hope their performance is as beautiful as always.

 

3. Duplic8

 

These boys have absolutely stolen my heart. I love that they are such a fresh and unusual combination of dancers who clearly work well together. They're cheeky but they can afford to be with the talent they possess. I did think their semi final performance left a little to be desired when you compare it to other routines which focused solely on the dancing and not the gimmicks. But there is no doubt about it, they're amazing to watch and have a great shot if they can just marry their personalities with a high-level performance.

 

4. Dan-I and Sia

 

The final, and possibly my favourite, act worth watching is Dan-I and Sia. Watching these two dance is like watching water flow. It is gentle and it is refreshing and the two of them are always moving, so in sync. I absolutely loved their semi final performance and I hope the power of their ability shines through in the final in amongst the more animated, thematic performances. I can't wait to see what these two bring to the table and it's an absolute pleasure to watch such graceful dancers really commit to each other's performance.

 

All of the finalists are incredible performers so Friday's Got To Dance will be a show stopper no matter what. Bring on Friday night!

Blogging has definitely had a positive impact on me. It's made me venture out of my comfort zone and along the way, I've found some wonder products, stumbled across TV shows to obsesses over (as if I needed any more) and found a whole new love for knitwear. Here are my favourite finds of 2013:

1. Barry M Nail Hardener.

My absolute wonder product. I swear by it and I even persuaded friends and family into purchasing it too! I use it as a base and top coat without fail, and my nails have never been stronger or longer. Could not recommend it enough!

 

2. ABCs Scandal.

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Thanks to the free 30 day trial at Lovefilm I stumbled across a little show called Scandal and I'm pretty sure I watched Season 1 and 2 in an under a week. If that doesn't grant me gladiator status, I don't know what does! (Inside joke - watch the show!) In all seriousness, it's like my perfect drama. Kerry Washington is an incredible female lead (point 1); it's about America (point 2); it's political but in a very accessible, dramatic way (point 3); it has a fabulous cast (point 4) and it's far from predictable. Can you tell I'm a little obsessed already? I don't know when (or if) Season 3 is coming to England but it had better is all I'm saying!

 

3. Loverdose Tattoo Perfume
 

I got given this for Christmas so it's not like I had it for the whole of 2013 but I caught of whiff of it in a magazine months back and was determined to get myself a bottle. Only once university started up again in September, perfume purchases were put on hold and it wasn't until Christmas that my wish was granted. It was so worth the wait though - the bottle is gloriously designed, which is really important to me as I collect perfume bottles (weird, I know) so I love them to have intricate, edgy designs.

 

4. New Look Knitwear

 

 

Okay so New Look selling knitwear isn't anything new but I've managed to secure two absolute sale steals this winter and I probably wear them both far too often. My black bulldog jumper is by far the item I've worn most this December, it just goes with everything! And my new zip detailed grey jumper is the perfect addition to my winter wardrobe.

 

Jade :)