Thirty years after Grace Foley helped send Tony Green to prison for the murder of young men, a copycat tries to force her to recant her stand on the case. 9: Sue Johnston on marvelous form as Grace, in a very personal storyline going back to her first murder case.
A serial rapist/killer currently serving a life sentence may hold the key to solving a copycat murder. A chilling performance from Samuel West and Susannah Parker on better form than usual makes for a very good episode.
After serving half her sentence for the murder of her husband and neighbor's son, new evidence suggests that Annie Keel could be innocent. 7: The story is gripping, full of twists and turns, the acting superb (Lynda Bellingham and Harriet Walter in particular), and it is quite harrowing, but beautifully written and filmed.
The plot is clever and interesting, and fairly original too, and I like the juxtaposition of the humor with more haunting scenes with chilling music. Sixteen years later, Jason is struck by a car and identified by his DNA after he is admitted to hospital.
When a London flat is being rehabbed a bloody Nazi dagger is discovered in the fireplace and the team joins with a Massed agent in a hunt to solve the case. The storyline features sensitive issues: Nazis, concentration camps, immigration in WW2, and child murder, but these are dealt with very well with a brilliant script by Declan Croghan, who surpasses himself here.
The solution is clever and believable, and ties up all the loose ends (something which LTD fails to do in later years!). Some humor here, too, the flashbacks are not violent, and Sean Per twee is marvelous as Carl MacKenzie, the convicted killer.
It all began with the story of Rick Grimes trying to find his family in a post-apocalyptic world ravaged by zombies--commonly referred to on the show as walkers. Over time the show has gone far beyond the initial premise, offering some of the most suspenseful, devastating, and even uplifting moments on television in the past decade.
To top it all off, the season ended with Rick slashing Began's throat and then ordering for his life to be saved, a decision that made sense with Carl's last wishes, but still felt strange after all the promises Rick made about one day slaying Began and avenging the demises of friends like Glenn and Abraham. The world of The Walking Dead felt larger than ever and fascinating new characters like King Ezekiel became central to the show.
Despite these positives, season 7 suffered from the very beginning as the overly brutal and grotesque demises of fan-favorites Glenn and Abraham in the premiere served to alienate and infuriate fans. The moment where Alexandria, the Kingdom, and the Hilltop united against the Saviors in the finale was an uplifting and rewarding payoff, but it only came after what at times felt like disjointed storytelling.
Shane's descent into becoming a darker character was fun to see, but the drama between him, Rick, and Lori grew tiresome. The world of The Walking Dead started to feel rather small and contained, and that's not something a show should be experiencing as early as the second season.
Alexandria becoming completely swarmed with walkers and how the community banded together to defeat the massive herd is a standout moment for the series. Despite these positives, the introduction of Began and the Saviors felt a bit clunky, and the contrived storyline with the Anderson family in Alexandria was difficult to watch.
That storyline and Rick's attempt to lead a more pacifistic life was a promising way to start the season. However, the Governor's abrupt return and the devastation he caused at the prison forced the season in a new and less fruitful direction.
Under the direction of new showrunner Angela King, season 9 breathed new life into The Walking Dead, once again making fans feel eager and excited for each new episode. Rick received an emotional and fitting sendoff and the threat of the Whisperers was introduced, an enemy unlike anything on the show before.
Longtime characters like Daryl, Machine, and Tara were given focus and compelling story arcs instead of being largely neglected as they'd been in recent seasons. Back in season 3, the concept of Rick's group encountering a community under the leadership of a charming--but actually psychopathic--individual was new territory for the show.
The Governor was the show's first major human antagonist from another community, and he did an excellent job setting the foundation for the other villains that would follow. It continued into the hospital storyline in Atlanta where Beth had a chance to show her bravery and resilience like never before, finally letting her be the leader of her own story.
The second half of the season brought Rick's group to Alexandria, forcing the characters to question the kind of people they'd become and who they could still be, and what the idea of civilization truly meant in a walker-infested world. Unlike the overcrowded character ensemble of later seasons, the pilot episode mostly focused on Rick, allowing audiences to become fully invested in him from the very beginning.
The game-changing finale where Dr. Edwin Jenner whispered into Rick's ear that “We're all infected” set the tone for the entire series as it would never be about a cure, but about the struggle for human survival and civilization. In addition to Screen Rant, he also currently contributes to the sites Fancied Entertainment and Dork Side of the Force.
While his favorite movies and TV shows tend to also fall in the fantasy and sci-fi genres, he enjoys and is open to anything that provides an engaging story and strong character development. Edit Series cast summary: Trevor Eve ... Detective Superintendent Peter Boyd / ... 92 episodes, 2000-2011 Sue Johnston ... Dr. Grace Foley92 episodes, 2000-2011 Will Johnson ... DI Spencer Jordan / ... 92 episodes, 2000-2011 Tara Fitzgerald ... Dr. Eve Lockhart42 episodes, 2007-2011 Claire Goose ... DS Amelia 'Mel' Silver / ... 41 episodes, 2000-2007 Holly Air ... Dr. Frankie Wharton38 episodes, 2000-2005 Felicity Du EU ... DC Stella Goodman36 episodes, 2005-2009 View production, box office, & company info.
Plot Summary | Add Synopsis Taglines: A second chance to catch the killer! Edit Goofs In “Cold Fusion”, the final episode of Series Five, Grace reads through Clifford Day's criminal record and mentions that, in 1979, he was charged with “conspiracy under the Data Protection Act”.
Waking the Dead is a British television police procedural crime drama series, produced by the BBC, that centers on a fictional London -based Cold Case unit composed of CID police officers, a psychological profiler and a forensic scientist. The program follows the work of a special police team that investigates “cold cases”, which usually concern murders that took place a number of years ago, and were never solved.
The team, composed of head officer Detective Superintendent Peter Boyd (Trevor Eve), psychological profiler Dr Grace Foley (Sue Johnston), Detective Inspector Spencer Jordan (Will Johnson), as well as a number of other supporting characters, uses evidence which has recently come to light, as well as contemporary technology to examine former evidence. Initially, Boyd, Grace and Spence were accompanied by junior DC Mel Silver (Claire Goose), and stern forensic scientist Frankie Wharton (Holly Air), however both left after the end of the fourth series.
Felix Gibson (Esther Hall) and Stella Goodman (Felicity du EU) replaced them in the fifth series, before Eve Lockhart (Tara Fitzgerald) replaced Felix from the sixth series onwards. Although the plot lines generally center around the case, other storylines have been incorporated across the years, including Boyd's anger management issues and his being re-united with his son, Grace suffering from cancer, Spencer being shot at the hands of one of his former colleagues, and Mel's death, which creates a chain of events lasting across two series.
The show also addressed sensitive issues such as fanaticism within different religions, international organized crime, child abuse within the Catholic Church, war crimes in Bosnia, forced child labor, torture, homophobia and racism. Some issues were dealt with through the conflicting views of Peter Boyd (a white middle-class liberal) and Spencer Jordan (a black working-class conservative).
Though sometimes appearing detached, Boyd is especially close to his team, and particularly, Mel Silver, whose death haunts him after he is unable to come to terms with it. Boyd's son Luke (called Joe in series 1), a drug-dependent runaway who disappeared whilst living on the streets, and dies from an overdose in season 7.
As a detective superintendent, Boyd is often stern with suspects, and is unafraid to give them a beating. Detective Constable Amelia “Mel” Silver was a feisty, young achiever who worked hard to be promoted from her initial role as constable to sergeant, and who frequently questioned Boyd if she believed he was looking in the wrong direction on a case.
It is revealed that Mel was adopted, as her birth mother was deemed mentally unfit, and that her real name is Mary Price. Boyd's trust in Stella was betrayed at the end of series five, when it was revealed she had unwittingly sent information on the unit to her godfather, who had been manipulating her to cover up his own corruption.
Stella died at the start of series eight, after being shot in the leg by a suspect she was chasing, and suffering thrombosis as a result of the injury. Detective Sergeant Katrina Howard appears at the start of the eighth series as a police constable, formerly a member of the Serious Organized Crime Agency, with a history of insubordination.
At the end of the ninth series, she is murdered by Assistant Chief Commissioner Tony Nicholson, due to her knowledge of his crimes, and by spying on his interactions at The Emirates Stadium with one of the antagonists. Her presence in the unit provides a rational counter to Boyd's somewhat unorthodox methods, but the pair enjoy a close working relationship and often engage in witty banter.
Grace also had a short bout with stomach cancer, which forced her to take time out from the unit to have an operation, from which she fully recovered. Dr. Frankie Wharton, the unit's first forensic pathologist, took a conscientious approach to her job, but remained stern with her colleagues.
Frankie was unafraid to speak her mind, and often offered strong insight into who or what was responsible for the crime. However, traumatized by Mel's death, Frankie chose to leave the unit to return to research, a fact which was explained in the first episode of series five.
The real reason for Frankie's departure stemmed from actress Holly Air's pregnancy. Felix had already been with the team for some time at the start of series five, and her introduction following Frankie's departure was never explained on screen.
Like her predecessor, she would often leave the office to join her colleagues in the field, but took a less stern role within the team, instead offering the knowledge in a more succinct and insightful way. Dr. Eve Lockhart took over as the unit's forensic pathologist after Felix's departure, and her first case is shown at the start of series six, with hints that she has in fact already worked with the team for some time.
Fitzgerald stayed with the show until its end and went on to revive the character in the spin-off series The Body Farm. The first series secured strong ratings, with “Burn Out” receiving 8.4 million viewers and a 38% audience share.
Persistently high ratings meant the program was recommissioned each year for either the summer or winter schedule. The sixth series began with strong ratings, with “Wren Boys” achieving 9.2 m viewers and a 35.2% audience share.
Following the successful transmission of the third series and an International Emmy Award nomination for “Special Relationship” written by Stephen Davis and directed by David Thicker, a further two series were commissioned with the number of stories expanded from four to six. Waking the Dead won an International Emmy Award the following year for “Breaking Glass”, written by Stephen Davis and directed by Maurice Phillips, and “Multistory”, written by Ed Whitmore and directed by Bob Barman.