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Underground > Film, TV & Theatre >

Ashes to Ashes

  
  

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Feverfew
19:26 / 04.02.08
Once, there was this series called Life on Mars.

Although it had it's issues - notably hasty rewriting at the end of the first series thanks to the commissioning of the second series - it did have some truly inspired moments, and had a lot going on, and it did attract a great deal of viewers, thus meriting the phrase 'garnered great popularity'.

(So much so that there's a prospective American version, although the key word here is 'prospective'. Colm Meaney as a prospective Gene Hunt, though...)

This could be down to the writing. Or the setting. Or any number of things that resonated with an incredibly nebulous concept of the target audience, comprised of those alive at the time along with the current tv audience who were fascinated by the depiction of 1973 - a mystical land, far away and long ago.

Then again, it could also have been largely down to Gene Hunt.



Which is a large part - if not the primary reason, I suspect - that Ashes to Ashes was commissioned.


Ashes to Ashes begins this Thursday, 9pm, on BBC One, and I, personally, am very, very intrigued. I can't pretend I'm not happy to see the return of Gene Hunt, because I am - shallow or now - but it's a little more than this.

Let's put it this way; if you want it sold to you, don't read the BBC Press Release. It's "Interestingly Phrased".

I'm intrigued because Life on Mars tied up at once both very neatly and very unresolved - it was left to the viewer as to what exactly had happened to Sam, or which part of his convergent realities was real and which was fake, and I'm intrigued because Ashes to Ashes, should, in some way, infringe upon this by validating one or the other, and only clever writing can avoid resolving the preferably unresolvable.

That, and I'm interested as to the Eighties setting, also, especially since the trailer seems to feature something, I think, from the True Regret video, although I may be mis-referencing. (Further investigation reveals that I am, but any opportunity to link to the True Regret video.)

Further trailer here.

So, I'll be watching. Anyone else interested?
 
 
Billuccho!
04:45 / 05.02.08
Holy crap, it's this week? I'm excited.
 
 
Whisky Priestess
15:47 / 05.02.08
Wow. It's sort of tragic that the BBC can't write press releases. Alex "pouring" over Sam Tyler's case history? The mind boggles.

But yeh - in theory, this is a brilliant idea, with the potential to go horreeebly wrong. I believe the strong-willed sexy sassy modern blah blah fishcakes woman (or what Gene would call "the totty") has now been cast and it's Keeley Hawes.

I've got to say I wasn't too thrilled by the short clip I saw on telly the other night (Keeley's acting was hammy even for the Eighties, if you can believe it) but OF COURSE I will drop everything to watch the first ep on Thursday. At least I know I'll love Glenister, the costumes and the soundtrack, so it can't be all bad.
 
 
Our Lady Has Left the Building
20:14 / 05.02.08
Nope, I lost all interest in this with that bollocks of a last episode of 'Life on Mars'. I'll be doing what I do every Thursday night, drowning neighbourhood puppies in the pond.
 
 
Whisky Priestess
11:00 / 06.02.08
Yes, I did find the last episode a bit "Prisoner" in its obscurity, but I'm willing to go through the contorted logic that ties LoM to A2A and Alex to Sam (ideally without looking back), just to get to Gene.
 
 
Feverfew
18:26 / 06.02.08
It's nice to see that there's still Gene Hunt Love in the heart of the 'lith.

Is it wrong that I'm already picturing the sequel to this series, Hallo Spaceboy, set in 1995? Yes. Yes, it probably is.

Anyway, lots of anticipation for tomorrow night on my part, and, yes, it is largely to see Gene Hunt in action again. I've made no bones about how shallow this is - if the series turns out to be excellently written, with fleshed-out characters, a well-realised setting and a brilliant conclusion, then, bonus - otherwise, it'll just be good (I almost said "nice"...) to see GH back in action again.
 
 
miss wonderstarr
20:18 / 07.02.08
I felt that was about as disappointing as I'd cautiously expected. If anyone else is posting here, I'll elaborate.
 
 
uncle retrospective
20:23 / 07.02.08
I really didn't like the clown, the Bowie stuff was really rammed home, plus the uzi on the boat was crap. I know they called themselves the A team put unloading a uzi and only cuting the back of the guys hand? Dodgy joke if it was one.

Loved Zippy and George though.
 
 
miss wonderstarr
20:56 / 07.02.08
It's hard to pinpoint what was disappointing about it, for me. Maybe I'll try a list.

* the rather leaden attempts to rationalise what was still a nicely ambiguous set-up even at the end of the relatively-disappointing second series of LoM. I don't think the finale of the previous series told us for certain that Sam had died in the real world. That was filled in immediately here. Ambiguities that were handled with a light touch in the last show were here brought heavily down to earth.

* I think the relationship between the real world and the Geneverse, as presented here, is clunky. It's become some kind of fantasy parallel universe that seems to overlap ocassionally with and seep into the "present day" ~ quite different from the mystery of whether it's Sam's unconscious mind or genuinely the past.

* And despite the attempts to rationalise, I'm not sure if the explanation of how Alex knows Sam's case history adds up. He didn't seem to be back in the present day for long enough (before his suicide) to write reports or see counsellors. I don't think I see how a detailed portfolio of documents on Gene Hunt's 1973 could exist, unless I've missed something.

* Alex Drake seems annoying, above all. Her character seems pretty one-note so far: fancy-pants psychology. It's pretty cod-psychology as far as I can see, too ~ standard stuff about how she can "get into the head" of criminals. And for someone familiar with Gene Hunt's world, she's still got Sam Tyler's annoying tendency of talking to characters as if they're figments in her dream, and rolling her eyes at the culture shock. Despite the difference in her perspective, compared to Sam's ~ she's approaching it knowingly ~ her interaction with 1981 doesn't seem very different from Sam's with 1973.

* Too much hammy foregrounding of Gene Hunt as the iconic main character. Gene was the surprise hit of Life on Mars. Now the whole show seems geared towards him. I can't work out if it thinks it's tongue-in-cheek, and I don't know if the producers can, either. Also, he worked as an unlikely sex symbol. I don't think he works as David Addison from Moonlighting.

* Too many motifs from Life on Mars repeated or recycled without enough invention. Life on Mars had a scary test card girl ~ Ashes to Ashes has a spooky clown! Life on Mars had brief flashbacks to a childhood trauma ~ Ashes to Ashes, ditto! Life on Mars had a Cortina racing down alleyways to The Sweet ~ Ashes to Ashes has a Quattro racing through docklands to Gary Numan. Every action scene is punctuated with a kind of obvious pop song. Even the drunken bar-scenes seem too reminiscent, in their function and their place in the episode, of the pub in Life on Mars.

* Either I'm thick or naive or there are some weird implausibilities in the storytelling. A police psychologist driving her daughter to school stops the car at the Tate Modern to talk to a gunman who's taken a busker hostage? Her daughter somehow manages to run past the police and the crowds and is grabbed by the gunman? The daughter narrowly avoids being shot, and minutes later is waved off cheerily by her mum without any mention of witnesses, counselling, incident reports? A senior police officer gets into her car without realising an armed criminal is sitting in the back? They walk from Tate Modern to the Millennium Dome? In 1981, Gene and his team pull out guns on an unarmed businessman? Alex somehow has a designer flat... above the Italian restaurant frequented by all her police colleagues? She hates her outfit but doesn't even take off the necklace and earrings? She can't find a pair of trousers or uniform shoes, and has to send a WPC to find some casual clothes from (I think) a dead woman?

Well, that'll do.
 
 
miss wonderstarr
21:00 / 07.02.08
Oh, one more.

* Life on Mars was playing off police shows of the 1970s. I don't see any of that really happening here. Apart from the clothes and music, there was nothing that felt especially 80s in terms of storytelling conventions (except for the bloodless shootouts, A-Team style) or visual conventions.
 
 
Spatula Clarke
21:59 / 07.02.08
They're going for a Miami Vice look. Only, Miami Vice wasn't set in the UK. Obviously. Hence speedboats, fast flash cars, many guns, etc = utter bollocks.

Also, the Bowieclown, unless I'm mistaken, had the same voice as test card girl. The Rainbow characters were a painfully stupid idea that embarrassed on every level and the soundtrack... well, it's never really going to be able to match up, is it?

Hunt's still a good character and the way that they'd toned him down, during his quieter moments, was interesting (even if it couldn't make up for the ZOMG GENE HUNT spag western camerawork whenever he appeared on the scene). But they pretty much screwed everything else about the show.

Keeley Hawes was fairly awful, too, which surprised.
 
 
miss wonderstarr
06:36 / 08.02.08
Yeah, I read that A2A was promised as Miami Vice with a bit of Moonlighting, but I don't think that really works in London ~ surely the myth of Miami Vice, if not the reality (I've got a DVD of it, and it's a lot more downbeat than I remember) is that it was super-glam, sheeny, pastel, with bare feet running down wooden docks, designer suits and stubble, flamingos and bikinis, with I think Jan Hammer keyboard licks all over it.

A speedboat in pre-development London docklands, with uniformed coppers accompanying a guy in a stripey tie and New Wave/Spag Western music, doesn't evoke Miami Vice enough for it to work.

LoM worked with the 70s Sweeney references like Gene and Sam's double-punch knockout, the slomo leap over the table and the gruff, rough "you're nicked" policing because it was about two male cops sparking off each other in a working-class British milieu.

At times A2A almost worked like a kind of French and Saunders what-if parody from the 80s ~ what if Miami Vice and Moonlighting were set over here, wouldn't they be a bit crap?
 
 
miss wonderstarr
06:38 / 08.02.08
Re. the soundtrack (and the fashions), they've seriously restricted themselves by setting it in 1981. I mean really. Promoting it as 80s nostalgia, when the decade had hardly begun and can't have actually acquired any of the identity we associate with the 80s ~ I think it's arguable whether anyone wore that kind of powder-blue suit, but I suppose they've researched it. Duran Duran had barely started. Adam Ant was launching only his second mainstream album. You've got 9 years of 80s music you just can't use.
 
 
miss wonderstarr
07:00 / 08.02.08
Finally, I think it loses a lot without Annie ~ in whom LoM perhaps had its heart, and without whom the characters seem like pretty simple templates.
 
 
Gypsy Lantern
09:36 / 08.02.08
Well I liked it. I thought bits of it were cheesy and jarring at first, but then I settled into the fact that she's trapped in an 80s show - which I think was made explicit with the barrage of machine gun fire where nobody gets hurt. It's not supposed to be the period itself, but her construct of it from childhood telly. Whereas Sam was living out his 70s cop show fantasies, she's trapped in her 80s schoolgirl romantic fantasies of being in Dempsey & Makepeace or Moonlighting or something, with Gene as the unlikely male lead. I liked the bits where she begins to succumb to that, practically posing on the car with her white leather jacket and gun, slotting into her role as tough, clever, sexy lady cop. There's interesting stuff there about how both Sam and Alex are both constantly tempted to succumb to the role that Gene Hunt enables them to occupy, which is a stark contrast from who they both are in their modern lives. I found Ray's line of dialogue really disturbing in this context where he told Alex: "All I know is that, wherever the Guv' is, that's the best place to be." Also, Zippy.
 
 
The Strobe
09:54 / 08.02.08
What Gypsy Lantern said. I found it very, very enjoyable, holes and all. It'll be interesting to see how Alex pans out as a character. She's less of a blank slate than Sam, and feels like she's bringing more baggage to the past with her. She's also a bit more of an arse. Sam softened up because, despite his dislike for the methods of the time, he had to admit he was having fun. Alex doesn't seem to be so comfortable with "enjoying" the nostalgia.

One thing I really liked was how the characters had evolved since Mars. Gene treading on Ray in the interview, for instance; Ray's still an arse, but Gene has slowly learned how to get stuff done. He's still his own man, but he plays the game better; I think quite a lot of Sam rubbed off on him. Similarly, Chris feels older - though not seven years older, perhaps; his "not nervous, just cautious" line felt like it had more truth to it than it might have done in Mars.

They've got to temper the nostalgia, sure, but I think by and large they stayed the right side of things. Not with the fucking Walkman, though; American Psycho did that far better, and as such one should leave well alone.

Re: 1981; yes, it is unusual it's set earlier in the era than you might expect, but I think one thing that both Mars and Ashes did well is point out that the characters-out-of-water are not stepping into a period of progression - they're in at the beginning of an era and they have potential to shape it. Sam and his tape recorder, for instance.

Re: Sam dying; I think that panned out as I expected. In that: he jumped, hit the ground, woke up in 1973 again, and in the last few seconds of his life in the "real world" lived out seven years in Mars-land. It was made kind-of-clear that he wasn't dead the second the show ended, but he didn't have long left; the whole relative-time conceit wasn't made so explicit last time round.

Anyhow, it's lots of fun, it's better than Torchwood, and unlike that show, doesn't have the horrible over-lit Casualty-look to it; it actually looks alright as a show.

(I enjoyed the opening with Tyler's shitty voiceover being mocked; was quite annoyed they set it up for Alex to have her own, even more annoying, opening voiceover at the end. Oh well!)
 
 
Whisky Priestess
10:16 / 08.02.08
You mean to say you didn't like the obvious-but-leached-of-all-life Annie-a-like Shaz? Shame on you, wonderstarr.

Apart from that you are, I'm afraid, absolutely right about most of your reservations. I was surprised to find that Keeley was not quite as bad as I'd feared, and that in fact the clip I'd seen was possibly the worst one they could possibly have chosen in terms of overacting and crappy on-the-nose writing.

But the idea of her wandering around in stockings and tiny red miniskirt for TWO DAYS was simply laughable, unless she secretly liked it (possibly a subtle character insight but I'm not holding my breath). What, she couldn't borrow a pair of American Tan tights? Or a longer skirt, or trousers?

The flat I found completely confusing. I felt as though I'd left the room and missed the explanation of how she ended up there, but I'm pretty sure I didn't. I thought at first that it was Gene's place and he was putting her up for a few days (especially since she ended up sleeping on the sofa). There was just no explanation at all. Fair enough, the police were "expecting" new DI Alex Drake, but I don't imagine they'd have bought and decorated a flat for her too. IIRC Sam had to go flathunting when he first arrived, before ending up in his crappy dump.

Oh, and don't act drunk, Keeley. It's not big and it's not clever and it's especially not convincing. Nice line in incipient alcoholism for single mum Alex, though. I wonder if they'll explore her newfound freedom from childcare responsibilities further? Perhaps Alex will go clubbing with Shaz and they'll end up puking in the gutter outside Taboo? Or "chase the dragon" like Zammo? (Actually that would be quite amusing to see them try to tackle).

Why is Molly having scenes with Zippy and Bungle, but wihtout Alex in them? Alex is the viewpoint character and Molly doesn't exist in 1981. Total nonsense on every level, I thought.

Where is the scary clown from? The test card girl in LoM was a very famous, nationally recognisable icon. All I can think of for the clown is New Order's weeble video for True Faith, and that didn't come out until 1987.

Whoever said they were wasting the 80s was spot on. The A-Team reference is picked up by the viewer but it would have been a lot more fun if Gene's allusion had been conscious and knowing (the A-Team didn't air until 1983). And the music ... think of the music!

I reckon 1983 would have been a far better time to set the series all round: think the Falklands, Thatcher re-elected, "Thriller", Challenger, "Flashdance", the GLC, Neil Kinnock, the Brinks-Mat robbery, Madonna's first album, the IRA bombings, "Return of the Jedi", etc. ... plus all the stuff that happened in 1981 and 82 they could use as recent history.

Why will they not employ me as a writer on this show? Why do my phonecalls go unanswered? Eh?
 
 
Saveloy
10:26 / 08.02.08
miss wonderstarr:

"And despite the attempts to rationalise, I'm not sure if the explanation of how Alex knows Sam's case history adds up. He didn't seem to be back in the present day for long enough (before his suicide) to write reports or see counsellors. I don't think I see how a detailed portfolio of documents on Gene Hunt's 1973 could exist, unless I've missed something."

In the final episode of LoM, we saw Sam recording what appeared to be the final part of his story onto a microcassette. He bunged this into an envelope (containing other tapes, IIRC) which he handed to a colleague with instructions to send or deliver it to the police psychiatric department. Not sure of the precise details, but that was the gist, anyway.

"she's still got Sam Tyler's annoying tendency of talking to characters as if they're figments in her dream"

But they are!

"and rolling her eyes at the culture shock"

See, I thought that was appropriate. Unlike Sam she knows - or thinks she knows - what's going on. And it's tiresome for her, rather than mystifying.

Whiskey P:
"Where is the scary clown from?"

Bowie's video for 'Ashes to Ashes'.
 
 
Ava Banana
10:27 / 08.02.08

I was a bit confused about Molly being there on her own too
but then I put it down to it being Alex's dream. I'm a bit fuzzy on this bit due to too much wine but didn't she wake up in her flat just after?
 
 
Saveloy
10:29 / 08.02.08
I think Gypsy Lantern is absolutely spot on with the "recreation of 80s telly" theory. Part of me wants accuracy, because there's something very satisfying about seeing a period convincingly reconstructed in miniature. But most of me isn't fussed, because this is, after all, going on in someone's bonce, so they can do whatever they bloody well like. If it were left up to my own brain to rebuild 1981 (I would have been 13 then) I'm sure I'd have all sorts of incongruous and unlikely crap in there.

The business with the speedboat and the machine gun reminded me of The Professionals, and is therefore Okay.

I do agree about the clown, though. It's annoying for reasons I can't put my finger on.
 
 
Whisky Priestess
10:34 / 08.02.08
Longest post-lag EVAR as I scoured WIkipedia for the events of 1983 ...

Reading back, I realise that I've failed to mention any of the things I liked about the show, for balance, which I will now do.

1) The clothes, especially Gene's tie. I thought they were pretty well-observed and actually (don't laugh) understated. Not every single item of clothing had THIS IS THE 80s, I AM A GARMENT FROM THE 80s metaphorically stamped on it. (Although I'm sure Katherine Hamnett made a T-shirt that said something like that).

2) The "wine bar"-cum-restaurant where they all go for Asti Spumanti after work. I thought it was a nice touch to update the local boozer gathering place to a semi-aspirational trattoria, and the drink from beer to Spanish plonk. It also makes it less of a males-only zone.

3) Loving Shaz's haircut. It's all in the details. She reminds me of the sister (Yvette Fielding?) in Jonny Briggs. Also, of Tyke or whatever that 1980s bomber-jacketed Dr. Who companion was called.

4) The sexual tension between Gene and Alex ... sort of. She certainly seems quite into him (and barely struggling with it, the saucepot!) and you can see why he wouldn't kick her out of bed for eating crisps. It all goes horribly wrong, though, when she puts her hand on his chest to feel his heart and in return he grabs her tit. NO, NO, NO. But the onscreen chemistry is much better than I would have thought, even though Keeley's got some dodgy lines and isn't exactly setting the world alight acting-wise.

However, Moley must die. As a device to call Alex back to the present, she was pretty poorly handled, I thought, and currently her appearances neither make sense nor succeed.

On the other hand, I missed the "next week on A2A" bit, so can anyone tell me what's coming up so I can get hypocritically excited?
 
 
Whisky Priestess
10:37 / 08.02.08
Whiskey P:
"Where is the scary clown from?"

Bowie's video for 'Ashes to Ashes'.

Ah, thank you and please excuse my ignorance. But this video is playing on her telly every night just like the test-card why, please?
 
 
Saveloy
10:40 / 08.02.08
1983 would have been good, but they seem to have pegged 1981 as the year the public turned against the police - Brixton riots etc.
 
 
Saveloy
10:42 / 08.02.08
"But this video is playing on her telly every night just like the test-card why, please?"

Was the vid actually playing on the telly as 'real telly'? I thought all the clown appearances were freakout moments only? I might have missed a lot in the background, but I only spotted the actual video once, I think.
 
 
Saveloy
10:57 / 08.02.08
Randy:

"and the soundtrack... well, it's never really going to be able to match up, is it?"

Wha? Two - no - three words: fucking Ghost Town.

I'm pretty sure I've found myself going through my record collection on more than one occassion and found myself thinking "fuck me, 1981 was a good year for pop", though of course I can't remember a single example off the top of my head (aside from the mighty - MIGHTY, I say - Ghost Town).
 
 
Whisky Priestess
12:58 / 08.02.08
Sav. Ghost Town is mighty - but it's also massively over-used with considerably less excuse. So yes, they should slather it all over the soundtrack! Make it the theme tune, actually.

1983 would have been good, but they seem to have pegged 1981 as the year the public turned against the police - Brixton riots etc.

Yeah,. but those things have repercussions lasting years and would still have been fresh in the memory of coppers in 1983 - added to which, they would also be dealing with the medium-term fallout in the aftermath of the unrest.

With the clown video, that fact that it only appears on TV once is kind of my point - the test card had a reason for being there whenever Sam switched the telly on or woke up with it still going, late at night.

The clown (the video source of which is, at the very least, somewhat obscure to non-Bowie fans and is never explicitly shown or explained either to the viewers or to Alex) just comes across as a cheap knock-off of the Test Card Girl idea - it's really got no reason to be in there apart from that there was something very similar in LoM. Which worked better on every level.

So I'd rather they'd come up with an interesting new way for 2007 to talk to her, really.
 
 
miss wonderstarr
13:28 / 08.02.08
But the idea of her wandering around in stockings and tiny red miniskirt for TWO DAYS was simply laughable...The flat I found completely confusing. I felt as though I'd left the room and missed the explanation of how she ended up there, but I'm pretty sure I didn't. I thought at first that it was Gene's place and he was putting her up for a few days (especially since she ended up sleeping on the sofa). There was just no explanation at all...IIRC Sam had to go flathunting when he first arrived, before ending up in his crappy dump.

Thank God you agree, I thought I must have been really stupid or even fallen asleep to not understand how Alex got that flat, and why she was on the sofa and then in the bed, and how it was 30 seconds from the trattoria.

I think if I hadn't seen LoM, I might love this show. But unfortunately pretty much everything that works in it seems like a reworking of the previous version.
 
 
Gypsy Lantern
13:34 / 08.02.08
Wasn't that two different locations though? I thought the sofa was just a back room at the winebar where Gene had put her cos she was pissed, and not actually her flat. We didn't see the flat until later, when she woke up in her own bed and looked in the wardrobe. I don't really get how Alex suddenly having a designer 80s flat requires much more suspension of disbelief than her having a job at the Met waiting for her...
 
 
miss wonderstarr
13:48 / 08.02.08
I think part of my problem with the show is that I don't know how seriously I'm meant to take it ~ I probably wouldn't be asking for much plausibility about outfits and apartments in Moonlighting and Miami Vice ~ but I don't think the creators have decided that one, either.
 
 
Gypsy Lantern
14:02 / 08.02.08
I think part of my problem with the show is that I don't know how seriously I'm meant to take it

I had intrusive elements of this when I was watching it, but the speed boat and machine gun sequence answered that question for me. That seemed to signal to me that the Ashes to Ashes world is subject to certain conventions of cheesy 80s cop shows that you wouldn't find in the grittier 70s world of Life on Mars.
 
 
miss wonderstarr
14:04 / 08.02.08
But we're also supposed to care about Alex's relationship with Molly, and I think we're meant to take her sense of loss and frustration, and distress at her hallucinations, quite seriously.
 
 
Saveloy
14:06 / 08.02.08
Whisky:

"The clown (the video source of which is, at the very least, somewhat obscure to non-Bowie fans and is never explicitly shown or explained either to the viewers or to Alex) just comes across as a cheap knock-off of the Test Card Girl idea - it's really got no reason to be in there apart from that there was something very similar in LoM."

Ah, but it has got a reason to be there: the guy who shot her quoted lyrics from the song ("I'm happy, hope you're happy too"). You see her quoting them back to herself when she gets back in her car, where the gunman is hiding. Obscure to those not familiar with the song and the vid that went with it, sure, but it makes sense in context.
 
 
miss wonderstarr
14:15 / 08.02.08
I never thought I'd have a bad word to say about anything Bowie-related, but I think they have boxed themselves in by deciding that the sequel also had to be somehow related to a Bowie song. The title doesn't (yet) make much sense ~ at least LoM tried to pretend it was about 1973 feeling like another planet ~ and the Bowie-Pierrot just comes across as shoehorned in. The mumbling of "I'm happy, hope you're happy too" was borderline embarrassing, I felt.

It shouldn't feel so tenuous, because the song does seem to be about neurosis and delusions, but... I keep feeling it as a French and Saunders parody, with Jennifer and Dawn dressed up in a clown suit running in slomo at each other.
 
 
Gypsy Lantern
14:32 / 08.02.08
But we're also supposed to care about Alex's relationship with Molly, and I think we're meant to take her sense of loss and frustration, and distress at her hallucinations, quite seriously.

I didn't have a problem with that myself. Just cos she's trapped in a parody of cheesy 80s telly, a reality where machine guns don't hurt people and hair is big, doesn't mean that there can't also be emotional drama around her response to being stuck in this world and unable to get back to her daughter.
 
 
miss wonderstarr
14:42 / 08.02.08
True ~ reading your justifications, GL, I feel I had no real reason to object to it (though some of my points above still probably stand)... yet it just didn't do it for me. High expectations from Life on Mars, maybe. I will certainly watch it again.
 
  

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