The Jetty

I had read some of the reviews on here and didn't expect much, but my wife and I thought we would give it a try.

However, despite some reviews saying it was hard to follow etc, we didn't feel like it was and it kept us both watching for the duration of the series.

Jenna Coleman played a fantastic part, even though she had stepped in a new direction with playing the role as a detective. But also, because she is nearing 40 and she still radiates beauty from her teens and doesn't seem to age, and because of this, we struggled to see her as a mature woman detective.

But, any doubts on whether she could pull it off, was pushed aside by some great acting by not only Jenna, but the rest of the cast too.

So, all in all this was a very watchable program and we were invested in the series and watched it to its conclusion.

Well acted on a subject that was tactfully done.

DC Ember Manning investigates a fire at a jetty, an event that causes her to look into a cold case, the disappearance of a girl called Amy. Ember has to face the prospect of her late husband Malachy being involved.

Ember, the central character was billed as the new Vera, that's the reason I tuned in, but let's be honest here, it's not in the same league, she's a Northern Detective, and that's it.

I found this generally disappointing, episode three is pretty good, but the rest is average at best, not as bad as some of the scathing reviews, and those giving this eight and nine star ratings, I'll have a pint of what you're drinking.

I may be slow on the uptake, but it took me ages to work out that two different times were running at that same time. The narrative is absolutely all over the place, it's hard to follow and keep up with, largely because it's so dull in parts.

Visually it's too dark, it's like Jamaica Inn all over again, some nice visuals, especially at the start of the first episode.

The Male characters are all atrocious, as you'd expect from The BBC, Hitch is a man child, Malachy is a drug dealing creep, Russell is a psycho, Needham is a bully, let's face it, not one of them is even half decent.

Coleman is a very talented actress, but she's totally wrong for this part, I didn't think she had any degree of presence, she at no point feels like a Detective.

I'm not sure I see this being recommissioned.

5/10.

Enjoyed this 4 parter- had no idea about the ending-really liked it- for the underage sex issue should have been resolved too- but enjoyable watch.

Loved Jenna in this role- love her anyway - but felt this was a new type of role- not sure the ending was morally good- really suppose the issue of drugs and driving was a key issue to the plot twist- so felt there should have been truth telling- but sort of summed up the oddness of the eventual plot!

Enjoyed all the acting but "Amy" wax particularly manipulative- hated her- so I guess the actress did an excellent job!

Bit if a twee ending for Kitty- but partially I like a twee ending!

So, this isn't as woeful as some have said, nor is it as good as others have, but it DOES suffer from the same pitfalls as all of those ABYSMAL Harlan Coben shows that netflix started commissioning.

It's shot mostly in close-up, a lot of the various b-plot threads are irritating, and it's trying to make the audience NEED to know where all the mysteries lead... Ok, it's not actually Mr Coben's fault that's happened, but it IS the worst trend in TV these days. Focusing more on hooking an audience in with a mystery than actually making the story interesting.

What saves this is some of the performances. Jenna Coleman is very good, as is Tom Glynn-Carney, but even some solid performances don't make it better than fine.

A fundamental issue in stories with noble intentions is often the writer can't get out of the way of the moral, zeitgeist messaging long enough to tell a gripping, viable story. The by-product of that can lead to ridiculous, convoluted or forced plot points to desperately generate some level of excitement. This suffers from both. But that's not the only problem with The Jetty. At least fifty percent of the scenes here feel inauthentic.

There are so few realistic human interactions throughout with most feeling like the writer was desperate to crowbar in witty and pithy one-liners at the expense of anything credible. The dialogue is clunky at best. Just as an example, at one stage Caitlin's mother delivers the line 'I told Caitlin you lock them in your bottom drawer'. Ember replies 'who?'. What kind of response is that!? 'Them' would clearly suggest an object. Or does Ember actually believe Caitlin locks people in drawers?! This might seem minor, but these clunks in dialogue are peppered throughout with characters jarringly delivering wax-lyrical lines in tense emotional moments in a way no actual human ever would.

That's one of the many issues with the main character. There's such a desperation to establish her as the edgy, hard-nosed cop and laid-back mother that the writer often forces those character traits into the scenes. Whether abusing the man who just had his building burnt down or swearing at a records clerk just doing his job or cracking open a beer for her teenage daughter, it just all feels plastic and forced.

These kind of actions and reactions by the protagonist as well as everyone involved rarely feel like genuine character moments, serving mainly to further the plot, but at the expense of logic. Town inhabitants who have seemingly known each other years, interact like they just moved there, purely to deliver exposition. As an example, the ending to episode 3, both in logistics and believability is derisible, not helped by the heavy-handed use of podcast sermon as a device to sledge-hammer home the message.

And message-wise there is undoubtedly a noble intent to shine a light on the dangers of toxic masculinity and how it can thrive in isolated smaller town settings, but everyone involved in this endeavour lacks the skills to translate that to the screen in a way that doesn't come across heavy-handed, agenda-fuelled or, worse still, preachy.

That said, it's not a complete misfire. There is a solid use of non-linear narrative and flashback device to effectively convey backstory, but the key issue is there's just nothing new to say here. Those few original moments come across more like random attempts at shock value (ever wished for a scene where an underage teenager gives hand relief to a horse. You're in luck!) and the less said about the ludicrous final reveal the better.

The overall problem is everything just feels trite and tired which is especially impressive and seemingly hard to achieve given the messaging itself is so timely.