StoryLover10

Ashley Jensen as the primary lead has proven to be a fine choice that has settled into the role well, as these past two seasons revealed themselves. I find Alison O'Donnell's performance distracts from an engaging story arc, lovely scenery and cinematography, directing, and some seasoned acting talent. I know she hasn't the longest of résumés, so I believe that she deserves some latitude. Previously, she was overshadowed by the testosterone ladened seasons with Douglas Henshall. Tosh was definitely a supporting character in the earlier seasons. This season nine is about the death and mystery revolving around Tosh's personal friend, providing an opportunity for O'Donnell to start spreading her acting wings. To be fair, the script, specifically her dialogue bits, has some unfortunate moments. The more experienced Jensen seems to pull it off when she's in the same scenes, but O'Donnell's delivery, well, does she over dramatize her dialogue and nonverbals or is the script that bad? I suspect a combination of both with more weight on the former. That said, I won't back and analyze. I just know that oftentimes when Tosh speaks, it falls short. Also, in fairness, there were some poignant moments throughout the six episodes, particularly toward the end. In short, I don't want to discourage or unfairly disparage Ms. O'Donnell. I hope she continues to work on her craft.

Also, I've watched Steven Robertson over the years (including efforts outside the Shetland world), and I'd like to see more of him in the series. I appreciate that the current direction of the show is to highlight female leadership and talent, but Robertson appears to be underused IMO. Thus far, Sandy is reduced to jumping to the commands of his superiors and appears to be regularly agitated with ever so serious facial expressions. I believe he can offer more to the show or at least should be offered the opportunity to do so. Also, I find the Billy character, played by Lewis Howden, delightfully and reliably supports his scenes.

Now, the kid. Talent is so unfair. It is true that most kids can't act. They are just too busy being kids, silly giggly, fidgety, can't hold that little smirk from peeking through the juvenile facade. The young actor playing son of the murder victim in season nine, Jacob Ferguson, is probably about 9-10 years old at the time of filming. He is the exception proving the proverbial rule true. What a joy when we have the opportunity to experience that rare natural talent at such a young age. I will say this. If it's not innate talent, then this kid has lived a life that one his age should not have experienced. His distress, pain, anger were palpably intense. I'm choosing to believe the young Ferguson is just gifted, ahead of his years.

Overall, the series is fine - not bad, not extraordinary. I don't know the real story's details, but the production was what I anticipated. I suspect some of the dramatization was just that. This is how we expect, or are at least conditioned to respond with whatever appropriateness the writers, director and cast desire. The story needs to be told and retold. This, domestic abuse with potentially fatal consequences, is an unresolved sociological and criminal issue of past, present, and likely future times, one that must continue to be a matter for discourse.

I must share that I find Ms. Maxwell Martin is a fine actress. She carries me into her characters. I felt her rage in this story. I viscerally disdained her in Line of Duty. However, I find her inability to deliver proper, consistent regional dialects extremely distracting. I would prefer she not even try. Her attempt to be Scottish in Spy Among Us was laughable. Somehow, in this series, she was confused for American, when her accent was meant to be Canadian, all while she was clearly English throughout the series, with an occasional Scottish or Canadian or maybe Northern English vowel.

If you are not as anal about this sort of stuff, enjoy the show.

I imagine, keeping a television show fresh for 17 years challenges the best of filmmakers. Devoting one episode per season to diverge into a 180° change of pace highlights the team's talents, breaks monotony, stretches creative juices, and keeps a freshness enjoyed by cast and crew. IMHO, It should be embraced by critics and consumers alike. This year's off-label effort: the Murdoch crew did a musical.

The score and book should be mentioned first. The songs skillfully suited the actors' range and singing talent. Some of the cast have more natural singing chops than others, yet a few were surprisingly delightful. Hats off to Paul Aitken, Jono Grant, and, of course, Robert Carli -weaving the spirit of the characters, telling the tale through lyric, style, and employing all tenets of musicals' song types (opening/production, expo/narrative, charm/comedy, comment song, "I want," "I am," reprise/finale etc.) into this episode. To the naysayers, I say, "chill"-just sit back and enjoy the show-Bloody 'Ell, Why Not!