Michael Grade

Didn't he dress up as a gay man, a woman in a fur coat? That's what people say at the start of David Walliams's tribute to "a light entertainment icon". Then, intercut with soundtrack, it sounds as if he's interviewing the man himself. Emery died in 1983, having been a fixture in broadcast comedy for decades. "He was a good old-fashioned pro," says Michael Grade. "He loved going to work." So why did he fall out of fashion? Walliams explores that and why today's comedians, himself and Harry Enfield among them, still admire him.

Gillian Reynolds, The Telegraph, 29th September 2009

Moving Wallpaper and Echo Beach are an entwined pair of series from ITV, but whether it's a loving embrace or a death-grip, I'm not sure. Moving Wallpaper is a comedy set behind the scenes at a new ITV soap opera, which is supposed to be happening in Cornwall but is filmed in an industrial shed in Chertsey. As the first episode opened, the production was in crisis. Two weeks to launch, the producer was being escorted off the premises (nutting a photo of Michael Grade along the way), and major casting decisions were still untaken. The man hired to fix the mess was Jonathan Pope, who stormed in talking about making a show with "wit, class and a permanent erection", and adorned his desk with a photograph of Simon Cowell. Polnarren, which was to have been a searing drama in which sexual betrayal became a metaphor for the betrayal of Cornwall by successive governments, was swiftly converted to Echo Beach, a story of sun, sand, surf, sex and dynastic feuding, starring, because they were deemed to appeal to the core demographic, Jason Donovan and Martine McCutcheon. And, after the break, Echo Beach was what we saw.

This is intended to work on about six levels, but in fact only works on one of them. Jonathan is a bloated ego precariously supported by a tiny talent and an acute instinct for self-preservation; and watching Ben Miller play him is an uncomplicated pleasure. As a satire on media manners, though, it is too unrealistic to work. Apart from anything else, it's impossible to imagine anything as dreary and earnest as Polnarren being commissioned by ITV, a company whose view of Cornwall is be summed up fairly accurately by Doc Martin. I'm not at all sure, either, that Jonathan's supposedly shallow, ratings-grabbing fantasy of Cornish life - "Turn the cafe into a sort of surf-shop/diner thing... give the kids on the beach some dope to smoke" - isn't closer to social realism than what it was replacing, surf shops and dope-smoking kids being, in my experience, an integral part of the Cornish experience.

As for Echo Beach itself... There was some fun to be had from spotting, in the opening scenes, how the scenarios set up in Moving Wallpaper played out. When Jason Donovan, returning to Cornwall after years in exile, sighed over the wrecked condition of the beach cafe he'd just bought, we knew that it was because most of the scenery budget had gone on Jonathan Pope's marble-lined en-suite shower. When a customer in the pub asked for a brandy and soda, we knew that the actress had got a line to speak because she had given Jonathan a blow job, and we knew that the barmaid serving her was called Narinder because ITV needs to meet its ethnic quotas (as the head of continuing drama instructed Jonathan: "The pressure's off black, but the channel's still struggling on Asian"). But as it continued, the hard truth dawned that watching a wooden and derivative soap isn't necessarily more fun just because its intentions are satirical. It needs to be either a bit more Acorn Antiques or a bit more Dynasty.

Robert Hanks, The Independent, 11th January 2008