Sheridan Smith

Last week's episode was typically clever, but this week's is unmissably good. Sheridan Smith stars as Christine, an ordinary woman living out her (apparently) ordinary life in flat number 9. Births, deaths and marriages keep us too engaged to wonder where it's all going, until, finally it's too late. You'll be mournfully humming Con te partiro for 12 days to come.

Reece Shearsmith and Steve Pemberton are the strange, slightly upsetting gift that keeps on giving. In this second series, they reprise their talent for macabre tales united only by their being well-written, tightly plotted and taking place inside a door with a No 9 on it. Tonight's episode stars Sheridan Smith as Christine, a sales clerk whose life we observe in impressionistic blasts. Can you unpick her story before she herself says: "Oh, I know what this is ..."? And yes, 70s people, that is Michele Dotrice!

Radio Times review

If you're wondering why we're not billing this as a comedy, that's because there's almost nothing funny in the latest tale. Instead, it's an utterly superb piece of drama, imbued with an increasing sense of dread - with the almost unguessable sting in the tail that this series delivers so well.

Little should be said about the plot other than that The 12 Days of Christine is set in flat No 9 of a tower block and it begins with a woman dressed as a nun and a man in fireman gear tumbling onto a settee after copping off at a fancy dress party. Hunky Tom Riley is Adam and Sheridan Smith gives another multi-faceted, stunning performance as the troubled Christine. Sitcom legend Michele Dotrice plays her mum.

Writers Steve Pemberton and Reece Shearsmith pop up in minor but telling roles. And Pemberton deploys Con te partiro on the soundtrack, as he once did in Benidorm - but with devastating effect.

One of the best pieces of television for years

Sheridan Smith stars in one of the best pieces of television for years.

Sheridan Smith stars in a story that sees Steve Pemberton and Reece Shearsmith departing radically from their usual claustrophobic black comedy; there is little to laugh at in The 12 Days Of Christine, a study of time and memory that resembles a short enigmatic arthouse film. In a dozen scenes coinciding with public or personal red-letter days, Smith plays a woman passing through marriage, motherhood, divorce and bereavement, with Paul Copley, Michele Dotrice, Tom Riley and the writers in supporting roles.

Alarming things keep happening to Christine, making her increasingly troubled and presenting the viewer with a series of puzzles. Why, for example, does the heroine's flatmate mention mathematical number theory? Why are we subjected to Andrea Bocelli and Sarah Brightman warbling Time To Say Goodbye? Are these significant clues, or just red herrings?

Even by Reece Shearsmith and Steve Pemberton's usual high standards, this week's instalment of Inside No. 9 is exceptional. Set in a small flat, The 12 Days Of Christine follows the key moments in the life of a young woman, played by Sheridan Smith. But, as always, everything is not quite as it seems. Powerful, poignant and inventive, it's a masterclass in concise storytelling.

Steve Pemberton and Reece Shearsmith are something else. In the first series of Inside No. 9 last year, there was an episode involving a couple of masked idiots trying to steal a painting from a modernist home in which scarcely a word was spoken, and yet it was one of the funniest, cleverest, most imaginative and original programmes shown on television in the last 15 years. They've done it again.

This magnificent episode [The 12 Days of Christine] is not entirely perfect - there's a lot of spooky creeping around at night with lights flickering on and off that suggests the pair may have spent more time with The League Of Gentlemen and Psychoville than is strictly healthy. However, if you treat the presence of the otherworldly as a means to an end, the episode is a distillation of accurate observation that says more about the hope and messiness and disappointment of life in half an hour than most dramas say over an entire series.

It describes the trajectory of one woman's life - superbly performed, as always, by Sheridan Smith - from her student days to marriage, children and beyond. At the very end, looking back with sadness and regret, she says: "I didn't think it would turn out like this." There is something infinitely poignant about seeing two different versions of events and recognising the chasm between what might have been and what was.

Those masters of the dark arts, the former League Of Gentlemen co-stars Reece Shearsmith and Steve Pemberton, return with a second instalment of their deliciously macabre shorts, the first series of which won best comedy performance at the Royal Television Society awards last week.
Like a Tales Of The Unexpected for the 21st century, each perfectly formed 30 minutes offers a masterclass in storytelling: witty, imaginative, inventive and suspenseful - with a clever twist at the end for good measure.
The six tales are linked by the number nine and in the opening episode, La Couchette, Julie Hesmondhalgh, Mark Benton, Jessica Gunning and Jack Whitehall join Pemberton and Shearsmith on board the sleeper train from Paris to Bourg-Saint-Maurice. They're a motley collection trying to get a quiet night's sleep as the train makes its way across France, but as the sleeping compartment fills up, the chances of that begin to look highly unlikely...
The setting for future episodes include a séance in the grand Victorian villa, a modern-day family get-together, a 17th-century village witch trial and a volunteer call centre, with Alison Steadman, Claire Skinner, Jane Horrocks, Paul Kaye and Tom Riley among the cast. Special mention must go to Sheridan Smith, however, for her performance in next week's offering, The 12 Days Of Christine, a powerful, moving story of one woman's rocky journey through life. It is an absolute gem, one of the best things I have seen on television this year.

Over on Sky Arts 1, some light relief from Psychobitches, one of the best new comedies on TV last year, though given its tiny home, few people actually got to see it. It's a sketch show set in a therapist's office, in which famous (dead) women from history tell psychiatrist Rebecca Front their troubles. The first series was a knockout - Julia Davis played a wailing hybrid of Pam Ayres and Sylvia Plath; the Brontë sisters were foul-mouthed, filthy puppets obsessed with sex, and Sharon Horgan played a campy Eva Peron, who clung on to her bottles of "boobles". It was silly, and odd, and very funny.

This second series is almost as good, though it feels more like a traditional sketch show and is slightly patchier, perhaps due to the sheer number of writers (I counted 12 on the credits for the first episode of this double bill, and seven on the second). In the best sketch, Kathy Burke and Reece Shearsmith play the Queen Mother and Princess Margaret as crude and grotesque, glugging down booze as Burke repeatedly rejects her on-screen offspring with delicious cruelty. Morgana Robinson joins the cast to play a sloppy Anna Nicole Smith - hers is a masterclass in physical comedy - and there's a musical skit featuring Unity, Decca and Nancy Mitford, as imagined by Horgan, Samantha Spiro and Sophie Ellis Bexter. In a sketch the Mail has already called "hideous", Michelle Gomez has gone from Doctor Who's Missy to an even more terrifying villain, playing Thatcher as a Hannibal Lecter-style monster, incapable of love. It's at its finest when it's upsetting the establishment, and it relishes its naughtiness.

The second episode was less sharp. Perhaps, given its hyperactive pace, it works better in single doses. But I loved Horgan as Carmen Miranda - "Of course I'm on fucking drugs" - and Sheridan Smith as a mute Sleeping Beauty, whose endless sleep has an ulterior motive. And anything that gets Kathy Burke back on our screens, even for a few minutes, is well worth our attention.

Jonathan Creek: Should it have returned?

The introduction of Sarah Alexander as Creek's wife Polly was a nice touch, but I realised quite quickly that Creek works best when Alan Davies has a sidekick like Caroline Quentin or Sheridan Smith to bounce off of.