Kojak and the Little Man in the Corner

On my trawl through the week's schedule looking for things to record, I found a lone episode of Kojak on ITV in the middle of the night/very early morning depending on your perspective.

I watched it last night and it transpired it was one of those shows with a person doing sign-language in the corner of the screen (or the Little Man as my niece used to call this service). At first I wondered if it might be a distraction, but as the episode progressed, I actually began to enjoy watching the Little Man's actions along with the drama.

There were some tense silent scenes where the man just stood there rather at a loss, but in other places, seeing his facial expressions and hand movements actually added to the drama. I don't know sign-language, but having paid attention to this, I can see why a someone who is deaf would prefer this to subtitles - his interpretations clearly expressed the tone of voice being used, which subtitles can't do.

Obviously as a big fan of Kojak, I'm glad that it is being made accessible to a wide audience, but I do wonder if there is any logic to it? Has the bald Greek detective been found to be particularly popular amongst the deaf community? I would love to think so, although I rather suspect it might just be that they sign programmes in these unsociable timeslots.

Vincent - A Beginners Guide to Detectiving

I recorded an episode of Vincent, knowing little more about it other than it featured a team of private investigators.

It turned out to be a 2005 programme starring Ray Winstone. Had I known that I might not have recorded it. I like Ray Winstone, but find a little of him goes a long way. Suranne Jones is also in it - I've met her in real-life (she wouldn't remember because it wasn't a particularly memorable event and she was drunk) and she is actually alot prettier than she looks on television as her face is often contorted in scenes of Northern misery.

The episode (which I find out later is the last one of the first series) could be divided into two distinct parts. For the first part, the team are hired to follow a man whose wife believes he is cheating on her. What we see is very much the nuts and bolts of how you go about spying on someone, which with my long-harboured desire to be a detective, I found fascinating.

Then the plot takes a turn, and the woman the husband was cheating with, becomes the focus of the investigation, requiring Vincent to go undercover to seduce her. It came more pyschological and switches to being a guide to what not to do as a detective, namely get yourself personally involved with suspect. This part involved Ray Winstone being very Ray Winstone, and lots of agonising face-twisting from Suranne. But I was gripped, and then hugely disappointed to find it wasn't on again.

Early Spelling: Honey West

I have mixed feelings about Aaron Spelling. On one hand I do love Charlies Angels (circa Farah Fawcett) and thought I might one day marry Jonathan Hart, but generally I don't like how the type of shows he produced (such as T J Hooker) came to dominate television in the 70s and 80s. The style is formulaic, action-packed, with storylines that fit neatly into their 40 minute or so time slot, with no depth. Spelling didn't produce them all, but he was probably the godfather of that genre that replaced grittier shows like Ironside and Kojak.

But having said all of this, I'm quite pleased at having just discovered one of Spelling's first shows, Honey West. There was just one series of 30 episodes made showing in 1965 to 1966. The show is black and white, has those Spelling trademark plots, but is possibly one of the first shows to feature a feisty independent female lead and was probably rather remarkable when it was first shown. Honey runs a detective agency with her less interesting male friend, who there are appears to be a will they/won't they type of relationship (in the style of Remingston Steele). She drives a sports car (rather like Penelope Pitstop!) and she owns a pet ocelot called Bruce (the only detective to do so, to my knowledge).

I've just watched two episodes and so far her investigations seem to involve rescuing less feisty heiress and actresses from the evil schemes of men. Besides the ocelot, there is a good dose of quirkiness to the show, and some amusing dialogue such as when Honey was rescued by her male associate and she asks him how he knew where to find her, and he replies "I'd already looked everywhere else".

So its easy on the brain but sometimes that is good. It makes a change from the utter misery-fest of SVU.

Style File: NYPD Blue

Slowly working our way through the NYPD Blue back catalogue - currently on Season 2 and I feel I need to comment on the fashion style on the show.

Sipowicz may have been a style icon for a certain type of man. He is mentioned in the Simpson's when Marge tells Homer he shouldn't wear a tie with a short-sleeved shirt and he responds that Sipowicz does. In Seinfeld, George apparently has a picture of Sipowicz behind a door in his apartment. As I said, he inspires a certain type of man - stocky and fictional.

My main fashion interest in NYPD Blue lies elsewhere, with the glamorous secretary Donna Abandando. Her hair, make-up and demeanour are 1950s starlet, whereas her wardrobe is usually pure 80s (the show was filmed in the 90s). I look forward to each new episode to see what garish coloured knitwear or blouse she will be wearing.

Hers is not a look to be copied nor envied, but nonetheless it has a certain charm.

Song of the Week: Bruce Springsteen "Highway Patrolman"

The conflict between family ties and upholding the law beautifully illustrated in this album track from The Boss. In this song, the patrolman chooses his wayward brother over his duty as a lawman, in contrast to the response of most tv detectives, who more often than not turn in their own flesh and blood.

Familiar Names and Faces

My aunt dated a man called John Kelly for years. He was a committment-phobic window-cleaner with an idiot brother and mullet.

This association has coloured my perspective of the first series of NYPD Blue where the main character is called John Kelly. NYPD Blue's John Kelly is quite different from my aunt's John Kelly, although both seem to consider themselves a hit with the ladies, for reasons beyond my comprehension.

NYPD Blue's John Kelly is also played by David Caruso, never my favourite CSI actor. Here he is younger and more carrot-topped (all that Florida sunshine seems to have lightened his hair). He is less prone to staring off into the distance, but he still fails to charm me and everytime another character mentions his name, I expect my aunt's former beau to appear.

Still this isn't enough to spoil NYPD Blue for me. Dennis Franz as Sipowicz is a tour de force and the supporting characters of Martinez and Medavoy are great too. And whilst it is not quite in the same league as The Wire or Homocide, it has shocked me a few times, and there are 12 seasons of it, which should keep us occupied for some months to come.

Christmas Wishlist

It has now turned October. My sister contacted me weeks ago to ask what I want. So I feel justified in making my wishlist now.

1. Ironside Season 2 - this doesn't seem to be available over here yet though but Region 1 may do the job,

2. Kojak Season 1 - my sister has her name down to buy this.

3. Streets of San Francisco Season 1 - this is available cheaply so perhaps my other sister will oblige.

4. Life Season 2 - unhelpfully not released here until 28 December. A new year treat to myself perhaps.

5. Longstreet (the one about the blind detective) given a DVD release, please.

6. More George Gently, please BBC.

Slight Return of the Shouty Man

The previous series wasn't particularly good, so Waking Dead wasn't as much "must watch" as in the past, so I managed to miss the first two weeks of the new series. I may have missed out as the two stories I did see were rather good.

A A Gill praised Waking the Dead in the Sunday Times, mainly for the acting as he isn't keen on the gruesome murders, and I agree it does seem to have become increasingly and unncessarily gruesome. He described it as a British CSI which at first I would have contested, but on watching this latest series, I can see it has become more CSI like. Lots of dependence on science plus the beautifully dressed cast. You are investigating a brutal murder - surely one day you might come into the office in slighly creased clothes and not bother with lipstick?

Whilst the storylines were exciting, the two I saw both involved plots personally relating to members of the team, which added to the unbelievability of it. By the last one, Spence had had enough and transferred to CID, possibly to avoid it being his turn next. Who can blame him though - seven series of being yelled at? I wouldn't have lasted this long.

With the final episodes being called End Game, I presume we've seen the last of Boyd, Grace and co. Of course, I may find time to watch the episodes I missed on the BBC website, but I think it is probably time for them to call it a day. Future careers as models for Boden or Next could await them all.

The show must go on

Detectives have been on the back burner while I've settled into a new job. I've been comfort-watching The Wire and Homicide (perhaps rather gritty depressing shows for comfort-watching but I've seen them both before so don't require any great brainpower).

Earlier in the week, I caught an episode New Tricks. I haven't seen this for a while and am confused by the disappearnace of the character Jack (James Bolam). It has been alluded too but I suspect he isn't returning, which is a shame.

This particular episode was about the theatre. I nearly cried watching the episode. Not because of the murder or the human emotions. It was full of stereotypical luvvies and drama queens. But it made me miss my old job in the theatre industry.

I doubt there will be any detective shows set in the interesting world of third sector second-tier support organisations. Unless I've just spotted a gap in the market.