Max McCall is a bad brother, a worse friend, and a great TV character. That’s half down to Mark Bonnar’s exceptional performance as the disbarred lawyer who’d sell his granny for a rung back up the ladder he slid down in series one, and half down to creator Neil Forsyth’s writing.
Guilt’s scripts are beauties; they tell their twisting thriller story about crime, class and family without cliché or predictability. They’re funny and political, because so are people, and they’re universal because they have a pin-sharp sense of place. You don’t need to be from Leith or Edinburgh for its us-and-them rivalry to resonate, or to get the baked-in meaning of local boundaries and kinships, or see why it’s a punchline for a character to have moved to Dundee.
Anybody can also understand how wealth might be an expressway out of poverty and powerlessness,...
Guilt’s scripts are beauties; they tell their twisting thriller story about crime, class and family without cliché or predictability. They’re funny and political, because so are people, and they’re universal because they have a pin-sharp sense of place. You don’t need to be from Leith or Edinburgh for its us-and-them rivalry to resonate, or to get the baked-in meaning of local boundaries and kinships, or see why it’s a punchline for a character to have moved to Dundee.
Anybody can also understand how wealth might be an expressway out of poverty and powerlessness,...
- 4/25/2023
- by Louisa Mellor
- Den of Geek
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