TV: Cucumber viii

Here we go one last time then.

That's much how writer/creator Russell T Davies seems to approach this episode to me. This may well be his last chance to say what he wants to so publically and so truthfully, and I'm sure he knows it. The eighth, and final, episode of Cucumber sees Davies' signature storytelling style used in miniature, as Henry tries to surround himself with friends to help him forget what's missing.

As well as the Collective - the former inhabitants of the Calico flats moving into Henry's house - works, it disbands before too long and we're left once more with just Best, Freddie and Cliff. In Davies' (and Benjamin Cook's) phenomenal The Writer's Tale, there's an illustration of what he would've wanted the Doctor's son to look like, had 2008 Doctor Who episode The Doctor's Daughter been taken down a different path. The picture, and accompanying description, seem to fit Freddie Fox perfectly, and I don't wonder that the character was reimagined for Cucumber.

Con O'Neill is once again excellent as Cliff, and in this role ascends to my third favourite of the series. He's wonderfully witty and wry, and the idea he's anything other than perfect for the role as imagined by Davies should be dispelled. However, there are two frankly fantastic performers who just edge him out. Julie Hesmondhalgh is undoubtedly best known as Hayley on Coronation Street, but from now on it'll be hard not to think of her as Cleo. She's embodied the part that's often been labelled the voice of reason in a series full of mad events and decisions and made it her own. It really is coincidence that the best episodes of the series - the first and sixth - are the two that don't feature her, since she's truly excellent.

This series is made entirely by Vincent Franklin as Henry, though. He is perfectly cast in the role, being able to articulate the every whim of Davies with flair, ease and - most importantly - excellence. This episode is no different, and the final scene shows him off at his best again. Indeed, the sincerity of the final line stays in the mind long after the credits roll. It's an oddly profound note to end on, but in a way that's entirely appropriate of this series. It made me think a lot, and clearly I'm not the only one as - most prominently - Gareth Roberts also tweeted about its truth. I think there can be no argument that in narrative terms Cucumber has been stunning. 

There are many to attribute its success to of course. Davies is naturally the main driving force behind the show, but if I start praising him I'll be here all day. Suffice to say his skill in executing both long and short-term storylines and narrative tricks still remains unparalleled in my eyes. His co-executive producers Julie Gardner and Nicola Shindler need a hearty thanks, and I'm so grateful to Piers Wenger for commissioning this at all. The directors have all been beyond amazing too, and Jake Polonsky has kept things looking beautiful. Beyond the actors mentioned above, James Murray (Daniel), Fisayo Akinade (Dean), Letitia Wright (Scotty) and of course Cyril Nri have all been inspirational. 

Behind the cameras, there's been some highly commendable work that I've barely mentioned. Louise Page is another face familiar from Davies' BBC Wales days, and I must say all her costumes have been right on the money. Dean's yellow hoodie, for example, sums up the character perfectly. Murray Gold has been amazing, and if there was any doubt he had a great ear for basslines (I can still hear Westminster Bridge whenever I want), Cucumber has set them straight. His choral pieces were my favourite, but the whole series has been excellently scored from start to end. And Mark Adcock has done excellent things as a camera op for all eight episodes. Having tried this myself, I know how much of an art it is, and the way Adcock and co. make it look so effortless is truly a skill. 

And a huge thank you to all the electrical, make-up, art and sound departments that have made this so special. This will go down as one of my favourite series, thanks to everyone involved. Andy Pryor's casting can't go unmentioned, for making it such a success. And I'm sure none of it would have happened without Matt Strevens. So thanks all. 

Beyond all that, though, Cucumber's given me a new catchphrase - a Henry-style "oh fuck off!". And really that's what I direct at all the naysayers the series has accumulated, few though they are. Thanks Russell, Vince, it's been fucking amazing. Cucumber's taught me a lot, but really it's underlined one thing I was already fairly certain of. 

Men are mad.

TV: Cucumber vii

There's a few ways to go following a death. Russell T Davies' choice sits perfectly well with me. However much we can now see the first six episodes of Cucumber were the story of Lance, it's always been about Henry. Following the death of a loved one, most of us are something of a mess, especially emotionally. The seventh episode in the series follows Henry as he struggles to come to terms with his loss. I've read reviews complaining that this is an inconsistent episode, but that seems to be entirely the point to me. Grief, like love, is like no other emotion, and everyone handles it differently.

We begin at Lance's funeral, where Henry resents the deceased's sister Marie revelling in all the sympathy. He retires to the safety of his friends, and I'm pleased to say the marvellous Con O'Neill as lawyer Cliff features very prominently in this episode. This is an illustriously heady mix of emotions like you've not seen before. There's much sorrow as Henry balls his eyes out, lust as he and his flatmates chase down a man with a little help from Grindr, anger as he rages at Marie, and finally ecstasy in the closing moments.

The scene between Freddie, Dean and Henry in the car as they wait for a shower to pass is one of those that should go down as a writing masterclass. Davies proves once again how good he is at writing characters trapped in a confined space - as he has rightly received much acclaim for doing in Doctor Who's Midnight. At the top of the episode, we see Freddie ready to leave the flat, to move into a place that's more expensive, smaller, but with better prospects of sex. Slowly though, he reverses that decision and really grows up from the hedonistic thrill-seeker we were introduced to at the start of the series into a young man more focused and driven. His girlfriend seems to have been forgotten, but that's understandable really. 

There's so many superb scenes in this, and I think Vincent Franklin must be in every single one of them. A lot is demanded of him, but as always he more than rises to the challenge. I can totally understand Davies' comments in a video interview for Channel 4 that he knew he had his Henry as soon as Franklin entered the room. He embodies the character, and makes him one of my favourite of all time. The scene in the bar (the same one as in short tie-in drama Screwdriver?) between him and Marie is icily electric. She comes across as a real bitch, thanks to a solid performance from Adjoa Andoh, and it's oh so satisfying to see her storm from 'her' house at the conclusion.

I knew the flats were going to play a part towards the end of the series. How, though, I couldn't have predicted. The mystery of the cheap rent was built up so much over the opening episodes, I could tell it was going to come back to bite our leads. And indeed it does as 'Roderick' decides to reclaim everything on his property. The scenes of Henry standing still, watching barefoot as the shit hits the fan, are just mesmerising. In an unmentioned twist of irony, it may well have been better for Freddie if he had moved out after all.

It's so good to have Euros Lyn's work back on our screen. There's several memorable high shots in this episode, and he accurately captures the scale of every scene. I know I've praised him every week, but Vincent Franklin is once again the star of the show, and Con O'Neill is just fantastic as Cliff. There's no supermarket scene here, because things have moved on. Although it must conform to TV standards to some extent, I love how much of a natural flow Cucumber has. Events that would normally be saved for a finale surprise the audience two episodes early (was I the only one wondering whether there'd be a marriage, not a death, by the way?), leading us to question just how big Davies plans to go next week. The final scene really does feel like the end of the series, so I can't wait to see where Cucumber goes in its last ever (sob!) episode. 

LIST: Nine's 9

To celebrate the birthday of Christopher "One Series" Eccleston, my favourite (and first) Doctor, I thought I'd compose a list similar to the one I did for Matt Smith, here. The score is this: I pick my favourite nine episodes (not stories) from Nine's era and sum up my thoughts on them in nine words.

9. Rose
written by Russell T Davies | directed by Keith Boak

Snappy, stylish introduction to the Doctor and Rose's worlds.

8. The End of the World
written by Russell T Davies | directed by Euros Lyn

Outrageous fun with impressive direction and an enormous budget.

7. Aliens in London
written by Russell T Davies | directed by Keith Boak

One of the best-plotted and -paced episodes this century.

6. The Empty Child
written by Steven Moffat | directed by James Hawes

Creepy atmospheric wartime thriller, just what the Doctor ordered.

5. The Unquiet Dead
written by Mark Gatiss | directed by Euros Lyn

Ghosts, Victorian times, dark cellars? It's gotta be Gatiss.

4. Bad Wolf
written by Russell T Davies | directed by Joe Ahearne

A fusion of great ideas, writing, direction and acting.

3. The Doctor Dances
written by Steven Moffat | directed by James Hawes

Moffat used all his best ideas first, simply superb.

2. The Parting of the Ways
written by Russell T Davies | directed by Joe Ahearne

The greatest finale so far, it cements Eccleston's legacy.

1. Boom Town
written by Russell T Davies | directed by Joe Ahearne

Eccleston, Piper, Barrowman, Clarke, Badland, Davies and Ahearne.