10 years of ‘Inside No.9’: The legacy of Britain’s most daring and imaginative show
The intersection of British comedy has often been associated with light-hearted entertainment, prioritising simple humour over deeper thinking substance. Yet, this perception overlooks the potential for British comedy to engage with profound ideas and meaningful concepts, challenging stereotypes and offering insightful commentary on society. Inside No.9, the dark and ingenious show created by Reece Shearsmith and Steve Pemberton, defied this stereotype, demonstrating that British comedy could seamlessly blend with drama while retaining its ingenuity and dignity.
Understanding the show perhaps becomes more accessible if you’re already familiar with Shearsmith and Pemberton’s body of work. As cinephiles themselves, their talent for both acting and screenwriting seems as natural as breathing. What sets them apart is their unwavering dedication to crafting ground-breaking and psychologically rich characters and storylines, adding an extra layer of depth to their already impressive repertoire.
While Inside No.9 may initially seem like a tamer relative compared to the writers’ previous projects, such as The League of Gentlemen and Psychoville, it still serves up the same blend of macabre and intrigue that fans have come to expect from these creative minds. However, the darkness it presents isn’t always overt; instead, it often delves into the intricacies of human psychology and the repercussions of their decisions or political stances, leading to gripping narratives that explore the depths of human nature.
Before the much-needed arrival of Inside No.9 in 2014, the landscape for genuinely captivating and thought-provoking dramedies was growing stagnant. Although Shearsmith and Pemberton had already proven themselves as masters of their craft, their earlier works were quickly relegated to the realm of cult classics, often overlooked by mainstream audiences. This left their brilliant storytelling and innovative concepts longing for a broader platform to fully showcase the depth of their creative genius.
While Inside No.9 has since taken on an entity of its own, its inception bore a striking resemblance to a fusion of Psychoville and Alfred Hitchcock’s Rope, envisioned by none other than the eccentric characters David and Maureen from the latter. Embracing the theatrical format, an episode unfolds within the confines of a single room, captured entirely in just two continuous shots. Recognising the need for diverse narratives, each imbued with unique nuances and outcomes, the dynamic writing duo embarked on creating a fresh branch of dramedy infused with their trademark morbidity and subtle intrigue.
The show’s journey begins with ‘Sardines’, an episode that has been worthy of being a hallmark of Inside No.9, owing not only to its remarkable memorability but primarily to its unparalleled originality. While Shearsmith and Pemberton may now enjoy greater creative freedom in their approach to concepts, in the early days, they faced the daunting task of weaving connections between the stories beyond the shared motif of the number nine, as hinted in the show’s title.
Consequently, the first series hinges on the theme of claustrophobia, exemplified masterfully by the debut episode. While the assertion of originality rings true in every instalment, what truly captivates is the show’s daring departure from the predictable norms of British television. A decade ago, just before the premiere of ‘Sardines’, anthology series, with the exception of Black Mirror, had undoubtedly waned in popularity since the days of The Twilight Zone, and prior to that, Tales of the Unexpected.
While the creators of Inside No.9 may have tired of such comparisons, their series, albeit sharing a similar format, elevated the entire genre to unprecedented heights of intrigue and innovation. That’s not to say that Shearsmith was fooled regarding the challenge they faced upfront back in 2014. “[The show] occupied a unique space in a landscape not necessarily kind to the anthology format, and for that, we are eternally grateful,” he admitted to Far Out. Such risks often emit brilliance, however, and listening to instinct proved worthwhile.
There are many episodes which epitomise this exact level of brilliance; ‘The 12 Days of Christine’, ‘A Quiet Night In’, ‘Empty Orchestra’, The Riddle of the Sphinx’, ‘Bernie Clifton’s Dressing Room’, to name a few. However, one that stands out as a pivotal moment, a cultural reset, is ‘Dead Line’, an episode delivered entirely (mostly) live. A Halloween special from the maestros of the macabre promises chills and thrills, but ‘Dead Line’ brought an extra sprinkle of magic and innovation, along with an eerie sense of malfunctioning technology.
Mastering devilish deception is this duo’s forte. If we are unable to anticipate the twist, they win. A decade later, the allure of the show’s legacy remains both delightful and mildly sadistic in its power. As explained by Shearsmith, “Writing and working on Inside No.9 for the last ten years has been both an education, a delight and a tyranny,” the writer tells Far Out. “Myself and Steve Pemberton have been in the unique position of crafting 55 different films and have enjoyed the challenge of pushing the boundaries of how to tell a story using the medium of television.”
Adding, “I hope perhaps it is the invention and variety in tone and style that has kept the programme popular and intriguing, but it’s really not for me to say!”
Although many attempts to place a handful of episodes into a defining list of favourites with varying degrees of success, it provides some comfort knowing that Shearsmith also experiences difficulty when presented with the same challenge. “It’s very hard, of course, to pick a favourite; they are all our babies,” he explained, adding, “But I did enjoy the episode set in the world of magic and illusion ‘Misdirection’ and our 17th-century witch story ‘The Trial of Elizabeth Gadge’. They indulged personal interests, and it was fun to explore them in the work.”
After a decade of Inside No.9, one lesson stands out: achieving cultural significance is a task best left to the seasoned professionals. In today’s entertainment landscape, we’re enthralled by dramas, true crime narratives, and the macabre—stories that delve into the unexpected and capture our imagination. Our fascination with morbidity has peaked, inundating us with a plethora of television offerings designed to satiate this craving.
Yet, a decade ago, armed only with their remarkable creativity and an opportunity to craft a hit television series, the creators of Inside No.9 were poised to forecast the future of television with a collection of tales that unearthed our darkest secrets.
