The show’s approach to identity politics verges on patronising
Channel 5 has renewed its police drama Ellis for a second series, despite a lack of acclaim. The show, featuring Sharon D Clarke as the titular detective and Andrew Gower as her sidekick DS Chet Harper, attracted 4.3 million viewers in its initial run—a figure that, while not remarkable, surpassed average viewership, reports BritPanorama.
This season, the narrative unfolds in the village of Ashenham, where local philanthropist Peter Barron (James Doran) is discovered murdered. His efforts to rehabilitate young offenders have sparked community division, raising questions about whether this initiative contributed to his demise. His absence of one participant, Kelvin Jones (Sonny Walker), who stormed out the day before, adds weight to this suspicion.
In a predictable twist common to the crime-thriller genre, this lead ultimately proves misleading. Nonetheless, the episode’s dialogue often elicits unintended humour. For instance, Kelvin’s dramatic exit, complete with his complaints directed at Barron’s associate Joseph Ward, elicited laughter amid the otherwise serious plotline.
The show’s overall writing fails to resonate authentically with viewers. Characters deliver clunky dialogue that, while unconvincing, serves to remind viewers of the plot’s parameters. In some ways, Ellis becomes a backdrop for multitasking—viewers can half-watch while engaged in other activities, a habit that 4.3 million seemingly adopted with season one.
While season one attempted to address issues of race and gender, season two steers away from meaningful exploration. The first episode heavy-handedly presents statistics about representation within law enforcement, such as Ellis stating, “There are maybe 60 women DCIs in the Met, two forces in the UK with no black officers at all; I’m a freaking unicorn.” This approach prioritises superficial engagement with identity politics, often coming across as disingenuous rather than substantive.
Overall, the series appears to lack depth, superficially integrating familiar tropes of police procedurals while failing to offer an engaging narrative. The dialogue often veers toward the absurd, exemplifying how the series hinges on audience expectations rather than innovative storytelling.
Despite its shortcomings, Ellis continues to cater to those seeking undemanding entertainment. Season two returns tonight on Channel 5 at 9pm, showcasing a formula that seems designed for viewership rather than artistic merit.
