Life on Mars is a British television series broadcast on BBC One between 9 January 2006 and 10 April 2007. The series combines elements of speculative fiction and police procedural, featuring a present-day police officer from the Greater Manchester Police (played by John Simm) who wakes up in 1973 after being involved in a road accident. The title is a reference to David Bowie's 1973 single Life on Mars?, with its lyrics "Take a look at the law man, beating up the wrong guy".
BBC One is the first and principal television channel of the British Broadcasting Corporation in the United Kingdom, Isle of Man and Channel Islands. It was launched on 2 November 1936 as the BBC Television Service, and was the world's first regular television service with a high level of image resolution. It was renamed BBC TV in 1960, using this name until the launch of the second BBC channel BBC2 in 1964, whereupon the BBC TV channel became known as BBC1, with the current spelling adopted in 1997.
The police procedural, or police crime drama, is a subgenre of detective fiction that emphasizes the investigative procedure of a police officer or department as the protagonist(s), as contrasted with other genres that focus on a private investigator or amateur detective. Unlike traditional mysteries, which conceal the criminal's identity until the police solve the crime in the narrative climax, police procedurals often reveal the perpetrator's identity to the audience early in the narrative, making it an inverted detective story or "howcatchem". Police procedurals attempt to accurately depict such police-related topics as forensic science, autopsies, gathering evidence, search warrants, interrogation and adherence to legal restrictions and procedure.
Greater Manchester Police (GMP) is the police force responsible for law enforcement within the metropolitan county of Greater Manchester in North West England. GMP is the fifth largest police service in the United Kingdom after the Metropolitan Police Service, Police Scotland, Police Service of Northern Ireland and West Midlands Police; and is the third largest force in England & Wales.
An American adaptation of the series was produced by ABC and ran for one season from October 2008 to April 2009. A Spanish adaptation of the series was broadcast from April to June 2009. A Russian adaptation of the series entitled The Dark Side of the Moon was broadcast in November 2012. Czech adaptation World under the Head was broadcast by Czech Television from January to March 2017. The South Korean adaptation began broadcasting in June 2018.[1] A Chinese remake is currently being produced set in 1990s. [2] A sequel to the series, Ashes to Ashes, referencing another David Bowie song, aired on BBC One from February 2008 to May 2010.[3]
Life on Mars is an American science fiction crime drama television series which originally aired on ABC from October 9, 2008 to April 1, 2009. It is an adaptation of the BAFTA-winning original UK series of the same name produced by the BBC. The series was co-produced by Kudos Film and Television, 20th Century Fox Television, and ABC Studios.
The American Broadcasting Company (ABC) is an American commercial broadcast television network that is a flagship property of Walt Disney Television, a subsidiary of the Disney Media Networks division of The Walt Disney Company. The network is headquartered in Burbank, California on Riverside Drive, directly across the street from Walt Disney Studios and adjacent to the Roy E. Disney Animation Building, But the network's second corporate headquarters and News headquarters remains in New York City, New York at their broadcast center on 77 West 66th Street in Lincoln Square in Upper West Side Manhattan.
The Dark Side of the Moon is a Russian detective television series, based on the BBC series Life on Mars. Like the original series was adapted from, although with the original script rewritten to better fit the Soviet era, the series combines elements of the genres speculative fiction and police procedural, featuring a present-day police captain from the Moscow City Police who wakes up in 1979 as his deceased father in the days of the Soviet Union after being hit by a car while in pursuit of a criminal in 2011. The title is a reference to the Pink Floyd album of the same name, owing to Pink Floyd's underground popularity in 1970s Russia.
DCI/DI Sam Tyler is a fictional character in BBC One's science fiction/police procedural drama, Life on Mars.
John Ronald Simm is an English stage and screen actor. He has been nominated twice for the BAFTA Award for Best Actor, and is a Laurence Olivier Award nominee for best actor. He is best known for Life on Mars as Sam Tyler and Doctor Who as the Master. His other television credits include: State of Play, The Lakes, Crime and Punishment, Exile, Prey and Cracker. His films include Wonderland, Everyday, Boston Kickout, Human Traffic, and 24 Hour Party People.
Manchester and Salford Police was a police force in England from 1 June 1968 to 1 April 1974. It was created as a merger of the Manchester City Police and Salford City Police and covered the adjacent county boroughs of Manchester and Salford. It was amalgamated with parts of the Lancashire Constabulary and Cheshire Constabulary under the Local Government Act 1972 to form Greater Manchester Police.
Throughout the two series, the plot centres on the ambiguity concerning Tyler's predicament and the lack of clarity, to both the audience and the character, whether he has died, become comatose, or actually travelled back in time.[4]
Time travel is the concept of movement between certain points in time, analogous to movement between different points in space by an object or a person, typically using a hypothetical device known as a time machine. Time travel is a widely-recognized concept in philosophy and fiction. The idea of a time machine was popularized by H. G. Wells' 1895 novel The Time Machine.
Production and transmission
The programme was originally conceived in 1998, when screenwritersMatthew Graham and Ashley Pharoah were sent on a break to the English seaside resort of Blackpool by Kudos Film & Television to think up programme ideas.[5] Originally titled Ford Granada after the 1970s car, the series was rejected by the BBC.[6] In response, Graham stated: "Back then, broadcasters just weren't comfortable with something like that, something that wasn't set in the real world and that had a fantasy element to it."[5] According to Graham, the initial idea was for a humorous, pre-watershed programme that overtly mocked the styles and attitudes of the 1970s, with the comic actor Neil Morrissey envisaged as the central character.[7]
Screenwriting, also called scriptwriting, is the art and craft of writing scripts for mass media such as feature films, television productions or video games. It is often a freelance profession.
Matthew Graham is a British television writer, and the co-creator of the BBC/Kudos Film and Television science fiction series Life on Mars, which debuted in 2006 on BBC One and has received international critical acclaim.
Ashley Pharoah is a British screenwriter and television producer. He is best known as the co-creator/writer of the successful drama series Life on Mars, which began on BBC One in 2006, and creator/writer of the family drama Wild at Heart, which aired on ITV1 from 2006 until 2012.
Later, Channel 4 drama executive John Yorke substantially redeveloped the original script, focusing on a double act between Sam Tyler and Gene Hunt. Senior management eventually decided not to pursue the idea, with Graham stating that the reaction to the idea was: "It's going to be silly", as told to Radio Times. The series eventually attracted the attention of BBC Wales' Julie Gardner, who persuaded the Head of Drama for the BBC, Jane Tranter, to commission the programme from BBC Wales for BBC One.[5] John Yorke left Channel 4 to rejoin the BBC and together with Julie Gardner, he acted as joint commissioning editor on the show for its entire run.
Radio Times is a British weekly magazine which provides radio and television listings. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith, then general manager of the British Broadcasting Company.
Julie Ann Gardner, MBE is a Welsh television producer. Her most prominent work has been serving as executive producer on the 2005 revival of Doctor Who and its spin-off shows Torchwood and The Sarah Jane Adventures. She worked on Doctor Who from 2003 to 2009 before moving to Los Angeles to work at BBC Worldwide.
Jane Tranter is an English television executive who has been the executive vice-president of programming and production at BBC Worldwide's Los Angeles base since January 2009. From 2006 to 2008, she was the BBC's controller of fiction; in this capacity she oversaw the corporation's output in drama and comedy, as well as films and programmes acquired from overseas, across all television channels. Critics were concerned that the BBC had invested too much creative power in one person, and following Tranter's move to the United States, the position of controller of fiction was abolished and the responsibilities divided up among four other executives.
The programme's central character was originally to have been named "Sam Williams", but Kudos felt this not to be striking enough and requested Graham devise an alternative surname. Graham asked his young daughter for her opinion and she suggested "Sam Tyler", which became the character's name. Graham subsequently discovered that his daughter had named him after the Doctor Who character Rose Tyler.[8] The initial geographical setting was to be London; this was then changed to Leeds and finally to Manchester, as part of a BBC initiative to make more programmes in the city.[7] The name Sam Williams was subsequently used as a plot point in the second series.
Eight one-hour episodes of Life on Mars were broadcast weekly on Monday nights at 9:00 pm by the BBC. The series episodes were mostly written by its creators Jordan, Graham and Pharoah, later joined by Chris Chibnall as the fourth writer for the first series. For the second series, Graham, Pharoah and Chibnall returned to write episodes, joined by Julie Rutterford, Guy Jenkin and Mark Greig.[9]
The second series was broadcast weekly at the same time as the first, with the only difference being the change of transmission day from Monday to Tuesday.[10] According to Jane Featherstone, the show's executive producer, speaking in February 2006, a film version of the show was also a possibility: "Life on Mars was a very high concept idea and there was no doubt it would work on the big screen".[11]
On 9 October 2006, it was confirmed that the second series of Life on Mars would be the last. Matthew Graham stated: "We decided that Sam's journey should have a finite life span and a clear-cut ending and we feel that we have now reached that point after two series".[12] Graham's claim that two endings had been filmed was later revealed to be a ruse.[13]
The second series had a distinctive style of introduction on BBC One: after a brief collage of momentary images, such as several test cards and comedy writer and broadcaster Barry Took, a mock-up version of BBC1's 1970s blue-on-black rotating globe ident was used, although the design had to be modified to fit widescreen sets. This was accompanied by a bass-voiced continuity announcer in the style of that era. Viewers in Wales saw an original 'BBC Cymru Wales' mechanical globe with introductions provided by former BBC Wales announcers. Trailers for the show also used the 1970s style, including the rhombus-style BBC logo.
Overseas sales
David E. Kelley produced the pilot for an American version of the series for the ABC network, though he handed duties over to others for the series production. It premiered in October 2008, and was broadcast to minor critical and public acclaim where declining numbers led to cancellation in April 2009 after 17 episodes, though with sufficient lead to allow the storyline to be concluded.
The first series of the original Life on Mars was broadcast in the United States on BBC America from July 2006 to August 2007 and was broadcast in 2010 on some public television stations,[14] with the second series being broadcast from December 2007 to January 2008.[15][16] Acorn Media released both series on DVD in 2008.
The original version also was broadcast in Canada from September 2006 to April 2007 on BBC Canada, and from 8 January 2008 to 23 April 2008 on Télé-Québec in French and Showcase in English.
In New Zealand the original series was broadcast on TV One from February 2007, being described as "sensationally well-made" by an NZ website.[17] Series two was broadcast from June 2008, with the final screening on 4 August 2008.
In Australia the original British version was broadcast on ABC1 from 20 May 2007, with the second following during February 2008. The US version broadcast on 5 February 2009 on Network Ten.
The Russian broadcaster Channel One has remade the show as Обратная сторона Луны (The Dark Side of the Moon, after the Pink Floyd album of the same name).[24] The series began on 5 November 2012, running for 16 episodes. It tells the story of Moscow police captain Mikhail Mikhailovich Solovyov (Михаил Михайлович Соловьёв), who is hit by a car in 2012 during pursuit of a suspect, and wakes up in hospital in SovietMoscow in 1979. Soon Mikhail is released, and takes the place of his father, Mikhail Ivanovich Solovyov.
Czech national TV channel, ČT1, has made a TV series heavily inspired by Life on Mars, called Svět pod hlavou (Czech: World under the head). It tells the story of an elite policeman Filip Marvan, who is hit by a car and wakes up in a hospital in 1982, in Communist Czechoslovakia. The name of the series refers to a line from a song V stínu kapradiny by Jana Kratochvílová. The first episode of the series aired on 2 January 2017, scheduled to run for 10 episodes in total.
The programme's soundtrack features mainly early 1970s songs which were played as part of Life on Mars, as well as an original score of the theme music as part of the title sequence composed by Edmund Butt. The show's title is in reference to the David Bowie song, "Life on Mars?", which plays on an iPod in Sam's car while he is run over, and on an 8-track tape in a Rover P6 when he awakes in 1973; it is used again at the climax of the final episode, and fleeting moments of the song are periodically used throughout the third series of the programme's sequel, Ashes to Ashes, to allude to Sam Tyler's fate.
Matthew Graham stated that initially there were some concerns over whether the production team would be able to license the song, which, had they been denied, would have necessitated retitling the series.[26] Another Bowie song, "Space Oddity", is used in BBC trailers advertising the series. In several episodes, Gene Hunt adopts the name "Gene Genie", in reference to yet another Bowie song, "The Jean Genie", used in the fourth episode. Another Bowie track, "Changes", is played over the end credits of the second series finale.
The show's creators were initially refused permission to use "Live and Let Die" by Paul McCartney and Wings but, according to Graham in the Radio Times, "We sent the episode directly to Paul McCartney. Almost immediately, his assistant phoned back and said, 'Paul loves it. You can go ahead and use it'".[27]
The methodology and techniques of modern policing that Sam Tyler employs during Life on Mars lead him into frequent clashes with other characters. Gene Hunt and the rest of the CID appear to favour brutality and corruption in order to secure convictions, as shown by their willingness to physically coerce confessions and fabricate evidence.[29] Throughout both series, Tyler clashes with Hunt the most frequently, usually because Tyler values forensic evidence whereas Hunt often resorts to traditional methods and gut instincts. In one episode during Series 1, in which doubt is cast on several suspects, Hunt insists that "the first to speak is guilty" and frequently refers to the 'Gene Genie'.
Sam describes Hunt as an "overweight, over-the-hill, nicotine-stained, borderline alcoholic homophobe with a superiority complex and an unhealthy obsession with male bonding." Hunt is supported by his fiercely loyal subordinates, Chris Skelton and Ray Carling, with the latter portrayed as a character similar to Hunt. Ray and Sam often disagree with each other, and Sam and Gene have a love-hate relationship.[30] Chris, in contrast, becomes friendly with Sam and respects his modern methods, finding his loyalty torn between Gene and Sam.[31]
Given Sam's predicament, he avoids revealing his suspicion that he may have travelled back in time, for fear that others will think he is insane. The only person in 1973 to whom Sam fully reveals his story is Annie Cartwright. According to Liz White, the actress who played Cartwright, "She gets very tired of his constant talk about how this situation is not real, that they are all figments of his imagination — she can only explain it as psychological trauma from his car crash".[32]
After the premiere, each of the remaining fifteen episodes begins with a short teaser before a monologue in which Sam repeats, as part of the moving imagery of the title sequence:
My name is Sam Tyler. I had an accident and I woke up in 1973. Am I mad, in a coma, or back in time? Whatever's happened, it's like I've landed on a different planet. Now, maybe if I can work out the reason, I can get home.
This questioning is a central plot device throughout the series, displaying both the character's and the audience's uncertainty about what has happened.
Throughout the course of Life on Mars, Sam's uncertainty is reinforced by frequent paranormal phenomena, such as hearing voices and seeing images from 2006 on radios, telephones, and televisions. The voices discuss his medical condition, leading him to partially believe that he is in a coma. Other elements suggest to him that he is insane, such as his frequent and unexpected encounters with the Test Card Girl from Test Card F, who speaks directly to him. Annie Cartwright partially persuades Sam that he is truly in 1973, arguing that his mind would be unable to fabricate the amount of detail and tangibility in the world where he finds himself, evidence that he is in fact in 1973.
Sam's uncertain situation is not the focal point of most episodes, remaining a sub-plot. In most episodes, the main plot centres on a particular crime or case relating to the police, such as drug trafficking, a hostage situation, murders and robberies. For this reason, most episodes follow a conventional police drama format. As the series progresses, Sam focuses on how he will get home in almost every episode.
A recurring motif throughout the series is the overlapping of the past and present. For example, during Series 1: Episode 6 Sam hears the voice of his mother in 2006, telling him his life-support will be switched off at 2:00 pm. At the same time he is called into a hostage-taking situation, where the perpetrator states that he will kill his victims at precisely the same hour. Sam also encounters as their younger selves people whom he knows in the future, including suspects, friends, his own parents, and himself as a child.
Sam comes from an era in which suspects' rights and the preservation of forensic evidence are stringently observed. His background leads Sam into conflict, as other characters exhibit openly sexist, homophobic, and racist behaviour, and often indulge all these prejudices while carrying out their police duties.
The series frequently makes use of Gene Hunt's comical rudeness in the form of jokes and dramatic irony about a future which the audience already knows, but which the characters in 1973 do not. For example, in Series 1: Episode 5, Hunt declares, "There will never be a woman prime minister as long as I have a hole in my arse."
Another theme in the show is Sam's confusion about police work in 1973, as he often mistakenly mentions techniques and technologies that were not used in 1973, such as two-way mirrors. One such theme is that Sam continually gives criminals the updated version of the right to silence warning, which was changed in 1994. When he does so, someone around him usually points out that he is giving the warning incorrectly.
It is revealed in the final episode that Sam's coma had lasted so long because he had a tumour of the brain. Tyler comes to believe the tumour is embodied by Hunt, and begins to think that by bringing Hunt down, his own body can recover. To this end, Tyler begins to collaborate with Frank Morgan (Ralph Brown) to bring Hunt down. While Tyler and the team are engaged in a firefight with armed robbers, Sam returns to 2008. He eventually comes to realise that he has become used to, and enjoys, the 1970s, seeing it as his "real world". In an attempt to get back to 1973 to save Annie and the rest of the team from death, Sam leaps off the roof of the police station, arriving back in 1973 and saving the team, promising never to leave them again. Writer Matthew Graham wrote the scene to indicate that Sam is now in the afterlife, but acknowledged that the ending is ambiguous and open to other interpretations, such as lead actor John Simm's belief that Sam may not have returned to the present.[13] In the final scene, the team drive off, with Sam and Gene bickering as usual. Children run past, including the girl from Test Card F who symbolizes the death that has been stalking Sam since the beginning. She looks directly into the camera before reaching out and "switching off" the television the viewer is watching, signifying that Sam's life has come to an end.[13]
The first episode of sequel seriesAshes to Ashes shows that the protagonist, DI Alex Drake of the Metropolitan Police, has been studying Tyler's notes and 2008-era personnel file, in which his photograph is overstamped with the word "SUICIDE" - consistent with what happened in the series finale. Ashes to Ashes implies that Gene Hunt's world is in some sense real, and states that Sam lived on in that world, during which time he married Annie but had no children.
In the final episode of "Ashes to Ashes" a fuller explanation for Sam Tyler's experience is provided, when the role of Gene Hunt in both Life on Mars and Ashes to Ashes is revealed.
Depiction of 1973
During an interview John Stalker, Deputy Chief Constable of Greater Manchester in the early 1980s and himself a Detective Inspector in 1973, has stated that the depiction of the police "has got nothing to do with real policing in the 1970s. It could not be more inaccurate in terms of procedure, the way they talk or the way they dress. In all the time I was in the CID in the 1970s I never saw a copper in a leather bomber jacket and I never heard an officer call anyone 'guv'.... Actually, there were a few police officers in London who started to behave like Regan and Carter in The Sweeney, but that was a case of life following art, not the other way round".[34] The journalist who interviewed Stalker, Ray King, remarks that the depiction of the police can be defended if we assume that Sam is indeed in a coma and that we are seeing his imaginary idea of 1973, filtered through 1970s police shows.[34]
Upon Sam Tyler awaking in 1973, he finds himself on a building site, beneath a large advertising board, proclaiming the construction of a new motorway, the Mancunian Way. In reality, construction of Mancunian Way was completed in 1967. According to Matthew Graham, writing in the Radio Times, the error was deliberate. "We knew that this road was built in the 1960s, but we took a bit of artistic licence".[35] Minor historical anachronisms such as this are present throughout Life on Mars. Some, as above, were made out of artistic licence whilst others were deliberately inserted to confuse the issue of whether Sam Tyler was in a coma, mad or really back in time. Many inaccuracies were visible such as modern street furniture, cable television cabinets, satellite television dishes, CCTV cameras, LCD digital watches and double-glazed uPVC window frames, which were all unintentional.[36] During DVD commentaries for the series, the programme makers acknowledge these as errors but also point out they are perfectly feasible, given Sam's situation.[26] As the popularity of the series grew, the hunting of such anachronisms became a favourite pastime among Life on Mars fans.[37]
Critical reaction to the first series of Life on Mars was extremely positive. Steve O'Brien, writing for SFX, declared, "It looks like BBC One has... a monster hit on its hands... It's funny... and dramatic and exciting, and we're really not getting paid for saying this".[38] Alison Graham, television editor for the Radio Times, described the series as "a genuinely innovative and imaginative take on an old genre".[39] James Walton of The Daily Telegraph commented, "Theoretically, this should add up to a right old mess. In practice, it makes for a thumpingly enjoyable piece of television — not least because everybody involved was obviously having such a great time".[40] Sam Wollaston of The Guardian wrote: "Life on Mars was more than just a jolly, tongue-in-cheek romp into the past... Once there, in 1973, we find ourselves immersed in a reasonably gripping police drama — yes, The Sweeney, perhaps, with better production values... Or put another — undeniably laboured — way, as poor Sam Tyler walks through his sunken dream, I'm hooked to the silver screen".[41] Although Peter Paterson of the Daily Mail reflected the views of many other commentators on the first episode when he wondered, "Can its intriguing conceit be sustained over eight one-hour episodes?",[40] Critical reaction remained generally positive throughout the programme's run. Of the second series, Alison Graham believed that "Sam Tyler and Gene Hunt are shaping up nicely as one of the great TV detective partnerships... It's vastly enjoyable and manages to stay just about believable thanks to some strong writing and, of course, the two marvellous central performances".[42]
Nancy Banks-Smith, in The Guardian, felt that the time-paradox aspect of the programme had become somewhat confusing.[43] Banks-Smith summed up the programme's success as "an inspired take on the usual formula of Gruff Copper of the old school, who solves cases by examining the entrails of a chicken, and Sensitive Sidekick, who has a degree in detection.".[44]
Two days after the final episode's transmission, Life on Mars was attacked in the British press by the National Association of Schoolmasters Union of Women Teachers, who claimed that Gene Hunt's use of homophobic insults in the programme could encourage copycat bullying in schools.[45] The BBC stated that Life on Mars was targeted at an adult audience, and argued that Hunt's characterisation was "extreme and tongue-in-cheek".[45]
Ratings
Life on Mars was a ratings success. The first series achieved an average audience figure of 6.8 million viewers[46] and regularly won its timeslot, despite competition from ITV1's popular comedy-drama series Northern Lights. The first series' finale gained 7.1 million viewers and a 28% audience share.[47][48][48][49][50][51]
Viewing figures for the second series were initially low, with the first episode only attracting 5.7 million viewers, slumping to 4.8 million viewers by episode three, despite being heavily trailed and publicised.[46] These figures were blamed by The Stage on "poor scheduling and unfortunate sporting fixtures, possibly combined with high expectation".[52] Audience figures picked up during the second series' run, however, with the final episode gaining an average of seven million viewers (a 28% audience share),[53] despite competition from UEFA Champions League football on ITV1.[54]
Episode Order
Viewers (millions)
8
7.10
9
5.70
11
4.80
16
7.15
Accolades
The series twice won the International Emmy Award for Best Drama Series in 2006 and 2008.[55] In January 2007, it won the Best New Programme category as part of the Broadcast Magazine awards.[56] In March 2007 it won two categories, Best Drama Series and the Writers' Award, at the Broadcasting Press Guild Awards.[57]
The first series was nominated for a British Academy Television Award (BAFTA) in the Best Drama Series category. John Simm was also nominated as Best Actor for his work on the show.[58] The programme won the audience-voted "Pioneer Award".[59]
Note: Due to the popularity of the show, Blu-ray editions of both series were released on 27 October 2008. However, since the show's various effects were originally edited and mastered in standard definition, a true HD version would require a near-total overhaul. The Blu-ray editions therefore contained studio-upscaled footage of the original SD content, providing some improvement. This pseudo-HD version is not known to have been broadcast on television.
Books
Companion books
There have been 2 official tie-in books to accompany the series featuring episode summaries, cast and character profiles, music listings to each show, script extracts, plus behind-the-scenes content and never before seen photos.
Thompson, Lee (2006). Life on Mars: The Official Companion. Pocket Books Publishers. ISBN978-1-84739-005-9.
Adams, Guy; Thompson, Lee (2007). Life on Mars: The Official Companion Volume Two. Pocket Books Publishers. ISBN978-1-84739-039-4.
Humour
The Rules of Modern Policing (1973 Edition) by "DCI Gene Hunt" (Bantam Press) [8 October 2007]
A parody of a police manual that made fun of the conventions of 1970s British police procedurals like The Sweeney. It also contained a glossary of British 1970s slang terms. The actual author of the text is Guy Adams.
The Wit and Wisdom of Gene Hunt by "DC Chris Skelton and DS Ray Carling" (again, Guy Adams) (Bantam Press)
A book detailing the philosophy of Gene Hunt as told by his disciples.
Novels
On 12 March 2012, Kate Bradley, Commissioning Editor at HarperCollins secured a deal with Kudos Film and Television to publish four brand new Life on Mars novels. The Life on Mars books were published exclusively as eBooks at roughly three-month intervals, but were successful enough to generate the release of hard copy, trade paper editions in August 2013. The author of the series is Tom Graham, Matthew Graham's brother. (Despite earlier speculation that the brother identity was a pseudonym for another writer—based on a preponderance of misleading evidence that turned out to consist of improbably high coincidence—the by-line, and the familial relationship, are absolutely authentic.)
Content-wise, the novels begin to explore the continuity gap between Life on Mars and Ashes to Ashes, picking up approximately where the first TV series leaves off; but it is not necessary to know both series to enjoy the books. Said Tom Graham in a pre-publication interview: "…I made a very conscious decision to move on from the show, not to tinker or play around with pre-existing story lines. There is more than enough new and unused material for my books without me going back and plundering previous episodes. Also (and this is one of the realities of publishing) my books had to in some way stand apart from the show and be accessible to readers who only vaguely remember Life on Mars but haven’t seen it since it was first aired. There were times I felt like Peter Jackson making the Lord of the Rings Trilogy – like him, I have to appeal to the hard core fan, the semi-fan, the part-time fan, and the casual passing punter who’s never even heard of the thing. Unlike Jackson, I didn’t have a half a billion dollars budget riding on it, but the principal’s the same. So, I have very deliberately written books that recall the TV show, jog memories of characters and events from the show, recreate the atmosphere and ethos of the show, but don’t require an in-depth knowledge of minor characters and plot points. We don’t (yet) plunge into the finer details of the LoM mythology that would mystify the general reader, but if further books are commissioned, there will be plenty of room to get stuck into the minutiae!"
Though each book can stand on its own, the four are best read as a tetralogy, in order of listing below, as there is a superstructure linking them together. They are:
Graham, Tom (2012). Bullets and Blue Stratos. HarperCollins Publishers. ISBN978-0-00-747257-4.
Graham, Tom (2012). A Fistful of Knuckles. HarperCollins Publishers. ISBN978-0-00-747258-1.
Keeley Clare Julia Hawes is an English actress, born in London and educated at the Sylvia Young Theatre School. She began her career as a model before appearing in a number of literary adaptations, including Our Mutual Friend (1998), Wives and Daughters (1999), Tipping the Velvet (2002), and The Canterbury Tales (2003). She portrayed Zoe Reynolds in the BBC espionage drama series Spooks from 2002 to 2004, followed by her co-lead performance as Alex Drake in Ashes to Ashes (2008–2010), for which she won a Glamour Award. She played leading roles in the 2010 revival of Upstairs, Downstairs, the limited series The Casual Vacancy (2015), The Missing (2016), and the ITV comedy-drama The Durrells (2016–2019).
World Productions is a British television production company, founded on 20 March 1990 by acclaimed producer Tony Garnett, and owned by ITV plc following a takeover in 2017.
Philip Haywood Glenister is an English actor, best known for his role as DCI Gene Hunt on the BBC series Life on Mars and its sequel Ashes to Ashes, Reverend Anderson in Outcast, and Mal Pemberton in Living the Dream.
WPC/DC Annie Cartwright is a fictional character in BBC One's science fiction/police procedural drama, Life on Mars. The character is portrayed by Liz White. In the American version the character's surname is changed to 'Norris' and she is portrayed by Gretchen Mol.
DCI Gene Hunt is a fictional character in BBC One's science fiction/police procedural drama Life on Mars and its sequel, Ashes to Ashes. The character is portrayed by Philip Glenister in both Life on Mars and Ashes to Ashes, whereas in the American version he is portrayed by Harvey Keitel. His younger self, also known as the ghost of Gene Hunt, is portrayed by Mason Kayne.
Ashes to Ashes is a British crime drama and police procedural drama television series, serving as the sequel to Life on Mars.
Dean Andrews is an English actor. He is known for his role as DS Ray Carling in the BBC drama series Life on Mars. He continued the role in the sequel series, Ashes to Ashes, until 2010. In 2019, he is set to appear in ITV soap opera Emmerdale.
Gerald Gary "Jed" Mercurio is a British television writer, producer, director and novelist. A former hospital doctor and Royal Air Force officer, Mercurio has been ranked among UK television's leading writers. In 2017, Mercurio was awarded a Fellowship of the Royal Television Society and the Baird Medal by RTS Midlands.
DC/DS/DI Raymond Milton "Ray" Carling is a fictional character in BBC One's science fiction/police procedural drama, Life on Mars and its spin-off Ashes to Ashes.
PC/DC Christopher "Chris" Skelton is a fictional character in BBC One's science fiction/police procedural drama, Life on Mars and its spin-off Ashes to Ashes.
DI Alexandra "Alex" Drake is a fictional character in BBC One's science fiction/police procedural drama, Ashes to Ashes. The character is portrayed by Keeley Hawes and as a child by Lucy Cole.
Episode 1 is the first episode of series 1 of the British science fiction/police procedural/drama television series Ashes to Ashes, which is the sequel to Life on Mars. It began broadcasting on BBC One on 7 February 2008.
Shetland is a British television crime drama television series, made by ITV Studios for the BBC and broadcast on BBC One, that first broadcast on 10 March 2013. Initially based upon the novels of Ann Cleeves, the series was brought to screen by David Kane, who has remained a principal writer through all five series.
↑ Each episode begins with a monologue from Tyler reflecting this uncertainty. This is reproduced on the "Life on Mars Official Website". BBC. Retrieved 2 August 2008.
1 2 3 O'Brien, Steve (January 2006). "The Nick of Time". SFX (139): 54.
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