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Likewise, I’d enjoyed Sir David Jason’s turn as both Albert and Rincewind, but was happy to see Richard Coyle back on the small screen in a big way. However, a werewolf, banshee and fleet of Golem workers made the absence much less severe. Those droll, dry lines in Hogfather (2006) and The Colour Of Magic (2008) were some of my favourite moments from those productions. One element I did miss in this new story is the character of Death. Reacher Gilt batters his accountant to death, and although a flickering fire partially obscures the view, we can still hear the cries of Crispin Horsefry as the blows land, as can George Pony, waiting outside Gilt’s office. The Discworld telly adaptations have depicted deaths before, but from a relatively safe distance and never so graphically and violently as we see and hear here. It’s a great scene that demonstrates acting chops that would fill a very large platter. As he attempts to feign friendly interest in his employee’s bookkeeping skills, we see him try to keep a lid on the boiling fury forced below the surface, about to explode. The scene wherein he realises that his hired assassins’ wages have been itemised and logged in years of accounting ledgers is a joy to watch.
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Meanwhile, Adora may have discovered a way to take down the clacks system by using a code, a sequence of letters that freezes the towers’ shutters, but it only works temporarily as Mr Pony, a former employee of the Dearhearts who now works grudgingly for Gilt, is strongly encouraged to find a fix by Reacher dangling his niece from the top of a clacks tower and threatening to drop her.ĭavid Suchet does sinister with a comic twist like few actors I can picture.