Eagle-eyed viewers will have noticed the hare in the room in every episode of Inside No. 9. The hare had never been the focus of the story… until Tempting Fate.
Tempting Fate is, undoubtedly, my favourite episode of Series 4, with Once Removed and To Have and To Hold close runners-up. It dealt with a lot of themes and techniques in fiction and film which I find really interesting. The “magical object which grants wishes” is a very old trope, but the episode felt anything but generic and obvious. We’ve grown accustomed to the inevitable twist at the end of each episode; however, Tempting Fate manages to pull off twist after twist after twist, one after another, and it’s absolutely sublime to watch. This was one of those episodes, along with the likes of To Have and To Hold, that genuinely made me gasp. Again, I’d like to apologise to my flatmates for shouting “OH NO!” at the final scene.
There were lots of fun inter-textual references: Shearsmith’s character Nick has a PhD in ethnology and folklore – cue “useless degree” jokes – and there was a particularly great name-drop of The Monkey’s Paw by W. W. Jacobs (which I’ve actually studied, ha). The website American Literature* describes the story thus: “The Monkey’s Paw is a classic “three wishes” story that doubles as a horror story and a cautionary tale; reminding us that unintended consequences often accompany the best intentions.” The same could be said of this episode. It draws on many literary and cultural influences, including folk horror – a genre of which Shearsmith and Pemberton are fond, and I am too. The supernatural is often present in Inside No. 9, but it’s made very apparent to us that curses and magic are front and centre in this narrative, as Nick states fairly early on: “Hares are associated with witchcraft and trickery in almost every culture in the world.” If you’ve seen the 2015 horror film The Witch, you’ll remember the eerie hare in the woods and this episode made me think of that (as though I need an excuse to think about The Witch).
Out of all the episodes broadcast so far, it stood out to me. It truly shows off what our favourite screenwriting duo can do; it’s the epitome of “less is more”. I hesitate to say any piece of art – and I do consider horror, whether on the big screen or small, to be an artistic form – is perfect, but this was pretty damn close.
This was a fantastic conclusion to Series 4 and this series in general has been a worthy successor to the previous set, which was when I started watching (I started with The Devil of Christmas, watched Series 3 and then went back to catch up). Inside No. 9 has secured its place as the best thing on television.
So as we wave off this series, I must also bid farewell to thee, dear reader. You’re welcome to stick around if you like my other stuff, but rest assured that, when the time comes, I’ll review Series 5 with just as much love and enthusiasm.
No more episodes, unfortunately, but fear not! The BBC have commissioned another series, so Series 5 will be broadcast (potentially next year).
*Note on The Monkey’s Paw: I’m not sure why it has an entry on americanliterature.com, because it was published in England in 1902…