While many of us had heard the term before, a poltergeist is actually one of the rarest forms of hauntings and to many, the most terrifying. Somebody, preferably somebody likable and interesting, needs to die to save Ghosts.Perhaps one of the most popular terms most of us have heard when it comes to ghosts, the word poltergeist actually means “noisy ghost” because it is said to have the ability to move or knock things over, make noise and manipulate the physical environment. But my worry is that Ghosts will become ruined by the exclusivity of its admission policy. Despite what I said above, I’m quite pleased the old guff survived. Beg-Chetwynde’s supposed heart attack turned out to be a false alarm. Sadly, when he comes down the chimney again (500-year-old spoiler alert!) two swords hanging over the hearth swing down and chop off his head.īy the end of the opening episode, the membership of Button House’s fright club had not increased. He arranges their escape, then hides up the chimney. Sir Humphrey, after discovering the plot, does the honourable thing to save his wife and co-plotters from her majesty’s men’s disembowelling cutlasses. Perhaps it’s because Ghosts’ writers also penned and performed in Horrible Histories that this storyline felt like a primer on the Elizabethan age, as well as a revival of a regular segment on that show, namely Stupid Deaths. Back in Elizabethan times, you recall, Catholic plots were rife and Sir Humphrey Bone was unwittingly implicated in a plot to assassinate the Protestant queen. Instead of letting Beg-Chetwynde die of a heart attack, they told us how the headless ghost lost his head.
#Ghost show series
Otherwise they are doomed to repeat minor variations on established themes with the same old characters until we all get bored and watch something else.Īt the start of series three, though, Ghosts flouted fright club’s only rule. According to the first rule of fright club I’ve just made up, sitcoms need to introduce new characters by season three. The last new member of fright club was Julian, who died when mobile phones were bigger than house bricks. In a way, though, Ghosts needs someone to die to swell the cast list. Why would the ghosts and Alison prefer Beg-Chetwynde to die beyond Button House? Because he mansplains, doesn’t listen and can be heard three fields away yelling his catchphrase “Bitches! Bitches!” at his errant dogs. Are we to suppose there is a specific radius from one’s place of death beyond which a ghost cannot cross, like a dead version of Truman Burbank in The Truman Show? To be fair, though, Ghosts isn’t really for those who worry about logic or plausibility. It’s unfortunate to be dead, doubly so to be like Julian the MP, for ever wandering Button Hall trouserless, or like Sir Humphrey, the Elizabethan gentleman whose head and body are often in different rooms. Ghosts is predicated on the idea that once you die, you spend the afterlife haunting the locale where you popped off in the outfit you were wearing at the point of your demise. That bump means Alison ( Charlotte Ritchie) can commune with the spirit world like a 21st-century Madame Blavatsky in bad jeans, while her dozy partner, Mike (Kiell Smith-Bynoe), who despite not having been bumped on the head is much more gormless than she could ever be, can’t see any ghosts and so rarely knows what’s going on in his manor. “Tell the old guff to go and die on his own property,” says Julian the ghost to Alison who, though living, suffered a bump to the head in series one. Beg-Chetwynde, red-faced from a lifetime of three-bottle lunches, keeps putting a hand to his heart as if he’s about to have a massive infarction and so join the ranks of Button House’s fright club.
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