Originally broadcast December 28, 2016
Preceded by The Curse of the Bronze Lamp
Written by David Renwick
Directed by Sandy Johnson
It is hard to know exactly what to say Warwick Davies is known best for. He has been involved in a number of enormous franchises in significant roles, not least Star Wars and Harry Potter. There is also the film Willow which he starred in and he will also star in the TV series which is supposed to be released in 2022.
Ken Bones has a lot of notable credits to his name. In addition to appearances in Medici and Versailles, he has appeared in several genre pieces including Midsomer Murders, Father Brown and The Inspector Lynley Mysteries.
Jo Martin has been a regular for the past couple of years on the BBC’s hospital drama Holby City but I recognized them for their appearance in the most recently-broadcast series of Doctor Who.
If this is to be the final episode of Jonathan Creek, it is a good one that sends the show off with style.
A film director calls his daughter back to the family home after years of estrangement following the deaths of her mother and siblings to tell her something. Unfortunately before she can arrive he has a stroke, leaving him paralyzed and unable to speak. Jonathan had assisted the daughter’s husband years earlier when he was accused of murdering his first wife and is now asked to help discover the truth of what happened and what the message might have been.
As it happens, those deaths are not the only terrors associated with Daemons’ Roost. There is a legend that a hundred years ago a sorcerer named Jacob Surtees was able to open a fiery portal and throw his victims into it using telekinesis. Before the case is over Jonathan will have to also explain what Surtees did all those years ago…
So, it seems I have reached the end of my journey. It’s a bittersweet moment, not least because soon I will have to confront the problem of figuring out what on earth I’ll be posting about on the weekends now. I do hold out some small hope though that my declaring I have reached the end of the project and recorded a lengthy video ranking the entire series (it’s not up yet) will prompt Renwick to dash off another series or two just to force me to start over.
If this is the final installment of Jonathan Creek, I am very happy to say that the show concludes on a bit of a high with a story that reminded me of much of what I loved most about the series and particularly the specials. We have a blend of historic and the modern-day crimes for Jonathan to investigate. The mystery of the fiery inferno in particular struck me as a wonderfully visual puzzle and I enjoyed the gothic elements associated with that story enormously.
There is also a strong sense that the show is consciously alluding to its past throughout the episode. It’s not just the blatant references to past cases dropped in by the Reverend Wilkie, played with gusto by the marvelous Warwick Davies, but there is also a crazed killer from a previous case intent on revenge against Jonathan. These elements do a lot to remind us about the show’s history and make this feel like an intentional effort to pay homage to the show’s past.
Still, though the episode does feel like it pays tribute to the past, it doesn’t completely neglect what was then the show’s present. For one thing, this once again features Polly and while the action may take place in an unsettling and mysterious estate, we still spend plenty of time in the village and absorbed in its concerns – namely the need to create a scarecrow for a village festival. For another, I think that the ending of the special with its allusions to Jonathan’s past and his history with his brother, rather than providing closure, seems to open up new possibilities. Details about Jonathan’s early life have been fairly scant over the series and the sudden decision to flesh out his backstory and explore his memories could easily have been taken further had other stories followed.
The mysteries that Jonathan has to look into here are both interesting though I think the modern-day case suffers a little from not having a clear focal point or question that Jonathan has to answer. That has been a complaint I made about the previous three episodes and I can certainly see it reflected in the difficulty I had describing the plot above.
Still, while the problem itself may not be tidily described, the broader scenario is quite intriguing and illustrates a few things that I really like about the series and about the direction in which the series was headed in its flawed final few seasons. For the main one you’ll have to check out my coded spoilers section below but I do like that the scenario Jonathan is investigating is not a conventional crime – at least at first. Instead I appreciate that he is looking into something to help a woman settle some daemons from her own childhood.
Given the lack of a clear and engaging problem, I found this story thread fairly effective and I felt that the explanations provided had some interesting components and ideas to them. I felt that the explanation for the letter was particularly satisfying and worked rather nicely. There are a few weak points – not least the explanation for the estrangement and Alison being sent away from the home which didn’t quite add up for me.
The more interesting puzzle to me was the mystery of how the fiery inferno trick works. Here I will confess to being quite handily beaten by Renwick and I am happy to report that I think he set things up quite fairly. The solution is simple and wonderfully visual once shown on screen.
I have seen some express disapproval for an aspect of how the scene that confirms how the trick was worked ends up playing out. I can understand that the sequence certainly leaves Jonathan in a rather uncomfortable place, even if I think there is some justification for the choices he makes. While it certainly puts him in a somewhat different place than we usually see him, I felt that the scene fundamentally works.
The connection between the two cases is clever and, I felt, broadly satisfying. Even the rather silly bit with the scarecrows at the end didn’t bother me too much and I think it was delivered rather well. I have one reservation which, once again, can’t be discussed without spoiling the story but while I think it reflects a little untidiness in the plot, it didn’t sour me on the story as a whole.
I feel that I could make a more generalized version of that comment to sum up my feelings about this story overall. Daemons’ Roost is certainly not the tidiest or most compact episode of Jonathan Creek ever made but I think it is broadly successful nonetheless in marrying the elements of the show’s past and then-present to deliver an intriguing and entertaining ninety minutes of television. It isn’t vintage Creek, but as a last hurrah it gave me pretty much what I wanted.
Aidan Spoils Everything
Nobir V ersre gb guvatf V yvxr nobhg gur fubj’f svany srj frnfbaf – jryy, V nz guvaxvat cnegvphyneyl bs Gur Whqnf Gerr naq gur vqrn gung Wbanguna vf abg vasnyyvoyr. Urer jr frr uvz erpbtavmr gung ur pbzcyrgryl zvfernq n fvghngvba va gur cnfg orpnhfr ur gubhtug gung ur unq orra irel fzneg va cvrpvat fbzr guvatf gbtrgure jura va snpg n zheqrere jnf hfvat uvf bja grpuavdhrf ntnvafg uvz. Guvf vf ernyyl vagrerfgvat greevgbel sbe Wbanguna qenzngvpnyyl naq V guvax vg nyybjf gur fubj gb cerfrag Wbanguna va n fyvtugyl qvssrerag yvtug – erpbtavmvat uvf cerivbhf cevqr naq birepbasvqrapr znl unir pnhfrq uvz gb znxr reebef.
V nyfb rawblrq gung gur vavgvny pnfr juvpu oevatf uvz gb Qnrzbaf Ebbfg gheaf bhg gb or fbzrguvat bs n erq ureevat, ng yrnfg va grezf bs ubj gur znggre unq vavgvnyyl nccrnerq gb uvz. Guvf vf qbar dhvgr pyrireyl urer, nyybjvat gur zber vzcbegnag vasbezngvba gb or erirnyrq nf gur onpxtebhaq gb Wbanguna’f vaibyirzrag engure guna nf gur pbagrag bs uvf vairfgvtngvbaf.
Orvat zber fcrpvsvp nobhg zl ceboyrzf jvgu gur ernfba Nyvfba jnf frag njnl – juvyr V pna pregnvayl haqrefgnaq jul gur qverpgbe jbhyq jnag uvf qnhtugre gb or fcnerq sebz yvivat fbzrjurer gung jbhyq unir cnvashy zrzbevrf, V pnaabg erzbgryl haqrefgnaq jul ur bcgrq gb fgnl naq yvir va vfbyngvba. Pyrneyl ur vf fubja gb ybir Nyvfba onfrq ba uvf qrfver gb fcner ure univat gb rkcrevrapr gur fnzr cnva ur sryg ohg vg frrzf pyrne gung yvivat ng Qnrzbaf’ Ebbfg unf oebhtug uvz yvggyr wbl uvzfrys.
Ba gur znggre bs Wbanguna orvat n zheqrere – nf oehgny nf gur fprar vf, V jbhyq fnl vg’f dhvgr pyrneyl frys-qrsrafr. Vg znl abg or n gnfgrshy guvat gb qb, ohg V qba’g frr gung Wbanguna unq znal bgure punaprf gb rfpncr sebz gung fvghngvba nyvir.
Gel nf V zvtug, V fgehttyr gb urne ubj rira n puvyq zvtug zvfvagrecerg urzbtybova nf ubotboyva gubhtu V qb nccerpvngr gur rzbgvbany ryrzragf bs gung fgbelyvar.
Gur bayl cneg bs gur fbyhgvba V qvfyvxr vf Elzna vzcrefbangvat n ubzr frphevgl rkcreg sbe frireny qnlf. Vg’f abg gung V unir n ceboyrz jvgu gur zbgvir ohg whfg gung ubj ybat jbhyq ur unir gevrq gb unat nebhaq, fgergpuvat gur jbex bhg vs gur pbhcyr unqa’g vzzrqvngryl ghearq hc? Jung jnf uvf Cyna O urer?