What is it?
In his ‘Mark Lawson talks to…’ interview Mark Gatiss identified Clone, along with Sex Lives of the Potato Men, as both an example of a project he had been involved with that had flopped and an unhappy working experience. It ran for one series of six episodes on BBC Three at the end of 2008.
The set-up is as follows. Top secret military research scientist Victor Blenkinsop (Jonathan Pryce) has artificially bred a soldier, designed to be the perfect tool for military operations; unfortunately, when the clone (Stuart McLoughlin) emerges from the tank he proves to be clumsy, childlike and totally lacking any sort of aggressive instinct. Victor goes on the run from Colonel Black (Gatiss) of MI7, knowing that he and Clone risk being executed to save the military’s blushes. They end up in an obscure English village, lodging at a pub run by inexplicable twenty-something maths prodigy Rose (Fiona Glascott). The series takes place in the village, as Victor, Clone and Rose attempt to rub along together, while Victor tries to keep his identity secret from Rose, keep his location secret from Colonel Black, and find a way of unlocking the clone’s potential to save both their lives.
Why was it good?
Despite its sci-fi trappings, Clone was actually an odd couple, fish-out-of-water comedy, with Victor railing at being stuck in an unsophisticated backwater and lumbered with raising Clone, effectively a child in an adult’s body. Much of the humour is deeply silly, and arises both from Clone’s childlike misunderstandings of the world around him, and Victor’s too-clever-by-half gambits to get out of his predicament.
Such very silly humour will always rely on the performers to sell it, and the cast of Clone do so with style. Pryce is convincingly scathing and nasty, but also fallible, as Victor; Stuart McLoughlin gives a charming and loose-limbed performance as Clone; Fiona Glascott is immensely likeable as the sassy but somehow still vulnerable Rose; and Gatiss, despite his later disdain for the project, offers a gloriously swivel-eyed, scenery-chewing turn as Black.
Why is it underrated?
There can be little doubt that Clone was badly received; indeed, it attracted some of the most vicious reviews of any programme I’ve ever seen, and quickly came to be regarded as a byword for failure.
It is perhaps an example of a show that doesn’t fulfil its contract with the audience. Superficially Clone looked like it would be some sort of sci-fi comedy, perhaps more like Red Dwarf than anything else; the screwball whimsy it delivered, albeit deft and endearing, was really very different, so it’s perhaps unsurprising it failed to find an audience.
I do wonder if it might have done better if it had started with its second episode, and not opened so heavily with its unrepresentative sci-fi setup. Ultimately, the sci-fi angle was very silly and cartoonish; the three-way relationship between Clone, Victor and Rose was the centrepiece of the show, and the scenes cutting away to Mark Gatiss’s character overseeing the search for Victor with OTT menace did sometimes seem rather like side-steps into another (no less silly, but somewhat less charming) show.
All of this gave anyone who wanted it the sticks with which to beat a BBC Three, multi-camera, laugh-tracked sitcom. But ultimately it still makes me laugh, and achieves that highly desirable goal for any television show of creating a distinctive world that I want to re-visit. Its final episode left things in a place for a second series that I’d certainly have been interested to watch.
Can I watch it?
Clone appears not to have been shown on the BBC since its original run, and is presumably unlikely to turn up on Dave or similar. It also seems to be unavailable on DVD at present, if it ever was – the limited retail listings visible online suggest its release might have been cancelled entirely after it flopped so badly on TV. Extensive clips have been put online unofficially – no doubt you know where to look.