Silent Witness S16E02

One of the risks of watching film and TV is that we may see images we wish we hadn't, and which suddenly fill the mind at night. That's why there's a perennial debate over whether Doctor Who has gone too far for young viewers, and why programmes - or, sometimes, even items within news bulletins - carry warnings that they might distress a section of the audience. Five years ago the Guardian's Mark Lawson saw some of the most upsetting sights of his viewing life in a show that had no gentle preface for the sensitive and which is classed as peak-time entertainment. In an episode of Silent Witness (BBC1), the pathologist played by Emilia Fox was inspecting the body of a baby when she found some plastic packaging caught inside a post-operative wound. There was some script explanation for this - the surgeon, who rapidly became the suspect, had been pioneering a new technique during the op that went wrong - but it struck Lawson as grotesque that viewers were being offered as drama incisions on small corpses.

In some editions of Silent Witness, almost every conversation seems to be conducted across a cut-up cadaver, pathologists exchanging dialogue while pulling the contents of someone's stomach out of the fridge and running it through a sieve. Yet it was the violated body of the tot that seemed to Lawson a new low towards scenes that he could only describe as 'autopsy-porn'. The justification for such footage would be that horror and gothic fiction have a distinguished history in encouraging the public to face up to difficult subjects. And forensic fiction such as Silent Witness or CSI can, at its best, perform this function in a culture that tends to sanitise or ignore mortality.


In recent years parodies of Silent Witness have been so effective that it has become difficult to take such scenes seriously anymore. Every autopsy scene is reminiscent of the spliced mannequin from French and Saunders’s "Witless Silence". Every medical deduction sounds painfully like the Dead Ringers spoof: "Just by looking I can tell this was a man called John, having an affair with his secretary," pronounces the Amanda Burton-alike. "No," says her assistant, "that’s an onion bagel I got for your lunch." Even so, noted Lawson, television has clear and fairly strict rules for the depiction of sex, nudity or violence, or the inclusion of scenes of distress or death in news coverage. Silent Witness suggests that these somehow do not apply to fictional scenes involving characters who are both naked and dead. TV is rightly nervous of pornography, he argues, but it should also be wary of autopsy porn.

This season's opener kicked off with a cold opening that resembled highlights from an episode you were meant to have seen, but hadn't: some bloke was cage fighting, and losing; the owner of some kind of factory was arguing with a union boss who used to be in Brookside. These scenes were diced up small and shuffled together in a manner that seemed designed to induce bewilderment, if not panic. Invariably, the wealthy company boss dies suspiciously, halfway through selling his business, leaving an inheritance dispute, an estranged daughter and a mystery brunette who’s either a hooker or his fake granddaughter. The latter is/was played by Anna Brewster, who it turns out, is destined to be this story's mortuary slab model de rigueur (mortis); to be covered in chalky-white full-body makeup and corn syrup as her "Y incision" is probed under unnaturally blue mood lighting.


Television Series: Silent Witness (S16E02)
Release Date: January 2013
Actress: Anna Brewster
Video Clips Credit: DeepAtSea

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