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There's the arrogant, aloof isabel marant sneakers doctor who likes to play God. There are the powerless patients and cowering staff, who suspect that something fishy is going on but are too in thrall to the doctor's formidable reputation to do anything about it.
And, naturally, there's the gutsy, lone-wolf heroine -- in this case a young midwife -- who risks her own career to expose the wrongdoing going on behind the doors of the delivery room.
This is both mulberry daria Whistleblower's strength and its weakness. Thus, Neary apart, the three central characters in Whistleblower -- young English midwife Louise (Emma Stansfield), violated young mother Karen (Charlene McKenna) and the detective-like hospital administrator played by the dependable Adrian Dunbar -- are either fictional or composites of various people.
All three are excellent, as is Fair City's Hilda Fay, an actress blessed with a face designed to convey pain and suffering, as a wide-awake hospital employee whose buy celine bag desperate mulberry factory shop plea to Neary not to remove her womb even as he slices into her healthy body forms the mulberry york outlet most harrowing scene.
The fundamental problem with Whistleblower is Neary himself. Neary is an enigma. His appalling behaviour has never been satisfactorily explained, though the subsequent investigation suggested he was prompted either by a phobia that his patients would haemorrhage, or by isabel marant a twisted sense of revenge for mulberry bags uk the early death of his wife from ovarian cancer.
Whatever the truth, Whistleblower never seeks to explore it. The portrayal by Stanley Townsend, with his brooding, menacing demeanour suggests nothing less isabel marant sale than a ripe Bond movie villain.
Ironically, despite being the only identifiably real person in Whistleblower, Neary emerges as the most air max 1 one-dimensional. Every time he appears on screen the scene crackles with forced jordans for sale menace and melodrama.
Perhaps the real Neary really was the jordan 11 cold, condescending, emotionless customer that Townsend presents us with. Still, it has the weird effect of making the viscerally real seem bizarrely unreal.
Polished and potent as Whistleblower is, it raises the question, yet again, of whether some real-life stories would be better served by the documentarists rather than the dramatists.
Finally, a brief word about Martin King's Commercial Breakdown, in which the TV3 weatherman sits in what looks like his own living room and links funny foreign ads that appear to have been snipped wholesale -- and with laugh track intact -- from an entirely different series.
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