Michelle Frances follows up her debut release, The Girlfriend, with another mediocre psychological thriller that focuses more fully on the insidious and ultra competitive world of television. Despite striking a few overfamiliar notes and the usual descent into implausibility that mars much of the genre, this is an entertaining and undemanding look at a successful TV producer, Carrie Kennedy, her later life unexpected pregnancy at the age of forty-two and the whippersnapper stepping into her shoes as temporary maternity cover.
But before Carrie drops the bombshell pregnancy news on husband and script writer supremo, Adrian Hill, she is there to see him pick up a BAFTA for his work on smash hit TV sensation, Generation Rebel, and celebrate their commitment to working exclusively together by shackling Adrian’s screenwriting prowess with Carrie’s eye for production. Having made a decision early on in their relationship not to have children, Carrie is surprised to find herself warming to the idea but the timing couldn’t possibly be worse with her and Adrian’s careers in the ascendancy. Despite Adrian’s lack of enthusiasm Carrie decides to go ahead with the baby and at thirty-six-weeks pregnant she meets her new maternity replacement at Hawk Pictures, energetic and enthusiastic Emma, who seamlessly transitions into Carrie’s role.
But for Carrie, who for years has so been so integral in supporting and assisting Adrian and established a well-respected industry presence, the sudden loss of control is overwhelming. Feeling cut adrift from her career and passed over by Adrian, her experience suddenly seems to count for little and she galled to watch ambitious Emma almost immediately make herself indispensable to Adrian and Hawk Pictures’ MD, Liz. When Carrie gives birth and is forced to hand over the reins on the TV show under production it gives rise to her insecurities and suspicion that Emma is after not only her job but her husband. As Adrian neglects her and shows little interest in his newborn son, Rory, Carrie’s distrust of Emma, whose obsequiousness soon grates, multiplies and the shifty behaviour and sketchy excuses of husband, Adrian, do nothing to alleviate her worries as she sets out to establish the truth. And whilst Emma clearly has an agenda, does she really have her sights set on slippery Adrian and sleeping her way to the top? Carrie might be surprised and as crossed wires and a lack of head-on confrontation muddy the waters, she begins to wonder just who can she really trust? Is Emma the threat that Carrie perceives or might the problems be far more fundamental?
A shifting perspective, primarily moving between Carrie and Emma, allows the reader to empathise with both of their predicaments, from Carrie’s suspicion and insecurities to Emma’s misguided attempts to make her mark in the industry. Despite a slow start with Frances taking a while to set out her stall and get some meat on the bones of the story, it pays dividends and makes for an engrossing tale albeit with the necessary suspension of disbelief. At nearly 450 pages the story feels slightly overextended and the pity is that the novel tails off into the usual descent into psychological thriller incredibility leaving a web of unresolved questions. Despite Frances making some excellent points on a woman’s later life decision to have a child and the difficulty when one half of a solid partnership reverts on a long-standing decision to start a family, the narrative is not at all preachy. Although Michelle Frances bogs down her story with unnecessary complications, most notably with the inclusion of gossipmonger producer, Elaine Marsh, and a rushed denouement where common sense gives way to silliness detracts, for the most part this is a solid novel.
Anyone who has read a Jane Fallon novel may well feel that Frances has borrowed heavily from her exploration of rivalry in the television industry. However, for all its faults, this is an reasonably entertaining, if not highly memorable psychological thriller. Suspense and surprises might be limited, but Michelle Frances deserves credit for broaching the issue of whether women can really have it all, although I doubt the final twist will contain much of a shock for regular readers of the genre.