Our House

Bram has found himself a new enemy on ITV drama Our House as his lies spiral out of control. Martin Compston breaks down episode 2 and what it means.

"I think that's kind of a reflection on Bram," Martin theorises. But even she's noticed that her soon-to-be ex-husband has been acting a bit bizarrely, asking her friends to check in on him when it's his time with the kids to see how he's getting on. She's kind of friendly and terrifying at the same time," he added. Wendy demands £10,000 from him so he can outbid the reward set by the police for information about the crash, and Bram tries and fails to get what he can together. But the final seconds of episode two solve that for us. Seems that he's had a look around and reckons it'll be worth a fair amount (which, if you've ever had a look at property values in London, will make your eyes water). But seeing as he's already at 100% panic mode, Bram doesn't need that idea in his head quite yet. And speaking exclusively to Digital Spy, Line of Duty star Martin admits even he was left a little shaken by the portrayal. The biggest bombshell is yet to drop though. She reveals she knows all about the crash and his involvement – and will now blackmail him to keep quiet. For this kind of small thing she has such a big energy, and she's so calm, which is quite unsettling. "I think she's got a big future ahead of her.

It was a grabby hook for Our House, a four-part ITV drama adapted from novelist Louise Candlish's bestselling domestic thriller. The prime suspect for the property fraud was seemingly Fi's shifty husband, Bram, played by Martin Compston.

And the most that can be said for the dialogue is that it was briskly functional. But at least this was storytelling that knew where it was going and, unlike Bram’s driving, navigated the bends smoothly. It was a grabby hook for Our House, a four-part ITV drama adapted from novelist Louise Candlish’s bestselling domestic thriller.

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In the real estate terms, of which the show is so fond, this insipid thriller is like shopping for a mansion in Knightsbridge, but settling for a converted garage on an industrial estate. As she tries to make sense of her situation, the action unfolds in a disorienting non-linear fashion, tracing the early days of the couple’s marriage through to him shagging the neighbour (I May Destroy You’s Weruche Opia) in the children’s Wendy house. “We’re not renting,” the new owner announces, as though what she is about to say makes any material difference, “we’ve bought it.” Fi’s now trapped in a Kafkaesque limbo, as police and lawyers fail to make sense of how two families can own the same home. Perhaps it’s all the fault of The Girl on the Train, which turned a gin in a tin into an object of almost hallucinatory potency. The premise is simple, and I’ve rarely seen a TV show cut to the chase as efficiently. She enters, curiously enough, alongside some movers, and is greeted in the hallway by a woman who asks her what she’s doing.