Media personalities take a tour round a exhibition that is close to them.
Runtime: None minutes
Private View - Private View (Inside No. 9) - Netflix
“Private View” is the sixth and final episode of the third series of the British black comedy anthology television programme Inside No. 9. Written by Steve Pemberton and Reece Shearsmith, the episode was directed by Guillem Morales and was first shown on 21 March 2017, on BBC Two. It stars Pemberton, Shearsmith, Fiona Shaw, Montserrat Lombard, Morgana Robinson, Felicity Kendal, Johnny Flynn, and Muriel Gray. The comedian Peter Kay makes a cameo appearance, with his character being killed in the episode's opening seconds. The episode follows a number of people at the launch of Fragments, a retrospective exhibition featuring the work of the late sculptor Elliot Quinn. A projection of Quinn welcomes the motley assortment of guests, who have, the projection claims, been hand-picked for the occasion. Shortly after their arrival, they realise they are trapped in the basement gallery, and are being killed one-by-one. The episode lampoons pretentiousness in the contemporary art world, and pays homage to Agatha Christie's And Then There Were None and classic horror films, including Theatre of Blood. “Private View” received critical acclaim, with many characterising it as a strong end to a strong series. Critics noted that the episode was both funny and horrific, featuring toilet humour and gore horror, and the cast was praised. Multiple critics noted that they found the episode's final seconds unclear, but the journalist Rachel Cooke said that such “unlooked-for moments when nothing quite makes sense”, serve only to “emphasise [Inside No. 9's] surpassing brilliance”.
Private View - Plot - Netflix
Neil, a nurse present to assist a visually impaired person, is pushed onto a chair with blades by an unseen assailant, where he bleeds to death. Carrie, a fame-obsessed former Big Brother contestant, exits a lift to Fragments, a retrospective exhibition of the sculptor Elliot Quinn held in an East London basement gallery. The sarcastic, tattooed Bea serves drinks. Maurice, an academic art critic, the humourless council health-and-safety worker Kenneth Williams—who has never seen any of the Carry On films starring his namesake—and the Irish dinner lady Jean follow. Patricia, a blind author of erotic fiction, is the last to arrive. A projection of Elliot welcomes the guests, who have been hand-picked to attend. Carrie and Maurice find Neil's body, but assume it is art. The body falls, to Carrie's horror, when she pulls Neil's lanyard. Kenneth arrives, followed by Jean and Patricia. Leaving Maurice with the body, Kenneth and Jean force the lift doors while Patricia and Carrie talk. Bea is dead in the lift, a telephone receiver in her mouth and the cord around her neck. The lift is broken, and Kenneth heads off to find a fire escape. Kenneth and Jean meet Maurice in a corridor, while Carrie and Patricia wait near the lift. Carrie collapses, having drunk from a Champagne bottle. Kenneth, Jean, and Maurice find that a gate has been chained from the outside. The three split up. Patricia finds Carrie's body; she has burns on her face. Stumbling away, Patricia hides in a cubicle. Neil's murderer enters the toilet, and is revealed to be Jean. Kenneth finds Carrie's corpse, which is clutching pills. Maurice finds bolt cutters as Jean hurriedly washes her hands, then screams. Maurice and Kenneth come running, and Kenneth is first to arrive. Patricia is dead in the cubicle, her eyes missing. Kenneth, Jean, and Maurice rush to the chained gate. Kenneth suspects Maurice, as the pills were the latter's heart medication. As Maurice struggles with the chain, Kenneth knocks him out with the arm of a mannequin. Jean then suffocates Kenneth with a plastic bag. Maurice awakens tied to a wheelchair, listening to Elliot's projection. Jean is Elliot's mother; after Elliot's death, his body parts were donated. The recipients were to be a “living exhibition”, but she believes his body parts were squandered. Neil had gorged after a new kidney, Bea had tattooed her new skin, Carrie had drunk after a new liver, Patricia had produced pornography with her new eyes, Kenneth had smoked with new lungs, and Maurice was a “heartless critic”, even with a new heart. Jean advances with an anaesthetic in a syringe as Maurice struggles in the chair. A journalist reports from an art exhibit featuring organs—including a heart—in jars. It has won the Turner Prize and broken box office records. She turns to interview the artist: Maurice.
Private View - References - Netflix