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“Everyone is more involved with the detecting side of things now, especially in the third story,’ adds Rupert. “To begin with it was very much Chandler working things out with the help of Miles, who basically argued with everything that Chandler said. However, now everyone works together and individuals have been given a bit more responsibility. The job feels like it’s a group effort and people actually contribute to the solving of the crime rather than Llewellyn and Buchan giving us all the information we need and Chandler putting it together. It’s much more detailed now.”
As well as having new female detective DC Megan Riley, played by Hannah Walters join the team, audiences can also look forward to seeing a more personal side to Chandler, though not particularly romantic.
“The audience won’t see Chandler’s private life as such they will see a chink in his armour when he realises early on in the series that there is something missing in his life. Chandler would like to have a family and someone to share his life with,” explains Rupert. “He sees Miles and the life he has and Mansell and his wife and realises that it is maybe something he needs and he gives it a go. Miles is pushing him to try and he does give it a go but we can safely say romance is not going well for Chandler.”
“What’s happened with Chandler in this series is that he is much more alert to women whereas before if a beautiful woman looked at him he wouldn’t even notice. Now, if somebody finds him attractive, he senses it right away. He still does not know what to do about it or how to react to it but he’s aware. And it’s given me a load of fun things to play with like moments where he wants to kiss a woman and can’t because he doesn’t know how to.”
Another romance that Chandler isn’t quite ready for is his ‘bromance’ with DC Kent.
“Kent looks up to Chandler and when Chandler focuses in on him that makes him happy. But I don’t think Kent is gay; it’s more like he has a sort of older brother crush going on and wants to be like Chandler,” he says.
Having been commissioned for a series, Whitechapel is clearly continuing to capture the imagination and attention of the audience.
“I think what keeps our audience there is the thrill,” says Rupert. “It’s that thrill factor that they chase. How much they can take and how scared they can get before they can’t handle it any more,” he adds. “There is a certain thrill that goes into watching something that scares you and although Whitechapel is scary you kind of know it’s going to be ok in the end.”
“I think it is more edge of the seat this year and certainly there are sequences in it that are more reminiscent of a horror film than a detective show and that’s a good thing. There should be that sense of tension there and I’ve always wanted to be in a horror film or a slasher movie. The last story particularly reads more like a horror film which was fantastic. It’s these sort of sequences where you’re wandering around houses and hearing all sorts of noises and being terrified which are so much fun to act.”
“Everyone is more involved with the detecting side of things now, especially in the third story,’ adds Rupert. “To begin with it was very much Chandler working things out with the help of Miles, who basically argued with everything that Chandler said. However, now everyone works together and individuals have been given a bit more responsibility. The job feels like it’s a group effort and people actually contribute to the solving of the crime rather than Llewellyn and Buchan giving us all the information we need and Chandler putting it together. It’s much more detailed now.”
As well as having new female detective DC Megan Riley, played by Hannah Walters join the team, audiences can also look forward to seeing a more personal side to Chandler, though not particularly romantic.
“The audience won’t see Chandler’s private life as such they will see a chink in his armour when he realises early on in the series that there is something missing in his life. Chandler would like to have a family and someone to share his life with,” explains Rupert. “He sees Miles and the life he has and Mansell and his wife and realises that it is maybe something he needs and he gives it a go. Miles is pushing him to try and he does give it a go but we can safely say romance is not going well for Chandler.”
“What’s happened with Chandler in this series is that he is much more alert to women whereas before if a beautiful woman looked at him he wouldn’t even notice. Now, if somebody finds him attractive, he senses it right away. He still does not know what to do about it or how to react to it but he’s aware. And it’s given me a load of fun things to play with like moments where he wants to kiss a woman and can’t because he doesn’t know how to.”
Another romance that Chandler isn’t quite ready for is his ‘bromance’ with DC Kent.
“Kent looks up to Chandler and when Chandler focuses in on him that makes him happy. But I don’t think Kent is gay; it’s more like he has a sort of older brother crush going on and wants to be like Chandler,” he says.
Having been commissioned for a series, Whitechapel is clearly continuing to capture the imagination and attention of the audience.
“I think what keeps our audience there is the thrill,” says Rupert. “It’s that thrill factor that they chase. How much they can take and how scared they can get before they can’t handle it any more,” he adds. “There is a certain thrill that goes into watching something that scares you and although Whitechapel is scary you kind of know it’s going to be ok in the end.”
“I think it is more edge of the seat this year and certainly there are sequences in it that are more reminiscent of a horror film than a detective show and that’s a good thing. There should be that sense of tension there and I’ve always wanted to be in a horror film or a slasher movie. The last story particularly reads more like a horror film which was fantastic. It’s these sort of sequences where you’re wandering around houses and hearing all sorts of noises and being terrified which are so much fun to act.”