Leo and Clive have a few things in common. Both pushing 60, the men have been sharing a wall in outwardly identical Manchester rowhouses for 14 years. They’ve also both, when we meet them, hit rough patches in life. Clive, an electrician, is having trouble finding enough work to support a family that includes touchy 16-year-old George (Jackson Connor) and 25-year-old Saul (Joseph Evans), who assists his dad on jobs but isn’t exactly earning the kind of money that would enable him to move out. As gossip swirls that he’s cheated on her, Clive’s wife, Marie (Pooky Quesnel), constantly berates him. Meanwhile, Leo’s longtime partner, Curtis (Charlie Condou), has left him for a woman. Not only is he unmoored in his personal life, overrelying on his indulgent best friend, Stephanie (Elizabeth Berrington); he’s also struggling to manage Spit & Polish, the bar in Manchester’s gay nightlife district that he and Curtis used to run together.
Alan Cumming in Tip Toe —StarzWhile Tip Toe spends time with all of these characters, Leo is its protagonist. And he’s an admirably imperfect one, charming and fundamentally kind but also pugnacious, prone to exaggeration, self-centered enough to earn Stephanie’s accusation that he doesn’t really value women. (She, in turn, shows glimpses of the J.K. Rowling-style transphobia that seems to afflict British feminists more than most.) His bar functions as a portal into the lives of less privileged members of the queer and trans communities, from his old, flamboyant, gender-nonconforming friend and unrequited admirer, Melba (Paul Rhys), to a 20-something trans bartender (Iz Hesketh), who’s calling herself Zee as she deliberates on a permanent female name—and who dodges transphobic violence daily. The question of whether the visibility Leo’s generation fought so hard to win has backfired, making them all easy targets, haunts the series.
David Morrissey in Tip Toe —StarzTip Toe also calls to mind other recent series (BEEF, too many reality shows about feuding neighbors) and films (Eddington, Three Billboards Outside Ebbing, Missouri) that translate current political and social fault lines into tête-à-tête conflicts. On both sides of the Atlantic, storytellers are trying to understand the hateful tenor of the contemporary public sphere by distilling it down to its simplest, me-against-you form. The difference here is that, although Leo and other characters are shown to have healthy senses of humor, Tip Toe itself doesn’t share those titles’ tone of black-comic absurdity. It isn’t a funny show. Sometimes its seriousness veers into stridency. I didn’t find the abrupt escalation to Leo’s death particularly convincing.
Yet, as in It’s a Sin and Years & Years, it’s the incandescent clarity of Davies’ anger and fear that make Tip Toe powerful. For all the dumbed-down dialogue we get from streamers worried they’ll lose distracted viewers unless someone on screen recaps the plot every five minutes, it’s rare to hear characters plainly state things like: “History tells us one thing—that blood and fire and retribution always happen. And right now it’s coming for us.” When Stephanie confesses her worry that she’ll die in 30 years without living to see the pendulum of progress swing society out of what she calls a “new Dark Age,” I suspect she’s speaking for a lot of people. Too often in fiction (which this is, despite ending title cards that purport to update us on the characters’ lives post-Leo), social commentary is inoculated with optimism or couched in irony. In its unblinking earnestness, Tip Toe’s melodrama accesses a truth that transcends any shortcomings of its plot.
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