A British miniseries of the 1980s written by Dennis Potter. The plot concerned Philip Marlow, a writer of pulp detective novels, who is hospitalised with a severe case of psoriasis (a debilitating skin disease). In order to escape from his misery, he fantasises that he is the hero of one of his novels, The Singing Detective, who is a nightclub singer and private detective. However, a combination of drugs and a fever causes him to lose the ability to tell fantasy from reality, and his dreams of his novel, his day-to-day life in hospital and his memories of his childhood all begin to merge. The series attracted controversy at the time of broadcast due to a graphic sex scene, but it is now recognised as one of the best TV dramas ever.It was adapted into a Hollywood movie in 2003 (starring a pre-career-resurrection Robert Downey, Jr.) that was poorly received and is now pretty much forgotten.Philip Marlow is played by Michael Gambon, who would go on to play a similarly debilitated and miserable hero in Harry Potter and the Half-Blood Prince.
Due to Dennis Potter's love of genre drama, numerous tropes are lampshaded, subverted, justified, played with and/or played straight. Among them:
And You Were There: Pretty much every character in the series has at least one counterpart; for example, Mark Binney appears both in the 'Private Eye' story and as a character in Philip Marlow's childhood.
Anvilicious - In universe example when Philip Marlow drops his guard to write a paragraph expressing his extreme disgust with sex. His psychologist wonders what this is doing in a pulp detective novel.
Arc Words: The Singing Detective's "Am I right? Or am I right?", which at first seems to be just his Jive TurkeyCatch Phrase. In fact it refers to the struggle between Marlow's different selves: the Singing Detective, who's the cool, dapper, problem-solving part, and the sick Marlow, who as a child told a lie that ruined another kid's life, and whose resulting guilt and self-loathing have manifested themselves as his chronic illness. Played with in the finale, when he turns it into "I am not wrong. Neither am I wrong."
Author Avatar: Two of them, both in-universe and out. Marlow is Dennis Potter's avatar, and the Singing Detective is Marlow's.
Establishing Character Moment: Subverted with both the detective-story version of Mark Binney and Marlow's old teacher. She's excited about the war coming to an end while he seems like a nice guy in over his head at a club. It turns out that Binney represents all of Marlow's misogyny and she's a Sadist Teacher.
Exotic Detective: In universe example - the titular character is both a private detective and a night club singer.
Genre-Busting / Genre Roulette: It's a hospital sitcom/kitchen sink drama/detective drama/musical. This was Dennis Potter's reaction to his time in Hollywood where he got annoyed that everything had to be pigeon holed into one single genre.
Imperial Stormtrooper Marksmanship Academy: Both the titular character and his enemies engage in a gunfight at the end, managing to spray huge amounts of ammo, but hitting only random patients. Including Marlow himself.
Mindscrew: Most of the time, we can't be sure what is real and what is just a hallucination of Marlow's. Not even Marlow is particularly sure.
Muse Abuse: Both played straight (Marlow's characters are often thinly veiled portraits of significant others, usually with a sizeable side of Take That), played with, once the life/art, real/imaginary lines really get blurring, and semi-subverted in the way Marlow's imaginative abilities are both a trap and a way out of it.
Musical World Hypothesis: This gets complicated. Most of the time it is clearly 'All in their heads', especially when a group of doctors burst into a rendition of "Dem bones": it's clearly in Marlow's fevered imagination. The actual 'singing detective' sequences could be said to be 'The Diegetic Hypothesis' (after all the lead character is a nightclub singer with a fully rehearsed big band) until you realise that Philip Marlow is not singing in his own voice (or even the voice of Michael Gambon) but miming to the actual 1940s recordings which means even the in-universe songs are still 'All in their heads'.
Never My Fault: Marlow starts out with a bad case of this, hating everything and nearly everyone (he makes an exception for Nurse Mills, the Hospital Hottie, and Ali, the heart patient in the next bed, but that's all). It's all because of lingering guilt over a Bad Thing he did as a child.
Singing Detective: I suppose you could say we'd been partners, him and me. Like Laurel and Hardy or Fortnum and Mason. But, hell, this was one sick fellow, from way back when. And I reckon I'm man enough to tie my own shoelaces now.
Sadist Teacher: The genesis of a very large part of Marlow's self-loathing.
Scary Scarecrows: Young Philip Marlow is haunted by a vision of a scarecrow he once saw in a field (at one point in his nightmares it turns into Adolf Hitler before visiting him in hospital). It turns out, this is because the scarecrow reminds him of his old teacher who viciously beat his fellow pupil.
Staff Nurse White: You shouldn't smoke. Especially in bed. I don't know why they allow it.
Marlow: [who is covered all over in raging psoriasis, in constant pain, and can barely move] Yes, nurse. Quite right. Quite so. They might make me ill.
Stepford Snarker: Hospitalised Marlow. Contrast the Singing Detective, who is Tall, Dark and Snarky because while he shares Marlow's intelligence and sense of humour he has none of Marlow's demons, or at any rate he's tamed them.
Those Two Bad Guys: Lampshaded with two unnamed hitmen who hang around the edges of the scenes, before realising that they haven't been named and going in search of their writer to punish him for not naming them.
Video Inside, Film Outside: Averted. Dennis Potter wanted to use this for the hospital scenes (to highlight their sitcom nature) but was talked out of this by the director.