Gone review: David Morrissey is bone-chilling in ITV coercive control thriller

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Only the first episode was made available for review at the time of writing.

A star rating of 4 out of 5.

David Morrissey was recently seen in the BBC comedy series Daddy Issues, where he plays a somewhat clumsy but kind-hearted man. The show follows his attempts to reconnect with his daughter (Aimee Lou Wood) and adjust to being a grandfather for the first time. He last appeared in the show’s second season.

This role is a welcome and refreshing change from the more serious characters he’s known for, like those in Sherwood, State of Play, and The Walking Dead, but he brings the same dedication to it as always.

Morrissey is back playing a familiar role in the ITV crime thriller, Gone. The series, written by George Kay – known for the drama The Long Shadow about the Yorkshire Ripper – might be his most disturbing project yet.

He portrays Michael Polly, the principal of a prestigious private school in Bristol – the type known for luxury cars and classical education – and embodies the ultimate in British stoicism.

One afternoon, he came home with his daughter, Alana (played with genuine emotion by Emma Appleton, who is also a teacher at the school), and found his wife, Sarah – also a teacher – was gone.

Alana was immediately worried because Sarah had a music lesson scheduled at the house with a student, making a quick trip to the store for milk seem unlikely.

Michael, however, seems completely unfazed. He acts just as he always does – calm and collected, like when he’s speaking to students or handling administrative tasks. As time passes, it’s Alana, not Michael, who steps up and manages things, even though Michael usually likes to be in complete control.

She’s really worried about finding out where her mother has gone. He, on the other hand, seems much more focused on whether the school rugby team will win the championship.

Morrissey delivers a disturbingly cold performance. Michael’s typically reassuring calmness feels deeply unsettling, and that feeling intensifies at the end of the first episode. When he looks directly at the camera, it’s incredibly unnerving – like he’s making direct, intense eye contact with you.

You’ll find yourself wanting to look away, but unable to, such is Morrissey’s hold over the scene.

He always seems so controlled, so…contained. But sometimes, it’s like watching a coiled spring finally snap. That quietness isn’t peace, you realize – it’s a lid on a simmering anger, and occasionally, it just bursts through. It’s startling, but it also feels…inevitable, knowing what’s hidden beneath.

Could this just be a way of protecting himself? Maybe her father’s upbringing prevented him from showing emotion, even when it would have been understandable given the situation.

Or is there something more sinister at play?

Detective Sergeant Annie Cassidy (Eve Myles) is definitely wary of him, playfully calling him a bit of an oddball.

With time passing, a search begins for the missing Sarah. Michael publicly asks her to return home, and investigators uncover a worrying clue: Sarah’s phone was found hidden under the bed. Was it dropped quickly, or did it end up there during a disagreement?

Annie is determined to find out what really happened, and the author skillfully shows us her deep need for answers, not just a professional interest – this case has become deeply personal for her.

After eight years, the case of Tina Bradley remains unsolved and has seen no progress. It’s not just a cold case – it’s completely stalled since her disappearance.

One of the most surprising and touching relationships in the show is the one between Annie and Tina’s mum, Carol, played brilliantly by Clare Higgins. At first, you honestly could believe they’re mother and daughter – there’s that kind of warmth and familiarity. But as the story unfolds, you quickly realize their connection is far more complex and fascinating than that. It’s a beautifully nuanced performance from Higgins, and their scenes together are genuinely heartwarming.

This is a smart tactic for viewers who started watching the show without knowing what to expect, and it’s based on the real-life work of former police detective Julie Mackay. She successfully solved the decades-old cold case murder of Melanie Road, bringing closure more than thirty years after the crime.

In June 1984, a teenage girl was sexually assaulted and stabbed repeatedly – 26 times – while walking home in Bath after an evening out.

I was a little worried this approach might feel like a cheap trick, and some people probably will think that, but Kay really handles the mix of truth and storytelling with care. It adds to the suspense in the book, but more importantly, it keeps Melanie Road’s name and story alive. It connects to the bigger themes the series explores about violence against women and girls, and it even mirrors what one of the characters, Annie, is going through personally. It feels really thoughtful and impactful.

Her former partner, Craig, who is also a detective, wants to get back together, but she’s hesitant—and with good reason.

Carol tells her he disapproved of everything she did and urges her to avoid him, and Annie understands she needs to listen. However, Annie is struggling to break away, which is typical when someone is controlling through manipulation and intimidation.

The storyline handles this delicate issue with nuance, though it’s expected to become more prominent as the series unfolds. It powerfully shows that anyone can be a victim of domestic abuse, regardless of their achievements, confidence, or bravery. Abuse doesn’t care who you are.

It’s still unclear what happened to Sarah, but the trailer suggests she was frightened of Michael. Although Annie’s experience isn’t the same as Sarah’s or Tina’s, there’s a hidden connection between all three women.

“Gone” is shaping up to be a captivating series, but its true strength lies in how it tackles the difficult issue of domestic violence – and how that violence can occur even within the supposed safety of one’s home – making it a story that will likely resonate with viewers for a long time.

Gone premieres on Sunday 8 March at 9pm on ITV1.

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Authors

Abby RobinsonDrama Editor

Abby Robinson is the Drama Editor at TopMob, where she writes about TV dramas and comedies. Before that, she was a TV writer for Digital Spy and a content writer for Mumsnet. She has a degree and a postgraduate diploma in English Studies.

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2026-03-08 14:05