Code of Silence Review-Rose Ayling-Ellis is a triumph in this funny, fascinating crime exhibition | TV

IT's Rose Ayling-Ellis' world at the moment-and we just live in what is a very nice thing for all of us. In the three years since she left Eastenders, she has won a stage debut price and was nominated for an Olivier for her performance as a Celia in @Sooplace's as you like; involved in two documentaries about deafness (it has been like that since birth); played in the excellent BBC thriller association; was the central character in the first decent episode of Doctor Who in a lively memory; And is now the main role in the fine and funny ITV thriller code of silence. (She is also on the leading role in an upcoming adaptation by Will Deans Dark Pines novel and develops her own comedy drama about deaf women in London. No, I don't know how she finds the time.)

But to the code of silence. Ayling-Ellis plays Alison, an employee in a police canteen who is increasingly involved in an investigation of a violent criminal gang, whose members only meet outdoors in more unfortunate places. Plainclothes officers monitor with hidden cameras, but back at the train station, all official lip readers are busy with other jobs and not available to interpret film material from them. Enter Alison.

Gradually and inevitably, it is more involved with the examination; First in the team's mind and soon under her own steam when she works in the pub that the latest recruit of the gang, Liam (Kieron Moore), uses his locals. Regarding the initial anger and then the resignation of the main detectives (Andrew Buchan as Di James Marsh, haunted by the death of a colleague, for whom he blames himself; Charlotte Ritchie as DS Ashleigh Francis, tried to do her best so as not to cope with her villain. Review was available, I spy a possible redemption sheet for the new man.

And we want to see too. The basic action cannot be much innovative-or the side history of Alison and her mother, who lives from the risk of evacuation by a company that bought their estate for a potential renovation, the financial pressure from which a lot of drive for Alison's decisions contains the strength of the occupation and Ayling-Ellis, especially things convincing.

There are also numerous details, Grace really provides that cause the reality of life as the deaf. When Alison leads lips from the feeds in the office, subtitles only partially appear, which mostly lack consonants and dissolve in words, while Alison works through common sense and the context, which they have to say-as well as “O i Bo Ved a Roun Io”, shifts and deletes in “No, I have moved a lot” and so on. It is a stylish way to show the efforts and jumps that are connected to the lip reading if so many plosives (and 'MS) all look the same from the outside.

Similarly, we see how Alison does not see a television program at home because the subtitles arrive frustratingly slowly. The assumptions of hearing people are gently broken down in many places. When Liam asks if the music in the pub (where she likes it when people order one of the craft beers because their strange names are easy to identify) makes their job more difficult, she replies that this is the case: “But I like the beat”. On a particularly tired day she simply had to do with the world, she sighs that she doesn't want to hear. Rather, I just want them to be a bit deaf. I'm really fed up with proving myself. “The obstacles to employment do not insist on it, but are of joy and relief that Alison has when securing the appearance in the pub and then through her (also thawing) Mother's need to find an interpreter that can accompany you to training for the rare job that she has secured. There are obstacles everywhere.

All of this gives the underlying conventions a freshness and a edifying aspect. You can appreciate a caressed world – or at least newly appreciate without making your conversation too short. This is quite a triumph.