Life on Mars Series 1 & 2 Savings Set

Series 1
Hailed as one of the most original police dramas in years, Life on Mars is an International Emmy® Award-winning series that's both innovative and intriguing. Hot on a killer's trail in modern-day Manchester, Sam Tyler (John Simm, State of Play) is struck by a passing car and wakes up in 1973. Gone are high-tech tools and respect for proper procedure. On this homicide squad, hard drinking replaces hard thinking. Co-stars Philip Glenister (Cranford) and Liz White (Marple: A Pocket Full of Rye).

Series 2
One of today's most original police dramas follows modern-day Manchester detective Sam Tyler (John Simm, State of Play)-a cop who's back on the beat...and back in 1973! The time-travelling International Emmy® Award-winning series returns with more twists and turns as Tyler hunts down a notorious cop killer, investigates a racial hate crime, follows the trail of a young woman's killer and attempts to deal with an IRA bombing threat.

Series 1
Episode 1-DCI Sam Tyler's (John Simm) world is about to be turned upside down. Moments after his girlfriend and colleague, Maya (Archie Panjabi), is kidnapped by a serial killer, Sam is knocked unconscious by a car. He wakes up - in 1973. Sam discovers a strange new world full of cigarette smoking, gum chewing, and unreconstructed men. He's a DI starting his first day in a new precinct and he's got to prove himself to his new DCI, Gene Hunt (Philip Glenister). Gene likes to throw his weight around. He acts first and thinks later. The only person in this alien world who reaches out to Sam is a young WPC, Annie Cartwright (Liz White). Dazed and confused, Sam finds it difficult to focus on the murder his new colleagues are investigating. Then he discovers a connection between this crime and the serial killer who kidnapped his girlfriend back in 2006. Could solving this case be the key to getting home? Could it be a way to save Maya? It seems that the biggest obstacle standing between Sam and success is his new DCI's very different attitude to policing. To Sam, a 21st Century liberal, Gene represents everything that is bad about the police force, everything that the force has tried to stamp out over the last 30 years. Sam's faced with a huge moral dilemma when he realises that destroying evidence in 1973 could save Maya's life in 2006. At the same time, he becomes ever more doubtful about the reality of his situation. Do distant doctor's voices from 2006 bleeding through into 1973 mean that he's in a coma and none of this is real? As the ultimate test, he stands on the roof of the police station poised to jump off. Annie talks him down, and, at least for the moment, he remains stuck in a time that's completely alien to him.

Episode 2 - Sam's (John Simm) dogged pursuit of evidence brings him head to head with his DCI, Gene Hunt (Philip Glenister). Uncertain about whether he really is in 1973, or in a coma in 2006 imagining the whole thing, Sam decides to make the best of his strange situation. But then the team arrest Kim Trent, an elusive criminal high on the CID's wanted list. When Sam realises that Gene has planted evidence to secure Trent's conviction he intervenes and releases Trent. Gene's furious. Sam believes that Trent has human rights. Gene believes that human rights are for human beings and Trent doesn't qualify, and besides, Gene's never fitted up anyone who didn't deserve it. Having been released by Sam, Trent carries on with his spate of robberies and a young cleaner from the station, June, is critically wounded. This world suddenly seems very real and Gene's methods even more appealing. But Sam knows that losing sight of who he is and what he believes in could take him even further away from 'home'. Knowing that he has put things right, he successfully mixes his modern day knowledge, with a helping of Gene's unorthodox techniques, to nail Trent and his gang.

Episode 3 - Sam (John Simm) starts to feel at home in 1973. But as comfortable as he's become, he knows that he can't give up the 'fight' if he is ever to get home. Only problem is that he's not sure what that 'fight' is. When Sam responds to a fatal stabbing at Crester's Textiles, he's shocked to discover that Crester's is the converted Mill where he lives in 2006. The dead man is quite literally lying in his kitchen. Sam sets up a forensic investigation but Gene (Philip Glenister) thinks he's wasting his time. According to him there's a rule in these sorts of cases - first one to speak did it. Sam's incredulous but Gene and the team are convinced that Ted Bannister, the first man to speak up, is guilty. Sam has found his fight. As he gets to know Ted and starts to uncover the truth of what happened at the Mill, Sam realises just how much the concept of family and community has changed since 1973. Battle lines are drawn in CID and Sam and Gene set up their own little camps. Frustratingly for Sam, all the evidence seems to be pointing to Gene being right about Ted Bannister. As the evidence stacks up against him Ted confesses, but there's something about the confession that doesn't feel right to Sam. Sam's persistence eventually pays off when his powers of detection reveal that faulty machinery was responsible for the death. Ted confessed out of loyalty to the mill, fearing that if news of the accident came out, it would mean the mill was closed down for good.

Episode 4 - Sam's (John Simm) belief in doing the right thing calls into question the ethos of his whole department. Gene (Philip Glenister) believes that local gangster Stephen Warren and the police can co-exist and that the streets are safer as a result. Coming from 2006 Sam knows that in the future police corruption will irrevocably change the relationship between the public and the police. This knowledge that makes him determined not to turn a blind eye. But he knows that to get to Warren he needs Gene onside. But does Sam realise the full consequences of taking on someone like Warren? And can Gene come round by laying to rest a ghost from his past? As Sam sets to work on Gene, Warren sets to work on Sam. Sam comes face to face with his mum and discovers that she has money worries. With best intentions, he offers her the 'hush' money given to him by Warren. His mother is deeply offended. Appalled with what he's just done, Sam seeks out Warren and returns the money. But Warren isn't about to allow Sam to put an end to his 'cordial' relationship with the police and sets out to get Sam. The full consequence of taking on someone like Warren hits home for Sam when a young woman gets caught in the crossfire. There's no going back for Sam now, he has to nail Warren. Sam discovers that Gene's reluctance to deal with Warren stems from an incident way back in Gene's past. He realises that he'll never succeed in taking Warren out until Gene lays his ghost to rest. Eventually he gets Gene on side. Using some 70s style policing they get one of Warren's employees to reveal that Warren's guilty of murder, before finally arresting the gangster.

Episode 5 - The murder of a Manchester United football fan results in another clash of methods between modern day cop DI Sam Tyler and traditionalist DCI Gene Hunt. They suspect that a City fan is to blame, which means the dangerous possibility of a hooligan riot between the two rival teams during a derby match that weekend. Coming from 2006, Sam has seen how these small incidences of violence grow until eventually a disastrous situation ensues. In a bid to prevent any further violence, Sam, Gene and WPC Annie Cartwright go undercover to gather evidence in the local pub - Gene's ideal job! Gene sets out to drink the pub dry and get in with the local hard nuts like pub regulars Paul Bond and Malcolm Cox. Sam is concerned about their chances of finding the killer before too late, while his relationship with the murdered man's young son brings memories of his own father flooding back. He realises that the forthcoming match is the last ever that he went to with his dad, back when he was just four years old. With the press using the murder to fuel the flames of hate between rival fans, Sam believes that the only way to prevent a full scale riot is to prove that the murder wasn't football related. A United supporter's scarf gives Sam the lucky break he needs to make an arrest - which leads him to a killer and motive he hadn't expected - and throws him into the middle of a full-scale riot. Pleased at having averted any worse trouble, Sam is then suddenly unsettled when a four-year old boy passes him on his way to the big match...

Episode 6 - When his mother's voice bleeds through from 2006, Sam (John Simm) hears her say goodbye to him. His life support machine is to be turned off at 2pm. Sam's terrified - he's alive and determined to make himself heard. But before he can do anything, a call comes in that a man has taken people hostage at the Manchester Gazette. The man is intent on killing the hostages at 2pm. Is this Sam's way of saving his life in 2006? Determined to take control, Sam employs his 2006 methods of dealing with a hostage situation. Gene (Philip Glenister), on the other hand, has his own style of approach. He wants to go in with all guns blazing. If there's one thing Sam is sure of - no one can die today, not even the hostage-taker, Reg. As the clock ticks, Sam seems to inch his way towards a peaceful resolution. But just when he feels he's making progress Gene is there to frustrate matters. They manage to gain entrance to the office in which the hostages are being held in an attempt to negotiate their safe release but are soon held hostage themselves. After a failed attempt at escape, Sam, Gene and Annie are put on 'death row'. With the deadline looming they desperately need to find a way out... As 2pm arrives, a distraction causes Reg to rethink his actions. For a moment he considers taking his own life, but is eventually arrested. Sam's achieved his goal, no-one has died. He hears his mum in 2006 saying there's no way she's consenting to the life support machine being turned off. At 2pm, she was convinced she saw Sam smile.

Episode 7 - When small time drug dealer, Billy Kemble dies in police custody, Sam (John Simm) is pitted against the whole of CID. His suspicions that the details of the death are being covered up by the unit make him very unpopular. Even more so when he tries to uncover the truth of what really happened in the cells. Sam demands a transparent investigation into Billy's death. Coming from 2006, he knows that if the Police don't police themselves the public will never trust them. Gene, on the other hand, has different ideas. He believes that Billy died as a result of being beaten up by his cellmate, case closed. However, when the pathologist's report arrives it shows that Billy's death was caused by a cocaine overdose. Gene is ecstatic - the Police are in the clear. But Sam is still not convinced, something he knows about drugs from his 2006 briefings but can't quite put his finger on. As Sam starts questioning his colleagues he discovers that none of his team are telling the truth about Billy's death - not even those he thought he could trust. He discovers that Ray (Dean Andrews) forced Billy to take cocaine, not realising he was only a dealer not a user. Because Billy had a weak heart, the cocaine killed him. Annie (Liz White), Chris (Marshall Lancaster) and Phyllis (Noreen Kershaw) all helped cover the incident up. Sam realises that this could be the opportunity he has been waiting for. The revelations could destroy this world and all the people in it, thus propelling him back to 2006. Despite Annie's pleading, he goes ahead and presents the evidence to the Chief Superintendent. But the Super destroys it, happy that Gene's decision to demote Ray is the end of the matter. Meanwhile, Sam's left wondering if he'll ever escape 1973.

Episode 8 - Sam (John Simm) has finally started to accept his new world and believes that he can deal with anything that it throws at him. Then he comes face to face with his 29-year-old dad. The murder of a bookies clerk leads the team to Vic Tyler (Lee Ingleby), a small time gambler who unwittingly finds himself at the centre of the enquiry. Gene (Philip Glenister) is convinced that Vic is his link to nailing a new crime syndicate, the Morton brothers, and is prepared to put Vic's life on the line to get to them. A stunned Sam finds himself having to embark upon an emotional journey as he has to protect his own father, firstly from Gene, but also from the Mortons. Sam realises this is the time in 1973 that his dad left the family for good. Is that why he's here? To clear his father's name and stop him from leaving? If he convinces his dad to stay with the family will he wake up in 2006? Sam starts to piece together a childhood memory that he has been repeatedly experiencing as a series of flashbacks. Making sense of these memories sees him start to uncover the truth about his father, and what really happened to his family - a truth that will change him forever. The woman in the red dress from Sam's memory turns out to be Annie (Liz White). As a child Sam saw his father attack her in the woods when she tried to arrest him. This time, Sam keeps his 4-year-old self away from the incident and steps in himself to protect Annie. He discovers that his dad isn't the man he thought he was, and has in fact created the Morton brothers as a front for his own criminal dealings. Sam faces a huge dilemma. If Vic stays, his family will discover the truth about him and he'll go to prison. But it could be the key to Sam waking from his coma. If he goes, no one will ever know what really happened, history will remain unchanged, and Sam will stay in 1973. Sam lets his dad go and covers for his disappearance. As he heads off to the pub with Gene, Chris (Marshall Lancaster) and Ray (Dean Andrews), he wonders if he'll ever return to his own time. He admits to Annie that her presence means life isn't all bad in 1973.

Series 2
Episode 1 - Despite eerie visions of 2006, DCI Sam Tyler remains in the 70s - where he encounters the young incarnation of a nasty villain Sam put away in 2006. He sees the chance every copper dreams about: stopping the killer before he kills.

Episode 2 - With his mentor presiding over an armed robbery investigation, DCI Gene Hunt is keen to show off his team. And with his own (future) mentor working with the team as a lowly DC, Sam too tries to be at his best.

Episode 3 - When a bomb warning is reported, A-Division go on red alert. The IRA have begun their mainland bombing campaign - now the terror has arrived. Or has it?

Episode 4 - The body of a young woman is found in wasteland. The investigation takes the team to suburbia, where a local car dealer is throwing private parties, employing the make-up girls to "help out" when the wife-swapping begins...

Episode 5 - Sam feels strange - stranger than usual. Whilst trying to work out the cause of his vivid imaginings, he has to deal with an urgent investigation when a man tries to hang himself in A-division. Sam must shake the demons from his head to help a desperate family.

Episode 6 - Heroin has hit the streets of Manchester and Gene wants culprits. When investigating the murder of a Ugandan Asian man, Sam battles against the bigoted reaction of his DCI. His sympathy is further stirred by messages from Maya, his Asian girlfriend in 2007.

Episode 7 - Gene wakes Sam in the middle of the night, drunk, and apparently having killed someone. Sam tries to prove his Guv's innocence, watched by DCI Frank Morgan, from Hyde division, while the evidence stacks up against Gene.

Episode 8 - CID is chasing a notorious cop killer and Gene is determined to beat Morgan to the arrest. But all Sam has to do, Morgan promises, is one more job and he can ‘come home'. Sam's presumptions about his past, future and his very soul unravel in a heart-stopping climax.

Directed by S.J. Clarkson, John Alexander, John McKay, Bharat Nalluri, Richard Clark, Andrew Gunn
Written by Matthew Graham, Tony Jordan, Ashley Pharoah, Chris Chibnall
Produced by Cameron Roach
Executive Produced by Jane Featherstone, Matthew Graham, Claire Parker
Original Music by Edmund Butt
Cinematography by Balazs Bolygo, Tim Palmer, Grant Cameron, Adam Suschitzky
Film Editing by Sarah Brewerton, Colin Fair, Barney Pilling, Roy Sharman, Liana Del Guidice, John gow, Jeremy Strachan
Costume Design by Emma Rosenthal

DI Sam Tyler (John Simm) - Sam's a 21st century detective, who mysteriously finds himself working as a cop in the 1970s. Actor John Simm reveals more about his character.

DCI Gene Hunt (Philip Glenister) - Gene's an old style cop, not scared of throwing a few punches to get a result. Actor Philip Glenister explains more about his character.

WPC Annie Cartwright (Liz White) - A female in the police at a time when women were often undermined, underused, ignored, and taken for granted. Liz White lifts the lid on her character.

DC Chris Skelton (Marshall Lancaster) - Chris is a cheeky but likeable character, who finds himself torn between the modern Sam and old fashioned Gene. Actor Marshall Lancaster tells us more about his character.

DS Ray Carling (Dean Andrews) - Ray's an old style copper, who goes with his gut instinct, often instead of looking at the evidence in front of him. Actor Dean Andrews talks about his character.

Series 1
"The first bit of essential viewing of 2006 - and one which sets the bar so high others may struggle to match it. From its bravura opening, Life on Mars has an adhesive grip which intrigues, surprises, amuses and - thanks to some wonderful design and its 1973 setting - delights the eye, in retro-kitsch fashion, anyway ... Simm is marvellous as Tyler, a ferrety bundle of bewilderment and rage, in a series which shows every sign of being that rarest of small-screen beasts: high-concept mainstream TV made with genuine wit and imagination." Chris Riley, Daily Telegraph

"For anyone of 40 or over, it's fabulous fun ... a cruise along memory lane ... But Life On Mars is more than just a jolly, tongue-in-cheek romp into the past.
Once there, in 1973, we find ourselves immersed in a reasonably gripping police drama - yes, The Sweeney, perhaps, with better production values. But there's more to it than that too - because there's the whole time-travel nightmare as well - he's stuck, desperate but unable to get back. It could work on any one of those levels, but the combination of the three makes for a rich little treat - a custard cream, a Garibaldi and a pink wafer, all dunked into together. Or put another - undeniably laboured - way, as poor Sam Tyler walks through his sunken dream, I'm hooked to the silver screen. And yes, I know it's actually a small screen."
Sam Wollaston, Guardian

"Utterly brilliant ... I can't remember the last time there was a police drama worth getting so excited about."
Jane Simon, Daily Mirror

"...one of the most inventive police dramas in years." Mike Ward, Daily Star

"...riveting ... as intriguing as Lost yet as nostalgic as The Sweeney, this is another triumph from BBC ... part thriller, part comedy and part Kafkaesque nightmare, this is a detective series with a very welcome difference ... John Simm is convincingly traumatised as Sam, but writer Matthew Graham ensures there is plenty of enjoyable comedy here too." Stephanie Billen, Observer

"Life on Mars looks authentic, Simms looks brilliant, and the whole series is something you will be wanting to invest your time in for the next 12 weeks, like Doctor Who with a rock soundtrack and swearing."
Caitlin Moran, The Times

"...a stylish-looking series ... part Sweeney, part Back to the Future, and part Bobby Ewing's shower scene from Dallas ... two beguiling central performances; by John Simm as the time-travelling policeman, and by Philip Glenister as his Sweeney-flavoured, Cortina-driving, 1973 boss. Glenister is so hypnotically persuasive as DCI Gene Hunt that you feel as if he's seized you by the lapels and personally manhandled you back to 1973. You find yourself checking your sitting room walls, just to make sure they're not covered in geometric-patterned orange wallpaper."
Joe Joseph, The Times

"...one of the most original cop shows in years ... Don't miss this." We Love Telly Team, Daily Mirror

"...the emerging link between Sam's present and his trip to the past exerts an iron grip ... Matthew Graham's script is blessed with a light touch ... Cracking performances all round, and a directorial pace (Bharat Nalluri) that never allows you to spot the plot's illogicalities until afterwards." Martin Hoyle, Financial Times

"Anyone who grew up, lived through or wished they'd been around in the 1970s is going to love this new cop show. ... There's no time to worry about how ridiculous the concept is: as with all the best jokes, it's played with absolute seriousness. Great stuff." Sunday Telegraph

"...the script can't decide if it's a cop show, a psycho-drama or a comedy. But that just makes it more intriguing, and you'll want to know what happens next." Adrian Pettet, Sunday Express

"...an original, witty and illuminating idea ... The writing is brought to life by intense performances from Simm ... and craggy Philip Glenister." Sue Corrigan, Mail On

"A drama that pushes the boundaries as far as Life on Mars does was always going to be very good or very bad. Fortunately, it falls into the first category - inventive, stylish and clever, with just the right amount of uncertainty over whether Tyler has really travelled in time or is just lying in a coma in hospital dreaming ... But Life on Mars is also ingenious in the way it suggests that things have changed so much since the 1970s that we wouldn't recognise ourselves or the times if we went back, even if we lived through them. " Cathy Pryor, Independent On Sunday

"Tyler's sense of bafflement about the 1970s proffers many funny moments ... In addition, the production designers have contributed to the show's success by remembering the old adage ‘God is in the details' ... But the chief reason Life on Mars works so well is because the clash between the two eras provides a rich source of conflict - and conflict lies at the heart of any compelling drama. All in all, Life on Mars makes for a rather more thought-provoking drama than the many ‘plod pieces' that currently clog up the schedules." James Rampton, Independent

"Inevitably, Life On Mars risks glorying in the unreconstituted excesses and bad decor of another age, but it avoids these pitfalls thanks to clever scripting, strong performances and good gags - especially the one about PC Terminal. Excellent." Jonathan Wright, Guardian
"The playful, post-Matrix quality which was the making of Hustle and the award-winning Spooks comes to the fore again in Kudos Films's latest drama, Life on Mars ... Sweeney stylings mix with Mancunian grit in an interesting slice of cop psychology." Observer

"...one of the most original cop shows in years ... Don't miss this." We Love Telly Team, Daily Mirror

"...the emerging link between Sam's present and his trip to the past exerts an iron grip ... Matthew Graham's script is blessed with a light touch ... Cracking performances all round, and a directorial pace (Bharat Nalluri) that never allows you to spot the plot's illogicalities until afterwards." Martin Hoyle, Financial Times

"Anyone who grew up, lived through or wished they'd been around in the 1970s is going to love this new cop show. ... There's no time to worry about how ridiculous the concept is: as with all the best jokes, it's played with absolute seriousness. Great stuff." Sunday Telegraph

"...the script can't decide if it's a cop show, a psycho-drama or a comedy. But that just makes it more intriguing, and you'll want to know what happens next." Adrian Pettet, Sunday Express

"...an original, witty and illuminating idea ... The writing is brought to life by intense performances from Simm ... and craggy Philip Glenister." Sue Corrigan, Mail On Sunday

"A drama that pushes the boundaries as far as Life on Mars does was always going to be very good or very bad. Fortunately, it falls into the first category - inventive, stylish and clever, with just the right amount of uncertainty over whether Tyler has really travelled in time or is just lying in a coma in hospital dreaming ... But Life on Mars is also ingenious in the way it suggests that things have changed so much since the 1970s that we wouldn't recognise ourselves or the times if we went back, even if we lived through them. " Cathy Pryor, Independent On Sunday

"Tyler's sense of bafflement about the 1970s proffers many funny moments ... In addition, the production designers have contributed to the show's success by remembering the old adage ‘God is in the details' ... But the chief reason Life on Mars works so well is because the clash between the two eras provides a rich source of conflict - and conflict lies at the heart of any compelling drama. All in all, Life on Mars makes for a rather more thought-provoking drama than the many ‘plod pieces' that currently clog up the schedules." James Rampton, Independent

"Inevitably, Life On Mars risks glorying in the unreconstituted excesses and bad decor of another age, but it avoids these pitfalls thanks to clever scripting, strong performances and good gags - especially the one about PC Terminal. Excellent." Jonathan Wright, Guardian

"The playful, post-Matrix quality which was the making of Hustle and the award-winning Spooks comes to the fore again in Kudos Films's latest drama, Life on Mars ... Sweeney stylings mix with Mancunian grit in an interesting slice of cop psychology." Observer

Series 2
"I maintain that it is impossible to have a heartbeat and not love this show, though I grant that the under-10s and over-70s may not wholeheartedly endorse this view ... I'm not sure that an hour of popular drama can be any more entertaining than last week's episode." Kathryn Flett, Observer

"I'm almost embarrassed to admit how much I love Life On Mars ... Funny, fresh, original, inventive, smart, nostalgic, intriguing, absorbing - it's easily my favourite show in years. Trouble is, I'm in danger of becoming seriously nerdy about it. I've re-watched all of series one, bought the companion book and I'll be off to Virgin at lunchtime to buy the soundtrack CD." Mike Ward, Daily Star

"... superb ... The confidence that marked out Life On Mars from the very start just continues to grow." Jane Simon, Daily Mirror

"... one of the best TV shows of the last ten years." Caitlin Moran, The Times

"Crisply scripted, funny, imaginative - why can't more telly be like this?" Jonathan Wright, Guardian

"... fantastic show ... The drama highlight of the week ... Life On Mars brings more than sunshine; it's a long, hot summer." David Stephenson, Express On Sunday

"As a slobberingly devoted fan of the work of John Simm, I never thought I'd say that Life on Mars has turned into the Philip Glenister show, but so potent is his swaggeringly intense and pathologically macho DCI Gene Hunt that it's a bit shocking to see him in any other context ... I fancy the idea of Hunt as a low-rent TV Bond who gets to snog as often as he shoots. Mmm... step away from the TV now, woman, goddammit." Kathryn Flett, Observer

"It seems as if Life on Mars, which was already pretty remarkable throughout its first run, is to become still richer and more interesting in its second and final series." Karl French, Financial Times

"...if only there was some way we could keep him trapped in Sweeneyland for ever, so that he and Gene Hunt could carry on fighting crime - and each other - indefinitely." Jane Simon, Daily Mirror

"Life on Mars could so easily have ended up repeating the one joke - look, fat chain-smoking coppers who smack women on the bum and call them ‘darling'! - but thanks to the dynamic between Simm and Glenister and the enduring mystery of Tyler's mission in the past, this new series is shaping up to be a smasher." Stephanie Merritt, Observer

"... marvellous..." Matt Baylis, Daily Star

"... first-rate..." Critics Choice, Sunday Times

"Another excellent episode full of great quips from the heavy-handed boss." Anila Baig, Sun

"Brut-ally brilliant ... The wonderful mix of then and now makes the show a joy; that and huge dollop of nostalgia: not just for old pop, Sweeney-style punch-ups and Double Diamond, but also for a time when men were men and crime was punished ... caveman copper Hunt is the show's runaway star ... played superbly by Philip Glenister." Garry Bushell, People

Royal Television Society Design and Craft Awards 2005/6
Best Visual Effects - Picture Enhancement "The jury was impressed by the subtlety and sensitivity of the approach. Careful not to overpower the narrative, the look not only integrated a hyper real quality but also transported the viewer back convincingly to the 1970s."

Banff World Television Awards 2006
Rockie Award for Best Continuing Series

International Emmy Awards 2006
Best Drama Series

BAFTA Programme Awards 2006/7
Pioneer Audience Award (voted for by members of the public)

Broadcasting Press Guild Awards 2006/7
Best Drama Series Writer's Award: Matthew Graham, Tony Jordan, Ashley Pharoah

International Emmy Awards 2008
Best Drama Series

The title Life On Mars comes from a track by David Bowie. It can be found on his 1971 album Hunky Dory.