TV REVIEW: Southcliffe - Light Falls

After the slow-moving yet intense opening episode, Southcliffe continued with another tension- wrought instalment as we're introduced to the wider community of the small coastal town. Opening with a moment from the shooting itself, a brutal and shocking first scene, the episode once again moves back in time to focus on the events leading up to it. 

The focus of the first episode, the shooter Stephen Morton (Sean Harris), has less screen time here, but it works much more effectively; he becomes an almost spectral presence in his absence and a dark prophetic omen whenever he does appear. It leant a new layer to the proceedings as the aforementioned opening scene sees him get his revenge on Chris (Joe Dempsie), the returning soldier who tormented him, by shooting his young wife in bed next to him. His motivation is established quickly for the rest of the episode; he'll punish those who he felt treated him badly by targeting those people around them.

The resultant sense of dread creeps into every scene and makes seemingly innocuous moments all the more significant. Lines that should be throwaway, like a daughter commenting on her father nicking himself whilst shaving, carry much greater weight, simply through the association of blood. Once again, the sound was also used to startlingly good effect to maintain the discomfort caused by the visual scenes unfolding. Whether it is the oppressive silences that characterised much of the first episode or long, droning sounds that force their way into the scenes, it's consistently intrusive. 

Curiously, the expansion of Southcliffe to include two more families, as well as spending more time with Rory Kinnear's journalist David, doesn't make the show seem any larger. In fact, it is quite the opposite as the inner workings of these close-knit families feel claustrophobic and oppressive. With the episode moving confidently between the time periods, it also has a rather unsettling effect as you try to piece together where in the story you are and which characters are currently the ones in danger. 

The episode also works to establish a stark contrast between the residents of Southcliffe (both present and former) and those coming in from the inside. A particularly harsh moment was the gleeful journalist revelling in Stephen's entrapment whilst shots fire in the distance. It's a fairly damning comment on the way in which these unfolding events are covered by the press as everything becomes sensationalised whilst the residents are left to deal with the after-effects.

Southcliffe is a masterful exercise in control on Durkin's part; every aspect of the episode feels carefully constructed with every scene counting, every sound effect deliberately placed. In a year that has seen some outstanding British drama, Southcliffe is up there with the very best.

- Becky

You can read Becky's review of first episode The Hollow Shore here.

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TV REVIEW: Southcliffe - The Hollow Shore

As an audience, we're spoilt for choice with excellent crime dramas at the moment and Southcliffe, should the series continue in the same vein as the first episode, will be no exception. Directed by Sean Durkin (of Martha Marcy May Marlene - also well worth a look), Southcliffe tells the story of a tragic shooting in a sleepy coastal town through the build-up, the event itself and the subsequent fallout. It's bleak subject matter, but is handled sensitively by Tony Grisoni, the man also behind Channel 4's excellent drama Red Riding. The first episode focuses in the shooter himself, the mentally unstable Stephen (Sean Harris) and the returning soldier Chris (Joe Dempsie).

Opening in suitably shocking fashion with gunshots ripping through the quiet coastal air, Southcliffe then takes a step back to before the shootings take place. From there on in, the pace slows right down in order to continue the creeping sense of dread that permeates those opening scenes. Moody and atmospheric, Durkin allows shots to linger whether they are close-ups of his actors or simply of the gorgeous Kent scenery with its mists and gloom. It's both beautiful and threatening, a location that seems idyllic one minute and terrifyingly remote the next. The opening scenes demonstrate this stark contrast brilliantly; a woman gardening is interrupted by a gunshot that wounds her before a succession of shots of the quiet villages, punctuated by gunfire and the ominous approach of sirens. In these moments, the shooter is unclear, concealed within the mist.

This theme of concealment runs throughout the episode; Durkin isn't afraid to hide action behind door frames, just out of shot and creates the sense that this isn't just a puzzle for the characters, but for the audience, piecing together the events leading up to the shooting. Many things remain hidden in Southcliffe; Stephen and Chris are both reluctant to confess the truth about their respective circumstances to those around him. Whilst Chris manages to keep whatever he is hiding from his girlfriend under wraps, Stephen becomes exposed quickly by Chris and a relative, resulting in a deeply uncomfortable scene that leads directly into the shooting itself.

The sound, or rather the lack of it, is used to particularly great effect. There is no score, only music used for a specific purpose in certain scenes such as the party for the returning soldiers or the outdoor gig later in the episode. Even then, the music feels jarring and intrusive, out of step with the nearly silent world that these characters inhabit. This is demonstrated most in the fast-paced folk music after the ritual humiliation of Stephen in the woods. The silence that punctuates the other scenes proves to be just as unsettling, building into the mounting sense of dread.

Grisoni's script has not attempted justify Stephen's actions, serving more to offer an explanation as to why he attacks the residents of the community. Since The Killing, crime dramas have become less focused on the crime itself and more upon the ripples that run through the community in which it occurs, most recently seen in Broadchurch and Top of the Lake. With Southcliffe, there are an intriguing array of characters we are yet to see. Some are glimpsed in this episode, Shirley Henderson in particular, and we spend a fair amount of time with Rory Kinnear's journalist, who will shortly find himself pulled back to his home town to provide a unique perspective on the coverage.

An impressive opening for Southcliffe; bleak yes, but underscored by an emotional current that, should it continue, will make for a very interesting series indeed. The next episode airs tonight at 9pm on Channel 4.

- Becky

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TV REVIEW: Game of Thrones - Second Sons

A delayed review this time to cope with the two week gap instigated by the American HBO network, Second Sons nevertheless starts to ramp up the action for the two final episodes of the season.

The last three episodes in the series have been largely more about character developments, slowing down the action to ensure we know where each piece of the considerable Game of Thrones chess board is at the current time. However, it also meant that the pace was a little off and whilst the quality of the drama cannot be disputed, it did feel as if it was time for the show to actually go somewhere. Thankfully, Second Sons upped the ante just that little bit and though it may not have been action-packed, there was enough progression to pull us all back in again.

There were three major threads running through this episode, devoting screentime to those in King's Landing, Dragonreach and Yunkai with each dealing with some fairly big developments. Dany (Emilia Clarke) is preparing for war with Yunkai and is attempting to build her army up with the addition of mercenaries calling themselves the Second Sons. Clarke has grown from strength to strength in her performance and I just loved her cool composure in the scene with the three captains, including Daario (Ed Skrein) who eventually joins with the Khaleesi. She had one of the big moments in the Dracarys scene earlier in the season and her takedown of Yunkai promises to be just as eventful.

Perhaps the sweetest scene that the show has seen for a long time was the one between Tyrion (Peter Dinklage) and Sansa (Sophie Turner) preparing for their ill-advised and obligatory wedding. The oddest couple around, both seem determined to make the best of their situation and Dinklage and Turner played the awkwardness of the situation beautifully. This was then contrasted with the wonderfully catty scene between Cersei (Lena Headey) and Margaery (Natalie Dormer), both of whom seem to typify all those 'mother-in-law' jokes that went out of fashion back in the 70s.

More of a ritual humiliation than a matrimonial ceremony, the wedding was an affair in which words were barely spoken, but there was enough subtext there to get the point across. And of course it gave us another chance to really hate Joffrey (Jack Gleeson). Has there ever been a television character so universally hated as Joffrey? He's not in the series a whole lot any more, but that just seems to intensify my dislike. It's a good job he was then contrasted with Drunk Tyrion, who may be my favourite version of Tyrion and I like the character a great deal. In the most awkward family wedding in the history of awkward family weddings, a depressed, drunk groom was exactly what was needed. But then, his scene with Sansa was so wonderfully tender and gentlemanly that it further emphasised how complex the Imp is. 

The other character I've found myself disliking with great intensity is Melisandre (Carise Van Houten) and like Joffrey's fleeting yet memorable appearance, she cropped up in this episode to remind us just how evil she is, taunting poor Gendry (Joe Dempsie) with some standard nudity before applying some leeches to places leeches shouldn't be applied to. The melding of Gendry (Joe Dempsie) with the book character of Edric Storm (non-book people, don't look him up - spoilers abound) has been an inspired choice that means Gendry gets just a little bit more to do. It's a good move for the series and increases my confidence in Benioff and Weiss; they may have made some big changes, but the television story is working as a cohesive whole. Not an easy thing to do when you're tackling something as big as A Song of Ice and Fire.

Despite opening with an encounter with a White Walker, this season has been relatively low on the undead, though of course the constant threat remains. Therefore, the final scene was a (un)welcome return for the pesky little blighters in a scene that served as a chilling reminder of the biggest scare north of the Wall. With the sweet Gilly (Hannah Murray) and Sam (John Bradley) opening the scene, it was left to some squawking ravens to set the tone. The scene was genuinely chilling whilst also allowing for Sam to finally have his hero moment. I love the developing relationship between Sam and Gilly and I'm hoping we'll get to see a bit more of them, if not in this season, then definitely in the next.

This episode was also notable for the characters it did not feature, presumably because we're setting up for some pretty big moments for the last couple of episodes. Certainly, Jon Snow (Kit Harington) and Ygritte (Rose Leslie) are closing in on Castle Black with the wildlings and the Starks are on their way to the Twins for a big wedding. I also missed my favourite odd couple Jaime (Nikolaj Coster-Waldau) and Brienne (Gwendolyn Christie) after their bearscapade last week, but they've probably had more screen time than any other combination this season so a break was perhaps needed.

The Rains of Castamere airs on Sunday/Monday (depending on which side of the pond you happen to be) and tension and anticipation is already high. The ninth episode of the season has been traditionally the biggest, darkest instalment and this one has a lot to live up to after the masterpiece that was Blackwater (where of course, The Rains of Castamere was first sung). Something tells me it might just match up.

- Becky

You can read Becky's review for the previous episode, The Bear and the Maiden Fair, here.

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TV REVIEW: Game of Thrones - The Bear and the Maiden Fair

Last week's episode saw plenty of pairings defined by power and status whilst this week's takes a look at the romantic (ish) relationships that dominate the characters' and affect their motivations. Once again, the episode's title bears more than a little on the ongoing narrative (pun intended) as we see various pairs of mismatched couples defined by their gruffness or their beauty. Another slow-burning episode, we darted to various locations and caught up with all of the usual suspects, the difference being that this time George R.R. Martin is on script duties this week with Breaking Bad's Michelle McLaren in the director's chair.

Again exhibiting the leisurely pace we've come to expect from the last couple of Game of Thrones episodes, it didn't necessarily do The Bear and the Maiden Fair any favours. In fact, of all the episodes of this series, it was this one that felt most like filler, closing the gaps and further establishing the narrative direction for the characters in the rest of the season. Certain scenes were excellently put together, particularly Dany (Emilia Clarke) and her dragons taking on the emissary from Yunkaii which not only showcased the special effects work with the flying menaces, but also Dany's evolution from shrinking violet to the Silver Queen.

Other highlights including the weekly Tywin Lannister (Charles Dance) dressing down of a member of his family and a development in the relationship between Robb Stark (Richard Madden) and Talisa (Oona Chaplin), almost singlehandedly filling this week's episode quota of naked bottoms (yes, we appear to be in a clothes off week once again). The ongoing relationship between Jon Snow (Kit Harington) and Ygritte (Rose Leslie) is perhaps afforded the most screen time. Their scenes together have steadily improved through the season and here, they have their funniest flirtatious conversations so far even as their relationship is undermined by their very different backgrounds. However, they were also punctuated by scenes that slowed the pace even further and served little purpose but to set up directions or remind us of issues gone by. Despite a stirling performance from Natalie Tena as Osha, the scene with Bran (Isaac Hempstead-Wright) deciding to go after the raven was one such example. It seemed included just to let us know where Bran was off to and remind us all of the threat of the White Walkers. Another example was the return of Theon (Alfie Allen), tortured once again and now possibly missing an appendage. This was also the scene in which we saw more nudity. Because just one scene isn't enough. It served little purpose really, other than to check in with Theon's terrible, yet deserved, situation.

One of the episode's strongest points though was the editing and the way we moved through Westeros. Pairings separated by other characters were sort of brought back together; Arya (Maisie Williams) and Gendry (Joe Dempsie) may have been torn apart from each other, but their scenes were connected, reminding us of their relationship whilst facing new challenges of their own. We also had pairings yet to be joined in matrimony; Sansa (Sophie Turner) mourns her impending marriage to Tyrion (Peter Dinklage) and in the very next scene, he does the same in turn with Bronn (a welcome return for Jerome Flynn). It's exemplary stuff and really works to provide a cohesive strand running through an episode which was marked by its internally episodic nature.

Then there were the final scenes which brought back the high quality and spark that seemed missing from a large part of the episode. I've spent a lot of these reviews going on about how much I love the pairing of Jaime (Nikolaj Coster-Waldau) and Brienne (Gwendolyn Christie) and this week does nothing but make me love them more. Jaime, ever the dashing knight, rides back to Harrenhal to rescue Brienne from a situation in a rather literal interpretation of the episode's title. It's a fantastic sequence that cements just how much they have come to rely on each other and has a killer final line from Jaime. Just brilliant.

A mixed bag then this week as we head into the final three episodes of the season. The chess pieces are surely all in place now so let's hope that the pace picks up and we get some moments of sheer shout-at-the-television awesome.

- Becky

You can read Becky's review of the previous episode, The Climb, here.

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TV REVIEW: Game of Thrones - Kissed By Fire

This week's dose of Westeros came complete with quiet character developments, daring swordfights and more than a few naked bottoms.

Game of Thrones has always been about the grey area of the characters we follow, the honourable tempered by their own pride or the evil-doers by their compassion. It's what makes the show so compelling because we're never quite sure where we stand with certain people. Kissed By Fire was an excellent exploration of this grey area, the choices that these characters have to make in order to ensure their own survival, no matter what the cost to their own moral standing or their honour. As a result, the episode slowed the pace down from last week's whirlwind of revelations and spent much more time in several places, offering us a glimpse at just how far some characters have travelled since their first appearances.

Perhaps the most obvious example is Jon Snow (Kit Harington); like Ned before him, Jon has a fierce sense of honour and his infiltration of the wildling camp has put that to the test. Harington was finally given something to do this week (as it were), facing two tests to prove that he had broken his vows completely. One is to pass on intelligence about the forces remaining at Castle Black which he passes by threatening violence and insisting on his honesty. The second is a naked Ygritte (Rose Leslie), Naked Bottom Number One, compelling him to prove he is no longer a crow by also getting his kit off, Naked Bottom Number Two. And I can pretty much guarantee that no one will ever take Ygritte's catchphrase seriously again.

We also got to spend more time with Stannis (Stephen Dillane), who so far hasn't really amounted to doing much bar looking a bit gruff and having Davos (Liam Cunningham) arrested. Here, we got introduced properly to his family, Selyse (Tara Fitzgerald - though glimpsed briefly last season played by another actress) and his daughter Shireen (Kerry Ingram). Offering a chance for us to see Stannis in a domestic setting, it also serves to show the audience just how far he has fallen; his wife not only forgives his betrayal with Melisandre (Carice Van Houten), she celebrates it. And keeps dead babies in pickle jars. The woman is not well. It is the scene with his daughter though that was particularly touching as she clearly symbolises this distance for him. It's a touching scene and Shireen's song, both in this scene and the end credits, is particularly haunting.

Family was another important theme of this episode, as evidenced in a particularly heartbreaking scene between Arya (Maisie Williams) and Gendry (Joe Dempsie). When Gendry decides that he wishes to stay with the Brotherhood, he cites that he has never had a family and these could be his. Williams plays the next line with such vulnerability, completely contrasted with her fierceness earlier in the episode, that I am not ashamed to admit, I welled up; "I could be your family". As Gendry mournfully observes, she would be his lady. Both Dempsie and Williams played the scene perfectly, capturing the strangeness of their relationship and their reliance on each other in just a few lines.

Once again, the episode is stolen by the unfolding relationship between Jaime Lannister (Nikolaj Coster-Waldau), Naked Bottom Number Three, and Brienne(Gwendolyn Christie), Naked Bottom Number Four. Full of symbolism (they're both naked, in a bath, which reflects their own images back at them), it's a big revelation scene, the story of how Jaime came by the nickname Kingslayer. It perfectly encapsulates the idea of a character's mix of light and dark and the emphasis on family that runs through the episode. Jaime makes no excuses for what he has done, he simply tells the story of how the Mad King forced him to choose between his oath and his family. Coster-Waldau again proves his worth as do the show's writers; after all, they've managed to make everyone feel sorry for a man who pushed a child out of a window so he could continue having sex with his sister.

These conflicted characters make compelling viewing, but of course, not all characters are so morally mixed up. After all, this is a show which also includes Tywin Lannister (Charles Dance) and Littlefinger (Aiden Gillen). It's been awhile since we saw Littlefinger in full flow, beyond simply manoeuvring to get Sansa (Sophie Turner) out of harm's way. Here however, he is employed by Cersei (Lena Headey) to find out what the Tyrells are up to. He does so, thanks to sending a nicely attractive boy, Naked Bottom Number Five, to seduce Loras (Finn Jones) and discover their plotting. This in turn leads to Tywin reasserting himself as supreme bastard by forcing Cersei to marry Loras and Tyrion (Peter Dinklage) to marry Sansa in order to stop the plot. The Lannister meetings are always entertaining, and this one is no different, particularly Headey's raised eyebrow at the end of the scene.

Director Alex Graves also chose to explore this through the use of light and dark in the visual aspects of the episode; the warm, dangerous glow of the flaming swordfight contrasted sharply with the muted cold tones of Selyse's residence or north of the Wall. It's one of the most beautiful episodes to date and one of the best in terms of advancing the plot. However, for those of us who have read the books, it's becoming torturous. Fear not, I won't reveal any potential spoilers, but I think it is safe to say that big things are on the horizon.

- Becky

You can read Becky's review of previous episode, And Now His Watch Is Ended, here.

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TV REVIEW: Game of Thrones, Episodes 1 & 2

The first season of Game of Thrones, based on George R.R. Martin's A Song of Ice and Fire series, was a massive hit both here and across the pond, delighting us with courtly intrigue, battles of wits, violence, drama and, being HBO, copious amounts of gratuitous sex. It feels like it has been a very long wait since Westeros last graced our scenes but if the opening episodes are anything to go by, it's like we never really left. As always, here be spoilers... and dragons.

Episode One: The North Remembers:


Because the end of the first season saw more twists and turns than a twisty-turny thing, The North Remembers is clearly about getting you back into the goings-on of the Seven Kingdoms and reintroducing you to the characters you love and loathe. Thankfully, this didn't reduce the episode into an hour of exposition but was more akin to watching a manoeuvre being carefully planned in a game of chess (or cyvasse if you're familiar with the Westeros version). The audience was moved from piece to piece, carefully establishing where the fallout from last season, namely the execution of Ned Stark, had left the various characters.


First of all to King's Landing where we see evil-incarnate, King Joffrey, demonstrating just why it probably isn't good to be on the wrong side of him. Through a series of humiliations and mood swings, it's brought back into focus just why we're meant to hate Joffrey. With a fiery, fiery passion. Poor Sansa Stark is still stuck in King's Landing, and still betrothed to the blonde-haired demon, but has clearly been learning how to play the game, successfully manipulating Joffrey into letting someone live who was about to have his head impaled on a spike. I cannot praise Jack Gleeson's performance enough as Joffrey; he really is quite terrifying and unpredictable, and that's coming from someone who has read the books. Simiarly, Sophie Turner's Sansa is granted layers beyond the stroppy teenage girl that she was for most of the first season.


We also get re-introduced to the Small Council, the men responsible for much of the politics and manipulation that goes on around King's Landing. The newest addition, Tyrion Lannister (played by Emmy award-winning Peter Dinklage) is naturally going to shake things up and, as the most interesting character in all of Westeros, I'm not ashamed to admit I cheered when he took on Cersei Lannister (Lena Headey) and won. Elsewhere in one of the standout scenes of the episode, Littlefinger (Aiden Gillen), is shaken up by Cersei after he insinuates that he is aware of Joffrey's questionable parentage and that he is quite prepared to use this against her should she step out of line. The only King's Landing moment to beat this one though had to be the confrontation between Cersei and Joffrey in which there is just a flicker of emotion across Headey's face as Cersei realises what a monster she has created.


The episode also brings the audience into the War of the Five Kings, still raging since the first season and showing no signs of slowing down. Robb Stark (Richard Madden), declared the King in the North, and defeating Lannisters left, right and centre, is the most dangerous of the bunch currently. Having captured Jaime Lannister (Nikolaj Coster-Waldau) in Season One, he's currently enjoying taunting him with his wins and his direwolf, Grey Wind, snarly in CGI. Then there's Stannis Baratheon (Stephen Dillane), the direct heir to the throne, beginning to make a move. The scenes at Dragonstone were somewhat stolen by Carice Van Houten in her performance as the Lady Melisandre, which was suitably chilling.

The outskirts of the show's geography have always struck me as the safer places for characters to be, away from the snake pit of King's Landing and the violence of the wars. That doesn't necessarily mean they're out of danger though. Across the Narrow Sea, we're given a first glimpse of the dragons since Season One as Dany (Emilia Clarke) and the remains of her Dothraki khalasar travel off in search of armies to boost her campaign to reclaim her throne in Westeros. But Dany is losing people to thirst and hunger, lacking the supplies to make the trip. Meanwhile, beyond the Wall, Jon Snow (Kit Harington) is journeying further into the most dangerous place in Westeros, the unmapped north, in which all manner of nasties are waiting to travel South.


What is perhaps most impressive about the first episode is the confidence with which the show takes us through all these various storylines, never really stopping to allow the audience to breathe. Instead of ramping up the narrative and pushing ahead into the meatier storylines, we're allowed to get re-acquainted with the characters and the locations. Also, there are more of the genre elements moving into view, rather than hiding in the background as they did in the first season, such as the dragons for example, and the magic side of things that Melisandre's introduction brings with it. Now that the audience is in place, both fans of the books and those just of the TV show, it's allowing the producers to really ramp up the fantasy without turning people off the story.


Episode Two: The Night Lands:


The audience didn't need any further proof of Joffrey's evil nature, but now it seems that the rest of Westeros is cottoning on, particularly the residents of King's Landing who are still reeling from the murder of King Robert's bastards. In his capacity as the King's Hand, Tyrion has begun making changes and is not winning any favours with his sister, Cersei. Meanwhile, the War of the Five Kings continues with Stannis and Melisandre making their alliance physical. Up beyond the Wall, Jon is forced to make a decision about one of Craster's many wives that causes a rift with best friend Sam while continuing his confrontation with Craster himself. Then there's Arya, only glimpsed briefly last week, given more scenes with Robert's bastard Gendry (who doesn't know who his father is) and continuing her journey north to the Wall.


One of the key developments in this episode is Theon Greyjoy's trip home. The Iron Islands always seem to be the most depressing place in the whole of George R.R. Martin's universe and as always, the show didn't disappoint in its portrayal. Everything is damp, clammy and not quite friendly, as Theon discovers upon his return. It also allows the series to return to one of its creepiest elements, that of incest, with Yara, Theon's sister, deceiving her brother while he indulges in some inappropriate groping. I'm glad that the series is devoting time to this storyline as it becomes one of the most interesting in the books, especially when Theon learns of his father's ambitions of stirring up rebellion... again.


As always, the performances in the episode are fantastic, each cast member filling out their role brilliantly no matter how small the part. I especially enjoyed the scenes with Arya and Gendry as it is one of the nicest relationships in the books and Maisie Williams and Joe Dempsie have done a great job of portraying it. I've been a fan of Dempsie since his scene-stealing role as Chris in Skins and it's good to see him doing the same in another series. The moment in which he reveals he knows Arya's secret and promises to keep it was just lovely. And it's not very often you can say that about Game of Thrones. That being said, it was of course Peter Dinklage who stole the show completely with his re-assigning of Janos Slynt and the rearrangement of the City Watch. Him and Jerome Flynn, as sellsword Bronn, make a great double act and I look forward to the rest of the series if those two keep getting moments like this.


The writing of this series so far has been a real highlight; whether it's journeying with Dany across the Narrow Sea or discovering what Littlefinger is up to in King's Landing, I never felt short-changed with the scenes given. Even the smallest scenes are of the greatest importance and, with an epic like this, it's even more important to keep everyone engaged with every single narrative taking place and they're doing a sterling job in this respect. I have my favourite characters, as you'll probably discover over the course of these reviews, and I'm sure most of the audience do as well. But it's good to see a show that is more concerned with the overall narrative than making sure the favourites shine brighter. Another slow-paced episode this week, but there's so much going on in Westeros that I don't think you ever notice it at the time.


Roll on next week.


- Becky