TV REVIEW: Doctor Who - Before The Flood

Having spent a good deal of the forty five minutes of ­­­­Before The Flood watching from behind my hands, I can happily conclude that this episode scared me more than most Doctor Who episodes. 

Travelling back to the time the spaceship first landed, The Doctor (Peter Capaldi) left Clara (Jenna Coleman) et al behind on the submarine fending off the ghosts – who now included an eerie ghost Doctor in their number. Inconveniently locked in his own time stream, he found himself up against the terrifying Fisher King, desperately trying to stop anyone else, winding up as a ghostly transmission device. 

Terrifying seems a good place to start with this episode. Several scenes of the episode wouldn’t have felt out of place in an indie horror film. And that’s before we even consider the Fisher King. A shell-fish, cockroach type of creature with all the warmth of The Grim Reaper, The Fisher King gave us our second, totally brand new, totally nightmare-inducing monster of the series – not bad for episode four. It was also a noticeably long time before we got a good look at him, which may have frustrated some, but for me, artfully built on our innate fear of the unknown. 

When we weren’t busy being terrified of the Fisher King, it’s worth mentioning that the invasion themes, Cold War and military style settings of Toby Whithouse’s writing married together perfectly. So too did the two different time streams and locations in that perfectly executed countdown sequence, The Doctor linking the two with this own timeline. Much akin to the night and day settings of the submarine, this episode was very much the shade to Under The Lake's light, literally much darker in places because of the minimal lighting, and with far fewer jokes, the stakes felt high here, even though we knew that, ultimately, The Doctor and Clara would probably be fine. 

Particular stand out moments include Sophie Leigh Stone’s Cass having to feel for the vibrations along the floor to find out that an axe wielding ghost was right behind her, and O’Donnell (Morven Christie) cowering round a corner from the Fisher King. Indeed senses were a key theme throughout, with Cass without hearing, the ghosts without eyes and, without the phone, Clara and The Doctor unable to talk. The Beethoven’s 5^th Framing Device worked well, too - the episode needed tying together somewhat as the timey-wimey elements were slightly more complicated than usual and not terribly well explained in places. Fortunately, Capaldi’s style is perfectly suited to the occasional breaking of the Fourth Wall.

I couldn’t help but slightly regret the fact that Missy didn’t jump out of the preservation pod at the end, umbrella in tow, yelling ‘surprise!’ at the top of her voice, so integral does her character now feel to the Doctor Who universe. But admittedly that may just have been me. 

Ably supported by a fantastic cast of secondary characters in both episodes of this pairing, the Capaldi/Coleman partnership itself continues to flourish (another reason why the absence of Missy was perhaps a good thing). Naturally this can only mean, even if we didn’t know it already, that we may well be about to lose Clara. The Doctor departing the scene without her, with two other companions in tow, felt a little like a test run for Capaldi sans Coleman. Much as Clara can be outshone by the nearest 40 watt desk lamp in some of her more 2D moments, she feeds off Capaldi’s energy well, provided a great straight woman to The Doctor’s emotional eccentricities. It will certainly be interesting to see who ends up replacing her.

Again, I pulled slightly the short straw here reviewing part two of the story, as the concluded episodes do tend to suffer a little of the anti-climax. But it’s a minor quibble really in what was another strong episode. So many of last series’ outings just felt like filler – I’m still waiting for that to happen this time around, but I feel like it might be a while off yet.

Next week look’s brilliant, as has every next episode preview so far.

Becky will be here to walk you through The Girl Who Died.

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TV REVIEW: Being Human - The Last Broadcast

And so the final episode of Being Human comes to pass, with blood, tears and a song and dance number, it's time to say goodbye to Hal, Tom and Alex.

The final episode, with its apt title The Last Broadcast, brought in pretty much everything that had ever made Being Human great in the first place, with a little bit of Buffy and Supernatural thrown in. Hatch (Phil Davis) has risen, Hal (Damien Molony) is on a bit of a rampage, Tom (Michael Socha) is preparing to kill his best friend and Alex (Kate Bracken) is back in her coffin with her decomposing corpse for company. With the Devil bringing about his very own apocalypse, can the trio reunite long enough to stop him? As the Devil observed way back in the first episode, a trinity is bad news for him, and so it proves.

Opening with Hal performing Putting on the Ritz amidst newly vamped victims was a ballsy move, but set the tone for this offbeat finale with its mixture of horror and comedy. Molony clearly has a ball playing the evil side of Hal, though the recent introduction of a split personality proved to be a bit jarring in this final episode. However, when it leads to lines like 'Oh I was good again. It was ghastly', I can definitely cope. This was one of the areas where Buffy's influence shone most clear; as I observed in the previous review, the split personality of a vampire was toyed with frequently in Buffy and Angel and again, the battle for good Hal raged here. We also got a Buffy-style action sequence thrown in for good measure with the excellent fight between Tom and Hal.

Tom and Hal's relationship was one of the strongest points of Series Four, their completely different outlooks on life making for some brilliant comedy, as well as your requisite dramatic conflict. The conflict was brought very much to the fore here. A lot of Tom's character development has been about his innocence and naivety so it was good to be reminded of just how much of a badass he is. Likewise with Hal, we hear often about his dangerous, Kia-Ora side so it's refreshing to actually see some of this before the series ends. That's pretty much it for the action of the episode though as Whithouse opts to go for a more quiet, character-driven approach to the end of the world.

Each character is given a chance to live their lives again, without their supernatural curses and it is in these quieter moments that this episode truly excels. Davis proves to be a quietly menacing antagonist and has a great scene with each of our heroes as the Devil creates another world for them. Bracken's alternative was particularly heartbreaking as she is faced with the choice of not going on her fateful date with Hal whilst Tom's was really sweet, bringing back one of the best guest stars the series has had in Ellie Kendrick's Allison. Hal's origin story led to a welcome return for Leo, but each separate choice for the three characters were bittersweet. Part of you wished for them to live happily without each other, whilst the rest of you begged to get the three of them back together because that is how it is supposed to be, as Hal observes.

Thankfully, the three do decide to turn their backs on the Devil and fight together. Now, all credit to Toby Whithouse for not taking this in the expected direction; with the binding ritual for the Devil involving the deaths of all three heroes, I spent the entire episode dreading that this would happen. Thankfully, Whithouse decides to go with a bit of a twist. The gang fight off the Devil and through an expected self-sacrifice by Rook (well, he had to redeem himself somehow didn't he?), they defeat him. The dispossession of the Devil though, was more than a little related to Supernatural no? I mean, demons possess humans with black smoke through their mouths and exit in the same way. A small point, but it was a distraction.

And so we come to the ending; seemingly the gang is back together, they finally got the humanity that they so craved and settle down to watch the Antiques Roadshow. Then, we got a rather lovely pan across the fireplace to the mementoes of the previous residents of Honolulu Heights; Mitchell's fingerless gloves, George's Star of David, Annie's teacup, Nina's scan, Eve's bib before resting on the newest incumbents including the origami wolf that Hatch created in Tom's ideal world. 

Now any fan of Blade Runner will know the ambiguity of origami animals but for me, it's the camera tilt that suggests all is not what it seems. When we think back to Hal's ideal world, it could be that the Devil listened to him when he said that he should have put them all together. "It's incomplete without them!" So we're left with question; are the gang all human again and happy? Or has the Devil actually won and just left them in their own happy ideal world? Personally, I want so badly to go with the former, it just seems the more fitting end to the series, to have them all human again. That and I'm a sucker for a happy ending.

With previous alumni moving on to bigger and better things, let's hope the same can be said for Molony, Bracken and Socha; they've been a real credit to this series and won a lot of us die-hards over. Being Human has always done finales well and this was no different, tugging the heartstrings, tickling the funny-bone and providing a truly fitting end to what has been, despite a few flaws, a wonderful series. And so we say goodbye to Hal, Tom and Alex... It would have been nice to spend more time with you.

- Becky

You can read all of Becky's previous Being Human reviews here.

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TV REVIEW: Being Human - Sticks and Rope

Being Human returns this week with more Captain Hatch, some Hal/Tom-related hilarity and the poshest and most obnoxious child since Veruca Salt decided she wanted a bean feast. Whatever that is.

While Tom (Michael Socha) and Hal (Damien Molony) continue to try and make a living at the hotel, Alex (Kate Bracken) finds herself without a whole lot to do now that she's a ghost. Thankfully, or not, along comes child ghost Oliver (Benjamin Greaves-Neal) to entertain/exasperate her as they both haunt Honolulu Heights. Elsewhere, Rook (Steven Robertson) finds out that his department is likely to face cuts despite his protests whilst Crumb (Colin Hoult) gets nastier and finds himself a minion. Captain Hatch (Phil Davis) meanwhile stirs up the conflict between Hal and Tom during the Employee of the Month race and continues to get stronger feeding off of the energy.

Usually Being Human episodes can be slotted into two categories; there are those episodes which serve as filler stories which see some character development but tend to leave the bigger series arc alone, which is left to the mythology-themed episodes. This one was a curious mix of both, which didn't necessarily affect the quality, but did mean that it was a little odd in the way that only Being Human can. 

We knew from last week that the Devil/Hatch feeds off the energy produced by a vampire-werewolf conflict so this episode saw him stoking up the usual Hal and Tom superiority conflict through the Employee of the Month competition. It led to some brilliantly funny scenes like Hal trying desperately to throw the competition by becoming bad at everything and the pair engaging in an afternoon-tea specific food fight (look closely and you can see Molony trying desperately not to laugh). The pair continue to have a great chemistry whilst Molony displays some serious comic talents, getting some of the biggest laughs of the episode.

The plot development was given to Alex this week which was a logical step seeing as she had been with us the least amount of time. Through the use of irritating ghost-child Oliver, we find out about Alex's family background and her relationship with her brothers. Once again, the balance between the light and the darker scenes was keenly struck and made Alex's defence of Oliver carry a greater emotional weight. As a big sister to two brothers myself, it really struck a chord. We also learn that Alex's inclusion in the group could cause particular trouble to Captain Hatch's plan. Whilst a werewolf and a vampire on their own benefit him, a trinity is apparently something else. Perhaps this goes to explain why such trinities exist (i.e. Annie, Mitchell and George or Pearl, Hal and Leo) or at the very least why Alex hasn't crossed over yet.

Speaking of crossing over, our plot arc for the series continues to rumble on with the arrival of the 'men with sticks and rope'. It's been a while since Being Human actually produced any major scares, but these three freaked me out completely. Their arrival signals that the barriers between worlds are starting to decay and Hatch is beginning to get strong. In another freaky moment, he increased the blood pressure on poor Halstruck Patsy until her eyes and nose began to bleed. Lovely. He also spent the whole scene detailing his ENTIRE plan. It was the only bum note in an odd but decent episode; it felt too exposition-y - which could be a slight negative note to the series' shorter episode run (6 instead of its usual 8).

Which brings us to the sad part of this review, because this series will be the final one we shall see for Being Human. I did think to myself that you couldn't go much bigger than the Devil during the last episode and wondered where they would go for another series so it's not surprising that it is coming to an end. It is, however, very sad as I was just starting to really warm to the new cast and really enjoy their chemistry. Being Human has always been about the interaction of its leads and the new three have been the best thing about this new series. So we approach the end with sadness but if these two episodes are anything to go by, Toby Whithouse has got a fitting end for us in store. Let's hope so anyway.

- Becky

You can read Becky's review of The Trinity here.

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TV REVIEW: Being Human - The Trinity

Being Human returns for its fifth series, with a new vampire-ghost-werewolf trio and a new Big Bad but still with the same wicked sense of humour. At the end of last series, Annie (Lenora Crichlow) destroyed the vampiric Old Ones leaving behind newly ghost-ed Alex (Kate Bracken) to look after werewolf Tom (Michael Socha) and vampire Hal (Damien Molony). The trouble is, Hal has been on the blood again and must go cold turkey in order to prevent further destruction. Upon his release, the boys head to a hotel to find a job. At this hotel, there resides a rather nasty pensioner, Captain Hatch (Phil Davies) who is hiding a rather dark secret. 

Right from the flashback opening scene, in which Hal tumbles with werewolf Lady Catherine, this new series of BBC Three's supernatural success seems determined to make the mythology bigger and badder than before. Whereas the origins of Being Human was very much about the three supernaturals trying to make their way in the world as quietly as possible, the new cast is given a much richer world to inhabit, one in which the Devil takes form as the Big Bad. It's a bold move and one that may alienate those of us who have been with Being Human from its humble beginnings. I am one such viewer but the fact that this is happening to a new cast makes it a little more palatable. Had it been Annie, Mitchell and George facing down the Devil, I would have been more than a bit peeved.

The new trinity, as they are so called, have a different dynamic to the original trio, particularly through the way in which the traits of the characters have shifted. Whereas Mitchell was feral and weakened by addiction, Hal is controlled, calculating and crippled by anxiety disorders. Alex is the complete opposite of Annie, feisty and confrontational where Annie was nurturing and maternal. Tom's good-natured manners make him perhaps the closest figure to his predecessor as George was quite similar, though George was never capable of quite so much violence. The three actors share an easy chemistry too; Hal and Tom were already a pre-packed comic double act but with the weariness of Alex in the mix, we're set for some great moments.

There were a fair few of these in the first episode, mostly thanks to Damien Molony's Hal who doesn't view going cold turkey as torture, but rather being forced to sit in a room that is very untidy. Molony was the highlight of the previous series, bringing a dangerous edge to his performance as the OCD-suffering vampire. He's well-matched though, particularly by Bracken; the scene in which Alex finally breaks down and yells at Hal for being complicit in her death marks one of the true strengths that the series has always managed. The shift between comedy and drama can sometimes be something that jars in an episode, an awkward shift in tone. Toby Whithouse, however, always manages to find the ideal moments to slide from one to the other, aided with assured performances from his cast.

One of the strongest elements of the series has always been in its Big Bads. While Jason Watkins' Herrick or Andrew Gower's Cutler cast a long shadows over any who follow them, having Phil Davies appear as the devil himself will surely dispel any lingering memories. He's an actor who specialises in nasty, slightly disturbing characters and he's already made quite the stamp on the first episode. There is also the mysterious Rook, last seen mopping up and taking Alex's body away and the accidentally-created vampire Crumb, a victim given the power to become the bully. It will be interesting to see how the hierarchy forms with the latter two characters, but you can guarantee they'll make worthy adversaries for our supernatural trinity.

It's an excellent start to the series, reminding us all of the reason why we loved the it in the first place, albeit with a larger canvas than there was before. If it continues in this vein, then we're in for a cracking series. Though this is Being Human, so it's natural to expect a couple of dodgy filler episodes. Next week's looks like it has a Tom/Hal food fight, which if their cafe conversations are anything to go by from last series, is reason enough to tune in.

- Becky

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TV REVIEW: Doctor Who - A Town Called Mercy

Following on from last week’s ‘Dinosaurs on a Spaceship’, Doctor Who provides another cleverly named hour in the form of ‘A Town Called Mercy’, written by Toby Whithouse and continuing with the recent cinematic hints. With a reference to The Jam and the promise of a Stetson or two in the air, coolness points were off the chart from the start as we romp through the third episode in the current series of Doctor Who.

Dodgy American accents were very much ahoy as the Doctor found himself in a small town in the American ‘Wild’ West. A small town in the American West which happens to have electricity just a few years too early, a rather odd looking barrier fence, a resident physician with a face tattoo, a Cyborg gunslinger and a self-destructing spaceship that looks a lot like a Tic-Tac. Obviously.

It started well. It started really well. The Doctor finds himself in spot of bother almost straight away, when he is promptly picked up the townsfolk and kicked out of town Western style. Quite literally, actually, as he is unceremoniously dumped on the other side of the ominous looking perimeter fence. He is met there by a glimpse of a rather shady looking character we will come to know as ‘The Gunslinger’ (Andrew Brooke), an angry Cyborg on a mission. Where are all the nice, relaxed Cyborgs popping down the shops or having some down time in front of the telly I can’t help but wonder?

We then meet the real ‘alien doctor’, Kahler Jex (Adrian Scarborough) and things begin to make sense. Well, as much as they ever do. The Cyborg wants Jex, Marshall Isaac (Ben Browder) wants to protect him, the townspeople want to throw him to the wolf, the Doctor wants everyone to behave themselves, Amy wants to get her own way and Rory presumably just wants to go home. In short, and without giving too much away, The Doctor winds up looking after the town and having to make the decision for everyone.

There’s much to like in this episode. I know I mention this a lot some more absolutely stonking lines of dialogue including a gloriously Milton-esque moment late on in the episode. Amy and Rory are great in an ‘our days are numbered’ sort of way, with the team having clearly cottoned on to the thoroughly shocking fact that girls watch Doctor Who too, providing a healthy handful more Arthur Darvill close ups than usual, and is that a slightly new hairdo? The set was perfect, the lighting was lovely and there were some very well executed and indeed, very cinematic shots. Structurally, it worked well. The epic tone did admittedly at times feel shoe-horned it, but for the first time in a long time you could watch without the creeping sense that the creative team suddenly looked at their watches, found there to be 8 minutes to go and threw in a Cyberman or six to wrap things up. It was the best out and out story the show has produced in a while, with plot twists, morals an Stetsons in all the right places.

The only thing beginning to worry me in all of this, and I suspect it’s because of the Pond Williams focus, but I would like to know what on earth, for want of a better phrase, has happened to The Doctor? It may just be me, but all of a sudden he seems distracted. It’s been apparent since the series opening but in this episode in particular he always seems the last to ask obvious questions, plays with his hat instead of joining in and has wildly different changes of heart from one scene to the next. I’m all for character development, but there’s an uneasiness about this. It may well be intentional, in which case may the Lord High Dalek Prime Minister shoot me down with an electrified egg whisk, but there’s a lack of confidence in his decisions and moods which doesn’t sit quite right.

It was fun, well put together show, but something missed the spot somehow.

To continue with the theme of vaguely space related puns- let’s cross our fingers and watch this space.

- Jen

You can read Becky's review of Dinosaurs on a Spaceship here.

You can read more of Jen's writing here: https://memyselfandtheothers.wordpress.com/

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