FEATURE: Angel - The Bachelor Party

Previously on Angel: Doyle's half demon who gets green and spiky in his demonic form, but he hasn't told Cordelia yet, despite having a massive crush on her. Angel is still mourning the demise of his relationship with Buffy.

After Cordelia's rich, handsome and very boring date runs away from a vampire attack on them both, Doyle jumps in and saves the day, leading Sunnydale's former queen into re-assessing her pre-formed opinions of her colleague. She starts to take a shine to him whilst his crush on her continues unabated, but everything is paused when Doyle's ex-wife, Harrie, comes to town. She's about to get re-married and needs Doyle's signature on the divorce papers for everything to continue. Angel finds out that Richard, Harry's fiance, is a demon, but one which is living peacefully amongst humanity. However, when Doyle is invited to the bachelor party, it turns out he's not there just to give his blessing, but also to have his brains eaten by the bridegroom. As you do.

After the last episode, Sense and Sensivity, started to give us a little insight into Doyle's past, The Bachelor Party dives straight in with his young marriage, previous employment as a third grade teacher and his work at a soup kitchen. It turns out that, not only did Cordelia have little understanding of her colleague's past, but so did we. Glen Quinn shines throughout the episode, going from his usual self-deprecating schtick to handling the emotional moments well; the whole scene where he finds out about the upcoming nuptials is played beautifully. Also, the Doyle-cam idea of whirling around with him when he's trapped inside the box at the bachelor party itself is a great idea and watching Quinn's facial expressions is very funny.

The episode also offers a little glimpse into what it must be like to live as a demon in a world where, traditionally speaking, demons are to be feared, hunted or killed. Doyle's reaction to finding out that he's a demon is to hide it, to save himself from prejudice and the potential violence that might result. He continues to shake off his true, green and spiky visage even though it makes him stronger and keeps Cordelia in the dark about it (this leads to a great moment where she unknowingly beats the crap out of him with a silver tray).  Having this insight broadens the show's world a little and starts to build that demonic hierarchy that becomes an increasing element of both Angel and Buffy. Evil isn't so easily spotted, nor are good people always human shaped.

That idea of integration and the difficulties that arrive from it underpin a lot of the comedy moments in the episode, as well as some of the more emotional scenes. Harrie's a great character, a human who finds herself fascinated by the demonic world around her to the extent that she studies it academically, whilst never quite successfully navigating the racial tensions that arise from Richard's family. When she gets angry with Richard for sticking to archaic tradition in trying to eat Doyle's brains, his brother declares her to be a racist, despite her request being a more than reasonable one.

The episode doesn't quite fire as much as it should do with such a rich thematic opportunity. Not enough is made of the ridiculousness of traditions that both humans and demons cling to here. The sheer absurdity of a bachelor party or a wedding shower doesn't really come under as much scrutiny and yes they aren't as outwardly bizarre as eating the first husband's brain, but the parallels are there to be made. The comment about the stripper is probably the closest we get to any kind of finger-pointing at our own bizarre rituals.

The Bachelor Party isn't the strongest of episodes, but it does have some nice moments in it and does a lot to develop our understanding of Doyle, soon to be sadly Whedoned out of the show. The next two episodes are an emotional rollercoaster, so please prepare for a whole lot of tears and mourning.

Quote of the Week:

Brother Straley [after Harrie leaves Richard]: You don't need her anyway.
Party Attendee: Yeah, who wants a wife whose knees only bend the one way?

LA Who's Who: Carlos Jacott, here appearing as Harry's future husband, is a serial Whedonverse guest star, appearing Firefly's pilot episode and in Buffy as Ken in Anne. He's one of only five actors to appear in all three shows.

The Buffy Connection: The vision that Doyle has at the end of this episode is taken from the cold open of Buffy's next episode, Pangs, in which Angel makes an appearance to protect Buffy from the danger that the vision warns of.

- Becky

You can see Becky's look at previous episode, Sense and Sensitivity, here.

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TV REVIEW: London Spy - Lullaby

London Spy revolves around Ben Whishaw's Danny, a fairly carefree man living a life of clubs and late nights in between his shifts in a warehouse moving boxes and scanning barcodes. On a morning after the heavy night before, he meets Alex (Edward Holcroft), a fastidious, socially awkward banker. 

Despite their obvious differences, they strike up a tentative conversation that evolves into a serious, months-long relationship, in which both of them appear to be heavily invested. Danny soon introduces him to an old, also gay friend, Scotty (Jim Broadbent), who seems to have met Alex before, despite the denial of both parties. Before long, the mystery around Alex increases and Danny finds himself in a situation far beyond his expectations.

There's an embrace here with the noirish elements, which gives the show an evocative feel; Danny gazes out of his window into the lives of others a la Jimmy Stewart in Rear Window and Alex is a classic noir archetype, albeit in male form, an homme fatale around whom the central mystery builds. He cuts a handsome, enigmatic form and Holcraft manages the tricky task of performing a character who feels like a blank slate, but bringing forth Alex's unique kind of warmth in his scenes with Whishaw's Danny. 

Director Jakob Verbruggen works well with Holcroft to portray Alex as just slightly out of step with the world around him. He appears on the edge of shots, just out of the main focus of the camera or emerging out of the grey London landscape, nearly camouflaged in his also grey running gear. It's easy to understand Danny's fascination with this mysterious, beautiful stranger and again, the audience sees him often through Danny's perspective, blinding us to the secrets yet to be revealed.

Lullaby wisely doesn't throw us into the espionage deep end just yet, instead devoting its runtime to the development of that crucial relationship between Danny and Alex. The scenes between them are intimately shot and their scenes together are really quite sweet, offering a tender grounding for whatever lies ahead. The dynamics of their relationship shift elegantly throughout its development with Danny's experience allowing him to take the lead before it becomes apparent that he is just as emotionally broken as Alex and needs him perhaps more than we initially realised.

Though the slow pace may put some people off, it feels crucial to what follows in the revelations that the last few minutes of the episode brought us. An audience must understand why a person such as Danny would take such risks to find out what killed Alex and therefore, building their relationship and showing their increasing devotion to each other provides us with that motive. It also means that not only does Alex break Danny's trust, but he also breaks ours. It was apparent he was a man with secrets, but the extent of which comes as a shock, particularly his apparent Christian Grey alter-ego. 

Ben Whishaw is easily one of the most interesting actors around today, as capable of spinning a one liner out as Q in the Daniel Craig Bond movies as he is of carrying the dramatic weight of a series such as the criminally cancelled The Hour (no, I'm still not over that). He's the most fantastic chameleon of an actor and to find him in an espionage thriller on BBC Two is a welcome development. He anchors the drama and provides an emotional centre for the audience in contrast to Holcroft's still performance, one which I'm sure will continue as the series develops.

Too many television thrillers like to confuse their audience early with plot twist upon plot twist so the slow and simple opening to London Spy is refreshing, whilst it is also fully aware of the archetypes it is playing with. With an intriguing set-up and a stellar cast still waiting to make their entrance, London Spy looks set to be a rewarding viewing experience.

- Becky

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TV REVIEW: Doctor Who - The Zygon Inversion

As The Zygon Inversion opened on a clone of Clara (Jenna Coleman) firing a missile at the plane holding The Doctor (Peter Capaldi) and Osgood (Ingrid Oliver), with the real Clara trapped beneath London in a weird pod prison thing, you could be forgiving for thinking this was going to an all-out battle, let’s all shoot at each other and set things on fire sort of an episode. But it really, really wasn’t. Clever, topical and stridently anti-war, this was Who with a message, and it worked.

According to The Doctor, what people should do ‘in the first place’, before they even think of fighting, is talk. And The Zygon Inversion very much practiced what he preached. Apart from a spot of parachuting and a few unfortunate incidents later on, this episode consisted, almost entirely of talking. Not managing to thwart Bonnie/Zygella from firing the missile, despite giving it a damn good try via their psychic link, Clara found herself locked in a battle of wills with her counterpart, whilst The Doctor and Osgood tried to find their way to her. And that was where the battle of wills really started, as The Doctor effectively refereed between leader of the Zygon rebels Bonnie, and UNIT leader Kate (Jemma Redgrave). 

But we’ll come to that.

Meanwhile, the doubling provided a great opportunity for Jenna Coleman to flex her acting muscles. I have a slight theory that she’ll be one of those sort of characters where as soon as she’s gone, we’ll realise how great she was. She’s a grower.

And I know I say it every week but I’m going to do so again. The show continues to be genuinely laugh out loud funny. I’m not sure it’s ever been that until this series, but I like it. A lot. Much of it comes down to the fact that Capaldi’s excellent delivery makes everything feel a little unsteady and unpredictable. In the heavier scenes, this can be electrifying. In the funnier moments, it’s just plain hilarious. ‘Ah London… what a dump!’ being one such example. Both he and the writing work together to take you in directions you never expected to go, all in the space of a line.

There’s a splendid mythology developing around UNIT now, as we re-visited The Black Archives. They always felt a little bit shoe-horned in before, but now they have more of a proper place in the story arc. Speaking of which, is there anybody on the planet who doesn’t completely love Osgood? No, thought not.

We saw more of the same themes throughout the episode as we’ve seen all series, as we met more hybrids and pairings, particularly evident when Bonnie completed the broken Osgood pair, as well as this episode and its predecessor’s titles. Not to mention the ongoing trope of The Doctor solving the problem by talking, at length. We saw it with Davros way back at the start of the series, with The Woman Who Lived and now with Kate and Bonnie, as they both quite literally stand with their fingers on the button, ready to destroy each other.

Whole essays could be written on that scene. I’ll restrain myself, but between the powerful anti-war and pro-immigration messages, the memory wiping, Capaldi’s even-more-excellent-than-usual performance and the striking image of the pair (another one) of the red and blue boxes, we’d have enough to talk about for hours. As it was, it was yet another example of Capaldi’s brand of Doctor. His power is very much in his words – and he intends to use them. The result was seriously powerful stuff.

Others have commented that these last two episodes have been a little boring, perhaps slightly pedestrian, as The Doctor rode in a plane not the TARDIS, and two policeman who weren’t policeman walked slowly down a road and didn’t actually attack anybody…But to do so is to miss the point. They were always supposed to be a little quieter. The Zygons aren’t particularly scary, which is why ‘the enemy within’ angle works so well. And that’s what gave the episode its message – we all just want to get on with life, but disillusionment happens, and we need to talk about it, not just blow each other up like ‘screaming kids.’

And with that much emotional clout, surely the show can only keep getting better and better?

Becky will be here to tell you next week.

P.S I concur. *Applauds for Action Rebecca Front*

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FEATURE: Buffy the Vampire Slayer - The Initiative

Previously on Buffy the Vampire Slayer: Buffy and the gang have been running into mysterious commando types around campus who seem to have a yen for kidnapping vampires, including Harmony's very own Blondie Bear, Spike.

Spike wakes up from his kidnapping in a sterile, white kind of cage with electrified glass and is one of several in a row. It turns out he's being held captive at what appears to be a demon-hunting and experimentation facility. When he manages to escape, he starts a manhunt across campus that also involves one disgruntled Buffy. She's been at a party trying to cheer up Willow and dealing with goofy attempts at flirting from Riley, who has figured out he has a crush on everyone's favourite slayer. He doesn't know her secret, but nor does she know his; Riley just happens to be one of those commando types and is also on the hunt for Spike.

The Initiative is mostly a filler episode, designed to fill in some gaps in audience knowledge and advance the narrative for the season. Relationships start with Riley and Buffy, Willow starts to get her mojo back a little and Giles and Xander still feel a little out of sorts, given everyone else is college-based. The big reveal is, of course, Riley and Maggie Walsh's involvement in The Initiative and it's very existence beneath the university, though the series wisely keeps the majority of information around it hidden for now. On repeated viewings, it's easy to see those mechanics at work, like watching a chess master move their pieces across the board without ever really making an aggressive move.

However, I do have a real soft spot for this episode because it's more character work than anything else. Riley steps into the spotlight for a start and, though I know he's a character near-universally reviled, but I love him in Season 4. He's a kind of all-American goofball that the series doesn't use very often, precisely because he's one of the popular, bright kids who never seems to struggle.

Whedon's focus is rarely on those people because he's much more interested in those on the fringes. Riley's scenes with Willow's carry an adorable teen comedy's innocence to them and it's always nice when the show steps back a gear like that. Alyson Hannigan makes the most of her lines and her delivery is pitch perfect, especially the line where she threatens Riley with beating him to death with a shovel if he hurts Buffy, followed by a cheery "now go have fun!"

Riley also brings a traditional idea of masculinity in line with the show's ongoing critical undercutting of gender roles and presentations; he's tall, strong and gentlemanly, though there's hints already that he's not one for understanding women who can take care of themselves. When Buffy questions him on it, his immediate response is to say that women should be protected. Naturally, it doesn't go down very well and Sarah Michelle Gellar's reactive expression is gold.

Elsewhere in the episode, ideas of masculine virility become associated with Spike's ability to bite people. His scene with Willow, in which we discover he can no longer bite people without an intense headache, is one of those on the nose metaphor scenes that the show can often do so well, but sometimes get a little wrong. Here, Spike's lack of bite is played as an erectile dysfunction metaphor, after his attempt to bite Willow is played like an attempted rape. It makes the moments after where everything is played for laughs quite disturbing. The jokes are too awkward to land properly and despite the best efforts of Hannigan and Marsters, it doesn't work at all.

The episode does redeem itself though by having one of the most epic subversions of its own conventions take place during the story. Fight scenes have quite a specific build-up in Buffy; insults are exchanged, one liners fired out, the score swells to a dramatic crescendo and the fights are choreographed to look pretty spectacular despite the lack of budget. All of this takes place as Xander and Harmony meet. Well, everything apart from the martial arts. If you ever wondered what a fight between a vampire and a human without any kind of fighting skills would look like, this scene is for you. It's hair-pulling, face-hitting, shin-kickingly hilarious, especially when it takes place in slo-mo.

Though I still love it, The Initiative functions as a microcosm of how the fourth season eventually plays out itself. There's some great high points in the there, but there are also moments that really kinda suck. Also, I should probably prepare you for more Riley Finn defences as the season goes on. Sorry.

Quote of the Week (for Anthony Head's perfect line delivery):

Xander: Every man faces this moment. Here. Now. Watching, waiting for an unseen enemy that has no face. Nerve endings screaming in silence. Never knowing which thought might be your last...
Giles: Oh, shut up!

Let's Get Trivial: This is the first time that the main credits cast has changed during the mid-season; Seth Green is removed after Oz's departure whilst James Marsters is promoted to a regular, where he'll stay for the rest of the series.

Demonology 101: One of the demons spied in the Initiative bunker is the same one which Buffy kills at the start of The Wish with a "knurf"

- Becky

You can read Becky's look at previous episode, Wild at Heart, here.

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TV REVIEW: Doctor Who - The Zygon Invasion

First of all, let me apologise for the lack of reviews for the previous two episodes, both Jen and I were afflicted with unfortunate life things and the good Doctor had to fall by the wayside for a couple of weeks! But we are back and what a cracker of an episode to return to.

The Zygon Invasion finds the peace treaty negotiated between human and Zygon back in the 50th Anniversary special, The Day of the Doctor, under a considerable threat. The treaty, forged by Osgood and Osgood (one human, one Zygon), allowed 20 million Zygons to settle in human form all over the world provided they keep their true species hidden. When one Osgood is killed back in the last series, the other Osgood is consumed by grief and the negotiated peace begins to break down. Zygons want their freedom and will stop at nothing to get it. As they repeat throughout the episode, it's a game of 'truth or consequences.'

The idea of consequences is something this series has been playing with a lot where the Doctor is concerned, as decisions of his past have considerably affected his future. Here, it's dealing with a treaty that he oversaw to save both the humans and the Zygon race as well as the death of Osgood and the shaky ground that treaty is based on. The Day of the Doctor was itself along those themes as the Doctor came to terms with his part in the apparent destruction of Gallifrey during the Time War and it makes sense that The Zygon Invasion, a pretty much direct sequel to that episode, should pick up those themes too.

We are not only dealing with that, but the whole episode functions as an analysis on our own society and the fears that we constantly deal with. The idea of a 'secret invasion' has come up a lot as part of the European refugee crisis, that the refugees aren't fleeing because their country is consumed by war and their lives are in danger, but because they're secretly after our benefits/jobs/homes or that they are secretly terrorists on their way to undermine our country through violence. You name it, a tabloid newspaper has printed it. The parallels run through The Zygon Invasion with abandon, from the white and black logo that Osgood sits under during her demand video to UNIT consistently arguing that there was no way the human population would react to the Zygon presence with anything but fear and xenophobia.

That critique of our society is painted in large brush strokes and does get a tad heavy-handed at times, but it gives the episode a greater depth than simply offering up some sci-fi based entertainment. It allows for some wry commentary from the Doctor, whose function has often been to point out some of the more ridiculous and dangerous aspects of human behaviour during his relationship with Earth. And the Zygons want something that feels deeply humane; to be allowed to live and stay true to themselves without judgement. It's pretty ambitious stuff for a Saturday evening family show and really great to see Who again striving to do something more than simply entertain.

This political background provides a solid foundation on which to build the narrative of the episode and to spin out some really great sequences from it. Being the first of a two-parter meant the story was paced better, a recurring theme in this series and it's been much stronger for it. There's an oppressive, paranoid atmosphere to it all so we are aware there are twists coming, but they lose none of the impact for that or guessing what twists they might be. The Zygons' abilities are also utilised for great dramatic effect as soldiers are confronted with Zygon copies of their families, planting a seed of doubt about the reality of the situation. The drone pilot confronted with copies of her family on the steps of the building she's about to bomb offers a neat counterpoint to the inhuman use of drones; it personalises a destruction that is usually kept at a distance.

This series of Doctor Who has been consistently strong and it seizes the opportunity to take on a bigger, global story now that everyone has settled in for the ride. This episode left us on a whopper of a cliffhanger and Jen will be here to discuss how that plays out next week.

Oh, one final thing. Can we get a round of applause for Action Rebecca Front? She was awesome.

- Becky

You can read Jen's review of Before the Flood here.

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FEATURE: Angel - Sense and Sensitivity

Previously on Angel: Angel met Detective Kate Lockley on a routine investigation about a weird chest-sucking demon thing; she naturally assumed he's a serial killer, but hey, he saved her life and now they're pals who help each other out.

Kate's currently trying to track down a mobster wanted for murder, Little Tony Papazian and enlists Angel's help in tracking him down. Thanks to Doyle's networks, Angel gets the job done, leaving Kate to arrest Papazian. She gets a little too aggressive with him during the interview and a lawyer, Mercer, from Wolfram & Hart succeeds in getting the entire precinct to take part in sensitivity training. However, after the training, everyone gets a little too sensitive; Kate breaks down and confesses her daddy issues to her father at his retirement party in front of a bunch of cops, which promptly results in everyone breaking down as a result of their own sensitivity training. Angel and the gang get involved and try to resolve the situation before Little Tony can get to Kate.

There's a fun conceit at the heart of this episode, one which feels a lot like the Buffy episode Band Candy, when Sunnydale's adult population were cursed with returning to their teenage personalities. Here, the sensitivity training and magic talking stick allows the LAPD to get in touch with their inner feelings whilst reducing them to a bunch of emotive wrecks. It never works quite as well as its Buffy counterpart though because apart from Angel and, at a push, Kate, we don't know the personalities involved as well as we did Giles, Joyce or Snyder. The comedy derived from seeing them regress from the people we knew and therefore operated on a much deeper level than anything Sense and Sensitivity can achieve.

It doesn't help that we, as an audience, are still getting to know Kate; we know she's pretty ruthless and efficient at her job. She's one for a dry sense of humour and might be attracted to Angel. What this episode does is allow us to get under her skin whilst the narrative fills in a lot of her background fairly swiftly. Her daddy issues are ridiculously cliched, but the performance of Rohm makes up for it, resisting the easy route of breaking down hysterically at her father and instead opting for a more measured approach that escalates as she revealed how craply he had treated her. The episode's boldest move is to not have this resolved at the end.

It's easy to imagine that in Buffy, a similar situation would have ended with her father attempting a reconciliation at the end, or at least acknowledging his behaviour. For Angel, it's much more fitting to have the ending that is given; he simply shows up to scold her for making a fool of herself, ignoring anything she said and outwardly stating he's going to pretend it never happened. Angel observes this scene from a quiet corner along with the audience and it feels as if we're witnessing a personal snapshot. The moment is a quietly heartbreaking one and affirms that, in Angel's world, some things just aren't meant to be fixed and this is a relationship that won't ever be mended.

I've already spoken about the comedy of the central conceit and how it doesn't land so much for the police characters, but to end on a more positive note, let's talk about how amusing Angel is when he's being all sensitive and cuddly. David Boreanaz lands his lines so brilliantly, especially the moment where he confesses that he feels Cordy and Doyle judge him when he vamps out. Charisma Carpenter is the perfect foil as Cordelia gets more exasperated and less sensitive towards her boss as she goes on. As I said before, it works much better here because we know the characters' personalities so well and the awkward hug that Angel proffers to his colleagues makes the rest of the episode truly worth it. And obviously the Hawaiian shirt, hat and Baltimore accent at the beginning is just brilliant.

I still can't quite decide whether or not I like this episode. Admittedly, a large part of that has to do with it being Kate-centric and the show is still unsure of what to do with her, though the episode works hard to get more of a character background in place, as cliched as that might be. Yet it's probably all worth it for the chance to see Angel go full warm and fuzzy on us.

Quote of the Week:

Angel: You know, Antony, you could be a rainbow and not a [punches Little Tony] "pain" bow.

- Becky

You can read Becky's look at previous episode, Rm W/A Vu, here.

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FEATURE: Shocktober '15 - Peeping Tom

Over the course of October, I shall be watching one horror movie a day and reviewing it right here for your reading pleasure. I haven't seen any of the films I'll be watching before and you can find the full list here.

Mark Lewis (Carl Boehm) is a young, socially awkward individual with a talent for film-making and photography. He also happens to be a serial killer documenting his kills with the camera permanently on his person. He's creating the film of his life, from the childhood abuse he suffers at the hands of his psychologist father to the killings that he carries out as an adult. As the police start to close in on Mark, his relationship with his neighbour, Helen (Anna Massey) begins to complicate his work.

Films about film-making are one of the most fascinating branches of cinema, allowing the audience insights into the processes that we rarely see outside of behind-the-scenes documentaries. Satires like The Player play up the absurdity of the industry, whilst Peeping Tom is set partially on a film set, it isn't about the creation of cinema in a commercial sense, but rather the inherent manipulation and voyeurism involved in it. The horror derives from how complicit we are in Mark's actions. We feel sympathetic towards him knowing how his abusive father has tormented him and twisted him into the voyeur he is as an adult. We see the killings from his perspective, the fear on his victims' faces the sole focus of those moments. 

It's a searing analysis of the way in which audiences, in their own way, process the films that directors, writers, actors et.al create for us. We see these stories played out for our entertainment, always removed from the action by the camera that films the proceedings and the screen that shows it. Martin Scorsese, saying it better than I ever could, stated that this film and Fellini's 8½ "say everything that can be said about film-making, about the process of dealing with film, the objectivity and subjectivity of it and the confusion between the two [...] Peeping Tom shows the aggression of it, how the camera violates."

Mark tries to use film to bring some sense of order to his disturbed childhood and as a way of capturing some kind of authenticity of fear in the same way that his father tries to do the same with Mark as a child. Showing Helen the images that his father shot, he describes his mother's death as a 'previous sequence' rather than using the word death. His father's abuse of him is remembered and relived via the films that Mark watches with an obsessive eye in the same way that he observes his own experiences. The camera that his father gives him becomes his protection, a barrier that in turn becomes the way he processes everything he sees; his victims become images, objects that can be spliced into the film of his life rather than complex human beings that he has murdered.

Michael Powell constantly plays with our sense of perception throughout the film. As Scream observed, it puts us literally in the eyes of the killer, watching from his perspective as he murders his victims, their fear filling the screen before us whilst we sit passive, unable to save them. There's also a great dramatic irony that builds into the tension of Mark's activities; the audience are privy to his secret and any woman that he interacts with becomes a potential victim as a result. His initial scenes with Helen bristle with this tension, helped by Massey's confident and inquisitive performance, starkly opposite to Boehm's awkward retreating.

It's a fascinating, emotional piece of work and one of the richer films that I have viewed this month. Peeping Tom practically begs to be viewed repeatedly, if only to delve further into the complex and disturbing world that both Powell and Mark create.

- Becky

You can find my other Shocktober '15 reviews here.

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