TV REVIEW: Merlin - Arthur's Bane Part Two

After last week's doom-laden opener, Merlin and Arthur find themselves captured, Gwen is becoming a calculating warrior queen, Morgana is angry and evil and Gwaine has still not found his shirt.

Arthur (Bradley James) and Merlin (Colin Morgan) find themselves trapped and on their way to Ismer as captives, held by an old acquaintance, Mordred (Alexander Vlahos) who may or may not be Arthur's bane. Morgana (Katie McGrath) meanwhile has been having all sorts of nasty nightmares and as we know from previous series, that doesn't tend to end well for the people around her. Speaking of which, her new right-hand man Ruadan (Liam Cunningham) has found out that his daughter and secret agent Sefa (Sophie Rundall) is being held as a traitor and sentenced to death by Gwen (Angel Coulby). Gaius (Richard Wilson) still seems to have a dying wig on his head but is also acting once again as the conscience of the Queen while Gwaine (Eoin Macken) is being helped a mysterious glowing alien thing.

The darker turn that Merlin has taken this series is really working in its favour, upping the ante not only for the characters but also for the audience. I'm still quite impressed that a programme I had originally only watched for a bit of light entertainment when there was nothing else on has becoming something so interesting and involving. This is probably due to the improving quality on the show all round but in particular, the writing has become a lot more focused. Before, the action would have been punctuated with unnecessary comical scenes to lighten the mood which also succeeded in slowing the pace, but across this two-parter, each scene is tightly constructed within the wider episode. The trademark humour is still there of course, but it is grim and less frequent and the show is all the better for it.

Another way in which the show has completely won me over, particularly in just these two episodes, is how well they are writing for Gwen now. Finally, after four series of being saddled with lame romantic subplots, either with Arthur or Lancelot, Angel Coulby has been granted some excellent scenes and is really flying with them. She's still the gentle Gwen of old but with a new steely, royal exterior and is proving herself to be a fine tactician with her intentions to lure Ruadan to Camelot by threatening his daughter Sefa with execution. Likewise, Katie McGrath's Morgana has had a few years to stew in her anger and is all the more fun for it. The confrontation between Arthur and his wayward sister was such a fantastic scene and McGrath's performance has really grown from the evil-grinning of old into truly capturing the hatred that Morgana feels towards her family.

The alien thing turned out to be the Euchdag, the very thing that Morgana was searching for. I must admit, the scenes with this creature were the weakest of both episodes for me because, primarily, it looks like a cast off from Farscape and not the medieval magical creature I would have personally imagined. It's a small niggle but it distracted from what was going on elsewhere. I'm also not entirely sure why it picked Gwaine to help, other than for the writers to conveniently demonstrate that it was benevolent. Maybe it will come back later on in the series, leading to more of a focus on Gwaine if that relationship was to continue. It does some rather odd to set it up and then abandon it. The other actors playing the knights don't always tend to get much of a look-in bar battling alongside Arthur and it would be interesting to see a couple of episodes, not necessarily entirely focused on them (the show is called Merlin after all), but with a little more time given to the knights of the Round Table.

Another small niggle (and I am really nitpicking now but it did bother me) was the use of all the slow-motion in the fight sequences all of a sudden. Whilst it does, at odd moments, look cool, for example Arthur taking out one of the slavers in an impressive slashing move, it can also look a bit silly. During Ruadan's one-man raid of Camelot, the slow-motion at first did fall on the cool side, but then it carried on a bit too long. As he walked away, it stopped looking bad-ass and started looking like Liam Cunningham was attempting a bad Reservoir Dogs impersonation. On with the positives though, it does emphasise that the actors are the ones doing the fight sequences and they are therefore all the more impressive. However, can we not over-use it please? A couple of times, it looks awesome. After that, I want to hit fast-forward.

As I said, they're both small niggles and overall the quality has been so good that it's hard to see if the rest of the episodes are going to be able to match this fantastic opener. We've got plenty of plot-lines to pursue, particularly now that Mordred has become a Knight of Camelot (it's not going to end well, is it?) and Morgana is wounded and possibly even more rageful (that's definitely not going to end well). Also, now that Merlin knows what Arthur's bane is, what is he going to do about it? And will Arthur ever find out that his best friend has been saving his life all these years with magic? I really hope so.

Next week appears to feature a guest appearance from the Horn of Gondor with some shiny new resurrection powers which could mean that evil Giles - I mean Uther - is back in the picture for an episode. Family reunions eh? What a joy.

- Becky

You can read Becky's review of Arthur's Bane Part One here.

Follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episode Four

With Downton Abbey now safely in the possession of Matthew Crawley and Lord Grantham, attention is turned to getting the house in order with the arrival of a new footman. Meanwhile, Branson lands himself in hot water both sides of the Irish Sea with a loyal Sybil following in his wake.

Continuing with its weekly well-dressed melodrama, Downton Abbey has slipped back into everyone's lives like a warm, sequinned comfort blanket of tears, romance with a patchwork of Maggie Smith's one-liners. It's never been challenging viewing but last night felt like the show had relaxed into itself and was simply treading the well-worn path of previous episodes of light comedy followed by Lord Grantham shouting at someone in a belligerent manner. 

This someone was of course Tom Branson (Allen Leech) this time around, facing the Lord's fury after his political activities get him into trouble with the authorities, forcing him to abandon Sybil (Jessica Brown Findlay) in Ireland and run away to safety. It's the most interesting plotline of the episode and I'm a big advocate of any development that involves more Allen Leech. It also gave us one of the funniest scenes in the series so far as the Dowager Countess proceeded to side with Branson for the most hilarious reasons; namely that she didn't like the castle he was alleged to have helped burn down. But poor Branson, he just can't keep his mouth shut can he? But then again, he would be a much less interesting character if he did. And with that, we get to one of my gripes with this episode.

Downton has always been a fairly conservative show and maintaining or recovering the status quo has always been one of the key tropes across the series; Mary and Matthew should be together-Lavinia gets in the way-Lavinina dies of Spanish flu-Mary and Matthew get married is a classic example (and one I do keep coming back to because it's hilarious). Now we have Sybil and Branson's socially unacceptable marriage, they leave for Ireland and look set to make a life together outside of Downton. But that simply cannot be! It's just far too leftfield for the residents of Downton to cope with. So Mr Fellowes, master of convenience, gets Branson into trouble with the Anglo-Irish and Lord Grantham comes to the rescue by imprisoning his wayward daughter and the former chauffeur in the house. We're back to where we were in the last series, with everyone back at Downton. 


But wouldn't it have been far more interesting to have Branson and Sybil remain in Dublin and have the Crawleys go and visit them? Just think about it - the Dowager Countess bulldozing her way into Anglo-Irish negotiations with all the subtlety of an elephant but all the wit of Oscar Wilde. This is the roaring 20s after all, everything is going a little topsy turvy but short of the fashion, you can't tell that Downton even made it through the First World War. Martha Levinson kept going on about how the Crawleys can't cope with change, but we don't see them getting a chance to; everything just goes back to normal. I want a big shake-up, the kind of upheaval that the loss of Downton hinted at (though was of course conveniently averted).

Thank God then for Edith (Laura Carmichael), new footman Jimmy (Ed Speelers - from the film Eragon. Remember that? No me neither) and the ever-schemeing Thomas (Rob James-Collier). The first meeting between Jimmy and Thomas prompted both me and my friend to predict a future dalliance between the pair or at least provide O'Brien (Siobhan Finneran) with an opportunity for revenge so it'll be interesting to see where that goes. Meanwhile, Edith has soldiered on after the heartbreak of being left at the altar and gone all feminist on us. Hurrah! Maybe Edith will get a happy ending after all? 

Elsewhere in the episode, Daisy (Sophie McShera) has her hopes of love with the new footman whose name I still haven't learnt because of a pretty new kitchenmaid (the same kitchenmaid she's begged for from Mrs Patmore (Lesley Nicol). Oh Daisy), The Anna (Joanne Froggat) and Mr Baaates (Brendan Coyle) storyline continues to be a bit of a snorefest as something goes awry with the pair's letters and they pine over each other for a little while before getting their letters back and pining over them instead. And Mrs Crawley (Penelope Wilton) helps Ethel (Amy Nuttall) give up her son to his grandparents which was actually quite sad.

Tune in next week for more corseted shenanigans!

- Becky

You can read Becky's previous Downton Abbey reviews here.

Follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com

THEATRE REVIEW: Our Boys

It is set in “one of the most depressing places you can imagine”, remarks Matthew Lewis, one of the stars of David Grindley’s latest West End production, “Our Boys”. Odd then, that so much of Jonathan Lewis’ script is so uplifting, heart-warming, and genuinely really rather funny.

Set in a military hospital during the 1980s and originally released in 1993, Jonathan Lewis’ semi-autobiographical play charts the humdrum reality of the lives of six young soldiers recovering from war injuries of varying severity. Trying desperately to stay positive despite being faced with amputation, psychiatry and the ever present possibility of being dismissed from the army altogether, the six men must deal with their feelings of bitterness betrayal, and animosity whilst rubbing along together inside the tiny ward that, for the most part anyway, is as far as they can travel.

With a joke always on the tip of his tongue and a way with the ladies, Laurence Fox’s Joe is the ward’s definite ring-leader. He shares his space with leg injury victim Keith (Cian Barry), and the severely injured Ian (Lewis Reeves), shot in the head whilst on patrol. Arthur Darvill’s Parry and Matthew Lewis’ Mick race around on their temporary wheelchairs, and day to day life ticks along relatively nicely until the arrival of Jolyon Coy’s Potential Officer.

It is the lads’ half-hearted attempts to live in close quarters with exactly the level of authority they feel so heartily betrayed by that provides the real narrative arc of the play, with Lewis’ script drip feeding the audience with back story details and clues throughout. The script itself is poignant and moving, particularly in its final, surprising scenes, but is also playful and engaging, with the ward’s favourite drinking game and practical jokes  particular highlights.

All the performances really stand out in this production. Lewis Reeves is heart breaking as the traumatised Ian, as is Cian Barry as the frustrated, angry Keith. Darvill and Lewis provide a great deal of the dialogue, retorts whizzing around as fast as the wheels of their chairs, whilst Lawrence Fox delivers the moving conclusion nobody saw coming. Jolyon Coy also gives a poignant, well thought out performance as the group’s well meaning but misunderstood outsider.

I love a dialogue heavy, darkly humoured play, and this production has plenty to offer on both counts. It manages to deal with difficult subject matter without the usual red flagging, awkward comedy that usually screams ‘sensitive subject coming up’, instead moving effortlessly between its comic and tragic subject matter. The set also deserves a mention, perfectly depicting both the sterility and claustrophobia of the ward world. It’s a real achievement as a production, giving an insightful look at the individual psychology behind conflict, whilst remaining charming, moving and clever.

If any criticism is to be made, it’s that we perhaps don’t see quite enough of certain characters as we would like, due to the ensemble nature of the show. It is a production which may later be well suited for film, as close up shots might provide a slightly sharper and welcome focus on the character’s personal sorrows and frustrations, some of which are lost in the crowd on occasion.

On stage, however, it is well performed, well written and well put together, and truly earns its positive critical reception.

****

-Jen

Our Boys is on at the Duchess Theatre from now until 15 September.

http://www.ourboystheplay.com/

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

Or you can follow her on twitter here: https://twitter.com/jenniferklarge

TV REVIEW: Merlin - Arthur's Bane Part One

The new series of the BBC's surprisingly successful magical fantasy Merlin gets off to a dark and moody start as knights are captured, dragons appear, and the titular wizard has a vision that could change everything.

The first two series of Merlin were, let's be honest, pretty terrible; it was lightweight, cheesy, throwaway entertainment to wile away the Saturdays until Doctor Who came back. But then something odd happened. It started building in more Arthurian mythology than it had before, weaving it into storylines in neat and clever ways, the performances developed from two-dimensional stereotypes into people you actually wanted to see onscreen, the writing became tidier, the comedy sharper and perhaps most importantly, it got a little darker, which always makes things interesting. I'd always followed Merlin as a bit of a curiosity (and for a small crush on Bradley James) and it has been rewarding to watch it grow into the compelling programme that returned on Saturday.

Last series ended with the long-awaited wedding between Arthur (Bradley James) and Guinevere (Angel Coulby) and the promise of prosperity for Camelot while Merlin's (Colin Morgan) magic remained a secret and Morgana (Katie McGrath) escapes to plot and smile evilly for another day. It's been three years since then; Camelot's entered a golden age, enjoying untold peace and harmony, Arthur and Guinevere are still happily married and her dresses are considerably more *ahem* enhancing than they were before. But all is not entirely well as Gwaine (Eoin Macken) and Percival (Tom Hooper) have gone missing heading north towards Ismir, Morgana's stronghold. Arthur sets out to find his loyal knights, despite the obvious risk while a traitor in Camelot alerts the sorceress to his plan, allowing her to set a trap. Merlin meanwhile has a vision that shows him Arthur's death at the hands of an old acquaintance. And Gwaine got his shirt off. Again. So that was nice.

The first episode was a tightly structured first parter, building us up steadily for the second episode whilst having enough of a narrative to stand as a good instalment in its own right (though because I'm an idiot, I missed the whole 'Part One' bit of the title and yelled angrily at the cliffhanger - it was a long day). It also seems to be very much a post-Game of Thrones depiction of fantasy, with more care given to effects and new locations than we've seen before, particularly the snowy expanses of Ismir. The darkening of the subject matter, for example, with the loss of the knights and unflinching decisions when it comes to dealing with traitors, suits this slightly grittier version of the Merlin we know and love.

While I'm starting to get annoyed with Arthur's wilful ignorance of Merlin's magic (how stupid are we meant to think he is?), this episode did remind me of why I enjoy the show in the first place. The chemistry between Morgan and James as the two leads has always been a highlight with banter and deep and meaningful moments in equal measure. Both actors bring a great sense of fun to their relationship and thankfully the writing has improved so much that the comedy between the pair no longer feels as forced as it used to. It does tend to mean that the other knights get sidelined a little with the central pair, but the focus on Gwaine and Percival's plight as new members of Morgana's topless sweaty army suggests we may see a little more development for the other members of the Round Table.

Another major character development is that Guinevere is FINALLY given something more to do than pine after Arthur and tell him how great a king he's going to be. Instead, we see that royal appointment is really starting to suit Gwen, offering tactical advice at the Round Table whilst also demonstrating some fierce judicial skills. Coulby looked more than capable of going all warrior queen when she deals with Camelot's traitor. Katie McGrath has also managed to increase her range in the gap between series as thankfully, she no longer finishes every scene with an evil smile, just to remind us of how evil Morgana is. That's really evil by the way.

What gives me hope for this series is the inclusion of Arthur's death from the very beginning, tying it in neatly with the Mordred aspect of the story from the original mythology. Yes, they've not done the whole Mordred was a product of an Arthur-Morgana incestuous tryst storyline but as it's Saturday night family viewing, I think we can forgive them that small rewrite. But most importantly, it seems they're prepared to end the Arthur-Merlin story properly - with the death of Arthur and the fall of Camelot. People seem to forget that though Arthur and Merlin manage to create this utopian idyll of chivalry and romance, it fails for a variety of reasons, but mostly because Arthur can't remain the paragon of virtue that he's set up to be. Mordred exploits that weakness. I just hope that the showrunners are brave enough to go the whole way and not necessarily give us a happy ending.

But there is one thing that's nagging me slightly... what on earth was that alien thing?

- Becky

You can follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com

TV REVIEW: Doctor Who - The Angels Take Manhattan

Hello all. Having both reviewed two episodes of this series each, and being unable to decide which of us should write the finale review, we have, very diplomatically, decided to write it together. So in lieu of there being an actual episode of Doctor Who this week, get your Time Lord related fill here, with our review of The Angels Take Manhattan.

Becky: Yes indeed, together, Jen and I plan to get over our mutual mourning process for the demise of the Ponds by discussing the final episode of this first half of series seven. Talking is supposedly the best form of therapy after all.

Jen: I’m still in pieces. I think I may require counselling. Can I charge that to the BBC do you think?

B: Alas, I don't think they do compensation for mourning, but this was by far the most affecting companion departure since Rose left (for the first time). Whilst Donna's was just as tragic, the Ponds' last appearance was both terribly sad and yet still a happy ending. After all, they got to be together for the rest of their lives and proved just how much they loved and depended upon each other. Mixed emotions across the board with that one. I weeped openly and I'm not ashamed of it.

J: Quite. Anyway, this series’ Doctor Who finale saw a monster now almost, almost as legendary as my beloved Daleks, the Weeping Angels, unleash their creepy, finger pointing fury on downtown New York. A routine trip to the world capital of cool resulted in poor put-upon Rory being whisked back in time by the Angels, the Doctor, Amy and River hot on his heels with the help of a mysterious crime novel. Can they find him and bring him back to the present time before the Angels take over the city?

Despite the seemingly popular opinion that any big Doctor Who storyline now warrants an immediate hop across the Atlantic, for my money the setting change allowed for an extra level of drama in the usually London/Cardiff centric show- it raised the stakes. It also suited the show’s film noir look down to the ground.

B: With the new aim of this series being a blockbuster a week, we've seen dinosaur-related capers and horror tropes, but it was The Angels Take Manhattan that really ran with its chosen genre. Film noir is a personal favourite of mine and Moffat utilised it perfectly here alongside the Weeping Angels for which the balance of light and shadow was especially fitting. It also really suited the New York setting; instead of the usual whirlwind tour of the landmarks, we got claustrophobic buildings, badly-lit hallways and a city populated by men in trench coats and trilbies. It was an excellent choice and really added to the foreboding atmosphere of this sort-of finale.

J: The storyline worked beautifully well, and the pacing was spot on. The plot hurtled in the direction of the big finale/send-off with oodles of suspense and seat edge sitting.

B: Yes, the construction of this episode was really quite something. From the Melody Malone novel to the Doctor's repeated detestation of endings, the sense of foreboding permeated every scene. We all knew that the Ponds' demise was never going to involve rainbows and smiles, but Moffat toyed with us throughout, particularly in the suicide pact that almost, almost gave you hope that Amy and Rory might just be ok. 

J: Agreed. As has been the case all series, the Ponds far outshone everybody else on screen in almost every scene. Even the Statue of Liberty was barely a match for their coupled charisma. Despite some genuinely heart-breaking scenes, the deep warmth and quirkiness of their relationship remained apparent to the last. Whilst there were some interesting and rather sweet parallels between their marriage and that of The Doctor and River towards the end of the episode, the latter two felt very much like an add-on in the wake of the Ponds’ departure. The strategic centring of their story in every episode over the past few weeks well and truly paid off.

B: Applause must also be given to Matt Smith, the ever-present centre of the show and he really blew me away with this episode. The frequent warnings about the Doctor being alone build in well to the mourning process that he (along with the rest of the Whoniverse) must go through after losing two of his closest companions. He said early on that he didn't like endings and his pleading with Amy to stay was quite simply heartbreaking. I've long been an advocate of Smith's Doctor; I've always felt he captured all of the contradictions inherent in the Time Lord right from the start and here, he showed just how sad and how lonely the Doctor can be.

J: Not to mention that it was exactly what Doctor Who always set out to be- downright scary. The Angels have always been creepy, but this was something else. They were more freely moving than ever before and more powerful. They could have been anywhere, around the next corner or right behind you.

B: I have to admit, the inclusion of the angels was actually something I didn't think worked too well in this episode. Without doubt they are one of the scariest Who-villains in years, but they're starting to suffer a little from over-exposure (something which both the Daleks and Cybermen have suffered in recent years). Whilst Moffat found interesting things to do with them, the child-angels in particular were very creepy, the same level of suspense that had fuelled Blink just wasn't there. They were, of course, essential to the wibbley-wobbley-timey-wimey- plot that saw Rory and Amy sent back in time, but I can't help thinking the Angels need to be benched for a bit in order to retain what keeps them so scary.

J: Well I was scared.

The adrenaline of the angels gave a lovely feeling of ‘please don’t let it be over yet’ to the show, and a genuine lack of clock watching. But, alas, end it had to, giving Rory and Amy’s characters the most fitting send- off they could have had.

B: It's going to take a long time for me to get over losing Rory (you all know how I feel about Rory) but I must admit, I am immensely intrigued to see how they solve the whole Oswin-was-a-Dalek problem. If it's anywhere near as well-made as this episode, the Christmas special will be a very special festive blockbuster.

J: Roll on the Christmas special.

- Jen and Becky

You can read all of our Doctor Who reviews so far here.

Follow us on Twitter on @jenniferklarge and @beckygracelea
Or on our blogs memyselfandtheothers.wordpress.com and beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episodes Two and Three

Did you really think that we'd left behind all the ridiculous and convenient plot developments in the last series of Downton? Well think again, as these two weeks take us through a cancer scare, an attempted shanking, a wedding and (gasp!) the potential loss of Downton Abbey. But never fear, gentle viewers, Julian Fellowes and his amazingly convenient plot twists are on hand to save the day!

If that opening paragraph makes it seem as if I'm laying into everyone's Downton Abbey this week, I can assure you it is only gentle mocking born out of my deep affection for this show. Even the most diehard Downton fans have to admit, the shocking revelation that Matthew (Dan Stevens) was actually in the clear to bestow his money on Lord Grantham (Hugh Bonneville) was never in any doubt. I must admit though, I didn't see the whole letter plot twist, I just expected Matthew to get worn out from all of the not-so-subtle insults from Mary (Michelle Dockery). But we can all rest easy; even though Mary's and the Dowager Countess' (Maggie Smith) hilarious plans failed last week with Martha (Shirley Maclaine), Matthew was once again on hand to save the day!

The second episode, despite some wonderful one liners from Dame Maggie, was the more lacklustre of the two and served more as a lead-in to the big moments in episode three, particularly concerning Mrs Hughes (Phyllis Logan). Ever the stalwart right-hand woman of Mr Carson (Jim Carter), the housekeeper's strength was tested across these two episodes after discovering that she might have cancer. It isn't one of the strongest plot-lines the show has come up with but it was a chance for Logan and Lesley Nicol's Mrs Patmore to shine. Aside from the lack of originality, it also wasn't the best source of tension because we know that death in Downton is a rare occurence, utilised only when it is incredibly convenient for the existing cast members for people to die (see Patrick Crawley, the long-lost heir or Lavinia, the woman-shaped blockade to the Mary-Matthew marriage). Therefore, Mrs Hughes was NEVER in any danger and now it looks like a possible romance blossoming between her and Mr Carson. D'awww.

Speaking of romance, poor old Edith (Laura Carmichael) was put through the emotional wringer yet again in these episodes as her off-on-off-again romance with Sir Anthony Strallen (Robert Bathurst) heads towards the altar. Or does it? Edith has long been the curmudgeonly spinster of the Crawley clan, spitefully alerting people to Mary's involvement in Mr Pamuk's untimely demise which promptly led to Mary's first destruction of the Edith-Strallen relationship. After the second episode saw the pair engaged, despite the age difference and sum total of only three arms, the third sees the wedding approach. As Edith gleefully observes, for once, an event at Downton Abbey is all about her. Though not for long, as Strallen decides to leave her, rather ungallantly at the alter (in a truly gorgeous wedding dress). I'm developing a theory that Julian Fellowes doesn't like Edith because the poor girl never has a happy ending. Maybe we should all start a campaign? Happy Ending for Edith please!

Because I've covered two episodes here (sharing many of the same themes), I'm going to deviate slightly from the format now and give you a rundown of my other noteworthy moments:

• - Anna (Joanne Froggatt) continues to search for the evidence to prove Bates' (Brendan Coyle) innocence though it's looking a little unlikely. It also continues to be a bit of a yawnfest. 

• Matthew and Branson (Allen Leech) develop their bromance over a game of billiards. Just lovely. Next time, please show the billiards match. 

• - The new, freakishly tall footman (whose name I still don't know) seems to be attempting to cop off with any female member of staff after the American lady's maid in last week's episode and then turning his attention to Daisy (Sophie McShera) and Anna.

• - The war between O'Brien (Siobhan Finneran) and Thomas (Rob James-Collier) starts to heat up as she steals the dress shirts he's supposed to be looking after, whilst he tells Molesley that O'Brien is about to leave Downton. After seeing the two of them attempt to bring down everyone else in their path, it's great to see the pair turn against each other.

Next week looks like a focus on the runaway romance of Sybil (Jessica Brown Findlay) and Branson as the preview featured the former chauffeur in tears and a lot of rain (which we all know means sadness and tragedy). Whilst it may be predictable, over-the-top and ever so slightly daft, it's still cracking entertainment and I'm enjoying the emotional upheaval.

- Becky

You can read Becky's review of the first episode here.

You can follow Becky on Twitter @beckygracelea

Or follow her blog here beckygracelea.wordpress.com

TV REVIEW: Doctor Who - The Power of Three

The Power of Three finds the Ponds torn between their two lives, real life and life with the Doctor. Meanwhile, mysterious black cubes begin appearing everywhere with no explanation and no conceivable motive. Spoilers sweetie!

To try and sum up the plot of this episode, and do justice to everything that happened, briefly and succinctly would be near impossible. A ridiculous amount happened; from the welcome return of Brian Williams (Mark Williams), Rory (Arthur Darvill) actually doing his job whilst Amy (Karen Gillan) hangs out with her friends, then there's the supposed cube invasion which turned out to be an attempt at genocide, the Doctor (Matt Smith) starting to realise his companions are going to leave him, UNIT coming back, a Lethridge-Stewart (Jemma Redgrave) appearing and... well I'm not going to go on, you've probably seen the episode yourself.

Put simply, there was too much happening. As Jen has observed, Doctor Who is very much a victim of its episode run-time and nowhere was that more evident than in The Power of Three. The slow cube invasion was an excellent concept, a true sci-fi gem that could have been utilised to ramp up the tension before the big Steven Birkoff-related reveal. In between, however, we got a stupid amount of time-jumping as the Doctor got bored so swept Amy and Rory away to times gone by. Instead of creating a cohesive storyline, Chris Chibnall's script instead opted for mining the largest amount of jokes and references he could. It was still entertaining, but far too frenetic to become truly invested in.

As such, the reveal that it is the Shakri, a galactic pre-emptive policing system who want to get rid of the human race before they can conquer space, becomes both rushed and slightly anti-climactic. It is left to yet another convenient 'sonic screwdriver solves everything' conclusion, something which I had hopefully thought we'd left behind in the Davies era. Poor Steven Berkoff had barely anything to do except look evil then aggrieved. After the fantastic twist in Asylum of the Daleks or the ridiculously tense climax of A Town Called Mercy, this paled in comparison. It does, however, get points for providing some of the most terrifying facially challenged people since the "where's my mummy" child (Which still haunts me. Bloody Moffat).

Thankfully, despite the many plots, the episode still had an inherent strength and entertainment value because of the performances of the key players. Seeing the Ponds in their two lives added another depth to their characters because, whilst we've always seen companions' families, it is rare that you see their wider social circles. The ever-growing sense of doom surrounding their departure continues this week with Brian questioning the Doctor about his previous companions. His 'just get them back safe' at the end of the episode was practically dripping in dramatic irony. 

As always, Smith remains the strongest performance and he was giving a fair amount of emotional yo-yo-ing to do this week, as well as demonstrating a Doctor at only half his coronary capacity. In amidst all the mania, he still manages to convey the darkness we've been seeing in previous episodes, the anger and the loneliness that never goes away. It's a masterful performance and Smith is further cementing himself as an iconic incarnation of everyone's favourite Time Lord.

For me, this episode has been the weakest of the current run with too much plot, frenetically jumping from one scene to the next whilst trying to cram as many jokes and references in as possible. That being said, it's a testament to the quality of this latest series that The Power of Three was still an enjoyable watch and further confirms that the Ponds' departure is going to be a very sad episode indeed. Both Jen and I will be reviewing The Angels Take Manhattan next week, together, at the same time. Who knows how on Gallifrey that will turn out.

- Becky

You can read Jen's review of A Town Called Mercy here.

Follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com