Reviews – Page 43 – Simon’s Incoherent Blog

Doctor Who: Series 7, Episode 4–The Power of Three

“Every time we flew away with the Doctor, we became a part of his life. But he never stayed still long enough to become a part of ours. Except once. The year of the slow invasion – the time the Doctor came to stay.”

Bit late reviewing Doctor Who this week – ironically because I was at a Doctor Who convention all weekend, without my laptop. Regenerations in Swansea (for that was its name) was a lot of fun involving far too much drink. At one point I found myself clutching a pint glass of white wine, sitting behind Sir Derek Jacobi while Sylvester McCoy sang Tainted Love.

It also meant that we all sat and watched a Doctor Who episode’s first broadcast with various ex-members of the cast. In front of me was Richard Franklin (Captain Mike Yates) and a couple of seats down was John Levene (Sergeant Benton), both of whom were delighted to hear that UNIT were back this week. At one point I tried to take a picture of my friend Mette sitting next to me, but the camera-hungry Levene instantly photobombed me:

Thankfully, he wasn’t singing songs from his recently released album, which only one of my friends was insane enough to buy!

Lots of fun then, but what of the episode itself? Of all these standalone movie-type eps so far, this was the hardest to categorise in a single sentence. Part domestic comedy, part imaginative alien invasion, it had humour, surrealism, drama and some real character insight mixed in to very good effect. And it was written by Chris Chibnall! After enjoying the light romp that was Dinosaurs on a Spaceship, it was yet another revelation that he could write something with so much empathy and emotion, still humorous but with real pathos and drama too. I think I may have to start re-evaluating him…

The episode’s main USP was to reverse the recent trend of “Ponds hang out with the Doctor” to “the Doctor hangs out with the Ponds”. We’ve been here before of course, with 2010’s The Lodger showing the bizarre consequences of having the Doctor in an everyday domestic setting, but this had the heightened drama/humour that it was with his own companions. Imagine if Pertwee’s Doctor had had to hang around Jo Grant’s flat for a year while she did the washing up.

With the perspective of the story refreshingly told from the Ponds’ point of view, we got a glimpse at what their double life was like, working and doing the housework punctuated by occasional visits from a bizarre alien who would whisk them away at a moment’s notice. So we got to see Amy and Rory’s “real life” established – clearing out the fridge, doing the washing up, emptying the bins – until the sudden appearance of millions of mysterious cubes brought the Doctor back. And when the cubes singularly failed to do anything, he decided to stay.

Unlike Craig in The Lodger, Amy and Rory know full well who/what the Doctor is. With no need for subterfuge, he could be as mad and eccentric as always – and this certainly was a vintage week for Matt Smith, who got to show his versatility far more than in recent episodes, switching from madcap to serious to sad at the drop of a hat. The montage of him trying to ‘keep busy’ was very much in the zany/comic tone of Dinosaurs on a Spaceship (capped with the inevitable “How long have I been gone?” “About an hour”). We saw the Doctor playing on the Wii, and practising his football skills (Matt Smith still seems pretty good), and watching The Apprentice while eating fish fingers and custard.

But there were also magical scenes like the one on the roof of the Tower of London, which spelled out explicitly the ongoing theme of his most unconventional relationship with his current companions. It’s been ten years now for Amy and Rory; ten years in which she has (thankfully) gone from being a fashion model to a travel writer, and he has become a respected nurse about to go full time. The Doctor knows it can’t last forever, this double life, and as he and Amy open their hearts to each other, it’s another genuinely tear-jerking scene; “I’m running to you and Rory before you fade from me.”

Hard to believe that Chris Chibnall, previously so enamoured of dialogue that seemed cribbed from cheap porn, could write such a moving exchange. And the earlier one, with incoming UNIT chief Kate Stewart, as he realised who her father must be, was a beautiful tribute to Nick Courtney’s Brigadier Lethbridge-Stewart. Jemma Redgrave as Kate was marvellous, with her brisk, scientific attitude and dry sense of humour (“I’ve got officers trained in beheading. Oh, and ravens of death.”) I really hope we get to see her again in later episodes.

UNIT and the Brigadier weren’t the only fanboy references here, as we also got a mention of the Zygons and their shapeshifting abilities during the other montage, as the Doctor whisked Amy and Rory off on a time tour for their anniversary. Lovely to see Rory reciprocating the Doctor’s kiss to him a couple of episodes ago, and for those annoyed by Amy’s ever-short skirts, there was a droolworthy shot of him in his pants.(I’m sure there’s plenty of slash fiction already).

They’re available from Topman, should you want them – I’m heading out to buy some in a while…

The tone shifted again from comedy to pathos as they returned to the party seven weeks later (from their perspective), and the Doctor had to tell Brian what happened to all his other companions.

Yes, Brian was back, played again by the marvellous Mark Williams. After, Russell T Davies’ trend of every companion being accompanied by a large brawling family, you can see why Steven Moffat resisted dragging another family member in till now, but Mark is so good in the part that he’s irresistible. The point has been made that he’s basically similar to Bernard Cribbins’ Wilf, but that’s a recommendation in my view. And like Wilf with Donna, he actually wants Amy and Rory to travel with the Doctor – “It’s you they can’t give up, Doctor. And I don’t think they should.” – even after hearing about the fates of some of his previous fellow travellers. After the reactions of Rose’s and Martha’s mothers, that’s a refreshing change.

In previous character-driven stories like this, the ‘standard Doctor Who plot’ is usually grafted on as a McGuffin, and is pretty unimaginative as a result (think School Reunion). But here, the “slow invasion” was a genuinely intriguing and weird premise, laced with humour – I loved the cube that played the Birdie Song on an endless loop. The identical, cube-mouthed orderlies kidnapping patients from Rory’s hospital were spooky in a Sapphire and Steel mould, as was the creepy little girl droid – you can’t go wrong with a creepy little girl. A dimensional portal in a goods lift was a nice touch, as was the casting of the always-intimidating Steven Berkoff as the Shakri’s holographic messenger. I know at least one four-year-old in our audience got the willies scared out of him by that.

Despite taking place over the course of a year, this was another frantically-paced episode. You can see why Moffat wanted to place the slower-paced Town Called Mercy in between this and Dinosaurs on a Spaceship, just to give the audience a breather. Unfortunately the breathless pace was probably the reason for the episode’s biggest logical flaw – its resolution.

Even if the Shakri didn’t recognise the Doctor as a Time Lord, he clearly knew all about their technology, so why give him the run of the ship, allowing him to reprogramme the cubes and blow the place up? It seemed a bit of a return to the old deus ex machina endings of the RTD era, a shame for an episode that was so good in so many other regards. That frenetic pace meant a general lack of exposition; I can forgive not being told exactly what the orderlies were for, why they were kidnapping people, or why the cubes clearly displayed a worrying looking countdown in conveniently recognisable numerals. But that resolution (or lack of it) stuck out like a sore thumb. Still, it’s nothing like the logical flaw in Chibnall’s 42, where the button to retrieve the escape pod was on the outside of the spaceship (however good he gets, I’m never going to forgive him for that).

Leaps of logic aside though, this was another enjoyable episode from Chibnall (I previously assumed that typing those words must be a harbinger of the apocalypse), which addressed the ongoing theme of the Ponds and the Doctor ultimately drifting apart directly for the first time. These may be standalone episodes, but there are still clear threads running through them. I wonder if we’ll see any follow up to the Shakri’s talk of “the Tally”, which the Doctor refers to as “Judgement Day, or the Reckoning”?

It’s also been pointed out that there’s a running hint involving flickering lights – in the Dalek asylum, the bulb Brian was changing, the streetlamps in Mercy – perhaps leading in to next week’s Weeping Angel story; you certainly don’t want the lights to flicker when they’re around! I’ve also wondered (on Facebook, some days ago) whether that very large statue in New York Harbor might be something to do with the Angels (even if it is made of copper, not stone). I guess at least some of these answers will be revealed next week, as we say goodbye to the Ponds for the last time…

Dallas (the next generation): Season 1, Episode 3

“I spent most of your childhood chasing women I didn’t love and making deals that didn’t matter. I will get Southfork back – so you don’t have to pay for my sins.” – JR to John Ross

Previously, on Dallas: Having laid out the complex stall of setups in the first week, last week we learned that:

JR isn’t ‘depressed’ at all, but embroiled in yet another fiendish plan to obtain Southfork
Christopher’s wife Rebecca is engaged in some two year long con trick that involves marrying him, but is ‘going native’
Bobby’s lawyer is covering up for JR’s plan to buy Southfork via the Del Sol Conservancy, but also covering up from JR the fact of John Ross’ triple cross to sell it to somebody else
Elena is mighty pissed that her impending marriage to Christopher two years ago was aborted by a mysterious email she thinks John Ross sent, so she’s dumped him
John Ross’ partner in crime ‘Marta Del Sol’ (for it is not she) likes to film him having sex with her, for reasons as yet unknown
John Ross, not too happy at being blamed for the marriage-killing email, hired a private detective to find out who really sent it
JR, having flown to Mexico to see ‘Marta’s father, learned that she wasn’t Marta at all, and that his son’s sale of Southfork wasn’t to Del Sol at all either

All clear on that? Cool. This week, the subterfuge, backstabbing and OTT dialogue intensified as JR weaselled his way back in to the family home, plans were made by some characters to shaft other characters, and an old face put in a surprise appearance.

As predicted, JR was really not happy learning that his own son was double crossing him, and chose to warn him about the lack of wisdom in this course by giving him a shave. With a deadly sharp straight razor, naturally, held at John Ross’ throat when he least suspected it. This being JR, you half expected him to be fine with slitting his own son’s throat; but that’s not the JR style. Besides, it looks like he’s halfway proud of his son for being a chip off the old block. He had a warning for him though, based on his own experience of father-son relationships: “I loved my daddy, and I respected my daddy. But most of all, I feared my daddy.”

Thus chastised, John Ross entered into an unwilling alliance with his snake of a father. Somehow I can’t see either of them being loyal to the other though – it’s the Ewing way. Nevertheless, John Ross is now taking “daddy” into his confidence – some of the way at least. So he introduces JR to the real Southfork buyers – the sinister and stereotypically Latino ‘Venezuelans’. Ostensibly oil profiteers, they behave more like a drug cartel from an action movie, with their sneering, black-clad leader Vicente Cano equipped with the requisite facial hair that indicates a Dallas character is a wrong ‘un.

Vicente tries making threats to JR, but that ain’t gonna fly – JR’s been doing this for a whole hell of a lot longer. “If the oil were to stop flowing,” Vicente purred menacingly, “that would be… unacceptable.” At which point he and JR had a “menacing stare” contest, which JR plainly won, saying “my friends are in the state house. My enemies are harder to find”.

This week’s face from the past

Actually, he’s wrong about that. Having bribed his doctor to persuade Bobby that the ‘unwell’ JR needs to move back into Southfork for the benefit of his health, the old devil was somewhat surprised to find his oldest enemy waiting right there for him, having a leisurely chat with Bobby. Yep, Cliff Barnes is back, played as ever by the redoubtable Ken Kercheval!

“Time has not been kind to that face,” smirked JR (accurately, as it happens) “But I do recall the smell of brimstone and crazy.” Yes, if anything, the return of Cliff means that the already cheesy level of dialogue can be turned up to 11.

Family matters

The new show establishes Cliff as JR’s old archenemy with admirable economy, but in case you’re confused, this is their relationship:

Cliff’s family were archenemies of the Ewings in the oil business – until his sister Pam married Bobby Ewing. Cliff himself had at least two flings with JR’s wife Sue Ellen (she may have been drunk at the time), and has at various times wanted/managed to obtain Southfork and/or Ewing Oil. Looks like he’s up to his old tricks, as he’s popped up to buy the ranch from Bobby – but Bobby won’t sell.

More family background is provided in other meetings, including tantalising hints as to the fate of Pam Ewing (nee Barnes). Discussing Christopher’s past with Rebecca, Elena revealed that “Pam just… disappeared”. Perhaps she’ll wake up in a shower at some point. Or perhaps not – summoning his adoptive nephew Christopher for a chat, Cliff urged him, “don’t let them destroy you like they did Pam.” Perhaps she’s now chained up in Southfork’s attic.

On the subject of family, it’s worth mentioning that, while Christopher gained the Ewing name via adoption, he really is family. In the classic series (if you can call it that), his mother was Sue Ellen’s sister Kristin Shepard, who later went on to shoot JR (the first time, anyway), then died. So biologically at least, he and John Ross really are cousins. Confused? Try not to worry about it.

Who’s double crossing who this week?

Bobby’s shifty lawyer Lobell, with his surprisingly tiny office, can no longer blackmail John Ross to keep his secret from JR, since that’s out now. But he can still threaten to reveal to Bobby that the ‘Del Sol Conservancy’ aren’t buying Southfork at all, and have both JR and John Ross in court on fraud charges. So now he wants $5 million, up from last week’s $2 million. It’s hard not to picture him ultimately turning into Dr Evil, finger to his mouth as he demands, “one billion dollars!”

Clearly Iago and son (JR and John Ross, obviously) need to get shot of him, and JR knows how. Lobell has a shiftless son that he dotes on, who several years ago got off a hit and run charge because the only witness couldn’t be found. So once again John Ross turns to his philosophically-minded private investigator to track said witness down.

Back at the ranch, Tommy is getting impatient for Rebecca to steal Christopher’s methane hydrate secrets (for what that’s worth, since the whole thing seems to be scientific bunkum). So he gives her one of those magic USB sticks from 24 and Spooks that can download the entire contents of a laptop within the amount of seconds guaranteed to generate maximum onscreen tension.

Trouble is, she’s obviously having second thoughts, moved by her love for the virile Christopher – even when presented with a picture of him kissing his ex Elena in the stressful moment of learning about Bobby’s cancer. All it takes is one apology from Christopher, and Rebecca’s back in his arms, while the USB stick’s in the bin. Either he’s one hell of a lover, or she’s one hell of a pushover…

Hey, it’s that guy from that thing!

Aside from the return of Ken Kercheval, this week saw a bit of a 24 reunion. Vicente, lip-curling leader of ‘the Venezuelans’ is none other than Carlos Bernard, previously best known as CTU’s Tony Almeida:

While Cliff Barnes, ever the good judge of character, has hired one of that show’s bad guys from 2005 (Faran Tahir) to be his PA, Frank Ashkani:

I’m guessing he does more than just take the minutes for Cliff’s meetings.

This week’s big cliffhanger

JR has given Miss Ellie’s diary to John Ross (while pretending to be outraged that he has it), giving John Ross the ammunition to discredit her will; seems she went a bit loopy when Jock died,and spent a while in an institution. Bobby, appalled at the thought of this being heard in court, caved like wet paper for the first time this year. So now he’s selling after all – and the deal with ‘the Venezuelans’ is back on…

But that’s not all – John Ross’ PI may have turned up sweet FA on the witness to Lobell’s son’s hit and run, but he has found out who sent the email that wrecked Christopher’s nuptials. John Ross is more than a little surprised to discover that it was none other than Rebecca!

Just another week with the Ewings then – backstabbing, betrayal, dodgy deals and people standing around looking statuesque. Less action than previously, but the return of Cliff Barnes more than makes up for it – just what the heck is he up to?

Doctor Who: Series 7, Episode 3–A Town Called Mercy

"“We all carry our prisons with us. Mine is my past, yours is your morality.”

As the mini-season of Doctor Who ‘standalone movies’ continues, this week we get the first attempt at an actual genre piece – the genre in question being the Western. The show’s tried doing one before, with questionable results in 1965’s The Gunfighters, which gave us this untrammelled musical classic from an offscreen Linda Baron (and, occasionally, Peter Purves):

The Man Who Never Would. Well, almost never.

This episode, however, directly confronts the issue of the Doctor’s morality, and how far he’s prepared to go. We needn’t be too shocked by the gun, which ultimately he declines to use. As with the best stories, he relies on his ingenuity, sending the gunslinger out after decoys to keep the town safe. And when Jex answers his own moral dilemma by blowing himself and his ship to bits, the Doctor’s prepared to see Kahler Tek as a victim as much as a villain, and entrust him with the town’s safekeeping from now on.

If the episode has a notable failing, it’s that it does seem to move quite slowly as a plot. Perhaps that’s due to the complex moral issues being debated by some well-drawn characters, but equally possibly, it’s that Leone influence again. Let’s not forget, Once Upon a Time in the West opens with a whole 15 minute sequence of gunslingers waiting for Charles Bronson’s arrival at a station in which nothing happens – and yet it’s a masterclass in building tension. A Town Called Mercy may not have time in its 45 minute runtime for that kind of operatic grandeur, but it certainly has a more measured pace than last week’s enjoyably frenetic offering.

A pretty good guest cast breathed life into Whithouse’s characteristically thoughtful dialogue (although some of the townsfolk’s American accents seemed a mite shaky). Aside from Browder’s likeable turn as Isaac, the standout was prolific character actor Adrian Scarborough, who imbued the nuanced character of Kahler Jex with pathos and likeability despite his crimes. His description of his people’s afterlife, climbing a rock carrying the souls of all those you’ve wronged, was beautifully written and delivered, giving his ultimate sacrifice a natural tear jerking quality far removed from the show’s frequent contrivance in this area.

Andrew Brooke as the gunslinger was suitably scary while also being sympathetic, not an easy trick to carry off from under all those prosthetics. Mind you, the design was very reminiscent of Red Dwarf’s simulants:

And the idea of a beloved British sci fi show doing a Western also recalled that show’s classic episode Gunmen of the Apocalypse. Not a bad thing necessarily, but difficult to avoid for viewers of my age!

I thought this was an excellent episode, though my love of Westerns probably makes me less than objective here. It had real depth and complexity, while there was enough classic cowboy action to keep kids entertained. There was also some more hinting about Amy and Rory’s life passing by with occasional Doctor-visits, and what may be a developing theme about the Doctor’s morality, something Steven Moffat seems to keep returning to. Overall, another bullseye at making a movie-style episode in a season which so far has been more consistently enjoyable than last year. Next week it’s back to Chris Chibnall on scripting duties, but his effort last week makes me less trepidatious about that than I might once have been…

Dallas (the next generation): Season 1, Episode 2

“It’s better to be old than to be the devil.” – Mexican proverb (allegedly)

Previously, on Dallas: In the space of one episode last week, we had an insane amount of plot dumped in our lap (so, business as usual for the Ewings, then). We learned that:

Bobby is dying of cancer (sob), which nobody knows except his wife Ann
JR is in a care home, suffering from depression (as if)
JR’s son John Ross has discovered loads of oil under Southfork, but isn’t allowed to drill there under the terms of Miss Ellie’s will, enforced by Bobby
Bobby’s (adopted) son Christopher has a new green energy process using frozen methane (or something), which unfortunately causes earthquakes
Christopher has married Rebecca, but only because his former fiancee Elena jilted him
Rebecca has a shady brother, and looks distinctly dodgy herself
Elena is now going out with John Ross and working with him on the oil drilling
Elena never turned up at Christopher’s wedding because of an email purportedly from him calling it off, which he’d never heard about till now, but may have been sent by John Ross to split them up so he could get her
Bobby is going to sell Southfork to fund Christopher’s methane thingy (and also to keep it out of John Ross’ drill-happy hands)
Marta Del Sol, the lady from the conservation concern he’s selling it to is actually a shill for JR, who’s not very ill after all, and wants Southfork for himself (as usual)
But she’s also sleeping with John Ross, and presumably going to betray JR for him…

That’s a lot to pack into a standard length opening episode, and thankfully the second week slows the pace a bit. But not much. There’s still intrigue, sex and Stetsons aplenty, with yet more schemes within schemes revealed by people telling each other things they must logically already know, for our benefit.

“Are you telling me that the only reason we’re together is because someone sent you an email pretending to be Christopher breaking up with you?” John Ross asks Elena, presumably rhetorically as this is exactly what she’s just told him, remembering to be a Ewing bad boy with the parting shot, “screw you, lady!” We are thus reminded of what’s going on in this subplot, and also that John Ross has a hell of a (handsome) poker face. Either that, or he’s not a terribly good actor.

Elsewhere, it looks like both JR’s and John Ross’ cunning plans have hit an early snag, as they’ve both unwisely chosen to bribe the same lawyer to keep Bobby ignorant of what’s going on, and in John Ross’ case to keep JR ignorant that his shill is really John Ross’ shill. Sounds complicated (and it is), so it’s spelled out in an astonishing torrent of exposition from said lawyer the moment John Ross walks into his surprisingly small office. Pausing only to raise his price to $2 million, he pours John Ross an expensive whisky which John Ross doesn’t drink (this happens a lot in Dallas), because he then walks out.

Bobby now knows what we know, that his wife knows what he knows about the cancer. A quick visit to the Ewing love tree ensues, in which generations of Ewing couples have carved their names (but without little hearts, because that would be tasteless). Nice to see “Jock and Ellie” in there, though a little surprising that Bobby’s carving has him paired with Ann rather than Pam. Perhaps he sanded Pam’s name off to carve Ann’s.

Christopher still doesn’t know what Bobby knows, Ann knows and we know that they both know about Bobby’s illness, but he’s worried about the Southfork-selling plan, so decides not to go on honeymoon. Suits Rebecca, whose shifty brother Tommy has been offered a job on the ranch by the credulous Ann. He’ll stand out a bit, as the only Caucasian working there. But now they’re both entrenched. “Don’t get too comfortable being Mrs Ewing,” Tommy sneers, before informing her that they’ve been working on this plan for two years, which I’m guessing she already knew. Who are they? And how does Tommy maintain the exact same length of sinister stubble from week to week?

Christopher and John Ross got a nice scene together at the bar they used to frequent when both were younger (and different actors). The scene cemented their status as the new Bobby and JR, truly their fathers’ sons (even if Christopher is adopted). “We ain’t family,” snarls John Ross, his face contorting in what I’m guessing is meant to be anger. “I’m a Ewing. Everything I am, everything I’d die for, has the Ewing name on it.” To which Christopher replies, “give me a break”, thus echoing the sentiments of the viewer.

In any other show, this sort of clumsy, overheated drama would be difficult to forgive, but in Dallas it’s a vital part of the show’s flavour. It has to be cheesy, glossy and over the top – that’s why we loved it the first time around. And it’s not disappointing in any of those regards now, either.

Thankfully out of his sick bed, JR got lots more to do this week, and Larry Hagman was chewing the scenery all over the place. The dramatic centrepiece was the prestigious Cattle Barons’ Ball, (a real thing which raises money for the American Cancer Society). Given Bobby’s illness in the show and Hagman’s in reality, there was an unexpected note of pathos as JR paused for photos in front of the Society’s logo. But it didn’t last long as the old devil floated through the sea of Stetsons for some much deserved face time with the rest of the old cast.

Pretending to be more infirm than he actually was, JR still managed to lay some threats on Bobby’s duplicitous lawyer (who’s actually working for John Ross, unbeknown to JR, who thinks he’s working for him while Bobby thinks he’s working for him). But it’s his scenes with Bobby and Sue Ellen that stand out, as he makes a convincing job of being a (very hammy) reformed character.

“I’m not gonna forget what you done for me, Bobby,” he told his brother, which Bobby amusingly took at face value. Employing his usual technique of calling every woman he meets “darlin”, he eventually worked his way over to the long-awaited meeting with his ex-wife, only to surprise her by telling her, “you won, honey. And I couldn’t be happier.” It was terrific to see Hagman and Linda Gray together again, and they still have the old chemistry. But is JR really reformed? I’ll believe that when I see it.

Marta Del Sol was at the Ball too, and a desperate John Ross tried to seduce her in order to lay his hands on the money to pay off the lawyer. Marta didn’t seem very happy about this. “Do you remember last time we were lovers John Ross?” she purred menacingly, drugging his drink with a Rohypnol-type thing. “It was an amazing experience.” I’m sure it was, he’s pretty hot. But why drug him when he wanted sex anyway? Unless it was to keep him from spotting the large camera filming them from the ceiling, with a very conspicuous red light flashing on and off.

So, is Marta just into a bit of home video fun, or is John Ross not her first priority after all? Cause that looks like top blackmail material right there. Either way, I was quite happy to see Josh Henderson get his kit off, though slightly baffled as to why he woke up tied up, but still hadn’t taken his boxers off. Ah well, there’s a limit to how far you can go in prime time, I guess.

But JR was getting suspicious at the delayed call from her father, so he popped down to Mexico to see him. I guess he can afford the flight. Then he met the real Marta, who was very different from the woman he already knows – she’s blonde, for a start. So the cat’s out of the bag for John Ross. But if Marta’s not really working for him or JR, who is she really working for?

It was good to see the intrigue, betrayal and gratuitous rumpy-pumpy continue in the same vein as last week, even if this week was slightly less frantic and OTT. Pretty though the new boys are, though, it’s still Hagman and Duffy who rule the drama here, with able help from Linda Gray. Nonetheless, the new rivalry is coming to the boil nicely, along with the usual overcomplex duplicity. It’s as hard as ever to keep track of who’s betraying who to whom and why. One thing’s for sure – I predict JR is not going to be happy with his son next week. And an angry JR is not to be messed with, so John Ross better look out…

Doctor Who: Series 7, Episode 2–Dinosaurs on a Spaceship

“The creatures aboard this ship are not objects to be sold or traded.”

Doctor Who does dinosaurs? Oh dear, I thought, remembering previous excursions into this territory in which the prehistoric beasties were represented by barely mobile bendy toys badly superimposed onto live action footage, surrounded by that distinctive shimmery yellow line produced by CSO. Invasion of the Dinosaurs (1974) is a good story hamstrung by its appalling effects, which only works because author Malcolm Hulke keeps the dinosaurs mostly to the background of the piece.

And now we get to see them again, in a piece by Chris Chibnall. It’s fair to say that Chibnall is far from my favourite Who writer. I found his early Torchwood scripts to be witless, po-faced and gratuitously laced with the sort of humourless sexual excess that passes for ‘adult content’ if you’re a fifteen-year-old boy, while his Who debut 42 was a disjointed, badly characterised mess so lacking in internal logic as to have a control to retrieve an escape pod located on the outside of the spaceship concerned.

Still, I always try to go into his work with an open mind, and sometimes he surprises me by producing work I really enjoy. His scripts for Life on Mars were well-characterised and enthralling, and his opener for season 2 of Torchwood actually redefined the show by giving it a sense of humour and playfulness that was noticeably lacking from its first season. And his Silurian two-parter in Matt Smith’s first year of Who, while no classic like Malcolm Hulke’s original, was a serviceable enough rework of the original 1970 concept.

With Dinosaurs on a Spaceship, it seems Chibnall is being groomed as Hulke’s New Who equivalent. Having done Silurians a couple of years ago, he now gets to include actual dinosaurs. And you know what? It was actually a lot of fun. Not only does Chibnall bring a sense of humour to the concept, but this time he actually plays the whole story very much in a humorous vein (despite its underlying seriousness). I rather like classic Who’s occasional veers into outright comedy, and this felt like the closest the new series has got to that since its return.

It helped that the dinosaurs were rather more convincing than their 70s equivalents. A mix of CG and real props, they were reminiscent of far bigger-budgeted work like the BBC’s Walking With Dinosaurs or even Jurassic Park. Of course, both of those were made some years ago, and even their pioneering CG now looks occasionally dated and unconvincing, but generally it still holds up. And the same was true here. There were one or two shots of the dinos that looked quite ropey, either as CG or props, but the success rate was far better than any bendy toy from the 70s.

Given that ridiculously hokey, Snakes on a Plane-recalling title, Chibnall seems to have turned to Jurassic Park for a lot of his inspiration. Hence, here we get a Triceratops (also one of the friendlier saurians in the Spielberg movie) playing fetch with a golf ball and licking our heroes, a T-Rex nest like the one in JP sequel The Lost World, a pterodactyl enclosure as in JP3 and an attack by several velociraptors working in threes.

Nothing wrong with that – Who’s roots have often been obvious, and nobody’s going to slag off Brain of Morbius just because it’s obviously Frankenstein. Of course, riffing on Jurassic Park does mean you fall victim to its scientific inaccuracies; it’s now generally accepted that velociraptors were probably feathered, and the species itself is actually less than half the size of the Spielberg movie beasties. But again, Who is hardly full of scientific accuracy at the best of times.

Having established a plausible level of spectacle though, the story’s true strength was in its characters, something Chibnall seems to get better at with each successive script. Matt Smith’s Doctor was at his most exuberant and childlike here with his unalloyed wonder at the prehistoric creatures, and for reasons that seemed initially unclear, had chosen to surround himself with a “gang” rather than the usual Amy/Rory combo.

This gang included characters that ranged from the broadbrush to the complex. Riann Steele gave a spirited performance as Egyptian Queen Nefertiti, the latest River Song substitute in a show that increasingly seems incomplete without at least one dominating female character with a snarky sense of humour. To be fair, her near-arrogance as a major historical figure and prominent monarch made her more distinct from River than Oswin last week though. The real Nefertiti actually did mysteriously vanish from Egyptian history in the 14th year of her husband Akhenaten’s reign, so the idea that she was whisked away to 1902 to spend her life with a Boy’s Own style big game hunter is as plausible a theory as any other (well, a bit of a stretch maybe).

Said big game hunter, the redoubtable Rupert Graves from Sherlock as John Riddell, was a bit of a caricature, part Lord John Roxton, part Allan Quatermain. But of course the visual effect of the costume, combined with his stand against the horde of velociraptors, called to mind Jurassic Park again, and Bob Peck’s cynical hunter from that movie. As the raptors approached, he almost got to mutter, “clever girl…”

And Rory’s dad got roped into the shenanigans too. Brian Williams was incarnated well by comedian-turned-national-treasure Mark Williams. Which was nice. And all-purpose rotter David Bradley (Mr Filch from Harry Potter and Walder Frey from Game of Thrones) made a believable baddie in Solomon, with his timely motivation of seeing everything only in terms of its consumerist value. With his special device that assessed the monetary value of whatever it scanned, I couldn’t help being reminded of the timeless quote about the Conservative Party – “they know the price of everything and the value of nothing”.

Which made the Doctor’s apparently callous treatment of him at the end of the story seem somewhat justified. Leaving him to the mercy of the Earth missiles might have felt a bit un-Doctorish, but the Doctor’s got form on this kind of thing. His treatment of the Family of Blood in that episode was arguably even more callous, and a fate worse than death – “we wanted to live forever. So the Doctor made sure that we would”. Remember, the Doctor can be pretty nasty sometimes. He never points the gun at the baddie and pulls the trigger, but he’s ensured the destruction of plenty of villains in the past by other means.

Besides, Solomon had admitted to actual genocide, shoving newly awakened Silurians off the ship in the manner of illegal slave traders about to be boarded in the 18th century. The involvement of the Silurians was a nice surprise, and made perfect sense of a situation (dinosaurs on a spaceship) that otherwise would take some justifying. I’m not sure about that postcard at the end though, with its attempt to retcon the historical inaccuracy of the name ‘Silurian’ by asserting that they come from somewhere called Siluria. Bit of a stretch, that one.

But perhaps the most interesting thing about the episode was its treatment of the Ponds, and its veiled hints about where their story is going. With the party separated and the Doctor eventually held captive by Solomon, we got to see Amy and Rory stepping up as actual Doctor-substitutes. It made sense of the Doctor’s apparently random gathering of the ‘gang’ – Nefertiti, Riddell, and even Brian were there as Amy and Rory’s companions. Is the Doctor grooming them as his replacements?

Also notable were the hints about the decreasing frequency of the Doctor’s visits to them. Amy complained that it had been ten months since they’d last seen him, and significantly Rory, commenting to his dad about Christmas lists, said, “I’m 31, I don’t have one”. I’m pretty sure that when we first met Rory, he was in his early 20s at most; now he’s 31. That’s a fair bit of time under the bridge – and might account for his new look, complete with greased hipster hairstyle. If the Ponds have been hanging around with the Doctor for, from their perspective, about ten years, how old will they be next time he ‘visits’? It’s a genuinely innovative thing to do with the companion characters, and allows for more actual character development than ever before.

It was one interesting idea in an episode full of them. I’m not sure what future time period this was set in, but it was nice to see the problem of near-Earth collisions being dealt with by the Indian Space Agency, with a woman in charge no less. Then there was the wave-powered Silurian ship – not sure how that would actually work, but again a nice idea (even if it was plainly shot at the same beach location used in Time of Angels). Like Let’s Kill Hitler, if this had a problem it was that there were so many interesting ideas thrown into the mix that few got properly explored. But it’s pretty churlish of me to complain about Chris Chibnall having an excess of imagination after my previous criticisms!

Bringing humour to the fore was a surprising tactic for Chibnall, but for me at least a very successful one. Yes, the gag about “Any vegetable matter in your trousers?” “Only my balls” (complete with ‘comedy’ music from Murray Gold) was difficult to forgive. As was the “you want a man with a big weapon” shot from Riddell, followed up with a face-saving remark from Amy about gender politics that was a bit cheeky from the author who gave us the immortal line “when was the last time you came so hard you forgot where you were?”

But generally, the comic tone was a refreshing change, and well-handled particularly by Matt Smith and Mark Williams. I liked the comedy robots with the completely undisguised voices of David Mitchell and Robert Webb – a little camp, perhaps, but so much more imaginative than a voice-synthesised Nick Briggs intoning that resistance is futile.

Dinosaurs on a Spaceship is unlikely to go down as a future Who classic, and it’s not free from flaws – at times Chibnall seemed to be struggling with the excess of characters and ideas, to the detriment of the script’s coherence and structure. But still, it felt like what it was – a fun, lightweight romp with just an occasional hint of darker things beneath. I gather from online reaction that opinions are very much divided, but I found it an enjoyable 45 minutes of uncomplicated fun, carried off with some gusto by all concerned.

Dallas (the next generation): Season 1, Episode 1

“Dallas is like every American soap opera you’ve ever seen, all rolled into one and given an unlimited charge account at Neiman-Marcus.” – Clive James, The Observer, 1979

It seems so obvious, it’s amazing it hasn’t happened earlier. Dallas, that most beloved of 1980s guilty viewing pleasures, has been properly revived as an ongoing series, and it’s back on UK screens tonight. But can it match the mad excesses of its original incarnation – the sex, the backstabbing, the stetsons, the vast amounts of money?

Back in the day of the original Dallas, it was an absolute phenomenon. Nobody had seen anything like it, least of all in the UK, where our idea of a soap opera was the dour Northerners of Coronation Street or the wobbly sets and forgotten lines of Crossroads. Suddenly, the British viewer was thrust into an alien world of greedy, amoral oil tycoons and their ultra-glamorous wives, where sex was every bit as much a currency as money, and ‘family’ meant ‘feud’.

Said family being, of course, the immortal Ewings, who had such enemies as Cliff Barnes, but spent more time fighting among each other as to who owned what large amount of money/oil well/wife. Ewing monarchs Jock and Miss Ellie watched uncomprehendingly over their bickering offspring, most notable of whom was goody-goody Bobby (Patrick Duffy), and that most loved of pantomime villains, JR. Initially just one of an ensemble, Larry Hagman’s deliciously evil tycoon ended up being the star of the show. When he was shot, at the climax of the third season in 1980, it made the national news.

It seemed like pretty much everyone in the UK watched Dallas, from the highbrow to the lowbrow. Terry Wogan would recap events sarcastically on his morning Radio 2 show, coining such epithets as “the poison dwarf” (for the diminutive Lucy Ewing), while Clive James regularly chimed in from his cerebral Observer column to guiltily admit that he couldn’t live without his weekly fix of Ewing action.

But such popularity rarely lasts, and Dallas was finally wound up in 1991. Its final episode was a surfeit of surreal plot excess, as an ‘angel’ turned up to show JR how the Ewings might have lived if he’d never been born. In a devilish inversion of It’s a Wonderful Life, they were of course a lot happier. At which point the ‘angel’ revealed himself to be quite the opposite, and urged JR to reach for what Clive James always referred to as his “gern”. We heard the gern go off, and that was it for the Ewings.

Twenty years and a couple of TV movies later, they’re back, and just as bonkers as ever. The old, unstoppably catchy theme tune is there in all its timelessly cheesy glory as the camera once again pans over Southfork ranch with yellow credits superimposed over it. The only shock is the absence of those split screen triptych shots of the stars freeze-framing at a moment of action/glamour/sex.

It’s hard enough to remember the conclusion of the labyrinthine plots in the series, not to mention the TV movies, so here’s a brief guide to the plot.

Southfork is now owned by Bobby Ewing, as nice a guy as ever (so he’ll almost certainly finish last). No mention is made of his wife Pam, but I seem to recall she had a terminal illness when the show wound up, so she’s presumably dead. Unless that turned out to be a dream, of course. Bobby is now married to Ann, a previously unseen friend of Sue Ellen’s. Of all the original cast, Patrick Duffy seems to have aged most gracefully; he still retains those boyish features, even as the new Ewing patriarch. But as we learn even before the credits, Bobby has a Deadly Secret – he’s been diagnosed with cancer. Can he survive long enough to fight off his brother one more time?

Perhaps he won’t need to. JR is semi-catatonic with depression in a nursing home; having failed to commit suicide, perhaps even he couldn’t live with the knowledge of what a dastard he is. But is he faking it? Larry Hagman seems not so much to have aged as dried out; he’s way thinner than he used to be (in real life he has been diagnosed with cancer after a life of epic excess). But those devilish horned eyebrows are still there, even if they’re white now.

Sue Ellen, meanwhile, has cleaned up from the demon drink, and is in the process of running for Governor of Texas. Probably sensibly, the script doesn’t tell us which party she’s running for, but the Ewings are ultra-rich elites with a giant corporation; let’s face it, she’s a Republican. Linda Gray manages to look every bit as glamorous as she ever did despite now being in her 70s, though some of the facial glamour is strangely immobile…

The plot proper has to do with the next generation of Ewings, cannily set at loggerheads in the manner of their parents. “I don’t want them to be like us,” Bobby earnestly says to the immobile JR. Hmm, good luck with that. JR’s son John Ross Ewing (the hunky Josh Henderson) has struck oil in the hallowed grounds of Southfork itself. If he sets up a rig, it’ll restore the Ewing fortunes in no time. Trouble is, the late Miss Ellie, a moral guardian even from beyond the grave, specified in her will that the grounds of Southfork were to remain inviolate, and the ever-respectful Bobby intends to honour that. Looks like there’s trouble a-brewing!

John Ross Ewing – so evil he’s wearing the Master’s old beard.

Also opposing John Ross is Bobby’s (adopted) son Christopher (the hunky Jesse Metcalfe). Christopher’s keen on green energy, and has some kind of new process by which he can power the world with frozen methane (or something). So he’s not keen on John Ross digging for oil anywhere, least of all the ol’ family homestead. But he has a Deadly Secret of his own – his frozen methane drilling unfortunately causes earthquakes (somehow). And John Ross suspects…

Christopher Ewing. He suspects nothing, the poor sap.

Complicating matters even further (this is Dallas, after all), is the fact that John Ross is going out with the beautiful and glamorous Elena, daughter of the Ewing housekeeper and also (shock) Christopher’s former fiancee who jilted him at the altar. Christopher, meanwhile, is now engaged to the beautiful and glamorous Rebecca – but Rebecca isn’t who she seems to be. There’s something a little fishy about her recently arrived brother, whose unshaven face immediately brands him as a man Not To Be Trusted.

In classic Dallas style, all this is revealed in a series of exchanges that take place at parties, round the dinner table, and in the process of sexual congress. Old hands Lucy and Ray Krebbs pop up for a brief cameo at Christopher’s wedding bash, but don’t really do much. With the welter of plots already fomenting, there probably wasn’t much room for them.

You’d think a wedding where the bridegroom’s former fiancee who jilted him turned up as his cousin’s girlfriend would be awkward. And you’d be right. Only halfway through the first episode, and there’s Ewing fisticuffs already, especially over rascally-bearded John Ross’ plan to drill for oil on Miss Ellie’s beloved Southfork.

Trouble is, if Bobby dies, John Ross might get to do just that. So Bobby comes up with a plan – he’ll sell Southfork to a conservation concern, the Del Sol conservancy. This mystifies everyone, as he hasn’t told them he’s ill (do try and keep up). The beautiful and glamorous (that’s the third one this week) Marta Del Sol arrives to check out the ranch, so Bobby can sign over the deeds as quickly as possible.Unknown to Bobby, his wife has discovered his cancer medication, and now knows his Deadly Secret.

But Marta isn’t who she seems (by this point, this hardly comes as a surprise). She’s secretly in league with JR, who (surprise!) isn’t as ill as he looked. Hagman is on triumphant form as the old Stetson goes back on, along with the old evil grin. Champagne glass in hand, he’s obviously relishing the evil plans to come.

JR’s not Marta’s only secret ally, though. Turns out she’s also secretly in league with John Ross (getting confused yet?). This secret is demonstrated when they choose to clandestinely meet in the very centre of Dallas’ most well-known large public space, the Dallas Cowboys stadium. Walking slowly toward each other, they eventually meet up for a snog in the centre of the field, and snigger evilly. Well, not quite, but they might as well have. At this point all John Ross needs is a small dog called Muttley.

So, one episode in and it’s already matching up to the convoluted excess, glamour and implausible complexity of the original. The new stars are great, although JR and Bobby were never as buff and pretty as John Ross and Christopher. But it really comes to life with the old guard, including an electric scene where the dying Bobby visits his ‘depressed’ brother/adversary JR at the rest home. What’s JR up to? Does he know about John Ross and Marta? Who is Rebecca really? Tune in next time to find out – perhaps. I know you will, because new, bonkers Dallas is every bit as addictive as old, bonkers Dallas.

Doctor Who: Series 7, Episode 1–Asylum of the Daleks

“You will save the Daleks!”

So, the young/old feller’s finally back, in the first of five new adventures that showrunner Steven Moffat has said will be standalone stories, each in the style of a ‘blockbuster movie’. This should please those who found last year’s convoluted, overcomplex story arc too dominant in that series, but from the looks of things Moffat still can’t resist seeding future plotlines into these ‘standalone’ stories. We open with Asylum of the Daleks – not, as I first imagined, a story of the metal meanies hiding out in the Ecuadorean embassy to avoid extradition.

So how ‘blockbuster’ was this series opener? Even apart from that stated intent, the first episode always has to be a grabber – you’ve got to hook the audience on your new run with some spectacle and a meaty story. As so often these days, this one seemed to mostly succeed, but had (for me) a few glaring flaws.

It has to be said, the flaws I perceive are generally products of the writing style Moffat employs; others may not find them so objectionable. Still others find them unbearable – I know many fans who have come to actively dislike the show under Moffat’s tenure. Fair enough, every era of the show has had its haters – who can forget fanzine headlines like “JNT Must Die!”? But still, a change in style might bring a few of those doubters back, and I wouldn’t be surprised if Asylum of the Daleks managed it. In fact, judging by the Facebook comments I’ve seen so far, some of the earnest Moffat-haters I know seem to have been swayed somewhat. Perhaps the changes are working.

There was plenty of tinkering, to be sure. For a start, the title sequence has been tinkered around with again, with a different typeface and an altered logo. Not to mention the fact that Moffat has split up the couple whose dynamic was vital to the chemistry of the TARDIS crew. Well, split them up for a bit anyway. Actually that was one of my biggest criticisms, so let’s get it out of the way early.

We’d seen from the last of the short ‘webisodes’ Pond Life that Amy and Rory’s idyllic marriage has come to an end, and that was reinforced in the (very, very long) precredits sequence as he turned up at her modelling shoot with divorce papers. Fine, I thought, one of the good things about New Who is that it actually develops its regular characters rather than leaving them likeable but static as the original show did. Bringing Amy and Rory back not as a couple, but as bickering exes who have to rediscover their relationship, would be a plot thread that could be interesting.

So it seemed a little convenient that the requisite ‘tear-jerking’ scene (© Russell T Davies) got them right back together again after a mere one episode. Yes, I know I’ve been harping on about my preference for standalone storylines, but it felt like an artificially manufactured crisis. It did at least provide some payoff for those like me who found Amy’s lack of concern over her kidnapped child last year somewhat unlikely. And it was sweet that each of them had pushed the other away rather than confront the issue that Amy can’t have children any more – and that the only one she did have was stolen from them so they never experienced actually bringing her up.

Nevertheless, it all felt too quick, too convenient, and something of a box-ticking exercise, with the result that I was left distinctly unmoved, despite some earnest teary acting from Karen Gillan and Arthur Darvill. Still, if standalone stories it is to be, I suppose I see the reasoning behind sorting it out quickly. It’s just that it felt like padding to have the plotline there at all.

Still, if that didn’t work for me, there was plenty here that did. The episode certainly had the epic feel of a blockbuster movie, with some spectacular (and well-realised) CG vistas – the giant Dalek statue amid the ruins of Skaro, the massively-populated Dalek Parliament. Not to mention some impressive location work; I don’t know where they went to film the snowy, mountainous exteriors of the Asylum planet, but it looked great. And had the presumably intentional effect of calling to mind The Empire Strikes Back, what with those Dalek eyestalks popping up out of the snow like the Imperial spy drone in that movie.

As has often been mentioned, the Daleks have become so ubiquitous of late that it’s hard to think of anything new to do with them – at least they weren’t invading Earth again. Top marks to Moffat for giving them a rest since 2010’s underwhelming Victory of the Daleks introduced the less than well-received New Dalek Paradigm. Those flabby, Austin Allegro-coloured New Daleks were to be seen here again, but as if acknowledging their unpopularity with the fans, Moffat kept them largely to the background. Instead, we were treated to the much-hyped spectacle of “every Dalek ever”.

In practice, this mostly meant the previous bronze and gold design seen from 2005 onwards. This is no bad thing – it’s an excellent redesign that keeps the basic proportions Ray Cusick designed back in 1963, unlike the flabby, unwieldy New Daleks. It was down on the Asylum planet itself that we saw some of the oldies, but the atmospherically dark lighting and general decrepitude of the Asylum’s inmates meant that you had to look pretty hard to see that any were different from recent styles. Most obvious was the Special Weapons Dalek from 1988’s Remembrance of the Daleks – lucky for the heroes that one didn’t wake up! Later on, it was a nice callout to classic Who having a room full of the survivors of Kembel, Aridius, Exxilon etc, but a bit of a fail that those ones were still the 2005 style.

And the Daleks have a Parliament and a Prime Minister now, as opposed to their previous power structure of being led by an Emperor and/or Davros. How this state of affairs came to be was not revealed, but it’s hard to imagine a Dalek democratic process – the select committees could just exterminate the likes of Rupert Murdoch. This is already causing much hilarity on Twitter under such hashtags as #tweetlikeadalekmp . For myself, I couldn’t help thinking, “so that’s what a sweeping Conservative majority would look like…”

The Daleks’ actual plan (ie the plot of the episode) didn’t really seem to hang together logically. It’s a nice idea that the Doctor’s arch enemies have something they’re so scared of that they would call their nemesis in to help them, but a Dalek Asylum? Really? I mean, how mad would you have to be to be too mad for the Daleks? None of them have ever seemed particularly well-adjusted in the first place.

As I suspected, “too mad for the Daleks” was something Moffat couldn’t quite pull off, and in sanity terms, there didn’t seem to be much to distinguish the inmates from regular Daleks. Yes, they were in the sort of disrepair I’m used to from buying secondhand cars, but that hardly gave them mental problems.

Also, if the Daleks needed the Doctor to switch off the forcefield surrounding the planet so they could bombard it from space, why couldn’t they just send a small team of their own, as the Doctor snarkily asked? And for that matter, if the forcefield was so impenetrable, how did a human spaceship manage to crash through it, with its escape pods landing intact?

Plot holes seem to be a bit of a Moffat weakness, but let’s be fair, the original series was hardly immune from them. At least the pacing was pretty good, with the initial kidnapping of the Doctor, Rory and Amy being the beginning of a mounting level of action and… well, ‘headfuckery’ is the best word I’ve heard for it. It’s something Moffat specialises in, twists that turn what you thought you were seeing completely on its head, with often impressive dramatic results.

We got that from the very start here, with the reveal that the nice lady asking for the Doctor’s help was a Dalek agent capable of extruding an eyestalk from her forehead, not to mention a gunstick from her hand. She didn’t even know that she was a Dalek ‘puppet’ – as it turned out, a vital plot point.

It happened again with the nice chap who greeted Amy and the Doctor as they popped down to the snowy wastes of the Asylum planet, who, it turned out, had died a year ago but been reanimated by Dalek ‘nanogenes’ (a word coined by Moffat in 2005’s The Doctor Dances, if memory serves). The reveal that even the dead could be reanimated as ‘puppets’ gave rise to a nicely horrific moment as the shrivelled, rotten cadavers in the escape pod came to shuffling life around the Doctor and Amy – never thought I’d see a zombie equipped with a Dalek gunstick.

But the biggest headfuck of all was reserved for Oswin, the poor young lady the Doctor had been trying to rescue all along. Her story never added up – as the Doctor kept asking, where did she get the milk for all those souffles? I began to suspect fairly early on that her perception was not reality, and her easy interface with all that Dalek technology gave the game away pretty quickly – she was, of course, a Dalek herself. And given her delusions, probably the only one we saw who genuinely could be called ‘mad’.

But it was a headfuck for we the viewers too, for Oswin was played by none other than Jenna-Louise Coleman, widely publicised as the Doctor’s new companion when Amy and Rory leave in the fifth episode. Moffat had said that the circumstances of the Doctor meeting her would be like no companion ever before; he was right there, given that she’s been converted into a Dalek then blown to smithereens along with the whole Asylum planet.

So just how will she become a companion? Presumably the Doctor will have to meet her earlier in her timestream. If so, will he have to hide the knowledge that she eventually becomes a Dalek, goes mad and dies? Will he do something clever like trying to change the outcome? If so, that would surely undo her clever bit of trickery at wiping all knowledge of the Doctor from the Dalek database.

That was a nice bit of retconning from Moffat, but I’m not sure it really adds up. It’s the same problem as the whole ‘Doctor faking his own death’ thing – it only works on a linear timeline, not with a character who can pop up anywhere in history. The Daleks aren’t going to be lulled into a false sense of security thinking the Eleventh Doctor is dead, when for all they know Patrick Troughton could pop up next week to ruin their plans.

So, have the Daleks forget the Doctor altogether; that’s one major baddie dealt with in that regard. Trouble is, that assumes that the Doctor and the Daleks always meet sequentially. In practice, the show has usually adhered to that idea. But given Moffat’s delight in using time paradoxes, it would be just as valid for the Doctor to meet up with the Daleks later at a point before they’d forgotten all about him.

Moffat’s witty, flirtatious dialogue was very much in evidence throughout, but every time Oswin dispensed a bit of flirty banter, I couldn’t help thinking, “she talks just like River Song”. Because she does; every line out of her mouth could be given to Alex Kingston’s spacetime diva, or Sherlock’s Irene Adler for that matter. A friend of mine asserts that while Moffat’s dialogue is wonderfully clever, it all actually sounds like Moffat himself, with only the actors’ performances to give it any individuality. I wouldn’t go quite that far, but certainly I’m beginning to feel like he has a special computer program to spew out similarly toned lines for his identikit strong, dominating women.

Nitpicking aside, I did enjoy this episode, even with its flaws. It moved well, there was genuine spectacle, a bit of horror, some inventive direction from Nick Hurran and it was mostly self-contained. Plainly the story of Oswin will form at least one continuing plot thread, and we kept being reminded of “the final question” as referenced by Dorium Maldovar last year. It was on the lips of the Daleks (insofar as they have lips) and later the Doctor himself – “Doctor Who?” Like so many ‘blockbuster movies’ this was a lot of fun, and its breathless pace generally stopped you from thinking too much about its logical inconsistencies, which is probably a good thing.

The Newsroom: Season 1, Episode 10–The Greater Fool

“The greater fool is someone with the perfect blend of self-delusion and ego, to think that he can succeed where others have failed. This whole country was made by greater fools.”

Now that’s how to do a season finale. In a day when I’ve seen two such beasts, it was reassuring to know that, despite my equivocal feelings on the True Blood one, The Newsroom came up trumps with a stirring finale that seemed to encapsulate all the strengths (and, yes, weaknesses) of the show so far. Plots were resolved, character arcs completed, and a sense of closure achieved, even while leaving avenues open for the story to continue.

Of course, this is probably because The Newsroom finale, unlike True Blood, was written before it was known whether the show would be renewed. That closure was needed in case this was the last we ever saw of Will, Mack and the gang. Aaron Sorkin has presumable learned from bitter experience that a TV showrunner doesn’t always manage to finish those ambitious multi-season arcs, and the result is an ending that the viewer can feel satisfied with that doesn’t preclude further stories.

How much you enjoyed this depended (like the series as a whole, in fact) on your tolerance of two things. Firstly, Aaron Sorkin using the drama as a platform for grandstanding his own political views. That one I have no problem with. Secondly, the fact that the storytelling, characters and direction are unashamedly old-fashioned. Will and Mack are basically Tracy and Hepburn. Charlie Skinner is every wise old mentor in every news drama. Leona is every grasping corporate executive with a hidden heart of gold. And every problem can be solved at the last minute by the basic common decency of the people involved, who all pull together and make it right.

That kind of storytelling can often rankle with me, particularly because of its heartstring-tugging sentiment. In my early reviews of The Newsroom, it was a style I did find somewhat objectionable, but it’s a measure of how much I’ve come to like the show that while I still see those flaws, they matter less to me now.

Which was fortunate, because that need for character closure meant that this finale was lighter on the actual news stories than most episodes. After all, we had to deal with all the soap opera. Can Will and Mack overcome their past and get together, as they’re plainly meant to be? Can Maggie and Jim? And in a shock reveal this week, can (gasp) Don and Sloan?

The ‘rom com’ aspects of the characters have always been the biggest stumbling block for me – it’s a recurring Sorkin trope that various major characters must behave as though they’re constantly in a Richard Curtis movie. But by this point, I’ve come to care about the characters enough to genuinely want to see how it all plays out.

Not that it doesn’t still make me gnash my teeth with frustration every time that Jim and Maggie just miss out on getting together. This week, they came closer than ever before, due to a Freudian slip in a restaurant and a surprisingly vitriolic diatribe against Sex and the City.

So Maggie ‘accidentally’ let slip to Lisa how hard it was to see her with Jim, meaning she’s not only admitted her feelings to Lisa, but more importantly, to herself. Which was where Sex and the City came in. Having been soaked by a passing tour bus for that show’s NYC locations, Maggie totally went off on one about what it’s really like to be a single girl in New York: “Not all of our jobs revolve around shoes and gallery openings!” I’m guessing Aaron Sorkin’s not a big fan of Sarah Jessica Parker and the girls…

Unfortunately, Maggie’s rant included her feelings about her best friend’s boyfriend, who she now knows came to see her that fateful night in the last episode. I say ‘unfortunately’ because in a genuinely funny (if hugely contrived) moment of high romantic comedy, said boyfriend was actually atop that same tour bus, trying desperately to cram up on Lisa’s favourite TV show.

Yes, it was very much the stuff of traditional rom coms as Maggie realised and tried frantically to backpedal on her declaration. But I still laughed! And to cut a long story short, they kissed, dear reader. I mean, thank God! At last! They’ve finally worked out who they want to be with!

But oh no, Jim knows that the commitment Maggie finds lacking in Don is just round the corner, as he’s going to ask her (for all the wrong reasons) to move in with him. And so, her mind is changed back. Again. Just as Sloan has, quite unexpectedly, revealed not only an insight into Don’s personality (he thinks he’s a bad guy and tries to hard to be ‘good’) but also that she wants to go out with him herself! Just when you thought it was all resolved, the Don/Maggie/Jim/Lisa quadrangle is now a pentangle.

Ah well, I’ve resigned myself to the fact that this is obviously going to run and run – at least as long as the show does. Arguably more important is the relationship between Will and Mack, as the de facto leads of the ensemble, and slightly more progress was made there. In a script full of shout outs to the opening episode (I love a good circular narrative), Will revealed that the whole Don Quixote-like quest for his own integrity started with that ‘hallucination’ of Mack at the University seminar. And wouldn’t you just know it, Mack happened to be carrying the exact same pad she was that day, with her prompts to him still written on it.

So Will now knows that Mack was really there, and cares for him as much as she believes in him. Not sure that justifies such overwhelmingly sickly dialogue as “I bet your heart’s melting just now, isn’t it?”, but it turned out to be germane to the wider plot as Will made Mack aware of the message that he’d left her while stoned on the night of Bin Laden’s death. A message, it turned out, that Mack hadn’t received but bitchy gossip columnist Nina had. There could be only one explanation – Mack’s phone had been hacked and the message deleted.

That was a typical last-minute save after Charlie’s NSA source had been shown as lacking credibility, then actually killed himself apparently in desperation at the uncaring attitude of his own children. That’s more of that old-fashioned storytelling, right there – spend most of the episode dashing Charlie’s (and our) hopes of getting the upper hand over Leona Lansing, then pull out the save at the last minute.

And ‘hand’ really is the correct term here – the final showdown with Leona and Reese turned out to be as good a poker bluff as I’ve ever seen. The envelope full of ‘evidence’ Charlie brought along turned out to be Hancock’s recipe for beef stew. But by the time Leona found that out, Reese had already admitted to having ordered the hacking (after some James Murdoch-like slippery equivocation about “maximising profit”).

Given that this makes Leona effectively the Rupert Murdoch figure here, the script wrongfooted me by actually giving her more of a conscience than the genuine article. She was appalled at Reese’s methods (I notice the list of hackees involved some very emotive ones like relatives of Somali kidnap victims). And she finally succumbed to Charlie’s appeal to her integrity by letting the News Night crew just get on with it, but only with the stern warning that Will shouldn’t miss the target. Good advice from Jane Fonda, whose unfeasibly fit body had been the subject of Will’s opening remarks at the meeting – a nice sly reference to all those ‘Jane Fonda Workout’ videos so prevalent in the 80s.

And that target, as it has been throughout, was the Tea Party. The actual tangible news story the criticism was hooked to was the increasing use of a photo ID requirement to disenfranchise poorer voters in Republican states – not coincidentally, those voters least likely to vote Republican. This despite the fact that a Bush-era survey taken over several years revealed a mere 86 instances of voter fraud in a country of 314 million people.

Like so many of the issues the show addresses, this is still absolutely relevant, especially with the 2012 Presidential elections mere weeks away. As Will pointed out, some 33 Republican controlled states have instituted similar measures which make their poorer citizens less likely to be allowed to vote. It is, and should be, an absolute scandal – voter manipulation to ensure a doctored result. Jon Stewart has been rightly focusing heavily on it on The Daily Show, pointing out the same absurdities that Will McAvoy has; the motives seem very clear when you realise how little voter fraud actually happens. It is, plain and simple, to stop those who would vote against Republicans from voting at all. As an amusing side issue, there’s now a theory that Mitt Romney himself may actually be one of that tiny minority of actual electoral fraudsters, and that’s why he refuses to release his tax records from the period concerned…

Still, it’s really just the tip of an iceberg that is the Tea Party’s seizure of the Republicans. This final episode served to let Sorkin really let rip as to his opinions of that – Mitch McConnell’s asinine outbursts came in for scathing criticism, as did the repeated Tea Party insistence that the USA was founded as a “Christian nation” – despite evidence to the contrary from the Founding Fathers, and not least from the US Constitution itself. Sorkin’s indignation was neatly summed up at the end by Will on air, speaking the show creator’s words:

”Ideological purity. Compromise as weakness. A fundamentalist belief in scriptural literalism. Denying science. Unmoved by facts. Undeterred by new information. A hostile fear of progress. A demonization of education. A need to control women’s bodies. Severe xenophobia. Tribal mentality. Intolerance of dissent, and a pathological hatred of the US government. They can call themselves the Tea Party. They can call themselves conservatives. And they can even call themselves Republicans – though Republicans certainly shouldn’t. But we should call them what they are – the American Taliban. And the American Taliban cannot survive if Dorothy Cooper is allowed to vote.”

Yes, the shots of everyone watching (including Leona) looking tearfully moved were cheesy in an Airplane-style that’s easy to mock. But it was stirring. And in a week which has seen the Republicans settle on the most reactionary political platform in their history, it’s absolutely relevant and frighteningly true. This, for me, is what makes The Newsroom compelling drama, week after week – an address to real world issues that, in actual US news media, are worryingly neglected.

There’s an element of confirmation bias, of course – I already feel the way Sorkin does about these issues, and I doubt anyone who holds the views he despises will be much inclined to change them on the say so of a fictional character like Will McAvoy. But by using drama to give us facts that are all too often overlooked by an increasingly partisan press (the liberal side becoming every bit as bad as the conservative one, it seems), Sorkin sweetens a bitter pill that we all need to swallow. The medicine’s easier to take if administered by the charming likes of Will, Mack and Charlie, and I’ve enjoyed it so much I’m looking forward to more next year.

True Blood: Season 5, Episode 12–Save Yourself

“One of the worst things about being immortal is watching this same scenario happen over and over.”

Well, that was… interesting. As season finales go, the end of this year’s True Blood felt like a mix of good, bad and indifferent, in an episode that had a lot of entertainment but seemed rather lacking in a balanced dramatic structure. Sure, there was plenty of excitement, but it was unevenly punctuated by lengthy humorous scenes that, while good in themselves, felt like they’d strayed in from another episode where the resolution of the plot wasn’t so urgent.

Not that the (main) plot was resolved, which is something new for this show. True Blood has always ended its seasons on cliffhangers, but they usually presage an entirely new plot for the next year, after the current year’s main plot has been nicely tied up. This time, we got an excellent cliffhanger with Bill’s apparent transformation into a malevolent vampire god – but as a result, the whole running plot about the Authority’s takeover by the Sanguinista cult was never properly concluded.

And the episode seemed to somewhat abandon the seemingly impending civil war between vampires and humans that would logically have been provoked by Eric’s murder of General Cavanaugh last week. True, there was some lip service paid to this, with Sookie’s remark about the current climate of fear towards vampires, along with the Generals’ threatened release of footage of Russell and Steve killing 22 frat boys. But that was about it, and all hell singularly failed to break loose in the way I’d been rather expecting/hoping for.

It was far from the only plot thread that seemed to have been forgotten about almost entirely, though at least it had the excuse that it will presumably be resolved next season. Other things were rather harder to forgive even with this as a potential excuse. Sookie and Jason have spent half the season agonising over the deaths of their parents at the hands of the mysterious ‘Warlow’, and it would have seemed logical to have at least some payoff about this in the season finale. But no, their investigation was abandoned so entirely that it wasn’t even mentioned, despite Jason’s newfound visions of his dead parents egging him on to hate vampires. I know there was more urgent stuff going on, but surely either Jason or Sookie would have at least mentioned their ongoing quest, if only to say, “well, there’s more urgent stuff going on right now”.

It also smacked of a lack of dramatic balance that, after last week’s cliffhanger, Russell was dealt with so quickly, easily and terminally. As I said last week, great though he is as a character, Russell really did need to be decisively killed off to stop the show repeating itself (more than it already has, anyway). But I wasn’t expecting it to happen in the first few minutes of the episode, and by such a peremptory method as a quick staking from Eric. A villain as charismatic as Russell really deserved a better sendoff. As a result, we were also deprived of what had looked like an epic battle between the deranged vampire and the fairies, which felt like a shame.

Still, if Russell’s death felt like a rushed anticlimax, at least our heroes’ raid on Authority HQ dealt out some cool, blood-drenched action. Sookie and Jason joined forces with Eric, Nora and Tara to stage a proper commando raid, armed to the fangs with stakes, wooden bullets and crossbows. That a small group of rebels should get in so easily and slaughter what seemed like the entire vamp population made the lauded Authority security seem surprisingly ineffective after its appearance of hyper efficiency earlier on in the season.

To be fair, Bill had been lambasting them for this earlier in the episode, after it became clear that they’d failed to notice the infiltration of two shapeshifters into their larder. Nonetheless, the ease with which our gang turned pretty much the entire security force into puddles of red goo did tend to make you think that they must have been pretty crap vamps. And it rather undercut the fear/respect Bill and Eric had been according them early on in the season, that not only could Eric polish half of them off in an eyeblink, but they can’t even defend themselves against the awesome might of Jason Stackhouse.

Still, it was fun watching pretty much the entire Authority being reduced to puddles of goo in various inventive ways. Aside from our heroes’ commando raid, probably the most fun was the unfortunate demise of Chancellor Rosalyn, literally exploding from within as Sam transformed from a fly back to himself inside her. Gave a whole new meaning to the old song about an old lady who swallowed a fly…

That scene, with Luna exercising her newfound powers to transform into a replica of Steve Newlin, was kind of fun, but I’d already worked out that it was one of the shapeshifters impersonating Steve. Mind you, I’d guessed it was Sam rather than Luna, who must have also turned into a fly or similar to escape from the vamp larder, then dress in the good reverend’s clothes and reclaim her daughter. But it does beg the question of what happened to the real Newlin, last seen fleeing from the field where his lover had just been staked by Eric.

Bill’ s continuing machinations against Salome were also fun, but I had to wonder which part of Authority HQ that was occurring in, since they seemed fairly ignorant of the carnage being wrought outside. Still, I enjoyed the script again playing with our expectations of Bill, as he simperingly lied that Salome was his chosen leader. For a moment there, you thought he’d gone back to his old self and recognised some falsity in the ‘chosen one’ visions everyone had been having. But no, it turned out to be a scheme to get rid of his only remaining rival, by spiking what seemed to be Lilith’s blood with silver. So now Salome too is a puddle of goo,and Bill is free to be the ultimate leader. But leader of what, I wonder? By then end of this episode, he’s literally the only member of the Authority left.

Occasionally cutting into all this action was the oddly comic subplot of Andy Bellefleur’s fairy-related sexual misadventures. This culminated with his sometime fey lover Morella giving birth to baby after baby on the pool table of Merlotte’s, grudgingly assisted by his disapproving girlfriend Holly. It’s good that Holly and Andy have been given a bit more development this season, but was this really the time to have a comic interlude of fairy birth? It was fun, and made me smile more than once, but I was impatient to get back to Authority HQ and catch up on events there.

Which made it similarly frustrating that the script also chose this moment to return to the subplot dealing with the werewolf pack politics, which I’d thought pretty much dealt with. After all, with the death of Russell, surely it would be harder to get a hold of vampire blood to imbibe anyway?

But no, rascally old JD had been trapping vamps elsewhere, and force feeding V to his sometimes unwilling pack (not to mention forcing himself on some of the younger, more attractive females). Clearly Alice and his reluctant dad were going to have to put a stop to this, but with JD all V’d up, it seemed Alcide would have to fight fire with fire.

Again, this was well done, and good drama in its own right. But it felt inconsequential compared to the larger events going on elsewhere, and this felt like the wrong place for it to be. Still, Robert Patrick’s grizzled portrayal of Alcide’s cynical, broken father went some way to making up for its odd dramatic placement. Hopefully he’ll be back next year.

Along with, again hopefully, the answers to the questions I’d expected to find here. Were the visions of Lilith real? Last week I theorised they might have been Godric in disguise; I may have been wrong, but I still wouldn’t rule it out. How will the human/vampire tensions be reduced short of all out war? Who is/was Warlow? Why were the Authority troops suddenly so utterly incompetent they could have been recruited by Darth Vader?

Lots of questions, no answers. Don’t get me wrong, this was still entertaining. But as season finale its structure seemed all over the place, and the lack of resolution on so many important plot points was frustrating, even with the need for a cliffhanger to lead us into next year. I know a lot of fans have found this year’s season meandering and unfocused to the point of being hugely disappointing; personally, I’ve still enjoyed it even while recognising those flaws.

In one sense, it’s a shame that showrunner/creator Alan Ball is dropping out on a fairly unexceptional ending; but in another, we can hope that the new showrunner will inject some fresh blood into the show. This year, while still enjoyable, has had a real feeling of deja vu about it, with yet another attempt by vampires to take over the world, and the reappearance of fan favourite Russell Edgington. Perhaps next year, more intimate and innovative character-based arcs will help – it gets harder and harder for a show to keep topping its previous portrayals of near Armageddon. True Blood’s strength is its characters; I think that’s what it should be building on more than vague threats of a massive war.

The Newsroom: Season 1, Episode 9–The Blackout part 2: Mock Debate

“The story is this: Will is a heavyweight, and for a long time he pretended to be a lightweight.”

I still think it’s an odd/brave decision to have The Newsroom’s first two-part story at this point – in the first season before the show has properly proved itself, but late in that season so that there’s actually only one more episode after it. But actually the rationale holds up a little more strongly than I thought now I’ve seen ‘Part 2’ – because apart from the somewhat contrived cliffhanger last week, it doesn’t really feel like a two-part story at all, merely another episode in what’s basically an ongoing drama serial. In fact, given that it’s hard to point to any episode that feels totally self-contained so far, the whole idea of a two-part ‘story’ seems rather redundant.

Having said all that, how does this stack up as a ‘conclusion’ to The Blackout? From a straightforward perspective of dramatic structure, not all that well. We open with the studio in darkness, the evening’s broadcast jeopardised at the worst possible time, with ratings dropping and the network execs circling like sharks scenting blood. But Mack insists that, with a little ingenuity, they can carry on. Generators can be procured. Permissions can be obtained from the NYPD. And the show can be broadcast, from a single camera, right on the streets of New York City. Yes, Goddammit, let’s do the show right here!

It was an inspirational speech – but a contrived seeming one, like Bill Pullman’s toe-curling effort in Independence Day. Thankfully, just as it really was starting to look like an old Judy Garland musical where they stage the show in the barn, the lights came back on, to Mack’s disappointment. It was a belly laugh moment, and worked well at that; but having the ‘crisis’ of last week’s cliffhanger resolved (with no intervention from the heroes) in the first five minutes of the episode seemed to not only undermine the cliffhanger, but make the ‘two-part’ format seem a bit of a contrived cheat.

Further, it seemed to make the title a bit of a nonsense too – why call it The Blackout when said blackout, presumably intended as the dramatic pivot of the episodes, came and went in a couple of minutes? Still, Aaron Sorkin’s a clever man, so I immediately started looking for a more metaphorical meaning. Was it the ‘blacking out’ of honest news? The ‘blacking out’ of Mack and Will’s integrity, in their compromise over Casey Anthony to keep their proposed GOP debate? Had I missed something?

Still, if the ‘blackout’ of the title was a metaphor that passed me by (assuming it was more than a reference to a momentary plot blip), at least the second part of the title made sense on two levels. Yes, it was about a ‘mock debate’ staged by the newsroom staff to gain RNC approval for ANC to host it; but it was also about ‘mocking the debate’, as it became clear that the RNC shills sent to evaluate ANC’s proposal were never going to approve this in a million years, and the US voter would be left with such penetrating questions as CNN’s, “Miss Bachmann, do you prefer Elvis or Johnny Cash?”

Yes, after last week’s plethora of news story targets, this week the show focused down on just a couple, most prominent of which was those interminable Republican Primary debates that seemed to take up most of last year. The older of the two RNC officials (Adam Arkin as Adam Roth) sent to evaluate ANC’s approach used to work with Will in the Bush (1) White House, and shared his distaste for the pablum that passes for political debate on TV these days. But principles can be a costly thing; he can’t afford to stand up for them when the GOP’s wages are paying for his son to attend Stanford.

Sadly, it was obvious to anyone with a knowledge of how this kind of drama works that Will and Mack’s proposed debate format was never going to get off the ground. The Newsroom can comment on recent history, but to show our fictional characters taking an active part in such real events would stray too far out of the real world Sorkin’s so intent on commenting on. Nonetheless, it made the frustration he felt about the debates perfectly clear. As Roth commented, Will’s approach would “clear out the clown car” of the more outlandish Republican hopefuls. No such luck; instead we got a seemingly endless series of debates which began increasingly to resemble the theatre of the absurd, at the end of which the Party settled on the candidate least likely to cause offence. That Mitt Romney was that man tells you quite something about the electability of his competitors.

A shame we never got to see more of the mock debate, but I concede that Sorkin had already spent a fair bit of time last week demolishing the bizarre rhetoric of some of the more eccentric contenders. Instead, there were a few more tidbits on the newsworthiness of the Casey Anthony and Anthony Weiner stories. In particular, the absurdity of singling out the Casey Anthony trial as ‘tragedy porn’ was highlighted when it (highly conveniently) turned out that Maggie’s roommate (and Jim’s ‘Schrodinger’s girlfriend’) Lisa actually went to school with Casey, and was therefore summoned to appear on air as a promotable interviewee and an exclusive.

Her appearance was secured following a somewhat protracted comic scene showing Jim and Maggie pestering her at her job (selling insanely expensive dresses for commission only). Yes, it was quite amusing, but felt a bit dragged out – even though the script managed to work in an almost-quote from British comedy legends Morecambe and Wise. After Maggie spewed out various media jargon about ‘promotability’ and Lisa commented that she’d never hear Maggie use such words before, Maggie retorted that she certainly had, “but not in that order”.

That aside, Mack cleverly turned Lisa’s interview into a Trojan horse (at Maggie’s suggestion) by furnishing the interviewee with a detailed list of all the recent child murder trials that weren’t being reported sensationalistically coast to coast. Unfortunately Lisa, carried away with crusading zeal, then unwisely decided to shoehorn in her views on why abortion should be more acceptable. Given that this is one of the most incendiary subjects in US politics right now, it was little surprise that she found a brick being hurled through the window of the shop she worked at, and ‘Baby Killer’ sprayed all over the storefront.

This again gave Will a chance to show how moderate he is as a Republican. He may be ‘pro-life’ rather than ‘pro-choice’ (gotta love the linguistic contortions each side goes through to ensure they’re not seen as ‘anti’ anything), but he’s certainly anti-throwing bricks through windows.

Moderation, however, is not a big part of his emotional makeup when it comes to relationships. Following the trend last week, this episode saw yet more delving into the motivations behind Will and Mack’s breakup and inability to sort out their current feelings for each other. Will unloaded (again) to his therapist Dr Habib, who perceptively worked out that he’d been scouring internet dating sites for advice; meanwhile Mack intermittently fumed at her ex Brian, perhaps inadvertently giving the impression that she’s some kind of a ‘news groupie’, and prefers Will because he’s a more important journalist.

Despite yet another ‘reconciliation’ scene at the end of the episode, it’s plain that Sorkin thinks this plot has plenty more mileage in it yet. As indeed does the Maggie/Don/Jim/Lisa one, which is beginning to be actively frustrating in all of its participants’ inability to tell each other the truth and reach some kind of conclusion. Steps at least were made in that direction this week, as Mack’s inspirational quoting of a 17th century poem made Jim resolve that he was going to go for Maggie after all.

But with the inevitable comic timing of classic farce, he turned up at her apartment to tell her this just as A) Don was already there and B) Maggie had talked Lisa into giving Jim another go at dating. Just as I was about to scream with annoyance, Don, in a rare moment of empathy and perception, twigged that Jim had actually come to see Maggie, and spilled his guts about his own recent infidelities in an attempt to do the right thing. Perhaps some good will come of this. On more recent form though, Maggie will probably decide to take the plunge with Jim just as he’s got back with Lisa. And round and round it goes, until someone (possibly me) brains Aaron Sorkin with a tea kettle.

Speaking of violence, Neal’s comic quest to infiltrate the online community of trolls took a turn for the serious. Having tried and failed to gain their respect by trolling a discussion on economics and altering Sloan’s Wikipedia entry to say that she started out as a stripper, he was in the chatroom trying to claim responsibility for the death threat against Will. But he may have stumbled on a bigger story than he anticipated, as one user knows he’s lying – because that user was the real culprit. Cue Neal’s frantic call to Will’s bodyguard Lonnie, and the episode closing on a shot of a pensive Will, still a target.

This was an uneven episode with its none-too-convincing form as the second half of a two part story, but as an ongoing drama it was still pretty compelling. There’s just one more episode to go, though thankfully the show’s been renewed by HBO and will be back next year. News of the renewal may have altered the form of the final episode – I dread the possibility that the various ‘near-miss’ relationships’ resolutions will be artificially extended yet further. But there’s also the genuine drama of the death threat against Will, who seems to have been ditching his bodyguard with alarming regularity, and the impending exposure of ACN’s parent company as a News International-type phone hacking operation. However it goes, I think there’s going to be plenty of excitement next week.