The Room in the Tower

 "I've given you the room in the tower..."

It's that time of year, and so we have the latest of the BBC's Ghost Stories for Christmas helmed, as ever, by Mark Gatiss and on iPlayer right now along with all of its modern predecessors. It's really rather good, an adaptation of a short story by E.F. Benson. I'm in two minds, though- it's good to see adaptations of other writers, but I sort of pine for that M.R. James feel.

This is typical Gatiss Christmas fare, I suppose, which is no bad thing. Despite the ending, which is thoroughly earned, it's a slow, atmospheric tale in which the feeling of dread is slowly and masterfully managed by both script and visuals. The pacing is slow and old-fashioned, which some will not like. I very much do; the slow pace is precisely the point with a ghost story like this, all about mood.

Tobias Menzies does a good job as the protagonist, but it's incredible how subtly terrifying Joanna Lumley manages to be with what really isn't very much screen time. She really steals the show. The framing device with the air raid works well, too, and helps the ending to hit hard. This is, I think, one of the better Ghost Stories of recent years.

The War Between the Land and the Sea: The End of the War

 "We will give you anything you want. Because we are terrified of you."

RTD is writing again for what proves to be a dramatic finale that hits hard and delivers its political subtext relatively well for current television. The human race is indeed out of control, what with the climate catastrophe, pollution, threats of nuclear war, unregulated AI and other such nonsense, all in the name of profit- however nice individual humans may be. And the dog eating scene... yeah, we all know which orange individual is being referred to there. Nice one.

The plot here, if we look at the broad thrust, is quite horrifying. The Sea Devils seem to have won. Humanity has an impossible five years to implement the terms, or the Sea Devils will melt the ice caps, causing mass floods and even more carbon emissions. But some have a plan, Severance, to stop them, and it's particularly pernicious. Not only is it genocidal, it cruelly exploits the love which Barclay has for Salt, using him as the unwitting vector for transmission... and then we get the Sea Devil bodies washing up on the beach. 90% of all Sea Devils are dead. Humanity has won. And we are truly terrifying.

Some may criticise the virus as deus ex machina. I wouldn't. "Severance" is seeded well in advance. But one other possible criticism is how similar this is, plot-wise, to the resolution of H.G. Wells' The War of the Worlds. There's a thin line, sometimes, between homage and just simply lifting something, and I'm not sure which side of the line to place this.

There's much else, though. Kate Lethbridge-Stewart has been deepened considerably as a character within this series. Grief-stricken, obsessive, workaholic, capable of blackmail to avoid being signed off work, her threats to the prime minister are great stuff... but will this be built upon later? I like the reference to the Doctor's absence, though- "I save the human race, but I don't shape the human race". And the scientist's comment that "from the moment homo sapiens meet a new species, we slaughter them.". Indeed. What hope for the Sea Devils, after the fate of the Neanderthals, Denisovans and countless other hominids that went before them?

Salt and Barclay may get their happy ending to counterbalance the bleakness, as Barclay grows gills(!) and goes to live in the sea. But he's abandoning his child, and that sits very badly with me. This, the War of the Worlds issue, and the need for Kate's character development to actually be followed through on, are real worries for me. But there's no doubt that this is a hard-hitting and impactful finale.

Stranger Things: Season 5, Chapter 7- The Bridge

 "Guess you didn't need truth serum, huh?"

So Max is awake. Her muscles are weak, she's in a wheelchair for now, but these things will pass. It's very much penultimate episode from this point onwards, though, with high stakes. And, despite some oddly negative reviews for this episode (Far right culture warriors getting mardy about a certain scene I'll discuss later, foreshadowed early on by Joyce geeing up Will?)

Now, I saw this episode and its two predecessors in one sitting, with Little Miss Llamastrangler, and blogged all three based mainly on my note but, inevitably, also by a certain amount of memory. So I boobed by saying in my last blog post (now amended) that it revealed the lore that the Upside Down is not another dimension but merely a wormhole, connecting Hawkins to a not-very-nice dimension which Dustin dubs "the Abyss" and is presumably the source of the Demogorgons and such. It is, of course, in this episode that Dustin, armed with Brenner's notebook and a very big brain, gets that rather awesome exposition scene.

Plans are made. The gang is going in. Will is pivotal, he must be strong... so we have that amazing coming out scene, one of the most moving scenes in all of Stranger Things and also one of the most satisfying. Mike's musical taste- the Butthole Surfers and the Replacements- is exquisite. But not all is positive. There are unresolved issues between El and Hopper- will Hopper die with them unresolved in the finale? Then there's Kali telling Eleven that there's no hope and they both need to stay in the expunged Upside Down and die. Then there's Holly who, after all that, is recaptured and heavily gaslit. Henry has all the kids and begins his plan.

Awesome stuff, of course. But some predictions for the finale. Who will live and who will die?

I wonder if Hopper will die, as above. Kali, but not Eleven. Max is probably the safest character- the Duffer Brothers wouldn't put her through all that with the coma only to kill her, right? Surely not the core gang- Dustin, Lucas, El, Mike and Will. Not Nancy and Jonathan, who have just fixed their relationship. But, if that's the case... what about Steve?

Stranger Things: Season 5, Chapter 6- Escape from Camazotz

 "Before you say anything... I know it's five o'clock in the morning, but I need you to build me a telemetry tracker."

Fortunately, in the light of what we soon learn, Nancy's shot does only minor damage, despite the pyrotechnics, because we get some fascinating new lore here: the Upside Down is not what we thought, as outside is simply void. This is pretty damn cool.

So is the lovely scene between Nancy and Jonathan, within which they reconnect and confirm their love by not getting engaged at what would have been the wrong time. Plus they don't die, which is nice. We also have a nice scene with Dustin and Steve reconciling, and one in which Joyce and Hopper bond on what we parents know is the impossible question- how to get the balance right between being overprotective of your child and risking harm. The characterisation for this episode in particular is superb, but one could say the same for the season as a whole.

But the main focus of the episode is Max and Holly's eponymous escape from Camazotz. Holly's cleverness finds the way out in a superb sequence of scenes which also reveal that Henry was carrying some serious childhood trauma. This, of course, makes sense, with him as a metaphor for abuse. The cycle of abuse is a terrible thing.

With Holly having made the breakthrough, Max in turn helps her to find her own portal, albeit not to Hawkins but where her physical body is. But Max is in trouble- Vecna has Will, and is cruelly gaslighting him with "vessels" and "new and better worlds", and goading him with how he's Vecna's unwitting accomplice.

Even worse, he uses Will's mind to locate Max's body, leading to the awesome hospital sequence which brings the episode to an exciting climax, while also resolving the tension between Robin and Vickie. Yes, the Demogorgons do rather seem to be taking their time finding the gang, but Karen Wheeler to the rescue....

Another superb episode. I have high hopes that the Duffer Brothers will stick the landing. Fingers crossed...

Stranger Things: Season 5, Chapter 5- Shock Jock

"There are no happy endings, Jane. Not for us."

We begin (incidentally, Frank Darabont of Walking Dead fame directs), despite the awesome revelations about Will last episode, with the gang in a downbeat mood, positive and lovely that Joyce may be; Vecna has all the kids. This is bad on the surface as Vecna's plans are not at all good, but there's a definite subtext to Henry and it's a creepy one, one of grooming, noncery and such vile things which, sadly exist. So, yeah, let's actually release the Epstein files, hmm? Wouldn't it be lovely if they were leaked by someone beyond Dementia Donnie's reach.

We get reminded of Lucas' theoretical 6 November "deadline", which is at once diegetic and non-diegetic. So things are high stakes. Plus we now have, after last episode's events, Kali, whose own story is pretty damn bleak... Sarah Connor needed her blood to give to captive pregnant women in order to make more "numbers". And, this time around, the season is airing at a time when we can truly believe that the US government is evil, what with CECOT, the state terrorists of ICE, and all that. If Vecna is a metaphor for vile abuse, Sarah Connor is a metaphor for MAGA fascism.

Still, we have plans by the gangs. Joyce has faith in her awesome son, and wants him to go on the attack against Vecna, and this ends up happening by means of... well, the reason for the episode title. Meanwhile, Dustin plans to break through the wall in the Upside Down by means of a Death Star analogy. What could possibly go wrong?

The end is bleak. Max and Holly plot their escape, with some surprising help from Derek, but the first attempt never succeeds in such cases, and they end up in Vecna's clutches. Yes, Will attacks Vecna and helps them escape, but he's ultimately defeated, and rendered as comatose as Max is. Even worse, Dustin has a terrifying realisation...

This season is simply on fire, this episode as much as any, and I'm really liking the subtext.

The War Between the Land and the Sea: The Witch of the Waterfall

 "You'll never swim alone!"

Hmm. I can see what they're trying to do, and even admire it. There's a racism and xenophobia subtext in this episode, especially given that the phrase "great replacement theory" gets bandied around at one point. Far right conspiracies, rich oligarchs, populism... these are, of course, terrible things. So Salt gets arrested, there's the deepfake image of her claiming responsibility, all so very topical. It's all very well done, but perhaps a little too obviously on the nose.

Then there's the weird romance between Salt and Barclay, now rebels together against both human and Sea Devil. Yes, we've seen their mutual attraction, but I'm not sure I buy this. Again, we have the racism angle, and this is supposed to show an interracial relationship as a contrast to all the MAGA-type racism. But the analogy doesn't hold. Barclay and salt aren't people of different ethnicities, they're literally a mammal and a reptile... "interracial" is a much bigger deal here.

And there's Kate, overworking and ploughing through her grief. Jemma Redgrave is superb here, but the character just isn't that deep, and this deep focus on her characterisation just doesn't really work as a consequence. And the stuff with the conspiracy, and the stressed prime minister in over his head... again, I like and appreciate what they're trying to do in theory. But the execution makes no sense. Why is a British PM being advised by American and French generals rather than the Cabinet? Why is an American general giving orders to the British army on London's streets? The whole thing doesn't quite come off, and I just don't buy the stand-off at the end.

Perhaps I'm being a little harsh. The whole thing looks superb, and the performances remain first rate. The dialogue is often impressive. But I'm not sure this is quite working in terms of the execution when it comes to both plot and subtext. I hope the finale makes me feel differently...

Stranger Things: Season 5, Chapter 4- Sorcerer

 "Henry is a lot of things, but in trouble with the monsters is not one of them."

Wow. That episode was a bit good, to put it mildly. But I'll open with my only gripe before I go on to the gushing... Stranger Things takes such care over the '80s period detail, but seems to get sloppy when it comes to D&D, and we have a particularly wincing example here. Mike's pep talk to Will is great, but it's anachronistic, because the sorcerer character class, as opposed to the magic user or wizard, was not introduced until 3rd edition in 2000, whereas in 1987 things were very much either OD&D or 1st edition. This may seem a minor point to those who don't play D&D, but it's basic stuff and certainly not a minor error.

That aside, though, this episode is pretty much flawless. I'm relieved to see so much of Max here. She may spend pretty much doing exposition to Holly, but it's truly magnificent, conceptually mind-blowing exposition that both answers questions and asks them. Is Henry/Vecna in some kind of psychic prison?

The Great Escape set piece is awesome, of course. So is Dustin's breakthrough with the wall in the Upside Down, and the scenes between Eleven and Hopper are both exciting and great in terms of characterisation. I like the bait and switch- we expect to find Vecna in that room, but we find Eight.

That final sequence, though, with all those Demogorgons, all the children taken by Vecna and all seeming lost.... but then Will gets the pep talk from Vecna (Why? What is Vecna planning for Will? Because this is a crucial thread this season.) and realises he has powers...

Now that's what I call a cliffhanger. And that's what I call bloody good telly, much though I may worry that the insanely high production values provide simply impossible competition to the rest of telly.

Roll on Christmas.

Stranger Things: Season 5, Chapter 3- The Turnbow Trap

 "No, we're saving a child via kidnapping."

I know, I'm getting rather behind: bear with me, it's my condition. All will be well after the op. Meanwhile, though, I have Little Miss Llamastrangler with me for Christmas (yay!) and so not bingeing Stranger Things is absolutely not a thing this week.

This episode is, basically, magnificent. All that stuff with Holly and Henry is splendidly fairytale, right down to the Red Riding Hood outfit, and the reveal with Max is a magnificent shock... but makes total sense. I assume her mind has been there since going into the coma, that Henry wants to keep Holly away from the forest in order to stop her meeting Max, and it was in fact Max who wrote the note? We shall see!

I'm loving the character moments. Murray urging Jonathan to propose to Nancy. The stuff between Will and Joyce. Will asking Robin about the experience of being gay. Dustin doing that to Steve's car.

All that, and we get a superb Home Alone type set piece. We finally get to see Erica again- it's about time; she's awesome. We get hints- does Dr Sarah Connor really have Vecna's physical body as a prisoner? What's her angle, though, besides wanting Eleven?

This episode has it all- the set pieces, the character moments, Winona Ryder's superb acting. One more to go until I'm caught up...

The War Between the Land and the Sea: The Deep

 "If you're trying to keep the peace, you've already failed."

The third episode maintains the quality by pushing the tension even further, daring to pace things slowly in a way that really works. There's so much superb characterisation here in both script and performances, but malevolent forces are lurking behind the scenes and the shock ending (if not that detail!) feels both earned and inevitable.

The scenes with Barbara and Kirby, with TikTok calling Barclay both a fool and a traitor, shows us just how much pressure he's under, as well as how awful humanity can be in this age of far right culture war. And I have to admire how the slow descent is dwelt on, with some superb and very real characterisation alongside the building up of tension. This takes up a huge chunk of the episode and, in pure plot terms, is technically padding. Yet it's utterly gripping, the atmospheric pressure of the deep an apposite metaphor for the pressure felt by Barclay.

Yet, on the surface, all is not well. Kate is overworking, to the concern of Colonel Ibrahim, while the prime minister tries to subtly exclude her, himself being manipulated by the dark forces of the military-industrial complex.

The home of the Sea Devils (and other races) is quite the sight. We, and Barclay, are fed a little more lore- the Sea Devils are nomadic, and seem to count dolphins amongst the many aquatic races! And Barclay and Salt have blatant sexual tension. A mammal and a reptile...!

The end comes as a huge shock, though. The assassination attempt on Kate, Ibrahim taking the bullet for her and dying, her anguish as her soulmate dies in her arms- Jemma Redgrave is extraordinary here. And then we see why Ted was so nervous all along... he was a suicide bomber, and we know who he's broadly working for.

Wow. It's all kicking off. This is gripping stuff, still.

Update

 As per the previous update, just bear with me between now and my surgery in late January, a rather unpleasant hernia is making concentration a bit difficult. I'll endeavour to get the third and fourth episodes of The War Between the Land and the Sea done this week, but I can't manage to focus properly today. I may be able to manage a short episode of Batman: The Animated Series shortly though.

Next week (21st-28th December inclusive) is likely to be very blog-lite for family reasons, but I'll be back to what currently passes for normal after that.

Stranger Things: Season 5, Chapter 2- The Vanishing of Holly Wheeler

 "Heavens to Betsy!"

This season continues to be brilliant, in terms of script and acting. It also looks amazing, a case in point being the initial sequence of the Demogorgon going after Holly and ultimately taking her, despite Karen's heroism and unorthodox usage of a wine bottle (fortunately, she'd drunk it earlier!)- it looks incredibly expensive on screen. And, well, it probably was. Clever, too, that the episode title harks back to the first ever episode, with Holly being in the same position as Will was... hence, I assume, the sequence at the start of last episode.

And I'll never listen to ABBA in the same way again...

The characters generally pair off so they get to interact, have character moments and be well used. Hence Robin and Will pairing off to rebelliously enact Operation Antennae behind Joyce's back, while singularly and ironically remaining in their respective closets, each of them unaware that the other is gay. Hence the lovely scene between El and Hopper as they come to understand each other and reconcile- both of them are stubborn punk asses, but they love each other. And... well, Hopper may be overprotective as a parent, but we understand why he's like that. And Sarah Connor has seen El in the car with Nancy. Oops. I bet the authorities cause lots of trouble arising from this...

Lucas is underused, but I appreciate how wise he's shown to be. Max is even more underused, a main character just lying down with eyes closed for two episodes. I hope things are as they seem and she's about to wake up.

Dustin is ok, mercilessly, just beaten up by townies who need taking down a peg or two. Him and Steve clashing over his reckless provocations is good stuff- they both care, but they're too emotionally constipated. And Steve's home truths to Jonathan about him and Nancy make for one unhappy van. But Steve, right now, is right about everything.

The ending is a shock, though, as Nancy (that hair, er, yeah...) and Mike discover that Holly's imaginary friend seems to have been... Vecna. Oh dear...

This is quite the climax and, once again, quite the episode. Season Five is firing on all cylinders so far.

The War Between the Land and the Sea: Plastic Apocalypse

 "This man is the most important person on the planet."

This episode may be Pete McTighe rather than RTD, but the quality continues. If it continues to do so, we could have something truly special here, a modern and deeply thoughtful updating of the Silurians' and Sea Devils' intrinsic subtexts. Here, though, there are two key differences. Firstly, the Sea Devils (still not having Homo Aqua, reptiles are not hominids!) are not opposed to humanity's existence, or ownership of the land; they merely object- strongly- to our pollution, and our possession of the oceans and waterways. Secondly, there's no Doctor... much as Kate may complain, when Barclay goes off script, that "This is like working with the Doctor"!

Yet there's the human side too. Barclay feels real, a testament to Russell Tovey's acting but also to the characterisation. His relation to Barbara and Kirby further humanises him, with Kirby genuinely both idealistic and proud of her dad. But humans, of course, are not perfect, and those with wealth and power are plotting to undermine UNIT. This plot thread can only deepen.

It's interesting to see UNIT more closely. For the first time we see Kate and Colonel Ibrahim at home, very much a couple, contrasting with their professionalism at work. We see speculation about a kind of Sea Devil hive mind. And... it becomes more and more unclear what Shirley's job description actually is.

Yet the drama of the actual diplomatic negotiations is enormous. Even more so than the Sea Devils' dramatic act of returning all plastic etc in the oceans back to land (including, in an echo of Ghostbusters II, the Titanic finally reaching New York)!. Salt and Barclay see to have real chemistry, yet her (and their) anger is palpable. Their demands are seemingly impossible, the sacrifices seemingly too great. Yet, from the Sea Devils' perspective, they are modest and reasonable.

There's long to go, and I've no idea how this will end. But the subtext, the pacing, the characters... this is very, very good.

Batman: The Animated Series- Harley and Ivy

 "You're just one big, forgiving doormat, aren't you?"

Another superb episode here, from the opening scenes with the very Tim Burton-esque Gotham cityscape evoking his two Batman films to the highly satisfying ending with Officer Montoya being the one to apprehend Poison Ivy and Harlequin. But, despite the highly 1960s-style deathtrap and the very Thelma and Louise crime wave (much of it shown via newspaper headlines in the use of a splendid old trope). this episode succeeds because of character.

It's fun seeing the two ladies capering together, especially sticking it to the Patriarchy in various ways. But this episode is fascinating as the first to truly depict the relationship between Harley and the Joker as it would later be understood- abusive, co-dependent, complex. Harlequin knows the Joker is abusing her but she misses him when he's not there, and needs him. It's complex, tragic, nuanced, and depicted so very well.

It's a Batman-lite episode, yes, but that's ok. This series is very strongly about its ensemble cast. Batman standing back gives us a chance to see some real depth to poor Harlequin in what is yet another superb episode.

The War Between the Land and the Sea: Homo Aqua

 "That's them- the gay waters!"

Before I start praising this promising first episode, a gripe about "homo aqua": it's just scientifically illiterate. Even this English graduate knows that the genus "homo" is for hominids, i.e. primate species that walk upright. The Sea Devils are not even mammals, let alone primates. It just doesn't work. I get that the name "Sea Devils" is pejorative, and I don't mean to be one of those tiresome culture warriors who whinge about "woke" this and "woke" that. But dammit, this is a fictional race, and I'm just not having this bad science. As far as I'm concerned, "Sea Devils" it is.

That said, though... this is a very promising start. It looks gorgeous, with the Disney budget well used. The cast, led by Russell Tovey, is excellent. There are some nice little Easter eggs for the fans- a glimpse of Trinity Wells; the surprising use of General (formerly Colonel) Pierce in a more important role all these years later; UNIT in all it's glory, with Kate, Colonel Ibrahim and Shirley all back... although no Blinx; that would hardly suit the more adult tone.

But best of all we have the impressive script from an RTD writing for an adult rather than family audience. The world-building and exposition is well done for people who haven't seen The Sea Devils, and so is the characterisation. General Pierce comes across as a well-rounded and rather impressive individual. Even better, though, is Barclay, the relatable everyman and audience surrogate, with whom we quickly come to identify. He's no one special, just a humble UNIT clerk, divorced and with complex child custody issues to navigate- I can certainly relate! And it's somehow made believable that a chain of events could lead to him being forced to act as humanity's ambassador to the Sea Devils.

I already want to watch more of this intriguing spin-off. I suspect pollution will be a theme, and I wonder what's going on with the two apparent other species. Are we going to get an explanation as to why the Sea Devils look so different, though?

This has real potential. I'm not going to say that it has Torchwood: Children of Earth vibes yet, but the potential is certainly there.

Update

 It's probably worth copying what I wrote yesterday, as not everyone will be following Batman: The Animated Series:

"Yes, I know: I'm doing another episode of Batman: The Animated Series as opposed to the other series I'm blogging- Stranger Things, Dexter, Gen V, with The War Between the Land and the Sea starting within days.

Fear not; I'm still blogging all of the above. But I've been struggling with a rather unpleasant hernia for the last year or so which makes it increasingly difficult to concentrate, among other things, and is slowly getting worse over time. The good news is that my employers are kindly allowing me to work the hours I can, on full pay, and that the whole bloody thing should be sorted by surgery in late January. I should be right back to normal after that.

But that means there are days when I can only manage to focus on a twenty minute episode as opposed to something longer. Hence Batman: The Animated Series. It doesn't mean I won't keep blogging those other programmes when I feel up to it, or films. But that's the situation...."

So I haven't gone anywhere, I'm just struggling a bit to focus at the moment with my condition. I'll be back in the new year.

Batman: The Animated Series- The Mechanic

 "I need a new car..."

Yes, I know: I'm doing another episode of Batman: The Animated Series as opposed to the other series I'm blogging- Stranger Things, Dexter, Gen V, with The War Between the Land and the Sea starting within days.

Fear not; I'm still blogging all of the above. But I've been struggling with a rather unpleasant hernia for the last year or so which makes it increasingly difficult to concentrate, among other things, and is slowly getting worse over time. The good news is that my employers are kindly allowing me to work the hours I can, on full pay, and that the whole bloody thing should be sorted by surgery in late January. I should be right back to normal after that.

But that means there are days when I can only manage to focus on a twenty minute episode as opposed to something longer. Hence Batman: The Animated Series. It doesn't mean I won't keep blogging those other programmes when I feel up to it, or films. But that's the situation....

Plus, of course. this show leaves Netflix on 21 December....

That said, I enjoyed this episode very much. Not for the fairly standard blackmail plot, perhaps, but for the worldbuilding. The Penguin (I loved his vulture!) is getting nicely fleshed out as a character by now. As ever, the car chases are hugely entertaining. And yet again the cars and the clothes evoke, appropriately, the '40s.

Yet even better than that is the introduction of Earl- not, I believe, a character from the comics or any other medium? That Batman should maintain his own mechanic makes perfect sense and, of course, adds to the texture of Batman and his world. I particularly loved the monochrome origin sequence, featuring a very retro Batmobile and Batman in his pre-1964 costume.

Surprising to see John de Lancie in a fairly minor role here, but yet another strong episode.

Batman: The Animated Series- Zatanna

 "This never happens to me in Vegas!"

This is a real first for the animated series- an appearance by another DC superhero, in this case Zatanna, whom I must confess I don't know very well. I understand that, in the comics, she has real magical powers, but that doesn't seem to be the case here. But the character is fun and engaging, and this is a fun little tale. 

The story- Zatanna being framed for a bank heist, Batman helping to exonerate her and grab the real culprit- is quick and simple, as the twenty minute run time demands, although the set pieces are particularly fun, with a couple of splendidly cliched death traps. It's also nice how Zatanna is inserted into Bruce's backstory, her dad teaching him escapology.

It's not a particularly pivotal episode, perhaps, but there's nowt wrong with that. Good fun, and Zatanna herself is extremely likeable.

Stranger Things: Season 5, Chapter 1- The Crawl

 "What is it about your presence that brings out your inner Neanderthal?"

I've missed Stranger Things... but then it's been three sodding years and, personally, soooo much life has happened since then.

No denying it, though: this is wonderful stuff, a strong and very fun first episode, letting all the characters breathe and remind us why we adore them so. It's November 1987, about a year later, Hawkins is rebuilding, quarantined, with a strong military presence investigating the Upside Down... and the doctor in charge of all this is played by Linda Hamilton, for once not playing Sarah Connor, in a bit of truly '80s-tastic casting.

The opening sequence, taking us back to the events of Will's disappearance, looks incredible and, yes, cinematic, meaning incredibly expensive. Most of the episode consists of the gang, a well-oiled machine at this point, at first planning and then executing their latest "crawl". It's gripping viewing and... yes, those last few scenes are cinematic, meaning incredibly expensive.

And... yeah. This is all awesome, but the flip side of this is that it's the perfect illustration of how the streaming model is just not sustainable. Television can't always look like blockbuster cinema, with the same production values, it can't always have such a low episode count per season and, yes, three years between seasons is far too damn long- one can't exactly criticise them for aging at a rate of one year per annum, but the "kids" all look about thirty-seven years old. And yet... can we put the genie back in the bottle? Will the public ever accept "normal" television production values ever again?

Such matters aside, though, this is amazing. There's upset- Dustin is such a good friend, always washing the graffiti off Eddie's grave, but he seems in very serious trouble from those vile bullies. I hope they get their comeuppance and, indeed, that Eddie's reputation is redeemed. Hopper's care for El is touching. And, most of all, Robin is the best DJ ever. And that cliffhanger...

More please?

Batman: The Animated Series- Paging The Crime Doctor

 "I thought I told you to take the day off..."

This is one of the finest episodes yet- perhaps the best.

Yes, it's a little contrived that Rupert Thorne should have a brother, Matt, whose medical career he has ruined but was an old med school friend of Lesley Thompkins and Thomas Wayne. But this nice little tale of moral ambiguity and dilemmas, and ultimately of redemption, is rich and deeply fulfilling. Even better is the final scene, with Bruce wanting nothing from Matt Thorne in return for funding his defence other than to "Tell me about my father".

Oh, there are loads of good episodes with the traditional rogues' gallery, and so they should be. Our favourite baddies are important. But the animated series really does have an added level of depth with mob characters like Rupert Thorne, and the likes of Lesley Thompkins who humanise Bruce Wayne. The relationship between those two is rather lovely.

I'm amazed how I suddenly seem to be quite far in to The Animated Series, and how little there is left to watch. Yet it is, by this point, pretty much a fully matured and impressive take on the character and the world. And episodes like this really highlight just how good it can be.

Gen V: H Is for Human

 "Well, you kind of get used to the public nudity stuff..."

I only know of Olivia Rodrigo from Little Miss Llamastrangler, but damn, this middle aged rocker has to admit that the song they play at the start is daaaaamn good, a bit heavy with good vocals and some good, old-fashioned teenage angst.

The worldbuilding continues to be great here, in all sorts of subtle ways. The insidious "Avenue V" kids programme, indeed best enjoyed via the medium of weed. The poor young human lady working at the coffee bar, subjected to constant abuse and trauma because of the flyers put there by unthinking Starlighters who, ironically, haven't stopped to check their supe privilege. And, of course, the decision to hush up the real perpetrators of the attack on Cate.

But the character stuff continues to be great, too. Cate's realisation that, if her powers don't come back, she's finished. Sam having to actually have his terrible deeds on his conscience now that Cate can no longer just take the bad memories away.

Then we have Marie realising from an "Aunt" (I recognise the actress from Dexter!) that she was conceived in a Vought fertility clinic... and delivered by none other than Cipher. But also, quite rightly, calling out her aunt that she didn't "massacre" her parents, just had her first period, with no agency or control over what would happen, and that she's blameless. A subtle dig there at the Neanderthals who see periods as "unclean"?

So much going on. But the ending, with Jordan telling Marie that they love her back, and then... that ending. Wow... this is how you keep an arc going. Excellent stuff.

Update

 Bear with me- I do realise I’m not blogging quite as often at the moment. This is because of a gradually worsening health condition which, thankfully, should be dealt with by surgery in the New Year.

But I haven’t stopped blogging any of my usual stuff, fear not. There just won’t quite be the same frequency.

The Apprentice (2024)

"Have you no decency?"

"Oh, I've heard that before..."

The more my thoughts dwell on this film, the more I come to appreciate it. It is, I suppose, a tale of two monsters- ultra-reactionary, homophobic, gay, anti-Semitic, Jewish, sadistic, loyal, charismatic fixer Roy Cohn and the utterly amoral Donald Trump. It isn't quite the making of a monster- we only really hint at the sheer nightmarishness of having Fred Trump as a father- but Cohn was, shall we say, a bad influence on the boy. As for Cohn's own demons, well...

Ali Abbasi does a superb job of evoking the New York of the 1970s and '80s, with the fashions, soundtrack and mores truly evoking a time that is longer ago than some of us like to imagine. From the exclusive New York clubs to the cocaine-fuelled orgies to the emergence of AIDS... it was a different time.

Sebastian Stan is perfect as Trump, inhabiting the entitled, soulless, empty man without crossing the line into doing an impression. He showcases the charm and charisma, but also makes it clear what a truly horrible orange monster the boy was and is. That scene with poor Ivana is truly horrific. Alas, if only she'd stayed with her boyfriend.

Yet the film truly belongs to Jeremy Strong, who truly inhabits both the mannerisms and the deep darkness of Roy Cohn, a truly evil man who, uniquely among the many tragic victims of AIDS, deserves no sympathy. We follow the power balance between these two men, Cohn as alpha male and mentor and Trump as supplicant at first... until the orange monster, having learned what he needs, has no further time for this pathetic, weak old man, happily claiming credit for Cohn's methods as his own.

That final, tragic, birthday party for a very frail Cohn, though... remind you of anyone?

Batman: The Animated Series- Mudslide

 "It seems that Clayface is losing his integrity."

"I wasn't aware that he had any to begin with."

So that's the end of Clayface? I may be wrong, but it's surprising. The character doesn't seem to have appeared much.

I have to say this episode, while structurally seeming to be well constructed (unlike Clayface himself!), doesn't quite work for me. Stella is quite sympathetic, yes, but she's just the trope of the girl who falls in love with a bad boy. And Hagen... well, he isn't sympathetic at all. Indeed, the moment where he smashes the telly even gives domestic violence vibes. So a tragic ending for him isn't going to work.

Still, the concept of his having to steal in order to fund the expensive business of staying alive sort of works, there are some good set pieces, and there's a sort of nice mini-mystery about Stella's identity. But the whole thing doesn't quite work, basically because it just doesn't really generate any pathos. 

And Batman sabotaging Clayface's cure... why? The stolen stuff is a sunk cost by then, anyway, and it's just plain immoral. Not only do we not have much sympathy for Clayface, but Batman himself is certainly no hero here.

A rare misfire.

Des: Episode 3

 "I could never have stopped..."

And it ends with a highly dramatic and entertaining courtroom drama, with twists and turns throughout until we reach the relief of the guilty verdict, a majority (but not all) of the jury rejecting Nielsen's claims of diminished responsibility.

Yet there's more to it that that. This is a deeply ethical episode of television that focuses heavily on the suffering of the victims, and those who mourn them. Neither we nor Peter Jay can fault the anger of the widow who's ex is not getting justice. Then there's Carl, a deeply traumatised survivor, who endures vile homophobic abuse not only outside the court but inside the witness box.

Also, though, it becomes disturbingly clear how Nilsen is controlling the whole narrative, despite the outcome, everything proceeding on his terms, including his acceptance of the verdict. And it's satisfying to see Brian Masters not only come to realise this, but to assert control in how he frames his biography, firmly stating that it's not about Nilsen's ego, but a "warning".

Nilsen may be charming when he wants to be, he may be unassuming. He may quote Cervantes. But he's also a deeply controlling monster who destroyed lives and caused untold suffering. This drama, and this final episode, examine this superbly and tastefully.

And, yet again, David Tennant is magnificent.

Dexter: Dex, Lies and Videotape

 "What step was that?"

"The naughty one!"

So... Dexter gets away with deleting the marina footage by the old fire alarm trick. Easy... and, perhaps, a bit of a cheat, given the weight put on this at the end of last episode. But not all problems are so easily solved. Doakes is getting very persistent in his suspicions now. Dexter can deal with this by partly confiding in LaGuerta, of course. And she has reasons to be concerned about Doakes' obsessiveness... and yes, it's confirmed: they're exes, with a past. Quite the conflict of interest in her being his boss, then.

I suspect Doakes will, in the long run, keep being persistent, and it won't end well for him. But, yet again, we ought to remember: he's right. And he may be the antagonist but he's not the bad guy. Dexter is.

And Dexter has another problem now: a vengeful ex-mother-in-law. Choosing the somewhat wild femme fatale Lila over decent, dependable Rita is certainly most unwise of him, to say nothing of the morality. He's been emotionally cheating on her for a while, confiding things to Lila and not to Rita. And now, after Rita gets the wrong end of the stick, he actually does literally cheat on her... and admit it. Wow.

Lila bonds with him much better. He can be a closer approximation of his true self with her. But... I'm full of foreboding.

We have more bonding between Deb and Lundy, who seems to be morphing into something of a father figure. And it's being made teasingly ambiguous that he may suspect Dexter. I suspect they'll string this out for quite a while.

Oh, and then there's the copycat killer, played by Monroe from Grimm. Dexter protests rather too much when he insists that his murders are "principled" and this man's are not. It's becoming increasingly emphasises that even Harry didn't actually have a "code", much less Dexter. But scenes like this are deliciously revealing.

Another excellent episode, with some cleverly nuanced scripting. And it's the perfect balance between having us accept Dexter as the protagonist while always reminding us that, if this show has a hero, it's certainly not him.

Skyfall (2012)

 "You were expecting an exploding pen?"

And so here we reach unexplored territory for me- until yesterday, I hadn't seen any James Bond films since Quantum of Solace because... well, you know. But this, the very next film, is an absolutely superb return to form, and I'm not only talking about the brilliant theme song.

One of the things you tend to notice at the start of a film, before you get "used" to it, is the artiness of the direction, the composition of the shots, the camera angles, that sort of thing. And yes, Sam Mendes shoots this film very creatively. And yet at no point does he forget that he's shooting an action film. The set pieces, the action sequences, they're particularly magnificent in this film and that's down to Mendes.

The script is superb too, though. This is a Bond who's getting older, past his peak, but determined to keep going. We have a new Q, more of a computer whiz than a purveyor of gadgets- nice idea, but let's see how long that lasts. This is M's swansong, of course, with Judi Dench doing a bloody good death scene and Ralph Fiennes taking over as the new M to whose name, shockingly, we are actually made privy.

Oh yes, and there's Eve. I like the reveal about her at the end... and it's a new spin on the character to have her be a former field agent. Even the villain has motives that are closer to home. Indeed, while this is in some ways a typical Bond film on the surface, with big action sequences in Istanbul and Shanghai, it's fundamentally more about character, with the climax being a siege in Bond's rather posh childhood home. And yet, still, it never forgets that it's an action film.

This is the best Bond film in a very long time.

Batman: The Animated Series- The Man Who Killed Batman

 "Without Batman, crime has no punchline."

We begin with rain, with night-time darkness, with interesting camera angles giving a very noir feel, matching the '40s fashions and cars for which the Animated Series is known. And a small time crook, one Sidney Debris, face drawn in that slightly cartoonish way of which the Animated series can be fond, seems to have killed Batman, in circumstances which he relates to Rupert Thorne, and to us.

This is one op those episodes that are "Batman-lite", and are told from a specific perspective. Such episodes are often among the best, and this is certainly no exception.

Debris, except in his head, is a hopeless loser. Set up to take the fall, he accidentally seems to kill Batman, but the fame proves too much for this mouse of a man. Violence, suspicion, a dangerous encounter with a fascinating nuanced and unstable Joker (by this point the character of the Joker, and his rapport with Harley Quinn, is very interesting), all drives him to desperately seek help from Thorne.

And here we have the two clever twists that really make the episode: Thorne doesn't believe him, thinking him a dangerous rival and, less surprisingly, Batman is not in fact dead (interestingly, not only Montoya but also Bullock must presumably have been in on it) but using Debris as a reward to get to Thorne. It's all delightfully clever, and the ending- Debris finding respect as a big man in prison- is perfect.

As is, perhaps, the episode itself.

Des: Episode 2

 "Death gives no refunds..."

Yes, I know, I don't usually blog the same programme on consecutive days, but this time I have, so nyeeer. Something different next time, though, I promise!

Another superb bit of telly here, and another superlative performance from David Tennant, adding further layers. Dennis Nilsen is still the paradoxical monster with principles from last episode, yet this time he's more sinister and controlling... indeed, a very controlling man, co-operating (or not) on his own terms. It was he who complained about his drains in the first place, wanting to be caught: he's been trying to curate the whole thing. And then the curveball at the end, as the trial begins and he unexpectedly tries to plead not guilty.

Yet at the same time he's... well, DI Peter Jay describes him to the press as "unassuming". And this is nevertheless a man who loves his dog. Brian Masters uncovers certain things about Nilsen's past for his book (a real book, which no doubt garnered many extra sales from this series), but quite rightly resists the urge to draw conclusions. And Masters' own motives eventually become clear: the definitive book on Nilsen's crimes must come from within the gay community in such deeply homophobic times.

The other cause of conflict here is Peter's desire to identify all fifteen victims and the reality that the police are a public service like any other and must justify their costs. With six victims identified... six murders will put Nilsen behind bars forever. It's the right decision, awful though it is, to end the investigation there. But, after they identify a seventh victim too late to prosecute, we see the human cost as Peter has to explain this to the devastated widow. This series refuses to glamorise the killer and puts the victims first, always.

If anything, this episode is even better than the first. Very impressive indeed.

Des: Episode 1

 "How didn't we know?"

The first thing to say about this dramatisation of the investigation into the appalling crimes of Dennis Nilsen is that David Tennant is utterly spellbinding as this calm, seemingly ordinary and unassuming, polite and even cultured man who committed fifteen violent murders. The character is, of course, fascinating- a disarmingly articulate, thoughtful monster, by no means without compassion for his victims ("This bloody government does nothing for them"), with an integrity of sorts and determined to assist the police in unearthing the truth as well as he can, even to the point of dismissing his solicitor. And yet... a monster.

Yet also at fault is the harsh, uncaring nature of London in the early 1980s. Far from its roads being paved with gold, it sucks in the young and vulnerable, exploits and abuses them... to the point where fifteen young men can disappear and not be missed.

Also interesting is DI Peter Jay (it annoys me that the programme has journalists address him as "detective" rather than "inspector", which didn't and doesn't happen in the UK, especially as the attention to detail seems very good), a very human copper whose wife won't let him see his kids seemingly for no good reason. And then there's Jason Watkins' interesting Brian Masters, who seems not only fascinated by this young serial killer but determined to understand him.

A promising start, then, very wisely showing everything from the point of view of the investigation. Yet the moment that lingers in the mind is one of deep humanity, as Stephen Sinclair's parents learn the unthinkable truth of what happened to their son. And that's this episode's big strength- that focus on humanity over sensationalism.

Dexter: The Dark Defender

 "Should we call the Super Friends for help?"

So... that was an actual armadillo. Wow! Very strange for this Brit to think of one of those as a creature that might find its way into one's home. A hedgehog it is not.

Anyway, basically another top episode, and as ever it's a fascinating one in terms of where this is all going.

Dexter likes a queue.... yeah, that fits. But we also have an interesting sibling chat: Deb really has it in for the "Bay Harbour Butcher". But others (naturally occurring overheard vox pops) approve of him, probably hangers and floggers and people who loved Chuck Dixon's run on The Punisher. But it's an interesting binary, the divided attitudes.

And then we get a murder in a comic shop, as Sophie Ellis-Bextor didn't quite sing. And this riffs on that very contrast- is Dexter the "Dark Defender", a kind of Shadow/Mr A figure straight from pulp fiction or the Objectivism-addled mind of Steve Ditko, or is he just the "Bay Harbour Butcher", a common or garden serial killer?

There are other sub-plots. LaGuerta and Doakes are having a bit of an arc, with her very much concerned about his developing habit of shooting people, and... is it implied that they used to be a couple? Then there's deb's trust issues with Gabriel, and her interesting dynamic with her eccentric widower of a boss.

But really, as was always going to happen, this is about Dexter, and his flashback to his mum's murder opens a couple of cans of squirming invertebrates. Firstly... Harry not only slept with his mum but used her as bait and got her killed! If even Harry is deeply flawed, can there be any stability in Dexter's world. And he confides not in Rita, but Lila, who understands him more... and is as abnormal as he is. And so she is involved in his need to confront the surviving killer and get "closure".

I'm sure there will be consequences in the aftermath of said confrontation... not least in him getting closer to Lila. Especially after her confession to, effectively, murder by arson, but of someone bad in the same way as Dexter's victims. So suddenly these two have even more in common... but Lila is dangerous. She's chaos. Calling it now: she's going to die. But not before she and Dexter break poor Rita's heart.

Poor Rita. All the loyalty she's showing, sticking up for Dexter with her mum... by the rules of television drama, she's going to end up sooo heartbroken.

And that ending... oh dear. Another utterly gripping episode.

Gen V: Justice Never Forgets

"Today, as you are inducted into our sacred brotherhood, our legacy, it would do you well to remember our three trinities: wisdom, honour and dignity. Now take off your pants."

A confession: it's taken me until the second episode of Season Two to work out that "Gen V" is a semi-pun, supposed to rhyme with "Gen Z", as my British brain thinks "Gen Zed" and not "Gen Zee". But I get it now...

Anyway, another top episode. Lots happens, of course, but the worldbuilding is superb, as ever, gloriously skewering MAGA with aplomb as the orange fascist runs amok in the real world. Firecracker's broadcast about Cate is chilling, but not as much as Modesty Monarch, a "trad supe." Brr. And all that Nazi and Klan stuff in the secret room within the archive... this is dark, but that's what MAGA is. And then there's Emma telling Marie, truthfully, that going back to uni and being very, very visible is her only real defence against being disappeared by some supe version of ICE.

We get revelations about Andre, who seemingly suffered from the same condition as his father, hence his death. We have a lovely scene with Marie and Jordan reconciling, mourning, forgiving and reconnecting... literally, and heartwarmingly. We get the Rememberer, a great little character. We get another reminder of how those American frat societies are creepy, weird and deeply, deeply wrong. We get the Deep spouting Lost Cause bollocks.

There are lots of little nuances and, yeah, a bit reveal at the end. But mostly it's the mood, the world, the grim humour and, most of all, the characters.

So what exactly is this with Marie...?

Silver Blaze

"That was the curious incident..."

This thirty minute curiosity is a one-off, produced in November 1977 under the auspices of an anthology programme, The Sunday Drama. It's an adaptation of what, I believe, is considered to be one of the more cleverly plotted of Conan Doyle's short stories featuring Sherlock Holmes.

I won't discuss the plot here- either it will be familiar to you, or I'll risk spoilers. I'll confine myself to saying that this is a very faithful, straightforward version, and very well done indeed, with some nice visual touches- the exposition at the start is done with an admirable economy, in particular. It's an excellent version of the tale.

Thorley Walters is a perfectly good Watson, if a little traditional. But the real standout is Christopher Plummer as Holmes. I've seen his only other attempt at the role, in the slightly later film Murder by Decree. But, unlike that film, this is a faithfully and straightforwardly written version of the character, and allows Plummer to show what he can truly do with the part. He doesn't disappoint, showing us a playful yet focused Holmes.

I had to roll my eyes at the predictable pipe and deerstalker, but I enjoyed this little curiosity very much.

Batman: The Animated Series- Off Balance

 "As you said, detective... this is not over!"

This is a magnificent episode. An exciting story, a clever twist, Helen Slater (Supergirl herself!) and a nod to the fact that Gotham City is a kind of fictional knock-off of New York City by featuring a knock-off Statue of Liberty in the opening set piece... this one has it all. 

The conceit is delicious- a kind of criminal cult called the Society of Shadows, with eyes everywhere, which kills anyone who spills its secrets and whose agents use a mind-erasing drug when captured. Already this is intriguing. But they are led by a chap called Vertigo, whose powers induce a particularly trippy version of just that, combined with a penchant for set piece booby traps. And naturally this shadowy organisation is after Wayne Enterprises' latest MacGuffin.

Even more intriguing, though, is a lady of ambiguous loyalties who eventually saves Batman, healing him, and seeing who he is beneath the mask, apparently a friend... but then she gives her name: Talia. And yeah, at that point I knew.

It was still enormous fun to see how the episode ending, though, with Talia proving to be loyal neither to the law nor to Vertigo... but to her father, Ra's al Ghul. About bloody time...

And I love the fact that the title is a pun.

Animal Crackers (1930)

 "Well, not all the jokes can be good. You have to expect that once in a while."

After forty-eight years on the planet, most of them having a vague idea of the Marx brothers, especially Grouch, I've finally seen one of their films and... I liked it.

That said, it's a strange beast for one experiencing the Marx Brothers for the first time, ninety-five years on. Apparently this is adapted from a hit Broadway play and, well, it shows. The film is also a semi-musical with some of the musical numbers not being comedic at all, which gives it a feel, to this Brit, of semi-variety or music hall.

I have to say that, of the four brothers, Groucho stands out hugely for me, with his gloriously absurd and vaguely cynical one liners. Harpo's physical comedy is, perhaps, not for me. Yet I adored the overall absurd plot, such as there is one, with the famous explorer and the absurd farce surrounding a valuable painting.

Interestingly, the verbal humour, contemporary references aside, hasn't really dated. And the fact that it hasn't, as well as the occasional pre-code risqué line, helps to bridge the cultural gap between now and then. Yet this is an age where there's still a social "season", there's a casual reference to "Abyssinia", and some of the musical numbers feel as though they might be there to show off the fact that sound is now normal for cinema, but it's still very new... hence, perhaps, the need to film a stage play so it's easier for the sound recording.

Old though this may be, fascinatingly so in places, the humour nonetheless feels very modern and the film is genuinely very funny. Well worth a watch.

Batman: The Animated Series- I Am the Night

"A weary body can be dealt with. But a weary spirit... that's something else."

The title of this episode reminds me of Audioslave's "I Am the Highway"... but I digress before there's anything to digress from. Anyway, contrived though Batman's depression may be, this is a good episode. And contains another instance of homages to creators as cops refer to the "corner of Adams and O'Neil", a nice touch.

It's the anniversary of the murder of Bruce's parents, so he's already out of sorts, but then we have the double whammy of Jim Gordon being badly hurt while Batman is elsewhere and... well, for me, the contrived nature of it all doesn't work. This kind of depressive episode seems out of character for someone like Batman who, while I'm certainly no psychiatrist, just doesn't seem the type to doubt his purpose.

Regardless, though, it's a good episode for developing Bruce's relationships with those around him- Alfred, Robin, Lesley Thompkins, Jim and Barbara Gordon, and it gets away with its flaws. It's just that I suspect this is a highly popular episode... and, for me, it isn't quite up there.

The Haunting (1963)

 "It was an evil house from the beginning- a house that was born bad!"

This may be the quintessential, the perfect haunted house movie. It's also a serious contender for the best and most terrifying horror movie ever made.

It won't satisfy fans of gore, of course. The fear is abstract and unseen, just sound and subtle but terrifying hints of something malevolent in this house with a long, evil past. The horror is conveyed by the performances and, especially, by the extraordinary direction of Robert Wise: few things in this world are more terrifying than the use of the camera in this film. And there's a nicely metatextual touch in that part of what makes the house so unnerving is the unnatural angles, a nice little nod to German Expressionism.

Yet, as with many such horror films, the focus is on one tragic young woman, Eleanor- naive, of limited horizons, spending her whole adulthood caring for her controlling mother in a dysfunctional family. No wonder she's attracted to the calm, urbane Dr Markway. He, on the other hand, seems to represent the veneer that is civilisation, which likes to think it is in control of the forces that truly shape everything... 

There's a lot going on here, thematically, behind the horror. Eleanor's background is complex, tragic and shown to us without didacticism. Yet it seems to me that, ultimately, the film is about the cycle of abuse, a truly terrible thing. This is a truly great film.

A couple of interesting points, mind. I was surprised to see the diminutive "Nell" for "Eleanor" used as late as 1963; it feels much more archaic than that, being a contraction of "Mine Eleanor". And then there's the dialogue about creepy statues moving when one isn't looking at them.. don't blink!

Twin Peaks: Beyond Life and Death

 "You and I have an appointment at the end of the world..."

Wow. That was extraordinary. And that final scene, with Kyle MachLachlan giving a very different and hugely unnerving performance... perfection. And so is the whole episode.

Oh, I suppose the end of the series feels rushed. Most of the side plot threads are resolved only perfunctorily, if at all. Nadine's sudden recovery of her memory, only to see her life ruined, is tragic. The sudden love between Lucy and Andy is adorable. Andrew's explosive comeuppance is delicious, and Audrey's act of civil disobedience is so very Audrey. And... is Ben Horne dead? Is Pete?

But the rushed nature of all that pales in comparison to the extended and delightfully surreal, indeed literally Lynchian, sequence in the Black Lodge, with image after image, event after event, all of which defies description. It's not really narrative as such, just David Lynch being a true master of mood, atmosphere, imagery and unsettling weirdness. Does it make sense? That feels like such a banal question.

So much to ponder, though. I realise the Log Lady intros were made later, but this one is gloriously weird, with the close-up into Margaret's eye, a deliciously Lynchian touch. But we're left realising that Earle arrogantly tried to control forces far greater than himself, and paid the price. We end with Bob, unleashed again...

Utterly superb.

Twin Peaks: Miss Twin Peaks

" I haven't been this excited since I punctured Caroline's aorta..."

Here we are, then: the penultimate episode. An awful lot happens, as we might expect. Some sub=plots approach their dénouement- Donna trying to work out he truth between Ben Horne and her mother; Lucy choosing Andy instead of Dick; that key inside the metal cube that was in turn within the metal box.

But really, it's about the secrets of the Black Lodge gradually unfolding, with Earle listening in as Dale Cooper solves a few puzzles via astrological mumbo jumbo. Leo pays a heavy price, involving teeth and tarantulas, for freeing a heavily drugged Major Briggs who ends up as an important source of clues... but perhaps we should remember that Leo is not a very nice man. And it's perfect that the final piece of the puzzle should come from an eureka moment had by, of all people, Andy.

Then there's the Miss Twin Peaks pageant, an opportunity for much weird comedy as Twin Peaks is much known for. But much else, too, not least of which is long overdue sex between Annie and Coop. Oh, and a sex scene in the dark between Lana and Dick, naturally, the Mayor suspecting nothing.

But the ending is both exciting and visually arresting, as chaos ensues and Windom Earle seizes Annie. It's a whirlwind of an episode, bonkers and fun.

Nearly there...

Dexter: See-Through

 "Ok, this is the first time I regret not being a bigger nerd..."

Dexter, this season, just keeps getting better and better, and it was already pretty darn good. The characterisation is getting pretty deep, and there are so many cleverly done scenes with dialogue at cross purposes.

Dexter, surely, is on borrowed time. Not only is he surely certain to get caught by Lundy's team (because of algae along, I'm sure, with other things!) but his pretence at addiction can't last, surely. He has to keep up the pretence with too many non-stupid people. Not least of which is Rita's mother, (Diane from the Poltergeist films!) introduced here, who can see both that he's a good actor and he's hiding something.

Then there's Lila who, we discover here, is an artist, and bonkers. Not only that... but she reacts calmly to being shown corpses, so is she perhaps, well, a non-standard personality type on top of that? Certainly Rita is jealous of her, and rightly so. She and Dexter have such chemistry... how much does she know? And could she handle the truth? Dexter is... clearly intrigued.

Lundy is interesting, too. A sphinx, but perhaps opening up to Deb... encouraging her to ask out the bloke she fancies at the gym, Gabriel... rather successfully. He's even ok with the fact that she wants to handcuff him to the bed during sex... not in a kinky way, but because the last man she slept with, well... definitely issues there. But what's this between her and Lundy? A spark? Or is he using her, suspecting her brother...?

Doakes' subplot is interesting, too. It's emphasised yet again that yes, he's flawed, but he has morals and integrity and, while not the protagonist, he's the hero of this show. Unlike Maria, who... wow, what a bombshell. That's cold, LaGuerta, so damned cold. This is a dangerous woman who will stop at nothing to get what she wants...

Taking a step back, it's amazing how far these characters have come, already, in the four episodes of this season. This could be a very special season if it keeps this up...

The Haunted Palace (1963)

 "One becomes accustomed to the darkness here."

Not many films have been made adapting the works of H.P. Lovecraft, writer of cult horror stories evoking the nameless, ancient horrors that lurk behind everyday reality... and, er, massive racist, by the standards of his own time, let alone ours. Imagine my surprise, then, that this- the first ever cinematic adaptation of a Lovecraft tale (his only full novel, The Case of Charles Dexter Ward)exists... and was helmed by Roger Corman himself in the style of the Poe films he was also busy making. 

Naturally, the title is pinched from Poe, we end with some verses from Poe, and the style absolutely evokes the Poe films, with Lovecraft very much downplayed. Yet this is, nevertheless, full-on Lovecraft, full of delightfully overwrought existential dread, and explicit mentions of not only the Necronomicon and the Great Old Ones but specifically of Cthulhu and Yog-Sothoth.

And it's really rather splendid, with Vincent Price hugely entertaining as both the eponymous Ward and his depraved warlock of an ancestor. We have unspeakable horrors from the past; unfriendly locals in a tavern aside from one scientifically minded individual; "satanic" rituals"; disturbing body horror with the mutated locals (particularly the girl born with no eyes!) and a perfectly paced horror movie that ends up feeling very similar indeed to Corman's Poe films.

There is an extremely uncomfortable scene featuring attempted marital rape, which is not exactly the right kind of disturbing. But there are angry villagers with torches. There's a snake and a tarantula. There'sa creepy old portrait with terrifying eyes. And the whole things just so damned entertaining.

Twin Peaks: The Path to the Black Lodge

 "

Well, it seems love is in the air... along with weird hand tremors, Windom Earle being a first class baddie, and signs that we may be feeling our way towards some kind of explanation for all this Black Lodge stuff. it's the pre-penultimate episode, and there's an awful lot going on.

But ah, there's love in the run up to Miss Twin Peaks. Bobby straight-up declares his love for Shelley after weeks of being something of a ****. Jack has to fly back to Brazil for a long time, just as Audrey has fallen in love with him... the desperate drive to intercept him at the airport may be a cliché, but Audrey's insistence on losing her virginity to him first is actually rather sweet. As is everything to do with Coop and Annie, both of them delightfully eccentric intellectuals whose flirting casually references both St Augustine and Heisenberg. Less sweet, though, is the Mayor's exploitative girlfriend. 

We also get lots of delicious manipulative evil from Earle, not the least of which is having the Mayor literally kidnapped by a pantomime horse. And he is, of course, running rings around everyone, discovering the map to the Black Lodge. Which, we learn, is an evil place connected with "evil sorcerers called "Dugpas". Groovy.

Excellent stuff, and not long to go now...

Doctor Who: El Mundo Imperfecto

 "Pablo, if you say again that my chin was the inspiration for Cubism, I'll stop talking to you..."

A Doctor Who fan film, for the 50th, by a particularly awesome group of Spanish fans, set in Barcelona- the city, not the planet, and shown off in all its considerable glory. And... it's in Castilian. I suspect the locals might not approve!

Anyway, I won't discuss the delightfully witty and metatextual plot here as, more so than most of my blog posts, I suspect most of my readers won't have seen it... spoilers! But this fantastic, forty-five minute fan film is on YouTube for anyone to see, courtesy of the No-Nose Dog Project.

Suffice to say, though, it's a love letter to fandom. As well as a meditation on the nature of fiction and reality, and lots of fan-pleasing little character moments during a carefully curated selection of the most popular Doctors and companions spanning all fifty years of the show.

Some of the performances are exceptional, particularly those of Jordi Armengol as the First Doctor, Mat Cruz as Ten, and Rebeca Sanchez as Rose. But the entire cast is magnificent, as is the script, which fizzes with wit but also with heart. A fan film of the very finest calibre.

Batman: The Animated Series- What Is Reality?

 "A pixel is worth a thousand words..."

It's 1992. Of course there's going to be a virtual reality episode. And, the zeitgeist back then being what it was, we get a Neuromancer-style Cyberspace experience with the Riddler controlling his own virtual world in an episode that's fun and fascinating in and of itself, in its use of the character of the Riddler, and as a product of its time, the year when Snow Crash was published and with the Cyberpunk genre changing all around it.

The Riddler begins by erasing all references to Edward Nygma, eager to embrace who he now is and forsaking a past of betrayal and nominative determinism. But much of the fun is seeing how quickly and easily Batman, Robin and even Alfred deal with some really rather difficult riddles.

Ultimately, though, the surreality and sheer spectacle of the thing is quite simply a joy- the chessboard scene, in particular, is such a delightful riff on Alice in Wonderland. And if, in a cartoon made in 1992, and episode like this did not exist, that would be deeply and profoundly wrong.

Gen V: New Year, New U

 "Nothing good will come of this..."

Gen V is back, and this time it's a very different status quo following the last season of The Boys. Victoria Neumann is dead and the new, intriguing, sinister dean, "Cypher" seems very much to be a staunchly anti-human "supe supremacist" who hates humans. Lovely. He seems very likely to be this season's Big Bad.

But we begin with a flashback to 1967, the origins of Compound V, and the kind of gore we've come to expect from the, er, Boysverse, if "Boysverse" is a thing...?

The new status quo has Emma and Jordan released, exonerated and back in uni. Marie is on the run. Everybody hates Cate. Andre is still dead. So, you know, all is sweetness and light...

It's all very well done, though, reminding us immediately of the characters and what's going on after all the time that's passed. And lots of hints of the MAGA-tinged dystopia we're in, with Cypher talking of the "deep state" and "race traitors". Plus, of course, the targeting, and paedophile accusations, against Starlight's supporters, which is a key plot point, causing Marie to be found first by Starlight (at first, she's refusing to investigate all these new experiments at uni, but we all know that won't last) and then by Jordan and Emma... and with dramatic results for a desperate, distraught Cate who is, in the end, still loyal to Vought... hence the dramatic ending.

So far, I have very high hopes for this season.

Batman: The Animated Series- Birds of a Feather

 "Society is to blame..."

Batman: The Animated Series is, by this point, quite well-established. We've seen lots of different types of episodes, but none quite like this one, a focus on a villain that is just... sad.

It's very much a Batman trope that Gotham only ever sentences the villains to hilariously short prison sentences and, sure enough, Penguin is about to be released from what feels like yet another five minute stretch. Yet, upon release, he finds himself strangely lonely and abandoned.

And he finds himself, well... mocked and bullied by an upper crust couple with loadsamoney and zero heart. He's catfished, falls in love... and betrayed. Even worse, he seems to have genuinely intended to go straight until motivated to punish the couple. Batman has no choice to stop him and... off goes the Penguin to prison, again. 

At least he'll only be there for five minutes.

Squid Game: Humans Are...

 "We are not horses... we are humans."

Well, that finale was good... until it wasn't! I can see what they were going for... but the finale needed more drama, not for the suspense to end early and the rest of the episode to consist of a postscript, however satisfying it is to see Gi-hun's daughter, and Jun-ho, become rich, showing that the Front Man has some ethics. 

It started well, though, with the suspense of the final game. The baby's father, in threatening to kill his own child, made sure that he deserved to die, as indeed he did. It was more of a surprise to see Gi-hun die, but on reflection it makes sense. He's a terrible father too, in parallel... and for him to win twice would stretch credibility. The whole scene played out brilliantly and with maximum suspense, and was positively vertiginous at times. Heights are really not my thing...

No-eul, after being on the verge of suicide, gets a nice little hint of hope. But it's not an entirely happy ending. The bad guys get away, and THAT final scene...

This is a flawed final episode. But it has its good points, and at least the characters are well-served.

Twin Peaks: Variations on Relations

 "When I talk to you, I get a tingling sensation in my toes and in my stomach."

The plot certainly looms large here. Most of younger women in the cast seem set to enter Miss Twin Peaks. The plans of Windom Earle unwind apace, with him getting perhaps the best lines from a particularly dialogue-rich episode. Yet Cooper admits he can no longer predict what his old foe will do.

And so the foreboding mounts, as Major Briggs agrees to look into the relevant details of his mysterious project, footage abounds of the likes of owls and a mysterious hooded figure in the woods. Earle's latest stunt is particularly macabre. Oh, and there's Catherine's little puzzle box. And yet...

This episode is really  all about establishing the character stuff before we head into the final straight. Cooper and Annie have a date on a boat, connect... and kiss! Gordon kisses Shelley... and Bobby sees! Dick presides over a rather amusing little wine tasting. Mike points out to Bobby that, yes, Nadine may older... but there are, er, benefits being with to a woman with sexual maturity and superhuman strength!!!

It's all enormous fun. And not long now until the end...

Dexter: An Inconvenient Lie

 "You're a terrible liar..."

So Dexter begins the episode with what seems to be a huge problem. Rita thinks he's a junkie and enrols him on one of those dodgy twelve step programmes (Just saying, Alcoholics/Narcoholics Anonymous DOES apparently work if you commit to it but, well, it's just one of many ways, and there are less intrusive organisations that don't exclude introverts or non-theists. Also, its world view is just wrong; an ex of mine was a former alcoholic, yes, a former alcoholic, who ended up drinking moderately. Anyway...) and this is going to be a massive time sink, all as Doakes is still watching him. However will he find time for, well, his actual addiction?

But, of course, the whole thing turns out to be a blessing in disguise. He can talk obliquely about his REAL addiction. Even better, he's got Doakes (who gets it wrong for once) off his back, satisfied at the "explanation" for Dexter's secretive behaviour. For now, anyway. I can't see Doakes being fooled for long.

But there's more. There's a very perceptive fellow addict, a girl, with whom he seems to connect... a potential rival for Rita, more on his level? And, from the programme and his current victim (whose lying skills he is in awe of!)... Dexter begins to realise that perhaps he does care about people, and perhaps even loves Rita...

In other threads, Maria continues to bond with the struggling new Lieutenant, even defending her to the Captain.. playing a long game, perhaps, but I think also genuinely just doing the right thing. And then there's the FBI bloke, picking Deb for the investigation into the Bay Harbour Butcher... and turning out to be quite a positive mentor figure, or so it seems. But he also picks Dexter, and the dialogue between them is pointedly ambiguous... does he know, or suspect...?

This is taking a fascinating turn, and I've no idea where it's going. Excellent.

Scream 2 (1997)

 "How do you know that my dim-witted inexperience isn't merely a subtle form of manipulation, used to lower people's expectations, thereby enhancing my ability to effectively manoeuvre within any given situation?"

SPOILERS, in case it needs saying when discussing a slasher that is also a sort of whodunit.

I suppose this film isn't quite as good as its predecessor. But when a sequel is this good, who cares? And, naturally, the film is sufficiently self-aware as to tackle this very subject in the film class discussion scene. Sequels to slashers abound: indeed, one might say that they infest. So it's a joy to see all the knowing references to the specific tropes of slasher sequels.

The plot may be less original than the, er, original, but the narrative is dripping with witty commentary on how the plot is going to unfold. We have a much-maligned red herring in Derek, and a reveal that is a nod to Mrs Vorhees in Friday the 13th.

Yet we also have a cast that shines, and genuine chemistry between Gail and Dewey. The set pieces- the one with Sarah Michelle Gellar as Cici especially- are magnificently done, as one might expect from Wes Craven.

Most of all, though, we have a witty and highly literate script that, at one point, riffs heavily on Aeschylus' Agamemnon. We also get a reminder of how deeply unsettling and weird those American sorority and fraternity things are. Can't they just, like, lower their drinking age to something less insanely puritanical and have their students just drink in bars on campus as happens in every other country?

As sequels go, this may not be an Aliens, or a Godfather: Part II. But it's bloody good, and makes Scream a proper franchise.

Jekyll and Hyde (1990 TV Film)

 "'Evil' is not a scientific word!"

Adaptations of The Strange Case of Dr. Jekyll and Mr. Hyde always have a bit of a problem in that you can't just adapt the source material- the novella is entirely framed around the big reveal at the end that Jekyll is Hyde, rather than being blackmailed and controlled by him. And... we've all been spoiled that surprise for 139 years. Any adaptation therefore has no choice but to craft its own tale based around the duality of Jekyll and Hyde, overemphasising the difference between them in terms of personality, and sometimes crowbarring in other characters from the novel in another context.

So it is here. There's no mystery; Jekyll transforms for the first time fairly early on in what is a rather good effect. Utterson appears, in the person of Ronald Pickup, but the excellent Joss Ackland gives us a very different Dr Lanyon, not a friend of Henry Jekyll but a true antagonist.

And this antagonism between them grows into a complex love tragedy between Jekyll (Michael Caine may be phoning it in a bit but he can't ever fail to be excellent) and Sarah (Cheryl Ladd is rather good here, and her accent never slips) which takes up a huge amount of screen time.

However, this is a cut above most adaptations in that it shows Dr Jekyll's deep moral flaws rather than using his two selves as representing good and evil. In particular, Jekyll gives a deeply chilling speech on what is essentially eugenics during a lecture and this, rather than anything Hyde does, is easily the film's most chilling moment.

Well, aside from the shockingly clever ending!

Squid Game: O∆□

 "You are not that kind of person..."

Wow, that's quite the penultimate episode. Yes, we can see the pieces moving together for the finale, as Jun-ho, No-eul's erstwhile companion and, most dramatically, No-eul herself all get closer to their goal. Meanwhile, the VIPs continue to act as an evil chorus, hopefully leading to their much-deserved comeuppance.

But the game... oh boy! Last episode the remaining six players formed a pact against Ji-hun, the baby and its father... but it's not so simple. The game consists of having to push at least one person off each of three pillars, which sounds simple... but the six can't afford to push more than one other person off per pillar, or one of them must die. And that means problems. How to separate Ji-hun and the baby? How to push someone off without being taken with them? It's truly gripping drama.

Interestingly, Ji-hun's rather successful divide-and-conquer tactics all derive from his morality- shown here as a strength, not a weakness. He won't kill during the night, when he can. He recoils with disgust at the violence shown by the amoral players to the "lunchbox". And he'll do anything for the baby... perhaps somewhat counterbalancing the fact that, let us not forget, he's a terrible father.

And so the six perish. And then there were two men and a baby...

Ji-hun morals. Won't kill at start, protect baby good father, 

Batman: The Animated Series- Almost Got 'Im

 "Smaller words, please. Your losing Croc."

As an idea for an episode it feels trite, lazy, low effort. A bunch of Batman's foes- the Joker, Two Face, Poison Ivy, the Penguin and, er, Killer Croc all play poker and compete with stories (and flashbacks) about which of them came closest to killing Batman.

Except... it works, by subverting the very premise. Not only is an episode from the villains' POV a success in practice, it further fleshes out the villains' characters. The way they interact is fun. It's wryly acknowledged that Harvey Dent and Pamela Isley are exes. Everyone mocks Killer Croc for his limited intellect ("I threw a rock!"). Between the others, there's a kind of mutual respect... although the Joker is certainly the alpha male.

However, the twist at the end is delicious- it's all a trap. And, all the more intriguing, it's yet another riff on the fascinating pseudo-romance between Batman and Catwoman... however, they can't keep the "will they, won't they?" simmering forever.

Nevertheless, a strong episode.

Dexter: Waiting to Exhale

 "Just dropping somebody off..."

This is another good episode, although primarily it consists of wrapping up last episode's main plot about Dexter losing his mojo. But this time around he finally manages- eventually- to secure his victim, looking visibly relieved as he makes the kill. His dead brother appears to him, but Dexter seems to let go. He also finds a solution to where to drop the bodies- the good old Gulf Stream, launching those lovely little cadavers towards the vicinity of my own native island. How delightful.

Yet he still has problems. The bodies from his previous kills cannot be un-discovered, and an FBI prosecutor is on his case, played by the same actor who plays Wild Bill Hickock in Deadwood. This character seems competent, and decent... but, interestingly, he rebuffs Doakes' request for a secondment. Why, and where is this going?

And Doakes is still stalking Dexter. Surely Dexter is underplaying the risk of being discovered...?

Elsewhere, Deb is not coping well with her PTSD, understandably, and the police are being somewhat unreasonable, to put it mildly, in expecting anything else. She may earn a feather in her cap from some drug arrests, but that stems from some disturbing behaviour. At least Dexter, trying to be a good brother, is now willing to let her stay.

LaGuerta continues to slowly get the upper hand with the new Lieutenant, in a rather interesting little arc. But we conclude with a real bombshell... Rita has been a little off with Dexter all episode, processing her feelings about Paul. And, having found the shoe, she inevitably demands answers from Dexter. And.... things go in a very unexpected direction!!!

This season is starting off a little bit bonkers. And I'm here for it...

Clash of the Ninjas (1986)

 "The rebels have been sent to the organ grinder, you see? Ha ha!"

Yesterday was a bit deflating at disappointing, so a hilarious B-movie seemed a good idea. And this film is, let us make no bones about it, terrible. Hilarious, yes, but terrible. If you're the kind of person who enjoys so-bad-it's good type of cinema you may enjoy this... but I'll not be held responsible for that eighty-four minutes of your life. This blog accepts no liability for any displeasure incurred...

I've blogged a couple of Godfrey Ho's films and... well, this is another one! He made incredibly cheap Hong Kong films that, in the mid-'80s, tended to crowbar in references to the then-current ninja craze. Frequently he would buy the rights to films that had never been finished and splice them together into a whole which, as here, makes no sense whatsoever.

Where shall we start? I love the grand guignol of the premise- a Triad that kidnaps people and gruesomely operates on them to remove eyes and kidneys for onward sale. But, well...

I mean, naturalistic dialogue and decent characterisation? Ha! This is the crudest melodrama possible, and magnificently so. It's basically just set piece after set piece, with fight after fight. And ninjas, yeah? They're magic, they can apparently teleport, set stuff on fire and, er, make people explode. I mean, that ending...

Still, the baddie ninja is suitably moustache-twirling and I, for one, was entertained by this rubbish. If you must watch this, though, alcohol is highly recommended.

P.R.O.B.E: The Devil of Winterborne

 "I'm Gavin Purcell, not Dennis Wheatley!"

The first episode was good, if cheap. The second instalment is, I think, even better... if cheap. It is, as the above quote suggests, a very low budget riff on Dennis Wheatley devil worship cult stuff, is very cleverly written as the revelations unfold and (SPOILERS!) ends up having no apparent supernatural elements in the end.

It's not just the very well done plot, though. Mark Gatiss again gives us some superb dialogue. The ending is horrifying. Caroline John once again excels at a rather nuanced portrayal of the pipe smoking, older Liz Shaw... and is there a mild hint, as the two of them get a bit pissed on wine, that she and Patsy may be old flames? Are we also going to get Terry Molloy's semi-sceptical detective as a new regular?

The other standout performance is, of course, from Peter Davison, whose character we are kept guessing about until close to the end. His "confession" is truly chilling and shows how bloody good Davison can be when given the chance to play a baddie... although in this case, of course, things are not quite what they may seem...

There's some nice indications of evolving social attitudes here, as well as towards mental health with the character of Georgie, although admittedly this is outsider drama from the younger generation. Overall, though, this is a highly impressive second instalment. 

Twin Peaks: On the Wings of Love

 "Will you please ask the lady with the log to speak up?"

We may begin the episode with Jones (aided by some kind of lip-applied hallucinogenic?) trying to kill Harry... but sure enough, as predicted, he's superficially over Josie's death and back in action, as predicted. Plus Gordon Cole is back, Cooper is suddenly reinstated in the FBI, and suddenly things are moving extremely fast as the series enters the final stretch.

We have more obvious hints that Coop and Annie, a delightfully eccentric character, are to be romantically linked. Gordon Cole and Shelly... well, we'll see how that goes. A deaf character being able to hear the woman with whom he's besotted is possible only in a series with the relationship to realism that Twin Peaks has, to put it mildly.

Earle has links to that shady air force UFO group that Major Briggs is part of. He discusses Shelley with Audrey in another disguise. He's always one step ahead. Meanwhile, Ben is his old plotting self, plotting new things. Audrey and Wheeler really need to get a room. Ben and Donna's mum are old flames. And, of course, there's the revelations at the Owl Cave, with Earle, again, several steps ahead...

Things are speeding up and getting more exciting as we approach the end...

Batman: The Animated Series- Terror in the Sky

 "Who wants to live with a monster?"

These episodes are twenty minutes long, not a long time. So, by now quite a way into the first season, with the Animated Series no longer being new, we've seen which types of storytelling works for such short episodes. And this episode may well be the poster child for the type of episode based on a twist.

I suppose some may have guessed the twist- that this new Man-Bat figure was not in fact Kirk Langstron and- after all, we had an early clue / bit of misdirection that it had to be either Langstrom or Francine- but the most ironic candidate possible. But I certainly didn't, and found the episode to be hugely satisfying in terms both of plot and character. There's a bit of romance, a bit of intrigue, a bit of old fashioned Dark Knight Detective stuff from the Batman.

All this, and lots of great visuals in the snow, peril with a plane, and a heartwarming final scene. Great stuff.

Squid Game: 222

 "Do you still have faith in people...?"

This episode so so clever, so full of mind games, drama, agony, from start to finish. It's utterly gripping, and one can almost forgive the cartoonishness and scenery chewing of the "VIPs", which is rather out of place. But everything else is so damn good that all is forgiven.

The game continues from last episodes, and it's an edge-of-one's-seat bloodbath, with players now openly killing each other for advantage in an example of rather poor behaviour from most concerned, with the exception of Ji-hun... and the admirable Jun-hee realises her situation is hopeless and sacrifices herself, nobly, for her baby...

And so we're left with nine men and a baby, with most of the men being nasty pieces of work, made to vote to continue by means of mind games, and plotting to kill Jun-ho and the baby... until Jun-ho is subjected to mind games in turn by the Front Man... who reveals himself to a shocked Ji-hun as Jun-ho's brother. Oh, and more mind games cause No-eul to return to the island.

But it all comes to a head as Captain Park realises he's discovered, all hell breaks loose, and Jun-ho makes a final desperate search for the island. This season may be a little uneven, but when it's good... it's very, very good. The drama, the tension, the mind games... it's almost as evil as a real reality show!

Dr. Jekyll and Mr. Hyde (1920)

It's strange to think that when this film was released, in 1920, it was the first cinematic version to the best of my knowledge, or at least the first full length one. And, as such, it had a problem to navigate: Robert Louis Stevenson's original novella, The Strange Case of Dr. Jekyll and Mr. Hyde, is possibly the most spoiled novel of all time, through no fault of its own. Yes, the fact that Jekyll and Hyde are one and the same is the twist at the end... and the novel's very success has ruined that twist for all subsequent generations.

So how to handle this? By 1920 the twist was known to everyone, so the telling of the story is changed. We're introduced to Dr. Jekyll as a paragon of virtue, but Jekyll is in turn introduced to the vices of, er, the music hall(!) but his prospective father-in-law. Tempted to indulge these vices, he invents a serum to change himself into Hyde as a means by which he can do so. Unlike later adaptations, Hyde and Jekyll are not distinct personalities- although I think, unlike in the novella, there is a difference- but Hyde is merely a means for the "virtuous" Jekyll to knowingly indulge his vices. The film therefore, despite its changes, preserves from the book the concept that this is a tragedy, one springing from moral flaw's that are fundamentally Jekyll's.

I confess I was driven to frown at the changing of the setting from Edinburgh to London; the original novel is very redolent of the capital. I also frowned at some intertitles early on that mocked the vowels of the Cockney accent- "accentism" is not cool. But it can't be denied that this is a profoundly thoughtful and inspired adaptation, closer to its source than most or perhaps all of its successors.