Sapphire & Steel: Assignment 6- The Trap, Part 4

 "This place is nowhere. And it's forever."

Well, it's fair to say I wasn't expecting that. A magnificent ending to Sapphire & Steel, and a properly weird and, er, final finale from a televisual age when such things were not routinely done. The whole set-up is indeed a trap, and we end with Sapphire and Steel trapped in a 1940s cafe, for all eternity, with nothing outside but endless space. Wow.

It matters not that there are so many questions unanswered- the background of the "Transient Beings", and the true nature of the woman from 1948- this episode is about mood and weirdness. As ever with Sapphire & Steel, the point is ro reveal just enough to tantalise but not enough to penetrate the sense of mystery and unknowability. Ths episode achieves that magnificently.

It also achieves the shocking effect it intended, with the twists and turns for once occurring quickly, and with a truly outstanding bit of villainy from Edward de Souza.

The series ends memorably, in a way that will stay with me. Alas, the series wasn't of this quality throughout, with P.J Hammond's magnificently weird ideas not matched always by his plotting or pacing. But I shall miss Sapphire & Steel.

Sapphire & Steel: Assignment 6- The Trap, Part 3

 "I mean,the future could have been a lot of fun. Provided the price of a pint hasn't changed."

This is an unusual third episode, essentially consisting of shoving an extra character into the mix and seeing what happens. Johnny Jack seems at the start to be the Big Bad, but he's just some kind of creepy cockney carnival performer with a dodgy attitude to women and a creepy rhyme, an exemplar of the fact that childlike things can be scary. Johnny Jack, "and all the children on his back" gives us some weirdness and menace, but rather less mystery than intended.

He's from 1957, a different time period again, although everyone seems to be from within the last sixty years or so. and there's a third, bearded, figure. 

But things only get more intriguing towards the end, as the woman from 1948 wants to talk... and it seems everyone is like Sapphire and Steel, with similar powers somehow. This is a trap, and it's a random yet ending to an episode that really seems to go off at right angles. Who is this "higher power"?

Sapphire & Steel: Assignment 6- The Trap, Part 2

 "We happen to be running away, that's all."

The second episode of the final story, like the first, consists of further intrigue and revelation along with tension rather than action as such- and this is no bad thing. I continue to be gripped, and P.J. Hammond's problems with pacing are not so far in evidence here.

So we begin with a little relatively tame intrigue as it's confirmed that our curiously taciturn couple from 1948 are adulterers running away from their respective spouses. They're defensive, despite the fact that adultery is no crime and "They can't hang you for it". More intriguing is Silver's statement that, if they were both to drive off in a straight line, they would simply return to where they started.

Then things move up a gear as Sapphire, Steel and Silver questin why they are there with so little briefing. And why was Silver, a technician, sent early to "watch"? Could it be some sort of trap. Even more curiously, they again see the old man from last episode. Except this time he's not a ghost- they are. In 1925. Ooh.

And we end with the clock moving on ten minuts, mysterious footsteps, Steel seeming to disappear- and a myserious, shadowy, behatted tramp...

This is good stuff.

Sapphire & Steel: Assignment 6- The Trap, Part 1

 "I suppose it's how the future would feel..."

It's back to P.J. Hammond for the final four parter of Sapphire & Steel, and this time it's yet another highly intriguing conceptual first episode. Yes, once again it's about weirdness with time, but it feels fresh. The setting- a petrol station in 1981- is nicely different, even if it is all rather obviously in studio. It's well shot, too, with a nice tracking shot at the start, and Silver is back along with all he brings to the dynamic between Sapphire and a jealous Steel.

But the concept is nicely nuanced and original. A couple from 1948 are displaced in time to 1981, and 1948, with its ration books and newspaper headlines such as "OPERA NATIONALISED", was only as long ago as 1988 was to us, which feels weird before you reflect that the filing caninets, smoking paraphernalia and cash registers are obviously closer to the 1940s than the 2020s.

It's not just the fact that the couple are displaced, though- they are secretive, and may be running off together from their respective spouses.Time is rerunning the same few seconds as heard in traffic noise and the radio. There was a mysterious old man in 1948. There's a feeling of fear and violence. And it's allways 8.54pm, but the clocks are working... until time jumps forward a few minutes at the end.

It's an intriguing start. Let's hope this final serial, hopefully not overlong at four episodes, lives up to it.

Sapphire & Steel: Assignment Three- The Creature's Revenge, Part 6

 "We have no use for them..."

So that's it. Only in this final episode are the threads finally drawn together, with Rothwyn and Eldred finally interacting with Sapphire, Steel and Silver... and it's all over quickly. It's an anti-climax. And it turns out thos is all the result of cruel experiments on animals. I'm all for political subtext but this is bit crudely blatant didacticism.

There's a bit of fun with the fact time has been reversed and the unfortunateness of the last episode has been erased, and a bit of fun with how rude Steel is to the future couple versus Sapphire being at her most aloof and Silver blatantly flirting with Rothwyn. There's also horror, with that horrible brief glimpse of the doll baby, and the revelation that both other future households- children included- died by suicide in order to protect others. Brr.

Yet the conclusion is quick, anticlimctic, overly didactic and leaves us with a six parter which is oddly paced and, while it has some good ideas, just doesn't draw them together well enough to hang together by the time we reach the conclusion.

I shall plough on, but I'm not too impressed with Sapphire & Steel right now.

Sapphire & Steel: Assignment Three- The Creature's Revenge, Part 5

 "I have impeccable origins."

This episode is no less full of padding- in essence it consists of Sapphire, with Steel, faffing around as they wonder what tricks in their armoury they can use to bring back Silver, who is their only ticket out of the capsule. This time, though, it's entertaining padding.

Partly it's that the ideas get some development- the mysterious creature behind all this seems close to omnipotent, and can prevent Sapphire reversing time a few minutes as she usually does. This sequence subtly allows our protagonists to review the story so far including the bits with Rothwyn and Eldred that they were not previously privy to. We also have an odd description of the creepy, nameless grown baby as the "Changeling" complete with a description of the folklore around the concept, which seems to have no bearing whatsoever.

It's weird but cool, too, to hear that Silver has been taken back to the "beginning". That's the thing about Sapphire & Steel; it doesn't half drag on a bit, but the concepts are frequently awesome. And we end on a high, even if again there's no real cliffhanger, as our protagonists finally meet a rather composed Rothwyn and a hilariously freaking out Eldred. It's nice how they used the baby as a loophole.

Let's hope the finale is good...

Sapphire & Steel: Assignment Three- The Creature's Revenge, Part 4

 "There are no others..."

Here we have... a rather uneventful episode. There's some fascinatingy touchy-feely stuff between Sapphire and Silver hinting at a present or former romantic relationship, much to Steel's jealous annoyance. There's a bit of a revelation that Silver is "just a technician" whose forte is transportation and machines. Aside from this there's just a lot of vague exploration to fill the time in which our now reunited proagonists learn various things about the capsule(s) that the viewer already knows or has probably inferred.

The former baby is creepy though. And there's a fascinating debate about whether it's a baby or just a machine. But that's literally it.

At least we get a cliffhanger next time. But can some stuff actually happen next time, please?

Sapphire & Steel: Assignment Three- The Creature's Revenge, Part 3

 "They wouldn't have gone back without us, would they?"

There's  not really anything like plausible deniability to the charge that this episode is blatant padding. Sapphire and Silver seem about to get entry to the capsule at the very end- fully halfway through the story as a whole. And the neat-total absence of Sapphire, after last episode's arresting cliffhanger, feels as though it may be influenced by non-diegetic factors.

Obviously, Sapphire being absent, we get to meet Steel, a charismatic, mysterious and rather camp individual. He and Sapphire flirt outrageously, amusingly causing annoyance to a jealous Steel, but he also supplies some exposition, confirming to Steel that the members of the other two expeditions from the future are dead.

The main event is, of course, where Rothwyn recognises the rather creepy young man walking towards her as "the Child", in a rathef effectively creepy scene. This is the suff of nightmares as the "Child" reaches out to Rothwyn, only for a terrifying voice to insist he use the other hand.. and something happens. Brr.

This one scene od pretty much worth the padding. But the padding really is outrageous.

Blake's 7: Blake

“Stand still! Have you betrayed us? Have you betrayed me?”

So, it’s Chris Boucher who gets to write the last episode, not Terry Nation after all. I suppose Terry really was properly in America by this point.

Isn’t this exciting? Even the very first thing that happens- the Scorpio leaving Xenon for the last time as our heroes blow up their now compromised base- reminds us that this is it; from this point onwards there is no reset button and anything can happen.

Of course, this being the final episode, it has the luxury of being largely about the series’ own mythology in a way which the series up to now has rather wisely resisted. But this is entirely appropriate, of course, and it fits in nicely with the series’ running themes and threads. The increasing sense of desperation that has run through Season Four reaches a head for; our heroes’ ambitious plan has failed, they are now homeless vagrants in a tatty old ship, and one last desperate throw of the dice is needed. Avon’s words about needing a new figurehead may sound as cynical as always, but there’s a real sense that in resorting to Blake he’s clutching at straws. For one thing, this represents a real loss of faith; for all Avon’s talk of “idealists” needing “direction” from the likes of himself, he is essentially admitting that he has failed as leader and that it’s time to reassert the hierarchy against which he once rebelled.

Blake himself is a shocking site; not only is he physically scarred, with his sight seemingly lost in one eye, but we see him in the least glamorous surroundings we could possibly have imagined. Worse, he’s revealed to be a bounty hunter: has he abandoned all his principles for the most amoral lifestyle possible? There’s one hint that this may not be true: he freely admits his name to Arlen, his captive, and there seems to be no consequences to her later revealing this information to Blake’s Federation employer. At first this seems to be a hole in the plot but, as we later discover, it hints that all may not be as it seems.

Orac has traced Blake to Gauda Prime, which we now learn is Soolin’s home planet. At last, in the final episode of the series, she acquires a hinterland and an identity! The planet has officially been declared lawless, purely so the mining companies can evict farmers from their lucrative land, but now wish to reverse this now that money is being made! This is a great concept, reminiscent of Westerns and nicely pointing forward to the series I’m going to move on to after Blake’s 7! (Hint: it’s American, 21^st century, sci-fi, and the most appropriate follow-up series possible!)

In order to have the Federation re-impose law, such authorities as exist are hiring bounty hunters to assassinate all known troublemakers so that any future laws stand some chance of being enforced. Sadly, this comes too late for Soolin’s entire family, but at least she got her revenge in while she still could.

Anything can happen during this episode, though, and when the Scorpio is shot down we’re made very aware that this could be the end for the ship ands at least some of the crew, although of course the minutes left to be filled do rather hint at some survivors. This means we get a nice bit of misdirection: Tarrant is unable to teleport away with the others and it really seems that he’s about to die. In the end, he doesn’t, but that’s it for Scorpio. And Slave’s final words are even a bit poignant.

Tarrant is soon accosted, and apparently rescued by Blake, and taken in a flyer back to base, being told along the way that Jenna is dead (ensuring of course that, by the end of the episode, there are no survivors at all from the crews of the Liberator and Scorpio!). Dayna, Soolin and Vila are meanwhile making a right mess of things until Avon comes and sorts then out. Still, Avon has Orac, he has a plan, and he has a flier. All he needs to do is follow the other nearby flier back to base. Simple as. What could possibly go wrong?

Blake gets Tarrant back to base, and immediately seems to sell him out to the Federation. Tarrant runs away, but Blake seems unconcerned. He explains to his accomplice Deva (David Collings) that Tarrant will lead them to two bigger prizes: Avon and Orac. The dialogue is cleverly ambiguous here, but seems on the surface to imply that Blake is a traitor. It’; all a bit ominous; what if Avon and co should burst in at an awkward moment?

Oh, look. They have. Oh dear. And all mere seconds after Blake, talking to Deva, makes it clear that this is all part of elaborate plan to recruit capable people against the Federation.

Paul Darrow has never been better; the anguish in his voice as he asks whether Blake has betrayed him is haunting, as is the look in Gareth Thomas’s eyes as the dying Blake, shot three times by Avon, stares at him in disbelief.

It’s all gone horribly wrong; from this point there’s no hope for anyone. I’d heard that Avon’s fate, at least, was a bit ambiguous, but that isn’t the impression that I get. Fittingly, they all meet their ends at the hands of faceless minions of the system. As in 1984. Totalitarianism wins.

That was an amazing programme. Yes, there was the odd bad episode, many elements have dated, there could be a certain campness, and story arcs were less distinct than in modern television, but Blake’s 7 is generally well-written, well-acted and is at times a fascinating little meditation on totalitarianism.

Right. Torchwood tomorrow, and of course I’ll carry on with Doctor Who until the current season ends. I’ll be a bit less prolific over the next couple of weeks (real life intrudes, alas), so there might be the odd film review for a bit before I properly start reviewing the next programme…

Doctor Who: The Robots of Death

Part One

“Shoomph!”

Just to go blatantly OT from the very start, this viewing is particularly fascinating to me as it’s the first time I’ve seen the story since hearing the unbelievably magnificent Kaldor City audios, set in the same society and with Uvanov such a promising figure. But back to the story…

Everything looks fantastic, with the set design, costumes and robot designs possibly giving this story the best aesthetic ever seen in Doctor Who. There’s a real sense that in this society, with robots to do all the drudgery, people tend to behave in ways that evoke the aristocracy of pre-revolutionary France. Everyone wears male-up and fancy clothes designed entirely for display and with practicalities not an issue, revealing a lot about their lifestyle. There’s also some impressive world-building with the dialogue- the company, the founding families and the like.

Leela also gets a nice introduction to the dimensions of the TARDIS. Sadly, I think I’m right in saying that’s the last time we’ll be seeing this version of the control room, after it’s appeared in only three stories.

Part Two

“We’ve all got something to hide. Don’t you think so, Commander?”

The whodunit plot gathers steam, and a very good whodunit plot it is too, with plenty of genuine suspects. In fact, it makes me wish I hadn’t seen this story so many times so I could enjoy it again. The characters are well drawn too- perhaps I’m back-projecting from the Kaldor City audios, but I love Uvanov’s dialogue- “You have cost me and the company a great deal of money and you have killed three people.” Nice to see what his priorities are!

There’s some nice direction, too- I’m particularly noticing all these shots of the robots’ feet.

Part Three

“I heard a cry.”

More plot unfolds, with details of Uvanov’s history, our first mention of Taren Capel and the revelation of the fantastic D84 as a company agent. I love his turn of phrase, especially when offering the Doctor a communicator- “Would you like to use it? I cannot speak.”

Leela gets a great line, too, as her knife gets stuck in an advancing robot; “Now you’re showing off!” Only her second story, and she’s magnificent, taking all these new experiences in her stride while still being true to her origins. It’s a huge bonus to have her second story written by Chris Boucher as well as her first.

Part Four

“Please do not throw hands at me.”

Robophobia, caused by the disturbing lack of body language in the otherwise humanoid robots, is a fantastic sci-fi concept, which goes to show that, for all the obvious Agatha Christie trappings of this story, Chris Boucher has shown himself in both his stories so far to be heavily grounded in literary science fiction- here there are obvious echoes of Isaac Asimov and Frank Herbert, and there’s even a character called Poul. 

As silly as Taren Capel may seem all made up to look like a robot, and however much we may snigger at the line “I’ll release more of our brothers from bondage- we’ll be irresistible!”, ultimately he’s a tragic and deluded figure. The feelings of brotherhood are all one way- in reality, to the robots he’s just another “master”. The story’s conclusion is clever, but also the cruellest possible fate for Taren Capel.

One of the greatest stories ever, entering my top ten at number four. 5/5.

Doctor Who: Revenge of the Cybermen

Part One

“I don’t want to lose my arm, I’m rather attached to it. It’s very handy.”

Another direct continuation, as with every story since Planet of the Spiders, and we’re back on Nerva. According to Sarah, the TARDISeers have just spent “weeks” on Earth and Skaro. But this is Nerva in a much earlier period (although the TARDIS is going to travel back to meet them) and it’s full of dead plague victims. Except this plague seems to show symptoms rather similar to those we saw in The Moonbase…

Nerva’s crew are using PCs which look hilariously dated to the modern viewer- although once again this could just be a retro design. Come to think of it, are these the first desktop computers seen in Doctor Who? Their operators are a rather dull bunch, if heroic, the sole survivors of the “plague” who are determined to keep Nerva running. Apparently it has a very important role as a “beacon” near Jupiter.

So, an asteroid, Voga, has drifted into Jupiter’s orbit? How completely unlike The Tenth Planet this script from Gerry Davis is. Already the story has a distinctly retro feel. There’s something very Wheel in Space about this first episode. It’s good to see more recent continuity being maintained though, with talk of “transmats”, but it’s even better, once we’re introduced to some Vogans, to hear mention of the Cybermen! It’s been so long!

Surprisingly early we discover that Kelman’s a traitor, and also that this 30^th century space station is using some very retro tape spools. Pleasingly, the TARDISeers aren’t treated with suspicion for very long (that sort of thing can get very tiresome), they get to work on the “plague”, and we cut to the Vogans for some exposition - the Cybermen died out centuries ago; there was a Cyber-war; Voga was attacked.

Finally we get to see some Cybermen! In colour! A bit more hydraulic in appearance, but not that much different from last time. But last time was ages ago- it’s good to see them again!

Part Two

“The beacon is ours!”

Amusingly, the Cybermat attacking Sarah is clearly being moved by Elisabeth Sladen. But there’s not much else to amuse in this episode, much of which is taken up with a dull Vogan power struggle. After a promising first part things are getting a bit dull. 

Still, we get our traditional end of part two reveal of the Cybermen, and they still seem pretty cool at this stage, with their immunity to gunfire and guns in their helmets.

Part Three

“You’ve no home planet, no influence, nothing. You’re just a pathetic bunch of tin soldiers scuttling about the galaxy in an ancient spaceship.”

So far there’s not much that’s fundamentally wrong with this story, but the guest characters just all seem dull. Unfortunately, from this point on things start getting worse. For a start, the Cybermen open their mouths; This is a problem: their voices are awful.

We discover the Cybermen have a weakness to asphyxiation by gold dust- not necessarily a problem at this stage as gold dust is rare and only effects them in a specific way for which you have to get close. 

Unfortunately the Cyberleader seems genuinely riled by the Doctor’s taunting, completely unlike the logic-driven, emotionless creatures we’ve seen before, as shown in dialogue such as “Only stupid Earth brains like yours would have been fooled” and “Clever, clever, clever”. Er, yes.

But what is a serious problem is that these Cybermen seem indeed to be “total machine creatures”; they have “parts” to “build” a Cyber army. Cybernisation and body horror is no longer an issue and the Cybermen are just robots. Oh dear. Still, not to justify it, but perhaps there could be an explanation? We’ve never had a Cybermen story set this far into the future before, so perhaps they did indeed die out centuries before, after or even before the events of Tomb, and these few “total machine creatures” are just the remnants?

The plot thickens- Kelman is really working for these dull Vogan chaps. And the Cybermen have bombs. Unfortunately there’s an embarrassing example of as-you-know-Bobbery here as two Cybermen explain their plans to a listening Sarah.

Part Four

“We’re still heading for the biggest bang in history.”

I love the “Harry Sullivan is an imbecile” scene at the start. The Doctor’s being a bit of a git, of course, but there’s no real nastiness. Tom Baker can get away with this sort of thing in a way Pertwee couldn’t.

There’s a bit of NASA stock footage as the Skystriker rocket is launched, and the Cybermen escape from the rocket. There’s an interesting comment here from the Doctor: “Nice sense of irony. I thought for a moment he was going to smile.”

We end with a summons from the Brigadier from the “space-time-telegraph”…

Something of a missed opportunity, this. The plot was actually ok but the characters were too dull to care about, both because of the writing and because of some workmanlike performances. And although we got lots of Cyber-tropes these “total machine creatures” just didn’t feel like Cybermen. 3/5.

Season 12 overall gets 3.8/5, giving it a surprisingly lowly eighth place. Still, I have reason to believe things might be about to pick up…