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.

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.

Doctor Who: The Giggle

 "I gambled with God and made him a Jack-in-the-box..."

Yes, I know: I, of all peopole, am a day l with his ate for Doctor Who. But, much as my Who fix is an imperative, a necessity,  a matter of life and death... yeah, my child comes first. Anyway, this is going to be a long one. But let's just start by saying that it's a tour de force of writing, characterisation, direction and production, like both of its predecessors this 60th. We even get Mel, getting to be a genius working for UNIT, Bonnie Langford being brilliant, and even a potted history of life from Sabalom Glitz onwards... and is it hinted that they were an actual couple? Bizarrely, though it shouldn't, I think that sort of works. Anyway...

Love the pre-titles with the Toymaker in 1925 with his creepy shop, the John Logie Baird stuff, and the captivatingly evil charisma from Neil Patrick Harris as the Toymaker. I like the way the Toymaker is called out for a casually racist comment that exactly echoes one made to Waris Hussein in An Adventure in Time and Space, surely a deliberate nod. It's also perhaps a nod to the hints of archaic racist tropes that hover around the character; if you're not sure what I mean, Google the words "Celestial" and "Chinese". I'll wait. Incidentally, I love the brief colourised clips of William Hartnell and Michael Gough. 

Of course, The Celestial Toymaker is, I have to say, total pants, just game after game with no real sense of drama or purpose. The games here are so much different, and creepy. That poor man made into a marionnette (not saved, I note, from this existential body horror), and Donna's being attacked by the family of ventriloquist dummies. Brr. The Toymaker may not have been a great villain in 1966 (he really wasn't!), but he is now. The concept was always potentially great. Now, at last, it's been done properly. And I love how RTD refuses to do anything so mundane as explain what the Toymaker is. The whole point is that he's beyond all logic and explanation, and therefore terrifying.

Even better, this episode is about something. People acting so belligerently in 2023 is simply the Toymaker having people behave in real life as they behave online, a nice touch. And the anti-Zeedex conspiracy theories, with the obvious subtext... yeah, chef's kiss. The Toymaker even declares during the climax how he loves the capacity of humanity to lose themselves in their gaming headphones (not much of a gamer myself in that sense. Pokemon Go, on the other hand...), plus "the mind games- the dating, the ghosting". This is the perfect way of using fantasy to get away with social commentary. Oh RTD, how we've missed you.

Anyway, we get UNIT again. Still led by Kate. Shirley is still there. Are we, perhaps, looking at a recurring UNIT gang, 70s style? Potentially including Donna (I love how she casually gets the job!) and even Mel? It's an exciting prospect, one of many arising from this episode.

The conclusion, with the bi-regeneration and two Doctors, really shouldn't work. Describe it out of context and it's terrible. Except, with RTD writing... it isn't. It's brilliant. Ncuti Gatwa is superb, of course, but more on him at Christmas. The Fourteenth Doctor is tired, full of the weight of history, and facing burnout. The Toymaker's puppet show illustrates it nicely... the guilt of Amy and Rory, of Clara, of Bill, of the Flux, of that thing last episode with the salt. As Donna hasn't stopped telling him, from the very start, he needs to stop. And now he has a family, on Earth, which is lovely, much as he keeps taking people on naughty little TARDIS trips. It's a nice touch that Mel, being an orphan, gets included too. And, being that this is a second Earth exile of sorts, it's a nice little Easter egg that the Doctor tells a little anecdote about the planet Delphon, where they communicate with their eyebrows. That joke is fifty-four years old next month...!

Much as I'd say the chance of the Fourteenth Doctor and the Nobles (sadly Wilf had just a cameo, understandably...) reappearing in some way is pretty much 100%. Good. Because the characterisation has been exquisite, not least with the Doctor accepting his regeneration without self-indulgence this time. 

This is pretty much perfection. The bar has been set high... but I've every confidence that Ncuti Gatwa's debut is totally going to smash it.

Doctor Who: Wild Blue Yonder

 “Oddsbodkins!”

There were all sorts of predictions for this episode, weren’t there? Returning Doctors and all sorts. But that was never going to happen. Multi-Doctor stories are a logistical nightmare for the writer, and become all the more so with the onward march of time as new Doctors are cast and old ones age.

Plus, this is the start of an RTD renaissance. What better way to celebrate the 60th than by looking forward instead of back? By all accounts the ratings for last episode looked good overnight on the BBC but within a week, as iPlayer was factored in, they began to look stratospheric. And it seems the show has been a massive international hit on Disney Plus too. Why alienate all these new viewers with excessive continuity and fanwank? It’s enough of a nod to us oldies to just mention the HADS, something newbies won’t even realise is a reference. Anyway, Doctor Who is back, and popular. Happy 60th.

Anyway, I loved this episode. After last week’s fairly trad alien invasion story with lots of characters and characterisation, this time we get something very weird and different, showcasing the variety of what the show can do. It’s all delightfully creepy, not only in the sense of jump scares but in concepts that make you go “brr”. The edge of the universe stuff is superficially a bit Planet of Evil but the details, and the plot, are very, very different.

The first half of the episode felt like an old-fashioned Part One in the best possible sense, until the scary weirdness started happening, built up perfectly. Making the antagonists shapeless copies of the Doctor and Donna was brilliant. This episode had mood, scares… and drama, with lots of great character scenes between the Doctor and Donna. After all, why not take advantage of the fact you have a two-gander of an episode with such great leads?

Literally the only other characters are Isaac Newton- did you recognise the actor from RTD’s It’s a Sin?- and Wilf. Yes, Wilf. About whom more next week.

This was almost a bottle episode… but, excessive CGI aside, it didn’t exactly look cheap. This is a reminder that RTD can write characters to perfection, yes, but he can also scare the pants of us. May he continue to do so for a long, long time.

Doctor Who: The Star Beast

 "You can wear a suit that tight up to the age of thirty-five... and no further!"

SPOILERS, obvs.

Oh, RTD, how I've missed you. It's so many years since I've watched an episode of Doctor Who with characters who act and talk about real people, and whom we care about. Yes, we know Donna, Sylvia and Shaun, and that's a nice shortcut, but RTD really can write people, and family dynamics, and those little bits of character subtlety.

That, more than anything, is why this episode is so bloody good. The actual alien threat plot is not the point, cool though it is to see Miriam Margolyes voice Beep the Meep- it's literally an off-the-shelf plot from a very early issue of Doctor Who Weekly for which Pat Mills and Dave Gibbons get credited. No; what matters is Donna, and fixing the cruelty done to her in wiping her memory of all the cool adventures she had. Coming right on the heels of Tales of the TARDIS, which returned the memories stolen from Jamie and Zoe by the Time Lords, Donna now gets similar treatment.

Even better, the way Donna's memories are returned is not a cop out. The moment is earned, and comes from real, human drama centring on Donna's Daughter Rose (nice name). I'm a cis middle-aged man, and it's not my place to comment on what it must be like to be a trans person in the UK in 2023, a nation blighted by culture wars and whose prime minister has made a speech saying people should not be "bullied" for denying trans peoole exist. But the characterisation here feels real- Donna is a wonderful, loving mother and, while Sylvia sometimes gets things wrong, she loves her grandaughter and tries hard. But making all this the resolution is so bloody clever. 

It's so wonderfully nostalgic seeing David Tennant and the whole gang again, both in front of the camera and behind it- this was the first time this year I'd actually watched telly live, as broadcast, albeit on iPlayer- but Doctor Who (aside from General Elections) is literally the only prpgramme for which I treat iPlayer as anything other than a streaming service. Yet it's not just nostalgia. This is bloody good, contemporary telly, calculated to appeal to a general audience. The script is witty and human, the budget looks enormous, and Rachel Talalay's creative direction looks literally cinematic. Plus, the climactic scenes with the Doctor and Donna feature what is literally the best and most fun technobabble ever.

We get to see UNIT, and new character Shirley, UNIT's newest scientific adviser who fires missiles from her wheelchair, is very cool, and is played by the awesome Ruth Madeley from Years and Years. We get teased about both Kate Lethbridge Stewart... but we don't get to see them, not yet. Likewise, Beep the Meep hints cryptically at a "boss", but so far there's no big, Bad Wolf-like continuing thread. Oh, and the new TARDIS interior is at once cool, enormous, oozing high production values and... blatantly based on the DWM comic strip from the early '90s, which is certainly no bad thing.

Doctor Who is back. Properly. Oh yes.

Doctor Who: Destination Skaro

 “I like it!”

Yes, this is only five odd minutes. Yes, the tone is very much Children in Need, geared towards a very different audience to those who would actually watch the programme. The metatextual jokes and times-wimey fun at the end, then, much though I enjoyed it, doesn’t tell us anything about the tone of the actual specials from one week today. This is what it is. And I enjoyed it enormously.

Julian Bleach, without make-up, is superb as Davros. No chair, no make-up, but the voice and mannerisms are utterly Davros. I’d assumed the decision to present Davros like this to be an interesting creative one, but it seems RTD is now on record as saying he’s rather bothered that the character tends to encapsulate the trope of Disabled=Evil. If he’s decided to just present Davros like this from now on regardless then, well, the fan in me does whisper “but continuity!” but these things can be handwaved with a bit of creativity. Let’s face it, RTD has a point.

David Tennant is also superb… and this is something that may well come to point towards what we may shortly expect. Tennant has aged, but this gives him a nicely Doctorish gravitas. And is it me, but is a post-Good Omens Tennant even better, certainly at comedy in particular, than previously, despite being bloody good before?

This is what it is. But I love it.

Ahsoka: Part Eight- The Jedi, the Witch and the Warlord

 "Perhaps this is where a ronin such as you belongs."

This is, perhaps, the perfect finale. A satisfying ending... and a very StarWars fairytale vibe. I'm not just taking about the zombie stormtroopers, awesome though they were.

Consider the fate of Morgan Elsbeth, who has worked so hard and sactificed so much. She is honoured by being accepted by the Great Mother asa witch- although at the further cost of absolute loyalty- yet, that same day, she is expected to sacrifice her life so that Thrawn may escape.

We have avreconciliation between Sabine, whose gambit has paid off, and Ahsoka who has learned that, like Anakin, she ought to show faith in her apprentice. And it is only after realising she is trusted that Sabine, at last, uses the force properly, in the time honoured way of making her lightsabre fly towards her hand.

Yes, Thrawn escapes. But so does Ezra. Ahsoka and Sabine are stranded on the other galaxy with Huyang but, it seems, there is a mystery that they need to unravel. For Baylan and Shin are both there too. We know not what they are planning, but there have been hints. I sense a second season.

This was superb. The reactioin will be interesting. There is, of late, a certain negativity towards Disney's Star Wars content that seems to bear little relation to the material itself. This caps an excellent season.

Ahsoka: Part Seven- Dreams and Madness

 "He was a good master."

On one level, this is a penultimate episode that serves to get all the pieces on to the chessboard. Thrawn and the witches seem to have Sabine and Ezra at their mercy until Ahsoka rescues them, meaning all three are reunited. Meanwhile, Thrawn seems to be using all this fighting as a bit of misdirection so that Ahsoka neither suspects nor stops his cunning plan toescape back to their home galaxy. I heavily suspect that bothe he and they will end up in the main galaxy after the finale.

Yet there's so much more. Baylan's agenda continues to be mysterious as he goes off on his own, leaving Shin with the imperials. Sabine yet again uses every excuse to avoid telling Ezra of her recent shameful deeds, putting her friendship for him above the safety of the New Republic. And there's a great opening scene with General Syndulla facing the music... until she is saved by none other than C-3P0, relaying that Senator Leia Organa sanctioned the mission. The late, lamented Carrie Fisher may be gone, but Leia is ever with us.

And yet... the ghost of Anaking still hangs over it all, from Ahsoka's recorded messages as she regains her old fondness for the old master who cared for her, and Thrawn's reaction to the fact that she is Anakin's apprentice.

I have certain expectatiins as to where the finale will end, but no idea how we will get there. Good stuff.

Ahsoka: Part Six- Far, Far Away

 "Something stirs here..."

This episode is, it's fair to say, an exhilarating ride.

I almost admire that, not for the first occasion in a Disney Star Wars show, the titular character is hardly in the episode. Indeed, Ahsoka and Huyang appear only in the opening scene, inside the whale(!) as, yes, Ahsoka reveals to Huyang that Sabine went with the baddies willingly, but all they really do is discuss philosophy and break the fourth wall while foreshadowing the upcoming themes. I love how Huyang's stories are named History of the Galaxy 1, 2 and 3, with 1 being the best, of course.The subtext here is... yeah, not very sub.

However, in a galaxy further, further away, bloody loads happens. The planet is Peridea, where space whales go to die, and it's home to some rather cool space witches, known of the old to the Jedi, who ride space whales... and Morgan is descended from them. Thrawn's grand entrance is teased, of course, until we finally see the battered Star Destroyer, some battered old Stormtroopers, an intriguind figure (a droid?) called Enoch... and Thrawn. Lars Mikkelsen certainly imbues him with presence and charisma.

As promised, Sabine is allowed to seek Ezra, riding a rather cute wolf thing, but she's on a long leash, intended to lead the baddies to Ezra so they can kill them both. The scene of her riding out of the camp feels to me, if I may mix my pop culture references, as though Sabine is leaving Mega City One to take the walk into the Cursed Earth.

But the baddies, being baddies, have multiple agendas of their own. Morgan is quite happy to abandon Baylan and Shin on this extra-galactic world forever. Yet Baylan, in a fasxcinating philosophical conversation with Shin which seems to echo that between Ahsoka and Huyang, has other ideas. He seeks something deeper than power, to restore the Empire which will in turn be defeated by the Jedi only for the Empire to emerge again, and on it goes. The wheel turns. Baylan seems to want to stop the wheel spinning; intriguing.

Sabine, via some adorable creatures camouflaged as rocks, finally finds Ezra... but it is bittersweet. For she knows, and so do we, how disappointed he will soon be when he finds out the circumstances of how Sabine came to find him.

Awesome stuff. Wow.

Ahsoka: Part Five- Shadow Warrior

 "I'm here to finish your training."

Yeah. It's fair to say a few things happened in this episode. I suspect it's one of those "event" episodes that may not much reward repeat viewings, but it packs quite a punch.

So, Anakin. I'm not sure where that otherworldly plane is supposed to be: clearly, in the "real world", Ahsoka is in the water, and needs to choose to live to be rescued. But the "training" scenes with Anakin, most of them flashbacks to the Clone Wars, are utterly absorbing. I won't pretend to have the answers, but I think we're being shown that Ahsoka is being held back by her worriesabout in some ways becoming what Anakin became. 

Then there's the extraordinary ending, as Ahsoka uses the awesome (and I mean that in the old-fashioned sense) Purrgil to jump across galaxies... hopefully to the right place.

Justas good as any of this is a nice little character moment, though: Huyang tells Hera that she takes these big risks because she cares, which is why people like her. Indeed. She is now going to face the music with the Senate while Ahsoka goes gallivanting about in other galaxies. Ahsoka has big moments, but doesn't forget the small character stuff. This is getting very good indeed.

Ahsoka: Part Four- Fallen Jedi

 "You know how it is. Once a rebel, aslways a rebel."

SPOILERS. Unless you've seen the episode, read on at your peril. You have been warned.+

Nice title. Has there ever been a pun that works on so many levels? Let us count them. Sod it, let's give this blog post an unorthodox structure, shall we?

1. We begin with Ahsoka and Sabine having literally fallen from the sky, their starshift lost in the woods.

2. Sabine, who has only just become Ahsoka's padawan again, gets a test of her mettle in combat, seems to decide not to try and use the force... but betrays her master to Baylan for the promise of meeting Ezra Bridger again, putting her feelings before the greater good. This is not the Jedi way. She falls at the first hurdle.

3. Ahsoka literally falls off a cliff, to what may or may not be an afterlife- I'm a little confused of the chronology, and I've not seen either Clone Wars or Rebels. Looks like I need to. Anyway, what's he doing there? Hayden Christiansen playing him again, no less.

I've no idea where this is going, but I suspect Sabine is not destined to be a Jedi. I loved Here's rebellion, general or not, with all her mates. And I love that the baddies have actually made the jump into this other galaxy. Big revelations can probably be expected not the series has taken such a massive change of direction.

I'm also loving Rosario Dawson's assured performance, and the superb comic turn from David Tennant as Huyang. What was already a dam good series is now, er, even damn gooder.

Ahsoka: Part Three- Time to Fly

 "We almost died."

"Multiple times."

"Ah yes. Standard operating procedure."

This is a somewhat short episode but, yet again, it's a bloody good one, in terms of both plot and character. It is, though, centred on an utterly superb dogfight set piece that rivals anything in the films for drama. This series has the potential to be every bit as good as The Mandalorian.

There's a lot of fascinating plot development here. Despite what I assume are Mon Mothma's best efforts (she's Chancellor; is she head of state of the New Republic?), Hera meets with politocal scepticism that Thrawn is indeed out there, and is refused resources. Ahsoka and Sabine are on their own. Yet, atthe end, they discover that the baddies have nearly finished constructing a big artifact hanging in space: how very Star Wars. In this case it's a hyperspace ring which, it seems, is capable of travelling to another galaxy, using the intergalactic migration paths of Purrgil, intergalactic space whales. And, if the concept isn't cool enough, they actually bloody appear.

Even better, though, is the focus on training between Ahsoka and Sabine, with an extended scene with one of thosesightless hemets as worn by Luke in Star Wars. I loved everything about this training scene, which reminded me very much of a Shaw Brothers style '70s style kung fu movie from Hong Kong. The dynamic between them is great, as is Huyang's traditionalist pessimism.

I'm loving this. I'll do my best to blog the next episode a bit sooner.

Ahsoka: Part Two- Toil and Trouble

 "An ancient people from a different galaxy..."

I saw this episode while wondering whether I ought to have started watching Ahsoka at all. After all, it's the sequel to Rebels, an animation I haven't seen. But, I thought, I've started so I'll finish. I won't be the only viewer in this situation, to put it mildly.

And I'm glad I did. This episode has me hooked.

We begin with Sabine waking up receiving medical treatment. She lost the map to the attacking droid. Worse, she unlocked it, and it is now in the hands of their enemies... who use a sort of stone circle on the planet Seatos to reveal its pretty damn cool secrets: it details a path to another galaxy, where General Thrawn is said to reside. Yes, Thrawn, he who I know only from those Timothy Zahn novels from the '90s which I haven't read since John Major was prime minister. I suspect, while it may be the same character, that we're probably not looking at the same continuity. Nevertheless, this is conceptually awesome stuff.

So is the intrigue, as it becxomes clear there are imperial sympathisers on Coruscant, motivated by greed. There are ex-imperials involved in administrarion at every level... as there have to be. They were the only experienced officials when the revolution came. The same happened in the transition from Nazi Germany to the Federal Republic: it doesn't have to be a threat. One doesn't want something analogous to the de-Baathification debacle in Iraq. And yet... this threat seems serious, and clearly linked with the plot to bring back Thrawn.

If all this wasn't cool enough, I'm enjoying the tension between the worldly and wise Ahsoka and the rebellious Sabine as they are, at the encouragement of General Hera Syndulla, once again Jedi and Padawan... with the Padawan a Mandalorian, complete with helmet.

This is incredibly cool. I'm very much enjoying it.

Ahsoka: Part One- Master and Apprentice

 "Sometimes even the right reasons have the wrong consequences."

I'm familiar with the Star Wars movies, all of them, plus all of the live action Disney Plus stuff. I've even seen thse two '80s Ewok TV movies. But I've never seen the Clone Wars animation, or at least not yet. This had a minor effect on The Mandalorian as I had no prior knowledge of Bo-Katan. For this series, I fear, my ignorance is likely to look larger. Fortunately, we have what appears to me to be exposition for those such as my poor self. I've no way of knowing how much I say below will be familiar to those of you who have seen Clone Wars.

So Ahsoka trained as a Jedi, has a lightsabre and everything, and was once Anakin's apprentice until she walked away. She isn't quite a Jedi as such, although she has to work with her own former apprentice, the well-meaning but rebellious Sabine Wren. There was a Jedi called Ezra Bridger who went missing when the Empire fell, along with the mysterious General Thrawn, the big bad for whom all, goodies and baddies, are looking. Hopefully I have that right.

This is, however, a very promising beginning. This is very "trad" Star Wars, beginning with something very close to the scrolling texts from the films, the camera then panning to a large spaceship. We also have a lot of the movie serial homage stuff from the original Star Wars film- there's a secret map, we meet Ahsoka in a very Indiana Jones set piece- plus a nicely promising couple of Jedi baddies, Baylan Skoll and his young apprentice, whose name I didn't catch. The cliffhanger is superb, as the apprentice attacks Sabine and seems to stab her in the heart... surely they wouldn't kill her now? Also, David Tennant as a very Jedi-adjacent droid. Cool.

This is good stuff, purposefully avoiding characters from the films but absolutely evoking a very trad feel. More please. Oh, look. A second episode.

Good Omens: Every Day

 "You know as well as I do how badly understaffed Hell is right now."

Crikey, that was a busy final episode. And, in the end, it was very good indeed. I still maintain that this season started well, ended well but had a fair bit of filler in the middle, and perhaps one could criticise the pacing in that this last episode had an awful lot of work to do. But there’s no denying that it’s very good indeed.

It’s an episode about Armageddon and the desirability or not thereof, yes. But it’s also an episode about love and choice. We finally get to see what happened with Gabriel and… he stopped being such an arse and started to parallel Aziraphale. He lost his enthusiasm for Armageddon, started to plot with the other side to avoid it… and fell in love with Beelzebub. With whom he concocted a plan. 

All this, though, is riffing on the relationship between Crowley and Aziraphale, and their unspoken love, with heartbreaking results. The intervention of Maggie and Nina towards Crowley is mature and beautiful. They’re not rushing into their inevitable relationship, because this is reality, but it’s strongly hinted that happiness awaits them. Their own intervention, urging Crowley to tell Aziraphale how he feels, is far more grown-up than a Jane Austen ball full of shopkeepers.

But, despite Crowley pouring his heart out, and that kiss, happiness is not to be for Crowley and Aziraphale. Crowley is a realist, not cynical for the sake of it, and he is right to be equally wary of Heaven and Hell. After all, in the flashback, Metatron strongly hinted at “institutional problems”. But, alas, Aziraphale succumbs to temptation, not from a demon but from Metatron. A fancy title, a fancy office, a swanky job running a project known as “the Second Coming”… he’s learned nothing, in the end. Poor Crowley has no choice. In a sense, Aziraphale has become Gabriel, while Gabriel has become Aziraphale.

An extraordinary, courageous finale. Despite the high concepts, in the end, the point is that love needs principles. We can’t just give our hearts to those who turn out to be lacking in integrity. Crowley, in the end, is more moral.

Good Omens: The Ball

 "Well, it wouldn't be a Shopkeeper's Association without dancing, would it?"

This is another very good episode, with a delightful conceit, a witty script and typically superlative acting. It's still dragging out a rather thin amount of plot though. Only now do we discover that Gabriel, apparently, emptied his memories into a matchbox for some reason. What's going on? Next episode is the finale and there really doesn't appear to be all that much to finalise.

The central conceit really is brilliant, though: a Shopkeepers' Association made to be a ball from right out of Jane Austen, all for the purpose of bringing Nina and Maggie together. It's milked for all its worth, with a splendid collection of shopkeepers, especially the, er, seamstress. And the Doctor Who fan. Who dies, naturally. There are a number of characters here, though, whom I hope we shall be seeing again.

Muriel's clueless credulous is amusing too, as are the spelling deficiences of the hordes of Hell. Yet we also have several hints that Aziraphale and Crowley may well have... those sorts of feelings for each other. I suppose it says a lot that this can somehow manage to entertain so much with such a thin plot. Good stuff, but the further throiugh the season we get, the thinner the gruel.

Good Omens: The Hitchhiker

 "We'd like to apologise for the wait and the conditions, but we won't. Cheer up. Things could be worse, and they will be."

There's plenty this episode to amuse, but... isn't this season sort of treading water at this point? The first two episodes were superb, but it's looking increasingly as though there just isn't tgat much going on, just the Gabriel plot thread really, and it's all being padded out with minisides.

This time the minisode, while not the best, is decent enough, by the League of Gentlemen gang and featuring wartime London, prestidigitation, Nazi zombies and a fantastic take on the bureaucracy of Hell. But... it's pretty much the main point of the episode.

Otherwise... well, Aziraphale picks up a hitchhiker who turns out to be Shax, she tells him she's worked out whrre Gabriel is, and she then proceeds to persuade Beelzebub to order her to lead a full-on demonic assault on the bookshop. That's literally it.

There's entertainment to be had, but arc-wise, this episode advances things not one iota. There's literally no reason for it to exist.

Good Omens: I Know Where I'm Going

 "So Elspeth here has all the opportunities because she's so poor."

"That's lunacy."

"No, that's ineffable."

The above quote says it all. Like last week's "minisode" (I've finally worked out what's going on with those: they're the historical flashbacks inserted into the episodes), Aziraphale learns a damn good lesson on moral ambiguity, and on the fact that seeing morality s something literally dictated from on high may not be the best idea. Here, he learns that lesson in 1820s Edinbugh, complete with bodysnatchers, laudanum, David Tennant getting to use his real accent and the anachronistic use of "Flower of Scotland".

It must be sais, fun though the episode is. Yes, Muriel's attempts and pretending to be a human police officer are hilartious, but the effect of her being there is to prevent the Maggie/Nina romance plot from having to move forward too quickly so other stuff can happen. Aziraphale discovers a few clues in Edinburgh, but it isn't much.

Whatever has been going on with Gabriel gets curiouser and curiouser, though. Plus Shax, and Beelxebub, have worked out where Gabriel is, and this means war. Still, fun though this episode genuinely is, with another sparkling script, I'll be glad if some more actual stuff can happen next time.

Good Omens: The Clue

 "Shoemaking and obstetrics. Those have always been the twin passions of Bildad the Shuhite."

This is, of course, wonderful stuff. The stuff about Job (took me a while to recognise Peter Davison under all that make-up) is a delight, the perfect way to show us how Crowley first got Aziraphale to doubt that God was truly all-wise and all-benevolent, while Crowley subtly shows himself not actually to be as bad as he pretends to be. All of the flashback stuff is a delight- and shows Gabriel to be an amoral git, the sort of bad manager we've all had, a proper contrast with the innocent Jim of today.

The plot is fun, too. Aziraphale simply has to get Maggie and Nina to fall in love to stop last episode's miracle looking suspiciois to the senior management of Heaven. There's the mystery of a jukebox in an Edinburgh pub which eventually turns all records into the one Buddy Holly b-side. And the fact that of course the children of God's favourite goody-goody are going to be insufferably entitled. This is the best comedy in yonks, yet it has real subtext too. We must never take our morals from authority, but from our hearts.

Oh, and Jane Austen, that well-known bank robber, smuggler and spy, also wrote novels on the side. Who'd have thunk it?

Good Omens: The Arrival

 “I don’t believe the Almighty has actually created a suggestion box.”

This isn’t just wonderful television. It’s pure bliss.

Take the pre-credits flashback scene, a two-hander between Crowley and Aziraphale set at the moment of creation. Isn’t it a sketch right up there with the very best of Monty Python, the perfect hook for potential new viewers, deliberately rigging off Life of Brian while being every bit as good? Yet with the added joyful depths of David Tennant and Michael Sheen as actors utterly on top of their roles, the perfect double act? It’s exquisite.

That’s before we even start with the superlative comedy genius of Jon Hamm. This is first class comedy. Yet it’s simultaneously deeper than that. The conceit- that reality is as Christian fundamentalists see it, but that God therefore works in very mysterious ways indeed- is nicely distilled for the benefit of new viewers. This first scene at once encapsulates who the characters are and what the series is about.

So where is this seriess headed? It appears to be mysterious political skulduggery between Heaven and Hell, with the Almighty as a deeply cynical player of ten dimensional chess: a valid theological viewpoint, I feel. No witchfinders, antichrist children or witch descendents this time, although we do have what seems to be the beginning of a rather sweet romance between Maggie and Nina, two of Aziraphale's fellow street retailers of quirky goods. 

We also have lots of splendid interaction between our favourite two celestial beings, lots of office politics in Heaven- Doon Mackichan is already promising as the ambitious Archangel Michael. But it seems Gabriel is persona non grata, exiled to Earth with neither wings not memories- or, indeed, clothing- and only a seemingly empty box. And no sooner do Crowley and Aziraphale resolve to shelter him than we find that anyone found doing so will be subjected to "extreme sanctions". And this means... oh dear.

This is exquisite. Far more than mere superb telly.