Iron Fist: Dragon Plays with Fire

 "It was someone much more treacherous than I..."

And so the season ends, at last. And the finale is, in the end, superb. What could have been a tiresome tale of false accusations turns out to be much deeper.

This is about Harold, the arch-manipulator, who always was the malevolent puppet master. I suppose we didn't need Gao to tell us it was Harold who arranged for the plane to crash, not wanting Danny's father to expose what was always his heroin operation. I'm sure I wasn't the only viewer who had more than an inkling.

But it's about more than that. It's about Ward redeeming himself, being loyal to Danny and enen showing some wise self-knowledge at the end. It's about Joy realising the terrible truth about her father, yet being perhaps easy prey for Davos trying to turn her against Danny as Gao smiles. It's about bad, abusive families and the damage they cause across the generations, some treatable, some bad. Colleen and Danny are a sweet couple but, as Claire says, they're both pretty damaged people.

I saw thend coming, too: K'un Lun is gone for the next fifteen years now. Yet Danny has learned a lot about himself, and what he wants to do as an Iron Fist: to be a hero. It's fitting that he and Ward are reconciled. Both of them have grown.

Yes, this series was uneven in places. But overall the final episodes are strong enough to make it a very impressive serial.

Iron Fist: Lead Horse Back to Stable

 "I wasn't chosen. You were. And you took it and ran."

Again we get a bloody good episode. You never quite know what you're going to get with Iron Fist, but this is two very good ones on the trot."

It's fascinating seeing the dynamic between characters here. First there's Danny and Davos, friends, brothers and rivals to be chosen as Iron Fist. Yet Davos sees his brother chosen instead of him... only for Danny to be seen to desert his post. Why? We're still not really told, although we see that Danny is supposed to guard the pass to K'un Lun until he dies. "You know what the rest of your life is going to be. Quite.

Then there's the newly reunited Harold and Joy, soon plotting with Danny and Davos to take down Bakuto. Joy has made financial jiggery-pokery possible, to lure Bakuto into a trap. Yet cracks begin to appear between father and daughter. Harold's new temper once more, and Joy's qualms about the plans to kill Bakuto.

Then there's poor Colleen, the only person in the show at this point who believes in Bakuto and the Hand. Even Claire, the conscience of the show, is disappointed in her. The attempted reconciliation with a bitter Danny doesn't go well, but her loyalties are divided. It's only when she's betrayed to Bakuto by her own former proteges- that must hurt- and about to be killed by the Hand that she heroically escapes, to be reunited by Danny. Yet she's broken, betrayed by the very thing she always believed in.

Intriguingly, Danny hints at understanding how she feels. There's more to be learbed here. But first, Bakuto...

Iron Fist hasn't exactly been consistent. But it looks to be headed for a strong finish. And yes, I know, Secret Invasion. I'll get round to it.

Iron Fist: Black Tiger Steals Heart

 "Wow. You are the worst Iron Fist ever."

Oh, Iron Fist, why so inconsistent? This episode is actually pretty good, all about lies, the murkiness of the truth, whom we should believe, whom we should trust. For 2017, it's a pretty accurate harbinger of the directions in which society has moved.

Joy, of course, has been lied to, in that she was not told of her father's resurrection. Now she knows, and Harold is busy gaslighting her, with some success. Yet his temper briefly shows, and he tells his first outright lie. Yes, by murderous means, Harold performs a boardroom coup, getting the Meachums and Danny reinstated. But is Joy beginning to see through him? It's all cleverly done, with much ambiguity.

But the A-plot, with Danny and Colleen, is even murkier. All starts in a lovey-doyey way, with both of them waking up together, the adorable couple. Then Danny is properly introduced to Bakuto, who shows him more about his powers... and shows him footage of an earlier Iron Fist, from 1948.

But secrets are being kept, as a conversation between the seemingly idealistic Bakuto and the certainly naive Colleen attests. And the secret is out- Bakuto, as much as Gao, is part of the Hand, and so is Colleen. The argument between the lovers is heartbreaking. Colleen is sincere... but Danny is right. Bakuto may be less brutal than Gao, but it seems clear that his wider goals are the same- he even slots right into Gao's place in Harold's life.

And then we find out who Sacha Dhawan is playing- Davos, sent to rescue Danny and return him to K'un Lun. Danny's doubts and anger have lost him his power, his chi. And he's accused of abandoning K'un Lun... why? Worse, the two of them are only able to escape because of Colleen deciding what side she's on. I'm genuinely excited to see what happens next, and I haven't always been with Iron Fist.

Iron Fist: The Mistress of All Agonies

 "Sometimes the strongest thing you can do is leave."

Argh. This episode could have been really good. The ideas are good, the plot is even good. It's just... the script and some of the performances are not up to par.

I'd exempt Wai Ching Ho from that though. She's a chillingly evil, gaslighting power who seems powerful even when tied up and interrogated, perhaps partly because she "spend most of the 17th Century being interrogated. Then there's David Wenham as the resurrected Harold, a kind of evil Captain Jack Harkness who, Ward is told by a rival, is fated to become a little more evil with each resurrection.

Harold has quite the journey, first acting like the wandering monster in Frankenstein before remembering who his is, ultimately killing his underling suddenly and callously on a whim. He's a dangerous man, manipulating Ward into the clutches of the same psychiatrist who "treated" Danny. And then Joy has the shock of her life, falling right into his manipulative clutches. If handled better, this could have been superb, with both Gao and Harold being manipulative and evil.

But there's more- Sacha Dhawan as an assassin after Danny. Our- and Danny's- proper introduction to Bakuto. Who is he? He certainly knows a lot, to the point of knowing more aboiut what the Iron Fist can do than Danny does.

This should be good. This is a fascinating plot, on paper. Why am I not enjoying this? Because by this point things are feeling a little off.

Doctor Who: The Power of the Doctor

 "We could call this the Master's Dalek plan..."(!)

I love the line above. A nice little fourth wall breaking riff on a story that was televised fifty-six years ago and three quarters of which no longer exists.

Anyway, before I proceed to, yes, praise this epic story by Chris Chibnall (yes, I know), let's just briefly acknowledge that it makes no sense whatsoever. I mean, yes, I can dig the Master getting Daleks and Cybermen to join forces against the Doctor a la The Pandorica Opens... but get them to share ownership of Earth as a foundry for their respective races? Nah. Also, the Doctor is about to regenerate so she effectively tells Yaz to naff off?  That's cold, even though the script tries to pretend it isn't. What happened to their romance? Dan's departure seems forced as well.

And yet... it works. It's entertaining, it made me laugh, it made me cry. It contains everything but the kitchen sink, and the TARDIS full of the Doctor's "extended fam" at the end even outdoes Journey's End. Yet it works, all of the characters get room to breathe without outdoing Jodie on her swansong. Even the glimpses of past Doctors- David Bradley, Peter Davison, Colin Baker, Sylvester McCoy and Paul McGann- are nice bits of fanwank, but kept in proportion.

And there's a lot of fanwank here. The Companions Anonymous meeting at the end is outrageous. I mean... Mel, Jo, bloody IAN CHESTERTON: William Russell will be ninety-eight next month. Yet, emotionally, it works.

Oh, and who's shipping Ace and Graham? Because Chibbers is.

Ace and Tegan are pitch perfect and absolutely joyful to see. With Tegan, she's the mouth on legs we love so much, brave hearted, wonderful, missing Adric. With Ace we have the jacket, the Nitro 999(!), and even the bloody baseball bat. Ace is absolutely herself, middle aged yet absoklutely the same teenager we know and adore so much. And both of them get to meet their Doctors, courtesy of plot necessity. 

Tegan's line to Yaz- "We used to be you, decades back" is a delight.

And I can't believe the early scene of the Cybermen being demagnetised into space isn't a nice little reference to The Moonbase. I love Ace's shock that Cybermen are now explicitly no longer vulnerable to gold. It's about time that was cleared up.

Sacha Dhawan is superb as the Master. His performance here- ever gaslighting and playing with our heads- makes him a serious contender to be the best Master ever. Yes, possibly better than Roger Delgado, John Simm, Derek Jacobi, even Michelle Gomez. And it cannot be denied that the Master, as Rasputin, in 1916, playing Boneyb M's "Ra Ra Rasputin" is one of the greatest televisual moments ever. The idea of Rasputin's hold over the Tsar and Tsarina being due to the "I am the Master, you will obey me" thing is genius.

But we end with the regeneration. Which, despite the rather forced departure of Yaz, is very well handled indeed. Jodie Whittaker is superb. She and Yaz get one last date and one last ice cream. It's just a shame they didn't kiss.

And then she does indeed, as rumoured, regenerate into David Tennant. Yet it's clear this is not a degeneration but a new incarnation with an old face. Tennant's dialogue is, of course, predictably amusing, but that's what RTD intended.

This was not without its flaws. It's possible that I may revise my opinion downwards in future; that happens with Chibnall scripts. But this episode was a joy.

We end with a preview for next year. Ncuti Gatwa is in it... and he's playing it Scottish?

The Tractate Middoth

 "The other day I was forced to open a hotel door of my own volition!"

Don't worry; this is just a one-off diversion from Life on Mars and The Crown, but Christmas is coming; it would be remiss of me not to watch and blog this splendid adaptation by Mark Gatiss, who also directs, of one of M.R. James' most well-known stories.

And the whole thing is simply a triumph. The direction is magnificent, evoking horror with suspense, and the appearance of the ghost (That skull! Those spiders!) is as impressive as the way it's carefully shot. The cast is similarly magnificent, with a young Sacha Dhawan deeply effective as a leading man, and a strong cast of British character actors from Louise Jamson to Roy Barraclough to Burbage's very own Una Stubbs as a wonderfu comic grotesque. John Castle is, as ever, a splendidly hissible villain. And there's much actor-spotting fun as the Master chats to his mate, a pipe-smoking Nathan Barley.

What holds it all together, of course, is the story, puzzlingly not adapted since 1966. But this adaptation was made with a real love of the source material, and it shows.

Doctor Who: The Timeless Children

“Gird your loins, gentlemen.”

“I don’t... I don’t know how to do that.”

Now that is how you do a season finale. No, none of the “Fam” died, in spite of the many subtle hints. And the explanation of the “Timeless Child” was perhaps the most likely one. But I simply have to admit yet again this season that Chibbers has produced the goods. This is a cracking season finale, and what it does to Doctor Who lore is at once brave, radical and exciting. The whole thing looks amazing too, and there are truly excellent performances from both Sacha Dhawan as a dangerously and compellingly insane Master and Jodie Whittaker as a Doctor forced to confront what she’s never been made to confront before.

Much of the episode has two parallel plots- the Doctor within the Matrix receiving a massively game-changing info-dump from the Matrix while the Fam and their friends dodge peril from Ashad and his Cyber-army. I like this juxtaposition and, much as we fans are fixated on the big revelations, the exciting scenes with the Fam are important. There are some great moments, such as Graham telling Yaz just how awesome he thinks she is, and indeed one of their friends wanting to retrieve the body of his fallen comrade because her greatest fear was always being altered by the Cybermen- it’s this kind of thing that makes the Cybermen so effective in this two parter.

But we can’t help be excited by the scenes on Gallifrey. We begin with the Doctor and Master engaging in some edgily dark repartee mixed with nostalgic references to Borusa and the Panopticon, showing us what fantastic chemistry these two actors have. But when the Doctor is attached forcibly to the Matrix the revelations keep coming.

So once the sentient race of Gallifrey was the Shabogans- nice nostalgic touch- and one of them- Tecteun- was an early space explorer, crudely heroic. But one day she came across the Boundary, and found a child there, apparently abandoned. So she adopted that child and studied it, until one day it died- and became the first person on Gallifrey to regenerate. So she studies the child even further- a creepy, Stranger Things type example of an innocent child being used and experimented on, regenerating again and again. Some childhood.

But Tecteun eventually reached the point where she was able to risk testing her theories on herself- and so she became the first native Gallifreyan to regenerate. Dialogue then tells us vaguely that history passed, that the Citadel was built and that those dwelling in it became a race apart and eventually, presumably after Rassilon and Omega, Time Lords. It’s made explicit that only these elite Gallifreyans are Time Lords and are able to regenerate- an artificial twelve times- and that the rest of the planet’s population are presumably still “Shabogans”.

Meanwhile, Ashad has in his chest a device to destroy all organic life on the planet, a somewhat obvious case of Chekhov’s Gun. And the Master, latest in a long line of Tobias Vaughns, is inviting his Cyber-Army to invade Gallifrey. This is hardly rational of him, to say the least, but then that clearly isn’t the point. And it’s hugely amusing to hear the Master say what we all think about Ashad’s plan to destroy all organic life so that everyone, himself included, can “”ascend” to being purely mechanical creatures- “Oh, you mean robots?” Indeed.

But there’s a big revelation still to come, of course- the Timeless Child is the Doctor. She had many lives before the ones we knew (so The Brain of Morbius doesn’t need retconning after all!), and the Matrix has been redacted to remove all details of those lives- but the sheer size of those redactions imply there were many. And, let’s not forget, we have absolutely no idea where the child came from.

All this is brilliant. At a stroke the mystery of the Doctor is revealed- what happened in this previous lives? Who even is she? What of the Jo Martin Doctor, who we see in a mental pep talk sequence? And, let’s note, what’s even more brilliant is that the bureaucratic, arrogant, silly old Time Lords are no longer even all that relatively important to the central mystery. I love it.

Cue a final confrontation, the awesome spectacle of regenerating Cyber-Gallifreyans complete with high collared robes, and a magnificent final confrontation between the Master and the Doctor. And a splendid performance by Jodie Whittaker as she and the Master discuss whether she will indeed sacrifice herself to stop him- fortunately, there’s a convenient character on hand to make that sacrifice instead. Meanwhile, the “Fam” and friends are sent back to contemporary Earth in a Hartnell-era TARDIS which, like the Master’s, has disguised itself as a house. Cool.

And then we get a very RTD ending, complete with “What? What? What?” As the Doctor is suddenly kidnapped by a “cold case team” of Judoon and bunged in a prison without trial. Probably for a crime she can’t remember. Wow. At least we presumably have a long time to digest this before Revolution of the Daleks...

Oh, and while we wait, here are all my Doctor Who reviews...  https://llamastranglermarathon.blogspot.com/p/doctor-who-index.htmlhttps://llamastranglermarathon.blogspot.com/p/doctor-who-index.html

Doctor Who: Ascension of the Cybermen

“We're carrying the Cyberman that makes other Cybermen scream..."

Well, yeah. That was very good indeed. Actually, it was sort of excellent. And Chris Chibnall bloody wrote it.

So it's a long time in the future, after the Cyber-Wars, according to the pre-titles CGI with narration which rather niftily takes us into the title sequence through a Cyberman's eye. It's a cool beginning to an episode with not much wrong with it.

One intriguing sub-plot, beginning immediately after the titles, concerns an ordinary couple in mid-twentieth century Ireland who find a baby in a basket, abandoned like Moses, and we see scenes throughout as they raise the lad into a decent, nice young man who decides to join the Garda. But his survival after he's shot and falls from a cliff makes us (and his worried father) worried that things may be going a bit Clark Kent. Only after his retirement, and his forceful accosting by two youthful doppelgangers- itself weird- do we learn that he's been under the influence of a Chameleon Arch for his entire life. A time lord, presumably? Perhaps even yet another unknown incarnation of the Doctor? The one thing I’m certain of is that the explanation is closely liked to what the Master tells the Doctor at the end of the episode. But I’m getting ahead of myself. Let’s just say the payoff to this segment is awesome.

But, for the Doctor and her Fam, the world surrounding them is very different from idyllic rural Eire. It’s a period after the Cyber-Wars, where the Cybermen are almost dead but humans are almost as endangered, the Doctor telling Yas, Ryan, Graham and the viewers that the seven people in the precarious settlement before them are the only humans left, at least in this part of the galaxy. It all feels very Frontios. These characters are likeable and well-sketched for an episode with so much else to do, but as the Cyber-drones (robot Cyber-heads) arrive we’re very firmly told that this is a narrative with no time for the Doctor’s usual tricks as a couple of characters are killed, all of the Doctor’s smugly presented gadgets are destroyed and suddenly things are looking very worrying indeed, so much so that the Doctor panics, in what is a rather important scene for Jodie Whittaker’s Doctor, forcefully telling the “Fam” that they need to do as she says and not question her, and she regrets putting them in such deadly danger. All this is very ominous, especially as a trio of attacking Cybermen force Yas and Graham to flee in a separate ship from the Doctor and Ryan. Oh, and one of those three Cybermen is Ashad from last episode. It’s beginning to look awfully as though his survival, after last week, is going to result in the death of at least one of the Doctor’s friends.

There are some nice touches to these scenes- the Cybermen's legendary weakness to gold is mentioned, but rather forcefully batted away as irrelevant. The Doctor used to hotwire warp drives on weekends as a teenager, "not that we had weekends, or teenagers". And this Doctor, instead of jelly babies, has humbugs. But things look ominous. Ashad seems to imply to the Doctor that he is, to semi-quote the old Cartmel Masterplan,more than just a Cybermen: he eagerly embraced conversion, or "ascension" but was "denied"- because of some kind of apparent destiny. And now, with the Cyberium, he seems to hint at literally precognitive powers, and foresees the end for humanity. Who is he?

We end with Yas, Graham and their friends on a ship full of dormant Cybermen of a quasi-Invasion vintage, and watching in horror as Ashad and his two lieutenants arrive to painfully awaken the Cyber-army. They seem to have no hope... but this is but one cliffhanger.

Elsewhere, the Doctor, Ryan and their friends arrive at the promised land (there's a lot of Biblical allusion in this episode) to find a selfless old man, Ko Sharmus, and a magic portal just into the sea that transports the desperate to a completely random point in the universe- and yet, as the Doctor looks into the portal, the sees the orange skies and the Citadel on Gallifrey. Why there? Why Now? And, no less importantly, why does the Master, still played by the brilliant Sacha Dhawan, choose this moment to jump out of the portal to gleefully tell the Doctor that everything she knows is wrong?

So... yeah. That was amazing. And will take a long time to digest. Next week's finale certainly looks big.

Dracula: Blood Vessel

“The sophistication of a gentleman, Agatha, is always a veneer...”

Ah. It's good to get another Moffat/Gatiss season to binge on, or savour, as one's lifestyle permits- these episodes are bloody ninety minutes long, you know.  But this is another good one. Not as good as the opening episode, granted, but it wouldn't be; middle episodes rarely are.

What this episode manages to do is take the somewhat claustrophobic premise of Dracula's long sea voyage from the Balkans to Whitby and construct a taut little thriller which, for those of you reading this who are Doctor Who fans (and I suspect many of you are), tends to evoke the mood of Horror of Fang Rock, except with more blood. Much more blood. I don't recall this aspect of Stoker's novel being so heavily focused on in any previous screen version, although the brief scenes in Nosferatu are certainly iconic.

It is, of course, a relatively cheap episode but one full of wit, incident,  scares, suspense and (thank whatever gods may happen to exist) Dolly Wells once more as the supremely quotable Sister Agatha. It's also full of a splendid cast which, as many of us are indeed Doctor Who fans, includes both Catherine Schell (still a beautiful woman, probably) and Sacha Dhawan, who is having quite the month.

The mystery of Cabin 9 is nicely handled, and the various passengers all have their little secrets and peccadilloes. The plot is awfully clever but, again, is restrained; this isn't Sherlock and there are more jump scares than narrative tricks. The narrative tricks are there nevertheless, though, and we get a superb twist at the end, as Sister Agatha manages to bury Dracula beneath the waves (shades of the Angel season four finale) for longer than he thought...

A rare vintage indeed. To be savoured.

Doctor Who: Spyfall, Part Two

“By the way, I bring news from home...”

Wow. Ok, this blog post is going to be one of the longer ones.

Obviously, that was brilliant, and Chibnall has far outdone anything he did last season- and this two parter is not only superb but a statement of intent, giving us a new big story arc behind the spy stuff and giving us a story that, structurally, feels very much like a Virgin New Adventure novel in not only its use of cyberspace (or social media, as we call it these days) but the sheer number of elements in the story- alien Cold War type spies from another dimension using multiple time zones and figures from the history of computing, anyone? I don’t care if the plot doesn’t make sense; the sleight of hand works and that’s enough. The random timey-wimeyness and use of Ada Lovelace, Noor Inayat Khan and Charles Babbage.

In fact, the sheer number of elements in the plot felt very Steven Moffat. So did the way the second episode of a two-parter veered into very different territory from the first part, very reminiscent of Silence in the Library. All this shows Chibnall learning from his predecessor, and is a good thing. But I especially liked that it was about something- how we are all happily surrendering our privacy and intimate lives to unaccountable and unregulated tycoons very much like Daniel Barton (and Lenny Henry is utterly, utterly superb)- I’m looking at you, Zuckerberg.

But, of course, there’s the interplay between the Doctor and the Master at the heart of everything- and the chemistry between these incarnations is electric. It seems, pleasingly, that Chibnall is trying to recreate the Pertwee/Delgado dynamic where the Master doesn’t so much want to kill the Doctor as play games with her. We get a shoutout to the sound of drums. And Sacha Dhawan is absolutely a worthy Master, getting to do so many of  the Master’s signature tricks here, with a Wizard of Oz TARDIS to boot.

Incidentally, isn’t this the Master’s first explicit TARDIS of his own since Mark of the Rani?

And yet... there’s something behind this. All throughout the Master is dropping hints about both a massive retcon and what’s happened to Gallifrey- and so, once the Master is defeated in a satisfying and credible way- albeit one that owes a LOT to The Curse of the Fatal Death- we get a coda, as the Doctor visits Gallifrey and finds the Citadel empty and devastated. At first it looks as though Chibnall is doing another RTD, another “Last of the Time Lords”, but he quickly undercuts this with something deeper as the Master appears as a hologram in the TARDIS, just as the Doctor did to Rose in The Parting of the Ways, to admit that it was all his doing- and it was all an act of fury after discovering a massive lie in Gallifreyan history: “They lied to us, the founding fathers of Gallifrey”. And this is the “lie of the Timeless Child”, as mentioned in The Ghost Monument.

It’s also a very nice touch that Yasmin, Graham and Ryan get their own cool little James Bond adventure while all this is happening, complete with cool gadgets, but this is also the episode where they finally resolve to get the Doctor to tell them who she is... and she does. Up to a point. She has so much more to tell them and I’m sure we all have so much more to discover about Gallifrey’s last. I love me a good, epic arc.

A magnificent start to the season, then. Let’s hope Chibnall can keep it up.

Doctor Who: Spyfall, Part One

“The name's Doctor.The Doctor."

About bloody time. Another hiatus is over and Chris Chibnall’s second full season begins. I’ll make no secret of the fact I was somewhat underwhelmed by last season, in spite of a strong cast and generally sound show running decisions: Chibnall has shown good judgement while overseeing the show. But that doesn’t make him a particularly great writer, unfortunately. There’s some decent stuff in his track record but his scripts have never stood out, and he’s certainly not remotely comparable to an RTD or a Moff, and last season’s scripts by him tended to be weak points. Still, Resolution last year was much better; let us hope it was a good sign.

I’m also a little disturbed by a lazy narrative that seems to have emerged over the reaction to last season- that those of us with concerns are objecting to Jodie as a female Doctor or the liberal political leanings of stories like Rosa or Demons of the Punjab. This is, of course, nonsense: most of us are sensible types who are well aware that anyone using the word “snowflake” in a non-meteorological context needs to have their adulting licence revoked. The casting of Jodie as a female Doctor was a hugely positive step- but can we please give the character of the Doctor some actual development? And as for Doctor Who being a bit liberal and having a social conscience- that’s an ancient tradition from the anti-racist message of Remembrance of the Daleks to the environmentalist message of The Green Death or even as far back as Planet of Giants. One wonders how those people who apparently think Doctor Who is too left wing would have made of Malcolm Hulme. I’m afraid that’s how the programme has always been.

No; I don’t think there’s anything wrong with the programme’s style, direction or broad show running approach. It’s just that the scripts have on average been sub-par. Will Season Thirty-Eight show any improvement?

This is the first two-parter of the Chibnall era and, I believe, the first since 1989 to have an overall story title rather than individual ones. It’s the first time in fifty-six years (The Enemy of the World is tenuous) that Doctor Who has done James Bond. It's got our first pre-titles teaser since Chibnall took over. It's also got a rejigged theme tune and title sequence- I like it.

It's also awesome. I'm not sure Chibnall will be able to keep it up but this is his second very, very good script in a row. The James Bond stuff is fun- the ridiculous number of gadgets, the casino party in tuxedos, the constant spying theme, and a brief but scene-stealing role for the great Stephen Fry as "C". We also get a motorbike chase- Pertwee would have loved this. The perilous sat nav scene was awesome, and far better than the similar scene in The Sontaran Stratagem. But the spies are not only alien but seem to be beings made of energy, wanting to invade our universe... perhaps. And Lenny Henry is excellent as a sinister IT tycoon and Bond villain... or is he? He's dodgy in a Mark Zuckerberg, privacy-invading sort of way, probably giving us the real-world subtext of what the story may end up being about, but could he be a red herring?

It's encouraging, too, that all four regulars get decent amounts of stuff to do, although the globe-trotting premise (South Africa is made to stand in for Ivory Coast and Australia, at least) certainly helps. Yaz, in particular, seems to be receiving some development as a character- we begin to see tensions appear between her travels in the TARDIS and her career as a police officer.

But THAT cliffhanger... I never suspected, being completely unspoiled, that Sacha Dhawan, having previously played Waris Hussein, would be the new Master. I punched the air, and again with the extra reveal of the Tissue Compression Eliminator. Even more intriguingly, before the cliffhanger ending with a bomb, a plane, and the Doctor somehow ending up in some other reality, he tells the Doctor that "Everything you think you know is wrong". Is this heralding a major retcon on the Time Lords this season, or the Doctor's past? What about the "Timeless Child" stuff from last season?

Regardless, I'm well and truly hooked. Best season opener since Deep Breath. Possibly.

Sherlock: The Six Thatchers

"Don't you dare! You made a vow!"

Oh my. Well, spoilers abound, obviously. You have been warned.

The episode starts out so light-heartedly. There's a nifty cover-up for Sherlock so he can not go to prison, and he's all happy and stimulated in the knowledge that Moriarty is back. Sherlock even seems to be channelling Matt Smith's Doctor for much of the first part of the episode ("Are those ginger nuts?"), and there's much fun to be had throughout. Hence the shock at the end. But let's look st the whole episode as Mark Gatiss has utterly outdone himself with a superb bit of telly.

It's fun seeing Holmes rush through a fun series of cases in what has become typical Sherlock style, with John's blog superimposed on screen, all the wit and fun of the birth of little Rosalind and the addition of a baby to the dynamic, and especially the way that John and Lestrade manage to bond by taking the piss out of Sherlock. And then, almost in the background, we're introduced to the busts of the Evil One that give us our modern version of The Six Napoleons. At first this isn't foregrounded but, after a bit of fun with Toby the uncooperative bloodhound (never work with children or animals) we discover that there are six of them, made in Tblisi. And I for one knew, having read the short story, that the significance was likely to be the contents of one of the statues. But that isn't the twist; the twist is that this isn't to do with Moriarty at all, or the magnificent red herring that is the Black Pearl of the Borgias. It's about Mary's past.

We get a flashback to an embassy hostage rescue gone wrong, with one of the four agents being Mary and another being our antagonist whose name, we learn, is Ajay. And Ajay seems to think that Mary is a traitor and wants her dead. That's awkward. Yet Mary denies this to Sherlock and, after a fun few scenes in which she tries to leave for exotic shores to sort it out herself, she ends up explaining herself both to Sherlock and an understandably peeved John. Poor Ajay ends up dead but it seems that Mary is not the "Englishwoman" who betrayed them all. So who was it?

What is awful, and will of course become even more awful, is that John has been exchanging sexy texts with another woman, and it's even left ambiguous whether he's had an affair. All this while Mary thinks he's perfect. So the final scene arrives and the baddie turns out to be Vivian Norbert, the secretary- and we have, obligingly, been provided with a few clues to that effect. The crime is solved, the case is over- but Sherlock can't resist gloating over his adversary and, horribly, Mary ends up taking a bullet for him, and John's whole world with it. And the guilt must make it even worse.

So we end up with John cutting Sherlock out of his life utterly even as Mary implores Sherlock from beyond the grave to "save John Watson". The gloom is leavened only by a neat little reference to The Yellow Face and Mycroft making a call to "Sherrinford"....

That was good. Sherlock is back.

An Adventure in Space and Time

"You can't rewrite history. Not one line."

I'm watching the rerun of An Unearthly Child on BBC 4 as I write this, with a big grin on my face. Admittedly, this is mostly because tomorrow I get to see my fiancée again after eleven long days but, blimey, what a piece of telly that was! A real tribute, and amazing, from my perspective as a fan who knows about this stuff, that a drama is being shown on BBC 2 about this of all things.

The cast is superb, but is very much led by David Bradley, who simply is Bill Hartnell. His mannerisms when playing the Doctor are perfect, and the similarities and differences with the "real" Hartnell are brilliant too: the clip of the interview with Hartnell shown after the programme, presumably a major source of research for Bradley, shows us that he nailed it; Hartnell as himself was irascible, considerably less posh, and very prickly about his status as an actor.

Mark Gatiss' script is excellent too; indeed, this sort of thing plays exactly to the strengths of the arch-nostalgic. Gatiss takes the messy, complex reality of television production and selects he people and events on which to focus. The result is a tight, focused drama with real heart. The presentation of Hartnell, in particular, is a fine line; Gatiss and Bradley don't shy in any way from his difficult side, but we can't help but like this deeply emotional man who cares deeply beneath the gruff exterior, and who delights in his unexpected popularity with children.

The script judges correctly how much to show of his rather bigoted opinions, I think, with just one quip to Waris Hussein about A Passage to India being a "one way trip" hinting at a side of Hartnell which would not much endear him to us. But there's a much greater focus on the tribulations faced by, and solidarity between, "the posh wog and the pushy Jewish bird". We first meet Verity Lambert (the excellent Jessica Raine) on an uber-trendy party straight out of Mad Men. This is her world; metropolitan, sophisticated and mostly populated by women like herself, who stop to turn on the telly to see Valentina Tereshkova do her bit for the cosmic sisterhood. The BBC, ruled by middle aged men in NHS specs who address Verity as "dear lady" is manifestly not her world, and she has to fight against its misogyny every step of the way.

Of course, Waris Hussein constantly suffers the racist digs that would have been everywhere in 1963, and can't get served at the BBC bar without Verity's help. There are also hints at his sexuality; he is doubly alienated, and not exactly the sort of person whom one would imagine getting on with Hartnell. And yet, a couple of years later, Hartnell is nostalgic for both of them, trapped in a show he loves but with familiar, friendly faces dropping away. The recreation of the speech from The Massacre may have used a little artistic licence, but it was wonderful, and as sublime a performance from Bradley here as the original was for Hartnell.

The whole thing is beautifully shot, and there are plenty of lovely touches, from the cameos by Jean Marsh, Anneke Wills, William Russell and Carole Ann Ford to the Cyberman who is allowed to puff away on a fag in his fibreglass suit by the 1963 Health and Safety bods. The many recreations- of The Daleks, The Edge of Destruction, Marco Polo, The Reign of Terror and many more are great fun. We open with the 1963 BBC ident, a lovely touch, and there are brief nods to Delia Derbyshire's work on the theme tube and Peter Brachaki's jobsworth genius on the TARDIS control room. We close with a highly appropriate cameo from Matf Smith. But this is Bradley's and Gatiss' triumph, and a triumph it surely is.