Dexter: Shrink Wrap

 "Can we go inside? I'm kind of wet... DON'T!"

Wow. That was QUITE the bombshell at the end of a truly extraordinary episode, perhaps the best yet. The vibes were very much that the innocent and adorable Deb was going to get her heart broken by this man she's falling so hard for... but I was expecting that he'd turn out to be a bounder and a cad, not literally the Ice Truck Killer!

Speaking of bounders and cads, Rita's ex Paul continues to behave like the very worst kind of controlling ex. It says a lot that, in a show crammed to the rafters with serial killers, he's the character you hate the most. Still, let's look on the bright side: with Dexter around, he's not exactly behaving in ways conducive to his survival. But... well, can't Rita just report him for all this boundary pushing with the court order? I suppose I wouldn't know how it works in America.

This episode's "case of the week" is particularly disturbing- a sociopathic yet insightful shrink (a dark empath, perhaps?) who persuades successful yet vulnerable women to shoot themselves, which is well bloody dark. It's fun watching him and Dexter spar... and he genuinely helps Dexter to navigate the problem of having sex with Rita without revealing his true self to her, something he genuinely fears... yet, of course, a happy and post-coital Rita continues to think he's Mr Perfect.

There are layers to this, though. What Dexter struggled with, the actual Ice Truck Killer accomplished with ease, making Deb start to fall in love with him partly via some really good sex...

Then, as well as two actual serial killers, we have a self-confessed wannabe serial killer, whose lies LaGuerta quite sees through... yet again via unorthodox means. And proceeds to play her power games against her boss.

So much character stuff this episodes, and so many parallels between the various carefully balanced subplots. This is VERY good writing.

The Thomas Crown Affair (1968)

 "It's my funeral. You're just along for the ride..."

Well, I'll never think of chess in quite the same way again.

The concept seems simple. Thomas Crown, an awfully rich man, carries out a bank heist for kicks. Vicki, an insurance investigator, knows damn well he's the culprit but has to prove it by getting close to him... ending up in love with him and in quite the dilemma.

Despite the clockwork efficency of the heist itself, which is fascinating to behold, and the directorial flair that we see throughout, this is ALL about the chemistry between our two leads, upon which the film absolutely relies. And yes, Steve McQueen does his Steve McQueen thing with aplomb. But Faye Dunaway OWNS this film with a nuanced and delicious performance as a very clever, witty, predatory woman. In a world that likes to portray sex as something that men do to women, and in which female libido is still subtly frowned upon, even today, in a world that is more misogynistic than we like to think, she isn't afraid of being sexual... and getting what SHE wants.

And the end is awfully clever, as she realises not only that Crown got away but that his hopes for her had been real, and she could have spent the rest of her life in luxury with a man she fancies rotten.

Then again, would such a life ever have satisfied her...?

This song may be all about the intense sexual chemistry between these two, and little more. There's no depth, no message, no morality- Crown is a spoiled rich man getting his kicks, hardly a Robin Hood. But the film works, just through sheer plot structure and, yes, the incredible Faye Dunaway, who elevates this film to so much more than it should have been.

Oedipus at Colonus (1986 TV Film)

 "Only the gods escape the penalties of age and death. Time undermines everything. Nothing can stop the inevitable process of decay."

Blimey, is Sophocles always this bleak?

This is my second taste of his writing, and yet again in the form of a BBC televised play from 1986, translated and directed by Don Taylor. The production really works, with a strong cast (many well-known faces in the chorus!) and a very misty setting, stage-like yet using the medium of television to bring out mood. Anthony Quayle and Juliet Stevenson, in particular, excel as Oedipus and Antigone.

The contrast with Oedipus the King is marked. This play is far less overtly dramatic, far more talky and philosophical... and clearly the writing of a very old man, whose body is failing and who knows, as Oedipus does, that the end is far away. Indeed, he may well have been over 90 when he wrote this play, a rare happening for all of literature, let alone the Athens of the 5th century BC. Yet there's a constant emphasis on the inevitability of decay, entropy, decline: all things end, and always with sadness.

Yes, Oedipus dies painlessly, seemingly blessed by the gods, and able to bless Athens, the city that gave sanctuary to this refugee, and wisely so. We need more of Theseus in this world, and far less Nigel Farage.

Yet there is tragedy. His daughters are left bereft.... although, at least, Theseus offers her safe passage back to Thebes, where Antigone has promised a proper burial for her brother. I'm sure that will go fine. And Oedipus is now in the underworld, living the half existence of the dead. So yes, there is some catharsis, some closure. But only some. Suffering can be relieved, but only so much.

This is extraordinary. But oh, it's bleak!

Twin Peaks: Slaves and Masters

 "The only things I know in Hungarian are paprika and goulash..."

This episode is especially well directed... by none other than Diane Keaton. Yes, that Diane Keaton...

This feels very much like an episode that's there to tie up all these rather odd little mid-season plot threads before the season enters the final stretch. Ben's madness arc climaxes and abruptly ends.... essentially, because Audrey is too clever to allow Jerry to exploit his madness. The sub-plot with James being framed by Evelyn and Malcolm seems, by the end of the episode, to have met a sudden end- mainly via Donna's intervention.

Then we have the disturbing scenes of Earle abusing Leo ("Domestic violence. Well, I am partial to that."), Catherine seemingly about to, rather evilly, just hand poor Josie over to the sinister Eckhart after making her serve them both as maid. Ouch. One can see where the episode's title comes from, while feeling rather more sorry for Josie than for Leo.

Then we have the rather delicious scene of Nadine casually finding Ed in bed with Norma, lots of random owls, and more intrigue in the battle of wits between Earle and Cooper. It's a good enough episode, although... is it me but, for an episode of Twin Peaks, the weirdness level seems a bit lower than usual!

Batman: The Animated Series- If You're So Smart, Why Aren't You Rich?

 "How much is a good night's sleep worth?"

It was the 1960s Batman TV series that really popularised the Riddler as a villain, with only a couple of appearances in the comics at that point, so it's appropriate that this episode should feel, structurally, much like said TV series. Robin is in it. Our heroes confront the villain and his henchmen early on, are defeated, and come back later to save the day. There's even a deathtrap, albeit not for our heroes.

Yet the mood is very much par for the Animated Series, an aesthetic of creepy amusement parks at night and shadowy figures in murky rooms. And we get a version of the Riddler's traditional origin story, the creation his former employers are ripping him off for being a computer game in this version. I like that. I also like that, yes, Mockridge is saved... but, with the Riddler getting away, he may be rich but now lives in fear. He's rich, yes, but not smart.

There's a surprising slight bias to puzzles as opposed to riddles, perhaps, but this is an entertaining little episode, the little puzzles in the maze being enormous fun. I suppose we'll just have to see if the Riddler as a character has any legs beyond this origin story, 

Squid Game: Keys and Knives

 "Let the new game begin..."

And so we enter the final six episodes, a little later than intended... but here we go. I'm glad we got the "previously on", but this follows directly after the dramatic end of Season Two- Gi-hun is traumatised, stunned, unable to move (well, he's handcuffed) and everyone still alive is back in the game... with the prize money now increased because of all the deaths, and all the corpses hung in full view of the players in advance of the first game. Lovely.

Elsewhere, suspicions are beginning to be aroused about Captain Park, who is in close contact with Front Man. No-eul plans proceed apace, ruthlessly and contemptuously wrapping up the organ harvesting operation and giving a blood transfusion. We O negatives are clearly all right proper badasses...

Sub-plots unfold, but there's also much anticipation of the next game, to play out in the next episode. Hide and seek, where the hiders MUST kill a seeker within thirty minutes, and the hiders must survive that long, or escape. And naturally, the script plays the most evil possible mind games with the viewer in whom it chooses to be on which side.

Most interestingly, though, the traumatised Gi-hun is one of the seekers. Can he possibly kill? Regardless, I'm glad to be finally watching this final season. This is a damn good start.

The Sign of Four: Sherlock Holmes' Greatest Case (1932)

 "In such embarrassing matters as fainting women, I must defer to you!"

Let's just come out and say it: this is a truly terrible film. Stilted direction, awful acting all round (except for the ever-reliable Miles Malleson), no incidental music, an action-filled final act that manages to be desperately dull.

Homes and Watson don't even appear until more than twenty minutes into what is only a seventy-three minute film. The first twenty-odd minutes give us Jonathan Small's backstory, the tale of the treasure, the Sholtos and why Mary Morstan is the rightful heiress... why?! This completely removes all elements of mystery and the deductive process from the film, which is sort of the key selling point for Sherlock Holmes, surely?

And yet, it's a fascinating time capsule. It's 1932, and no attempt is made to set the film in the past. But I suppose this makes sense. In 1932, the time of Conan Doyle's original stories was not yet "period": it was within living memory, the novel of The Sign of the Four being barely forty years old. Plot-wise, India was still under British rule, so the story just about works.

Then there's all the moments that remind us how long ago 1932 was. The reference to tiger hunting. Mary fainting. Mary telling Watson that "I think I'll have a good cry." But no... these things still don't make this awful film worth watching. Today, this blog is performing a public service: I've endured this film so you don't have to. And never again...

Andor: Jedha, Kyber, Erso

 "Do you ever sleep well?"

"No..."

So that's it. Andor is over, and we move immediately to Rogue One.

Much of the episode consists of the gradual process of the Rebellion's leaders coming to accept that the intelligence brought back by Kleya and Cassian is worth investigating, before setting up Cassian on the mission that will be followed up in Rogue One, with his inevitable death. Hence, as he walks to his ship, on what we know to be his final mission, we see that precognitive lady from a few episodes ago, looking at him...

There's more going on than that, though. There's the culture clash between the fierce independence that Luthen represented and the increasingly organised and disciplined rebellion that is developing... and Kleya will have to adapt from the former existence to the latter. At least she'll do so with Vel as a friend.

For the Empire, meanwhile... well, things have a long way to go until they fall apart. But the centre is, perhaps, just that little bit harder to hold. We see the disgraced Paratagaz, allowed to shoot himself instead of face arrest. And we see Dedra, in her prison cell, crying...

Then, finally, we see Bix, with... a baby. Surely not...?

The perfect way to end what turned out to be an even better season than the first. Andor is the best thing to come out of Star Wars for a long, long time.

Batman: The Animated Series- Heart of Steel, Part II

 "I'm getting too old for this kind of thing."

Part two continues the story in the vein we'd expect, and it's a very topical one in 2025, with the AI apocalypse clearly imminent: today, Chat GPT. Tomorrow, Skynet. And it's all cleverly done, with Mr Rossum revealed to have started all this for the very human reason of mourning his daughter, but the machines taking over... literally. I wish I knew more about R.U.R., the original play: no doubt there are references that go over my head.

It's not just Jim who gets a robot duplicate this time: Mayor Hill, even Bullock. Yet it's not Batman who gets the suspicion something's wrong- it's Barbara Gordon, who knows that that is not her father. She also does some rather effective investigating, and may even save Batman's life at the end. One might almost think, given her evident relish for this sort of thing, that she might be auditioning for the role of another flying rodent themed nocturnal crimefighter...

A satisfying conclusion to a highly effective two-parter, and a great showcasing of Barbara Gordon.

Dexter: Circle of Friends

 "I have a dark side too".

The quote above comes from a fascinating scene between Dexter and Rita. A major plot thread is Rita's abusive ex ignoring the court order and using the kids as a weapon against Rita... and, let's just say, I really hate that kind of behaviour. So it's good to see Rita- with Dexter's solid support- laying down the law.

And yet... she responds to Dexter's claim with a laugh and an easy insistence that he would never hurt anyone. And, yeah, obviously there's dramatic irony there. Dexter is a serial killer. Yet... in a sense, isn't she right? He'd certainly never hurt her, or anyone she cares about. People are complicated, and we present different faces to different parts of our lives.

The other main plot thread is, well, a tale of two serial killers. Jeremy, who Dexter let off recently, has killed again. And, just as Dexter is about to deal with him, Doakes suddenly arrests his target and, in a somewhat awkward plot contrivance, fails to see Dexter. It's interesting to see how Dexter acts, though- taking risks and offering advice. Fruitlessly, of course, in the end.

Then there's the arrest of the supposed Ice Truck Killer and... yeah, we know this is a red herring. Wants the notoriety, confesses, but we can trust Dexter's instincts- vindicated at the end- that this isn't him. Besides, it's just too early in the season for this revelation to be real, if I can be a bit meta for a moment.

Still... what is this bloke's agenda? The season is getting very interesting. Good stuff. Excellent character stuff, too, for Deb, and Doakes getting Dexter's measure yet again.

Oppenheimer (2023)

 "You are an American Prometheus."

This is, of course, a superb film. I was expecting it to be exactly that, given its reputation, its cast and the fact that it's a Christopher Nolan film. It's a triumph. Yet, in many ways, it's also not really what one might expect.

This is, I suppose, broadly comparable to Lawrence of Arabia. It's a three hour epic (I'm not one for long films, but both films just fly by) based on the biography of one man in the context of his time, with lots of big themes to chew on. 

And this... isn't really the sort of film that Christopher Nolan has ever made before. Oh, there's a certain non-linear narrative structure ("fission" and "fusion"), but there's none of the clever structural trickery of a Tenet or an Inception. Instead, Nolan's directorial flair is used to illustrate theme and character, often showing us Oppenheimer's own imaginings of a nuclear blast.

The themes are huge. This American Prometheus has unleashed the power of the atom, with all that implies for the safety of the world. We also deal with the unfortunate consequences of having been in any way Communism-adjacent in one's past, and meet so many huge figures of the twentieth century during the course of the film. Yet the film, in its very structure based on two enquiries, one in the colourful past and the other in the monochrome "present" of 1959, focuses on both Oppenheimer himself and the mercurial Lewis Strauss, with both Cillian Murphy and Robert Downey Jr giving extraordinary performances, both of them literally Oscar-winning.

Deeply clever. A massive blockbuster. Really cleaned up at the Oscars. Simultaneously popular and acclaimed, something that just doesn't happen in these post-COVID times where, let's face it, cinema as an institution seems to be in slow but real decline. But, while films like this remain possible, perhaps there's some degree of hope.

Andor: Who Else Knows?

 "No. I want the names I don't know."

It's feeling more and more like Rogue One. Lots of Krennic. Cassian is with K-2SO, while the rebels are established on Yavin, becoming increasingly disciplined, leaving behind the late Luthen and the now-desperate Kleya. The episode, ending on a cliffhanger- Kleya is in hiding, so will Cassian or the Imperials get to her first? And yet, in the episode's standout scene, it becomes clear that Kleya realises she is doomed, and there's no place for her on Yavin. All that's left is to tell Cassian the vital information about the Death Star before she dies.

Meanwhile, there's the theme of whether or not to follow orders. The Rebels are increasingly disciplined and hierarchical, and Cassian and his accomplices are defying orders in rescuing Kleya... yet she genuinely does have vital information. Meanwhile, Dedra has been cutting corners and breaking rules, also in genuine pursuit of the Imperial cause. But fascism won't tolerate mavericks. I suspect her fate will not be good.

Not to forget, of course, that this is all a bloody tense thriller. The episode ends with Cassian and Kleya still on Coruscant, hunted, and just one episode to go...

Twin Peaks: Double Play

 "I will return. Until that time, I will be in the shadows until you need me."

Relatively speaking, I suppose, Twin Peaks is undergoing a bit of a lull. Yet we still have so much cool stuff going on. Cooper's explanation of the backstory behind the "genius" Windom Earle, and how he ties in with Coop's lost love. The slasher movie type jump scares as the recovered Leo menaces Shelley. Leo, in the woods, ending up in a cabin with Earle. And the owls.. oh, the owls!

We also have some comic relief sub-plots, with the Black Widow and Little Nicky, to lighten the tone. But so much is happening... Pete learns that Andrew is alive, Josie doesn't know, and Josie is bait for Eckhart, who has just arrived in Twin Peaks... and he's David Warner!

Then there's the revelation that James was always going to be set up for the abusive husband's murder. The magnificent weirdness of literally everything Major Briggs says. Ben Horne continuing to be completely hatstand... although it's notable that, in 1991, it was not yet beyond the pale to support the South in the American Civil War because, you know, yes it was literally about slavery and only slavery.

The season is treading water a bit- 22 episodes always was too many- but I'm still having fun.

Batman: The Animated Series- Heart of Steel, Part I

 "Sounds as if the human race could be quite expendable."

This episode is really very impressive indeed. Not only is a strong start to what promises to be a gripping two-parter but, for an episode made in 1992, its concerns about AI are surprisingly contemporary... but then, are such concerns really that new? Humans have been worried about being supplanted by intelligent machines ever since Karel Capek wrote the play R.U.R. (Rossum's Universal Robots), back in 1920, expressing fears of a robot revolution and coining the word "robot" itself into the bargain.

So yeah, I raised an eyebrow when we encountered a character called Rossum...

We begin as a young lady leaves a briefcase in the lobby of Wayne Enterprises, which bizarrely turns into a kind of metal spider, carrying out its pre-planned tasks in a way that immediately made me think of those AI drones that Ukraine is using against the Russians, a truly terrifying technology... yeah, thank you, Putin, for opening Pandora's Box there. I hope the next AI assassin drone gets you.

Anyway, it's all very good. We get Barbara Gordon, android duplicates and a creepy A.I boss computer. We get an obvious femme fatale who Bruce allows to discover the Batcave and his secret identity (oops!) despite being suspicious from the off. Let's see where this goes, but so far I'm liking it.

Andor: Make It Stop

 "Am I your daughter now?"

Not for the first time... wow.

Ever since that speech last season, it's been foreshadowed that Luthen knows he'll never live to see the promised land, to get the glory and the acclaim and the medals, even if the Empire is defeated. And recently, as we've seen, it's been getting harder and harder to keep the façade. Luthen was always going to get caught eventually. Even the framing of the "previously on" makes it clear that this episode is to see it happen.

And it's suitably dramatic. Jung reveals how the net is closing in on both Luthen and himself, and that the Empire is building a huge new weapon (and yes, we, the viewers, know damn well what it is), which is what Ghorman and many other things were really about. And Kleya will doubtless impart that knowledge.

But not Luthen. At last we get the confrontation scene between him and Dedra. He's doomed, but he's managed to set up a Rebellion on Yavin. Horrifyingly, he attempts suicide to ensure he can't be interrogated, and Dedra- who's overstepped the mark one too many times here- panickingly gets him some medical attention.

We get flashbacks. Luthen was once a soldier who deserted, disgusted by the atrocities he'd been expected to perform... and Kleya was a captive child whom he freed and raised in his own inimitable way, mentoring her in the arts of resistance. 

So yes, it's exciting seeing Kleya do her action stuff to get to Luthen and let him safely die... but it's really about the tears, and how she kisses the forehead of the man who raised her. This is tense, exciting, emotional, brilliant stuff. Again, wow.

And... no Cassian at all.

Dexter: Return to Sender

 "I realise now my days are numbered..."

Wow. This is a fascinating episode. The premise is simple- the Ice Cream Truck Killer ensures that one of Dexter's victims from last episode is found, meaning that he has to squirm through the episode at the seeming certainty that he'll be caught.

And this conceit shows us Dexter, and the show, from a fresh perspective. This time he's genuinely rattled, having real nightmares- shot in delightfully dreamlike fashion, reminiscent of the title sequence. Michael C. Hall really is excellent here, showing us a side of Dexter Morgan that we haven't seen before, but which makes total sense.

The resolution is nicely done, too- Dexter's rival isn't necessarily trying to ruin him, but is testing him, and not for the first time. It's going to be VERY interesting when, as I hope they do, the two serial killers meet. What does the Ice Cream Killer make of his rival?

Yet Dexter fails one test here: in order to save himself, he has to be a bad brother to Deb- again, not for the first time, as the flashbacks show. And he has a realisation: its not a case of if he's caught, but when. And... good! Dexter is a fascinating character study, but he's a monster, no better than any of his victims, and we must never forget that.

Excellent though all this is, there are other character points worth noting. LaGuerta's strong bond with the little boy; she and Deb perhaps starting to reconcile a little; Deb getting on well with Doakes' family- are the two of them eventually going to become an unlikely couple? And, yes, Rita's ex getting released from gaol- and Rita putting her foot down splendidly about custody. Ironically, is this Dexter's positive influence?

Regardless, he's a monster. As this excellent episode never lets us forget.

Oedipus the King (1986 TV Film)

 "Judge no man's life until he's dead!"

This is the first of three TV films made for the BBC, in 1986, of Sophocles' "Theban Plays", all both translated and directed by Don Taylor, known to this blog for being recently noted as a director in Dead of Night. The Theban plays are an odd beast, really. They were never intended as a sequence, all are quite unconnected, so this isn't like Aeschylus' Oresteia, a slightly earlier BBC version of which I blogged a while ago.

Anyway, there's a certain inherent awkwardness about this particular play, isn't there? More than any other Ancient Greek play, we all know the plot; we come pre-spoiled. And, well, it's icky. About as icky as plots come.

So the first half of the play consists of the slow unravelling of a mystery which, for us viewers, is already known. The total lack of dramatic irony is less of a problem than might be expected, though. The process of unravelling what happened- relying rather more on hearsay and soothsayers than anything we moderns may regard as proper policing- is entertaining. And we get to know Michael Pennington's assured and kingly Oedipus, confident in his own wisdom and cursing the criminal, with no idea of the sheer horror that is to befall him. Claire Bloom is superb as Jocasta, at first sceptical and then consumed with horror and denial of a truth too awful to contemplate. The great John Gielgud gets a nice little cameo.

But it's the last few scenes where things get unexpectedly intense. Because the words hammer home that Oedipus was always doomed, he never did have any agency. None of this is his fault: he did all he could to avoid the terrible prophecy. Yet fulfil it he did, and he must suffer. As the chorus says 'Ignorance made you happy; the truth has made you blind'. She here he is, a blind beggar, doomed to exile and misery, all waiting for him from the moment he was born. And it gets even worse, with Oedipus really doubling down on his own degradation, wishing he could lose his hearing as well as his sight and, perhaps worst of all, making it clear that he expects to remain blind in the underworld.

And the way this production, purposely stagy though it is, reveals Oedipus' blindness is... effective to say the least.

Yeah... that's dark. Is Sophocles always this dark? The next two plays will be interesting...

Metropolis (1927)

 "The mediator between brain and hands must be the heart..."

I've been resisting watching the fully restored print of this film for some time. Not because I wasn't keen to see it, but because, well, when you're choosing which film to watch, the one with the three hour run time might, in the moment, seem off-puttingly long. But I've seen it now, and my mind is reeling. The film is, in some ways, not one might expect from a science fiction classic, but its aesthetics and its themes are very much of the Weimar Republic, after hyperinflation but before the Wall Street Crash.

One thing must be addressed, though: the writer, Thea von Harbou, would later co-operate with the Nazis, whereas Fritz Lang would divorce her, leave Germany, taking his magnificent monocle with him. I don't think this can be said to taint the film at all, quite frankly. Von Harbou's Nazi ties can be seen as quite passive, she had an Indian husband... and no one in 1927 could have known what was to come, Hitler being seen as a bit of a Farage figure. But... yeah, let's be a bit more wary of those Farageists, shall we?

The look of the film is incredible. One could make the obvious observation that this is Fritz Lang doing German Expressionist cinema, but this 1927 vision of the future is fascinating. An age of Modernism, a future Metropolis that looks VERY Le Corbusier. And the plot revolves entirely around the extremities of social class. Realism is nowhere to be seen. Acting is deliberately expressive, and characters are vehicles for the film's ideas rather than three dimensional people- said as observation, not criticism. It's just that sort of film.

Hence the shuffling misery of the underclass being quite obviously choreographed, and the exaggerated leisure pursuits of the wealthy young men. The work, which we see Freder voluntarily undertake for a shift, reminding me of the myth of Sisyphus. The long, lingering visual shots which are what makes this fairly simple film, in which relatively little happens, so very long. Yet it doesn't drag: the visuals are the point.

There is religious imagery here aplenty- the Tower of Babel, apocalyptic stuff from the Book of Revelation, but this is really there to serve what is very much a political rather than religious subtext: the immense gap between rich and poor, the intense inequality. As Freder says to his father early on, there is a risk of revolution, and this in a Germany where Bavaria had relatively recently erupted into Communist revolt. Yet, in the frightening violence of the mob, we also see the potential horrors of populism, of Fascism.

The film is a triumph of visual cinema, but also a fascinating political artifact of its time, eschewing realism for a type of satire that almost reminds me of Voltaire's Candide or Zadig. Not one for the casual viewer, but a true cinematic masterpiece.

Twin Peaks: Checkmate

 "Is this for the soul? My soul?"

Soooo much happens this episode. But, then again, this is Twin Peaks- when does it not?

So the Major starts to tell of what little he remembers, and ponders revealing things that are "classified", until air force types come and take him away. Clearly something to be picked up later in the season- the forest, owls, the White Lodge...UFOs?

Harry deputises Coop as a cop, a nice touch- the FBI investigation plot proceeds, but at least our hero can now have some proper agency. There's some comedy Clouseau stuff as Dick and Andy try to investigate Nicky's parentage. There's love triangle stuff between Nadine, the boy she fancies and Ed, and also between Norma, Hank and Ed, made extra complex by Nadine's sudden comical super strength. There's Ben's continued slide into madness, perhaps averted when Catherine, bizarrely and in spite of everything, decides she wants him after all. Still hate her for being nasty to Josie though.

Then there's the weirdness with James and his abused Mrs Robinson... but what's going on with her and her "brother"? Is James being used? Then there are the terrifying scenes with Leo apparently compos mentis and terrorising the abandoned Shelley. There's the set piece action sequence, complete with Jean Renault's death, Coop's nobility, and some stuff with Denise that... has not aged well.

And then we have that final scene with the fire and the corpse... wow. Not the best episode- the season does feel, entertaining at the moment, but is perhaps treading water right now- but the ending...!

Andor: Welcome to the Rebellion

 "The death of truth is the ultimate victory of evil."

Mon Mothma's speech is, of course, magnificent, pointing the finger at the Empire and in particular at Emperor Palpatine for the unprovoked massacre at Ghorman. But the parallels with what's going on in the world are obvious. Genocide. Vicious culture war propaganda. An attack on the very concept of objective truth itself. In Trump, in Putin, in Orban, we have Palpatines of our own.

The bulk of this episode is an exciting, actioned filled sequence with Cassian getting Mon Mothma out of the Senate and safely to Yavin after breaking all her bridges with her speech. And it's gripping, naturally, a real extended set piece. But it's really about the unreadiness and splits between the rebels. Bail Organa has to stay on Corustcand as Yavin isn't ready. There's a traitor in amongst his agents. Meanwhile, one of Mon's most trusted confidants is working for Luthen, which she sees as betrayal. And there are two rival extraction attempts. It's all such a mess... but Cassian succeeds, in the end.

And then, heartbreak. Cassian wants to give it up for a peaceful life with Bix, the love of his life. So... she leaves him. Not because she doesn't want to be with him, but because she's putting the Rebellion above her own happiness. Wow. That packs a massive emotional punch. Especially as... well, we've seen Rogue One. We know they'll never see each other again.

And so does the episode as a whole. This second half of the season, so far, is on fire.

Batman: The Animated Series- The Strange Secret of Bruce Wayne

 "Leave your message at the sound of the shriek..."

So we meet Dr. Hugo Strange, another member of Batman's traditional rogues' gallery, although perhaps one of the more obscure ones in recent decades, more a Killer Moth or a Gentleman Ghost than a Joker or a Tw-Face. Interesting, though, that we're getting some of the more minor and perhaps old-fashioned villains than, say, the Riddler.

I know relatively little of Hugo Strange except that he knows Batman to be Bruce Wayne and... yeah, this episode is fun and all, but it makes very little sense if one gives it any thought, and not only because the idea of mind reading futuristic tech getting recorded via videotape is hilarious in 2025. I mean, Strange auctioning Batman's secret identity to the highest bidder is hilarious for a start. The fact that the Joker, Two-Face and the Penguin (is the latter really established as a significant villain in the Animated Series by this point?) just passively go along with Strange until Batman tricks them is just silly- these are chaotic individuals who won't just behave as the plot wants them to.

And then, at the end, when Batman apparently meets Bruce Wayne... and it's just Dick with a mask and some stilts?

This episode is very, very silly. It's basically not very good. But it certainly isn't boring...

Dexter: Love American Style

 "She doesn't know yet, but I don't have the next level..."

The way the theme of this episode is handled is very well done here- love is not something Dexter can ever understand but, after Harry's training as shown in the flashbacks, Dexter, by "acting" seems to be pretty good at it as far as Rita is concerned. Throughout the episode she likes him more and more... and he's fortunate in not having to, er, return last episode's favour.

Others are less successful. Most notably Angel, whose strained relationship with his separated wife is revealed to Dexter... and things at Dexter's home are almost revealed to Angel. What will eventually come of this? Chekhov's Gun and all that...

Then there's Rita's poor maid, who's lost her beloved fiancé to... well, we're coming to them. Then there's the poor Mr. Tucci, forever deformed but happy to be alive. Deb using her feminine wiles on him is an important plot beat here: after distinctly failing to impress Doakes for most of the episode, she has a lozenge-related breakthrough that leads to a semi-breakthrough... and has her prostitute friend pleasure Mr Tucci. And, if the lady is willing, why not? Mr Tucci, while perhaps not a lucky man, is not unlucky with the opposite sex here.

And then we have the killing of the week, as Dexter goes after a people trafficker who extorts and murders... and we get the big twist: it's him and his wife, and they love each other. To Dexter's shock, people like him are capable of love...

And then the final twist: cutting corners slightly, Dexter is seen...

This is a compelling, fascinating and eventful episode. The season feels as though it's in full swing...

Batman: The Animated Series- Cat Scratch Fever

 "You're hot."

"Now you notice!"

Another Catwoman episode, and it's interesting to see where they're going with her- good at heart, and motivated by her social conscience for good or ill. Sentenced only to five years' probation, she stands to lose her liberty for a long, long time if she get's convicted again. Will this last, with the Sword of Damocles hovering over her head.

The Batman-Selina-Bruce ironic love triangle is well done again, played for banter and humour rather than too much pathos, which could have become tiresome. It'll be interesting to see where the Animated Series takes Selina Kyle: I hope we'll be seeing a lot more of her. But is this trajectory for the character sustainable in the long run, I wonder?

More good world building for Daggett, too, one of Gotham's stable of untouchable mob bosses. His scheme this week is particularly nasty- start a deadly plague, having established a monopoly on the cure. On a similar vein, I wonder whether Daggett will ever see any kind of consequences for his behaviour?

A solid episode, good if not great. But fascinating in terms of where the now fully established Animated Series seems to be heading.

Twin Peaks: The Black Widow

 "I'm sorry, am I being obscure?"

I've no idea where any of this is going, or indeed what's going on, and I'm totally fine with that. Twin Peaks is not there to be understood, merely to give us dreamlike impressions, like a Dali painting. It is, I suppose, oddly Freudian in the way that much modernist art and literature was...

But that is, of course, just my impression. It's subjective. Barthes, Death of the Author and all that. In the case of David Lynch, sadly, literally so.

So we have Major Briggs' boss earnestly asking Cooper whether there were any owls around at the time of the disappearance. There's Dougie's sudden death on the night of his wedding, his bride's apparent history of similar incidents, and her uncanny powers over men, to Lucy's horror. One doesn't expect to hear extensive quoting from Romeo and Juliet in Twin Peaks...

Then there's Dick's growing suspicion that Little Nicky may literally be the Devil. There's Major Brigg's sudden reappearance, to the sight and sound of violent thunder. There's Nadine's almost superhuman abilities. It's all so splendidly weird.

Then there's the fun of Cooper and Denise investigating how and why he was framed, which all seems to be linked to the ever-nefarious Jacques Renault...

I'm loving this, if anything, even more since Laura's murder was solved.

Andor: Who Are You?

 "Rebellions are built on hope."

Wow. There was only one way this episode was going to go- the Empire manufacturing a riot on Ghorman to justify the "crackdown", straight from the fascist playbook- but seeing things unfold, slowly and inevitably, was brutal. This episode is just extraordinary.

It all unfolds in slow motion. The demonstration. The careful escalation of imperial policing. The cynical use of a sniper to fire on the Empire's own troops. And then the use firstly of Stormtroopers and then of unstoppable droids that simply hurl demonstrators into the air. The effect is one of real horror. And... yeah, all while disturbing things are happening in the USA right now, except their Palpatine is much more orange and much less intelligent.

Then there's the tragedy of Syril and Dedra. Syril always was, despite the career advancement, a pawn. And the moment where he confronts (and, implicitly, dumps) Dedra for her amoral and appalling behaviour carries so much power. His death in the riot is almost an afterthought, the last words he ever hears being Cassian's "Who are you?".

Denise Gough is superb as she portrays Dedra's utter despair at the end. She's done so much, made such terrible moral sacrifices... and for what?  

The final shot is of Syril's mum, inconsolable. She may not have been the best mother, but in the end she was in many ways right.

Again... wow.

The Lady in the Van (2015)

 "You wouldn't get Harold Pinter pushing a van down the street."

I remember reading, some decades ago, some mention of the tragic and eccentric Miss Mary Sheppard, as she certainly wasn't called, in the memoirs of Alan Bennett. rather more recently, we lost the superlative Maggie Smith. So it's high time that I saw, and blogged, this film.

Much though Alex Jennings is magnificent in totally inhabiting Alan Bennett while also giving us not merely an impression but an actual performance, Maggie Smith is indeed utterly incredible here, in a role that perfectly fits her talents- a humorous figure, yes, but one who will, by the film, come to evoke such pathos. Not exactly likeable- but endearing, nonetheless.

Yes, as befitting a script by Alan Bennett, this film is about so much. The very English timidity that can lead one to reluctantly allow an imperiously haughty homeless old lady to live in a van on one's property. How easily one can become a carer without really intending to, or realising it. That very English issue of class- Miss Sheppard is from loftier origins than the nevertheless Oxford educated Alan Bennett, son of a Leeds butcher, yet he is now a feted playwright living in fashionable Camden whereas she is homeless- plays out in all its nuances, most deliciously as Bennett's mother avoids contact with her son's unwanted guest because "With her being educated, I wouldn't know what to say."

This isn't a film for those who like action- very little, I suppose, happens, and even the mystery of Miss Sheppard's past is not over-emphasised. This is a quietly philosophical, meditative film that is, above all, about the ethics of using real peoples' lives for one's writing, and I for one found it most enjoyable.

Gamera vs. Barugon (1966)

 "If you doubt that, then you doubt the gods!"

I love how Kaiju films always showcase the charming Japanese habits of always giving names to the massive radioactive monsters that periodically lay waste to their bigger cities:

"Oh no! It's Bob the flame-emitting tyrannosaurus rex!"

"But look! Here comes Kevin the laser beam-equipped triceratops!"

It's taken me a while to get to this second film in the franchise, but this is such a gloriously silly B movie, and is giving me the impression that the Godzilla films will end up looking positively serious by comparison and I, for one, have zero problem with this. Well, beyond a bit of a wince at the Japanese extras in blackface in the Papua New Guinea scenes- it was a very different time. And the fact that one of the main characters is a Japanese veteran of the Second World War, no doubt up to no good.

The opening bit is delightfully bonkers. Gamera is sent straight back to Earth (to Japan- what were the chances?) by a random meteorite. We then turn to a bizarre exploration plot where a load of men go on a quest for an opal which, delightfully, turns out to be an egg which hatches into Barugon, with added radiation. And Barugon has the power to, er, emit rainbows of doom. Yes, really.

We get lots of great retro effects as the two monsters fight, cause destruction and all the usual stuff. The obvious model tanks that are de rigeur for the genre are very much present and correct. And we have all sorts of splendidly bonkers plans to destroy Barugon before, inevitably, it's Gamera to the rescue.

If you're in the mood to switch your brain off for ninety odd minutes then this is a particularly fun way to do it. Top B movie hi-jinks.

Twin Peaks: Masked Ball

 "Let a smile be your umbrella!

It's fascinating to see the season continue to branch out after the Laura Palmer mystery is solved- was the second season supposed to last only as long as the first season did, with the rest of the season added on? Because, I have to say, it sort of feels like that... but absolutely not in a bad way.

The Major's disappearance isn't dwelt on, but I like Hawk's bit about the White Lodge and the Black Lodge. Then there's the subplot with poor Josie, as we learn about her past, only for her to be cruelly entrapped into being Catherine's maid... and then, the cliffhanger, her husband is not only alive but in league with Catherine and using his own wife as bait!

Then there's James, whose motorbike riding is always accompanied by rock 'n' roll, meeting a femme fatale in a bar. There's more school antics with Nadine, a very surreal wedding, and more passive aggressive rivalry between Dick and Andy, which Andy seems to be winning by niceness. I'm loving the mixture of the weird and the comedic with, for now, more emphasis on a lightness of tone. Although Ben Horne, for one, isn't having a good time in this episode.

Indeed, even the investigation into Agent Cooper, a seeming frame attempt, goes into the direction of a trans investigator played by none other than David Duchovny with some very 1990 attitudes to LGBT plus issues, albeit with no nasty culture war bigotry. Yeah... it feels so recent, but it was a different time!

Batman: The Animated Series- Night of the Ninja

 "Defeat can be more instructive than victory..."

This is a nice little episode with what I suspect is a one-off villain, but a decent one nonetheless. Kyodai Ken is a rival of Bruce's from his days training in Japan, out for revenge, blaming Bruce for his self-inflicted disgrace. It feels right that Batman: The Animated Series should have a ninja episode, and all the ninja stuff is fun.

Also interesting is a bit of character development- Bruce's habit of not confiding in others and suffering alone is brought up by Alfred and Dick... although, given how essential he is to saving Bruce's bacon twice during this episode, it's very convenient for the plot that this should be one of those episodes featuring Robin.

It's also fun to have a bit more of a spotlight on Summer Gleeson, a persistent reporter who has mostly just been a bit of background flavour. Bruce being handicapped by not being able to be seen to fight too well by her is a nice idea, well handled.

Perhaps not an "important" episode. But a good one nonetheless.

Andor: Messenger

 "He's a messenger. There's some place he needs to be."

The moment epitomises by the quote is truly chilling to all those of us who have seen Rogue One. It's as though, via the Force, fate somehow exists, at least for certain individuals, and Cassian is one of them. Yes, there's some minor drama in that Cassian expresses scepticism about the Force healer and Bix can't help believing... but we, the viewers, know that Cassian is on an unavoidable journey to sacrifice and death.

As is Ghorman. Another year has passed, and the Empire has fine tuned its narrative of "terrorist acts", ready to justify its cynical destruction of Ghorman via propaganda. This thread has been woven very well indeed throughout the series (there are some very obvious real world examples!), and now a visibly nervous Dedra has to put the final stages of the plan into action. And Syril, despite her obvious affection for him, is kept in the dark, a pawn. No doubt this will go well and they will both live to enjoy their "reward"...

The Rebellion is now slowly growing at the base at Yavin which we know from the films. Yet there's starting to be a bit of a crack within the Rebellion, between Luthen and Yavin, which is interesting. So, when Cassian and Wilmon head to Ghorman to try to kill Dedra, this immediately causes conflict wit the Yavin hierarchy and Vel. Power seems to be shifting away from Luthen, perhaps?

Things are getting closer to the world of the original trilogy, yet the mood is one of deep foreboding. I'm absolutely fascinated to see where this is all going.

Dexter: Let's Give the Boy a Hand

 "People think it's fun to pretend you're a monster. Me, I spend my life pretending that I'm not."

Again, the flashbacks to Dexter's childhood, with Harry teaching him how to pretend and wear a mask so he looks normal, is contrasted with the scenes in the present, where masks abound, and not only because it's Halloween.

Hence Dexter solves a problem for Rita with a highly annoying neighbour, after which she, er, gets down on her knees to express her gratitude, shall we say- a big step for her, and showing how safe she feels with him. He wears his mask well, and is even good with the kids. And this is the result. Yet, although at first he seems to be trying to go through the motions... is he realising, to his surprise, that he's enjoying it?

Doakes, meanwhile, is in danger after last episode's hi-jinks, ending up kidnapped, roughed up... and rescued. He was bait all along. A mask he doesn't even realise he's wearing. 

And yet not everyone is wearing a mask. The killer thinks he sees Dexter for who he is, leaving freshly amputated bits of poor Tucci for Dexter to find. It's a game, and feels almost like a particularly twisted episode of Sherlock.

And this is awkward for LaGuerta, who has just been on the telly fingering Tucci as the killer. She's lucky to get away with it as far as Tucci's grateful mother is concerned, especially as Tucci is finally rescued with no thanks to her... although Deb, in claiming the credit allowed her by her brother, is wearing a metaphorical mask of sorts.

But the real climax sees the killer misjudge Dexter. The trap is supposed to lure Dexter in to kill Tucci... and he doesn't, because he's internalised the code of Harry. Dexter may be a monster, but he and the killer are not the same. Harry taught him not only to wear masks... but fundamentally changed who he was. Still a monster, but one with principles.

A fascinating, and deliciously structured, bit of telly. 

The Lost Boys (1987)

 "Read the TV guide, you don't need a TV!"

I know: where have I been all these years, ten years old in 1987 yet the first time I saw The Lost Boys was last night. At least I've seen it now,

As a story... the film is good. I wouldn't use a stronger word than "good": this is a fairly bog standard Hollywood blockbuster plot, but it's done well enough. And, given the youth of much of the cast, it's well performed. Dianne Wiest particularly excels as the sweet, overstressed Lucy, a character who feels very real, And Barnard Hughes is superb as Grandpa, Greek chorus and by far the coolest character in spite of all the very cool youth culture stuff.

And there's a lot of the latter. The main theme song is a banger in its own right: yes, Marilyn Manson's cover is better- his covers invariably are- but we don't talk about him nowadays. We get Echo and the Bunnymen covering People Are Strange. The vampires live in an abandoned underground hotel with a massive poster of Jim Morrison on the wall. All this stuff has a lot to do with why this film became such a cult classic, I feel.

And yet, I think, despite the rather satisfying resolution, the film is raised above its good-but-not-great script by its visuals. It has a very late '80s goth aesthetic. The vampires and the scenes surrounding them look great. And you can never go wrong with showing amusement rides at night to evoke a sense of the eerie.

A film with a merely decent script, then, but one elevated above that by visuals and coolness. And this is also a fascinating glimpse of vampires in pop culture in the '80s- a possible influence on both Anne Rice and Joss Whedon?

Twin Peaks: Dispute Between Brothers

 "You know, there's only one problem with you- you're perfect!"

I was genuinely wondering how Twin Peaks would be able to continue after wrapping up the murder of Laura Palmer. After seeing this, it seems I needn't have worried. So may plot threads, of course, continue. And, as I'll come to, we now have the new mystery box of the "White Lodge"

We begin with some splendid visuals, with an eerie and indeed liminal shot of the forest, then shifting to mantelpiece photos of both Laura and Leland Palmer... then to Agent Cooper comforting Sarah Palmer, reminding us- interestingly, in the light of what is to happen- that he is a deeply decent man.

Then there's Audrey's parting visit to Cooper. She clearly worships him, and his deep moral principles in refusing to be with her do nothing but reinforce that. Again, Cooper is a decent man.

So the FBI investigation comes as a shock... and I'm sure all the viewers were punching the air when Harry told the investigator exactly where he could shove his investigation. Cooper and Twin Peaks, by now, have established a true bond.

All this nicely developed plot and character stuff, and then the ending... night fishing, the "White Lodge" and the Major suddenly disappearing in a mass of owns, urination and white light. Wow.

Other things happen, too, including much broad comedy as Nadine, thirty-five years old, enrols in high school. But this is a surprisingly deep and character-driven episode that somehow manages to point Twin Peaks into what looks like a promising new direction.

Batman: The Animated Series- The Laughing Fish

 "Come on- he was a demented, abusive, psychotic maniac."

"Yeah, I'm really gonna miss him".

The above exchange says such a lot about the relationship between Harley Quinn and the Joker- twisted, perverse, but feeling weirdly real in its co-dependence. For this first time we get to see hints of the relationship I saw in Suicide Squad. It'll be interesting to see this develop.

This episode is the best Joker episode so far. But then, of course, it's based on an old '70s comic story, which I've read, by Steve Englehart. While i know him much better for his late '80s Marvel stuff, I do recall enjoying it in comic book form and it's no less compelling here, with the Joker's clever ways of using fish to get at the relevant functionaries.

Interesting use of Bullock here, too, questioning Batman's involvement, overruled by Gordon and ending up being saved by Batman from the Joker's inevitable shark. And A nice bit of Alfred's snark too. At this point, I think, the Animated Series is fully formed. And very good indeed.

Andor: What a Festive Evening

 "You'll make up for this forever..."

Wow. Even by Andor standards this is quite an episode.

We begin with an intense and very revealing scene: last episode Cassian was distinctly unimpressed with the amateur and doomed nature of the putative Ghorman rebellion, seeing that it would be a self-destructive gesture. He cares about people. Yet Luthen sees things differently. He cares only for the rebellion, the greater good, and cares not if people have to be sacrificed... hence a fascinating row.

And then Cassian finds out about Luthen almost recruiting Bix for a mission last episode: Luthen, utterly amoral yet with a social conscience, in the abstract at least(!), is manipulating them. And, indeed, everyone. He's a fascinating character, on the side of "good" yet in some ways as amoral and manipulative as any of the imperials.

So, despite the imperials' plotting (poor Syril, for example, doesn't know the whole picture), Luthen's fingers are in all the pies here. Bix and Andor persuaded to go on a mission together. A genuinely captivating sequence, at at posh party (cameo from Bail Organa!) with Kleya trying to remove a listening device from an antique... successfully, but not in a way as to dissipate the general air of foreboding.

And, of course, the mission on Ghorman. As soon Cinta and Vel kissed I knew that happy-ever-afters were out of the question. But ouch, Vel's speech at the end is so powerful.

This is, so far, even better than the first season.

Dexter: Popping Cherry

 "LaGuerta's not my pimp!"

Some fascinating developments in this third episode as Dexter gets better and better: the characters are more or less established and we can get on with things. I'm also coming to appreciate what a strong sense of place there is here- I've seen lots of films and television set in Miami, but we're really getting a strong sense of it here. 

Dexter himself continues to fascinate, finding it stressful to fake grief at a funeral yet piling on more and more brownie points with poor Rita, who is lovely but not having a great time, having her car brazenly stolen from her by a scumbag who is totally getting what's coming to him.

Meanwhile, our serial killer has another victim, a prostitute, and it seems a nightwatchman is being framed, setting up what seems to be a slow burn clash between Deb and LaGuerta, who seems to be staking an awful lot on Deb being wrong. But do I get a slight implication that she may have an unknown agenda...?

Meanwhile, Doakes' desire for revenge for the murder of the woman he was sleeping with seems to be leading to trouble, and there's a nice sequence in which Dexter's next intended victim turns out not to be what he seems, and Dexter lets him off with a warning. It's a nicely done moment, and shows us Dexter's principles.

And yet, to me, the core of the episode happens in flashback, and the episode is all about the Code of Harry, which gets deeply explored. Dexter's hero worship of his stepfather, who saved him by redirecting his homicidal urges towards strictly vigilante purposes, is powerfully shown- not least in Harry's oblique speech, in flashback, as he thinks he's on his deathbed.

Brilliantly, though, this shows us Dexter's first kill- a kind of Harold Shipman figure played by Natasha Yar from Star Trek: The Next Generation. For the second time this episode it's one killer to another, and Dexter's understanding of his fellow serial killers is genuinely chilling.

Yet again, utterly superb telly.

Carry On Again Doctor (1969)

 "Sir, I do not object to jiggery. But I do take exception to pokery.

It's the end of the '60s. And, worryingly, the Carry On series gives us a direct sequel to a recent hit in a way which might suggest they're running out of ideas. And, well... it's a bit of a curate's egg.

Yes, the ending, with the very '60s attitude to trans issues, is of its time, and couldn't be done today. Yet there's also an innocence to it, no suggestion of overt bigotry or cruelly cynical culture war nonsense. And the whole thing, particularly towards the end, is a very well constructed farce. And a well constructed farce is not an easy thing to write.

This is also a film crammed with excellent jokes, and most of the core Carry On cast at the top of their game. Kenneth Williams, Joan Sims and Hattie Jacques excel particularly, and Jim Dale is always a damn fine lead.

And yet... all that stuff in the overseas medical mission falls flat, with cheap looking sets and one note jokes. Worse, Sid James is wasted in a relatively small and poorly thought through role. There's such a contrast between these rather poor scenes and the rest of the film, in an actual medical setting.

And this is frustrating, because the rest of the film is as good as anything the Carry On crew have ever done, with script and cast both in sparkling form. When this film is good, it's very, very good.

Twin Peaks: Arbitrary Law

 "One chants out between two worlds... fire walk with me!"

Wow. This episode is a hugely satisfying resolution to the question of Laura's murder, but... we have twelve episodes to go.  How can this not be the end?

We knew it was Leland, possessed by Bob. But the way an admittedly clueless Agent Cooper finally solves the mystery by the use of visually awesome "magic", utilising all that imagery of not only his own dream, but those of Laura, is hugely satisfying. Bob's been possessing Leland, and using him to kill, for a long time. Yet Leland- even if Bob seemingly flies away as an owl(!) dies in peace at the end...

Well, as far as that may be said for one who has headbutted oneself to death on a cell door!

Laura accepted she had to die, in order to not herself be possessed. Wow. And the Major... he knows things. Also impressive is how Harry slowly, sort of, comes to terms with these supernatural things. Andthe shocking revelation that the old woman from a couple of episodes ago, with her eerie grandson, to whom Donna has been delivering meals for years, has been dead for years... brr!

Other things happen, too, of course- Catherine forces Ben to sign away his rights in return for nothing, and the saga of who is the father of Lucy's baby continues. But this episode is a massively satisfying conclusion to the central mystery.

So... what next.

Batman: The Animated Series- Robin's Reckoning, Part II

 "Looks like you could use some protection right now. And protection is my racket."

Immediately notable here is how especially good the animation is, especially the creative use of angle. There are lots of nice stylistic choices, such as the ever-creepy trope of an amusement park at night. And, as ever, the creative ambiguity surrounding the question of whether this is the 1940s or the present day gives a splendid visual style.

Yes, I suppose you could say this plays out predictably- in flashback, a vengeful Dick gets in Batman's way and inadvertently causes Zucco's escape. In the present, Robin's arrival saves Batman, and Batman intervenes to persuade Robin to find catharsis in justice, not revenge. Something along these lines was always going to happen.

Yet the final reconciliation works well in its nuance. The set pieces are impressive. And we get to see more of the seedy unpleasantness of Gotham at night. A good episode, then, not only because of its big ideas but also the little things.

Andor: I Have Friends Everywhere

 "Revolution is not for the sane..."

I like where this season seems to be going more and more, as we dig ever deeper into both the moral compromises and the personal costs of rebelling against totalitarianism. All this, and it seems Ruby Wax is a big TV star in the Empire...

We see Cassian, with his new disguise, beginning to infiltrate himself into Ghorman and make contact with the rebels, at first disappointing them with his caution. The situation is, of course, highly complicated: the rebels think they're manipulating Syril, but he (with Dedra) is actually manipulating them. This is high stakes ten dimensional chess.

Meanwhile, Luthen sees that Bix isn't doing so well mentally- the constant fear and stress of rebellion takes its toll. But Luthen himself doesn't react well to the prospect of one of his bugs being discovered. The stress of spinning all those plates...

But most intense of all, perhaps, are Wilmon's experiences. He spends so long training one of Saw's underlings, only for said underling to be shot as a traitor... then we get a fascinating scene with Saw, who gets sort of his own version of Luthen's "What do I sacrifice? Everything!" from last season: he knows damn well he will never live to see freedom, so what's the point in maintaining one's grip on sanity?

Utterly gripping television.

Dexter: Crocodile

 "I think he's trying to impress me. And it's working."

Episode two... and, for the first time, we see the opening titles, which are nicely clever and symbolic, using objects to hint at violence without any human flesh. And perhaps- we'll see if I'm right- we get a hint of a broad formula to the episodes, while also developing the characters. Meanwhile, there's some very witty dialogue and clever directorial choices. 

Interestingly, I don't like Dexter at all. But that isn't a barrier to his working well as the main character- why should the protagonist necessarily be the hero? His admiration with his serial killing rival is amusing. He commits another casual murder, this time of a serial drunk driving killer played by Sam from True Blood. And, again, only Doakes sees through him. His sister, the adorably ditzy Deb, looks up to her big brother. And even his sexual awkwardness with Rita makes him look good- it seems, at first, as though our asexual protagonist is going to have to do some making out. But he's saved by the fact that Rita's sexual assault trauma means she can't go through with it. And ends up with her thinking he's motivated by pure decency!

But the mood is different: not only has a cop been killed, not only has the killer gone after his wife, but there's drama, as Doakes was sleeping with the wife. LaGuerta still fancies Dexter while disdaining Deb, who gets transferred to homicide against her wishes. All this is definitely going somewhere. And all deliciously observed by Dexter. I like his attitude in court, as he people watches... conceptually, he gets other peoples' pain. But he's incapable of feeling it. Damn, this is quite the compelling character, and promises to be a compelling series.

Doctor Who: The Reality War

 "So much for the two Ranis. It's goodnight from me."

Obviously, the above line is so brilliant that this episode is a triumph for that reason alone. And yet... against all the odds, although I'm sure subsequent viewings will reveal the odd dangling thread, after last episode seemed to promise a finale full of too many elements and loads of fanwank, we ended up with nothing of the sort. Instead... we get an ending that satisfies emotionally as well as narratively. Plus a cameo by Jodie Whittaker that I never saw coming. 

 So...

We resolve the cliffhanger by bringing back Anita and the Time Hotel, another returning character. Yet, with this being Ncuti Gatwa's swansong, it's good to see her again. And we use the hotel's timey-wimeyness to bring the UNIT gang back together, merging Conrad's awful wishes with reality. The plot threads- May 24th never arriving, the future in which the hotel exists existing only barely-just about work. And so we have... UNIT versus the bone dinosaur thingies which, let's face it, is the coolest thing ever.

And, of course, the Rani confronts everyone. It's a reunion with Mel, the sort of sequel to Time and the Rani that we were all definitely waiting for. And... the Rani wants to bring back Omega, and thus the Time Lords. Oh, and Time Lords have been sterile since the Time Lords were destroyed... that is, the most recent extinction, not the time before that. So Poppy is real... but she's an impossibility. And, to the Rani's Gallifreyan supremacist disgust, half human, like the Doctor is. Or isn't. Let's not dwell on this one.

The dilemma here is a nice one: bring back the real world, and Poppy vanishes. Yes, the story promptly cheats by building a zero room to magic away the paradox but, given what happens later, this doesn't really feel like a cheat. The Doctor confronts the Rani while Ruby (successfully, and psychologically) confronts Conrad. And... there's Omega. A terrifying beast, for sure, but as little like the Omega we remember as, well, Sutekh was last season. And, after gobbling up the newest Rani, he's quickly vanquished. Because, as we'll see, this is an episode where the Big Bad isn't really the point.

At first, Poppy exists. Ruby watches, alongside the audience, as the Doctor and Belinda plan to travel through time and space with her, making sure the TARDIS is toddler proof. Because that's totally what matters, right? In no way will the places they travel to be the real threats to child safety...!

And then... suddenly she never existed. Only Ruby remembers her. Only after much debate does the Doctor realise... and that's when we realise: he's going to regenerate. Sacrificing his life for a child. And... yeah, Ncuti Gatwa was good, but the other side of that is that he was in demand. Doctor Who, especially with this hiatus, was never going to keep him for longer. Which is a shame. We never got Daleks, Cybermen, so much, And two such short seasons...

It's a good send off, though. Nicely done, visually, and surely the most expensive regeneration ever. Nice cameo from Jodie Whittaker, too, doing some nice little characterisation for her in one short scene which knocks everything Chris Chibnall ever wrote into a cocked hat.

The coda with Belinda makes total sense: she always had to get home for Poppy, who is, after all, completely human, with a human father. It all feels as though it fits together, at least on just one viewing, and it satisfies.

But then... what? What? What?

Fledgling by Octavia E. Butler

It's always a joy to discover an author new to me, if obviously one I most certainly had heard of, appearing with increasing frequency on all sorts of lists of "best of" literary science fiction. Eccentrically, my first experience of her writing is this, the final novel she wrote before her unacceptably early passing.

And the novel is extraordinary, at once brimming with intoxicating ideas (and I love a good novel of ideas) and supremely addictive. "One more chapter" syndrome is very much in effect here.

The plot, I suppose, is fairly simple, and perhaps even takes a back seat to the deeply enjoyable world building. We follow everything from the perspective of an amnesiac vampire, attacked and left for dead, as she tries to discover who she is, her place in the world, and who would want her and her family dead.

Yet this is a novel profoundly about bigotry, about race, about justice, about sexual ethics, about how to deal ethically with power imbalance. Yet the novel never feels preachy or didactic, and makes no claim to solutions. Its feminism is firmly sex-positive. And its characters feel utterly, utterly human, although many of them, of course, are not human at all.

This certainly won't be my last experience of an author I'm very happy to have discovered for myself.

Doctor Who: Wish World

 "This isn't exposition, Doctor."

The opening scene to this episode is decidedly odd, in ways which, I think, are oddly clever. It's Bavaria, 1865. A time and place which is somewhat redolent of fairy tales. And, sure enough, a seventh son is born to the seventh son of a seventh son, which must surely be rather unlikely. And so in swoops Archie  Panjabi's rather wonderful new Rani to steal the baby... and magically turn the rest of the family into violets (evoking Luke being turned into a tree in Mark of the Rani?), ducks and an own respectively.

This is pretty much as fairytale as it gets. Magic, not science, although I suppose there's that famous quote from Arthur C. Clarke. But hasn't there been a lot more of this sort of thing in doctor Who lately, along with the fourth wall breaking? Almost as though reality is not the same as it was. Perhaps since the Doctor and Donna did that thing with the salt in Wild Blue Yonder...?

We then move to a bit of a mini-Doctor Who trope: reality has changed. The Doctor (or "John Smith") and Belinda are a married couple, and Poppy from Space Babies (and as glimpsed in The Story and the Engine) is their Daughter. The likes of Ruby, Mel, Kate Lethbridge-Stewart, Colonel Ibrahim and Shirley all exist within this world, which is disturbingly trad and socially conservative, especially with regards to gender roles and sexuality. Given this existence's reactionary bent, it shouldn't be a surprise for us to see Conrad, that cad, on the telly. It'll be May the 24th tomorrow. And there's this constant, Orwellian pressure not to doubt this reality, or one may be disappeared.

Oh, and there are skeletal dinosaurs walking all over the place, because of course there are.

There are some nice touches. Ruby remembers a little more because, with the events of 73 Yards, she has previous. Conrad's storybook, about the story of "Doctor Who" (was that the sound of the fourth wall collapsing again?) is by "I.M. Foreman". And even Susan Triad works at "John's" office... from tech billionaire to tea lady.

And yet there are, in another nice little assault on the fourth wall, little plot holes in this reality which make it really rather hard not to doubt. Things cannot hold. Conrad is exhausted from maintaining his ideal reality. The older Rani is beginning to resent her "mistress". The Rani is at the centre of London, with a plan that does not bode well for the continued existence of the populace. And Shirley, with the other marginalised, disabled, lets Ruby in on their plot against Conrad and... well, as in other episodes, I approve of what's been said in the socio-political commentary here, but would it not be more effective if it were a little more subtle? Subtext over didacticism? Never mind.

Inevitably, the Doctor and Belinda find themselves doubting this implausibly reality and captured... via appearances by both Rogue and Susan: with all that's going on, with there be much time to devote next season to the latter? Or is she for Season Forty-Two?

And so we have them both introduced to the Rani, as memories stir and we get some answers. The Doctor "stirred the gods"... during Wild Blue Yonder? The baby is Desiderium, god of wishes, boosted by the Vindicator and a sprinkling of technobabble. It's May the 24th, the stroke of midnight, and the outside world dissolves (the "Bone Palace", conveniently, is a fixed point). And the revelations come quick as the cliffhanger approaches. The Rani is doing this to find the "One Who Was Lost"... Omega! and one last thing... Poppy actually, genuinely is the Doctor's daughter! And... Susan's mum...?

Hmm. I enjoyed this episode, it entertained me, but will they stick the landing? That's the question. It's all contingent.

(Incidentally, I love how, in a world where we Brits have been pronouncing the word "omega" the American way for decades now, Doctor Who has accidentally preserved the older British pronunciation that's archaic in 2025... fandom aside!)

Twin Peaks: Drive with a Dead Girl

 "Ben... as your attorney, your friend and your brother, I strongly suggest that you get yourself a better lawyer."

This episode, perhaps, may not stand out as much as some, but it's as engaging as ever as the many subplots continue to unfold. We see Leland's disturbing behaviour after last episode's events, but whenever he looks into the mirror... it's Bob. I love the many golf balls at the start! Still, those glances in the mirror aside, this episode is unusually devoid of the supernatural. Indeed, Harry even pushes back at Agent Cooper on this a little.

So much happens here, as ever. Hank's old cellmate Ernie marries Lorna's mother. Andy tells Lucy that he may be the baby's father. Ben is being set up by Catherine, unless he signs over all but the hotel. Both Harry and Pete are worried about what happened to Josie. Maddie's body is found. 

Interestingly, though, we're eight episodes into this season which, unlike the last one, has the then regulation 22 episodes expected by American network television, whereas last season was over at this point. There aren't clear signs of it yet, but I do hope this doesn't lead to unnecessary padding. Time will tell.

Andor: Ever Been to Ghorman?

 "Everyone has their own rebellion, right...?

Yes, I know: I'm well behind on Andor. But I'll keep on at it...

A year has passed since last episode. Cassian and Bix are living in furtive domesticity on Coruscant, finding relative (but only relative) safety in being needles in the mother of all haystacks. But Bix is still troubled by flashbacks of a certain atrocity committed in the name of the rebellion, leading to some interesting debate between the two of them.

Yet this episode is clearly setting up all sorts of skulduggery, and deceptions within deceptions, as the Empire makes its plans ton seize Ghorman and mine it for its resources, rendering it uninhabitable. Hence a year of relentless anti-Ghorman propaganda, hence the Rebellion and the Empire turning their attention to it... yet Luthen can glean little, and the imperial manipulations proceed, with Dedra and Syril's undercover mission seeming to show the first fruits of success.

And it looks as though Cassian is about to go into Ghorman, too, to learn what's going on. I'm sure, with all this dialogue about him protecting Bix, that she'll be fiiiiine.

This is, really, an episode of set-up. Yet there's plenty of nuance and food for thought on the harsh realities and the compromises which must be made when living under tyranny. Superb television, as ever.

Batman: The Animated Series- Robin's Reckoning, Part I

 "That Grayson kid's a real boy wonder."

Tsk. I don't think much of the child labour laws in Gotham City, allowing the Graysons to use their young, underage son in what's described as a "death-defying" bit of acrobatics. Nor do I think much of the health and safety situation. No safety net? Really? With a child involved...?

Yeah... you can sort of tell that Robin's origin story dates from the '40s, can't you? A bit like the way all the hoodlums dress and the cars they drive. It's a bit awkward in the modern age. So it's perfect that this  animated series takes place in a deliberately ambiguous fusion of the '40s and the modern day.

We still haven't seen much of Robin, but this episode serves to flesh him out really well. The narrative, contrasting "now" with flashbacks, also works well. The modern day narrative is simple- Batman finds out that Tony Zucco, killer of Robin's parents, is still alive, but refuses to tell Robin and goes after Zucco himself, refusing to involve his ward. So, naturally, Robin is furious, and this seems to presage a real rift between them.

Yet the flashbacks, taking their time to tell Robin's origin story, are the real point. It's lovely to see Bruce and Dick bond over both of them having had their parents murdered at a young age. So far, so impressive.

Dexter: Dexter

 "See you at the next bloodbath?"

You never know what you're going to get withy a pilot for a new series (yes, Dexter is the new Sunday night blog post for now), but I was bloody impressed with this. Bloody excellent direction, intriguing concept, plot and characters, nice use of the setting (Miami), and superb central performance from Michael C. Scott as the eponymous serial killer... with praise also due to the extraordinary Julie Benz as Rita, the damaged, sexually abused girlfriend to whom the asexual Dexter is the perfect boyfriend.

And Dexter himself is nuanced and fascinating. Neurodiverse, personality disorder, I'm not qualified to say, and TV drama often tends to conflate such things.. but he's a strange one, entirely capable of surface charm; highly organised; and utterly incapable of real feelings, even towards his sister and his girlfriend. It's fascinating seeing his friendly relationship with his unsuspecting cop friends (except Doakes, who knows he's a wrong 'un). especially Lt LaGuerta, who may look down on his sister Deb but clearly fancies the pants off Dexter.

And the flashbacks... his backstory is fascinating. Some childhood trauma leading to adoption, starting by killing animals, but his energies redirected by a loving cop stepdad into serial killing only those who "deserve" it. Wow. And in this episode we see our first two of what I suspect will be many murders. Dexter is, of course, no hero: vigilantism is never justice. There must always be due process. Much as I'm enjoying this series, I'll never forget that.

But this episode does a bloody good job. It introduces the characters and premise, and already we have a threat: a rival serial killer, whose methods Dexter admires, and a shot across the bows...

Doctor Who: The Interstellar Star Contest

 "You came back from the dead!"

"Sums up my career."

SPOILERS, obviously.

I'm not much of a one for light entertainment, so I wasn't sure I'd like this episode as much. I don't mean that as a criticism, mind: there hasn't been a dud this season so far, and Doctor Who bloody well should try and appeal well beyond middle aged geeky blokes like myself. Yet I thought it was brilliant, and not only because of that ending. But that we shall come to.

Despite this being an episode based on Eurovision (complete with not only Rylan Clark and Graham Norton, at last appearing in Doctor Who by actual design) and set in a space station, which is the most RTD thing ever, we have another new writer this week, which is brilliant.

Anyway, the opening is fun, with Belinda rather amusingly insisting that, yes, this time she actually wants to stay for a bit. Of course, given what we later learn, it's unclear how an Earth cultural institution could have become a spiral arm-wide phenomenon nine centuries later, but such things are easily handwaved. After all, there are nice little nuggets for the fans, such as star singer Cora ostensibly being from Trion, home planet of one Vizlor Turlough.

The threat, with the Hellions, is allowed to cleverly unfold, with a brilliant central performance from Freddie Fox as Kid. It's should make us uncomfortable that there will undoubtedly be parallels in our own world to the atrocities perpetrated by the Corporation upon the poor people of Hellia. Yet, while kid turns to mass murder, Cora instead turns to something both more positive and more effective- and there's a message for us all there in our oh so imperfect world. Blind, angry revenge is not the answer.

Mike and Gary are great as down-to-Earth audience identification characters- and I recognised Charlie Condou as Jonathan Yeah? from excellent sitcom Nathan Barley, in a minor little actor spotting triumph. But there's lots of good character stuff for the Doctor and Belinda, each separated and thinking the other dead, Belinda panicking about her situation and and realising she never got to tell the Doctor he was wonderful. This is an absolute acting triumph from Verada Sethu.

And then we have the Doctor going way too far in his attack on Kid, not so much the Time Lord Victorious but the Time Lord Damaged by Trauma. Ncuti Gatwa, too, is incredible here.

But... yeah. Let's talk about the big reveals, shall we? Susan- actually Carole Ann Ford- was a huge shock. She's only in the Doctor's head, but, with the little seeds planted last season, I'm sure she's out there... a Season 42 thing?

And then the Vindicator is finished, the Doctor can finally take Belinda home, but we get some exposition (from Graham Norton, who else?) telling us that Earth ceased to exist on 24th May 2024... and, as the TARDIS heads towards that date, the door blows off.

And that's all. Mrs Flood is indeed the Rani, which was unfortunately spoiled for me by the thumbnails of videos from inconsiderate YouTubers. But... a bi-generation? Archie Penjabi's Rani and Mrs Flood? Yeah, still processing that.

I definitely enjoyed this a lot. It may be a first viewing thing- watching this a second time without the big reveals may possibly be a different experience. But the episode works on its own terms, I think, with a nice subtext.

Update

 I realise I’ve been rather inactive this week- that’s because of big life events that have been emotionally overwhelming. Not in a bad way, though. I’m fine, and I’ll be back to normal from Saturday with Doctor Who.

Batman: The Animated Series- The Cape and Cowl Conspiracy

 "Do you know what it means?"

"Don't you?"

At last the Commissioner has come up with the Bat Signal, fairly late in the game. And I love how Batman gently notes the implausibility of such a thing being allowed!

Otherwise, though... well, the twist at the end was clever, but I wasn't all that impressed with this one. We have a villain, Josiah Wormwood, whose thing is to commit crimes via elaborate and unrealistically elaborate death-traps, much like  those we saw in the '60s TV series. Neither he nor "Baron" is particularly engaging or interesting. Indeed, the best thing in this episode may be the interaction between the Batman and Commissioner Gordon.

We get a Perils of Pauline style damsel in distress about to be run over by a train who turns out to be a hologram, though: I liked the subversion of this trope. But otherwise, a rather forgettable episode.

And quicksand doesn't actually do that in real life!

Better Call Saul: Saul Gone

 "So you were always like this..."

And here we are. It's over... and it ends like this. Wow.

That was an hour of television that will haunt me for a long time.

Of course, there's no suspense about whether or not "Gene" is going to be caught: there's no escape for him, and we know that this is the last act of Saul's... no, Jimmy's tragedy. There can be no hope for him... but, unexpectedly, there's redemption. And, for that redemption to be genuine, there must be real catharsis, full confession and harsh consequences... eighty-six years in a prison Saul had earlier described as a "hellhole".

The episode is punctuated by flashbacks- with Mike, with Chuck, both better and wiser men than him, as he asaks them what they'd do with a time machine, all the answers being revealing. But it's Walter White who, with his typical arrogance, calls him out: this is really about regrets. And Saul, of all people, certainly should have had a few, as attested by the dizzying number of charges he's presented with.

And he seems to play his hand with very Saul Goodman cunning, getting a very lenient plea deal of only seven years in a not-too-bad prison. And it seems even that isn't enough. Kim has acted with integrity, leaving herself open to being sued by Howard's widow as atonement... but Saul, it seems, right up until the moment he steps into the courtroom, seems set to throw Kim under the bus, which would be far from surprising.

But... he doesn't. Instead, he admits all and takes the brutal consequences. Almost certain life in a hellhole prison... but he has Kim's respect again. And, through suffering, redemption. weirdly, Jimmy (not Saul) is probably happier than if he'd taken the seven years. He is, at last, doing the right thing. Even Jimmy McGill is not beyond redemption,

Wow. The script, the acting, everything. This in no way ended as I was expecting, but it feels perfect.

Doctor Who: The Story & the Engine

 "This ship is in outer space, and in Lagos, at the same time..."

Yet again, we get another bloody good episode, full of heart and crammed with so many ideas. Not a dud yet this season: every episode has been good or better. And this may be one of the better ones.

After so many episodes concerned with the arc, characters from the past and so forth it's such a relief to get a story of the week. Yes, Mrs Flood appears, but only briefly... and yes, we get a surprising and welcome cameo by Jo Martin. And, although it seems at one point that we're getting another member of the Pantheon, Anansi, that's a clever bit of misdirection. And even if, as seems possible, stories are the concept at the centre of the season arc, the focus on story here is merely thematic.

So we have, near as dammit, a story of the week, with original concepts and a brand new villain. Good. It's also great to have an episode set in Nigeria- the TARDIS can go anywhere, not just an island off the coast of northern Europe. Episodes like this give the series a sense of scale... although one thing about the setting did amuse me: it's 2019, not quite the present, because Belinda can't be in 2025 until the plot demands.

The cold open gives us a fascinating mystery, and I love the little animations as the stories, so wonderfully reminiscent of west African folklore, are told. Omo, the Barber and Abena are stronger characters than the other young men, but this is not a story peopled by redshirts. These characters are far from two dimensional. And there's a fascinating character point for the Doctor, too: he's Black now, and having to adjust to how he's perceived in certain times and places. So why not spend time in Lagos, in a barber's shop, getting to know people in a place where his blackness makes him comfortingly anonymous?

The mystery builds wonderfully, and I love the concept of a barber's shop that is both in Lagos and... not. Even better when the Doctor discovers they're on the back of a giant robotic Anansi spider. This is brilliant. We're in West Africa, Anansi is the most widely known figure from West African folklore, so why not riff on him? And I love the misdirection: The Barber is not Anansi, god of stories (although surely Anansi, like Loki, is more of a trickster god... perhaps the same as the Trickster, come to think of it?), but rather a disgruntled former employee who wants to kill all the gods, which will have consequences for human culture, an excitingly fertile thought. Then there's Abena, another mythological character, who has a grudge against the Fugitive Doctor.

As good as all these breathless, brilliant, science fiction ideas, though, is the Doctor's very human story about Belinda, a simple tale of nurses and what heroes they are.

The ending is perfect- reconciliation and forgiveness for everyone, the Doctor managing to save the day only because of Abena's wonderful story, loads of tension. Maybe I'm still not fully grasping who and what the Barber was, but I don't think I really needed to. This episode was entertaining, ingenious, and deeply, deeply satisfying.

Batman: The Animated Series- Perchance to Dream

 "You don't like the fantasy world I've created for you?"

This episode is, I suppose, simple: we get a high concept... er, concept that simply plays out in its own inevitable way. Besides, the "protagonist wakes up to find their life was all a dream and reality is more mundane" thing is such well-trodden grounds that I've no doubt whatsoever that it will have its own TV Tropes page. Despite all this, though, this episode is bloody good- and perhaps ideal for a series with such short individual episodes.

So Bruce is knocked unconscious and wakes up to a reality in which his parents are alive, he's just become engaged to Selina Kyle (this being a dream of his ideal life, this is proof of how he feels about her!) and someone else is Batman. And yes, it's fun as we- and Bruce- are introduced to this new reality, which Bruce comes to accept. At last he can find true happiness.

And yet we know it can't end there. The way Bruce finds out is clever- books and newspapers are gobbledygook: we can't read in dreams because apparently it's a left brain thing. I'm not sure if this is a myth or not- left/right brain things often are, it seems- but, as a plot device, it works well. Although, surely, anyone under the influence of this machine would have the same reaction?

Still, the showdown with the Mad Hatter is satisfying, dramatic, and Bruce's solution is truly shocking. And it's the perfect character point- for Bruce, the truth matters more than happiness.

Andor: Harvest

 "I wish you were drunk."

Wow. Three episodes in and we get a truly great episode. All three subplots here deepen the series' theme- the grim reality of negotiating life under totalitarian tyranny. And it's done superbly, with script, acting and some particularly creative direction.

So we have Dedra meeting Syril's overbearing mother for the first time, petty tyrant that she is. One one level it's satisfying to see Dedra laying down the law against the abuse of her partner... but she does this by using her position in the Imperial state, with veiled threats. Still, given the initial inequality between them, Dedra clearly sees her new partner as highly capable, a kindred spirit, and worthy of respect. Interesting, too, to hear about her background, raised coldly by the state following her parents' arrest.

There's the tension of the imperial audit, as the net closes in on the fugitives... and the awfulness of that creep from last episode first insisting on sexual favours from Bix in exchange for not arresting her, a promise he may not even keep, and then trying to rape her, leading to her defending herself and ending up arrested. This horrible scene has no doubt played out many times over history, an appalling thought. Cassian may come to the rescue- although not without casualty- but the sheer horror of this lingers.

Then there are the multiple horrors facing Mon Mothma. There's the looming and imminent threat of blackmail, of course, but that can wait a few days. Even worse, as shown by the early scene between her and Leida, as Mon is forced to confront what she's done. She's doing what she's doing to help the rebellion, but at the cost of a forced marriage of her daughter to some oaf. No wonder she gets drunk, like her own mother at her own wedding... and the trippy camerawork is exquisite. Just like Andor as a whole.