Killing Eve Season 1

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2010's, Darren Boyd, David Haig, Fiona Shaw, Jodie Comer, Killing Eve, Killing Eve Season 1, Kim Bodnia, Kirby Howell-Baptiste, Owen McDonnell, Sandra Oh, Sean Delaney

Wickedly engaging and thrilling executed, Killing Eve twists what you think of a spy thriller and it emerges as a morbidly funny, intense and addictive show that constantly surprises.

Eve Polastri( Sandra Oh) is a security officer in MI5 who has a good marriage to the lovable Niko(Owen McDonnell) , but she’s grown restless at mainly having a desk job. Although she has a great confidante in the experienced co worker Bill(David Haig)  and free speaking colleague Elena(Kirby Howell-Baptiste) , Eve wants something more. Her mind is constantly working and she has a knack for knowing a lot about female killers. This comes in handy when she is called into a briefing about a high profile Russian politician who was murdered and the sole witness is his current lady friend . Head of the MI6 Russia Desk Carolyn Martens( Fiona Shaw) is interested in this as the witness fled to British soil. Eve speaks the idea that the killer was a woman but no one pays much attention to this. Stifled by her job that provides no satisfaction and belittled by slimy superior Frank Haleton(Darren Boyd) , Eve can’t help but get involved in the case even though she’s been warned to leave it alone. After her investigation ends in brutal tragedy for many, she along with loyal best friend Bill are fired from MI5. Not long after this, she is secretly recruited to an MI6 operation headed by the icy Carolyn  . Eve jumps at the chance of this as she has always wanted to be a spy, and though this hunt is a clandestine and off books one, she’s thrilled to liven up her life and brings along Bill and Elena . They are also aided by computer whizz kid Kenny(Sean Delaney ) and operate from a disused building that’s basic but essential to their search. Her suspicions about the killer being a woman turn out to be very true indeed. The killer in question is Villanelle(Jodie Comer) , a skilled Russian assassin with a high level of psychopathy and a taste for the expensive things in life. She’s a prolific killer working for a mysterious organisation known only as ‘The Twelve’ and handled by the crusty but almost fatherly Konstantin(Kim Bodnia)  . Seemingly remorseless and savage , she’s been operating for years but lately has started to get more outrageous with her methods of killing. This draws attention to her but when Villanelle gets wind that Eve is investigating her , she becomes entranced and somewhat besotted with the idea of being tracked . For the two women have briefly met without realising the identity of the other , igniting a strange spark that sizzles. Everything starts to mysteriously link as the body count rises and it would appear that a certain conspiracy is going on . What neither woman has counted on is the growing obsession that builds between them in a game of cat and mouse that is lethal, dark and very unexpected.

Killing Eve is a thriller with a difference; shot through with an absurdist and jet black humour that’s engagingly off kilter and flying in the faces of grim and serious spy yarns. That isn’t too say that Killing Eve doesn’t have high and deadly stakes at its centre, it definitely has those in moments that truly shock( like the guy punch of Bill’s murder that caught me off guard )and pull you back to the dangers of being in the spy world. But it has these moments of quirky humour to it that makes it stand out amidst all the outrageous brutality often on show, courtesy of the prolific, big statement kills enacted by Villanelle . Watch out for inventive use of a hair pin and a shocking emasculation for shocks. I will say that Killing Eve is one of those television shows that will be either love or hate with viewers. My advice is to go with the bizarre yet scintillating narrative at play and see what you make of it. The balance of strange but darkly impressive humour with genuine shock and thrills is handled beautifully and in its own unique way here.

The big centre is the cat and mouse game of it all, though in many cases the roles switch to being both cats and both mice as Eve and Villanelle become inextricably linked . The scripts from a talented group of writers , mainly headed by the series show runner Phoebe Waller-Bridge, are crackerjack and have you wanting to see the next episode every time it hits the credits .  Special mention has to go to the episode ‘I Have a Thing About Bathrooms’ . It features a simply stellar scene as the two women size each other up after Villanelle breaks into Eve’s apartment and they go through varying emotions. From a curiosity, underlying tension and even it would seem a semblance of understanding, it’s a fine face to face for and once more lights the fuse of an already intensely unusual relationship that is escalating with unpredictable results right up to the finale. The visual style and editing of Killing Eve is cleverly used to emphasise the escalating tension and attraction between the principal women; framing them in shots that mirror each other and also giving us some beautiful locations where murder and mayhem ensue . A pretty eclectic soundtrack of country hopping songs  add a moody ambience to the proceedings with a certain 80’s feeling to it that still suits the contemporary setting.

Sandra Oh is simply marvellous as the eponymous Eve, who undergoes an unusual awakening as the episodes continue and her obsession builds. Eve is impulsive, emotional and bored yet this is what makes her relatable and down to Earth. Blessed with an animated and expressive face, the talented Oh is marvellous at getting us invested in Eve’s growing desire and evolving from minute to minute with nuance that’s astonishing.  And complimenting Oh and truly burning across the screen with a multi-layered performance is the wonderful Jodie Comer. Essaying a variety of personas, accents and walking the tightrope between vicious, outrageous killer and strangely lovable young woman, Comer is nothing short of a revelation as the assassin who does things her way regardless of consequences. Funny, often frighteningly intense and slowly revealing what’s concealed within a truly twisted mind, Jodie Comer is simply a marvel and deserving of every award going. It’s the crackling chemistry between the two ladies at the heart of Killing Eve that make it so fascinating . One can understand why each woman is obsessed with the other and that is down to the work from Oh and Comer which crafts an ambiguous and curious relationship between the most unlikely of characters. And it’s interesting considering they don’t actually spend a lot of time so far on screen together( apart from a brief but powerful encounter early on that starts the powder keg ) until later on in the episode run where they finally face off a few times. But the palpable feelings and vacillating motives between Eve and Villanelle have been built up so strongly that you know when they do finally confront the other, it’s going to be something special. 

The ever reliable Fiona Shaw knows how to throw in the odd curveball to surprise us while retaining a chilly outer persona that screams ruthless from every pour. She’s cold yet complex and you don’t know what you’ll get with her. That’s why I find her character of Carolyn so fascinating to watch and its all down to the subtle nuances that it works. Although he is essentially playing someone villainous, like Villanelle, there is a level to which you can’t help but love Kim Bodnia and his portrayal of handler Konstantin. Plus he’s dryly humorous when the occasion calls for it and Bodnia plays to that so well that you never know whether to laugh or be slightly fearful when he’s around . Sean Delaney has necessary smarts and a slightly awkward manner for the part of computer whizz kid Kenny, and there’s Owen McDonnell as Eve’s hangdog looking husband who grows deeply worried about her escalating obsession. Kirby Howell-Baptiste is witty enough though I don’t find her character the most compelling. And despite only being in a few episodes David Haig and Darren Boyd are both effectively memorable as very different men. Haig is avuncular and at times unexpectedly witty and Boyd is oily and smarmy arrogance personified.

Defiantly unexpected, darkly funny and above all compelling, Killing Eve is a stylish first season of thriller with two standout performances from Sandra Oh and Jodie Comer. I must say I’m very intrigued to see what follows in the next season.

Xena: Warrior Princess Season 5

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1990's, 2000's, Adrienne Wilkinson, Hudson Leick, Jennifer Sky, Kevin Smith, Lucy Lawless, Paris Jefferson, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 5

After the startling finale of Season 4, Xena swings back into action with its fifth Season, that stands as my second favourite after the iconic Season 3. It’s epic, enjoyable and has almost everything you’d want from the show. Be warned, spoilers may well follow in this overview of the penultimate season.

We pick up as Xena( Lucy Lawless) and Gabrielle( Renée O’Connor) are ascending into heaven following their brutal crucifixion. Following a battle between demons and angels, the two are restored to life by healer Eli . Joxer( Ted Raimi) once more joins them and finally tells Gabrielle his true feelings, which leads to a certain awkwardness between them but once more eases to friendship again. At first, following resurrection, Xena is not herself at all. The memories of being a warlord and her skill in battle are gone. Luckily, once creating a new and improved Chakram that links almost telepathically to her, Xena is back to herself again. Many changes, however, await her back in the land of the living. Chief among these is the fact that she discovers she is pregnant but hasn’t been with anyone in an intimate capacity. Xena still fights when the occasion arises, yet Gabrielle, who herself has honed her fighting skills and ditched the way of peace, is the one who takes up arms more readily this time around. We also have Ares(Kevin Smith) on the prowl, trying to get Xena on side by attempting to sway Gabrielle and those around her. This locks them all in a battle of wills as Ares is a difficult guy to resist, though for once he does seem to be quite genuine in his feelings for Xena. Once Xena gives birth to a daughter named Eve, all matter of evil seems fixated on it. This is because of the prophecy regarding ‘The Twilight of the Gods’; a time when humans will grow tired of Gods and will rise up causing those who have supernatural power to lose such abilities. It happens to Zeus, which angers other Gods who will stop at nothing to rid the earth of this child and sets in motion the aforementioned Twilight. Although Xena attempts to protect Eve, she knows that the God’s won’t give up in their search. With help from allies, she, Gabrielle and trick the God’s into believing they are dead, while Eve is placed in safety. What they hadn’t counted on was Ares really believing them and thinking he has lost Xens, he freezes their bodies. Awakening 25 years later, the duo find things have changed. Joxer is now near elderly and even has a skilled fighter son named Virgil(William Gregory Lee), plus the terror Rome has been through Greece. To Xena’s shock, her daughter has grown up to be a vicious warrior who goes by the name of Livia( Adrienne Wilkinson), and kills indiscriminately like Xena in her brutal past. The big question is can Xena and Gabrielle help reform Livia back into Eve before it’s too late and any more devastation can hit?

At this point in the series, I think producers knew exactly what they were doing and how to do it with a lot of confidence. Not that they didn’t know what they were doing before, I simply mean that obviously after a few years working on a show the formula is definitely set up and ready to fire on all cylinders. And once more we are given excitement, adventure along with depth, humour and character, which can’t be faulted and display the creative efforts of many at some of their finest. These are all things fans know and love the show for and in its penultimate series, it supplies them with this assortment of qualities. The music from the very talented Joseph LoDuca is again a high point . Although for the first half Xena doesn’t fight as much as usual(owing to the character’s pregnancy and the fact that Lucy Lawless was pregnant in real life too), it helps establish how much Gabrielle has learned throughout her travels and aids episodes that are Xena-lite. It compliments both, though it’s a kick to see Xena get back to fighting once more following the birth of her daughter. Season 5 is not flawless but the vast majority of it makes it a favourite of mine along with the aforementioned third season. Like that season, this one just has so much good in it that it’s essential viewing for quality and the atmosphere. The only real flaw is the role of Amarice, a scrappy Amazon who is actually lying that was seen late last season. She travels with the group but I just feel like she’s pretty superfluous to the stories and not really that interesting. Jennifer Sky does her best, but the character is rather forgettable. And some episodes in the middle area feel a bit like filler but are at least redeemed by the main bulk of successful episodes that showcase Xena at some of its most fun and darkly epic.

We open with the sensational “Fallen Angel”, which gets Season 5 off to a flying start. As Xena and Gabrielle arrive in heaven, a battle between angels and demons headed by Callisto. Gabrielle is pulled to hell, while Xena ascends. Soon the switching of roles and possibility of redemption and resurrection appears. The settings of heaven and hell are excellent as are the scores of angels, some very skilled in fighting and the vicious demons with their bloodthirsty intent engaging in intense battles. The episode looks fantastic with the sets for heaven and hell really standing out and backing up the themes at work. Xena transfers her light to Callisto( Hudson Leick signing off in emotional style) in order to save Gabrielle, making Callisto a newly born angel and restoring the good that would have been there if they’d never crossed paths. Its a sublime opening episode that contains action, heart and imagination which are all touchstones of the show. We finish with healer Eli, with the unbeknownst to him help from reformed Callisto, bringing Xena and Gabrielle back to life. Guilt, redemption and vengeance are the starting blocks and go to themes that are always explored well, and they help kick this season off with a bang and a promise of what’s more to come. Another zinger comes courtesy of tongue in cheek “Animal Attraction” with its anachronistic western references and the various facets of love playing out. In it, Xena journeys to help an old friend locked in a battle with her sheriff like ex. Funniest is Xena stopping bickering by announcing her pregnancy, much to the surprise of everyone. The spirit of the villainous Alti returns in ‘Them Bones, Them Bones’. Here she is attempting to corrupt Xena’s unborn child snd bring it into the darkness. With trippy angles and striking imagery of bloodstreams, animals, and lights, it’s a visual feast. Plus. there’s nice tipping of the hat to Jason and the Argonauts, with Xena and Alti’s spirits doing battle as reanimated statues. to I am a sucker for stuff like this and a returning Alti is once more a compelling villain who is devious and a worthy adversary for Xena.

A big emotional and important episode is found in  ‘Seeds of Faith’ .Peace preaching Eli tries to rally the people into waging a war of love against the Gods. Ares doesn’t take kindly to this and Eli dies a martyr at the hands of Ares, prompting consternation between everyone of whether his death meant anything or not. Watching the various reactions to his death is fascinating as everyone is wrestling with different paths of life and which way is correct, sublimely realised and displayed. As an audience, we do finally hear of the impending ‘Twilight of the Gods’ which enlivens events and sets the stage for much more drama. And crucially we finally learn how Xena’s pregnancy came into motion with the now reformed Callisto explaining that she is to be reincarnated and that she chose Xena to be the one who carries her spirit. It’s her way of giving something back to her old nemesis and at this point both women are even and have achieved redemption and atonement for their actions against the other. It is emotional and thrilling to watch. A big standout of an episode in a season thats by and large stacked with quality. Then we have “Lyre, Lyre, Hearts on Fire”, a lively musical episode that stands out and isn’t a carbon copy of ‘The Bitter Suite’ in Season 3. We find Xena, Gabrielle and Joxer out to stop a war brewing over who gets possession of an incredibly powerful lyre. To quell any fighting or further violence, Xena organises a battle of the bands to see who’ll claim it. The addition of modern songs in an old setting is rather inspired and the anachronistic instances are a real hoot. There’s also the sensational and scintillating “Amphipolis Under Siege”, which is one of my favourite episodes so far. It blends drama, crafty action and twisty turns that make it a special treat. In it, the goddess of war Athena( played very well and with an unnerving poise by Paris Jefferson ). It must be said that Athena isn’t completely without heart, she respects Xena yet knows that in order to preserve the Gods she must carry out a heinous act. Anyhow, she mounts a siege around Xena’s hometown, the villagers however are rallied to protect Baby Eve. Twists and turns abound as Xena goes into battle against Athena, with each showing just how skilful they are in the art of manipulation. Ares thinks he has Xena onside but he’s ultimately used by Xena and Gabrielle, much to his chagrin developed what seems to be genuine feelings for the warrior.  I particularly enjoyed seeing how well Xena and Gabrielle played everyone to perfection to protect Eve. The battles are exceptional choreographed and exciting( as is Xena running from flames in an inspired shot)and the personal drama of Xena, plus backup, doing anything for Eve is very involving. Plus, you have to watch carefully to see if you’ve uncovered the subterfuge used which is always quite fun in my book and it’s sneakily done. In short, a fantastic episode that’s fast moving yet still makes time for story, in the show and how on my favourites list. Then there is a sensational run of episodes that are simply dazzling and surprising, chief among these ‘Looking Death in the Eye” “Eve” and “Motherhood” . In ‘Looking Death in the Eye’, a visibly aged Joxer narrates the last adventure of Xena and Gabrielle, before their ‘deaths’. This framing device is suitably intriguing and leads to many twists as the dynamic duo fool the God’s but find themselves inadvertently setting in motion something even more startling. We discover events little by little in a fantastically staged episode that really sets the scene for what’s to come and throws up some cool surprises for the viewer. In ‘Eve’, Xena is in pursuit of her daughter after revealing her identity to her. It’s interesting to watch as it’s a flip of the situation with Hope and Gabrielle claiming she was just an innocent child, the only difference being it is now Xena in the hot seat having to contend with knowledge that her child has grown up to be a murderer. What really shocks is the slaying of Joxer by Livia/Eve’s hands, which genuinely shocks as he does diein bravery thought obviously weakened by age. And who can forget the finale of ‘Motherhood!‘, truly extraordinary and exhilarating viewing as the Twilight begins and Xena takes on the almighty Gods of Olympus.

Our main cast is once more on sensational form having truly grown and shaped their roles, it’s hard to picture any of them being played by anyone better. Lucy Lawless, of intense, blue eyes and oodles of appeal is on hand as the eponymous warrior atoning for her past crimes. She also has the strength and protective love of the character as she becomes a mother who can also kick ass when it’s needed. Xena is a woman of many facets, from tough, sarcastic fighter to smart, emotional woman who is flawed but likeable. You can’t ask for anyone better at getting across all these different angles to Xena than Lucy Lawless. She is Xena, it’s as simple as that. The same can be said of Renée O’Connor, who has charted the journey of Gabrielle from tag along to powerhouse assailant with a heart. Renée O’Connor clearly relishes getting to show more physicality than ever in the part yet keeping hold of a decent enough worldview. She’s more steely and ready to do what needs to be done with a dash of cynicism, while not completely forgetting her depth and understanding. Lawless and O’Connor once more bounce off each other with great ease and conviction. Although his character is often divisive among the show’s fandom, Joxer makes his mark again for the last time courtesy of Ted Raimi. He gives the character both humour and immense depth that we really feel sad when he meets his end. Despite arriving late in the season, Adrienne Wilkinson makes an impact. Playing Livia/Eve, she is handed the difficult task of essentially playing two disparate characters in a short period of time. Thankfully, she rises to the occasion and displays both a vicious cunning and a redemptive desire in her run of episodes, balancing between both personas wonderfully. Kevin Smith does some of his finest work here, shading Ares with a deep brooding and what seems like a genuine love for Xena. It’s nice seeing that he actually appears to care, rather than just the bravado he puts across as the God of War. William Gregory Lee portrays the son of Joxer as someone more skilled than their father but with a similar temperament and humour to match fighting skills. I’m interested to see the development of the newer characters on here, particularly Eve.

Below are my episode rankings:

1. Fallen Angel – A+
2. Chakram -B+
3. Succession – B-
4. Animal Attraction – A
5. Them Bones, Them Bones -A
6. Purity – B
7. Back in the Bottle – C
8. Little Problems – D-
9. Seeds of Faith – A+
10. Lyre, Lyre, Hearts on Fire – A
11. Punch Lines – B
12. God Fearing Child – B+
13. Eternal Bonds – B+
14. Amphipolis Under Siege – A+
15. Married with Fishsticks – D-
16. Lifeblood – B
17. Kindred Spirits – B
18. Antony and Cleopatra – A
19. Looking Death in the Eye – A+
20. Livia – A
21. Eve – A+
22. Motherhood – A+

Season 5 is a sensational penultimate season of Xena that boasts some of the best the show has to offer, I’m mightily satisfied and looking forward to the last season that awaits me.

 

Xena: Warrior Princess Season 4

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1990's, Alexandra Tydings, Claire Stansfield, Hudson Leick, Kevin Smith, Lucy Lawless, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 4

Picking up from Season 3( which was a personal favourite of mine), Season 4 of Xena is an excellent follow up that’s pretty eventful and continues to be an action-packed spectacle. Though not as consistent as the past season, you can’t fault Season 4 for what it delivers. Be aware, spoilers will follow in this overview of Season 4.

We pick up where with Gabrielle( Renée O’Connor) sacrificing herself and her diabolical daughter Hope. Presumed dead, Xena(Lucy Lawless) goes in search for her, hunting high and low along with across earthly and spiritual plains. Discovering that Gabrielle is in fact alive, Xena is also shown a potentially dark future for both woman that results in their crucifixion at the hands of the Roman. After finally destroying Hope’s child The Destroyer , things look like they might just get back to some form of normality for both women. Though as the audience, we just know things are never going to be calm for long. In the meantime, all assortment of evil visits Xena’s door and she and Gabrielle will face off against it. Integral is a level of spiritual examination as the two venture to India and begin to reflect as well as open up. At the back of their minds is that vision of the future and figuring out just when it is going to happen along with how they could possibly prevent it. Let’s just say, things get pretty eventful from here on out.

Xena: Season 4 carries on with some of the darkness of Season 3( which was the darkest thus far and all the better for it), but sprinkles in a tad more humour to this series as some of the heavy burdens of last season have been lifted on the characters but others may lay ahead. That’s a big plus of this show; it’s willingness to be both fun and goofy and then crank things up occasionally to make it emotional and shocking. It’s a tool that’s served Xena well. And here, the darkness and serious nature of the things is very much high on the agenda, with levity in outrageous episodes provided to keep fans enjoying it. Sometimes the dichotomy doesn’t work and consistency can be lacking, but the vast majority of this show is exceptionally entertaining that a few flaws along the way. A sense of mystery and suspense does find its way in there, especially with regards to the death prophecy that we are left to ponder. Season 4 isn’t quite at the same high level of Season 3 as the overall main arc in the last season was more focused, but it’s pretty close to it in terms of creativity and fun, especially in the home stretch.

Standout episodes begin with the two parts of ‘Adventures in the Sin Trade’. A distraught Xena searches for Gabrielle, fearing she has died and either gone to the Elysian Fields or Tartarus. Remembering that Gabrielle belonged to the Amazon’s, she enlists her many skills to journey to their Land of the Dead. Along the way, we are gifted with flashbacks to the people Xena encounters and her past misdeeds being brought out in the open. In the past, Xena and Borias were ruthless criminals and came across Alti, a powerful shameness with a cunning evil in her heart. It was her who showed Xena the ability to go into another plain, but she also plotted and poisoned her with malice. A frenetic camera lends itself to contributing a mystical quality to the show as Xena is faced with the past once more and events blend strikingly with dizzying angles, unusual symbolism and hypnotic ambience. Overall, both parts are visually out of this world and it’s wonderful to see more of the world in the show, especially when it comes to the different factions of Amazon’s. We get more backstory, which is always a plus as we get to glimpse the old Xena who was ruthless and also seeing her dressed in unusual Amazon attire. Plus the evil Alti( Who makes for a powerful adversary) provides a glimpse of the future to Xena, that lays the groundwork for darkness ahead. Overall, the two parts show just how dedicated Xena is to both her best friend and to purging herself from the evil of her past. Following is “A Family Affair’ where Xena discovers that Gabrielle is still alive and living in her childhood village. But all isn’t as it seems for Xena and a returning Joxer unearth that Gabrielle survived and is back in her homeland. But although overjoyed to see Gabrielle, something sinister is afoot. For the version of Gabrielle Xena sees is in fact the evil offspring Hope who is eerily identical in appearance to her good mother. Her son, The Destroyer is picking off unsuspecting people at the behest of its mother. Importantly, the real Gabrielle returns for good which is fantastic, though we aren’t sure it is her at first because of Hope impersonating her. I liked this aspect as we are kept on edge watching for little tip offs as to who is the real Gabrielle. Suspense is bolstered as are many scenes with The Destroyer lurking are used and crank up one eerie aura. And with it seems to wrap up the whole story of Gabrielle and her bond to Dahak and Hope. I think it was the right time to wrap that part of the story up and concentrate on future things. We have the pretty intense hour called ‘Locked Up and Tied Down’. The running theme of Xena’s past still haunting her is the main thread throughout the show and is a fine example of it. Xena finds herself imprisoned in a remote jail where cruelty rules as punishment for ‘murdering’ a virtuous woman. The episode has some horror movie style elements like the torture inflicted on Xena in a pit infested with rats in retaliation for similar treatment of another. It asks some very pertinent questions about whether vengeance is a hollow pursuit or justifiable. Once more Xena is forced to relive the pain she inflicted on others and Gabrielle has to contend with her friend’s dark side. It’s a recurring theme but one that is the very essence of the show and when explored this well, brings depth to the overall narrative again.

The season really hits its zenith with the spiritual episodes that coincide with Xena and Gabrielle visiting India. “Devi” starts it off as the two aid a seemingly powerless fake magician named Eli, who is actually more in power than he thinks. As a result of an exorcism, he inadvertently transfers an evil spirit from his partner into someone else. That someone happens to be Gabrielle. As Gabrielle ends up possessed by a malevolent spirit,  it’s quite a thrill seeing a vicious and Gabrielle than we’ve ever seen before. Granted she is possessed, but it’s fun nonetheless and the episode really runs with it as the bewitched Gabrielle flaunts herself, hoodwinks everyone and brawls with an angry Xena. It also boasts important questions on just how trusting people can be when it comes to believing in miracles and the often dubious nature that hides behind the front. Between the Lines’ contains time travel and the involving concept of Karma and reincarnation. After being sent to the future via a powerful young woman and placed in the bodies of their reincarnated selves, Xena and Gabrielle face off against the wicked Alti, who’s been reincarnated once more and is attempting to spread her evil throughout the world. It’s good to see Alti back as she’s a formidable opponent for Xena and Claire Stansfield plays her to the hilt. This episode is the filling in an excellent sandwich of episodes, which includes Gabrielle getting a new short haircut that makes her look more grown up and signifies her stepping up. The main point of interest comes in ‘The Way’ . Some took issue at the time with how the show used the Hindu religion and felt it was disrespectful, but I don’t think it was intentional. It takes things from the religion and adds fiction, but I’m no expert so can’t judge whether it’s blasphemous or not. Regardless of the controversy, is a compelling episode where Xena opens her mind in order to save Gabrielle and a returning Eli is aided by the God Krishna. Fighting against an evil demon named Indrajit, she transforms into Kali; multi-armed goddess of death and it’s a sight to behold. ‘The Way’ also probes the idea of non violence as promoted by Eli and how Gabrielle struggles to discover her right path. Ultimately, her and Xena’s ideals are different but their friendship is the ultimate bridge that joins them. For me it’s one of the most compelling episodes due to both the action and themes, plus the big developments of our central characters. Episodes like these three really hit philosophical heights while also being darn entertaining in the process with a neat helping of character developments and prompting questions.

Great comedy comes in the shape of “Takes One to Know One’ which resembles an Agatha Christie mystery just set in Ancient Greece and its rollicking entertainment. Capping off the end of the season(penultimately but it still feels like a finale) is the epic ‘The Ides of March’. Everything has been building to this as Caesar comes into view and an old enemy in the form of Callisto(Hudson Leick) taunts Xena after striking a bargain to get out of hell. The whole episode of power play is very cinematic in execution and as everything slots in, it really takes hold. Xena and Gabrielle are both crucified before Xena can kill Caesar , but he is savagely murdered by senate members tired of his actions. Although we’ve seen flashes of this fate, the crucifixion still has a huge impact emotionally. With Caesar also biting the dust  it balances out quite well, especially as the spirits of Xena and Gabrielle rise from their bodies giving us hope of a way they can come back. A very powerful episode indeed and make no mistake.

On the visual front, Xena excels with its gorgeous locations, individual uniqueness and music. New Zealand still provides yet more gorgeous terrain for our heroine and sidekick to traverse and is given added exoticism when the story moves to India, which is really still New Zealand but wonderfully crafted to be convincing as another country. Music has always been a key ingredient to Xena and it’s doesn’t slack here as adventure is the watchword for the day. Blending exoticism and emotion with an action packed pulse, it’s gorgeously intoxicating for all. I’m a sucker for interesting visuals, symbolism and music so I naturally will praise it as it really deserves it to.

Lucy Lawless is superb as the fighting Xena whose is a figure you wouldn’t want to tangle with. Lawless projects strength, lethal charisma and underlying emotional core as she goes on in her atoning journey. Lawless is simply the only actress who can do the character of Xena justice with her combo of tough steel and inner turmoil, harnessed into a sexy package that’s as fun as it is convincing. Renée O’Connor  again impressive as Gabrielle. Too often the character is written off as being a do-gooder and too much of a damsel and while some areas of her are, most of the time she is shown to grow in terms of personality( which some overlook). A lot of that is down to O’Connor , who plays Gabrielle as being fierce when she needs to be and compassionate in various ways . Gabrielle can be infuriating with her at intervals but it makes her human as she is the representation of trying to do the right thing. She’s definitely changed since the first time we saw her, her naivety has softened, her confident sex appeal increased and her backbone has formed gradually. Ted Raimi expands on Joxer, still retaining the core of the comedy but also getting the opportunity to flesh him out more and unearth more to him. Hudson Leick and Alexandra Tydings make the most of their guest appearances as respectively, the wicked Callisto and the immature, Valley Girl goddess Aphrodite.  The only niggle I had with the cast is that Kevin Smith barely featured this time around as Ares.

Episode rankings:

1. Adventures in the Sin Trade – A
2. Adventures in the Sin Trade – A
3. A Family Affair -A+
4. In Sickness and in Hell – C-
5. A Good Day – B+
6. A Tale of Two Muses – B
7. Locked Up and Tied Down – A
8. Crusader – C
9. Past Imperfect – B+
10. The Key to the Kingdom – D-
11. Daughter of Pomira – D
12. If the Shoe Fits – B
13. Paradise Found – B+
14. Devi – A
15. Between the Lines – A
16. The Way – A+
17. The Play’s the Thing – B-
18. The Convert – B+
19. Takes One to Know One – A
20. Endgame – B
21. The Ides of March – A+
22. Deja Vu All Over Again – C

Occasionally not as focused as before, the darkness, humour and characters that Xena is well known help to make it another fine season of fantasy.

The Handmaid’s Tale Season 3

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2010's, Alexis Bledel, Amanda Brugel, Ann Dowd, Bradley Whitford, Christopher Meloni, Elisabeth Moss, Joseph Fiennes, Madeline Brewer, Max Minghella, O.T. Fagbenle, Samira Wiley, The Handmaid's Tale, The Handmaid’s Tale Season 3, Yvonne Strahovski

Revolution is in the air and while still a dark show, Season 3 of The Handmaid’s Tale boasts a lot more hope than ever before. And this is for the best in a show that is certainly not the easiest watch, but rewarding in terms of acting and story. Be warned, spoilers may follow.

We pick up where Season 2 left off, with June(Elisabeth Moss) having given her newborn daughter to an escaping Emily( Alexis Bledel). She has decided to stay in Gilead to save her other daughter Hannah, who was cruelly taken from her years before. Plus, she’s still got an axe to grind with the horrifying regime that governs what was once America. She briefly returns to the house of slimy Commander Waterford( Joseph Fiennes)and his wife Serena Joy(Yvonne Strahovski), who was the one who handed the baby over to her in the hope that the baby will get a better life in Canada. Serena is starting to chafe at the system and in retaliation burns down her house, possibly setting the stage for her switch of allegiance. She’s in deep morning for her ‘child’ which could easily make her return to her normal cruel self though. June is sent to the home of Commander Lawrence(Bradley Whitford), who helped engineer Emily’s escape but whose true purpose and sense of trust are questionable. June however has her eyes set on rebellion and though some of her actions are questionable, she’s mainly playing the game in order to survive. She attempts to get Serena on side and persuade Fred to let her have a bit more power than women in Gilead have. But can either be trusted? Can Aunt Lydia( Ann Dowd) who begrudgingly seems to admire June’s opposition, be of any help? And can with an ongoing political struggle in sight can June ensure the safety of both her daughters? Plus, a visit from high powered and nasty Commander Winslow(Christopher Meloni) sets the scene for more shocks and horror as she exerts power and Fred craves it. June is somehow caught in the middle that leads to desperate circumstances. Meanwhile, Emily makes it to Canada with the baby and finds Luke( O. T. Fagbenle) and Moira( Samira Wiley), who offer support. Though things get difficult as Luke is having to raise another man’s child and still terrified about whether he’ll see his wife again. Emily is also struggling when she reunited with her wife and son as it’s been so long and they’ve been a part for what seems like eternity. This coincides with June becoming even more reckless and at times selfish, though she’s brought to her senses once more, thanks to Janine( Madeline Brewer) and the other Handmaid’s. This is where she really ramps up her campaign of striking back.

While continuing the story set up in the first two seasons, Season 3 of The Handmaid’s Take feels like something a bit different while still including the DNA that made the show connect with so many in this topical time. Some fans took issue with June’s last minute decision to stay in Gilead and not run to escape. While I can understand the gripes and though it was a surprise, on reflection it made a lot of sense. The thought of Hannah was what kept June going through her hellish ordeal of institutionalised rape and servitude that was punishable by death if not obeyed. I never believed June would just abandon her as she has been so key to the show and June’s voyage to rebellion. And the spirit of rebellion is shot through this season that still retains the starkness and darkness of what we’re used to, but embeds it with a feeling of underlying optimism that it has only hinted at in previous ventures. Don’t be fooled, this show still has its share of brutality, violence and horror and on those levels it delivers. I just couldn’t help but notice the building feeling of something good about to happen and action about to be taken. It’s a slow burner for certain but I like that about this season. It’s dialled back on some of the overriding gloom that perpetuated the first two seasons but not completely forgotten it. Everything is in the deliberate pace that convincingly lays the building bricks of revolution and how it’s going to occur from the inside. Some may find it slow going( there are some spots where a shot of quickness might have worked), but overall the burning feeling and realisation that revolution is nearing is impressively depicted.

The standout episodes are as follows. In ‘Unknown Caller’, the fallout begins when it’s discovered that Luke has Nichole and June is forced to identify her husband. We get June making an emotional phone call under duress to Luke, Serena seeing Nichole one last time and then falling prey to the manipulations of her husband and finally June’s glare to the camera when she realises she’s been stabbed in the back. It’s a rollercoaster of an episode that grips with how it unravels and the surprises of motivations and actions displayed. Following that is the topical ‘Household’ which deals with subjects of children’s rights, political agendas and the nature of possession. Secrets are also unearthed as June travels to Washington D.C.( which has been made over into a dictatorship) and discovers that lover Nick(Max Minghella) was not the man she thought he was and that he can’t help her in her hour of need . Plus, we are shown the horrifying extremes of Gilead as all the Handmaid’s are silenced by three piercings that keep their lips closed. It’s an often unexpected episode backed up by arresting cinematography, amazing set design that captures a world gone mad and excellent storytelling. Plus, in ‘Unfit’, we finally get some backstory on Aunt Lydia before the rise of Gilead. I’ve been waiting to discover the woman behind the brutality and it delivers. She was once a teacher who was dedicated to her young students and wanted the best. She befriended a young wayward woman whose son she taught and tried to help. After taking her advice and trying to seduce the principal, she was left mortified when he rejected her. I think her breaking point was the fact that in her mind she violated her religious beliefs and gave in to temptation. In retaliation and feeling embarrassed, Lydia phoned the social services on the young mother and the child was taken away.

A haunting hour is found in ‘Heroic’ which has June confined to a hospital as punishment for her treatment of a fellow Handmaid who now lies in a coma . The atmosphere is comparable with Kubrick in terms of how clinical and psychological everything looks and feels. It crucially brings June back to her usual self after she lost her way and became selfish and cruel. It’s an undoubtedly disturbing watch but one that starts the wheels of change again after she was at the point of near collapse. And the last few episodes are nothing short of exhilarating as plans are finally put into action and the tension rises. Though the first half of the season is the slow build, the last half is everything getting going and strike back beginning that will change everything. Pay particular attention to the finale ‘Mayday’ which is hands down one of the best episodes of the entire show. Though a show that is tough going, The Handmaid’s Take is gorgeously shot with dark hues but a more prominent brightness than before to reflect the burgeoning fire within June and the others who will help her. The trademark use of shallow focus especially when focusing on June and birds eye view shots of the Handmaid’s in ranks are stellar and cinematic in execution. Fine and often ironic song choices and a chillingly electronic score compliment the aura of eeriness and evinced hope.

Elisabeth Moss continues to excel as our main character. Those eyes and that face once more work miracles with the slightest of movements. She is a masterclass in emotion and revealing how June is both flawed(sometimes dangerously so and close to cracking) and driven by everything she’s experienced. It’s a layered performance that just keeps impressing upon every episode as we watch seething rage, hope, trepidation, questionable choices and bravery commingle . And it’s all down to the dedication with which Moss plays June that we are so enthralled by her presence. Yvonne Strahovski continues to vacillate between sympathetic victim and desperate yet icy madam. She straggles the two considerably and displays that Serena could both be an ally or an enemy to June and her mission. I liked seeing Strahovski expand on Serena and watching her both fight against and embrace Gilead. Complimenting her is the on form Joseph Fiennes who knows how to play a nasty piece of work. Commander Waterford is one of those characters who is completely up themselves so it’s nice to see him start squirming and becoming a little subservient to those higher than him. And watching Fiennes show the emotion of his power slipping away is more than a tad satisfying.

Anne Dowd is once more knocking it out the park as Aunt Lydia, who is explored with depth. The dichotomy of kindness and viciousness is sublimely acted and we never quite know which incarnation we will get. Kudos to Ann Dowd for her complex portrayal of someone following shocking orders and thinking they are doing the right thing in their own warped mind. In Canada, the series regulars are just as impressive, even if they are seen less than the Gilead counterparts. Standing out is Alexis Bledel as the now free Emily, whose adjusting t her new life with a mix of relief and trepidation. You feel immense sympathy for her as she’s now escaped but still has a certain cage in her mind from everything she’s been through. Bledel sells these varying feelings with sincerity and conviction. And although they aren’t as prominent as before, O. T. Fagbenle and Samira Wiley give personality and heart to survivors of the regime, building some form of normality for themselves. By far one of the most interesting characters is Commander Lawrence as he’s pretty inscrutable and Bradley Whitford is a masterful actor taking delight in exploring the contradictions of the part. One moment he’s helpful and rebellious, the next he’s shut off and cruel and that’s what is so fascinating as he could either be ally or enemy. Christopher Meloni brings considerable strength and sliminess as a high powered Commander. There’s something in the way he speaks and moves that immediately intimidating and nasty; Meloni is obviously enjoying being really able to explore a most vile character in detail. She’s been in the background and occasionally been popping into something substantial, but here Amanda Brugel is given more to do as the Martha Rita. Her quiet dignity and immense strength in playing the game that Gilead has started is admirable and I loved seeing her come into her own. Madeline Brewer is again impressive as the vulnerable Janine, who seems to be everyone’s punching bag of late but who still finds a way to muddle through the pain. The main person who isn’t given a lot to do is Max Minghella, who appears in the first half of the season and is then missing. We do learn something interesting about Nick as a character, but I’d like it if he’d been in it a bit more. This is a minor gripe though in a season that’s incredibly well acted.

A far more hopeful but still bruising and stark season that starts slow and builds to a powerful finish, Season 3 of The Handmaid’s Tale is extremely well acted and thought provoking viewing.

American Horror Story: Hotel

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2010's, American Horror Story, American Horror Story: Hotel, Angela Bassett, Cheyenne Jackson, Chloë Sevigny, Denis O'Hare, Evan Peters, Finn Wittrock, John Carroll Lynch, Kathy Bates, Lady Gaga, Lily Rabe, Mare Winningham, Matt Bomer, Sarah Paulson, Wes Bentley

With Freakshow emerging as my least favourite season of American Horror Story, my expectations were high for Season 5. Thankfully, though not without some flaws, Hotel is a resounding success of horror, style and game acting. Be warned, spoilers may follow in this return to form for the show.

John Lowe( Wes Bentley) is a Los Angeles detective on the edge; he’s estranged from his doctor wife Alex(Chloë Sevigny) and on the hunt for a brutal serial killer who murders victims in accordance to The Ten Commandments. Plus he is haunted by the disappearance of his young son Holden years prior. He feels responsible for the disappearance and this is what he has to live with every day. One day he is given a tip off that his answers can be found in the Hotel Cortez. A glamorous yet run down establishment with a history of horror, it soon pulls John into its depravity and history of death. The owner of hotel is the fabulously dressed and very mysterious Countess( Lady Gaga). She is a vampire like creature infected with a virus that leaves the sufferer craving blood. Her companion of late is the handsome Donovan(Matt Bomer), who she goes hunting with. She was the one who took Holden as well as other children who she turns into creatures like her in order to create something of a makeshift family. She is a fearsome creature, but is secretly hiding her true self and tragic past. The Countess finds her head turned by volatile male model Tristan( Finn Wittrock) , which enrages Donovan. Also in her sights are the soon to be owner Will Drake( Cheyenne Jackson), a fashion designer who doesn’t realise he’s part of a scheme to get his money. There’s the ghost of James Patrick March( Evan Peters), the founder of the hotel in the 20’s, who turned the place into a murder palace and was helped by the ever loyal, cleaning fanatic Miss Evers( Mare Winningham) . On front desk there is Donovan’s surly mother Iris(Kathy Bates) who longs for a relationship with her son and Liz Taylor( Denis O’Hare), a transgender bartender who seems to see everything and everyone. Also traipsing about the Hotel is the ghost of one Sally McKenna(Sarah Paulson), a trashy junkie in a constant state of sadness and mania, who was pushed out of a high window by Iris for getting Donovan hooked on drugs in 1994. Arriving later on the scene is Ramona Royale( Angela Bassett) a former lover of The Countess with a big axe to grind. Everything comes to a head once John takes up residence and gets a lot more than he ever bargained for.

I think straight from the opening, Hotel stands higher than its season just passed. For starters, I found the characters had more flavour and personality than in the last season. Plus, you could connect with many of them too, primarily Liz Taylor and Iris who both convince as outsiders wanting something more in life. And though the story had many different angles and sub plots, it largely worked and it was fun seeing how various threads connected. Sure, some parts don’t amount to much, but I found it a lot more compelling than which seemed to run out of steam rather quickly. The themes of loss and rebirth form the main crux of Hotel and it was excellent how we watched the characters change and influence one another. Hotel ranks at least in my book as the bloodiest season thus far. As it has done in the past, the blood is shocking and grisly, but definitely used to fashion a twisted delight that scares and compels at the same time. Scenes that stand out for their brutality are The Countess and Donovan slaughtering a couple during sex, a junkie being mercilessly abused by a faceless demon, a corpse rising from a rotting mattress and most shocking, a band of infected children making a meal out of one of their teachers.American Horror Story references some of the best content in the horror genre with style and panache. The crimes of the killer are a stylish homage to Seven, while the hotel of the title takes its cues from The Shining. And I’m a big fan of the flashbacks to March’s mayhem and murderous ways as the show employs a grainy black and white to emulate the time and bring out events in horrifying detail.

As it has done in the past, American Horror Story always succeeds when taking influence from real life events. Here, the hotel is similar to that of the one the depraved murderer H.H. Holmes and the poor fate of the child of chambermaid Miss Evers blends with that of the Wineville Chicken Coop Murders. And the best of all the real world allusions is an episode entitled ‘Devil’s Night’. In it, March hosts a feast for the ghosts of dead serial killers, such as Jeffrey Dahmer, Richard Ramirez, Aileen Wuornos and John Wayne Gacy. An already starting to lose it John finds himself thrown into this horror show and under the influence of absinthe, watches as these killers enjoy their depravity and find merriment in their sickening handiwork. Watch out for memorable work from John Carroll Lynch and Lily Rabe. For some reason, its something that works in the scheme of the show. Visuals are a strong component in the show and Hotel is no exception right from the opening frames. It’s an extravaganza for the eyes and senses that’s for sure and certain. Particularly good is the fish eye lens employed at times that suits the unstable nature of the establishment and turns things into something unusual. I’m not the biggest fan of the overlapping of seasons as American Horror Story was originally billed as an anthology. Though saying that while some of the bringing back of other characters fails, I found the callbacks to Murder House were particularly effective and the return of the medium( also played by Sarah Paulson) in the finale was a very well handled part and one I really liked seeing. And I can’t not praise the production department who pull out all the stops when it comes to design. The Cortez becomes a dark hotbed of violence and style, clashing with each other with reckless abandon. A well chosen soundtrack and electric, humming score add further to the delirious ride through death, horror and story.

The cast surrender to the madness and horror with fantastic results.Leading the cast is the new addition of pop superstar Lady Gaga, who shows that acting is yet another skill in her arsenal. She plays the Countess as a seemingly aloof being who dresses and lives to kill, but is looking for something more. Her performance is very multifaceted and extremely impressive at showcasing various sides to the character, in particular deep tragedy coupled with ruthless sex appeal. Then we have Wes Bentley, who is suitably intense as the emotionally scarred detective finding himself falling into madness. He just burns across the screen with a vulnerability, quivering seriousness and frightening devotion. Matt Bomer, with his strong appeal and good looks, is ideal as the latest lover in the life of the Countess. He enjoys the position but it has grown a tad stale for him and his resentment starts to form. Plus, when he’s with Lady Gaga, they make a sizzling duo. As the new paramour of The Countess, Finn Wittrock is all scowls and attitude, with a few other layers underneath. Chloë Sevigny, who I’ve always admired as an actress, turns in emotional weight and desperation as a grieving mother who goes to extremes for her son. I liked her arc in this series as she begins as a broken woman and slowly gets in touch with another unexpected part of herself.

The best performances comes courtesy of Denis O’Hare, Kathy Bates , Evan Peters and Sarah Paulson. It’s good to see a transgender character portrayed on television with respect and honesty and Denis O’Hare acts his socks off. From the great one liners through the backstory of the transformation into the person she is today, it’s all played beautifully and sympathetically by the always watchable Denis O’Hare. Thankfully in recent times, many forms of media have followed suit by showcasing characters that are transgender and actually treating them with understanding and decency. Long may that continue. Ably complimenting him is the excellent Kathy Bates, who puts in another fantastic performance . Going from dark humour to crushing sadness and then a rebirth, Bates captures the attention with her convincing acting and A Game. The always impressive Evan Peters, playing probably his most extreme character thus far, is electrifying. Mixing a Clark Gable accent with a sadistic hunger for murder, he crafts March as a supreme being of evil that is strangely charming. Peters turns in one of his finest performances in the run of the show. Rounding out the standout quartet is the wonderful Sarah Paulson. Always seen here with a mournful look( complete with smudged eye liner and the appearance of never ending tears) that also shares itself with a sly underbelly, her portrayal of the messed up Sally is riveting. You really don’t know what you’re going to get with her character and Paulson rocks it. I adore Angela Bassett and how she embraces the outrageousness of the material. She just embodies the sassy, fierce and out there nature of American Horror Story. And even if her character’s arc doesn’t feel well utilised enough, Bassett makes it sensationally watchable all the same. Providing the unusual but also tragic is Mare Winningham as the chamber maid with a love of cleaning. At first glance she’s strange and you don’t know what to make, but Winningham discovers pathos and depth in this woman who could have just been one dimensional. The main cast member who isn’t really given a chance to make an impression is Cheyenne Jackson. I’ve seen him in other things and think he’s a good actor, but he just doesn’t really get a look in here.

Hotel finds American Horror Story back in fine fettle, owing to well written characters, a theatrical staging and plenty of chills.

Xena: Warrior Princess Season 3

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1990's, Alexandra Tydings, Bruce Campbell, Hudson Leick, Kevin Smith, Lucy Lawless, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 3

We are now up to the third season of Xena, which follows both a succesful Season 1 and a fine sophomore entry. Season 3 is where Xena: Warrior Princess goes in a more daring and adult direction, and I for one am thrilled. Real emotion and gruelling darkness follow, making it more mature than some may think the show is capable of. It’s standing as my favourite season so far for its impact and way it progresses the show. Be warned, spoilers may follow in my overview.

The legendary Xena( Lucy Lawless) is once more travelling around Ancient Greece and beyond with her trusted best friend Gabrielle(Renée O’Connor). Fighting for the side of good against the evils that stand in the way, the duo are a force to be reckoned with. Only this time, things will turn very personal and threaten to tear apart the bonds of friendship between them. It begins when they arrive in Britannia where Xena wants to have it out with her old nemesis Caesar. Gabrielle is entranced by someone claiming to be a holy man, but it turns out to be something darker. After a fiery encounter with the followers of the dark lord Dahak and the fact that she loses her blood innocence, Gabrielle is impregnated with the child of darkness. Soon after giving birth, all hell breaks loose and the strong bond that Xena and Gabrielle possess reaches breaking point. You genuinely worry about the outcome of all this darkness for the two of them. Though events bring them back together and approaching some reconciliation, just how much longer can their friendship really stand on solid ground after all they’ve been through? With characters returning and more emotional and disturbing stories, Season 3 is a journey into thrills and drama.

As I stated earlier, Season 3 is my favourite season of Xena: Warrior Princess so far. I think everything comes together very neatly and it’s why there is such a high percentage of episodes rated A or A+ below. You can tell that the creators where going for something different but still with that zing that made the show so popular. They weren’t afraid to do different things with the show and incorporate genuine feeling into the mix either. On the visual side, the scenery and camerawork continue to impress with their scope. And once more, the music has a certain epic charm ripe for this kind of adventure. It’s a mightily impressive season of a show that just keeps growing.

Anyway, onto my appraisals of standout episodes. ‘The Furies’ mixes humour and darkness well. A conniving Ares( Kevin Smith of the smooth voice and deadly charm offensive) has The Furies put a curse on Xena for not avenging the murder of her father, which opens up a massive can of worms. In the beginning, the madness Xena suffers is mainly unusual but with a funny twist( like Xena repeatedly referring to Gabrielle as Mavis). But as it continues, harshness and shock set in as she spins further towards losing control, while strangely being not altogether incoherent. It’s an interesting opener that’s for sure and displays two of the show’s finest assets; it’s off the wall goofiness and underlying seriousness. ‘Been There, Done That’ is another exemplary chapter which features the day repeating itself and Xena attempting to figure out how to break the cycle. Once more, humour and eventfulness go hand in hand as two feuding families seem to hold the key to unlocking how to stop Groundhog Day. Speaking of which, this episode is clearly another version of that story of a day on a loop and it has a lot of fun with it. Watching Xena get more frustrated with the repeating events is hilarious as are the various ways she attempts to stop the loop continuing. Really a very funny episode and hugely entertaining. Despite being the darkest season thus far, Season 3 of Xena: Warrior Princess has its share of good comedy too, exemplified by the early entries. And of mention is ‘The Quill is Mightier’. The spiteful and impudent Aphrodite( who has grown on me since her last appearance as Alexandra Tydings is stepping it up) enchants Gabrielle’s scrolls as payback for making Xena more popular than her. In turn, things that Gabrielle writes become true, but chaos ensues as it gets overly literal. Ares makes another appearance, entertainingly squabbling with Aphrodite as they are both accidentally made mortal. And for an episode that doesn’t have Xena in it a lot, “The Quill is Mightier “shows that Gabrielle can be just as interesting as the hero she rides with.

‘The Deliverer’ is when the show starts what is known to fans as the beginning of The Rift. Xena has been a show that has dabbled in darkness before, but here in Season 3, it’s the darkest it’s ever been and all the more fascinating for it. Starting with’ The Deliverer’, where Xena and Gabrielle head to Britannia to help Boadicea battle Xena’s old nemesis, Julius Caesar. Conflict becomes a big theme and not just the physical kind. We have Xena having to reconnect with who she betrayed in the past and Gabrielle becoming closer to a priest she helped save. It’s more what happens to Gabrielle that’s most important here. The priest speaks of the One God and how he will change the world, to which Gabrielle becomes fascinated. But it’s all a ruse that causes her to unintentionally lose her blood innocence after killing another, which in turn frees a dark God known as Dahak. Gabrielle has always been the person against killing so for this to come along and shatter it, it’s pretty momentous and tragic. You can feel the pain of her suffering, which is further cemented by her being levitated above flames( this will have a big impact later). Let’s say it packs an emotional wallop and further kicks off this dark story arc. The follow up in ‘Gabrielle’s Hope’ is just as effective. In it, we discover Gabrielle is pregnant by Dahak and gives birth in a matter of days to a baby girl, prophesied to be the bringer of darkness. Gabrielle believes that the baby( which she names Hope) will be good due to her own , but Xena is severely sceptical . Xena is proved right when the baby kills within hours of birth and attempts to kill the baby. Gabrielle won’t let this happen and runs, hiding the baby in a basket she sends down the river. She then lies to Xena by telling her that she had to kill Hope because she turned on her. It once more functions as something to divide the close friends and put a strain on their relationship. Again, the darkness is at the forefront in a way that is unlike most of Xena, but a very welcome one for me. Plus, The Rift is coming out in major full force, building slowly to something dark. A two parter entitled ‘The Debt’ is Xena at its most lavish and ambitious, once more weaving together timelines. We discover more about a woman who shaped Xena and The Debt she has to pay to the now deceased mentor. We travel to ancient Chin where Xena is saved from betrayal by Lao Ma, a wise woman who sees the good in her despite her sins. instructs Xena in the ways of love and forgiveness, while caring for the warrior woman and helping her to fight when needed. Back in the present, Xena is charged with killing the evil son of Lao Ma, but Gabrielle tries to stop her thinking she is doing  good and not letting Xena go back to her murderous wats. Ultimately, Gabrielle betrays Xena by informing those closest to the man she is about to kill what Xena is planning. The sting of betrayal further exemplifies the growing rift between them that is briefly healed, but you just know will return to bite soon in some way. I’m a sucker for episodes that go into Xena’s past and shows us how she was shaped into what she is in the present.  Overall it’s a gorgeously shot and exciting double header that digs into the past and has some of the most gorgeous imagery so far in the show.

Now it comes to two of the best episodes. In ‘Maternal Instincts’, Hope returns now with the appearance of an innocent girl. She brings back the terrifying and psychopathic Callisto( a memorable Hudson Leick), who persuades her to hurt Xena. Meanwhile, Xena and Gabrielle head to the Centaurs for a peace treaty and to see Xena’s son, Solan( who still isn’t aware of who his mother is). But this reunion is cut short, when Solan is killed by Hope and when Gabrielle realises this, she poisons her offspring which devastates her. Xena’s scream while cradling her son’s dead body is gut-wrenching as is the later funeral for both children which is the major part of the rift as the wedge is driven to near irrevocable between the two. Watching as they walk off in separate directions after this is tragic as their friendship is being nearly obliterated. It’s a highly emotional hour of television. Then of course we have the fantastic musical episode entitled ‘The Bitter Suite’ . After a vengeful Xena attempts to kill Gabrielle and the two take a tumble into the sea, they are transported to a strange world called Illusia. Here, musical numbers reveal their grievances and what feelings of hatred they aren’t dealing with. The musical sequences are excellently astute at bringing humour and dark atmosphere to the events playing out, plus it looks like the producers really went for it on the visual and sound front. From the off kilter feeling of Illusia, through a tango with Ares and ultimately a reconciliation between the girls, it’s an unforgettable episode. And the biggest message of the importance of friendship helps save the day as our heroines find some way to resolve the friendship that they once had. Thankfully, it looks as if the wounds are healing but it’ll be interesting to see if they ever truly get past this dark chapter( my bet and hope is that it does as I love their relationship and think it’s enduring). These two are some of the finest episodes so far in Xena and rightfully hold a high place in the hearts of fans and me. They challenge us as viewers as we watch a friendship nearly go up in smoke, but gradually get back on track for us all to rejoice in. And as if by magic, the following episode ‘One Against An Army’ cements just how much they care for each other by putting them in a major life or death situation as an army invades as Gabrielle lies injured. I think it’s here to reassure us of the close bond that was shattered but was never truly severed. It’s another poignant episode that grows in dramatic quality thanks to the acting. Also of note is the dark but rewarding ‘Forget Me Not’ where Gabrielle finally reconciled with feelings of guilt by going on a sinister trip down memory lane, guided by a prowling Ares. She can decide whether to live with her memories or erase them. Ultimately she decides to reconcile and this is the end to The Rift. And the two part finale is excellent and very surprising, but I’ll leave it to you to see what I mean.

In terms of acting, Season 3 is a high point, especially when it comes to Lucy Lawless and. Lawless excellently conveys both a fighter and someone who is all too human in Xena. The blend of toughness and vulnerability, coupled with undeniable sexual appeal and athletic swagger, is a match made in television heaven that keeps getting better. Gabrielle is put through the mill of emotions and trauma this seas. Renée O’Connor depicts how Gabrielle really starts to wise up more and develop a more harder edge to her personality. Her compassion is still there it’s just counteracted with a sense of weariness from all that has happened to her. Lawless and O’Connor still share a fine chemistry that charts the resentment and resolution of their clash excellently and believably as nothing can tear them apart. Once more, Kevin Smith is superb as the shifting Ares; who like a fox switches sides when he feels like it but does it with style. In the villain stakes as well is Hudson Leick as the oddly tragic but seriously twisted Callisto, who finally gets the release she’s craved since she began her path of vengeance. There’s a real presence whenever these two take to the screen. And with added comic relief coming from Joxer( played by one Ted Raimi, things only get better as throughout the season. Plus, the welcome appearance of Bruce Campbell is a bonus in many ways and I very much enjoy when he returns to Xena as the King of Thieves, Autolycus.

And now on to my episode ratings:

1. The Furies – A
2. Been There, Done That – A+
3. The Dirty Half Dozen – B-
4. The Deliverer – A+
5. Gabrielle’s Hope – A
6. The Debt Part 1 – A
7. The Debt Part 2 – A
8. The King of Assassins – C
9. Warrior … Priestess … Tramp – B
10. The Quill is Mightier – A
11. Maternal Instincts – A+
12. The Bitter Suite – A+
13. One Against an Army – A
14. Forgiven – C
15. King Con – B
16. When in Rome – C+
17. Forget Me Not – A
18. Fins, Femmes and Gems – B+
19. Tsunami – C+
20. Vanishing Act – A
21. Sacrifice Part 1 – A+
22. Sacrifice Part 2 – A+

My favourite Season so far, Season 3 of Xena has all you’d want from the show and more. Trust me, this is the show at its apex with everything operating at a high level.

Xena: Warrior Princess Season 2

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1990's, Bruce Campbell, Hudson Leick, Karl Urban, Kevin Smith, Lucy Lawless, Melinda Clarke, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 2

‘Following on from the successful first season, Season 2 of Xena: Warrior Princess expands on the building blocks created and crafts more mythology and eventfulness for us all to enjoy. It’s safe to say that Season 2 is full of quality and more opening up of narrative

Xena(Lucy Lawless) continues journeying through Ancient Greece with loyal best friend Gabrielle(Renée O’Connor). She is still on her quest for redemption for the bloody actions she caused and the suffering she inflicted on others. On her journey this time, the past is opened up once more as we learn about Xena’s past and why she did what she did. We see that she gave birth to a son named Solan, who she gave to the centaurs to raise and the difficulty she has to live with in letting her child go. Joxer(Ted Raimi), the wannabe warrior is back and journeys with the duo with his own mix of bumbling misfortune and complete lack of understanding that he isn’t skilled at all in combat. Callisto( Hudson Leick) returns to wreck vengeance on Xena and undergoes a number of transformations while destroying all she can around her. Many more enemies and familiar faces return, along with some newer ones. Let’s just say it’s eventful for Xena and company in their testing travels.

One of the biggest things to discuss with Season 2 is how everything seems a little more crisp and you can see that the budget has been upped and that every bit of money is on screen to relish. Some effects have lost a bit of edge, but the vast majority handsomely hold up. But most importantly is something that happened behind the scenes that had the greatest impact on Xena. Lucy Lawless, while filming a skit for the Jay Leno Show, fell from a horse and fractured her pelvis. With the second season in production, the producers and writers had to think of a way to accommodate the main star. They settled on a body swap between Xena and Callisto, which worked surprisingly well. Also there are episodes where Xena is incapacitated. It all could have been a jumble, but thankfully it is quite seamlessly done and the improvisation and quick thinking on the producer’s part is ace. Watching Lucy Lawless and Hudson Leick play versions of the other as is the return of Kevin Smith as the smooth Ares.

My further discussions of main standout  episodes is next and there are a good few to discuss. The opener entitled ‘Orphan of War’ delves into Xena’s internal scars as we witness her protecting the son she gave up years before, but doesn’t tell him that she is his mother for fear of something bad befalling him. It is an episode that really shows the woman underneath the warrior and how she is human after all, when not being the fierce fighter we all know her as. A fun episode and one of the best that blends both a creepiness and campiness are ‘Girl’s Just Wanna Have Fun’. In it, Xena, Gabrielle and Joxer search for missing girls who have been kidnapped by Bacchae; bloodthirsty followers of the God Bacchus. They bite the necks of victims and seductively lure them to the catacombs of their master, where the victim must drink his blood to become an irreversible Bacchae. Gabrielle is pulled into this and is turned into a temporary Bacchae, which results in her biting Xena( pushing the subtext of them being romantically linked in a very suggestive way). It’s a very intriguing and atmospheric episode with a slinky techno score and a highly kinetic visual style. This involves frantic point of view shots, fast motion followed by slow motion and multitudes of overlapping images. It all culminates in a darkly sexy and tongue in cheek episode to really sink your teeth into.

‘Return of Callisto’ is another highlight as it brings back a fine nemesis. She kills the man who Gabrielle marries, who she could have been happy with. If anything, Callisto does us a favour as  it allows us to see that Gabrielle when pushed could have a darker side to her than expected. Although she comes to her senses, it sets up that maybe Gabrielle could be swayed to evil just as Xena is tempted often. Added to this is a brutal chariot race and Callisto seemingly dying by being pulled under by quicksand. Obviously, she isn’t dead and comes back even more vengeful later, setting the stage for much drama. A very meta episode appears in ‘The Xena Scrolls’, which has 1940’s descendants of the main characters searching for the fabled title artefact.  It’s hugely entertaining as it has fun the mythology of the show and has the actors portraying varying personas. It’s like an Indiana Jones adventure twinned with cheeky humour for extra, knowing measure.

Of special mention is ‘Destiny’, which stands as one of my favourite episodes so far. In it, Xena’s life hangs in the balance after being injured in battle. As she hovers precariously between life and death, she is reminded of her past and we finally get some answers on what made her who she was. We’ve heard parts about what lead her to be the destroyer of nations, but now we get the full picture. After her home village was butchered by a ruthless warlord, Xena took to fighting. But even though it started good, she grew evil from all the power she had. After becoming a feared warrior, she entered into a relationship with the brash Julius Caesar(a sneering Karl Urban). He accommodated Xena and their collective desires for power grew. But crafty Caesar betrayed and had her crucified, her legs broken and left to die of malnutrition. Luckily Xena was saved and learned her trademark sleeper hold from a woman who sacrificed her life to save the warrior. She continued to be evil until her renouncing into the pillar of good she attempts to be in the present. It’s one excellent episode that has everything you want in Xena; fun, darkness and revealing adventure. Plus it’s fantastic to finally grasp more about Xena herself and what lead her to this moment. 

The follow-up in ‘The Quest’ is further goodness featuring Xena’s spirit attempting to get back to the mortal world as it isn’t her time to go. Comedy and drama ensue as she takes control of both Gabrielle and returning Autolycus(returning favourite Bruce Campbell) in order to reclaim her body and stop the power crazed sadism of new Amazon Queen Velasca(a nasty and sexy Melinda Clarke). Subtext here is stronger and the kiss between the girls in ‘The Quest’ is a leading example, along with the aforementioned Bacchae episode. The kiss is in a sort of dreamscape so whether it counts is up for debate, but it’s certainly memorable in how it continues to tease the audience. On the goofy side of things we have ‘A Day in the Life’ which takes the form of an amusing reconstruction of what a day for Xena and Gabrielle consists of. The humour wisely makes fun of some of the show’s staples, like men always falling for Xena upon first meeting her and the banter between both girls. It’s very jaunty and effortlessly engaging in laughing at itself and I loved what it did. Darkness abounds in ‘The Price’ which is unusually stark and ferocious as Xena comes to the aid of a depleted army fighting The Horde. The trouble is Xena gets back in touch with her more disturbing impulses that she has repressed and it spills over into the present. Whenever Xena gets tempted back to the side of evil, it’s always fascinating to watch as she could easily sway back into it or return to good. The main crux of the show is Xena attempting to right her wrongs but also the fact that some darkness may still lie in her soul. All it takes is something to stir it, even though it’s been dormant for a long time. 

One can witness things going up for Xena and it becoming the cult show we all know. The producers really went for it on the action and expanding on story, which paid off handsomely. This accounts for the long run of high quality episodes in here, as you’ll see in my rankings. There’s a bit more cohesion here and you generally feel that the Xena hit its stride here. Not that the first season wasn’t a success( it was a resounding one), but Season 2 is the show at its best in terms of what it gets from the past and its elaboration on the building blocks. You can sense that this was the high water mark of the show and while not every episode was a hit( some new additions like Aphrodite don’t work), it was still mightily fun.The general score is a further impressive one that gets to the heart of action and atmosphere, while being a fine way to compliment beautiful scenery. And the action set pieces are upped with fierce style, adding another sheen to a high quality season.

Lucy Lawless once more makes a steely and formidable impression as Xena. Lawless navigates the physicality of the role and the general understanding of wanting to change. She’s tough and spiky, but possesses a genuine heart and growing selflessness. Plus, she’s one hell of a kick ass heroine who continues to evolve with fun, seriousness and attitude. It’s hard to picture someone else playing the role quite as well as Lucy Lawless, who is ace as our Warrior Princess. Renée O’Connor is excellent as an ever-growing Gabrielle. She has ideas of decency that are frequently challenged in a world of war, but sticks to her guns as well as learning s lot along the way. Plus, she’s toughened up a lot but doesn’t scrimp on emotion as it’s one of her defining trademarks. Lawless and O’Connor continue to display the closeness of their friendship in excellent ways, while suggesting that there is more to their bond than meets the eye. Ted Raimi is on goofy form as the returning Joxer, whose completely deluded but strangely lovable. Joxer is a character that divides many, but I like his addition to the show. Hudson Leick rocks it again as Callisto, relishing the despicable, damaged and disturbed nature of the vengeful woman. Her scenes with Xena sizzle with anger and resentment, culminating in some exciting scenes. Kevin Smith is on charismatic, burning form as the returning Ares. He has this wicked grin and appeal to him that are hard to resist and despite the fact we know he’s mainly bad news, Kevin Smith does it in style.

And now to my episode rankings, which are as follows:

1. Orphan of War – A
2. Remember Nothing – B+
3. The Giant Killer – C
4. Girls Just Wanna Have Fun – A+
5. Return of Callisto – A
6. Warrior … Princess … Tramp – B+
7. Intimate Stranger – A
8. Ten Little Warlords – B+
9. A Solstice Carol – D
10. The Xena Scrolls – A+
11. Here She Comes … Miss Amphipolis – B-
12. Destiny – A+
13. The Quest – A
14. A Necessary Evil – B
15. A Day in the Life – A
16. For Him The Bell Tolls – C-
17. The Execution – C+
18. Blind Faith – B+
19. Ulysses – B
20. The Price – A
21. Lost Mariner – C-
22. A Comedy of Eros – C

A fine sophomore season with darkness, humour and always supplying action, Season 2 of Xena provides many thrills and fun as it uses the template set up and moulds it into its own creative and divergent thing.

Xena: Warrior Princess Season 1

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1990's, Bruce Campbell, Hudson Leick, Kevin Smith, Lucy Lawless, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 1

A spin-off from Hercules: The Legendary Journeys that went on to eclipse its predecessor, Xena: Warrior Princess became a pop culture phenomenon thanks to its tone and iconic title character. So here I am ready to review the first season of this show. Let’s get on with it and be warned, spoilers may be in this review.

In Ancient Greece, former warlord and Warrior Princess Xena( Lucy Lawless) is travelling and attempting to rectify her brutal past and atone for the suffering she caused so many. She’s beginning to renounce her title of Warrior Princess, but she’s spurred into action when she encounters villagers being attacked by rampaging men. Taking back her sword and power, she vows to do good with her skills as a fighter. One of the girls she saved, an aspiring bard named Gabrielle( Renée O’Connor ), is bored with her life and wants some adventure. She sees Xena as her ticket to the wide open world some form of fun. Xena, who is used to being alone allows Gabrielle to come along with her. although skeptical at first, the two become very close friends in the long run . On their travels they encounter all manner of action and adventure as they come up against warlords, God’s and many things from Xena’s past coming back to menace the warrior and tempt her back to the dark side.

What immediately strikes you about Xena is the tonal diversity of the episodes. They go from serious dramas to tongue in cheek comedy and almost everything in between. There’s something for everyone to enjoy here. It’s best not to take most of it seriously because of the often goofy sensibility that colours a few areas, though there are deep moments of emotion to behold on the other end of the spectrum. Especially in the case of Xena and her search for redemption after her former darkness. I will say that Xena: Warrior Princess is a show that can be a bit like Marmite for some because of how oddball it gets. But it hits the spot for me with its multitude of tones and well-executed ideas. One of the main things that I’m aware of with this show is the endless debate over the nature of the relationship between Xena and Gabrielle. They are very close and almost always together as friends would be. But many see something deeper to it and I can understand why some think of Xena and Gabrielle as a couple. The writers are canny enough to sly and ambiguously reference this in many instances with innuendo appearing a handful of times between the two and situations that put them closer together. There are only snippets of something more than friendship in this season, so it will be interesting to see how their relationship grows and how it will turn out.

On the visual side, the use of New Zealand as a filming location is inspired in how it stands in for Ancient Greece in all its beautiful splendour. And it’s pretty great how anachronistic the show is. It doesn’t purport to be the gospel truth about the mythology it references, instead running with it and having a blast. It plays by its own rules and is in my view, all the better for it. A rousing score that fits the shifting ups and downs of Xena’s life and can be so many things given the episode at play.

Great episodes abound in this introductory season. The opener cleverly sets up the title character as she begins her journey to some form of redemption while hinting at what will come. ‘Dreamworker’ has Xena entering a dreamscape to save Gabrielle from being sacrificed to the God Morpheus, which will happen if age spills innocent blood. Xena must contend sit her past here as it quite literally comes back to haunt her. It’s a very striking episode. In ‘Reckoning, we are introduced to the darkly charismatic Ares. He will, from what I’ve read, become a more prominent character in the series. I’m glad to hear that as he is very smooth and dark and the story of him trying to coax Xena back to the dark side is extremely watchable and Kevin Smith is ideally cast as the silver-tongued God. The episode in question does a great job of showing how Xena may be trying to right her wrongs but could easily go back to the dark side if swayed. In ‘Hooves and Harlots’ Xena and Gabrielle come into the middle of what could be a war between the resourceful Amazons and traitorous Centaurs. It is in this episode Gabrielle comes into her own a bit more and displays skills as a fighter that will come in handy. She may be the sidekick of the series, but we see that she’s no slouch either as evidenced by her willingness to learn.

‘Warrior … Princess’ is a fine comedy episode where Xena impersonates a damsel in distress that is far removed from her tough girl persona, leaving the other princess to attempt to emulate the fierceness of Xena. All of this has hilarious results for both and shows off the comedic chops of Lucy Lawless. Another standout ‘The Royal Couple of Thieves’ features Bruce Campbell as a thief with a big ego that teams up with Xena to retrieve a powerful object. The banter and chemistry between Xena and Autolycus is something to behold and makes the episode a particularly strong venture. On a more serious note, ‘Callisto’ introduces a vengeful nemesis for Xena who has dedicated her life to destroying her as it was Xena’s army that slaughtered her family. This episode makes an interesting case for Callisto being the dark side of Xena, like the other side of a coin. She embodies, thanks to the frightening and unnerving work of Hudson Leick, a psychotic evil that is taunting and won’t rest. The dynamic between them is fascinating as Callisto attempts to get Xena to kill her, putting the Warrior Princess in a dilemma over whether to kill what she has created  The episode also serves to introduce the comic character of Joxer( a very funny Ted Raimi), an incompetent wannabe warrior who is lovable nonetheless. And the season is closed out in emotional fashion when Gabrielle seemingly slips to the other side after being injured in the middle of a civil war. Watching as Xena screams and pounds her chest is heartbreaking, but thankfully Gabrielle is soon back with the land of the living and the two are soon on their way to new adventures. It’s a high point of the show that displays the close relationship of its protagonists.

The cast is a big selling point of Xena and one that makes you truly buy into it. At the centre is the sexy Lucy Lawless as the eponymous Warrior Princess. She projects a strong, intimidating but also sardonic and seductive image of a woman you wouldn’t want to mess with. Lawless has the athleticism and when the occasion calls for it emotion when discovering Xena’s pain and regrets that she has harnessed into a tough visage. Renée O’Connor has the innocence and pluckiness to counterbalance the seriousness and worldliness of Xena. And though she is often the main sidekick, O’Connor makes Gabrielle just as important as a character. Plus the chemistry between the two of them is exemplary. While best friends, Xena is the more hard-edged of the two. Gabrielle on the other hand has a thirst for knowledge and a desire to discover the world and all that it has to offer.

And now for my episode rankings:

1. Sins of the Past – A
2. Chariots of War – B
3. Dreamworker – A
4. Cradle of Hope – B-
5. The Path Not Taken – C
6. The Reckoning – A+
7. The Titans – C-
8. Prometheus – B
9. Death in Chains – C+
10. Hooves and Harlots – A
11. The Black Wolf – B+
12. Beware Greeks Bearing Gifts – C
13. Athens City Academy of The Performing Bards – D-
14. A Fistful of Dinars – B
15. Warrior .. Princess – A+
16. Mortal Beloved – B
17. The Royal Couple of Thieves – A
18. The Prodigal – C-
19. Altared States – C
20. Ties That Bind – B
21. The Greater Good – B
22. Callisto – A
23. Death Mask – C
24. Is There a Doctor in the House? – A

So so all I have left to say is that Xena Season 1 is a blast that has me gearing up for what follows. With a feisty and fierce leading character and entertainment galore, you can’t ask for more.

The Handmaid’s Tale Season 2

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2010's, Alexis Bledel, Ann Dowd, Cherry Jones, Elisabeth Moss, John Carroll Lynch, Joseph Fiennes, Madeline Brewer, Marisa Tomei, Max Minghella, O.T. Fagbenle, Samira Wiley, Sydney Sweeney, The Handmaid's Tale, The Handmaid’s Tale Season 2, Yvonne Strahovski

Expanding on from Margaret Atwood’s novel and opening up the universe created in Season 1, the second season of The Handmaid’s Tale provides immensely disturbing viewing for us. It’s gruelling but so hard to tear your eyes away from it. Caution, spoilers may well follow.

We pick up where Season 1 left off, with a pregnant Offred( Elisabeth Moss)being placed in a van and heading for an uncertain future. As it opens, she along with the other Handmaid’s who refused to stone one of their own, are taken to Fenway Park. They believe they will be hanged, but it’s a cruel act of manipulation by the powers that be. Thrown into gruelling torture by Aunt Lydia(Ann Dowd), it looks as if it’s more cruelty for all of them. More defiant than ever, Offred takes on the regime with attitude and stays it out in the hope that help will appear. Eventually, Offred is spared as Aunt Lydia discovers she is with child and exempt from punishment. With help from Nick( Max Minghella) , who is the father of her child, and the resistance, she manages to escape from her captivity. Shedding her Handmaid’s life and proclaiming herself as June, she has to contend with knowing that in order to properly escape she may have to leave the daughter she had taken from her.

June may attempt escape to the border, but it’s short lived and she is forced back into becoming the Handmaid Offred. Nick tries to help her but is sidelined by being “gifted” a wife named Eden(Sydney Sweeney). She’s a pious girl and seemingly a true believer for what Gilead stands for, but also sets up events in a tragic way. There Serena Joy(Yvonne Strahovski) is starting to scoff ever so slightly at the regime herself, but is very unpredictable in her attitudes towards Offred/June. Commander Fred( Joseph Fiennes) is his usual hypocritical self and putting on his show of self-righteousness for all to see. Meanwhile, Emily( Alexis Bledel), formerly Ofglen is in The Colonies for her disobedience. Here she must work day and night among contaminating waste with death always a shadow over her shoulder. She is joined by disturbed Janine(Madeline Brewer), who doesn’t quite understand the situation at hand after everything that’s been done to her. We also catch up with June’s husband Luke(O.T. Fagbenle) and best friend Moira(Samira Wiley), who escaped to Canada and are grappling with their own demons and survivor’s guilt. June may be broken along the way, but her desire to fight comes back gradually as she is once more asked to contend with surviving the regime and. Things take many turns as she approaches her due date.

The first season covered the novel, so with this sophomore effort, the producers and writers are going beyond the source material in different ways. And they pay off very well, though I’m sure many where unsure of whether it would pan out successfully. Certain parts from the novel that were absent from the debut season are present, but Season 2 is largely its own beast that takes the story in different directions. Thematically, Season 2 delves into guilt and the price of rebellion. June must contend with her actions having consequences on others and the devastation that fighting for what is just can bring. Duality features heavily, most prominently with June/Offred and the constant struggle of the two. It’s like a constant battle of which side will win out as the regime digs its claws into her and forces her to make a choice. Once more, the visuals are strongly composed and extremely evocative. Particularly striking are the oranges and burnt golds of The Colonies; a barren landscape almost in a permanent dusk where those who oppose Gilead are enslaved and made to work among toxic waste. It’s so cinematic and disturbing. Plus the ever-increasing close-ups provide the uncomfortable ferocity and horror of Gilead and how much of a toll it takes on the characters. Flashbacks detail the rise of Gilead and expand on the characters as they reflect on life before the takeover. June’s voice over may be limited a bit more this season, but whenever it’s there, it sure as hell does the job at capturing her inner feelings.

Just like the debut season, this second season is chock full of shocking moments. There are plenty that truly stick with you for their brutality, disturbing nature and power. The mock execution scene where the Handmaid’s are rounded up like cattle, have their mouths covered with muzzles and have nooses placed around their necks in what they believe to be their last moments is a stark and traumatising opening. Set to the sound of Kate Bush’s ‘This Woman’s Work’, it’s hard not to hold your breath. A ceremony where the Guardians of Gilead are awarded with wives who are a lot younger and basically children is chilling and totally horrifying.  One of the biggest moments of sadness and emotion is June being reunited with her daughter briefly, before she is ripped from her arms once more. It’s a gut punch to the system. And in another shocking moment, never have the repeated words “We’ve been sent good weather” been so devastating and alarmingly creepy. If anything, Season 2 ups the ante on violence and suffering. Many have criticised the increase in violence but I think The Handmaid’s Tale isn’t doing it for exploitation value, but for a cutting and harsh impact on the viewer. It’s an undoubtedly tough series to endure but it’s ultimately worth it.

Yet for all the hurt and anguish heaped upon us, hope is mixed in there in doses. The last shot hints at searing determination and immense changes to come for the characters and story. And boy did I dig it, though it will definitely divide many. My only little gripes are that some of the latter stages feel a tad rushed in the scheme of things and some things don’t go anywhere. But this is a tiny flaw in what is otherwise an arresting and disturbing series.

Elisabeth Moss is once more on powerful form; bringing out the sadness, rebellion, grief, guilt and survivor of June/Offred. The character is very much in two halves here and the strong Moss plays both of them wonderfully and with skill. There’s the fighter side of June that scoffs and will do anything to escape and then there’s Offred, the subservient vessel. Again Moss and her eyes are marvels at telegraphing varying emotions almost simultaneously. Yvonne Strahovski also continues to excellently convey the complex Serena Joy, who is by turns despicable bitch and perturbed woman realising her role in her own unhappiness. It’s a balancing act that she walks exquisitely. A slithering nastiness covers Joseph Fiennes and his interpretation of Commander Fred, who is not above abusing his power for his own benefit and spouts lies at every turn. He really becomes very vile and hateful this season and Fiennes is very adept at playing to that. Ann Dowd is once again a big standout, essaying the part of Aunt Lydia. While still brutal and very vicious, the chinks of humanity begin to come through and you see that she does have a care for the Handmaid’s, even if her treatment of them is abhorrent. Dowd is just so endlessly watchable in the role. Max Minghella is quietly conflicted as Nick, who must contend with his love for June and staying alive in the heat of the regime.

Alexis Bledel is seen a lot more than last season and capitalises on it with a stunning performance. Those blue eyes of hers are deployed in forms of rage, resistance and tragedy as we see the impact Gilead has had on her mind. She’s still a fighter at the end of the day and Bledel plays to that strength spectacularly. Madeline Brewer also returns as the haunted Janine; her wild eyes and strange mannerisms are all in order and successful. One of the season’s best weapons is the appearance of the youthful Sydney Sweeney. She plays the seemingly pious and brainwashed wife of Nick, whose naivety and sincerity is worrying but sets in motion different and irrevocable things. Sweeney is fascinating to watch as she registers that there is more to Eden than meets the eye. Although their capacities are reduced this season, both O.T. Fagbenle and Samira Wiley give great account of survivors guilt and the process of change. I just wished I saw a bit more of them. In cameo parts, Marisa Tomei as a punished Wife, John Carroll Lynch as a man persecuted for his sexuality and Cherry Jones as June’s fighting mother make their impacts felt. I must say the entire cast where at the top of their game here.

A searing, brutal and memorable series, the second season of The Handmaid’s Tale is alarmingly addictive even when it’s unsettling the hell out of you. You just want to know what happens next in the twisted world it so strikingly presents to us.

Big Little Lies

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2010's, Adam Scott, Alexander Skarsgård, Big Little Lies, James Tupper, Jean-Marc Vallée, Jeffrey Nordling, Laura Dern, Nicole Kidman, Reese Witherspoon, Shailene Woodley, Zoë Kravitz

A suspenseful, occasionally darkly funny and very addictive series, Big Little Lies tackles the myth of perfection in a seemingly ideal place that unravels with a deep-seated mystery. Bolstered by superb work from the cast, primarily the ladies, Big Little lies pulls you in with its story and visuals. This review will contain some spoilers, but I promise not to ruin the big mystery.

In Monterey, California, a murder occurs. But we are not privy to who the victim is and why it ended with the taking of life. Flashing back to the start, we build a series of events within the picturesque surroundings that are dark and enigmatic. It all begins with the arrival of Jane Chapman(Shailene Woodley), a single mother  who enters the community with her son Ziggy at the beginning of the school year. She is befriended by the fierce Madeline Martha Mackenzie(Reese Witherspoon); a resident queen bee who prides herself on knowing everything and everyone. Jane also meets the elegant Celeste Wright(Nicole Kidman), a former lawyer who gave up her career to raise twin boys. All three are linked by children in the first grade and everything starts to happen on orientation day. Ziggy is accused of assaulting Amabella, the daughter of the highly strung business mum Renata(Laura Dern). This drives a wedge between people and Madeline draws a line in the sand as she’s never liked Renata and lets it be known. From that moment, things start to unravel for the women of the area. The lives of these women appear to be ideal, but scratching beneath the surface unearths another story.They all have their secrets that they attempt to keep under wraps, such as something dark in Jane’s past that she’s running away from, Madeline’s feelings that her daughter is slipping away from her( plus a past affair) and Celeste being in a volatile marriage where she is frequently abused by her husband Perry( Alexander Skarsgård )but can’t seem to leave him. With us knowing that someone is going to end up dead, things get darker and more revealing as the facade of perfection slips and the various events culminate in death for someone.

The first thing that gets your attention about Big Little Lies is the script. It’s both bitingly funny when focusing on society’s image of perfection and alternately darker in the next breath. Having the framing device of a gossiping Greek chorus of supporting characters giving their views on events provides much in the way of intrigue and humour. We go from zingers, bitching at the schoolyard, secrets hidden behind the closed doors of seeming bliss and female bonds are just some of the areas Big Little Lies goes into with its blend of wit, mystery and entertainment. From a stylistic point of view, this show is intoxicating. With the talented Jean-Marc Vallée on direction duties, it’s not surprising that Big Little Lies is such a hit. The vistas of the sea and the fabulous houses that the characters reside in provide much in the way of eye candy. And the editing and direction of the whole thing is very on point. Often, scenes blur into each other and the past bleeds with the present in unique ways that you get more accustomed to as the story gathers momentum. Montage and scenes cut to specific music abound and entice in how they connect the women and display just what’s really going on inside this bubble of supposed domestic paradise.

One of the biggest draws of Big Little Lies is how the mystery stems from the fact that we aren’t told who the murder victim is. Instead, the series flashes back to what lead to the act, excellently drip feeding us with occasional information about it. Most shows would have established who it is that was deceased, but Big Little Lies has other things on its mind to blow the big enigma straight away. Never mind whodunnit, it’s more like a who did it to who in the best possible way. And one shouldn’t forget that Big Little Lies goes to some disturbing places that put jolts into the action and are frequently shocking. Blending both humour and uncomfortable issues, it’s a show that in a sure-footed manner straddles each aspect with an eye for unearthing what sinister and pressure filled things are lurking beneath society’s obsession with paradise. And the succession of strong and rounded female characters is yet another praise worthy part of Big Little Lies. Whether lying, helping each other or trying to deal with life struggles, the vision of women is one that is excellently executed. And the last scenes of female solidarity are some of the best in the show and proudly showcase the excellence at hand here.

Reese Witherspoon heads the cast with energy as the local watcher of all things around her and someone you don’t  want to cross. Madeline as a character has a lot of layers and is not just the overprotective and domineering woman of the one-dimensional variety. Witherspoon and her natural perkiness are on show mixed with something more bitchy and flamboyant, yet tempered by hidden fears and insecurity. Nicole Kidman is riveting as the quiet and seemingly calm Celeste, whose life is so much more complicated than it seems to others. With Nicole Kidman essaying mystery and a very complex set of turmoil through nuances, you can’t help but be in awe of her talent. Her eyes are always searching for an answer to her future and are subtly but movingly expressive. Kidman’s ability to register so many emotions in a restrained manner is simply marvellous to watch as she covers such a wide array of feelings within the character of Celeste. Shailene Woodley portrays the youngest mother in Jane, who is something of an outsider in the community. She’s our vantage point into this world of mothers, children and image and one that is terrified yet determined to build a new life for herself and her son. Woodley suggests inner suffering and a deep love for her son in many excellent ways that are explored by her skill and ease in the part. Stealing a lot of scenes with intense and fierce action is Laura Dern. She stars as the pushy, overprotective and snotty mother who lauds her businesswoman acumen over everyone yet can’t cope when things don’t go her way. She manages to be both aggressive and funny within minutes of each other. Zoë Kravitz has the right free spirit and bohemian charm for the role of Bonnie; who is married to Madeline’s former husband and not exactly popular with Madeline who sees her as being too perfect.

The rest of the characters are fleshed out by an array of fine actors. Alexander Skarsgård exudes menace as a weak man whose insecurities are exposed when he beats his wife and feels like he has some power. A loathsome character, Skarsgård plays his to a tee. Adam Scott showcases his nice, average guy persona but colours it with areas of resentment that make him interesting to watch. James Tupper is childish and up for an argument playing Madeline’s former husband who can’t resist confrontation with Adam Scott’s character. And then there is the relaxed and chilled out Jeffrey Nordling, who compliments Dern’s manic behaviour with his no cares attitude. The men are great in Big Little Lies, but the show belongs to the women of the cast who turn in exemplary work.

A highly addictive series that is funny, dramatic and mystery, Big Little Lies is hard to resist, especially with a cast like this and direction this good. And if you haven’t seen it yet, here’s the opening titles to entice you.