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.

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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.

Party of Five Season 6

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1990's, 2000's, Jacob Smith, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 6, Paula Devicq, Scott Grimes, Scott Wolf, Wilson Cruz

And here it is, my review of the final season of Party of Five. I must say its been quite an experience watching this family drama and observing the ups and downs of the Salinger Family. Here I am at the final stage, bidding farewell to the moving drama and characters I’ve come to feel for and enjoy the company of. Be warned, spoilers will follow in this take on the last season of Party of Five.

We rejoin the Salinger’s as Charlie(Matthew Fox) and Kirsten( Paula Devicq)are about to tie the knot. After numerous slip ups and hiccups, they finally marry, overcoming much adversity and obstacles that have stood in their way. Though Kirsten never thought she could have kids, with advances in research she decides it is time to start looking into IVF. It will be a trying time for them especially with young Owen(Jacob Smith) and baby Diana to look after, but they are willing to ride it out in the hopes of a positive outcome. Daphne is still around and has employed the help of nanny Victor(Wilson Cruz)to help with Diana when needed, he soon becomes a close family friend to the Salinger’s. Griffin(Jeremy London) is also very much a presence in their lives, particularly when he is involved in a motorbike accident and they cover his insurance to help him out. Bailey(Scott Wolf) is busying himself with things and not communicating with Sarah(Jennifer Love Hewitt). The strain on their relationship since she turned down his marriage proposal in Season 5 grows bigger and ultimately Sarah breaks off their romance. She decides that she wants to find herself and promptly leaves behind their relationship once and for all. As he feels he’s got no one to rely on or something to fix( plus an intense and ill advised rebound relationship), Bailey’s desire for alcohol comes back. Thankfully he is aware of it and decides to sort himself out rather than spiralling out of control like the last time. 
Julia(Neve Campbell) is offered a book deal that puts pressure on her to dig into her life and examine the painful times. She’s determined to do it, though it will prove difficult to assess all she has been through in such a short space of time. Claudia(Lacey Chabert) continues to grow into a mature young woman faced with the beckoning responsibilities and confusion of adulthood. She is nearly forced upon by a drunken classmate and it forces her to retreat into herself. It’s only with Julia’s help that she opens up again and tries to get back to her usual searching self again. In the end, the Salinger’s must decide how to move on with their lives and in what direction it is best to go in.

The main theme running through everything in this last season is moving on. Each of the Salinger’s has to contend with the possibilities of the future and what may lie ahead. More issues and moving moments ensue in this final season, rounding out the impressive arcs of the characters. There’s the peer pressure for Claudia, Bailey’s lapse into alcohol again and Julia’s journey of writing a memoir. Some story lines don’t quite add up or work(anything to really do with Daphne and Bailey’s relationship with a girl name Holly drags), but the vast majority of things compensate for that. Certain ones are hard to ignore, though we can still watch and be entertained by the various events the characters find themselves going through and their choices. What’s made the show one that I have enjoyed is the relatability. Every character is flawed and yet likeable in their own way and that’s been a consistent strength in Party of Fve during its run.

Major episodes that stand out are Griffin’s accident bringing everyone together, showing Party of Five at what it does best; emotional drama. The following episode gamely explores how the Salinger’s banding together to help Griffin in a way we are accustomed to seeing. One of the finest is titled What if and is a look at what life may have been like for the Salinger’s if their parents hadn’t died. It occurs following Bailey crashing his car and it examines the way in which lives can play out not according to plan or sometimes go another way. It’s a very strong episode that really reflects on how much they’ve all grown up in the years since their parent’s death and it’s neat seeing various ways that characters may have interacted if not for that one critical event. Season 6 may not be the best season of Party of Five( that honour goes to Season 3), but it signs off very credibly and emotionally in a way befitting of what’s come before it. What’s best about it is how it ties everything together and concludes the journeys of the Salinger’s in heartfelt fashion. The best episode is the last one that shows all of the characters letting go of the past, keeping their memories of good times and finally moving on with their lives. It’s a pleasing, emotional episode as Bailey, Julia and Claudia all accept scholarships, internships and a chance at college while Charlie, after reluctance, gives his blessing. What’s most moving is the selling of the Salinger home, which has experienced just about every event known to man. The episode finishes with the characters saying goodbye to the house and finally letting their wings fly. And if you don’t have tears in your eyes, there is seriously something wrong with you.

By this point, the main cast is completely in tune with the characters they’ve played for years and still doing a hell of a good job at. Matthew Fox is ace as the oldest Charlie, whose life has been eventful and a complete roller coaster just like his siblings. Fox has grown into the part and has shown the progression from slacker and selfish to mature and authoritative. He’s finally become someone selfless, hard-working, dependable and happy about it. Scott Wolf is fine once more, alternating between cheeky and fun loving and desperate to stay afloat. Bailey has beaten his demons before and with Wolf understanding it, that makes his recovery all the more well played and realistic. Neve Campbell’s mix of assurance and vulnerability is wisely kept intact with Julia as she matures and has to dig deep for some inspiration of what to do next in her life. In a similar vein, Lacey Chabert, with her combination of innocence and attitude, gets to the emotionally confused centre of Claudia in a time where she is confronting things she doesn’t want to, yet planning her future at the same time. Paula Devicq is supportive and caring as Charlie’s wife Kirsten, who more than anything would love a child of her own. It’s very nice seeing her and Charlie finally together for good. It’s been an extremely rough road for the pair along the way, but thankfully they have come through as they belong to each other and always have. Jeremy London appears as Griffin who is also looking to the future and grateful to the Salinger’s for everything they’ve done for him. Jennifer Love Hewitt, who appears only briefly before leaving is still effective as the conflicted Sarah, who needs some answers and assurance in her life. Scott Grimes returns again, playing Bailey’s best bud Will with a real enthusiasm and supportive nature in times of need for Bailey. Wilson Cruz is fine as the new addition of Victor, someone who is both fair and loyal to the family and little Jacob Smith is growing fast as the youngest sibling Owen.

A fine send off to a quality show that brought emotion and honesty to the issues faced by young people, Season 6 of Party of Five rounds things off in respectable and excellent fashion. I hope everyone has enjoyed my reviews of this show, as it’s been a ride of emotions for me and I’m happy I discovered Party of Five. I will definitely miss this show now that I’ve finished it, but I can bid farewell happily too.

Victoria Season 1

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2010's, Adrian Schiller, Alex Jennings, Catherine Flemming, Daniela Holtz, David Oakes, Eve Myles, Ferdinand Kingsley, Jenna Coleman, Margaret Clunie, Nell Hudson, Nigel Lindsay, Paul Rhys, Peter Bowles, Rufus Sewell, Tom Hughes, Tommy Knight, Victoria, Victoria Season 1

The fabulous Maddy is doing a blogathon about the gems of the small screen and I just knew I had to take part. As I’m a sucker for historical dramas, I just knew I had to cover the first series of the elegant Victoria.

A lavish historical drama, depicting the ascension to the throne of Queen Victoria and the turbulence of her early reign, the first season of Victoria is a marvellous one that draws you in with its writing and acting.

England, 1837 and upon the death of William IV, his niece Victoria( Jenna Coleman) becomes Queen at the age of 18. She’s lead an extreme sheltered life up until this point, having grown up in Kensington Palace. Her time there has been almost that of a prisoner as her mother’s adviser Sir John Conroy(Paul Rhys) has attempted to dominate the young girl. He is an opportunistic man who has wrapped the Duchess( Catherine Flemming) around his little finger. With little in the way of guidance, Victoria is thrust into her role of Queen. While there are those who covet her position and think of her as a naive girl, with assistance and growing sense of strength, she succeeds at fulfilling her duties as monarch. There are difficulties along the way as she navigates power struggles, backbiting and doubts from courtiers and government. From this point on, she grows as a woman and ruler, destined to be remembered and revered. Still the path in front of her is a far from simple one as she takes residence in Buckingham Palace. There’s her dedication to Prime Minister Lord Melbourne(Rufus Sewell) that calls into question whether there is something improper going on. While there is some love that Victoria at one point thinks age feels( mainly one that resembles father and daughter approval), it’s a very platonic relationship between them. Her stubbornness to rearrange her ladies in waiting to make it seem she isn’t favouring one government over the other causes a scandal as well as other ways that she acts impulsively. Still trying to get a foothold into power is John Conroy, who employs dirty tactics to enable what he wants. Thankfully, Victoria manages to assert herself and banish him from her life as age gets more comfortable in her destiny. One of the biggest things is Victoria’s meeting and eventual marriage to Prince Albert(Tom Hughes). She chafes at first at the idea of wedding him as it is from the idea of her slippery uncle King Leopold of Belgium(Alex Jennings), but comes around and realises he is the man she loves. And downstairs contains just as much drama as upstairs in a highly entertaining historical series that will have you hooked.

Like most historical dramas, Victoria is a stunning feast for the eyes. The buildings and set design dazzle with colour and life, capturing the richness of palaces and country homes. Special mention must go to the costume department, who dress everyone in such finely designed clothes that you can’t take your eyes off. This is especially the case in what we see Victoria dressed in, which is nothing short of gorgeous. Just like in The Young Victoria, we are presented with a different perspective of the iconic Victoria. Here she is still very much a young woman who is alternately learning on the job and asserting her authority in the face of opposition. The writing, which covers the early years of her reign that aren’t quite as documented as the later ones, highlights the steps Victoria had to take to be seen as a strong and regal monarch. She was no ones puppet and slowly found her toughness to steel herself in a time that would bear her name. Many will say that Victoria is soapy and to an extent it is very eventful and dramatic, but that’s what makes it so compelling. There’s always something going on to keep the attention, both upstairs and downstairs. From humour and insight into palace life to the romance between Victoria and Albert, there’s no shortage of talking points here. In many aspects, Victoria resembles a mixture of Downton Abbey and Upstairs, Downstairs and is just as entertaining. It takes what made those shows great and runs with it, creating a series of fine drama and history. Not all of it may be historically accurate, but mind you what movies or television based on real events stick extremely loyally to what happened? A gloriously grand musical score backs up the pomp and ceremony of being a Queen and the romantic dramas experienced by the whole host of characters.

Jenna Coleman is an inspired choice to play the young monarch, taking her first steps as queen and learning quickly the responsibility of it. She has a playfulness and alternating will that showcases the often portrayed Victoria as full of life and passion, steel and vulnerability. Strength, girlishness and intelligence all come across in her work, twinned with sympathy for her as she adjusts to the sudden shift in her life. It’s safe to say Coleman makes for an ideal Victoria by making the role her own. There are plenty more stars in the big ensemble cast. Tom Hughes makes for a handsome and excellent Prince Albert. Our main knowledge of Albert is that his death completely devastated Victoria, so it’s nice to see a portrayal of the young man as one of many things. He’s smart yet awkward, reserved but very passionate and immensely forward-thinking. It is very good to witness more of an insight into Albert rather than just him as simply the Queen’s husband. He and Jenna Coleman share a very nice and gradually romantic chemistry that highlights the deep love that grows between Victoria and Albert. On hand for great charisma and understanding is Rufus Sewell as the skilled and supportive Lord Melbourne. Sewell plays him as a man who has been around for a long time and knows the score when it comes to the relationship between Crown and Parliament. His immense likability ensures we buy into the way he interacts with Victoria and steers her on her way to greatness.

A highly entertaining performance comes courtesy of Alex Jennings, who portrays Victoria’s uncle King Leopold of Belgium. He may be someone whose always finding ways to lurk about and influence matters to his own benefit, but damn if he doesn’t look like he’s having fun doing it. Catherine Flemming is easily influenced and distant from her daughter, hoping that it will be changed sometime in the future. David Oakes is on dashing ground as Albert’s womanizing brother Ernest, who enters into a flirtation with Harriett, Duchess of Sutherland (as played by the luscious Margaret Clunie )and close friend to the Queen. This beginning sows the seeds of more to come from these two. In roles of government, there is a disapproving Duke of Wellington and at the opposite end a slowly more respecting future Prime Minister Robert Peel. Both are played in style by Peter Bowles and Nigel Lindsay. In his short tenure in the show, Paul Rhys is appropriately slimy and scheming as John Conroy. So it is very satisfying when Victoria finally cuts him down to size and makes it possible for herself to be heard as a woman of power and influence. A lot of that is down to how well Paul Rhys plays the role that we dislike Conroy so intensely.

And the downstairs is well represented too. Daniela Holtz is endlessly severe but mainly well meaning playing the loyal Baroness. She’s often picky and constantly on the lookout for something to smooth over, but it’s often out of a desire to do well by Victoria. is a character who is both caring and staid, a balance that is well observed by Holtz. Nell Hudson is the pretty new dresser to the Queen named Skerrett, one hiding a secret and attempting to keep it fully under wraps. Eve Myles is effectively dowdy and reliable as the main ladies maid of the household who isn’t above a bit of grousing about conditions. With a flair and sense of amusement, Ferdinand Kingsley is the palace chef with an eye for Skerrett. One of my favourites characters is Penge, the Steward who is lazy and overly cynical. Portrayed by the watchable and fun Adrian Schiller displays of eye-rolling indignant and sarcastic comments add humour to the mix of things going on in Victoria. Tommy Knight plays his underling, who always has a smile on his face and impish charm to spare.

Sumptuous costume drama that effortlessly fills the Downton Abbey void in your life, Season 1 of Victoria delivers great historical drama goods with style that has me yearning for the second series.

The Handmaid’s Tale Season 1

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2010's, Alexis Bledel, Ann Dowd, Elisabeth Moss, Joseph Fiennes, Madeline Brewer, Max Minghella, O.T. Fagbenle, Samira Wiley, The Handmaid's Tale, The Handmaid's Tale Season 1, Yvonne Strahovski

A hauntingly engrossing, evocative and vivid rendering of Margaret Atwood’s dystopian novel, The Handmaid’s Tale is compulsive television that presents many terrifying possibilities and ideas that will leave you glued to the screen but shaken. Be warned, spoilers may follow in my review of this season. Plus, I’ve just read that the show has been renewed for a second season which should be interesting.

In a future version of what was North America, the Republic of Gilead has come into power through unjust and harsh means. It rules with totalitarian authority and oppresses all, particularly women. They are divided into various ranks and treated as second class citizens by a male dominated world that uses religion to justify its regime. It is seen as a return to ‘traditional values’ by those in power, but is upheld by extreme brutality. Over the years, birth rates have plummeted and only a handful of women can bear children. Offred(Elisabeth Moss) is a Handmaid who represents the main character. She had a different name and a life before the rise of Gilead, but it is forbidden to talk about it now. She also had a husband named Luke(O.T. Fagbenle) and daughter, who we see was snatched away when they attempted to escape Gilead for the border. We hear her thoughts as she leads us through her terrifying circumstances. The main job of a Handmaid is to provide offspring for the household they are assigned too, as a sexual slave to a high-ranking official known as a Commander. The ceremony is a forceful one in which the women have no choice and are basically victims of institutionalized rape. Earlier, the handmaids are conditioned and brutalised by The Aunts, a group of women who drill into them the horrifying duty they must perform and use violence if disobeyed. Offred is stationed at house of Commander Fred Waterford(Joseph Fiennes). His wife Serena Joy(Yvonne Strahovski) , who was one of the instrumental figures in crafting Gilead, is desperate for a child and often acts in a cold manner to Offred due to her being barren. Navigating her way through this horrible existence, Offred slowly chafes at it and with the memories of her daughter and husband still with her, stiffens her backbone. For she intends to survive the hellish universe and with help from other handmaid’s who are part of a form of resistance, she may just do it. But in this tormented and oppressive world, can anyone truly escape?

Right off the bat, The Handmaid’s Tale is loaded thematic meat and backbone in the most eye-opening way.  What definitely strokes the hardest is that the events depicted don’t seem that far removed from genuine reality and can be read as highly topical too. We live in a time where the future could go either way in terms of attitudes and God knows what else, so The Handmaid’s Tale functions as something of a wake up call to many. Themes of female subjugation, physical, sexual and emotional abuse along with rebellion, dictatorship and corrupt power flow like a river in this horrifying but compulsive series. Having Offred be the guiding force of the narrative, particularly her narration, is a well employed tool for framing the show. Often, her voice is at odds with her actions due to the way that the society has forced her into submission. But crucially it places us right into her mindset and how the world is seen through her eyes. We are privy to important information that moves the story along and allows us to be witness to her growing strength and rebellion.

On the visual side, shallow focus is supremely well employed in capturing the conflict of the world and just how much it takes a toll on the much abused women. Offred is the main window into events and intense close-ups that frame her are some of the most piercing moments in this disturbing tale. Bright lighting for exterior shots is one example of a pointed irony that permeates from the series throughout. The blinding sunlight is very much the opposite of what life is like for Offred and her fellow handmaid’s and that juxtaposition is palpably terrifying and cloistered. When inside, only a shaft of light creeps into the spaces which benefits the growing hope inside Offred as well as the dire situation at hand. In fact, irony is one of the shows greatest assets as it horrifies and disturbs with how the world has fallen. From the Handmaid’s being coerced into beating a man supposedly guilty of rape to death and a ceremony of sham for visiting dignitaries, the unfairness and hypocrisy of Gilead knows just how to unnerve the audience and shock with deep intent. The low murmuring of the sinister score echoes throughout the episodes, with a definite haunting quality that is both futuristic and spooky.

Leading the cast is the exceptional Elisabeth Moss as Offred. A mixture of desperation and steely gumption colours the work, with Moss hitting the notes and beats excellently in conveying the situation of a woman trying to persevere in a world of horror. so much is displayed through her eyes- fear, determination, pathos and defiance largely due to the fact that her character is trying to survive a regime that keeps everyone oppressed and silent. Elisabeth Moss has a gift for subtlety that is nonetheless expressive and nuanced, a string in her well armed bow that strikes to the heart of Offred and explores her beautifully. It’s a remarkable piece of acting that highlights just how talented an actress Moss is as she charts a gathering storm of feeling Offred goes through. Joseph Fiennes finds a deep ambiguity in the Commander, who is one of those responsible for the rise of Gilead. He manages to be both creepy and strangely charismatic, you never quite know what to make of him as he is a layered character. Yvonne Strahovski is cruel, cold and ever so desperate behind it all as the melancholy wife of the Commander. Chinks of humanity lie behind her nasty facade of devout righteousness as she knows that she is essentially a prisoner of what she wanted, but she’s best when being vindictive and callous.

Alexis Bledel is another fine addition to the series, essaying a tragedy and alternating will. Playing a seemingly pious Handmaid who is in fact a member of resistance against government, Bledel, much like Moss and her eyes, uses her orbs to enact her varying emotions to amazing degrees. I ask anyone to not feel intense feeling when she is put through the wringer of sadness and possible hope as Bledel is so good at making a very lasting impression. Madeleine Brewer, with alarming and childlike mannerisms, gets to the core of her part, who has been ground into near madness by conditioning and trauma. She has some of the most eventful moments in the series and delivers the goods. On scene-stealing form is Ann Dowd, who makes the absolute most of her time on screen. Starring as one of the Aunts, she is severe, abusive and authoritative. But Dowd goes beyond just the temptation to make her a simple villain by unearthing that she too is somewhat brainwashed by the cause and seriously believes she is doing God’s will. Samira Wiley, with her strong face and intense demeanor, compliments Moss when she appears largely in flashback as her best friend. Her sense of attitude and sarcasm are a welcome relief in a series that is largely dark. Max Minghella is another ambiguous presence, portraying the driver to the Commander who may or may not have bad intentions. He is most explored through his tenuous relationship with Offred, that shows that he’s got some good in him yet we still don’t know whether he is trustworthy or not. O.T. Fagbenle rounds out the cast as the husband of Offred, who appears for a big chunk in flashback. He is a welcome reminder that there was once goodness within man before Gilead totally took over.

A truly disturbing yet completely compelling series that benefits from its execution, visuals and acting, The Handmaid’s Tale truly stays with you for a long time after viewing it.

Party of Five Season 5

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1990's, Jacob Smith, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 5, Paula Devicq, Scott Wolf

More drama and eventfulness befalls the Salinger family in the penultimate season of Party of Five. Despite some melodrama sneaking in and muddying the water, Season 5 still has its moments to shine with honest situations and characters you can feel for. Though it is overall a mixed season after the largely successful fourth one, it’s still immensely watchable. Spoilers will most likely follow.

After the unexpected news of Daphne’s pregnancy at the end of Season 4, both Charlie(Matthew Fox) and Daphne have decided to go through with having the baby. But as its so unexpected, both struggle since their plans and personalities are clashing. Charlie is being overly sensitive about everything, while Daphne is in a complete muddle. Everything is halted however when Daphne must have emergency surgery, resulting in the baby being born premature. After much concern and a couple of unpredictable moments, the baby(a girl given the name of the Salinger’s late mother Diana) is born and Daphne is fine. After a while, it becomes that Daphne seriously can’t cope with a baby, which baffles Charlie . Kirsten(Paula Devicq) is on hand for help, but her own marriage is under strain as her husband is of the thought that she is spending too much time with the Salinger’s. Kirsten and Charlie grow closer again, especially given all their history. Owen(Jacob Smith) feels pushed out of everything with the new baby. It soon comes to light however that Owen may in fact have a learning disability. Bailey(Scott Wolf) and Sarah(Jennifer Love Hewitt) are once again a couple and living in their own apartment. While they have to iron out their respective differences, things go pretty well so far. Yet Bailey has to ultimately deal with his growing desire for some control over his direction in life, something heightened when he sees that Owen is being left out. Julia(Neve Campbell) and Griffin(Jeremy London) are in the process of splitting up and keeping distance she to their differences and problems. Julia heads to college and just wants to concentrate on studying, while Griffin ponders what to do with his life. While studying, she catches the eye of intense and brooding Ned and they begin dating. Things are going well with Ned, until his dark, angry side emerges. This results in him physically assaulting and beating Julia, causing her to be one isolated from those around her. Although a strong person, Julia feels trapped in this horrible situation. Claudia(Lacey Chabert), who is now becoming very mature and sassy, is now off to boarding school. While she asserts her independence and individuality, she still experiences lands of longing to be with her family and whether she should be there for them, as she’s done it for so long. She ultimately finds comfort with Griffin when everyone else is busy and he kindly reassures her that she’s a special girl. The situation between Bailey and Charlie gets dramatically more angry and eventually reaches them fighting for custody.

Once more, Party of Five deals with difficult issues with a mostly realistic and moving assurance . And yes some parts of this season don’t work in what it attempts to show, but the main stories are on point and filled with pathos, humour and heartfelt delivery. The prospect of a baby prompts a touch and go aspect to that story line while it unearths the difficulty and transition of being a parent. At first that is set up well, but falls into the trap of overly familiar and stretching credibility. Much more well-managed is the examination of Owen’s feeling of being left out once Diana is born. It’s something that I’m certain everyone can relate to in some way or another, and it’s explored excellently here. The domestic violence story is handled extremely well and with sensitivity, never shying away from the horror and implications of abuse. If anything, Party of Five in its fifth year starts to get a but sensational. There is a feeling of tiredness in some of the execution of episodes. Some of the organic nature in earlier seasons gets jumbled up here, resulting in Season 5 getting knocked down a few pints in my estimations. Not that it’s a disaster by any means Though the vast majority of this season is more than enough to compensate this slip into melodrama, with the fine writing and acting making Season 5 a good addition to the series. What is crucially there is the very foundation of family. We buy into the Salinger’s as a family; they’re troubled, close and flawed but you can’t help but gravitate towards them. And considering the amount of ups and downs their lives have taken, rough edges are bound to be there. Even when close to utter disaster, you hope things can resolve.

Though a more flawed season of the show, Party of Five still gives us an abundance of fine episodes. There is when Owen goes missing in the mall on Thanksgiving, leaving everyone reeling. Even though you can feel that he will be found, you are genuinely left panicking in the situation. Thankfully, Owen is found but it is just the start of him becoming more frustrated and disconnected from his family. Then there is a Christmas episode that ranks highly. Things that have been hinted at get more prominence and come into fruition more, signalling the dilemmas of everyone and doing it with customary honesty. An episode of everyone facing up to their flaws and desperate situations beautifully gets into great areas. This followed by the verdict on he custody situation of Owen, that goes in a way you wouldn’t expect. So amid the decline in some of the realism and strength of earlier incarnations, Season Five has its moments too and gets better as the season goes on.

Matthew Fox gets to Charlie’s pig-headed and selfish need to always have things his way without support, even though a lot of events have featured the whole family contributing. It’s obvious he isn’t completely selfish, but the return of some of Charlie’s earlier traits is noticeable. Scott Wolf really gives it his all in this season, showing us Bailey in a deep predicament while contemplating life. Bailey’s assertiveness grows but he even begins to feel like his compulsion for control is straddling him to a halt. Combined with likable nature that he often gives off and complimented by his self-doubt, Bailey is probably one of my favourite characters. Neve Campbell excellently hits the required mix of doubt and deep vulnerability as Julie goes through a horrible ordeal. Julia is not a stupid or weak character by any means, usually being helpful, strong and considerate while dealing with a multitude of problems. So to see her go through this is shocking but well-played. Campbell gets that feeling of entrapment just right as Ned tightens his grip and she must summon up her strength to do something. Claudia’s has to grow to up in the past very quickly, but now is doing it on her own terms which sees her more decisive and independent than ever. She still cares for her family and we witness how it takes her time to adjust, but Lacey Chabert gets across the need to spread her wings and become who she wants to be. In essence, the battle between familial support and finally being her own person is Claudia’s struggle, which is naturally observed. Jennifer Love Hewitt is given less to do this season and at times the character of Sarah grates, but she’s still pretty solid in the role. Paula Devicq nicely finds the heart of Kirsten wanting to break from her closeness to the family, but finds that she cares too much to do that. Jeremy London is given the most material he has even been given in the show and uses it well; portraying concern and the hope that Julia will come back once more. And not to be forgotten is young Jacob Smith, who splendidly plays the young Owen whose behaviour begins to worry at first but is finally supported when it comes to light the difficulties he is facing.

The wheels start to come off with Season 5 and it’s noticeable, but there are still moments of greatness to be gleaned in Party of Five. Hopefully, the last season can really step it up to the excellence of past seasons.