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.

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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.

Party of Five Season 4

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1990's, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 4, Paula Devicq, Scott Wolf

We rejoin the Salinger siblings navigating through new challenges that life presents in Party of Five Season 4. It may not reach the heights of Season 3, but it still has its moments to treasure. Be warned, spoilers may well follow in my review of this fourth season of the dramatic show.

Bailey(Scott Wolf) is on the mend and getting back to himself after his crippling battle with alcohol last season. He has been supported by Sarah(Jennifer Love Hewitt), who has forgiven him for involving her in the near fatal car accident months back. But Sarah’s parents don’t see it that way, they file charges of DUI against Bailey. As the trial gets underway and seeing that everyone is willing to sacrifice things for his mistakes, Bailey accepts a plea bargain which leads to a suspended sentence for him. Yet even though he’s making amends, he still finds that the impact of his actions follows him around and won’t let go. Luckily, he does discover a job that also ties in with what will happen to Sarah. Sarah moves out from her parents, feeling that they have victimized Bailey unfairly. Finding out that life independent can be difficult, she finds a place where she enlists Bailey to help her be a manager to an apartment block. The two are now pursuing a platonic friendship as they become managers and maintenance to the tenants of the building. Around this time, Bailey meets Annie; one of the residents who is also a recovering alcoholic. Yet is Bailey ready to commit to a relationship just as his recovery is starting to go well? Charlie(Matthew Fox) is now properly head of the family, having grown up into the role he never really wanted. As the season starts, he is annoyed that he can’t find some romantic happiness. He also bumps into Kirsten(Paula Devicq), who is now remarried to a doctor and back on track following her depression. And though Charlie begins a brief relationship with someone else, he still carries a torch for her. This however takes a backseat as Charlie’s tiredness that he thinks is down to his overworking is diagnosed as Hodgkin’s Disease. he at first only confides in Kirsten. His anger and scared mind are laid bare as he undergoes treatment and the family rallies around, though it proves to be a strain. Julia(Neve Campbell) and Griffin(Jeremy London) are married, with Julia returning from travels to life as a wife. Yet while happy to be married to Griffin after all the struggles, she is still attempting to find her identity. She must also deal with the fact that she feels a bit disconnected from her family, having spent so much time with them yet wants to cut out on her own. This leads her to try new things, yet ultimately makes her get a little bit selfish. Griffin meanwhile discovers his new business is not a cakewalk as he finds a cash flow problem and makes the mistake of accepting a loan off a seemingly helpful man, who becomes something of a loan shark. This leads to money woes for the two, with Julia having to do what she can to provide and Griffin attempting to get them out if this hole. All of this puts a massive strain on their union. Claudia(Lacey Chabert) is now in high school and trying to fit in, and finding it a hard slog. She is tired of people treating her like a small child and wishes to be taken more seriously. Finding that she must grow up more herself, especially after her hopes of romance with a boy are dashed, Claudia still resentfully acts out to get her family’s attention and due to a feeling of loneliness. Can the family hold it together and weather the storm?

Coming off such a dark and engrossing last season, I think it was inevitable that Season 4 might not measure up, it still has plenty going for it. Though I found some of the stories lacked the pull of past , there is still something immensely watchable about Party of Five. The main stories that I didn’t appreciate or enjoy was the one of Bailey getting with Annie, whose many troubles only posed more or a burden for a recovering Bailey . For one, Bailey had already gone through hell and back with his alcoholism, so why did they have to include Annie? It isn’t that the story is bad, it’s just that alcoholism was dealt with so realistically and honestly in Season 3, that it feels a bit superfluous to use it again. Other little sub-plots are decent and sometimes diverting, yet some of them go nowhere and end up superfluous. I did like later on when Charlie starts a romance with Daphne, an uninhibited woman who works as a stripper. They are opposites, but I liked the unpredictable vibe they have. The saving grace here is the overall impact of Charlie’s illness that bears heaviest and most deeply on Season 4.

The Salinger family repeatedly drift apart and then come back into closeness, just like any family does. And while the individual stories have their moments, the subject of family and its many facets is still the successful force of Party of Five. It’s been the main selling point and chief weapon in its arsenal and one that is still prevalent in the fourth season. The reliability and sometimes hard sacrifices are evident here, as the siblings realise how much their lives have changed and how things have turned out differently for each of them. Charlie’s battle with Hodgkin’s  and the reactions of the family to it are a manor dramatic high point, sensitively observed and credibly performed. Even though everyone has a different way of coping with the news, they all see that banding together, despite differences, is the only way to get their brother through his trying time. It feels like how a family would react; with obvious worries, trepidation and uncertainty, but all unite by a common love for their sibling. Plus, the inevitable fall out of these pressures, particularly confused Claudia’s acting out and skipping school, gives an emotional depth and honesty to it all. The Salinger’s are frequently at the brink of being pulled apart, but somehow manage to get through a hell of a lot. The writing ensures that we do care about their struggles in the long run and boy the show still knows how to get your emotions working. And special credit must be given to ‘Go Away’, the finest episode of the season. While Charlie awaits news of a crucial batch of tests, he, Bailey and Julia travel to a cabin they frequented as children. Claudia confides in Kirsten about her fears of Charlie dying, while at the cabin, the rest of siblings are dealing with their own struggles. old wounds are opened and slowly some resolution looks like it could be on its way, after much revealing conversation on how their lives have been impacted by their parent’s death. It’s one of those episodes that really allows things to be eventually expressed and for a bigger meaning to come in.

The ever dependable cast is on hand for great work that registers beautifully. Matthew Fox movingly displays the leadership Charlie has gained that is curtailed by the devastating blow of illness. He doesn’t want to admit that he is sick, but simply carry on as normal. Which is obviously going to be difficult, but you do feel bad on Charlie mainly due to the sympathetic work of Matthew Fox. Scott Wolf successfully charts Bailey’s recovery, that isn’t easy, but is worthwhile in establishing him again as a caring guy pulling his life back together. While he still has struggles, Bailey is now back to the amiable guy he was before, albeit one who has been through hell and managed to get himself sorted out. Neve Campbell is up to the task of making Julia both selfless and alternatively selfish, and yet you still can’t hate her. Julia is at the biggest crossroads of her life( wrestling with doubt and pangs of regret)  and feels that she has sacrificed enough for everyone else, making her occasional bout of self-absorption pretty reasonable. And as Campbell is adept at depicting the frequently misguided but longing Julia, you do feel for her. Lacey Chabert continues to impress as troubled Claudia, who is really having a rough time with everything that has transpired. She has for someone so young been through the wringer and Chabert is a mature performer who pulls off the melancholy confusion of Claudia. Jennifer Love Hewitt isn’t given as much to do as before, but her sweetness and sensitivity playing Sarah are still there in lovely fashion. And with regards to Jeremy London as the hopelessly unlucky Griffin, while the issue of him never amounting to anything is overplayed, London finds sympathy in there too. Paula Devicq returns more frequently here, and captures how Kirsten may be married, yet still has a love of Charlie that won’t ever go away.

So while it lacks some of the pull of past seasons, Season 4 of Party of Five has enough to recommend on the dramatic front.

Party of Five Season 3

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1990's, Alexondra Lee, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 3, Paula Devicq, Scott Wolf

We return to the dramas of the Salinger family in Party of Five Season 3 . With more strife and issues at play than ever before, Season 3 is probably the best season so far, due to the astonishing maturity and how it isn’t afraid to grapple with weighty and dark subject matter. Be aware, spoilers may follow in this review.

Bailey(Scott Wolf) has graduated high school and is heading to college nearby. The thing is he’s feeling lousy and worthless as his best friend Will is leaving for a better college. Also present are the latent feelings of being inadequate over opportunities he’s had to sacrifice, like using his money to pay for tuition to save the restaurant at the end of Season 2 and having to settle for a college closer to home. He moves into a dorm and meets free-spirited Callie(Alexondra Lee), who he impulsively sleeps with and deals with his own shortcomings. After dutiful girlfriend Sarah(Jennifer Love Hewitt) learns of this and saddened by is increasingly erratic behaviour, she breaks up with him. All of this spills into a dependence on alcohol that amounts to dangerous levels. Charlie(Matthew Fox) and Kirsten(Paula Devicq) are finally making another go of things and it looks pretty rosy for once. That is halted when it is revealed that Kirsten has manic depression which started after the botched wedding several months back. It comes to the surface when her dissertation reveals that she copied work from somewhere else, resulting in her losing her prized job and PhD that she worked hard for. She starts to slip worryingly into the wraps of depression and out of control as an unprepared Charlie flounders. Eventually, Kirsten’s parents arrive and after a tug of war with Charlie, she is taken away psychiatric help. This leaves Charlie deeply saddened and lost, though he finds some companionship in a social worker called Grace. Still it’s Kirsten that Charlie wants most of all. Julia’s(Neve Campbell) love life and future are in doubt, with Griffin(Jeremy London) bailing again(before returning late in the game with a more positive and driven attitude). With high school soon to be over, Julia reconsiders going to college and living up to the label of always by the bookish one in favour of something different. The only thing is she doesn’t know what to do, after being so well so for so long academically. Claudia(Lacey Chabert) begins to feel left out of things and as the family is at loggerheads, she tries to bring them back together( for the sake of youngest brother Owen who as a toddler needs looking after) even though it shouldn’t be her responsibility. All of these events combine and threaten to tear the once close family completely apart.

As I’ve covered in the past when discussing Party of Five, it is a show that works on the emotions well. Yet it doesn’t feel contrived or overly manipulative because of the clarity of writing and content. Season 3 is no exception, albeit that is traverses darker territory than before. The Kirsten depression story line is honest and heart wrenching to watch as she slips into darkness and is eventually taken away for help, which devastates Charlie. It’s sad because Charlie wants to deal with it himself but is clearly out of his depth, despite the fact that he wants to help. If you don’t shed tears when Kirsten is taken away for treatment, you clearly need to examine yourself.

And big praise should be extended to the dealing with of Bailey’s drinking arc; which gradually begins to unravel, as opposed to all at once. The fact that time is taken to establish the slope that Bailey goes down through one drink here and a knock that influences a binge there, is exemplary and believable in how it tackles the insidious effects of alcoholism. A massive wallop and clout comes through in Season 3, with Bailey’s story the most dramatically and challenging one. Take for example ‘The Intervention’, which for my money is the standout episode of not just this season, but so far the show. the family, along with Sarah and Grace, confront Bailey and attempt to make him realise his destructiveness and drink problem. A real gut punch is present as everything comes spilling out with the strained family trying to save one of their own, but who may be beyond the point of rescuing. Things don’t go as you think they might in this heartbreaking episode that feels like a stage play, through the enclosed setting that scarcely leaves the house and the sheer intensity of the piece. Trust me, this episode will emotionally exhaust you with how deeply it pierces and how it doesn’t take the easy way out. And what follows as Bailey endangers Sarah makes for equally soulful and shattering viewing.

All in all, Season 3 darkest and most mature season so far. It starts slightly slow and some of the sub plots don’t quite add much at first, but gets into the groove of things quickly and with a sensitivity that’s been its chief asset. it still retains some of the earnest humour it has always had, but Season 3 is by far the most emotionally and bleak series so far and all the better for that. By the far the biggest theme that permeates from Season 3 is change. Whether it be Bailey’s spiral to Charlie’s growing backbone and Claudia’s reluctant maturity, transformation and challenging growth are the name of the game. Heck, even slacker Griffin returns and adopts a more positive and hopeful attitude than his usual

Scott Wolf delivers his most impressive performance so far as Bailey, who goes from the fun yet mainly responsible sibling to pathetic and angry drunk in devastating fashion. He honestly conveys the descent and feeling of being worthless that Bailey feels, as he’s always been the one to help but never really thought of himself. The boiling frustration reaches a maximum when his drinking spins out of control and Wolf’s tragic and heartbreaking performance only adds to the dramatic intensity. Matthew Fox turns in a sympathetic portrayal if Charlie, who is finally getting to be responsible after so long being anything but. Fox finds a genuine care in Charlie, that despite his stubbornness and less than ideal sense of support in the past, is still very apparent as he fights to keep the family in one piece. Neve Campbell hits the effective beats of capricious and mixed up emotions excellently, showing Julia as wanting to change and feel some form of release. After being the studious sibling for a long, she wants to let her hair down and live in the moment. Lacey Chabert as Claudia grows up quicker and assume some control, albeit of the reluctant kind that any young kid shouldn’t have to deal with. It’s something that weighs heavy on Claudia and Lacey Chabert is heartbreaking and strikingly precocious in how she presents the unwanted responsibility that Claudia must take on to preserve her family. And damn if she isn’t emotionally convincing when the drama hits. Appearing largely in the first half of the season and making a big emotional impact is Paula Devicq playing the depressed Kirsten. Trust me when I say she inhabits that crippling impact of the condition with moving clarity and pain, that it doesn’t even feel like she’s acting sometimes. Genuine decency and a capacity for forgiveness can be difficult to portray without becoming parody, but Jennifer Love Hewitt beautifully finds a convincing way to do it as supportive Sarah. Even though Bailey hurts her, she still wants to help him as she knows there is good underneath his drunken state. Alexondra Lee successfully appears as the free-living Callie, who isn’t as uninhibited as she makes out and grows weary of Bailey’s drinking. Jeremy London finally gets to be a bit more than scowling and handsome, finding a desire within Griffin to finally make something of life and not just be a lay about.

A dark and dramatic third season, Party of Five is at the top of its game with powerful acting and genuine heft. This allows it to be the best season so far.