I love the opening ten minutes or so, which shows that tempers aboard the Liberator are getting rather frayed, with the result that everybody – especially Jenna – has become rather snippy. Well, everybody except poor Gan, who’s been exiled to the teleport bay for no good reason.
Horizon might be a fairly unsubtle colonial satire, but both Darien Angadi and William Squire are very watchable. Angadi’s Ro is a fascinating character – when he displays disinterest in the continuing deaths of his people at the mine (whom he refers to as primitives) is this an example of his Federation indoctrination or is he genuinely unfeeling about their fate?
Squire’s Kommissar oozes seductive villiany (a much better role than the Shadow in The Armageddon Factor – especially since this time he’s not hidden behind a mask).
The one part of the plot which doesn’t quite hang together is the revelation that Blake was intimately acquainted with one of Ro’s best friends. It’s far too much of a coincidence to be credible (unless Blake knew about Ro and Horizon all along and simply pretended to the others that he didn’t).
The scenes of Avon alone on the Liberator, debating whether to cut and run, are a highlight as is his explosive appearance on the planet, where he mows down a number of Federation troopers in his best Clint Eastwood style.
Not as bad as its reputation suggests, this is pretty decent fare.
Brian Croucher’s performance is considerably dialled down compared to Weapon. He still doesn’t quite convince, but a calmer Travis is a better Travis for me. It seems barely credible that Servalan would have hung about for eighteen days, waiting for Kasabi to turn up. She’s the Supreme Commander for goodness sake, who’s doing all the paperwork?
Jacqueline Pearce’s crocodile smile is on overdrive today – and she’s the recipient of some dramatic scenes with Jane Sherwin’s Kasabi. It’s always good to see Servalan slightly discomforted.
The main plot’s a bit of a run-around which doesn’t make a great deal of sense. If Central Control is only a shell, why does Servalan have so much trouble in getting the barriers deactivated? And since Travis has already snaffled the teleport bracelets from Blake and the others, he doesn’t actually need to follow them down – all he has to do is wait at the entrance, as eventually they’ll all have to come back up that way.
Blake’s cry (“We’ve done it! We’ve done it! We’ve done it! I’ve done it!”) and his subsequent collapse to the ground is a S2 highlight. That one of Blake’s merry gang dies in a totally pointless way seems apt – from start to finish this was a doomed exercise. For all of Blake’s optimism (his year of secret planning) his lack of foresight and tactical planning has been cruelly exposed.
It’s hard to get too invested in the travails of Blake and Zil, so it’s lucky that the other plotline is rather stronger.
Travis gets his moment in the sun (explaining that his misdeeds are a direct result of his Federation training). Croucher starts to go way over the top here, whereas earlier in the episode – possibly because he didn’t have too many lines – he was somewhat more restrained.
Surprising that Servalan doesn’t feature more, but presumably there were political considerations precluding her appearance at court. Kevin Lloyd gives a nice performance as Trooper Parr – it’s always good when the Federation rank and file are given a voice.
Pretty watchable, but not a favourite.
No surprise that Holmes quickly latched onto Avon and Vila as a team. Both are given plenty of good lines (such as Vila’s “When Avon holds out the hand of friendship, watch his other hand. That’s the one with the hammer”). This does mean that the others (especially Jenna and Cally) are somewhat sidelined though.
Ronald Lacey and Paul Daneman are both decent guest stars, Lacey as the untrustworthy “friend” of Avon and Daneman as a “good” Federation man. Given the way that Blake in the past has tended to regard the Federation as a single evil entity, it seems a little out of character for him to be so keen to warn the base about any possible danger from the mysterious vessel.
Some of the costumes are rather silly, but this is an occupational hazard with B7, especially during the second series.
Killer feels pretty trad – it’s almost as if Holmes was feeling his way at this point (crafting a story that wasn’t too dissimilar to what had gone before, but with a little extra twist). It’s his next one where he really starts to cut loose …