Harvest of Kairos
This one is odd, very, very odd. For just this episode, Tarrant has become the unopposed leader of the group (Servalan keeps chuntering on about his command skills, and when she boards the Liberator once again reminds everybody that Tarrant’s the boss). Wat’s Avon doing whilst Tarrant’s running the show? He’s staring at a rock he’s found (Darrow plays this episode like the Avon of S4 – whether that’s a good or bad thing depends on how much you enjoy S4).
Andrew Burt’s not a bad actor, but he’s woefully miscast as Jarvik (mind you, any actor would struggle with this role). From his first words (“Woman, you’re beautiful” as he grasps Servalan for a quick snog) it’s hard to keep a straight face whenever Jarvik has any dialogue.
How he temporarily humanises Servalan is interesting, but it’s a pity that it’s done in such a ham-fisted way. “When was the last time you felt the warmth of the Earth’s sun on your naked back? Or lifted your face to the heavens, and laughed with the joy of being alive? How long since you wept at the death of a friend?” Another actor might have delivered this with a little more subtlety, I’m afraid that Burt’s line reading only generated tears of laughter from me ….
Jarvik is a man. Tarrant is a man. Therefore they have to do what men do – face each other in combat. It’s possible that there’s an element of satire in Ben Steed’s script, but I don’t really think so – it seems we’re required to take everything at face value. The climax of the story (Jarvik is accidentally shot dead) is incredibly unconvincing (I assume the clock was ticking round to ten pm). But it does allow Tarrant to remind everybody that Jarvik was a special kind of man. A man’s man, you might say.
The creature is monumentally silly as well, but that’s the least of this episode’s problems. And yet, like Voice from the Past this is an episode that I still derive some pleasure from. It’s illogical and made on the cheap (Servalan seems to be flying around in a space station) but whatever else it is, it’s not dull.
City at the Edge of the World
Whether by accident or design, all the regulars get at least one starring episode during series three (Cally is especially lucky as she gets two – Children of Auron and Sarcophagus). City is Vila’s chance to shine and it’s nice to see Michael Keating given more to do for once than just act as the comic foil. The episode’s a bit of a run-around, but Colin Baker’s performance as Bayban helps to keep things ticking along nicely. Subtle his turn isn’t, entertaining it is.
Always nice to see Valentine Dyall, although he isn’t called upon to do much more than stand around looking noble. Carol Hawkins looks lovely, although Kerril’s sudden mood swing (from hating Vila to loving him) is a little hard to swallow. Maybe this was all just one of Vila’s soma induced dreams?
The relationship between Vila and Kerril is delightfully chaste (their ‘sex’ scene seems to mainly consist of them lying on adjoining couches). An agreeable romp then – not a story with great depth or impact but thanks to the performances it breezes along nicely.
Children of Auron
Oh no, not another story where Servalan attempts to steal the Liberator ….
On the plus side, Liberator pinching does very much play second fiddle to her other (frankly bonkers) plan – feeling a little broody, she intends to wipe out vast swathes of Cally’s people just so she can use their cloning facilities to create a race of mini-Servalans. But compared to Roger Parkes’ previous script (Voice from the Past) this seems quite sensible.
Auron never really comes alive as a planet. Their isolationist nature is touched upon (but if this is the case, why was a pilot tootling around in space?) and Ronald Leigh-Hunt does his usual gruff act, but it’s hard to really connect to the tragedy that befalls them.
Cally has a twin! I love Chris Boucher dearly, but sometimes his script-editing was odd. Cally has a twin? Fair enough, but pulling the same trick with Tarrant a few episodes later makes this harder to swallow (you can’t help but expect the same thing to happen with Avon, Vila and Dayna too).
Odd that Zelda wasn’t given more to do, although her final scene with Cally was touching.
All the regulars get some decent lines (plus Paul Darrow has some serious brooding time) but it’s really Jacqueline Pearce who gets the best of the script. Even though Servalan once again displays an astonishing lack of judgement, it’s impossible not to feel something after she’s tricked into destroying her embryos. “They were mine, I felt them die”.
Rio Fanning and Ric Young (as Deral and Ginka) offer some light relief (although I’ve a feeling this wasn’t intended). Poor Servalan, good men must be hard to find if these two are the best she can come up with.
Serious points off for the chucklesome ending (almost as bad as Breakdown – we’ve just witnessed a catastrophe, so let’s have a bit of a laugh). Children of Auron is a bit static and wordy (and the plot isn’t exactly watertight) but it’s a solid character piece.