The middle section of this season starts to make good on its promise; tantalising as to what fates and allegiances will concern the many characters involved.

Kill The Boy is a title with several references to actions and decision. Most obvious is Jon Snow's growth as the Lord Commander, telegraphed by Maester Aemon uttering the phrase. Tormund is now truly developing respect for Jon, after already having been through a period of investing trust in the youth, only to have it damaged by the eventual actions of one who meant his sworn loyalty to the Night's Watch. 

There is some build up to the Hardhome set piece, which was a major event in the books, albeit one that never took place in the present. Jon needs Stannis to lend him ships for this controversial and risky mission. Enough good-will means that his wish is granted.

A rather more ham-fisted development sees Olly continue to despise the Wildlings after he lost his village to their attack. I wish I could assert that he is anything more than a thinly characterised and blandly acted entity. The Jon Snow storyline overall though continues to be both compelling and enjoyable. Despite his resolution in executing Slynt, he still has much to prove to his Brothers in Black, as he is distinctly youthful, and happened to break a clutch of vows not that long ago.    

In the much warmer climes of Meereen, we quickly find out that Barristan Selmy is indeed deceased, following his one last show of fighting skill against the massive group of ne'er-do-wells.  

Grey Worm though has just managed to escape death's door and is nursed back to some semblance of health by Missandei. I find this work featuring new characters to be quite shallow and underwhelming. The acting is fine here, but there just is no real reason to care about two stereotypes' relations, when their past and deeper thoughts can only be guessed at.  

However, I do find an improvement in the one on one dynamic of the Khaleesi and Missandei. Dany struggles to make decisions with two major players now gone from her own 'Small Council' - one exiled by her and the other slain by the rebellious Sons of the Harpies. Thus she has need of another young woman's opionon. Some off-screen connection between the two actresses may be playing out in a positive way now on-screen.

But the most arresting scene of episode five concerning the Targaryen Queen is when she scares major nobles of Meereen, by feeding one of them alive to her entrapped dragons. It truly is a standout visual moment, as the hapless man is burnt and torn to bits. Perhaps this is due to her anger over losing Selmy, or just knowing she has some major trump cards in her fire-breathing 'kin'. Also powerful is the about-turn when the Queen allows Hizdahr zo Loraq to be her intended - not out of love, but political expediency. He certainly has endured a memorable few hours, but will he still have a chance to assert authority as he did before Meereen was overthrown?

Jorah may be exiled, but he proceeds ever closer back to the Queen - with Tyrion in tow. A wonderful bit of poetry plays out as both men muse on the rich history of the land they are passing through. Also striking is the surprise appearance of Drogon flying far above the river they are on; seemingly disinterested in these desperate men.And come the bridge between these two episodes, Mormont is suddenly exposed to his first real danger in a long time.

Firstly he makes the mistake of passing through old Valyria, and thus being exposed to attack by Stone Men. He manages to save Tyrion and himself, at the cost of getting infected with greyscale. The question now stands as to how long Jorah can keep this hidden.  Also will he will infect anyone else and to what extent?

Secondly in losing their boat, the two men are forced to eat humbly as they march on the long road towards the City of Pyramids. Tyrion reveals that Jorah's father, the-then-Commander of the Watch, was murdered some time ago by mutineers. Tyrion also establishes that he was driven to kill Tywin after the betrayal with Shae. Mormont's actual opinion of this crime is not touched upon - a fine example of less-is-more writing by Bryan Cogman.

Despite this plotline being strong, a slight hiccup occurs when the duo are overcome by stealthy pirates/slavers. One would expect them to be more careful than they end up being. Thankfully the Imp rescues the scene by using a bit of ingenious logic that he should be intact for verification. It also cleverly makes the glib remark about his 'dwarf manhood' in episode three now look a little careless. Jorah needs no such cunning. Season trailers have depicted Jorah in a fighting arena, so it would appear that he will have a chance to prove how able a warrior he is, despite his grizzled old exterior. 

Stannis, his court and army have plenty to do at the Wall in before marching away to deal with the Bolton 'obstacle' that blocks the capital, in episode five. It seems they will not return until a week or two's absence from our side. In the lead-up there is a well-performed scene where Samwell reverently greets the 'Baratheon King'.

He commandingly encourages Sam to carry on finding out as much as he can on dragon-glass and other methods of defence against the Others. Also Sam's relationship with Gilly has been portrayed very well once again throughout this latest season, the chemistry between John Bradley and Hannah Murrah being truly endearing.

These two instalments also perform a welcome character exploration of the twisted 'father and son' duo that is Roose and Ramsey. Just as with Tyrion and Jorah, the casting and acting is stellar, although they are instead meant as figures of contempt. Initially Ramsey seems to have command of those seated at the dinner table, and makes Sansa and Reek suffer equally by forcing a 'reconciliation'. But this is overshadowed by Roose's carefree revelation that he is expecting a child with Walda, clearly hoping for another male heir. The earlier excitement Ramsey demonstrated when holding his (nude) lover Myranda and reminding her he must marry someone of similar status is suddenly undercut. 

And there is more. Roose explains later to his 'now-legitimate' son the exact circumstances as to how he was conceived. Ramsey's mother was forced to see her lover killed, moments before being assaulted by Bolton; the end-product being this sadist of a man.  This theme of women being treated as objects is an uncomfortable one, but Thrones is based on such real life time zones as the War of the Roses where such barbarism was still common in real-life history. 

All the same, the final moments of Unbowed, Unbent, Unbroken make that episode title seem a misnomer. Sansa, now-married, quickly suffers a terrible fate. She may have dreamed once long ago of giving her maidenhood to a virtuous man of good title. Such hopes have disappeared with the last of autumn though.The ultimate indignity of Ramsey taking her innocence in a derogatory and humiliating fashion is worsened, as eunuch Theon is ordered to watch the act throughout. Whether this is because Ramsey was not satisfied with 'Reek's apology at dinner or just another way of torturing his 'plaything' is left open to discussion. Of course the main thoughts evoked as the closing credits come on with sad music are those of sheer disbelief and horror. Sophie Turner warned viewers some time earlier of an upsetting scene, and she was not misleading anyone. 

This is all the indirect work of Littlefinger abandoning Sansa to the mercies of the Boltons. We only find out what is happening with this schemer in episode six, as King's Landing is given a rest for one week. Baelish does indeed meet with Cersei as expected. He quickly shows a new approach in giving away Sansa's location and 'her actions' in siding with the Boltons. Given Littlefinger's seemingly deep love for Catelyn this surprises, but how much he means it is anyone's guess. He does placate Cersei's dark thoughts of revenge on the 'last 'of the Starks, by promising Sansa's head on a spike. But could this be done by someone else first, given the impending battle at Winterfell?

In one of the few truly funny moments of late, we have fan-favourite Olenna Tyrell return to court intrigue, as she curses the stench of King's Landing on the road leading to the city. An enjoyable verbal clash soon ensues as she denounces the Queen Mother as a 'Tart', upon being referred to as the 'Tart-tongued Queen of Thorns'. But Cersei is playing her cards just right perhaps. 

Despite both Margaery and Olenna's calm when Loras is forced to answer questions in a small enquiry run by the High Sparrow, a sudden turn of events sees trouble loom. Olyvar, the man who helped run Baelish's brothels until recently, testifies against Loras and gives enough evidence to satisfy the religious order that a full trial is justified. The precise detail could only have been known by someone who lay with Loras, and as we know from earlier episodes this union has happened quite a few times. Margaery puts herself in a corner by indirectly conceding she was aware of these actions, and is arrested for trial as well. This is one of the strongest King's Landings moments all season. Tommen is confirmed further as a weak boy, letting Cersei orchestrate the whole thing from start to finish.  And at the risk of repeating myself, Jonathan Pryce is just magnetic, boosting whatever he can without seemingly trying too much.

There is some improvement in the Dorne sequences that come in episode six. However the Sand Snakes still fail to excite as they perhaps should. Jaime clumsily tries to 'rescue' daughter Myrcella from the Dornish capital. But viewers now know just how much she has fallen for Trystane Martell. The love shown between two attractive, seemingly normal people is rare for this show. Perhaps only Ned and Catelyn, or Robb and Talisa have truly virtuous relations. Just as the pointlessness of the mission becomes clear to Jaime, he and Bronn must try and survive a lethal attack by the Sand Snakes. The fight plays out well enough, if lacking in any real tension. Having Bronn receive a likely venomous wound is very effective though. 

The casting of Alexander Siddig as Prince Doran gets further validity in his fleeting appearance; being everything I imagined from the books. Hopefully he gets a scene lasting longer than a minute or two before long, as the potential for such a fine actor looks stronger than what he had to do in Atlantis.

Perhaps the real disappointment lies in the Braavos sections. Sometimes what works well on the page, i.e. a narrative related in rather loose chronology, can be hard to adapt for the small screen. We care about Arya thanks to Maisie Williams' screen presence, but her change of image and lifestyle is so solemn and slow, it almost seems like no-one carried out the editing work.Jaqen's influence over Arya is undeniable, as she proceeds to play her part in giving the gift of death. But the lack of audience investment in characters we meet fleetingly before their deaths take away a lot of the effect presumably intended.

'The Room of Faces' sequence is almost the exception to the rule, an eerie set piece with many hours of production work, which demands to be seen on the biggest and best TV sets one can find. There are other moments of interest, but still perhaps not quite for this medium. The sequence where Arya tells the truth and lies in equal measure, being hit moderately by Jaqen whenever a falsehood is uttered. The complex feelings over Sandor Clegane, who she undeniably bonded with, get some welcome attention. Other past events from long ago see acknowledgement as well. And Ned Stark's shadow hangs over the show yet again.

To some extent the further material with the Waif intrigues, as Arya has a potential glimpse at what she might become: a servant of the House and its Gods who may not entirely know their own identity any more and yet knows how to present any number of personas. The lack of connectedness to new events in the show is a definite problem though. Once Mace Tyrell and Meryn Trant arrive, the better this storyline will be I feel.  

Lastly I will touch upon the likable heroic duo of Brienne and Podrick. They have very little to do, after a promsing start for them earlier on. Presently Brienne is keeping an eye out for developments at Winterfell, but as yet she has no confirmation of the need to take drastic action. 

As the final episodes are awaited by viewers worldwide, some of the anticipation will centre on how the 'true' Theon may help Sansa, or whether someone like Brienne or a Northener may respond to a lit candle in the broken tower. Also notable is the potential danger Cersei may face as earlier episodes established that cousin and sworn-Sparrow Lancel knew exactly what she intended against King Robert (and indeed other schemes). 

Overall this long-running show is doing respectably enough. Hopefully it finds another gear or two with the concluding four episodes.

Picking up immediately from last week's cliffhanger of Lady Pole's attempt on Norrell's life, this week's episode deals with the growing rift between Messrs Strange and Norrell - and the consequences of treating madness with magic.

Norrell is growing more and more paranoid by the day, his reputation is all to him, and he becomes increasingly at odds with Strange. Strange has become increasingly interested in the magic of the Raven King, and his discovery of the 'Kings Roads' - the surreal network of paths behind mirrors, whilst attempting to treat the madness of King George. Norrell is busy being immortalised in print by Mr Lascelles and establishing himself as the great reformer of English Magic. At the same time, Strange finds himself the subject of a hoax-cum-smear campaign orchestrated by Drawlight, who's been scamming money by post from people attempting to solicit him for freelance work. Drawlight is found via 

In fact, rifts are opening up everywhere. Drawlight ends up on the wrong side of everybody, even Lascelles, who threatens to kill him. Strange has become much more sure of himself, and he and Arabella fight about where his career is taking him. He ends up writing a damning review of Lascelles' book about Norrell, and severe ties with his former mentor by the end of the episode, and plans to move home to Shropshire and quit practical magic. Norrell makes a fairly insincere sounding attempt at reaching out to the younger magician, but the two part ways. Strange is more sanguine about the end of their association, but Norrell, with Lascelles hissing in his ear, now treats Strange as his enemy.

Visually and mood-wise the series continues to shine, with the stunning CGI of the Kings Roads a particular highlight. This is also the creepiest episode so far, filled with some startling imagery . The whole sequence surrounding Strange’s attempts to cure King George is memorably filled with dread,  the discordant notes struck repeatedly by the King at his harpsichord, his eerie appearance in the middle of the road before Stephen, who is almost compelled to run him through with a sword - and the fact that the King can clearly see things in his madness that others can’t.

Most chilling of all is the Gentleman wringing tears from a handkerchief and creating a facsimile of Arabella Strange from an old log – blinking, and covered in dew. On a quieter note, the scene of Childermass’s near-death experience is brief, but a stand-out. Did anyone else spot the Raven? Or, the Raven King’s more-than-passing resemblance to Childermass in that portrait later on? Coincidence? Possibly not. Time will tell.

Speaking of Childermass, he comes in for a rough ride of it this week, recovering from taking the bullet meant for Norrell, but with no thanks from his ungrateful master - who complains that he is recovering from a near-fatal wound when he could be serving Norrell. What is becoming apparent is that Childermass is very much his own man, and is starting to ask questions. He visits Segundus and Honeyfoot (now in the sanatorium business) looking for answers – still in the dark as to what exactly Norrell did to deserve the bullet he took for him, but they refuse to let him see Lady Pole, now in their care. There's surely a show-down in the offing when Childermass gets his answers.

The only slightly unsatisfactory thing about this episode is the slightly fudged bit of exposition at the end announcing that Jonathan Strange must go back to war. A bit of shorthand is necessary in TV storytelling every now and again, but it’s basically a scene of a man running in and saying “Napoleon is BACK!”, as if someone has noticed that there’s five minutes left to go until the next episode. It’s a minor quibble, it just feels slightly at odds with the leisurely pace of the rest of the series.

At any rate, Jonathan Strange & Mr Norrell continues to impress. The three remaining episodes are clearly building to something big, and it's almost a shame that it's ending so quickly. Sunday nights haven't been this much fun in a long time.

The BBC's lavish adaptation of Susanna Clarke's epic saga of magic and war continues with Jonathan Strange on the front line in Portugal, whilst in London the resurrected Lady Pole continues to unravel.

Unravel is the operative word here, she's taken to embroidering her nightmarish visions of the Gentleman's world, whilst Arabella tries to understand just what is happening, only to have her help and advice knocked back by the ailing Lady. Stephen, still in the Gentleman's thrall, is beginning to see the downside of the eyebrowed-one's patronage - this episode has the creepiest and most disturbing imagery yet, including the horror vision of Stephen's birth in slavery. Everyone the Gentleman touches, it seems, is not far from madness. 

The episode focuses on Strange's travails on the front line, initially mistrusted and dismissed by Lord Wellington (Ronan Vibert) and troops, eventually winning their trust and quite literally building a road - but at a cost - his valet takes a shell meant for Jonathan and he is forced to use the magic of the Raven King to revive dead troops for interrogation. By the end, Wellington's men are all raising their hats to him, but it's a harder, more pragmatic Jonathan that heads home to England.

These sequences are the most beautifully shot and cinematic of the series so far, almost recalling scenes from Wild West game Red Dead Redemption. Even the zombies come off well. Take a bow, Toby Haynes.

Norrell takes a back seat for much of this episode, but makes it count when he is on-screen. He's on-hand whenever anything generally untoward is happening - going through Arabella's letters to Strange, recommending that Lady Pole has no visitors to cover his back after filling her in on the lifetime of torment she is in for, sending Childermass to put the frighteners on Mr Segundus as he tries to establish his school for magicians. Mr Norrell, to be fair, does himself few favours this week. Even when Strange returns home, Norrell arrives almost immediately, but is more interested in getting his beloved books back - a fact that Strange ruefully acknowledges.

The episode ends on a cliffhanger, in a moment echoing Strange's valet's sacrifice - as Childermass throws himself in front of a bullet meant for Norrell, fired by Lady Pole. Whatever happens next week, it looks like it's all coming apart for Mr Norrell. As for Jonathan Strange, he's using the dark magic of the Raven King already, and his wife is in the sights of the Gentleman. Has he developed a taste for war?

Note - Again, this review contains spoilers for the episodes, and some brief discussion of the source book material.

Season 5 progresses steadily enough with this next batch of Westeros Wonder. However some uncertainty is perhaps generated as the pace continues to be slower than the previous two years, and there is a firm choice by the producers over not being as faithful to the source material as they once were. An added problem also exists in that presently books six and seven are only available as speculation, and not as anything corporal. Some big decisions have been made therefore over quite how to achieve foreshadowing and keep the present story lively in its own right.

Arya having had a kind farewell from the ship's captain who she met at the end of last season is now trying to forge a new life in the markedly different city of Braavos. At first her entrance to the House of Black and White looked helpless, but come the third episode she is now getting somewhere in her quest to complete her 'hit' list of those who betrayed her family and friends. It certainly appears that Jaqen H'ghar is indeed back after a long break from the show. Of course it needs to be stressed that the actual person who had that name and face is almost certainly long dead. But for simplicity's sake I will henceforth name him Jaqen until any changes to suggest otherwise are implemented by the show. The chemistry between Tom Wlaschiha and Maisie Williams is as strong as ever. However the most memorable scene involves Arya on her lonesome, as she is parted from Needle for the short term; wordlessly hiding amongst some rocks.

Having hailed Williams forthcoming turn in the second Peter Capaldi series of Doctor Who, there is a further link between the two iconic shows with the presence of Faye Marsay, as the sullen 'Waif'. This actress impressed as Shona in the most recent Who TV story we have to date - 'Last Christmas' - and is given some excellent dialogue. She also tests the resolve of neophyte Arya to the limit. 

Having said all this, I do wonder just how much traction this Braavos section of the show has. In the books it worked well as a series of developments which made the reader do some of the guesswork as to how much time has passed. In a show like this, the 'knitting together process' a viewer is obliged with in order to comprehend the array of locations may lead to some weaknesses in terms of overall impact. However I must praise the sets, lighting and music, which all conjure a strong and brooding atmosphere.

Returning yet again to King's Landing, it appears that there is some potential for excitement after all, as most have come to hope for by now. The Tommen and Margaery storyline is very well done in this pair of episodes. Clearly the Boy King was feeling euphoria upon consummating the marriage, and  finally resolving the lust he had for his far more mature partner. She had stoked his fires initially when he was lined up to replace his murdered brother, visiting his bed and talking of their likely future together in 'Oathkeeper'. The brutal reality though, is that Cersei's one remaining son is little more than a pawn in others' games now grandfather Tywin is deceased.

Tommen is acted increasingly well by relative newcomer Dean-Charles Chapman. Also credible is his remorse over Joffrey's death, as clearly there were a few shreds of love that the 'mad idiot' had for his nearest and dearest. Margaery clearly likes her latest husband to a certain degree, but also knows just how to wrap him round her little finger and use him as a way to undermine Cersei.

Except.... that the Queen Mother does not take long to get her own 'back' on opposition, especially on someone like the Highgarden girl; believing the witch's gloomy prophecy. In order to set the record straight, Cersei accosts a very shabby looking individual who has the satirical title of 'High Sparrow'. This man is both very mysterious, owing to the lack of an official name, and yet very clear in his prerogative as he serves the Faith of The Seven. Jonathan Pryce is another newcomer in this episode and what a big asset the show has gained. I have always enjoyed his work, as he is always strong even when given some shaky material. His subtle style in 'Thrones' is most welcome when some veer near overacting, if remaining very watchable. This collaboration with Cersei is wonderfully portrayed in both episodes and it is crystal clear to the audience, if not the 'Queen Mother', that the High Sparrow will be quite a tricky customer, and more than able to wriggle his way round the powder keg that is Capital Politics. 

So, just as the new Queen feels she has the Court pandering to her whims, she finds out that brother Loras was arrested for being an affront to the 'Seven Pointed Star' with his 'deviant' sexuality. This then sees Tommen utterly powerless to reverse this development. He is not informed about events like he would have been with a proper Small Council and Tywin still around as his Hand. The King's attempt to get Loras out also sees him confronted with verbal abuse from the poorer citizens of King's Landing. The 'terrible twincest' of Cersei and Jaime is now seemingly common knowledge.

Meanwhile, in case some were wondering, Qyburn is still involved in some skulduggery. He seems to be attempting his own 'Doctor Frankenstein' project. The body lying in his laboratory is so large that is more than likely meant to be the grievously wounded Mountain. While just another instance of set up, the viewer will no doubt recall this brief moment later on when events become more explosive.   

 The Nights' Watch and Wall sections continue to ring true and    showcase excellent characterisations. Most dramatically,      Janos Slynt finally gets his comeuppance, after years of    scurrying away and favouring who had the greater money and    riches. Although Jon Snow does not yet know how Eddard  placed his trust in Slynt, it still feels like a major moment  forward for our favourite illegitimate son. He is now the Lord  Commander through and through, and people can't mock  flippantly and expect to get away with it. Stannis' approval of  Jon is also true to the books, and yet another moment where  silence in a scene is able to generate  considerable  impact.

 Also engaging is  the dynamic between  Stannis, his stern wife  Selyse, his sweet only child Shireen and the  unsettling presence that is Red Woman Melisandre. I do like  the slow burn pace that features, as it really seems as major  developments in both plot and character decisions' will unfold as the season comes to it's climax. The Jon and Sam relationship is still there too, and remains very entertaining. These two men are bound by being the outcast child. Jon struggled with 'stepmother' Catelyn and Sam was demeaned by his own father (who has never been directly featured on the show). A lot of changes have taken place that have nullified the opening season's relationships permanently, but these two kind-hearted men remain friends for life it would appear.

The definite highlight of episode four in terms of character development is when Shireen is reassured by monarch and father Stannis that he truly loves her, and explains exactly how he managed to spare her a terrible fate with greyscale. Both the old hand actor in Stephen Dillane and virtual newcomer Kerry Ingram absolutely convince the viewer of the complexity and depth that lies in that relationship. A bit more disappointing however is the throwaway scene where the Red Woman attempts to seduce Jon. It just comes off as sensationalism, and adds nothing to the scene where they were conveyed to the top of the Wall in the first episode. 'You Know Nothing Jon Snow' is uttered at the end, and it just feels pretentious. The showrunners seem obsessed with one significant character needing to show her bare bosom before long...just because. I give 'Thrones' more leeway than some other programs, as it never was meant to represent the underlying morality and societal standards of our world . Yet some artistic choices should be made with integrity at the same time.

There is no nudity to be found in Winterfell in this crop of episodes though. Not unless one counts a flayed corpse anyway. The Boltons have truly made this place 'home' now, and they are joined by Sansa Stark and Littlefinger. Yet another scheme is being implemented by the reigning Lord of the Vale. Although straining credulity a touch, there is some real conviction in the various scenes that culminate in Sansa meeting Roose Bolton, and her new intended husband Ramsey. One should remember that she never officially divorced Tyrion, but this is glossed over as she now encounters someone potentially even more dangerous and twisted than the late Joffrey.

The recently empowered bastard son of the treacherous Bolton lord makes a hollow promise to be kind and devoted, almost at the same moment as his 'partner in crime' Myranda gazes on with seething jealousy. If this were not bad enough, the audience also is seriously questioning what Littlefinger's plans are in all this. "Avenge [your family]" he tells his ward just before they get to Winterfell, but surely that will be a lot easier said than done...  Before he does abandon her though, there is a very well cinematographed sequence set in the lower depths of Winterfell as Baelish ruminates on the past and then the future he hopes to achieve. He kisses Sansa on the lips once again, and she even appears to enjoy it. But will she remain fond of him once events progress without him around to intervene at Winterfell?

Brienne and Pod are on the periphery as they still continue to fret over what will happen to this Stark girl they are tracking for now. Some exposition features as the statuesque woman explains just how she came to be indebted to the (late) Renly Baratheon, and was thereafter looking to serve him till the end of her days. This is a bit of an odd scene, as it seems to clash with the striking debut of Brienne in Season Two when she revealed just who she was to Renly in her victory over a male knight. I do appreciate however the intrigue over her wish to avenge the most charismatic of the three Baratheon brothers, and perhaps Stannis had better watch his back if he were to go and attack the Boltons in the North. 

In a Volantis brothel, much further south, a certain erudite Imp utters "I need to speak some one with hair". And this latest come-back actually signals the 'Varys and Tyrion' show coming to an end. The exiled Jorah Mormont unceremoniously kidnaps Tyrion, just as he finishes urinating from a balcony, and bundles him from a beautiful city into a decidedly modest-looking boat heading somewhere perhaps less glamorous. Just before this downturn in fortune for Tyrion, his self pity is something to behold as he admits to a forlorn prostitute that he no longer has the same set of desires that he once had for women of her trade.

It really is quite a shame the show only has a few fleeting moments in Volantis; a by-product of the show's big budget and the enforced ten episodes a season. The sets and models for this city certainly stand out on any half-decent modern TV and show just how many talented people work behind the camera. Also, we get to witness the sermon of another 'Red Woman' - one who in our world is of Japanese ethnicity. The manner in which she stares back at the refugee Lannister is a terrific moment, and one that featured in early photo previews of the season for good reason.

And yet the kidnap by Jorah is a great development, featuring a wonderful cliffhanger generating confusion over whether it is Cersei or Daenerys who will receive Tyrion. Once Tyrion has a chance to speak, after being bound on the boat for an extended period of time, there is a lovely exchange as he realises why Jorah is doing all this. The only responses he gets are constant aloof glances away. At least until he makes one provocation too many, and gets a full-on strike of Mormont's fist to his bearded head. 

The Jaime and Bronn scenes in 'Sons of the Harpy' are very enjoyable if a bit thin on anything truly memorable or thematic when considering what the show is capable of. A link to Tarth features, as their incognito passage over sea to Dorne features a view of a neighbouring isle. Tarth was referred to by Jaime and Brienne during their excellent story arc together in Season Three, most memorably during the saving of the 'Maiden Fair' from the bear pit in Harrenhal. Another subtle link features in the accidental saving of Jaime's life with the golden hand. It works as a funny moment, with Bronn forced to fight the majority of the four Dorne warriors who realise that the newcomers' story is bogus. It also functions as a subtle way of showing how the late Locke - lackey to the Boltons - was not as smart as he thought he was when deriding the Kingslayer over what options he had left with a prosthetic right hand.

Less successful, and for sure the clumsiest scene thus far in the new season, is the introduction of the 'Sand Snakes'. To be fair to the producers of this show, they had a rather weak platform to work with in the first place as the books did not break much new ground with these cliched personalities. This still does not excuse the weak dialogue, delivery and production values - all of which  stick out badly for a series of this calibre. It also is underwhelming given the amount of hype that was generated in the build up promotions and featurettes that came out during this year.

Thankfully the Daenerys storyline continues to work more than well enough and culminates in a 'shock cliffhanger' with Barristan Selmy and Grey Worm victorious in battle but also seriously wounded. As preceding events unfolded, the Queen of Meereen seemed to be getting complacent, and perhaps being too 'pally' with Hizdahr zo Loraq - a man many viewers would suspect as knowing a lot more about the Harpy attacks than he would ever admit. There is a fine scene between Selmy and his Queen where he shows his gentler side, and she wishes him farewell, asking him to 'go and sing a song'. When things are this warm and fuzzy, it usually bodes very ominously. Overall this whole section of the show is at least a level up from last year's counterpart, and also happens to be less tedious than the books (to my mind). 

So we are four episodes in, and wondering just what will be the dominant story arcs of the latest season. Some weaknesses are certainly on display, but a lot of work has been put into making the adaptation of GRR Martin's broad vision work properly for TV. Perhaps the steady pace that is opted for presently will have bigger dividends later on. Time and Winter alike will tell.

"A case of better the devil you know?"

Avon, Blake's 7: Devil's Advocate

In a behind the scenes interview for one of the latest Blake's 7 audio releases Devil's Advocate, Big Finish producer Cavan Scott remarks that there has been a conscious effort to steer away from plotlines this year that feature Federation-type politics. The thinking was that BF had already done numerous storylines of that ilk and the politics of the period in which this micro-season of B7 adventures is set (the third season of the original TV series) had itself moved on, following the events of the Intergalactic War at the end of series two.

Of course, what Scott forgets is that it was Federation machinations that made B7 such a memorable, provocative TV program in the first place. Unlike other TV series of its era, B7 was not afraid to tell hardcore SF/realpolitik morality tales which explored the main characters' heroism and flaws and the impact their exploits would have on the political system they were trying to overturn. Indeed, the TV series illustrated time and again that Blake's rebellion was not without real consequences. Not only did members of the Seven die throughout the life of the series, so did a number of other good people encountered along the way. And unlike many other SF and fantasy sagas since (which are notorious for resurrecting characters), there was no way back. B7 was almost the Game of Thrones of its time!

Therefore, the return to Federation-style machinations and politics in the final two instalments of this micro-season is a welcome development. Devil's Advocate and Truth and Lies round out and (for the most part) satisfactorily tie up the loose "Search for Dayna" story arc with antagonists and scenarios that encapsulate Federation politics. They are certainly an improvement on the more fantasy-driven middle chapters Mindset and Ghost Ship.

Devil's Advocate marks the return of the Federation's enigmatic yet debonair President (Hugh Fraser), who was last seen in the concluding two-parter to the preceding micro-season of B7 plays. Fraser's character was the stand-out adversary of those instalments, providing a calculating, composed counterpoint to B7's regular baddies in the ruthless yet impatient Servalan and the reckless, obtuse Travis. I expressed at the time my hope that the character would return for future instalments.

In the wake of the Intergalactic War, the still anonymous President (we still don't know his full identity) is now as much an outlaw as the Liberator crew members, but still retains hope that he will eventually re-seize power from Servalan. With the help of his assistant Pelora (Simone Lahbib), he reaches out to none other than Tarrant (Steven Pacey) for help in his quest to restore his power. So prompts a debate amongst the Liberator crew that can be traced back to the events of the previous micro-series finale Caged -  would Blake really have precipitated the collapse of the Federation if he had assassinated the President, or would he simply have opened the door for another tyrant to assume control (as Servalan inevitably did)? And should the Liberator crew under Avon's (Paul Darrow) leadership now entertain the moral dilemma of aligning themselves with one of the most abhorrent figures in the Federation in a bid to topple Servalan?

With the exception of Avon, whose mystique has gone largely untouched, this micro-series of B7 tales has focused on specific members of the crew, notably Cally (Jan Chappell) and Vila (Michael Keating). Devil's Advocate puts Tarrant in the limelight, providing us with a back story that was never hinted at on television.

When we first met Tarrant in the B7 episodes Aftermath and Powerplay in 1980, he was revealed to be a Federation space pilot who had turned to smuggling and was on the Federation's "most wanted" list. Devil's Advocate suggests an entirely different back story for Tarrant, which while not specifically contradictory or implausible, does seem somewhat contrived for the purpose of Steve Lyons' plot. As if Tarrant's former lover Pelora tracking him down on the Nebula Interplanetary Way Station isn't coincidence enough ...

Nevertheless, whether it's coincidence or contrivance, Steven Pacey delivers one of his finest performances as Tarrant as he takes on the "devil's advocate" role of the story, asserting that the Liberator crew has lost sight of its long term objective and should now embrace the chance "to build something rather than just tearing it down". Tarrant is at his most persuasive and idealistic but his flaws are all too evident - as Avon alludes, he is a romantic at heart, keen to play the hero and behave impulsively, particularly (as Vila points out) when a woman figures in the picture!

Pacey's performance is virtually rivalled by Tom Chadbon as Del Grant. While Tarrant argues the merits of aligning with the President, Chadbon delivers an impassioned, fanatical portrayal of Grant that is an impressive reversal on the character's more laidback, reasonable demeanour. Of course, just as Tarrant has his flaws, Grant's almost prove fatal, thanks to his over-zealous pursuit for justice and the grief and betrayal he harbours for the death of his sister (and Avon's lover) Anna. Grant has been underused in this micro-series to date and Chadbon, like Pacey, finally gets the opportunity to stand out.

Hugh Fraser, of course, again upstages all of the regular characters with an almost warm, amiable, charismatic and composed performance that hides the President's calculating, ruthless and paranoid side. Despite being deposed by Servalan, the character has lost none of his arrogance and ambition, and it is implied heavily by the conclusion of the story that his hubris may in fact lead to his downfall. Certainly, the character does not seem as omnipresent as hinted in last year's finale Caged (when it was revealed the President engaged clones to, as Cally alleges, do his dirty work). Of course, I suspect the President's fate is not that clear-cut and that we haven't seen the last of him ... And given how impressive Fraser has been in this part over the last two years, it would be a shame not to keep the character around.  

Hubris is also the key tenet of the villain in the finale Truth and Lies. Nigel Carrington's Kramer is revealed to be one of the Federation's psychostrategists, modelled on a similar character played by Scott Fredericks in the 1979 B7 episode Weapon. Carrington also puts in a competent performance as the baddie, although the character is hardly as memorable as the President, Frederick's character Carnell or even Adrian Lukas' performance as another psychostrategist Bracheeni in the B7 Liberator Chronicle Incentive. Nevertheless, the reason for Kramer's failure is without doubt the highlight of the play and even if it doesn't have you laughing out loud (which can be rather embarrassing if you're listening to these audios in public!), it will certainly have you smiling or may be even wincing. At any rate, you won't be disappointed.

Kramer's incompetence, though, is unfortunately the only twist in a serial that provides a rather flat, predictable conclusion to the "Search for Dayna" storyline. Perhaps this is partly because the reason for Dayna Mellanby jumping ship and striking out on her own was hinted at as early as this micro-series' third instalment Mindset - that Dayna's mother Karine Melanby (Beverly Hill) had survived the massacre of her father's resistance movement. The President mischievously drops further hints in Devil's Advocate that he also knew Karine, implying that she is a Federation agent, but in the final wash-up, Karine's true nature proves to be a damp squib. Beverly Hill tries her best as Dayna's mother, delivering a compassionate, poignant portrayal, but ultimately her presence in the serial fails to give this second micro-series the memorable send-off that it needs. Indeed, Avon and Vila's closing remarks truly illustrate just how run of the mill Truth and Lies is as an episode.

I queried at the start of this micro-series how the writers were going to skirt around Dayna's absence, given the original actor Josette Simon is not interested in reprising the character. To his credit, Truth and Lies author Justin Richards provides a plausible enough scenario to set up Dayna's reunion with the Liberator crew but given this micro-series contains subtle hints for storylines that are likely to be explored in a third full cast audio series, it would seem to me inevitable that Dayna will have to be in that series and the character will have to be recast (on the strength of her performance as Dayna's mother, perhaps Hill deserves to play Karine's daughter!).

I must admit to also being disappointed with the under-utilisation of Tom Chadbon as Del Grant throughout this micro-series. With the exceptions of Truth and Lies and Fortuitas (which are very good ensemble pieces for the whole cast) and Devil's Advocate (where Chadbon gives his character some teeth), Grant has for the most part played second fiddle to the other TV series regulars. No doubt there are still further stories to be told about Grant's exploits on the Liberator before (in continuity with the TV series) the writers send him off to pasture. It can only be hoped the character is done some justice before that inevitable send-off occurs.

As all regular BF listeners would expect, the sound quality of these audios continues to be exceptional, feeding the imagination and provoking a larger than life visualisation of each serial, despite the relatively small ensemble cast (usually the seven regular characters plus two or three more guest stars). A special mention also goes to the director in BF regular Lisa Bowerman whose performance as the tannoy announcer on the Nebula transit station adds some black humour to some quite tense moments in the first half of Devil's Advocate. "In the event that weapons are discharged, please lie flat on the ground to ensure your personal safety!" Bowerman's tannoy announcer says when Federation troopers start indiscriminately firing on passengers!

Devil's Advocate is by far the best of the last two instalments and certainly the pick of this second micro-series of B7 plays. While this series as a whole has been enjoyable in parts, the first full cast audio series still remains the superior of the two. Despite Cavan Scott's reluctance to focus on Federation politics and hi-jinks, it is clear that the superior serials, in line with the original TV series that inspired them, are the ones steeped in space opera, not fantasy. The audio serials should stay true to their roots and it can be but hoped that in the next micro-series, we see not only more Federation machinations but also Jacqueline Pearce's triumphant return as Servalan as well. 

Following on from last week's impressive debut, the plot thickens in episode two of Jonathan Strange and Mr Norrell, and the threads dangled in the first episode begin to entwine. This series continues to impress, with the strong leading performances of Bertie Carvel, Eddie Marsan, and Marc Warren right to the fore. Peter Harness's script and Toby Haynes' direction are both hugely compelling. This is a class act

Anyway, back to the story....

Set several months after Mr Norrell's arrival in London and the resurrection of Lady Pole by the Gentleman, Norrell - at first knocked back by the government, is enjoying himself in the corridors of power, and quite literally making waves against Napoleon's troops. The episode opens with the first of several jaw-wobbling set-pieces, as the spooked French row out towards an armada made entirely from rain - Norrell's handiwork. 

At the same time, Mr Segundus, having talent-spotted Norrell in episode one, is at it again - this time he accidentally finds Jonathan Strange, who has come on somewhat as a magician, but isn't really quite in control yet.

Strange and Norrell finally come face to face. Their dynamic is interesting. Norrell is clearly impressed with the younger, far more deferential Strange, but is also extremely worried about being outstripped by the competition. Strange is a raw talent, but capable of incredible things, like the horses that rise from the sand in a spectacular beach sequence. Norrell is keen to teach him, but is protective over his territory, and his precious library of books. When Strange is selected to go to war, Norrell's greatest discomfort is at Strange ransacking his library to take to the 'dirty' front line.

It seems that as soon as they meet, various outside forces are trying to pull them apart. Mr Drawlight is unimpressed by the newcomer, and sows seeds of dischord with his co-conspirator, Lascelles by suggesting that the magical library contents of the late Duke of Roxburgh could be bid for by Strange at auction. Meanwhile, Arabella Strange soon has reason to distrust Norrell after speaking with Lady Pole, whose disintegration is a large part of the episode. 

Plagued by strange nightmares and feelings of dread, the recently resurrected Lady Pole is the subject of the machinations of the Gentleman, who makes his presence further felt in this episode. He also begins to pull the strings of servant Stephen Black, who is shown a vision of the Gentleman's spooky ball and the plans he has for Lady Pole. He also has an eye for the ladies, setting his sights on Arabella.

These plot elements build up to the climactic auction, where Arabella bids against Norrell for the Duke's library, and the Gentleman is sat next to her, giving Norrell a knowing smile. A storm, in every sense, is coming.