NB - spoilers for this show feature in this review

Dedicated viewers of this new fantasy/action-adventure show will receive some nice development and twists in relation to the main story of this opening season. However problems of inconsistency and homogenous settings and set pieces are never far away -even in those episodes which reach higher quality than any of the opening half dozen.

I might as well make clear that I don't think Jack Donnelly is being used well - and by that I mean that he would be a serviceable secondary character for some other prime time TV show, or by the same token certainly watchable in a cinema released British rom-com. There are elements where he shines when he looks just a bit comical and helpless and his pretty boy looks would work well with a strong leading lady to complement him. But even with the best scripts that this writing and production team put on the table, we have a lead hero in Jason that seems to work in reminding us how low-key fantasy shows can be. If done by the numbers one story in this genre can very much resemble another. If the characters all come out with dialogue that seems labored and pre-meditated then the suspension of disbelief most viewers are required to apply just wiill not be there, due to their grounding in realistic drama elsewhere.

This show continues to invest in some fine guest stars. Amongst experienced character actors such as Fintan McKeown, Anton Lesser and David Stern, there is good work from Gemma Jones and Jason Watkins, plus some showcases of more fledgling talent like Nora-Jane Noone and Will Merrick. Many casual viewers will be quick to recognise and enjoy the efforts of widely known favourites of stage and/or screen - Robert Linsday Julian Glover and John Hannah. Just in terms of investing in acting chops, the producers are doing a fine job and may be able to build a good solid audience that have different people coming back each week for different reasons.

But it is almost then trying to be bold enough to say - "here is the license payers money to show you who we can set up a contract with.. But just enjoy the antics of the main actors -- after all they are the ones who flash on the screen at the start and end of the show. What, you want some proper development of these new character? Even if they are one-offs? Sorry, try another channel altogether'. Now I seriously doubt this experienced team who have helmed Merlin and Misfits would really want to convey such a message. But in the process of executing their work duties, they nonetheless manage to look a gift shop horse in the mouth.

Thankfully however the better regulars seem to be going from strength to strength. Pythagoras is shown to have a very dark side in relation to troubled family relations, and Robert Emms belatedly does more than just turn in an OK or respectable portrayal.. I am left hoping that he plays a more proactive role in the upcoming second season - and perhaps he will develop his acting style organically in the process. Whilst I enjoyed Will Merrick in 'Skins', I found that when called upon to be gritty and troubled as Aracas - brother to Pythagoras - rather than hapless that the actor didn't quite have the range needed. I would be happy to be proved wrong in a potential reappearance next year though, as the seeds for a good character driven storyline were sown despite the overall episode (the Furies) being less than totally successful.

Also the amiable cuddly Hercules is shown to have less than noble qualities in his determined chase of Medusa. Something that a cynic might say almost deserves the tragic twist in these two characters dynamic come episodes 9 and 10. Much buildup and character development was given over to this strong female character, who continues to be portrayed with skill and charm by Jemima Rooper. The investment the regular audience has put into this secondary lead is rewarded handsomely/. And the buffoonish Hercules is now someone to be concerned for, rather than just to laugh at and root for in a light-hearted fashion.

Which makes the generic and frustratingly slow-to-learn Jason all the more startling and difficult to comprehend. His reaction to his friends' plight, along with his development as a fighter and a quick thinker should mean there is a growth in the audiences' journey with him as he becomes a tried-and-tested Atlantean resident. Yet the mirage of believing that this is a fully-fleshed person and not a character issued with some hard-and-fast traits essentially dwindles and instead the viewer can only grasp the proportions of a forced caricature.

But the show arguably save the best for last, and in a fashion suggesting that the opening season could be shrugged off as 'growing pains' in several years time as the BBC have another big hitter. The two-part finale makes up for the rather weak eighth and eleventh episodes, and build on the sold if unspectacular episodes that realign Medusa's role is in the general scheme of things. Episode 7 is certainly the best stand alone episode of the 1st season until the finale. If such an episode became the norm and perhaps some more multi parters were used, then the show could show enough versatility to make more use of its latent potential. I hope the creative team are somewhere in a meeting coming up with better storylines that fulfil the perennial 'beginning-middle-and end' recipe for success, without being overly conventional and safe.

'Touched by the Gods' deals with some 'dead wood' that might still be of interest for a number of future episodes - i.e. evil witch Circe and Heptarian but which drama and excitement justifies.. And the twist with Pasipahes' tie to Jason may not be totally shocking but promises some fun conflicts of interest, with deep emotions clashing with pre-conceived and ruthless plans for power

My thoughts on the production values, music and other similar aspects have not changed. This is in large part due to the convention of serial show like this heavily re-using resources from episode to episode. At the end of the day the scripts and performances matter to me, being a British viewer of a home-grown show, and other elements have been perhaps less pressing - certainly when it came to watching archive TV like Doctor Who, Blake's 7 and Randall and Hopkirk. If the core of a show is strong and dynamic usually other departments 'raise their game'. At the time of writing I can only hope that someone or a group of people have turned a corner and convinced the overall cast and crew that this show is not just salvageable but actually a great treasure trove of wonder, mystery and court intrigue. In short tea-time adventures that engage the under 12s, the over 65s, and the in-betweeners in equal measure .

This latest fantasy fare that went out in Autumn on BBC1's Saturday line-up is the work of Merlin’s Julian Murphy and Johnny Capps, and Misfits’ Howard Overman. Much like past BBC shows such as Merlin and Robin Hood the underlying objective is to pay homage to well-known and perennial myths, tales and legends. With a contemporary feel that intends to engage the audience with the onscreen characters , the show is also trying to retain the special, classical nature that the old stories have.

The first aspect which I wish to highlight is the strength of the show's premise. Now in some ways the solid credentials of the production/writing team would make you expect a better sense of direction for a new show than perhaps would be the case otherwise. For myself anyway the core idea of Atlantis is not fully clear or used to its actual potential. The very beginning opens in modern times as Jason (newcomer Jack Donnelly) - in every way a 21st century Englishman - goes looking in the ocean hoping to resolve the mystery of his father's disappearance. Eventually he finds a wreck underwater called 'the Oracle' then wakes up without his modern clothes in the fabled lost city of Atlantis. He quickly acquires the more modest attire of the ancient times and sets about establishing a new home and identity for himself.

There is a lack of clarity over the nature of Jason - is he an explorer from another dimension or really the bona fide Jason of Greek lore? This could have been a clever and exciting character arc but just does not go anywhere meaningful for much of the opening run. Jason is from our time and knows the essentials of Atlantis lore so is in some ways is at an advantage by being so aware of what might/should happen. Yet this is seemingly dropped in favour of a lead who is totally comfortable and familiar with his surroundings by the end of the episode.

In terms of the actual actors and the characters they are given, the show has mixed fortunes. Mark Addy plays Hercules and is back in more familiar territory as the comic relief, after his excellent dramatic performance of King Robert in Game of Thrones. No matter how lacking a storyline may be, Addy can be called upon to liven things up without needing to chew the scenary. Many moments involve Hercules coming out and stealing the scene. For despite being fat, alcoholic and slovenly he seems to be the heart and soul of the show.

Of course apart from Jason and Hercules there is a need for a third character to provide an interesting dynamic. Joining the 'man of action', and the 'past-it rogue' is the 'brains', or Pythagoras - adept at plans and anything remotely complex in mathematics. Played by Robert Emms, this regular cast member is decent enough to watch but rather inoffensive and thus bland when compared to other players. I struggle to remember notable dialogue that he happens to utter, such is the often lacklustre nature of the scripts when it comes to decent characterisation.

Jason is sadly rather weak - the inexperience of the actor being exposed -and relies on better performers around him to make his scenes work. This is especially glaring if the viewer were to compare this show directly with episodes of Merlin - with the excellent Colin Morgan. Even Robin Hood had an agreeable man in Jonas Armstrong. Thus - for the moment anyway -this trio of protagonists are not exactly likely to be the topic that people will be talking about when bringing up their television experiences of the recent weekend.

When looking at characters who appear on a recurring basis, there is more satisfaction to be gained. The Oracle, in a clever link to Jason going down to a wreckage of the same name in the opening sequences, is spookily and mysteriously conveyed by Juliet Stevenson. Even better is the wicked queen Pasiphae. Sarah Parish has done the villainess multiple times before on-screen and is reliably strong. These two actresses certainly know their craft and can add life to even the thinnest of material.

As for others in the royal court, King Minos (Alexander Siddig) has a striking visual presence but lacked a bit too much regal charisma for my liking. He is also somewhat conveniently made to look slow by all the politicking and scheming going on close to him. Ariadne (Aiysha Hart) the immediate heiress to the throne is probably the most average of the cast. She sports an appropriately 'Mediterranean princess' look and has some decent delivery but her scenes never transcend the forced plot developments that take places as one episode follows another. However she seems to get some more expressive reactions out of Jason such is their budding love story. Nonetheless I would prefer that the main lead was bringing a bit more magic to these important one-on-one scene. Donnelly certainly has the looks that would interest a princess, but he seems just a bit passive and unsure of himself.

Elsewhere in the cast, Medusa is very well played by Jemima Rooper as a girl next door with some real courage. In a welcome example of good character interaction, she brings out the best, most meaningful aspects of Hercules. Anticipating her inevitable tragic fate does evoke some bittersweet emotions almost immediately, as the viewer must accept that her capacity for good is to ultimately be subverted for great evil. For those looking for female characters to be proactive and relatively independent, Atlantis builds on the fine examples that Merlin set. Medusa is often needed for help, rescue or just some sage advice.

Another good supporting player that more than looks the part is Oliver Walker as Heptarian. He is just one notch down from the supremely wicked queen in the 'despicable enemy' league, and is a worthy combatant and thorn in the side for the main heroes. Yet even this positive is tainted by the impression that Walker would have probably done a better job than Donnelly as Jason.

In terms of other strengths, there is much soundness in the production values. The show is often lit in bright sunshine such is the warm island setting, or shrouded in atmospheric darkness due to night time or events in unknown caves. Many viewers can pick up on an overall atmosphere that is breezy and mild. The lack of being tied down by historical accuracy means that there is scope for some variety of story and events can proceed differently to what had long been accepted by readers of these myths. Sets and costumes are good, and most of the effects are perfectly acceptable for modern TV and don't take viewer out of the experience.

There are however arguably more weaknesses in this opening run which threaten to drag the show down into unwelcome mediocrity. For one, the potential that exists from the basic variety of stories is not fully harnessed and a lot of formulaic or clichéd stuff happens just a bit too often. Jason seems to have an alarming lack of judgement and sense of how to learn from his errors, although he is not the first protagonist to lack judgement in serial format entertainment. There is a tiresome pattern where he antagonises a guest character which leads to some form of mission, such as retrieving an item, protecting someone or ending the threat of some dangerous beast. The sense of jeopardy coming from the royal court with King Minos being an obstacle for seemingly 'right' reasons, and Pasiphae developing into a very powerful threat is key. However in the vent this supposed tension still plays out at times with a curious lack of oomph.

Although the settings and filming is decent enough there is far too much blurring or overlap, whereby it seems practically every episode has a wander through generic woods or a bit of 'stealth' under cover of darkness. Even more tiresome is the forced humour . While often funny, even Hercules can cause the viewer to cringe at times. One example being his description of a fellow prisoner as 'the man with the three wives [who] knows what I talk about'. This joke is fine for a fundamentally comic storyline, but the context of the actual episode is rather grim. And in the process it adds nothing to a one dimensional supporting character - of which there are plenty in the larger guest cast. This becomes a constant issue with the series - for a light entertainment show there is too much uncertainty just how to blend the less intense moments with the more harrowing ones and that is quite a disappointment given the creative team's past good work.

If things are not forced then they are clichéd half the time. Ariadne often clashes with Pasipahe over her transparently wicked intentions, offering barbed wit. No quarter is given or taken, but the writers certainly did not take long to throw out some tired lines more suited to a catfight in a 1980s 'supersoap'. Any opportunity to hint or provide interesting clues over just what happened with the late wife of the king and birth mother of Ariadne is rather glossed over. Minos clearly is a more modest role than Pasipahe but more could have been done to flesh out his character whether he is onscreen or not. With the lack of information, the audience is forced to fill in blanks relying on conventional step-mother/second wife tropes. There is opportunity though for this to be rectified in later episodes, but would require some care and attention from the writers.

Many BBC TV shows boast music that helps to make the show more effective Atlantis' musical dimension sadly reaches an unremarkable level. Every 'plot development' is seemingly telegraphed and the humour is often surrounded by a dirge of musical 'slapstick'. Mainly contributed by Rob Lane with some work coming from Rohan Stevenson, this is another element which can be improved upon. Perhaps more dynamic scripts would garner better creative input from the music department.

Despite all my issues in general, out of the opening six instalments, only two were real let-downs, i.e. 'A girl By Any Other Name' and 'Twist Of Fate'. The opener was intriguing and well-paced and in my opinion should be mimicked in later episodes for vibrant themes and character momentum. The third and fifth episodes are very enjoyable for the most part, with the sixth being decent enough and bringing some much needed tension as future plot developments look to be rather ominous for the kind-hearted central trio.

In summary Atlantis is arguably a show with just as much, if not more, potential than Merlin, with its options for exotic lands and a variety of human and animal foes, as well as crafty intrigue in the royal court. For now the overall hit-and-miss in terms of story quality is a big hurdle. Even the better episodes can lack depth, as the scripts often trot out average dialogue, and miss out on numerous thematic and 'moral lesson' aspects. The show feels less than the sum of its parts, as bits and bobs of Minoan civilization are pulled together and most episodes are self-contained and could be watched in different order, such is the loose season arc. For any proper momentum to be generated, this show will need more work from almost everyone concerned to match the fine efforts of Mark Addy and a few of those that provide supporting roles.

"Five! Did he say five? Five! That's the whole of my left hand! One, two, three, four, five!"

Vila Restal babbles - Blake's 7: Fractures

Regardless of what your favourite TV programme is - eg, Doctor Who, Arrow, Game of Thrones or The Walking Dead - you know that each new season opens with all barrels blazing from the get-go. It's a time-honoured tactic among TV series that's vital to rebuilding the audience after months off-screen. Once the viewers are hooked, the TV programme can afford to be more experimental with later episodes, slowing down the pace, injecting romance or contemplation, or creating an atmosphere of the claustrophobic or psychological. 2012's Asylum of the Daleks, for example, was Doctor Who's answer to delivering a season-opener with impact; it would have been a risk to have started with The Power of Three.

Even Big Finish is no stranger to this philosophy, as it's shown time and again with many of its mini-trilogies of Doctor Who tales with specific Doctor/companion combinations. So it's surprising that for its first full season of eight full-cast Blake's 7 audio dramas, it has opted for something more like a "mid-season" episode than an adrenaline-fuelled, fist-pumping opener.

Fractures, written by veteran Doctor Who and B7 scribe Justin Richards, marks (in the author's own words) the start of the "extension" to the second season of the Blake's 7 TV series (first broadcast in 1979). Unfortunately, he also seems to have treated this "season within a season" approach too literally. Richards has delivered a story that perhaps could plausibly have been a mid-season episode in B7's second series - but it certainly isn't a story that (to this B7 fan's mind) would have been a worthy one even if it had been produced for the TV series back in the day, and certainly not as a curtain-raiser.

The story starts with an exciting prologue that puts Blake (Gareth Thomas) and the Liberator crew in a stand-off with five Federation pursuit ships commandeered by Space Commander Travis (Brian Croucher). It's the kind of pulsating confrontation that you would expect of a new series-opener and brings back fond memories of early B7 episodes such as Duel that saw a similar confrontation on-screen (albeit with Travis being played by Stephen Greif). In yet another nod to the TV series, the preface even ends with Travis repeating his vow to hunt down Blake to the very end (Croucher recites a speech made more famous by Greif in the character's first episode Seek Locate Destroy).

To escape Travis's grasp, the Liberator retreats to a region of space that is off limits to Federation ships and littered with derelict spacecraft. It is from this point that the proper story begins. The Liberator is suddenly struck by what appears to be a systems crash and members of the crew are inevitably separated and trapped in different sections of the ship. It soon becomes clear that the Liberator has been incapacitated and that one of the crew may be responsible.

In the events that follow, Richards aspires to create a tense psychological mystery. This is achieved through ongoing dialogue between the regular cast members (and no other guest stars) to create suspicion and suspense. Richards has always been adept at making sound an important narrative device in his audio stories (his early Doctor Who serial Whispers of Terror is a great example) and with Fractures he makes the immediacy of the aural experience - with the characters talking to each other across the Liberator's communications channel - critical to the story. Although it becomes patently obvious the longer the story goes on that the Liberator crew are being manipulated, the cast all deliver believable and occasionally intense performances. Furthermore, the actors reprise their roles again as effortlessly as if they've never left them. Thomas is steadfast as Blake, Sally Knyvette cool and calm as Jenna, Jan Chappell inquisitive as Cally, Paul Darrow sardonic and dry as Avon and Michael Keating's Vila as nervously comical as ever.

Unfortunately, the central premise and climax of the story is as clichéd as some of B7's least popular episodes. As a TV series, B7 is most fondly remembered for its epic political and dystopian commentary on the future, not for its occasional and less successful forays into pure or hard science fiction. Fractures unfortunately belongs to the latter, although it would be grossly unfair to say it is as diabolical as The Web, Trial, Sarcophagus or Ultraworld - TV episodes that were endlessly derided by fans for being poorly written and unsuccessfully realised on screen. Nevertheless, the threat in this serial proves to be very generic and rather unimaginative and could belong just as easily in a Doctor Who serial or a Star Trek episode as a B7 one.

The serial ends with the Liberator crew learning information that has ramifications for the next seven instalments of this audio series. To me, this reinforces why Fractures is a weak and disappointing start to what may otherwise be an enthralling and tense saga. Perhaps this episode should have appeared in the middle of this run - certainly, if it had been part of B7's original television run, it would have been a mid-season episode and a forgettable one at that, with little relevance to the overall story arc. Let's hope the next instalment - the dramatic-sounding Battleground – is a major improvement.

With the release of this middle chapter, Peter Jackson's much anticipated revisit to Middle Earth gathers steam. Without any doubt this is a much more assured effort and should please a greater cross-section of faithful fans and casual moviegoers alike. The experiment of a different frame rate has been altered to something more traditional following enough of a negative response from viewers. Otherwise the presentation is of a rich and lively nature, which is reflected by a far superior sense of pace than was the case in Part One. Although songs sung by Thorin's company are pleasant enough in media like radio or stage, for the purposes of an action adventure film their absence this time round is arguably for the best.

There is some material however which probably is dispensable for the film to make sense and yet it is still enjoyable enough that the progression from opening to middle and finale is not hindered too much. I personally didn't have the temptation to keep checking the time such was my immersion in the story - the mark of a cinema experience which exceeded expectations.

I felt that the character development here was also much improved, even in the case of minor or completely new characters that did not feature in the original book. Smaug himself was worth the build-up and acts as a great central villain. The dragon who has commandeered the Lonely Mountain and was only teased as a presence in 'Unexpected Journey' is suitably portrayed as a beast of greediness and arrogance, but also wit and perceptiveness. One embellishment that I particularly liked from Walsh and Boyens' script was Stephen Fry's 'Master of Laketown' - he is in his own way as uncaring and selfish as the dragon, but knows when to ride with popular opinion. One of the very best scenes not involving wall to wall action involves Thorin's rousing speech as the dwarves confirm their intent to set off on their seemingly impossible mission of liberation and restitution.

However there are still teething problems. Martin Freeman's winning portrayal of Bilbo Baggins continues to come across as a supporting role, despite what one would expect from the title. With so much added to the original and comparatively simple story, there is a consequential element of various stars vying for the audience's attention. In the case of the minor roles and even the elves this is fine, but I still left the cinema struggling to discern hard-or-fast character traits for the majority of Thorin's dwarf company. This may simply be a knock-on effect from the source material - especially when it is compared to the 'Rings' trilogy. 'Fellowship' was nigh on perfect in its depiction of species and individual character for the nine companions. Given such high standards, I can partly forgive Jackson and his team for being a little lacklustre here.

Another issue is that, despite his striking presence on the poster, Gandalf is barely featured. He is almost a 'gate-keeper' - letting the dwarves know what he expects from them and trusting them to come through unscratched. On one hand it is a narrative necessity to demonstrate that the dwarves and Bilbo can deal with danger by themselves, but it does mean that the most iconic of Middle-Earth characters is not utilised to full capacity. 'The Two Towers' was very selective in its use of Gandalf, but very effective at the same time. 'Desolation' just does not quite pull off the same trick. Ian McKellen however does not let this situation affect his performance, and reliably builds upon all his good work of yesteryear. I am surely not alone in regarding the 'grey' wizard as a firm presence in contemporary pop culture.

Some viewers and critics believe Jackson continues to over-egg his Middle Earth pudding with endless fighting and bluster. And yes, there is still a sense at times that a fight scene could work better with a minute or two taken out. Yet the action's choreography, quick dialogue and variety of jeopardy is still impressive and would not even be attempted by a less ambitious and creative director. Few fans of the Lord of the Rings have forgotten Shelob - a particularly ugly and cruel arachnid. Depending on whether you want a worthy opponent to Bilbo and his comrades or just a sharp little jolt, then the set piece with the spiders in Mirkwood should satisfy accordingly. This action co-incidentally ends up in a plot development that focuses heavily on the Mirkwood elves, who played a very brief role in a middle chapter of the book.

One of these elves is rather familiar, in the form of Legolas, but the other two of note are perhaps more intriguing - namely Thranduil and Tauriel. Both of these respective newcomers held my attention and wanted me to know more about their world and their overall place in Middle Earth. Tauriel is every bit as beautiful as her fellow elf Arwen, but benefited from both more screen time for this particular film and a convincing range of emotions from actress Evangeline Lilly. Thranduil comes across as a stern figure, yet one who guards a well of compassion - much the same as his counterpart in Elrond. He clearly believes Tauriel should be involved with a valorous elf such as Legolas, but her interest in the maverick dwarf Kili serves to frustrate this conventional attitude. Lee Pace may be relatively young, especially in comparison to Hugo Weaving, yet has the appropriate gravitas for this performance.

Many seem to feel this romantic dynamic of dwarf has been incorporated for the sake of filmgoers who normally see rom-coms or dramas instead of fantasy. Whilst perhaps true, I did enjoy the work of the actors concerned, and it was a different change of pace from that employed in 'An Unexpected Journey' last winter. This somewhat controversial love triangle is kick-started at the same time that Bilbo is given a chance to use his cunning and stealth to help his comrades - and the most memorable outdoor action scene is unleashed upon the viewer.

The much talked about barrel scene is verging on the ludicrous at times - showing some bold ignorance of physics and making the dwarves and elves' anticipation of imminent danger rather convenient. Yet I didn't mind this bit of light-heartedness as the film's story was being progressed efficiently at the same time. It is somewhat interesting that the dwarves' audacious escape from their elfish captors is combined with the renewed hunt by the orcs and that the elves play more than their part in aiding the dwarves' survival. Later action scenes such as Gandalf's clash with the Necromancer and the Mirkwood elves' showdown against orcs in Laketown are perhaps more disposable, but are still watchable enough at the time.

For those coming to the first Hobbit film without seeing the earlier films or reading Tolkien's books, some of the returning characters would have been some what baffling and lacking in context - such as Galadriel and Saruman. There is a bit less of that in this film, although Legolas' sudden addition to the story may upset some purists. It is obvious why Jackson chose to re-employ Orlando Bloom as the near invincible and lightning-fast archer - he has been in several big franchises and is a household name. Of course some suspension of disbelief over his appearance contradicting the chronology of events is inevitable. This could have been a similar issue as well in the first Hobbit film with Bilbo and Frodo, but their limited screen time allowed for convincing enough de-aging to be featured.

Perhaps more disappointing is the re-appearance of Radagast, as played by Sylvester McCoy. This good wizard took up a portion of 'Unexpected Journey', but here is almost a-blink-and-miss element. I appreciate Jackson's love for Doctor Who, and McCoy is certainly the most wizard like of all the Doctors, but he just isn't relevant to the story even with all the extra sub-plots employed to make this story a trilogy.

So having briefly praised Smaug the character earlier on, what more can I add? Well this is a triumphant example of source material, script, voice acting and digital effects flowing together beautifully. Benedict Cumberbatch could easily have taken a live action role and been a great asset but he is still more than effective as this gigantic adversary for the film's heroes. Perhaps the dynamic of Steven Moffat's Dr Watson and Sherlock squaring off in another genre provided an extra intangible that makes these scenes work so well. Or perhaps Jackson's casting team are just very solid. There is a rather noticeable change to the original Smaug passages as the dwarves that venture to Erebor are much more proactive in doing all they can to make life uncomfortable for their enemy. This is such a mismatch that the viewer is almost feeling the dragon's glee at his multitude of options to snuff out the 'threat' at hand. However readers of the book will know just how relevant is the saying - 'pride comes before a fall'. There are echoes of the 'Fellowship' Moria sequence in this finale which are quite effective. Likewise the closing few minutes are full of suspense as an audacious plan which could only be pulled off by skilled dwarves ends up with a somewhat different outcome.

So I will finish where I started. This is a fine film to tide one over during a bleak mid-winter. As all the obligatory introductions and exposition have been done, Part Two dives straight in with a real sense of pace - much like 'The Two Towers' did over ten years before. The open ending is perhaps a little cruel on the viewer but it will hopefully lead to a finale which continues to improve on the story so far, and surprise both the hardened fantasy aficionado and the more easygoing movie lover.

Blake's 7 is a series which is dear to my heart and which deserves a look from anyone interested in British sci-fi. It ran for four seasons, first airing in early 1978, and concluding in late 1981 with a grim finale that ruined many a youngster's Christmas. The pedigree of authors Alan Stevens and Fiona Moore is strong, with the former being a regular contributor to sci-fi fanzine 'DWB' and also 'Horizon' which was published by the Blake's 7 Appreciation Society, and the latter being a professional anthropologist who had studied in Oxford.

Although the show now seems very dated by its hairstyles, costumes and makeshift special effects it is by and large a quality effort with excellent plots, characterisation and story arcs. Many joke about the deceptive title of Blake's 'Seven', especially as the crew line up changed on several occasions as time went on. There were never 7 total human crewmembers, although computers Zen, Orac and Slave all played their part at different points in time.

Initially the show was designed to focus strongly on Roj Blake who had almost lost everything in his fight for freedom and democracy, as shown in the series opener 'The Way Back'. Blake - played by Gareth Thomas- had been conditioned to forget his days of leading a would-be revolution against the oppressive Earth Federation regime until his life takes a dramatic turn. Heroic characters try to help Blake regain his old identity but at a great cost. A massacre wipes out one potential force due to a double agent's treachery and Blake is discredited with disturbing fake evidence and sentenced to a life on a bleak penal colony. The initial series of 13 episodes - all credited to writer and creator Terry Nation - would depict Blake's efforts to bring down the corrupt Federation and help others in need wherever possible.

A key asset of the show were the strong characters and the actors who played them. As the series progressed other lead roles won the viewers' attention away from the overly heroic Blake. Kerr Avon and Vila Restal - specialising in computer hacking and lock picking respectively - were quick witted opportunists who understood that neither could survive long without the other. Commendably progressive female portrayals came in the form of Jenna Stannis and Cally who were determined and prepared to kill if forced to, but also protective and sympathetic.

Sally Knyvette, portrayed Jenna as a shrewd smuggler able to run rings round men who fell for her charms. Cally, acted by Jan Chappell was an outsider, prepared to fight to the death against the Federation, but estranged from her race of telepaths on Auron who were resolutely neutra. Her special powers sometimes brought hindrance to her crewmates, as malign entities looked to take advantage of her presence on the astral plane.

Rounding off the initial line-up was former killer Gan providing brute force but no lethal capability due to a chip in his head. This crew of five humans and one Auron attempted to bring down the corrupt and wicked Earth Federation but had mixed success in their many efforts.

No one can dispute that by the time season 3 was underway, the show 'Blake's 7' was solidly focused on Kerr Avon. For many fans the loss of Blake did not cause a problem with the show. Yes, Gareth Thomas excelled as an idealist whose fixation on freedom was frequently portrayed as a double edged sword. It was just that Avon projected so much charisma from his very core and usually had the best lines as well. Kerr Avon was selfish and ruthless, but loyal and brave in equal measure and was impossible to turn away from. It helped no end that actor Paul Darrow fitted the role seamlessly. Co-author Stevens favours Avon as his personal favourite protagonist due to this wonderful synergy of script and performance.

Perhaps surprisingly the only actor to feature in all 52 episodes of the show was Michael Keating as Vila. Despite being a unique supporting character his time could have been cut short as the guide at one point mentions when detailing Nation's plans for 'Pressure Point'. However the rather less popular Gan was killed off instead. Keating was a superb 'everyman' presence, pulling off playful, idiotic, world-weary, practical and cowardly all at once without coming across as inconsistent. 'Liberation' has much to say about this inconsistency in Vila owing to different writing styles and production decisions. Keating's own performance gets a seemingly mixed response, one which I respectfully disagree with.

Until episode 6 the Federation was somewhat faceless and nebulous in nature until the arrival of Supreme Commander Servalan and Space Commander Travis, who Blake thought he had killed in his initial years of freedom fighting. Jacqueline Pierce was a late casting choice as Servalan but would go on to be the definitive villain of the entire show. Travis had a chillingly sadistic quality, but later became somewhat dispensable in the grand scheme of things.

For many people Servalan is the most outstanding of the Blake's 7 ensemble, despite -perhaps because of - her presence as a self-serving, ruthless and immoral tyrant. I myself felt Jacqueline Pierce was superb and could make any dialogue given to her shine with seemingly little effort. Indeed co-author Moore likes Servalan best of all the characters, largely on the strength of Pierce's portrayal. It seems scarcely possible to imagine that this iconic adversary was first intended to be just another male foe.

The guide does a great job of setting the scene for the different demands and challenges that each season of Blake's 7 presented.

Season two is perhaps the most interesting in terms of difficulties that took place behind the scenes. Stephen Greif had done a splendid job as Travis in season one, but had found little progress in his character as first hoped for, and opted to quit in favour of a film being produced at the same time. The recast Travis, Brian Croucher had more than a few problems working with director George Spenton Foster and also suffered from a lack of direction at time for his character in the latter half of season two. Yet few viewers though would be left disappointed by the final confrontation between Travis and Blake in the terrific 'Star One' episode.

Other tensions between directors, writers and actors also were apparent. Two key cast members - Thomas and Knyvette opted to leave by the end of the season, and David Jackson's Gan was killed off to bring home a sense of jeopardy to the viewer. Series creator Terry Nation was now not nearly as focused on his 'baby' and had other priorities in the form of a TV movie and a move across to America. A lot of scripts were considered and drafted but hastily replaced. I myself share the authors' evaluation that season two was inconsistent but still strong when it got the elements 'right'.

Despite the strengths of season two's story arc, the production team avoided any return to such format as script coordination was far from practical. As a result much of the running order of season three is somewhat interchangeable with continuity at its least prevalent compared to other seasons. However creativity is employed in this season perhaps more than the other three. Certainly material such as Tanith Lee's eerie 'Sarcophagus' would most likely be passed over in the more formulaic early seasons. Also, season 3 mainly succeeds in revisiting topics from earlier seasons such as powerful aliens with advanced technology, or a noble civilisation looking to emigrate far away across the galaxy, or a mysterious casket housing a dangerous obscure entity.

With Blake gone new characters arrived and in many ways were improvements on those who has trod the bridge of the Liberator before. Tarrant, at least in his first season, was a very determined opponent of Avon's schemes and oozed arrogance and charisma in equal measure. He shared Blake's curly hair but otherwise had a very different set of strengths of weaknesses. Dayna Mellanby was introduced initially in a romantic tryst with Avon but quickly became his protoge instead. She also had special motivation in taking on Servalan who had mercilessly taunted and killed her father Hal. Respective actors Steven Pacey and Josette Simon have gone on to do much good work in television and theatre since their early days on Blake's 7.

The late decision to bring back the show for its fourth season is especially interesting and the guide manages to interweave the logistics headache of a reduced planning and production period into the reviews of the individual episodes.

With the Liberator destroyed a necessarily contrived plot was put together by Boucher where a villain name Dorian saves Avon and his crew from Terminal in the nick of time, but actually wishes to exploit them for their energy and thus cheat death. By defeating him they acquire a weaker ship than the Liberator, called Scorpio that just happens to have teleport facilities and handguns. One distinct change from the first three seasons is that the crew now are officially based on Xenon where they can affect repairs to Scorpio, host resistance meetings and use various resources in Dorian's base and on the planet's surface.

A major casting shakeup took place with Cally being killed off-screen and replaced by the rather less affable Soolin. She initially was introduced as a mysterious aide to Dorian but gradually more details about her violent past were revealed. A young Glynis Barber was not always served well by the scripts but she did a decent enough job and added a touch of glamour to go with some withering put downs. Decisions to go ahead with scripts on the assumption that Jan Chappell would return as Cally let to a big negative impact on the first half of the season and various inconsistencies - not least the dubious back-story of Dayna and former mentor/lover Justin in 'Animals'.

Of course the flawed nature of season 4 allows for much fascinating critique on the first six episodes or so. However starting with 'Assassin' the reviews become fundamentally positive and the final 4 episodes especially impress Stevens and Moore. The critical analysis on this series finale is quite simply excellent. There is a very interesting theory on why things end so tragically between Blake and Avon, which I personally do not share but still give the authors credit for putting forward.

In conclusion I strongly recommend this unofficial guide, which casts light on just why this show of yesteryear still has much to offer viewers even today. The authors show real skill in articulating production details alongside script subtext and onscreen acting, and never lose the attention of the reader.

... Because that’s how we measure success isn’t it? People like us! By how long we can get away with it! You’re about to learn the same lesson I did ... It doesn’t matter how successful you once were ... Not once it’s over!
Jenna Stannis

It's well over 30 years since the TV series ended and to this day Blake’s 7 fans have debated what happened to the titular character between the second season finale Star One and the program finale Blake. Many theories have been championed in fanzines and unofficial audio adaptations over the decades – and now Big Finish, with an authorised licence to produce B7 adventures, has offered its own take on Blake and Jenna’s whereabouts in the third and fourth series. It also surmises why Avon was in no rush to welcome them back to the bridge of the Liberator.

Long-term fans’ questions about what immediately happened after Star One were partly answered earlier this year in the brilliant full cast release Warship. The sixth volume of B7: The Liberator Chronicles offers us more answers about what may have happened after Warship – and also tantalisingly throws up some questions which challenge our memories of established history. Could Avon and Tarrant have found Jenna and Blake long before the program’s finale? Contrary to what Blake says in the final episode, could Jenna have survived the blockade above Gauda Prime? And did Avon meet with Blake at some other unspecified point in the program’s final season?

All these answers and questions are considered in a trilogy of episodes - Incentive, Jenna’s Story and Blake’s Story – which, in the spirit of earlier Liberator Chronicles, are told from the perspective of at least one protagonist. Incentive cleverly sets up an interrogation of Avon (Paul Darrow) and Tarrant (Stephen Pacey, reprising his role for the first time in a Big Finish B7 adventure) by Federation psychostrategist Bracheeni (Adrian Lukis). Jenna’s Story sees the woman of the hour (Sally Knyvette) seemingly under siege and playing nursemaid to an injured rebel leader Correl (John Banks). And Blake’s Story sets up an unexpected fireside chat between Blake (Gareth Thomas) and Avon.

As is the standard that we’ve come to expect of Big Finish, all three episodes are thoroughly written, convincingly performed and supported by excellent sound effects and incidental music. Incentive is the best of the three episodes and feels the most as if it is happening in “real time”, ie with little expository narrative (although the middle of the story is told in flashback by Avon and Tarrant). Jenna’s Story and Blake’s Story involve more exposition and flashbacks but are less formulaic and more experimental than Incentive which is the closest in structure to a regular B7 episode in the program’s third season.

What is most interesting about the Jenna and Blake instalments is the traumatic journeys, trials and eventual transformations that their characters undergo upon leaving the Liberator. Jenna witnesses the brutal, dehumanising and unjust treatment of refugees by the Federation (a scenario not unlike the way some Western nations treat asylum seekers!) while Blake is again duped by the Federation in a manner reminiscent of his original treatment before the events of the first episode The Way Back. These two instalments emotively reinforce the broad power of the Federation against the fractured cause that Blake and Jenna represent. Blake’s 7 is not and never was Star Wars – the rebellion of the B7 universe lacks unity, purpose, resources and manpower to seriously challenge the Federation. Indeed, it seems B7’s Federation is nowhere near as fragile as Star Wars’ Empire – it will take something extra special to topple the regime, which seems even beyond Blake and the Liberator crew.

Strong characterisation always underpins two- or three-hander plays such as these. The three episodes hold up a mirror to the established protagonists to show us previously unseen facets of their personalities. Bracheeni demonstrates that for all their bluster and bravado, Avon and Tarrant are more loyal and altruistic than they would have everyone believe. Similarly, we see whole new aspects to Jenna and Blake which were barely hinted at in the TV series. Jenna’s Story marks a 360-degree shift in the character who, like Avon, was a pragmatist at the start of the TV series. By the time of her story, Jenna has become as much of an idealist as Blake himself. By contrast, Blake has become more of the pragmatist that Jenna was.

Indeed, while quite dissimilar, the three episodes carry a common theme – that of characters aspiring to be like their heroes and role models but little realising that their perception of these champions rarely lives up to the reality. Bracheeni accuses Avon and Tarrant – “the leader and the pilot” – of needing to prove they are better than the “legendary” Blake and Jenna they begrudgingly admire. Similarly, Jenna holds Blake and the crew of the Liberator in such high esteem that she even tries to build a rebel team in the Liberator crew’s likeness. Ultimately her unshakeable faith and belief in Blake and his cause (little knowing that he has given up on it himself) seals her fate. In turn, Blake draws his strength from his own deep respect for Jenna and Avon – although the blind faith Blake and Avon have in one other proves to be the hallmark of their demise in the final TV episode. Inevitably, all the major characters draw inspiration from each other, even if they are loathe to admit that and even though their admiration of the others is more romanticised than real.

As can be expected, all of the performers in these plays are exceptionally good. Gareth Thomas and Paul Darrow are predictably solid as Blake and Avon respectively, and Stephen Pacey, most likely due to Peter Anghelides’ excellent writing and handle on the character, nails down Tarrant almost perfectly (something that could not be said when he last portrayed the character for BBC Radio in the 1990s, due to poorly written scripts and characterisation). Sally Knyvette again delivers the goods in her solo story. Warship marked something of a renaissance for Jenna and in Jenna’s Story Knyvette again relishes the opportunity to flesh out Jenna and show us just how independent, feisty and resourceful she is. In particular, it is generally assumed by fans that it was Blake’s idea to set up an army on Gauda Prime – writer Steve Lyons ingeniously turns this assumption on its head.

But the best performer of the trilogy is undoubtedly Adrian Lukis as the villainous Bracheeni, a man who proves to be a foil for Avon. Lukis’ voice is captivating and commanding from the outset, rivalling Darrow’s for charm and dry wit, and he conveys a character that is duly cunning and manipulative beneath a veil of humour and amicability. It is a great pity that Bracheeni does not survive the story. As a psychostrategist (similar to Carnell in the TV episode Weapon), Bracheeni would make a great recurring villain for the B7 audio series and partly atone for some of the naff villains that we had to suffer through in the third and fourth series of the TV show!

Volume 6 of The Liberator Chronicles offers an absorbing insight into the lives of the key characters in the B7 saga post-Star One and how they view each other and judge themselves. While the episodes may not completely answer fans’ questions about Blake and Jenna’s whereabouts in the third and fourth seasons or fill in the gaps completely (in fact there is a massive continuity blunder in Blake’s Story*!), they are entertaining and thought-provoking tales that enable us to crawl inside the characters’ heads and appreciate the joy, despair and anguish they feel. Of course, long-term fans will always prefer other versions of the B7 saga that have offered up explanations that are as valid and plausible as this volume (eg how Blake got his scar) but based on the quality of the writing and the performances, The Liberator Chronicles is the superior product. There is potential for Big Finish to continue investigating this hitherto unexplored era of the TV series in future instalments. Give us standalone adventures for Blake and Jenna rather than just the edited highlights, and if the writing and performances are as accomplished as they are in this trilogy, they will be eagerly anticipated by fans.

* Post-script - In Blake’s Story, Blake learns about the destruction of the Liberator before his death is faked by Bruler’s rebels on Jevron. However, in the TV episode Terminal, Servalan reveals to Avon that Blake is dead and she has already attended his funeral on Jevron. She then teleports to the Liberator and it is destroyed. Go figure!