Episode 3 of Atlantis begins with some amusing banter on the subject of Hercules’ affections for Medusa, but this is soon interrupted. In the act of stepping up to defend an old man, Jason lands the trio in front of King Minos.
With a recent stash of missing episodes recovered, Doctor Who fans may feel their Christmas has come early. But the real thing hasn’t yet. So put down that cracker. Don’t let those advent calendars in the shops fool you: Noddy Holder won’t be defrosted from his regenerative slumber for at least another month.
Just like that, Orphan Black has gone and snatched Paul away from the sidelines of the drama and into a position where he’s genuinely interesting.
Ever had that recurring nightmare where you’re about to sit your finals for Starfleet Academy but – oh no! – you’ve not studied and, even worse, you’re suddenly naked and doing the Kobayashi Maru test? Oh, hey, us neither… But fear not young cadet, Star Trek Federation is here to help. With the knowledge, not the nudity.
When is a show’s finale not its finale?
Peaky Blinders‘ penultimate episode has the dramatic neatness of a conclusion, cemented by the ominous sensation of finality as Tommy Shelby dramatically commutes through a graveyard (he’s always walking, even though he owns one of the few motorcars around), and yet we haven’t reached the end quite yet.
If Skins co-creator Bryan Elsey’s recent Channel 4 series Dates really did what it says on the tin, and delivered us nine dates between Londoners, it might not have worked as well as it ends up mostly doing.
After interrogation scenes with the gleefully uncooperative journalist, who was caught last time cooking something suspicious, his presence in photos led the team to raid an illicit dining club.
As jukebox musicals go, Stephen Greenhorn’s weaving of Proclaimers’ songs into a narrative is a far superior piece of writing to Mamma Mia or We Will Rock You.
London-based readers have just a fortnight to catch Richard Eyre’s production of Ghosts, before it vacates the Almeida to make way for Matt Smith’s American Psycho.
So – rape as entertainment. Well, it’s a debate to be had, isn’t it?
When ITV denied the press access to a preview of last night’s episode, we assumed it was for some trivial reason: a CGI backdrop of London that had yet to be painted in, while Edith bumped into Virginia Woolf in the foreground. That sort of thing.