The Sarah Jane Adventures: The Complete Fifth Season (2012)

NOTE: I KNOW IT SAYS 'NO SPOILERS' AT THE TOP OF THIS PAGE, BUT THE FOLLOWING REVIEW CONTAINS MILD SPOILERS FOR SEASON FOUR.
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The fifth season of TSJA is both the shortest and the last of them. It's not because the series was losing its audience or appeal, but because the actress that played the title character, namely Elisabeth Sladen, sadly passed away before it could be completed. Of the planned twelve episodes, just six were made.

Luke (Tommy Knight) is still at university, but Sky (Sinead Michael), the young girl that Sarah Jane and her team rescued at the end of Season Four, is still around, bringing the number of human helpers the reporter has back up to a comfortable three. Well, four, if you count the times when Luke is back on Bannerman Road. He gets paired with Sky in the season's final two-parter, The Man Who Never Was.

They're both Sarah Jane's 'adopted' children, so it makes a kind of sense that they'd end up side by side. And it works well; the duo, despite their differing backgrounds and ages, have things in common (such as not being human, for a start) and they've a wonderful brother/sister chemistry, as believable as the bond that formed between Rani (Anjli Mohindra) and Clyde (Daniel Anthony) in the previous years.

Thematically, the short season includes musings on identity and upbringing (e.g. we can't choose our parents at birth, but we can choose to be not like them as we grow). The issue of homelessness is given some attention, it's slight but may well be enough to make a youthful audience notice its existence in the streets around where they live. It even touches on how relationship break-ups can leave a hole.

As an adult viewer it was pleasing to see the inclusion of something that's often overlooked: Sarah Jane's journalistic skills aren't just useful for researching aliens, they're also what pay the bills. I'm sure Mr Smith costs more than a penny to run.

I'll genuinely miss the series; I loved the opening music, the creepy stories, the sonic-lipstick jokes, and, of course, Elisabeth, who brought to the role a distinctive level of sincerity and gentleness that was all her own. The final episode ends with a moving montage of moments that give credence to that feeling. The Doctor Who franchise will endure for as long as there's money to be made from it, but I feel that the extended universe will be lessened without Elisabeth Sladen's presence.

6 episodes, approx 27 mins each.

3 galactic coincidences out of 5

The Sarah Jane Adventures: The Complete Fourth Season (2011)

Sarah Jane's son Luke (Tommy Knight) features prominently on the cover art, but the character is only in the fourth Season occasionally, and mostly it's from the other side of a webcam chat. His absence is used to highlight the kind of feelings that a parent may experience when their only child leaves the nest, and the sense of abandonment and fear of further separation that a small but close-knit group of friends can feel when one of their members is no longer present.

In one of the two-parters, within a dream scenario (the subject's first, incidentally) lurks an Elm Street / Pennywise-esque creature that preys upon self-doubts and anxiety, which is something that the youths have much of at that time. It has a creepy nursery rhyme jingle, too, which is often a plus in that kind of scenario.

Additionally, looking at the same situation from a different angle, it shows how we can draw courage and strength from trusted friends when we need it most.

Rani (Anjli Mohindra) and Clyde (Daniel Anthony) have always worked well together, both as characters and with regards the actors' onscreen chemistry, which is just as well because with Luke absent the duo are required to step up and fill multiple roles. One such situation has them running ragged while trying to save the entire Earth from ultimate destruction - so, no pressure, then.

Throughout the series there's commentary on how we are frequently influenced and inspired by our family and friends, the latter being something that I was reminded of very recently in my personal life. (If you're reading, TYVM.)

There's another welcome Doctor Who connection, which plays a role in the season's best two-parter (Eps 5+6), a story dealing with the death of a loved one, with subsequent denial, and how such unfathomable change can make us appreciate those we still have; it contains a superbly written and admirably concise explanation of grief, one that a young person could understand. Also, it has lots of stuff from Who's past, for fans who enjoy both the old and the new.

And finally, for this review, at least. there's a time-travel episode that reminded me of the wonderful Sapphire and Steel (1979-82) TV series.

12 episodes, approx 27 mins each.

3½ enduring echoes out of 5

The Sarah Jane Adventures: The Complete Third Season (2010)

Bannerman Road's most famous resident continues the good fight. With the aid of an extraterrestrial super-computer housed in the attic, Sarah Jane Smith (Elisabeth Sladen) and her three young companions hold the line against all kinds of alien nasties that want to inhabit earth for various nefarious or profitable reasons.

The word 'alien' has negative connotations, but while it can be prudent to keep in mind Virgil's 'Timeo Danaos et dona ferentes,' it's unwise to judge on appearances, so the idiom 'don't tar all with the same brush,' is an equally relevant one.

Events in season three go back as far as 1665 and forward to 2059, with the immediate present playing a crucial role in one of the more notable two-parters, The Wedding of Sarah Jane Smith, which has a very special guest star.

Her travels with the Doctor(s) and much of her life since has been filled with the unknown, but something she never thought she'd have to deal with is motherhood. It's a challenge at any age, but having a son that's an artificial human created by the Bane makes it a little more difficult still. Luckily, Luke (Tommy Knight) is learning to stand alone against the odds, which he proves more than once.

While all of the stories would classify as 'Adventures', some of them do a much better job with important themes than others do. Some of the better ones include, but are not limited to, the destructive affects of jealousy; being careful what you wish for, especially in anger; the pangs of regret; the desire to feel appreciated and fit in; and the healing power of second chances. Yes, it's still a children's TV show, but that doesn't mean it has to compromise on subtextual depth.

Threats include nanotechnology and a not-too-bright but very determined Judoon police officer, but what I'd run from most are Rani's (Anjli Mohindra) parents, adults who are somewhere between sit-com and soap opera - a useful combination when the script calls for an adult annoyance, but damned aggravating when it doesn't.

6 two-part stories (12 episodes), approx 27 minutes each.

3½ broader horizons out of 5

Star Trek: The Next Generation: Season 7 (1993-94)

Longtime fans of TNG will get the most from what the seventh and last season has to offer. There's a lot of looking back, while also moving forward. A number of significant events from previous years are referenced or recalled, right back even to the Farpoint mission, the very first episode of Season 1 (1987-88).

Family plays an important role; mothers and sons mostly, but also fathers, brothers and the extended family you create for yourself from the people who become closer than just friends, the people who earn respect a thousand times over just by being who they are at heart, free from any kind of ingratiating agenda.

And while strange new worlds are indeed explored, new life and new civilisations thoroughly sought out, there's also a dangerous limitation to be considered, one that has consequences for more than just the crew of the Federation's flagship. It's something that doesn't get forgotten by the next episode, which does sometimes happen in episodic shows, and I'll be looking out for it as I progress through TNG's successor, the Deep Space Nine series, which takes place in the same time period.

Lieutenant commander Data's desire to be more human continues to underpin the psychology of the character, and it's something that's used as a basis for some of the best episodes in what I consider to be a very strong season.

Of course, the VERY best episode is the two-part finale, All Good Things... It's a powerful and bittersweet farewell that's both a testament to how affecting the show was to millions of people the world over and a kind of thank you to those same people. Afterwards our time with the ship's crew comes to an end, but we know deep down that our own journey of discovery never really does.

The Enterprise D and its crew will hold a special place in my heart forever; it's a feeling that all the gold-pressed latinum in the universe couldn't buy back

26 episodes, approx 44 minutes each.

5 unknown possibilities of existence out of 5

Star Trek: The Next Generation: Season 6 (1992-93)

Something I noted in a previous TNG post rings true again here: that a common theme serves as the basis for a number of different episodes throughout the entire season. This time it's transformation. There's the emotional growth kind, of course, but there's also social, temporal changes (such as ageing), and even a number of actual species transformations! The future is a crazy place~.

It begins by concluding the Season 5 cliffhanger, Times Arrow. Thereafter things progress steadily if not spectacularly. Overall, it's not the most memorable season for fans of TNG, but there are some notable episodes that need to be watched. I don't feel that any of them are actually the best the season has to offer, but they each have lasting consequences. Some examples are:

Ep. 20: The Chase, an episode that explores a question that a great many observant Trek fans have been asking themselves since the TOS days.

Eps. 16+17: Birthright Parts I+II has two separate stories linked by a common theme, the conclusions of which will both be referenced again later; in addition to that a part of the story takes place on a station that many Trek fans will recognise.

Without going into detail, there's a single episode wherein an old face makes a welcome return to the world. And, interestingly, a couple of the guest actors in later episodes would go on to play different but more prominent roles in later Trek adventures; James Cromwell (First Contact) and Tim Russ (Tuvok; VOY).

Elsewhere Capt. Picard gets to prove he has true grit by single-handedly saving the day; Riker's mindset is severely tested, as is Data's sense of right and wrong; Worf lets his hair down; Councillor Troi gets to have some genuine fun for a change; Doctor Crusher has some bridge action; and Geordi typically finds himself in a creepy, stalker-esque kind of romance.

If you take note of the credits you'll maybe notice that three of the regular cast pulled a double shift once or twice by being both in front of the camera as actor and behind it as director, LeVar Burton (his first time), Patrick Stewart (third time), and Jonathan Frakes (fourth time).

And then, for the final time with TNG, there's an end of season cliffhanger that's not resolved until the first episode of Season 7.

26 episodes, approx 44 minutes each.

4 inconvenient laws of physics out of 5

Sapphire and Steel (1979-82)

I saw it first when I was a kid. I don't remember what age exactly, but it blew my young mind. I saw some of it again in my twenties. It blew my mind once more. You can guess where this is going... yup, and again in my thirties, mind blown. During all that time I encountered nothing else quite like it, so in my experience it's unique.

Wikipedia notes that the show's creator, Peter J. Hammond, gave it the working title of The Time Menders; and while not as seductive or as pleasing to say as Sapphire and Steel, it does a better job at describing what the series is as a whole.

The enigmatic duo are 'operators' that fix time when it goes wrong or when parts of it leak or break through barriers into other parts. It's known that there are 127 operators in total, of which Sapphire (Joanna Lumley) and Steel (David McCallum) are two. Their full role is a mystery, but part of their job is to mend fractures that exist between temporal states; they're a line of defence, preventing the malicious side of past, present and future from destroying itself and everything within it. Time itself is described as a corridor that encompasses all things, so in a way the operators are like interdimensional hall monitors maintaining order.

Joanna Lumley is radiant and sympathetic as Sapphire, although she can paradoxically be sometimes cold and detached at the same time. David McCallum is austere and methodical as Steel. Yes, both are like their names, but I've often wondered if the names came first or if the personalities preceded them.

Stories (called 'assignments') are multi-part, so while there are 34 episodes in total there are only 6 assignments and it's best if you make time to watch all of one assignment in one sitting. Each assignment has a resolution but don't expect to have all questions answered. It's deliciously cryptic but not to the point of bafflement. The editing and use of sound are excellent, keeping events tense and flowing, always engaging and often eerie - at times even chilling.

I feel that the low budget actually works in the production's favour. The feeling that we're on a sound stage adds to the unsettling nature of the environments. It's almost as if for the duration of the assignment they've lost the intangible sense of safety that we unconsciously attribute to traditional notions of reality.

34 episodes, approx 25 minutes each.

5 side doors out of 5

Samurai Sentai Shinkenger: The Light Samurai's Surprise Transformation (2009)

This can be viewed after Act 24 and their movie.

Samurai Sentai Shinkenger (2009-10)

Kingdom Hospital (2004)

aka Stephen King's Kingdom Hospital

American author Stephen King took Danish filmmaker Lars von Trier’s eight episode miniseries, Riget (1994), turned it into a thirteen episode English language series and relocated it to Lewiston, Maine. There's sure to have been many other changes too, but since I've not seen the original I can’t say what they are. Von Trier shares an executive producer credit, suggesting he was agreeable to the adaptation or at the very least happy to whore the concept out.

Peter Rickman, the person we’d traditionally most readily identify as the main protagonist, is admitted to the titular hospital after a serious accident. An accident, incidentally, that mimics King’s own hospitalisation almost verbatim; although I suspect the talking anteater is very much fiction. Peter is a painter, not an author, but his onscreen role is similar to King’s background role: both men help rewrite a story as it happens from a point that's both distant and crucially central. Even though he's a key player, perhaps even the most important one, he’s only one part of a larger whole, one small element in the daily workings of the institution.

The building is modern but has foundations that extend backwards in time to the Civil War era. Before it was a hospital it was something else entirely, and before it was a place of saving lives it was a place where many lives were lost. Yes, it’s the old 'I built new shit atop some old shit and now the ghosts won’t leave me alone,' scenario. Part of what makes it different is the aforementioned talking anteater. It’s CGI but it’s really rather good considering it’s a TV production.

The show's appalling camerawork, direction and oddly placed music made me hate it. If not for Diane Ladd’s character, self-professed psychic Sally Druse, and the mystery surrounding the little girl pictured on the cover (Jodelle Micah Ferland) I’d have given up long before the end. Things do start to get better by episode four, but there’s so much wasted potential that it’s a struggle to make it that far.

A large percentage of the many subplots serve little purpose other than to extend the running time or increase the level of weird. More effort to make them a valuable counterpoint to the core story would've helped tighten the narrative.

The highlight of the whole endeavour is the opening credits that resemble a Dave McKean and JK Potter-esque hybrid of imagery that does eventfully have some relevance even if it appears not to for the longest time.

13 episodes, approx 40 mins each (the first and last are double length).

2½ jonesing rats out of 5

Star Trek: The Next Generation: Season 5 (1991-92)

Amid the twenty-fourth century problems tackled—coolant leaks, transporter malfunctions, stubborn settlers on other planets, etc—are a large number of issues and moral dilemmas that affect people of all eras, meaning the show continued to be both universal and timeless. One of the most successful was an exploration of gender and attraction that the sci-fi genre is well-equipped to deal with.

It’s perhaps a coincidence, but more than any of the preceding seasons there are episodes centred around or featuring children: there’s a birth, an orphan, an imaginary friend, more than one single parent story, and an episode in which Picard has to deal with a trio of kids all by himself. The later isn't a particularly memorable episode in itself, but it highlights how funny the Captain could be when allowed to step down from the pedestal of seriousness. Speaking of Picard, he gets a stylish new coat that no one else gets - the perks of captaincy!

Standout episodes include the fan-favourites I Borg, which starts out slow but gets better and better, and Cause and Effect, an old idea made to fit the Trek mould. I would add The Inner Light to that list, too, because despite its flaws I love the idea.

Elsewhere, a new semi-recurring character is introduced and quickly becomes a pain in everyone’s ass; she’s like a prototype Kira Nerys (DS9). There’s an Irwin Allen style disaster movie story that should’ve felt even more perilous because of the environment, but somehow doesn't.

As is customary by this stage, the last episode is the first part of a two-parter that isn't resolved until the beginning of Season 6.

On a sadder note, it was during the production of Season 5 that Trek creator Gene Roddenberry really did go into the final frontier; he died on 24th October ’91. :-(

26 episodes, approx 44 minutes each.

4 frequently exploited subspace distortions out of 5

Stephen King’s The Shining (1997)

A TV miniseries directed by Mick Garris, based on Stephen King's 1977 novel of the same name. It's essentially the story of a family forced to confront the underlying feelings that threaten to tear their already not very happy home apart. The addition of a supernatural aspect turns the process dial up to dangerous levels.

Jack Torrence (Steven Weber), a struggling writer, ex-alcoholic and regular screw-up takes a job as caretaker of a remote hotel that's routinely closed over the winter months. He brings his wife, Wendy (Rebecca De Mornay), whose over-protectiveness of their seven year old son, Danny (Courtland Mead), is justified somewhat because young Danny has a gift, or a curse depending on your point of view: he can sense emotions, danger and even occasionally see the future.

The quiet, creative retreat for three that Jack was hoping for turns out to be more eventful than he'd predicted. The Overlook Hotel has many ghosts and they'd just love to get to know the Torrence family better.

The teleplay was written by King, so all the little things carry over in a natural way, such as Jack telling people what he thinks they want to hear because it helps him stay in the game; the accusatory glances and subtle, snide remarks orchestrated to recall lingering guilt; a mother's jealousy of the bond between her son and his undeserving father; and the changing mannerisms of each family member as the story progresses and obsessions take over.

The boiler room gets the attention it deserves; the actual boiler being symbolic of the raging monster inside of Jack, building in force until the pressure is so great that it needs to be manually released or the whole thing will explode. Jack's fury is vented in much the same way. He needs to 'blow off steam,' as the expression goes, or his anger will consume him.

The biggest change to the story is during the finale; questionable coda aside it's not radically different from the original but it's been rewritten, making it tighter and more interesting. It's one of the things that help keep everything from falling foul of the usual third act plummet in quality.

I'm not going to add to the 'which filmed version is best?' debate other than to say if you want an unsettling, finely-crafted cinematic vision then the Kubrick film fits the bill, but if you'd rather see a more faithful adaptation of the novel, with intricacies of character intact, then the miniseries will provide it. If you're open to the possibility of one thing evolving into two uniquely different things, get both.

3 episodes, approx 90 minutes each.

4 party invites out of 5

Silicon Valley (2014)

Kid Rock is the poorest person here aside from you guys. There is 40 billion dollars of net worth walking around this party and you guys are standing around drinking shrimp and talking about what cum tastes like.

Richard Hendricks is a programmer who works at Hooli, a fictional facsimile of tech companies like Google, who lives in an incubator: a group home for programmers who pay rent with a share of any future programs they may or may not sell. When a piece of code he writes shows promise, he is quickly thrust into the high stakes world of Silicon Valley venture capitalists and billionaire CEO's, a situation which he is completely unprepared for with just being a stereotypical tech nerd who is prone to panic attacks and anxiety induced vomiting. To help build his new tech start-up he enlists his incubator roommates, Dinesh and Guilfoyle, along with the incubator landlord, Erlich Bachman, who comes along since the terms of the incubator gives him 10 percent of the new company. They all bring something to the table despite their idiosyncrasies like Dinesh and Guilfoyle's constant competition with each other and Erlich's penchant for grandstanding and taking copious amounts of drugs.

Mike Judge uses his insider knowledge of the tech world to make a hilarious and witty send-up of tech culture. The humor from the show uses nerd stereotypes, but in a way that isn't watered down with offensively inoffensive sitcom jokes. It both prods and revels in geekdom  like Big Bang Theory wishes it did. There is much less of the technobabble that is part of most other shows since the creators and producers are steeped in the culture or did their research so jokes made about, say, videogames sounds natural instead of forced and borderline insulting and derisive. The show is well produced which isn't surprising given the HBO pedigree and the only real shame is there is only 8 episodes.

Buyer's Guide:
Available streaming on HBO GO and iTunes as well as DVD and BluRay sets from hbo.com.

5 Fucking Billionaires out of 5

Star Trek: The Next Generation: Season 4 (1990-91)

TNG didn't have the same level of continuity as the subsequent DS9 and VOY incarnations of Trek had, but not all events passed without consequence. More than any of the preceding years, Season 4 made an effort to address that.

It begins by concluding the Season 3 cliff-hanger, The Best of Both Worlds. The following episode explores the feelings that one key member of the crew was left to deal with after his ordeal at the hands of the Borg.

In the remaining episodes there are at least a dozen returning characters from previous years, most of whom upset the apple-cart in some way.

Speaking of which, Lwaxana Troi is a wonderfully rich character. She gets an opportunity to show that she’s more than just a thorn with an elevated libido in Picard’s side. (It makes me grin when she converses with the ship’s computer.)

The writers also capitalised on the level of trust that the crew had built up over the years. It’s used not just to help the dialogue feel less formal, but the closeness and familiarly meant they were each able to anticipate what the other would do, and that in turn was often used as a catalyst for puzzle solving when one or more of the team got in trouble.

The uneasy peace between the Federation and the Klingon Empire is further explored. Also, the Romulan and Cardassian races grow in significance, showing that the feelings of resentment toward the Federation’s position within the Alpha quadrant are increasing; it’s something that we were always supposed to assume but it was rarely shown so openly.

Everyone will have their favourite, but some of the best episodes are undoubtedly Data’s Day, in which we’re given an insight into the Android’s daily life, and The Nth Degree, an episode that revolves around one of the more exciting returning characters that I alluded to above.

There are a small number of episodes that aren't up to the standard set by the others, but mostly it’s another strong year for the Enterprise D crew.

26 episodes, approx 44 minutes each.

4½ motivating mysteries out of 5

Star Trek: The Next Generation: Season 3 (1989-90)

There'll always be exceptions, but in my experience, whether by accident or design, within forms of entertainment patterns emerge if you care to look for them: book two of a trilogy is often the weakest; tracks one and seven of a CD are often the strongest; and season three of a TV series is often one of the best. TNG is no different. Mostly it’s business as usual with Picard having to accommodate self-important assholes at the behest of his superiors and play diplomatic mediator in heated situations, but there’s also a lot of new directions taken.

Wesley matures and develops into less of a dick. His mom, Dr Crusher, returns to sickbay, so the argumentative Katherine Pulaski is out. There’s no mention of why or where Pulaski went but I like to think she married an Antedean dignitary and now lives as a cold and miserable fishwife on Antede III.

There’s an increase in Romulan and Klingon activity and an attempt to show how a political and cultural setting influences their warring tendencies. As you’d expect, Worf gets to play a pivotal role in a major part of that. Every day is a good day to die for a Klingon, but it seems that some days are better than others.

A small number of supporting characters that would reappear in subsequent episodes/seasons make their Trek début; among them are Andreas Katsulas, Tony Todd and Dwight Schultz, all of whom bring a unique personality.

If that wasn't enough to keep fans happy, some of the best episodes from the entire seven year run of TNG feature, such as Yesterday’s Enterprise, The Offspring and The Best of Both Worlds Part I. The latter is an end of season cliff-hanger, so make sure you have Season 4 nearby because when those credits roll you’ll want to go directly to Part II of the story as soon as possible.

26 episodes, approx 44 minutes each.

5 holodeck romances out of 5

Star Trek: The Next Generation: Season 2 (1988-89)

Season Two took the formula that had been suitably refined by the end of Season One and shook it up a little. Not straight away, the majority of it follows the same safely laid path, but as it nears the end a dangerous element that upsets the equilibrium is introduced. The Federation’s sense of superiority (that they’d never openly admit to having) is challenged and, much to Picard’s disdain, ideologies need adjusted. It’s no longer just about exploration.

There were some new additions to the crew roster. Two of them are significant for different reasons, although technically they can both be called healers.

The first is Commander Katherine Pulaski who replaced Beverly Crusher as the ship’s Chief Medical Officer. Pulaski appears to be modelled on TOS’s Dr McCoy but they never go so far as to have her say the famous line.

The second is Guinan, who becomes a semi-regular fountain of wisdom for young and old, ensign and captain, etc. She gets used in a very specific way that anyone who has studied literature will recognise instantly, but her warmth and one-on-one tactics are a welcome departure from the Conference Room.

There are a few episodes that misfire completely but Season Two also contains some of my personal favourites:

-Measure of a Man: a Data-centric story that tests the loyalties and pride of more than one key member of the crew and offers up some palatable philosophical questions for the viewer.

-The Royale: It’s not a standout episode for any specific reason and the sets are cheap, but it feels like a short story from the golden era of sci-fi. It takes elements from other genres and uses them in a new way and by doing so it shows the versatility of ideas and proves that sci-fi truly has zero limitations.

Without a doubt the best thing about S2 is that Commander Riker grew a manly beard. His smug grin is better suited to having hair surround it.

22 episodes, approx 44 minutes each.

4 games of chance out of 5

Serial Experiments Lain (1998)

Lain Iwakura is small for her age. She's reserved, quiet and emotionally inexperienced. She has a small group of friends but their connection is tenuous, based more on shared location than on similar interests. That's the nature of the world in which Lain exists. But there's more than one reality; the real world exists alongside the Wired. Among other things, the Wired is a network that allows communication between distant parties. It connects the individual to other individuals and enables information to be passed along. The synergy between the two existences has a profound maturing effect on the young Lain.

I've watched the series twice and I'm positive there are things in it I still haven't found. It's densely packed with subtleties and philosophical concepts. Where do we go when we die? How do we know we're alive? Did God create us? If so, then who created God? It's possible to skim the surface and still enjoy it, but to really get to grips with its message you'll need to delve a lot deeper.

It's vital, even in the early episodes, that you pay extra close attention because sandwiched between the primary narrative and the subtext sits a commentary on how people interact with each other—not just the things they say, but whether or not they were clearly understood or even acknowledged by the recipient(s). That intangible midpoint between speaker and listener, between creator and participant, becomes ever more important to the overall structure.

The audio doesn't always strive for realism. It's frequently used to convey Lain's mood or emotional state in an exaggerated, expressionistic way, but it's always superb. So too is the animation. The depth of emotion that the Triangle Staff studio animators were able to express behind the eyes is remarkable. There are even some scenes that are really quite disturbing.

Don't expect to be given simple, direct answers to all of your questions. If we had all the answers there'd be no more questions, and if that was the case what would be the point of existence?

13 episodes, approx 24 minutes each.

4½ protocols out of 5

Star Trek: Fan Collective - Klingon (2008)

A four-disc box set containing Klingon centric fan-picked episodes from each of the live action Star Trek TV series. The selection is excellent (I'll include the full list in comments) and is presented in chronological order, not in actual production order, meaning Enterprise is first.

You'll notice that there are two feature-length episodes and a two-parter; I like that kind of thing, but would it not have made more sense to combine the two-parter into a third feature-length and advertise it as such?

Included are TOS: The Trouble with Tribbles and DS9: Trials and Tribble-ations, which, most people reading will already know, are connected despite being made almost thirty years apart. However, if you'd been buying all the Fan Collective boxes as they were released, then you'd already have that particular DS9 episode in the Time Travel (2006) box. It's great to have it alongside the TOS episode, but it's still double-dipping for the consumer and blatant whoring from Paramount.

Extras include audio and/or text commentaries for some episodes from various writers and producers of the show.

11 episodes, approx 44 mins (single ep) or 88 mins (feature-length) each.

4 good days to die out of 5

Spartacus: War of the Damned (2013)

Spartacus... That is not my name.

The 3rd and final season of Starz's bloody and melodramatic retelling of the legendary Spartacus pulls no punches. The action is plentiful and still as over the top gory as viewers have come to expect from the series. The plot is also ramped up with a new and excellent antagonist in Marcus Crassus who is both extremely cunning and intelligent as well as having the resources to enforce his will however he sees fit. Unencumbered by the faults of past romans sent to kill Spartacus makes him a dangerous foe for Spartacus who also must deal with a fracturing of his army as well as the coming winter.

Knowing full well that this would be the last season of the show, the producers and crew spared no expense. Everything from the sets to choreography is much more polished and enhanced while the plot's stakes are raised. It still felt a little rushed given the limited 10 episodes and it's a shame it had to end just as all the actors finally seemed to find the characters and the original melodrama of the show was creeping ever closer to regular drama. The fast paced story and action though is exactly what the show has always delivered and more and won't disappoint fans.

Buyer's Guide:
Available now on DVD and Blu-ray box sets and on iTunes.

4½ History already spoiled it for you out of 5

Salem's Lot (1979)

SL isn't the first Stephen King miniseries review on Nut Box, but chronologically it was the first ever adaptation from one of his books, so I guess we should blame it for starting the ball rolling. It was originally planned as a film, but someone clever at WB decided that due to the source text's length (400+ pages), it would make a better miniseries. Subsequently, as if to prove that respectful thinking and good ideas aren't the same as good business, some cretin butchered it, turning it from a two-part series running 184 minutes into a single theatrical cut running just 112 minutes. That's 72 minutes of footage missing if you go for the theatrical cut! My review is of the longer 184 minutes version.

It's the story of a man and a place, Ben Mears and the titular Salem's Lot. Ben (David Soul - the blond half of Starsky and Hutch), grew up in the town before moving away and becoming a fiction writer. He's the Lot's very own golden boy.

Childhood experiences shape the adult we become, so it's because of Salem's Lot that Ben is Ben, but he can't resist the urge to unravel the mystery of those early years. Doing so could shake the very core of why he's the inquisitive pain in the ass that he is, but Ben doesn't care, he simply wants to know if the house on the hill is the resting place of evil that he always believed it was.

The house has stood cold and empty for many years, but has recently been reoccupied. Hooray for convenient King plot devices.

What follows is a slow-build vampire story that explores the idea of what might happen if the creatures of legend actually existed and occupied small town America; Maine, of course.

Despite the orchestrated pacing of the story there's a distinct lack of unease or panic most of the time. There are a few exceptions, though. A small handful of scenes are genuinely creepy; they're unforgettable once seen and have become highly influential. Good work, Tobe Hooper.

The same drawing from the past that influenced the story is used in the aesthetic of the F. W. Murnau style creature design, which is good for a TV production. As is the music, which occasionally has a slight Hermann/Hitchcock aura about it.

Ultimately, it's a flawed attempt to modernise a classic genre but isn't without its eerie charms if you're not averse to late 70s TV production values.

3 window peepers out of 5

The Sarah Jane Adventures: The Complete Second Season (2009)

I was surprised to see one of the regular cast members leave in the first two-parter of the second Season. It's not Sarah Jane (Elisabeth Sladen), so the series survives the upheaval, but the relationships that were built up in Season One had a lot more potential depth to them. I'd even begun to try and predict where it would go after the series finale. Happily, the replacement character is a similar shaped peg that fits into the existing format well.

There's nothing that I'd call filler, but most of the stories are weaker than S1. The exception, which was both the highlight and the one that quickly became my favourite episode of all so far, was The Temptation of Sarah Jane Smith. It's a powerful story making use of a plot device that won't be new to any fan of sci-fi, but that doesn't lessen it. It packs a potent emotional punch that actually benefits from being simplified for a younger audience. If the melodrama had been piled on too thick it could've easily swamped the narrative and made it much too schmaltzy, but it avoided the pitfalls, so sincere kudos to the writers for that.

The notion of 'family' is a recurring theme throughout the season, and ties everything together. It's shown from different sides: responsibility, self-sacrifice, parental abandonment, etc, but it gives each approach the same level of importance. The surrogate mother role that Sarah Jane filled in the first season is put to the test, and her own upbringing is further explored.

Alongside some rather heavy themes is the affirmation that differences in people should be celebrated, not scorned. It's an important message that everyone watching — not just kids — ought to recognise and take on board.

6 two-part stories (12 episodes), approx 27 minutes each.

3½ "amazing things out there in space" out of 5