No More Merlin, No, No, No!

So the BBC’s Merlin closes its doors on Camelot for the last and final time on Christmas Eve.

After 5 series that have been smash hits all over the globe the Beeb now feels it is has “teased out all it can” from the Arthurian legend and it is finally time to knock the myths and magic bandwagon completely on the head.

No more Colin Morgan and his magic jumbo ears.

No more Bradley James and his pouty swordsmanship and swishy nipples.

No more Angel Coulby cinched so tight into improbably tight dresses that her kidneys grind up against her back teeth.

And worst of all no more Katie McGrath spilling her gloriously pale and fulsome décolletage out of impossibly black dresses as she icily stares wanton evilness over all who dare to cross her gaze.

I find the BBC’s decision unfathomable and unpalatable.

Even without the enticing lure of Katie McGrath’s curvy cleavage of evil bouncing across Camelot’s ferociously defended borders and causing fruity mayhem and musky spillages among the goody-two-shoe knights the BBC can’t fail to have noticed that Merlin has been rather good for their revenue stream.

In these days of financial hardship and the tightening of belts I find it inconceivable that any kind of corporation would willingly cut off a single cash supply. Oh I’m sure Merlin costs millions to make – the sets, the locations, the lingerie, the tight security around Katie’s Winnebago that repulsed my siege engines of love countless times... but I bet you it recoups twice that in international TV rights and DVD sales without breaking a bank manager’s sweat.

“Teased the legend out as far as we can?”

What rot.

There’s loads more they could have done. Loads. I mean, Christ, I could write them a few episodes by next week – provided they were willing to overlook the incongruity of Katie McGrath shod in leather and fishnet stockings sitting astride a vibrating waterbed.

She’s a high priestess of the old religion, for Heaven’s sake, there’s bound to be perks.

Seriously though I find it very sad. Merlin started off a bit too whimsical and kiddie-friendly but then magically matured into a glorious sword and sorcerific drama that restored my faith in the BBC after its appalling run with Robin Hood a year or so earlier.

And now some mealy-mouthed TV exec has drawn up the portcullis on one of the most popular shows of the last 5 years without batting an eyelid or even newting a toad. Or something.

Idiots.

On the bright side though it does mean that when I part with my cash for the Merlin boxed set I know I’ll be getting the complete and entire production output. Unless, of course, they run with my idea for a Christmas special next year (but that all depends on Katie learning to pole dance by then)...

*sigh*

Saturday nights just won’t be the same.

You’ve given me one hell of a sword, BBC, but taken away the stone I liked to fantasise driving it into.

Curse you!

The Cross Your Heart Factor

Is it just me or have certain elements in the current series of the BBC’s Merlin been, for want of a better expression, pumped?

Augmented? Inflated? Swelled?

And this isn’t a complaint – really it isn’t – but I can’t help wondering if the makers of Merlin are subconsciously trying to compete with the rather more adult telling of the King Arthur legend that appeared on our tellies earlier this year under the shockingly original title, Camelot.

‘Cos suddenly Gwenevere’s bosom (donated unselfishly by Angel Coulby) – hardly an insignificant landmark at the best of times – has suddenly grown into planet colliding proportions. It o’erspills. Her cups runneth over. She has gone from wanting to merely catch Arthur’s eye to attempting to skewer both of them out with a two-pronged attack. Run into this girl on a cold morning and you’ll end up with broken ribs on both sides.

I daresay Arthur (Bradley James) will consider that a jolly decent way to go but in terms of courtly love, isn’t it he who is meant to be running the good lady through?

I like Merlin. I liked it from the start though I will admit the first two series were a little too fairytale for me. Thing have got blacker and darker though since series 3 and this present series – the fourth – has seen things getting blacker still. Uther was bumped off in the second episode and Arthur is at last king. Morgana (Katie McGrath) has finally been converted to the dark side and has now (alas) spurned her usual neck plunging dresses and taken to concealing her own otherworldly décolletage behind charred sackcloth and a hairdo redolent of Amy Winehouse battling uphill towards an off-license against a force ten gale in Barnsley (going to wizard rehab? I say no, no, no).

I kind of miss Morgana’s finery. Her off-the-shoulder numbers. Her sneery lipped looks over a forkful of venison. Her twirly earrings that caught the candlelight just before she did someone a particularly bad turn. The show’s writer’s need to be careful that they don’t completely lose her va-va-voom amongst her recently acquired hovel paraphernalia and the pickled frogs she keeps in her medicine cabinet. Morgana’s appeal was always that she was a vamp. She was cold hearted and icy but she was nevertheless, undoubtedly, undeniably, a black hearted vamp. And a tease. The kind that lead a man to his doom without ever actually “putting out”.

Now she’s in danger of becoming a tramp. And not in a good way either. There needs to be some curve and some bosom mixed in with that eye of newt and tongue of lizard. After all the lady is a fox not an old bat.

But maybe this is why the show’s producers are building up Gwen’s part(s)? It kind of makes sense to have Gwen as Camelot’s ye olde pin-up girl. She is, after all, the legendary heroine who attracts all the knights of Camelot from far and wide to come and sup from the warm bounteousness of her round table, not Morgana. The balance of feminine power needs to be shifted – and not just in terms of a well fortified cross-your-heart bra.

Let’s just hope Arthur has got what it takes to locate her Holy Grail... keeping both these femme fatales from tearing out each other’s throats is likely to be very thirsty work indeed.

And I'll be more than happy to drink to that.

My Set Top Box F*cked River Song

You’ve got to love digital technology.

Our set top box is like a virtual octopus. It can multitask. And I don’t mean do stuff sequentially. I mean it can do lots of stuff all at the same time. It can record one channel whilst allowing you to watch another. It can even record 2 channels at once whilst allowing you to play back a recording you made earlier. It can even pause a live programme should you need a loo break and then resume playing it when you are ready so that you don’t miss a single second of your favourite show. Apparently the technical term for this activity is “deferring”.

It’s a cool and convenient little facility and no mistake.

And so we decided to employ it during the season finale of Doctor Who.

Now, I need to give you some additional technical information here. It won’t sound very technical but believe me it is. We were watching Doctor Who. Got that? We had programmed our set top box to record Merlin straight afterwards (eldest boy’s bed time, etc, but he wanted to watch it the next day). OK? Still with me? It should not have been a problem.

Due to a few household happenings and an unplanned for loo break, however, we’d ended up having to defer Doctor Who. It should be fine, I thought, cos this clever technological monstrosity can record 2 things at once so even if we defer Doctor Who until it overlaps Merlin it will be able to cope. We won’t miss a damned thing.

So. Cut to us all sucking up the spectacular sci-fi feast that was the Doctor Who finale. I’m not going to give any spoilers here (sweetie) but it was brilliant. The best DW season finale ever. Packed to the gills, overflowing with ideas, spectacle and heart stopping emotion. The finest bit of television I’ve seen for a long time. If you haven’t seen it yet you’re in for a treat. Superb acting from everyone but especially Matt Smith. And he got to snog Alex Kingston. On the top of a pyramid. Lucky git.

But I digress.

We were 5 minutes away from the end. The Doctor was dead. Seemingly so. River Song (Alex Kingston) and Amy Pond (Karen Gillan) were discussing his demise over a bottle of red. River laughed: but of course the Doctor isn’t dead!

Well, we’d already guessed that given that they’ve lined up Outnumbered's foxy mum, Claire Skinner, for the DW Christmas special. We just needed to know the clever plot device that had allowed this to happen.

How did he escape? How did he do it?

The small ingenious cogs of the script began to turn. The moment, the finale denouement was about to be revealed...

And the bloody set top box stops deferring Doctor Who and suddenly switches straight to real time and commences recording Merlin.

Aaaaargh!

No. No. No.

It can record 2 sodding things at once! How can it not cope with this?! It’s supposed to be clever, for Heaven’s sake!

Doh. Because it can’t record 2 separate things that are being broadcast consecutively on the same channel. The programmed recording takes precedence over the ad hoc ‘live’ recording. It can’t cope with overlapping.

Gah!

Hence, my set top box f*cked River Song. And while I am secretly admiring of that singularly enviable feat (in a metaphorical sense) I am mainly seething at its black, soft moulded casing this morning and considering swapping it out for a top loading VCR.

‘Cos we had to do something that I haven’t done since I was a teenager.

We had to wait for the repeat to be broadcast in order to see what we’d missed (which, being modern times, was shown the very next day on BBC3).

Yes, I know that’s only 24 hours but in this modern world of instant gratification and immediate sensory download that’s like watching Star Wars at the cinema as a kid and then having to wait 5 whole years for it to be finally released on video before you can watch it again.

The great god technology is dead.

Long live technology.

Shooting From The Hip

+++ APOLOGIES +++ MINORITY INTEREST POST +++

There have been but 3 choices of conversation in the work office this week. (1) I'm [hoping to be] A Celebrity Get Me Out Of Here; (2) The Royal Wedding-to-be and (3) The Apprentice.

Now given that (1) and (2) make me want to vomit my sphincter up through my nose this has left me very little in the way of conversational light relief with which to lighten my interminable workload. I did make an attempt at no. (2) by joking that Will's would probably follow his old man and dump Kate in ten years time after finally admitting to a lifetime love affair with Barbara Windsor but that gag was met with tumbleweed so prickly I practically had to roll myself into a little ball and hide under the nearest hedge. The good ladies of the office then resumed their discussion about what colour dress Kate might wear for her big day as if I had never been born.

So. On very different wavelengths there then.

However, the Babs Windsor gag/gaffe does bring me neatly onto subject (3) which I feel I can talk about with impunity and without risk of offending anyone. Except possibly Lord Sugar. But I'm sure he's man enough to take it. You see Babs Windsor has been quoted as saying that the first time she met Lord Sugar - back when he was just Al and not even SrAlan - she came over "all giggly". Why? Because he "reminded her of Sid James".

Sid effing James?!?

What? Did he spend 30 years trying to get into her knickers and then once he'd finally achieved it spend the post coital hours sobbing into her voluminous breasts and using her belly button as a tray for his brandy glass?

I really don't want to think about Sir Alan getting down and dirty with Barbara Windsor. I mean, can you imagine?

"Ere, Babs. I've fired."

"Already? Blimey. And I thought Sid was quick."

Boom boom as Basil Brush would say.

No, let's skip this. My contribution to the work discussion this week was to posit the theory that Sandeesh Samra's firing on The Apprentice was an act of wanton robbery and that Stella English is my favourite to win. Sandeesh because those wild Pharaonic eyes and hawk-like nose make her look like an exotic bird of prey about to Stuka dive onto a small mammal wearing cheap Marks & Spencer Y-fronts and gobble him up for breakfast and Stella because she's smart, sassy, sussed and well tasty. Plus she used to be a model (as you can see from the top picture) and hang around with hard nuts in the East End (so she and Lord Sugar are possibly old pals). (So. Another Babs Windsor connection there then.)

Plainly then it has been a quiet week on the telly when I am turning to The Apprentice to bolster my flagging Blog stats by selecting a couple of the candidates to join the pantheon of babes that already make up my highly irregular TV Totty Of The Week slot. (Blame Merlin - Katie McGrath was hardly in it this week and her absence was keenly felt.)

So, believe it or not, it really is a toss up (no, don't even go there) between Sandeesh and Stella. Only one of them can get the job. I am offering a 6 figure salary (in old money: £12 10s 11d) and a chance to work with me on a new range of shitty computer products to be promoted under the umbrella name SteveTrad. It is, I am sure you'll agree, a once in a lifetime opportunity.

Now normally, Sandeesh being a brunette would be the favourite to win and those mesmeric eyes would certainly make her an ideal Sith apprentice but... just as in the show... she's sadly come into the boardroom with a very strong contender. Being a fickle kind of fellow I do occasionally plump for blondes and Stella, by virtue of being incredibly intelligent and laying into Stuart (this series' resident arsehole) with aplomb and an untouchable sense of her own self-esteem has just pipped Sandeesh to the post.

I know, I know. It's a double blow for Sandeesh. Fired twice in one week. I may have to find her something to do in my back office to keep her mind off it. In the meantime, Stella English (a porn name if ever there was one), you are this week's TV Totty Of The Week and my 3rd nomination is this pathetically puerile series of blog posts.

See: 3rd! And you guys said it would never run.

Morgasma

+++ APOLOGIES +++ MINORITY INTEREST POST +++

So with the return of Merlin to our TV screens last Saturday (apologies to my overseas readers) I find myself dusting off my TV critic’s visor and lance and preparing to saddle up the steed I call “please Radio Times employ me as a columnist”.

The first two series of Merlin were good. They were OK. They were ample. They were entertaining. Compared to the BBC’s ill thought out, misbegotten Robin Hood, they were brilliant. But compared to other stuff the BBC was churning out (Lark Rise To Candleford, Ashes To Ashes to name but 2) the writing was patchy. A good episode was frequently followed by one which merely made me shrug my shoulders and toss my gauntlets down in exasperated ennui. Only the searing brunetteness of Katie McGrath’s Morgana kept my interest constant.

After only one episode it’s impossible to say whether the writer’s of this third series have finally found their legs but they certainly left the starting blocks with enough acceleration to leave Roadrunner spitting out tarmac.

Finally the story is moving. The pieces are beginning to fall into their allotted places. Morgana has turned to the dark side. No more riding around on a palfrey mare looking like a representative of the Scottish Widows (although actually she did do that in this episode); no more haughty looks above a décolletage that I would love to drop my wand into (though, er, she did do a couple of those as well) and no more simpering smiles to Arthur and Uther as if she were accepting an invitation to cream tea at The Berkeley (though, yes, there were some of those but they were all part of her evil plan to lull them into a false state of security).

The dynamic has changed. Old allegiances are broken. The whole social dynamic of the show has been injected with a newer, darker energy. The interaction between the characters is now far more interesting. It’s gone from Enid Blyton jolly japes to C.S Lewis good vs. evil mysticism. There is betrayal and sneering looks afoot. There is righteousness and corruption. This is all much more in-keeping with the Arthurian legend and gives the actors something to really get their teeth into.

For the girls Bradley James (Arthur) spends much of his screen time either swishing his sword or his nipples around in manly topless abandon and Colin Morgan (Merlin) somehow manages to muffle and mangle his muscular Irish accent out of all existence and into a generic English plum with such skill and verve that you completely overlook the fact his ears totally eclipse the light of the sun. How the lighting riggers manage to backlight him without making his head resemble Shrek’s, I don’t know.

For us guys Angel Coulby plays Guinevere as if Thomas Mallory had re-written Cinderella but is wenchy enough to be modern, sassy and, dare I say it, chav-like but all in a positive way (I’d just love her to say to Arthur “yo bruv, it’s well shameful but like I love you, innit”) but for me, the real star is Katie McGrath. Poised, graceful, long limbed, brunette and able to wield a plunging neckline as expertly as she wields a blade. She can pull my sword from its stone anytime.

The producers have found some money too. I suspect the wagon load of groats that was delivered to their gatehouse with a note from the BBC executive team that read “’ere, give us a third series and make it look like Clash of the Titans” had a lot to do with it but I am not complaining. Last night we had giant scorpions, fighting skeletons (almost as good as the ones Ray Harryhausen produced for Sinbad) and a flying dragon. And for once none of it looked too ropy. Hopefully this is a sign the BBC are in for the long haul and we might actually get to see Arthur crowned king rather than have the Beeb pull the plug just as it all starts to come good.

So, all things considered, I will be flying the flag for Camelot every Saturday evening for the next 13 weeks though secretly supporting the dark side just ‘cos the bad girls are hotter than the good ones. And whilst in that vein, Katie McGrath you have the honour of receiving this blog’s second TV Totty Of The Week award for services rendered to corsetry and witchcraft.

Just bung it on the mantelpiece next to your grimoire, luv; it’ll look magic.

Mer Maid

I’m not quite sure why I like the BBC’s “Merlin”.

It’s just as anachronistic as the Beeb’s “Robin Hood” ever was but somehow it has managed to annoy me far less. It just doesn’t jar or set my teeth on edge the way that RH did. Admittedly the “Merlin” costume dept. hasn’t seen fit to deck the Knights of Camelot out in Clint Eastwood style duster coats (as worn by the Merry Men in one famous RH episode) or dragged the invention of gunpowder across a few continents and up a few centuries.

I also suspect that there is something “looser” about the King Arthur legend. It’s not as tightly pinned down historically as Robin Hood. It is rife with magic and magic gives a writer carte blanche to take a few liberties and bend the facts a little… It’s to be expected and acceptable. And at the end of the day the “facts” around King Arthur have all been bent out of true anyway. Our present day take on the legend is a hundred miles away from that of the original (?) Welsh legend. Sir Thomas Mallory, lawd bless ‘im, was the Barbara Cartland of his day.

“Merlin” is also perfect Saturday night teatime family viewing. It knows its place and is happy to settle in there like a Phoenix plumping its nest. It’s got legs aplenty and I’m sure it will run and run whereas I feel that the “Robin Hood” production team rather shot their bolt prematurely with the last series of RH and have left themselves nowhere worthwhile to go.

The effects in “Merlin” are a little on the dodgy / cheap side but acceptable – i.e. they’re good BBC standard but would be laughed off the big screen. The castle is suitably grand and whimsical – far too European to be British, of course – and occasionally borders on the Walt Disney but I can overlook that. I’m also prepared to overlook the chain-mail armour which I’m sure wasn’t around for a hundred years or so after Arthur’s existence and the fact that even the poorest of peasants seem to live in substantial stone walled dwellings that would fetch a fair price on the modern day property market.

This largesse from one so normally picky and pedantic is due in some small part to the actors. Don’t get me wrong, there’s no performance here that is going to win someone a Bafta or an OBE – the script just doesn’t have that kind of range – but it’s all very well done and the actors are obviously committed. The tongue-in-cheek-ness that so ruined RH and made it a virtual pantomime is gratifyingly absent and instead we have full-on “BBC costume drama earnestness”.

And that is not a complaint.

I suspect “Merlin” is going to be a jumping board for a new batch of British TV stars who will go on to bigger and better things. Colin Morgan and Bradley James give good value as Merlin and Arthur respectively – they’re kind of an Arthurian version of Charles Ryder and Sebastian Flyte only without the man hugs and Aloysius the teddy bear. Anthony Head is pretty good as Uther though I can’t take his moments of gravitas seriously at all. I don’t know what it is – God knows I was never a Buffy fan – but whenever Mr Head talks I just feel like I’m listening to him present a voice-over to Heroes Unmasked or a Channel 5 documentary about the pervy religious rites of the Mayans.

And then there’s Richard Wilson as Gaius. What can I say? He’s so damned good I’d actually stopped making “I don’t believe it” jokes by the end of the second episode. Nuff said.

For me though the biggest pull (as if you haven’t guessed) is Katie McGrath as the poised and lofty Morgana. Hey, she’s a brunette, OK? And she steps neatly into the Saturday night TV totty void created when Lucy Griffiths’ Marion was insanely killed off in the last series of RH. Karen gave me a raised eyebrow when I purred my approval of Morgana and suggested that Gwen (Guinevere), played by Angel Coulby, seemed a far more fiery and passionate a prospect for a young man’s desire than Morgana who was plainly much too much of a “lady”. “Lady” said with a haughty, hoity-toity down-the-nose sneer.

And I have to agree. Gwen is far more of a wench than a lady and, yes, she’s comely enough (sire) but, in my (sadly) limited experience, wenches tend to be mere ladies in bed while ladies are definitely, most definitely wenches…