And once again, this box set comes up trumps, with Cavan Scott’s story presenting a number of apparently disconnected elements which intertwine by the end of the episode and thrust the ongoing underlying arc forward. I wondered how the new series would introduce some of the mythology of the old, knowing that Natasha Gerson was reprising her role as Morag from the original, and it’s done in a suitably enigmatic way.
The scenes with exorcist Wanda are gross (even if the ideas behind them are eminently sensible) and there was one moment during the final discussion between Wanda and her client that had me laughing out loud – but I guess even exorcists have to keep up with the times! (You’ll know the line when you hear it.) Georgie Glen is excellent as Wanda, giving a strong portrayal of a character who we hear both in control of a situation – and very much not.
John Dorney’s Adam is once again caught up in events he doesn’t understand, but what I’m enjoying both about his performance and the way it’s scripted is that he’s not doing a Scully (or a Brigadier Lethbridge-Stewart), and having to be persuaded each time that there could be more things than are thought on in his philosophy. Note the way in which he talks about his father, and what he was investigating, for instance, or his willingness to get involved.
I don’t want to spoil anyone’s enjoyment of this by giving away the meaning of the title, but what it represents presents certain challenges for cast and crew. All credit to director Ken Bentley and sound designer Martin Montague for their use of the soundscape to sell the idea – there’s a morass of sound at times but you always can hear what you need to.
Verdict: Another strong continuation of the saga. 9/10