Merlin Season Two (2009)

 

(These reviews were written in 2009 and originally published in the print version of This Way Up fanzine)

There’s no question that Merlin, right from the start, was a more sure footed series than either Robin Hood or Primeval. The show seemed to have more concise scripts, was better cast and looked great. What niggled during season one though, was that for all those assets, the storylines seemed repetitive and a little too rigid. The acting, sparky dialogue, excellent cinematography and visual effects towered above the narrative which stopped the show reaching its potential. You could be impressed or amused but rarely dazzled by what you saw. It did improve towards the end but what Merlin needed was not just to be good but to be GREAT.

Season Two is GREAT. In fact, as it progressed it’s got better and better concluding with two astoundingly good episodes that, for the first time, see the show match the charismatic mix of Doctor Who which, let’s face it, is the benchmark for this kind of series. For the first time, the viewer becomes emotionally involved as we see the early simmering of the Arthur and Gwen story, Merlin’s position coming under greater threat and the dragon getting more fractious. The improved scripts still deliver the thrills and spills but they are surpassed by the tone of each episode. There’s some broad comedy, particularly evident in the relaxed friendship between Arthur and Merlin, there’s a much greater sense of danger from the villains and the plots are more varied. Each of the cast is given more as we discover more about each of them so that when the last two episodes cut loose, it doesn’t feel like some crazy sensationalist finale but genuine developments that we can relate to.

Each of the roles is refined and improved; Anthony Head’s Uther is never just the raging bigot he might seem; the actor and scripts paint a portrait of a man who is sealed in the past and some of the most rewarding scenes come when his hidebound attitudes are challenged by Arthur or Morgana. Katie McGrath in the latter role was under-used last year but shines in several episodes this time as Morgana grows to hate Uther and develops a sense of what she can do. Gwen and Arthur’s potential romance is introduced in the second episode with a lovely sunlit backed kiss and yet the `forbidden love` aspect is never overplayed, often relying on looks and glances between the two. Angel Coulby manages this so well, she’s really grown into the role this year. Bradley James and Colin Morgan now have an indefatigable chemistry that translates strongly on screen and the latter’s changing relationship with Gaius (less argumentative more mutual respect) is reflected in Richard Wilson’s less abrasive approach. Most of all Colin Morgan has become the strong lead actor a series like this needs, able to convey any emotion with clarity and skill, taking us with him on Merlin’s journey. The result is a confidant, entertaining and dramatic show that had transcended the roots if it’s genesis and legend to become a worthwhile creation in itself. Now that is magic!

2.1 The Curse of Cornelius Sigan. 

A bold start encompasses almost as many monster FX as in the whole of the first series which, combined with an air of impending chaos plays more like a season finale.  Some ferocious gargoyles are far more photo realistic than last season’s monsters with a particularly well staged night time attack showing a growing confidence regarding action scenes.

It’s a shame the narrative is not always as robust; Cedric gradually winning the trust of Arthur by undermining Merlin might have been better played out as a sub plot over several episodes first rather than being the unbelievably sudden development it is portrayed as here. Also, having developed the Arthur / Merlin relationship so well over season one, writer Julian Jones has the characters revert to earlier type with them squabbling childishly. Considering all that’s happened you just can’t accept that Arthur would so willingly abandon Merlin for someone who turns up out of the blue. A more basic error occurs during what is otherwise a thrilling confrontation between Merlin and the possessed Cedric. This all takes place in the middle of the courtyard with everyone inside and either nobody thinks to glance out of the windows or else Camelot has the worst window cleaners in history. Either way not one person spots Merlin using magic and at the very least you’d think Uther would want to have a peak.

All that being said, the cast are as strong as usual (though the girls are once again under-used) with Colin Morgan in outstanding form and there’s a menacing guest spot for Mackenzie Crook. The episode is powerful enough to be a good season opener but hopefully its narrative weaknesses will not be carried forward.

2.2 The Once and Future Queen

As the knowing title suggests this is the episode where the first seeds of the Arthur / Guinevere romance are sewn though it occurs during the most unlikely circumstances. The Prince is determined to win the annual Jousting tournament without people holding back because of his position so conjures up a wheeze whereby he’ll enter in disguise. That this works at all is largely down to the comedic manner in which it is put over with lots of levity and amused glances between Arthur, Merlin and Genevieve, in whose house Arthur resides for the duration. Meanwhile a vengeful father has hired an assassin to kill Arthur which adds some excitement to proceedings. 

This is the series at its most relaxed with the main trio showing their comedy chops against a backdrop of some convincingly staged jousting (far better than last year’s tournament episode).  Particularly good are the scenes between Arthur and Gwen which show a certain combative undertow to their burgeoning relationship and a beautifully staged kiss as well. Of course, their relative positions can only mean the relationship for the moment has little future. The assassin side of the plot is rather generic but the narrative as a whole broadens Arthur considerably as a character, developments which will hopefully be adhered to from here on. Plus it is Angel Coulby’s best episode in a while, her mixture of subservience and love is played with subtlety throughout.

 2.3 The Nightmare Begins

During the first season the Morgana centric episodes were amongst the very best and it seems that tradition is continuing. Though the previous two episodes have been great, episode 3 leaps forward much more confidently with Morgana fleeing Camelot on Merlin’s advice, to find out more about her burgeoning powers from the druids. Eschewing establishing scenes, we’re plunged right into matters with a speed that does not let up. Fabulous performances come from Kate McGrath (mixing fear and determination) and Colin Morgan (Merlin is desperate to tell her his secret but can’t) while director Jeremy Webb keeps the action fluid. It helps too that we’re in the mystical woods and there’s some excellent direction and scarily effective giant scorpions as well. 

The dextrous script manages to intrigue right to the end; in fact it’s becoming a trademark for the show to have you guessing just how the characters will extricate themselves from situations, here Merlin uses subtler magic yet sometimes just his wits. The script’s lighter moments concern Arthur thinking Merlin has a crush on Morgana but the way Morgan plays the episode, it looks like this may be true as well which adds an extra dimension. It really is fun to see everyone performing so well in a dramatic, exciting episode which shows the series is coming of age, just like Morgana. Only slight niggle is that Colin Salmon seems wasted in a relatively small role.

 2.4 Lancelot and Guinevere 

While we love Merlin here at TWU Towers, there is a widespread opinion that while the series is well produced and acted, it lacks a certain special something, a spark to lift it from good to great. Well, this argument was already sagging after three excellent episodes but now must surely hold no validity. For the series’ secret weapon- the one of course it always held- is now in the open. It plays out when Morgana and Gwen are kidnapped and when the former escapes, the latter has to pretend to be the ward for the benefit of some unpleasant warriors after a hostage. And when Uther does not deem rescuing a servant worth bothering with, Arthur decides to do it himself, dragging Merlin along of course. 

We know that Guinevere will one day be Queen but the fact that, for now, both Arthur and Lancelot are in love with her is surely a driver for greater things. Setting up each character so we can sympathise with their point of view means we must live things with them and thanks to superlative performances, particularly from Angel Coulby, this is something to make people tune in each week. There’s a lot packed in- once again suggesting this whole season will be twice the speed of the first- and a good balance between jeopardy, action, romance and comedy. The latter, as Arthur and Merlin exchange banter on a perilous journey is becoming one of the show’s strong points. There’s plenty of action and some well realised giant baby rats, called Wilderene, the sort of lumpy gruesome monster that served Primeval so well. If Gwen and Lancelot’s dialogue is a bit greetings card light, it’s played with such utter conviction by the actors that you believe in it. As all parties meet near the end, there’s a great wordless moment as each realises the truth of the situation. 

 2.5 Beauty and the Beast      

Perhaps this will divide Merlin fans being tonally much more frivolous than usual but it’s surely proof that the series is starting to stretch and explore its flexibility. Uther falling under the spell of Lady Catrina who is in reality a Troll gives Anthony Head something different to do. Sarah Parish gets her second big fantasy villain role of late (she was the enormous red spider Empress in Doctor Who) and seems to love this sort of thing. Aided by some revolting prosthetics and suitably gross sound effects, she is great though at her funniest when appearing as herself but behaving in Troll fashion. The fact that we see her true from form the start allows a hefty amount of levity to ensue for the viewer. 

Notable aspects of the episode include a more familial feel to the Merlin / Gaius relationship and a sense of them working together plus the running theme of Arthur interpreting Merlin’s actions as due to infatuation is played again and works well. Things get a bit more serious towards the end and director David Moore imbues Merlin’ dash to get to the throne room to stop Uther marrying the Troll with a sustained urgency. 

2.6 Beauty and the Beast part 2  

Just as funny as part 1 (though weirdly written and directed by other people), this episode is a tidy lesson in how to play a humorous episode yet not forget what’s at stake. There are several successful moments where silliness turns to jeopardy, for example Gaius’ declaration to Uther that his wife is a Troll. Arthur and Morgaine's reaction is priceless too in a hilarious scene where it becomes clear that despite Catrina’s true form now visible to all, Uther still sees her as she was despite the fact she’s just ripped a huge door from its hinges! The resulting scenes in Uther’s room will not be forgotten by the actors for quite a while you suspect! 

Sarah Parish turns in another comic turn that is matched by Tony Head’s deadpan reactions; you wonder just how many takes they had to do. Colin Morgan and Bradley James’ timing is also put to good use on several occasions.  Fans often dislike more frivolous episodes of their favourite show and writers often use them as an excuse to mess about with no purpose, but this is pitched perfectly throughout and what’s more, it gels. There’ll be more thrilling episodes this season but there’s unlikely to be any that are as much fun as this!

 2.7 The Witchfinder 

A cracking episode that reaps the rewards from this season’s developments while also being the first to give everyone something significant to do. With his usual steely glare, Charles Dance has cornered the market in urbane nastiness and is in his element here as a Witchfinder summoned by Uther after several reports of magic. Soon, Merlin, Morgana and Gaius all find themselves in the frame. Yet the show’s developments pay off; Uther seems more doubtful at sentencing Gaius to death whilst Gwen has much more of an influence in persuading Arthur to try to intervene. Most of all, the paternal relationship that’s grown between Gaius and Merlin shows in what both are prepared to risk while Morgaine’s secrets give her much cause for concern.  Courtesy of Jeremy Webb’s direction and strong performances all round, we can feel the tension of the situation.

 2.8 The Sins of the Father

What starts out as a somewhat familiar scenario (another sorceress babbling away in her cold domain) turns into something altogether more substantial. For said sorceress Morgeuse turns out to be Morgana’s half sister and ends up telling Arthur the truth about his birth. Cue the prince dashing back to confront his father in a scene played to the hilt by both Anthony Head and Bradley James. Yet it’s Merlin’s predicament that turns out to be the most surprising as he manages to convince Arthur he’s been bewitched to believe a lie, though this of course reinforces Arthur’s hitherto shaky belief in the evil of magic. 

Perhaps more could have been made of what is a superbly constructed dilemma for the title character than having the episode end with a bit of a joke. Emilia Fox seems unsure how to pitch her performance as Morgeuse though carries the character’s duplicitous side well enough. The revelations and the way they’re taken back may disappoint some but in the end the overall series’ tidal development means we’re edging closer to change with each episode and the season remains a remarkably strong run of episodes to date.

 2.9 The Lady of the Lake

The tone of this episode oscillates between broad humour and emotional drama rather too abruptly for the latter to have as much impact as it should. The problem lies with the awkward plot which has Merlin and Freya scuttling to and from her bolthole with decreasing credibility given the fact that guards are supposed to be looking for them everywhere. Their scenes together are rushed and it’s only down to the actors that any semblance of romance is established. How exactly they escape from Camelot at the end is not even addressed. All that being said, Colin Morgan shows his breadth here, continuing the great comic rapport he’s established with Bradley James while managing to help Freya. Yet even his efforts are undermined by a final scene where he’s having a laugh with Gaius after just seeing what has been his first love perish. It’s a shame because there’s potential in the scenario.

Unusually even the action stuff seems ill judged, with a somewhat tame encounter with Freya’s true (and terrifyingly realised) form lacking tension. There is something endearing that it is the very episode where Merlin falls in love that is so self consciously rendered but after 8 superb weeks perhaps inevitable. Really, this is two separate episodes pushed together rather unsuccessfully.

2.10 Sweet Dreams

A recurring feature of this season has been the broader comedic slant bubbling underneath the surface which take centre stage in this somewhat frivolous but enjoyable episode. If characters in comas was last year’s favourite peril, then this year it’s people being enchanted by dangerous women. What this says about the all male writing team I’m not sure! This time it’s Arthur’s turn as he is bewitched into falling for the brash Lady Vivian (played by Georgia Moffett) only for Merlin to think it’s Gwen whom the Prince is about to openly declare his feelings for. Cue lots of misunderstandings and disappointment for Gwen, played with dignity by Angel Coulby. The burgeoning Colin Morgan / Bradley James comedy relationship makes this surely the most relaxed Merlin episode to date. It’s just a shame that the villain's hamminess doesn’t match the dextrous timing elsewhere and that the whole thing takes place in an unconvincing peace conference. Plus it is stretching credulity in any series to have a monarch who would go to war if someone so much as talked to his daughter. Still there’s plenty to amuse in what is a sort of calm before the storm interlude.

 2.11 The Witches Quickening

This is an excellent first act of what is essentially a three part finale, with all the accumulated developments of the season bearing fruit. Jake Michie’s script is a very assured movement of the characters allowing us to understand what each of them is thinking but the result is never clinical. There are plenty of standout moments but it’s the argument between Uther and Morgana that seems to set the tone for the upcoming climax. Alice Troughton captures every nuance, especially aspects like Morgana’s fearful glances, Mordred’s dangerous presence and the dragon virtually tearing at its chains. Performances are uniformly good, in fact it’s impossible to find fault with what has to be Merlin’s first bona fide classic episode. 

 2.12 The Fire if Idirsholas 

As a penultimate episode, this ticks all the boxes and delivers as powerful a scenario as the series has yet managed. The sense of impending doom is present throughout as several plot threads are woven together with the sort of crowd pleasing result that justifies the commissioning of a third season, announced the week this was broadcast. The episode swings the show in a new direction so that by the end Morgana is poisoned by Merlin who in return for all that advice finally frees the dragon. 

The timing is impeccable; the series’ status quo has lasted just long enough to justify change and Julian Jones’ confident script pulls it together perfectly. The best aspect of the narrative is how Merlin is starting to make important decisions for himself. With Colin Morgan giving his best performance yet – and that’s saying something as he’s been great from day one- we understand Merlin’s dilemma and the mixture of strength and naiveté he possesses. The Merlin of season one could never have done either of the life changing things he does in this episode. As ever this year the production is sumptuous and brimful of atmosphere with superbly realised action sequences but it’s in the key scenes that it excels particularly the way the poisoning scene is shot to allow us to see both characters simultaneously. A bold rewarding episode that sets up a potentially thrilling season finale. 

2.13 The Last Dragonlord

Season finales are tricky things; there are many series that build and build towards a climax which disappoints because expectations have been ramped too high. `The Last Dragonlord` is not one of those; in fact quite the opposite. It rewards the season’s scripting diligence and restraint with Merlin’s most breathtaking and emotional episode to date, scene after scene is rendered so perfectly that the viewer is swept along.  Colin Morgan owns this episode. In relatively few brief scenes, his reaction to the news of his father and subsequent meeting with him is superbly played, while his bubbling anger and fear is present in every shot. Morgan’s self assured, yet vulnerable performance makes the already exciting premise even better. As in the previous week’s episode, the surprise here is how the show is lurching away from its formula with dynamic results such as Uther’s helplessness which in turn brings out more of Arthur’s king-like demeanour,

Some commentators have quibbled with the fact that the dragon tries to kill Arthur, after continually telling Merlin he must be protected and this does seem a little inconsistent. On the one hand, the dragon may simply have been lying to Merlin to get his confidence to ask for help in return for his release, yet the dragon’s help was useful. And given the dragon’s sense of destiny, why not just kill Uther and his knights rather than randomly slaughter anyone? We can afford to be generous though and suggest this will be answered next season; surely the fact the dragon was allowed to escape suggests this will be the case. In fact it’s good for the series to have unanswered questions as some of the plots, particularly in season one were tied up a bit too neatly.

A fitting, fabulous finale then for what’s been an excellent season but more importantly these last two episodes have been the first where you want to watch them again right away. If they keep to this standard, next season of Merlin will be unmissable.

Reviews of seasons three, four and five are on the main blog.