Starring Gareth Thomas, Paul Darrow, Paul Daneman, Ronald Lacey, Colin Farrell, Colin Higgins, Michael Gaunt, Morris Barry, Michael Keating, Sally Knyvette, Jan Chappell & Peter Tuddenham
Written by Robert Holmes
Directed by Vere Lorrimer
Avon and Villa are dropping in on an old friend: intent on getting hold of the Federation's latest method of communication. However, the pair are soon to find themselves double crossed, and there very lives in danger...
Blake, on the other hand, has his own problems. A deep space cruiser has come into orbit around Fosforon, and the Federation base below are intent on studying it. However, that study could lead to the deaths of everyone on the planet...and maybe even the galaxy...
I'm suprised that it took David Maloney so long before commissioning a script for Blake's 7 from sci fi genius Robert Holmes. His scripts for Doctor Who are, for the most part, phenomenal, and to see his name down on a Blake's 7 is an automatic boost. And Holmes certainly doesn't disappoint, giving the story his usual mixing pot of strong ideas, great dialogue and warm characters. Together with the rest of the cast and crew, Killer quickly becomes one of the strongest scripts this season for Blake's 7.
The story seems so simple, but, like Seek-Locate-Destroy or Project Avalon from last season, everything comes together to make a much more satifying whole. The double pronged story has been something that Terry Nation has often used in his scripts, and while there, the ideas mostly failed, here, there really strongly portrayed, because the two stories dovetail into each other perfectly. There's no pushing and shoving between storylines, and therefore the story is much more consistant. And there are lovely Robert Holmes flourishes in the script, especially in his writing of the Avon/Villa double act and Blake's rapport with the scientist Bellfrier. These two pairs get some great moments, Blake and Bellfrier working out the origins of the virus, while Avon and Villa getting into some almost comic situations - and outfits. It is a pity that Cally and Jenna are left up on the Liberator, however the brilliant moments with the remainder of the cast are fantastic. And the idea that Avon is calling on his old debts is great, because it gives depth to the character. While he certainly wasn't a one dimensional characture, it just nice to give him an extra layer, and it's something that has potential, if it were to be explored. And the fact that his friends as duplicitous and cold as he is really says something about his choice of company, and it makes him look warm and cuddly in comparison. The virus subplot is handled well, the tension building as hysteria mounts and the situation gets steadily worse. It's the perfect way to do this type of story, because you get a genuinely tense feel for how this scenerio would play out in the real world.
The characters, as I've mentioned earlier, are the backbone of this script. The way they interact, and the depth that they are given is something that only comes with a Robert Holmes script. Certainly, the characters aren't as deep as anything that Bob came up with for Caves Of Androzani or Talons Of Weng Chiang, but they certainly impress. At this point, however, it is a shame that Jenna and Cally are left up on the Liberator. This series, neither has had much to do, especially Cally, who really only had a minor subplot in Shadow to shine. Jenna has had a couple more opportunities to shine, but both seem to be suffering the same way that Gan did. And we all know what happened to him. The cast, however, don't show this, all of them giving there all. Not one of them is looking board with the material, which wasn't quite true behind the scenes, so I've heard. The guest cast also give a good showing, especially Paul Danerman and Ronald Lacey, who really bring there characters to life with gusto and conviction. And while the direction isn't as unique as Jonathan Wright Miller's or as action packed as George Spenton-Foster's, Vere Lorrimer certainly gives it his all, making up for his rather lacklustre direction in Redemption.
There's little more I can say about Killer, and that's not a bad thing. It's just that it's easy to sum up why it's so good: Robert Holmes. That, frankly, is enough. You don't need any more.
Liberator Rating - 8/10
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