Daddy’s Home – Film Review

Five years after forming a weirdly amusing double act in clumsy cop spoof The Other Guys, Will Ferrell and Mark Wahlberg finally reteam for this pleasant but predictable comedy from Sean Anders, only this time they are on opposing sides as warring dads battling to win their kids’ affections.

Ferrell is Brad, a nebbish radio executive who, despite leaving inspirational notes in their backpacks and offering handy conflict resolution techniques, struggles to win the hearts of his wife Sara’s two children, Megan (Scarlett Estevez) and Dylan (Own Vaccaro). But just when he finally seems to be making headway with the adorable ragamuffins, Brad’s status as the family’s material and moral provider is rocked by the news that Sara’s ex-husband Dusty is making an unexpected visit.

With his badass leather jacket, slick-back hair and muscles sculpted by the gods, Dusty’s arrival immediately intimidates Brad, especially when he sees how effortlessly Megan and Dylan reconnect with their biological father. It quickly becomes clear Dusty is hell-bent on driving Brad out of his kids’ lives and winning back his ex-wife, but Ferrell’s mild-mannered husband isn’t prepared to give up his new-found family without a fight.

What follows is a good old-fashioned dad-off as Brad and Dusty go to outrageous lengths to out-do each other over who can tell the better bedtime story, bust the better tricks on a halfpipe and offer the better advice on how to take-down a gang of bullies. Anders stretches all the mileage out of Dusty’s repeated attempts to emasculate his wimpy rival – including a literal dick-swinging contest during a visit to Bobby Cannavale’s fertility doctor – but the one-note gag isn’t fresh or inventive enough to sustain a 96-minute movie. It’s funny in patches, the stand-out sequence being a disastrous trip to an LA Lakers’ game that ends with a sozzled Brad accidentally braining a cheerleader with a basketball, but the laughs are few and far between causing the second act to drag as a consequence.

Though they are only playing their usual hackneyed personas, Ferrell and Wahlberg still come-off as a winning, likeable and funny double act largely thanks to their improbable odd-couple chemistry. However, Thomas Haden Church and Hannibal Buress are wasted in odd-ball supporting roles as Brad’s boss and a freeloading handyman respectively, while the talented Linda Cardellini is reduced to eye-rolling and arm-crossing as Brad’s exasperated housewife.

The end is of course dripping in syrupy sentiment, which at least leaves a warm, fuzzy feeling inside, but the dearth of genuinely funny ideas throughout will ensure you’ve likely lost interest long before it gets that far.

Runtime: 96 mins; Genre: Comedy; Released: 25 December 2015;

Director: Sean Anders; Writers: Brian Burns, Sean Anders;

Cast: Will Ferrell, Mark Wahlberg, Linda Cardellini, Hannibal Buress

Click here to watch a trailer for Daddy’s Home

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Star Wars: The Force Awakens – Film Review

Anyone who has ever turned an empty wrapping paper roll into a makeshift lightsaber or pretended to use the force to open a set of automatic doors at the supermarket has at some point replayed Return of the Jedi’s cosy final moments and fantasised about what happens next.

That’s why Star Wars: The Force Awakens is the most fervently anticipated movie of the decade. For JJ Abrams, the director hand-picked to continue George Lucas’s era-defining saga, the chief challenge in measuring up to almost thirty years of anticipation was to recreate the Star Wars we all know and love but in a way we’ve never seen before.

The likelihood of succeeding was about the same as a Stormtrooper actually hitting his target, but Abrams tackles the task in a confident, spectacular fashion, delivering a familiar-but-fresh adventure that goes far, far beyond any fan’s wildest dreams.

For the most part, Abrams nimbly walks the fine line between reverence to the original trilogy and providing this sleeping giant of a franchise with a much needed shot in the arm. The result is a Star Wars movie that has everything you could hope for – dizzying dogfights, gritty lightsaber duels, AWOL Jedi – each element infused with a playful modern twist that’s sure to have everyone in the audience beaming like a seven-year-old again.

More importantly, as a self-avowed Star Wars fan, Abrams understands the importance of using people and emotion as the driving force behind the action. Every character here has a clearly defined dramatic arc to play-out – some of which have been simmering for more than three decades – which gives the action an urgency and sense of power the prequel trilogy could never muster due to its overreliance on ludicrous twists of fate.

The story picks up thirty years after the defeat of the Galactic Empire. Luke Skywalker has gone missing and a desperate Resistance despatches superstar pilot Poe Dameron to the desert planet Jakku to recover a clue to the whereabouts of the last remaining Jedi Knight. His mission is disrupted by the marauding forces of the First Order, led by Adam Driver’s Kylo Ren, forcing Poe to hide the intelligence inside a BB-8 droid, which promptly scarpers into the desert. There everyone’s new favourite Christmas toy rolls into Rey, a young scavenger who is stranded on the planet and still waiting for her parents to return.

Meanwhile, a Stormtrooper involved in Poe’s capture suffers a crisis of conscience. Seeing an opportunity to make his escape, he frees the tortured pilot and steals a TIE Fighter to return them to Jakku. But when their ship crash lands back in the desert, the newly christened Finn is left with no choice but to team-up with Rey to return the necessary information on Luke’s whereabouts to the Resistance before the First Order can mount a deadly attack from their secret base.

The search for Luke kicks-off a gleeful, genuinely surprising adventure that’s stuffed with more high-stakes battles and dizzying aerial acrobatics than you could possible handle. Abrams’ efforts to ditch the prequels’ unappealing CGI-aesthetic in favour of practical effects works perfectly, restoring the rickety charm of the originals through handmade puppets and tangible alien landscapes. On the rare occasions digital imagery is preferred, it’s used to great effect, infusing flight sequences with a greater pace and invention, such as our reintroduction to the Millennium Flacon, which twists and plunges in ways that will make your heart soar.

It’s unbelievably good to see Han and Chewy back on board the Millennium Flacon again – later joined by Leia and a couple of familiar robots – but, some brief poignant moments aside, the old gang are mostly here to pass the baton to the film’s new generation of heroes.

And it’s here that The Force Awakens stumbles. Attack the Block’s John Boyega and Oscar Isaac are both lumbered with roles that are heavy on charisma but rather low on nuance. Isaac’s Poe, especially, is thinly sketched, his role amounting to little more than whooping with glee inside a cockpit, which is, admittedly, a pretty fun way to pick up a paycheque.

It’s Rey who turns out to be the most intriguing of the new breed, with newcomer Daisy Ridley imbuing the scavenger with resourcefulness and maturity despite her background being left largely unexplored in preparation for future films.

Those on the dark side fare far better in terms of character development. Kylo Ren is not only a worthy heir to Darth Vader, he’s also a much more formidable presence than the franchise’s iconic figurehead. Part ferocious warrior, part petulant kid, Ren wields astonishing power with a callous unpredictability, freezing a blaster bolt with a mere wave of his hand. He also has the most interesting arc in the film, with his struggle against the seduction of the light making him a more layered and complicated villain than you might expect of a blockbuster franchise.

Ren is partnered with Domhnall Gleeson’s General Hux, a sneering military man who commands the First Order’s vast army of Stormtroopers. While Hux’s dialogue consists mostly of clunky techno-babble, Gleeson impressively instils a sense of menace and authority into his limited role.

Only Ren’s master, Supreme Leader Snoke (Andy Serkis), fails to live up to expectations, as the character is too rarely seen to make a lasting impact. It’s notable that the motion-capture work behind Snoke is the only time Abrams relies too heavily on CGI, resulting in a cartoonish look that unfortunately dampens the power of his presence.

The Force Awakens can also be too beholden to Star Wars past for its own good. The story perhaps sticks too close to the formula of A New Hope, which often means significant plot points are too easy to predict. One key moment in particular lacks the weight and resonance required because it’s so clearly signposted you’ve already moved on from it before it even happens.

Yet The Force Awakens is still far better than anyone could have reasonably hoped, freshening up the Star Wars formula with brave innovations whilst setting things up wonderfully for Episode VIII. Fans can finally sleep easy again. The Force is strong in this one.

Runtime: 135 mins; Genre: Sci-Fi; Released: 17 December 2015;

Director: JJ Abrams; Screenwriters: JJ Abrams, Lawrence Kasdan, Michael Arndt;

Cast: Daisy Ridley, John Boyega, Oscar Isaac, Harrison Ford, Adam Driver

Click here to watch the trailer for Star Wars: The Force Awakens

Weekly TV News Round-Up

 

This week, in TV news: House of Cards gets a release date, Black Mirror gets some new faces and Kiefer Sutherland enters the Oval Office

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 House of Cards lands in March

The fourth season of House of Cards will be released on Netflix on March 4th, 2016, as revealed in a new campaign ad from Kevin Spacey’s scheming president Frank Underwood.

Not much is known about the new season – except that we’re in for a bumper run of 26 episodes – with the 30-second promo offering no clues as to how the cliffhanger that ended the third run will be resolved.

We do know that Neve Campbell has joined the cast, however, and rumours suggest she could be playing one half of a young power couple poised to rival a divided Frank and Claire Underwood (Robin Wright).

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Stars announced for Black Mirror

Following the surprising announcement that Charlie Brooker’s Black Mirror will be ditching Channel 4 in favour of Netflix’s more tech-savvy environs for its third run, the online-streaming giant has teased which stars will be involved in the upcoming series. Beyond the Lights’ Gugu Mbatha-Raw and The Martian’s Mackenzie Davis are confirmed to appear in the new episodes.

Plot details about their characters are naturally thin on the ground at this early stage, all we know is that Mbatha-Raw and Davis will appear in one of the 12 new installments Brooker is currently working on for the dark anthology series.

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Kiefer Sutherland will be President

He saved the lives of countless US Presidents during his stint as gravelly-voiced terrorist-thwarter Jack Bauer in 24, now Kiefer Sutherland will find out what it’s like to actually be the leader of the free world as part of ABC’s Designated Survivor.

Sutherland is set to star as a low-level cabinet member who is promoted to President after a tragic attack during the State of the Union leaves everyone dead. An Inconvenient Truth director David Guggenheim wrote the script for the show, with X-Men’s Simon Kinberg acting as executive producer.

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 Tom Hughes joins ITV’s Victoria

Filming has been underway for more than two months, but ITV’s regal biopic Victoria still hasn’t quite finished filling out its core cast. The Silk’s Tom Hughes has just signed on to play the Queen’s handsome other half, Prince Albert.

Jenna Coleman is already installed in the lead role for the 8-part drama, which follows Queen Victoria from her ascension to the throne to her marriage to Hughes’ Albert.

Paul Rhys, Peter Firth and Catherine Flemming have also joined the cast, alongside Rufus Sewell as Lord Melbourne and Alex Jennings as King Leopold I of Belgium.

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Gotham is finally coming to the UK

While superhero drama Gotham is already mid-way through its second season over in the US, UK fans of the grim Bat-prequel are still waiting for it to arrive on this side of the pond. We don’t have much longer to wait as Channel 5 has confirmed the new episodes will air from Monday, January 11.

The series stars Ben McKenzie as a young Jim Gordon, who slowly climbs through the ranks of the GCPD whilst facing off against several of Batman’s fledging villains.

Breaking Bad’s Michael Brown and Orange is the New Black’s Lori Petty are just two of the fresh faces set to appear in the upcoming season, along with Paul Ruebens, who will reprise his role as The Penguin’s father Tucker Cobblepot from Batman Returns.

Weekly TV News Round-Up

This week, in TV news: Scott Buck takes on Iron Fist, Stephen Mangan tackles a literary legend and Channel 5 investigates an alien invasion.

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Scott Buck Boards Iron Fist

With Daredevil and Jessica Jones already on screen and Luke Cage hot on their heels, Marvel finally has time to focus on the forgotten member of its Defenders crossover series. The studio has teamed-up with Dexter’s Scott Buck to bring Iron Fist to Netflix.

Pitched almost as a mystical version of the Green Arrow, the show will follow the trials and tribulations of Danny Rand, a wealthy entrepreneur who returns to New York City years after he was thought to have died. Finding his home corrupted by a criminal element, he sets out to eliminate the bad guys using his incredible kung-fu mastery and ability to summon the awesome power of the fiery Iron Fist.

A veteran of Rome, Six Feet Under and Dexter (where he worked with Jessica Jones showrunner Melissa Rosenberg), Buck will now get started on cranking out the scripts, with the series expected to appear sometime in 2017. Before that, Luke Cage and a second season of Daredevil are both expected to air in 2016, while Jessica Jones is available on Netflix right now.

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The Truth is Out There… On Channel 5

While the arrival of a new series of The X-Files may be just over a month away in the US, information on when we can expect to see the revived series on this side of the pond has been suspiciously lacking thus far. Thankfully, the show has finally found a home on these shores, with Channel 5 picking up the series in the UK.

The classic sic-fi series is set to return early next year for a new six-episode season, which will see original stars David Duchovny and Gillian Anderson reprise their roles as Mulder and Scully to investigate a worldwide invasion plot by conservative newsman Tad O’Malley (Joel McHale).

The new series premieres in the US on January 24 on Fox, with the new episodes expected to make their way over here shortly after.

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When Harry Met Arty

Sir Arthur Conan Doyle meets Harry Houdini. It might sound like the stuff of some incredibly niche fan fiction, but it’s actually the premise of ITV’s latest period drama Houdini & Doyle. The first pictures from the series appeared online earlier this week.

Stephen Mangan and Six Feet Under’s Michael Weston play the Sherlock writer and master illusionist respectively in the series, which chronicles the duo’s real-life friendship as they work with New Scotland Yard on unsolved crimes at the turn of the 20th Century.

Canadian actress Rebecca Liddiard, Blackadder’s Tim Mcinnerny and Adam Nagaitis also feature in the 10-part series, which 24’s Stephen Hopkins has directed ready to air in 2016 exclusively on ITV Encore.

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Stars Assemble for Aardman Doc

With a showreel that includes Wallace & Gromit, Chicken Run and Shaun the Sheep, Aardman has created some of the most delightfully funny and heartwarming animations of all time over the course of its decades-spanning history. As such, it’s only right that its 40th anniversary should be celebrated with star-studded documentary A Grand Night In: The Story of Aardman on BBC1.

Narrated by Julie Walters, the documentary will go behind the scenes to show how the studio brought its iconic characters to life whilst bringing together a host of stars – both human and of the clay variety – to wax lyrical about its achievements.

Martin Freeman, Bill Nighy and David Tennant are just some of the famous faces who will be sharing their experiences of working with the studio, appearing alongside Jane Horrocks, Terry Gilliam and Hugh Grant.

“Our friends and colleagues thought we were pretty well barmy to start up anywhere outside of London,” says co-founder Peter Lord of the Bristol-based studio. “So it’s amazing now to find that Aardman has become this huge community of superbly talented people, making films and telling stories that travel around the world.”

A Grand Night In: The Story of Aardman will air on Boxing Day at 2.25pm.

Tripped – TV Review

Picture the scene: you’re sat on your sofa “blowing your nuts off” on mushrooms when your best friend materialises in mid air wielding a massive sword, dressed like an extra from an amateur production of Spamalot. Sounds like the worst trip ever, right?

Unfortunately for George Webster’s hapless slacker Milo, the opening scene to E4’s mind boggling new comedy Tripped is no drug induced hallucination but an introduction into a frighteningly real war that’s being waged across parallel dimensions.

With such a high concept premise there should be endless opportunities for bonkers scenarios as Milo and his henpecked best friend Danny (The Inbetweeners’ Blake Harrison) zip through outlandish worlds encountering warped versions of themselves – all whilst being pursued by Gadd’s medieval warrior.

Yet the brighter ideas are often stifled by a script that relies too heavily on an ordinary-boys-in-extraordinary-circumstances formula and lacks the self-aware wit to make the predictable endearing.

The young cast work admirably to inject some warmth into their roles – Danny’s weepy goodbye to his dying alternate self is surprisingly affecting – but they’re hampered by one-note characters. Webster plays a gormless slacker, Harrison is his maturing best friend and rising star Georgina Campbell is particularly squandered as Danny’s killjoy fiancé Kate.

Tripped isn’t without its moments of gonzo humour, with an incestuous encounter between Milo and his grandmother being a particular, skin crawlingly gross, highlight, but it dedicates too much time to dull bickering between the two friends to ever be consistently laugh-out-loud.

All in all, you’re better off skipping the trip and having an early night. Which is probably what Milo wishes he had done in the first place.

Click here to watch Tripped on 4od

The Best Shows of 2015

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Inside No. 9

Having assembled another rotating cast of impeccable performers, League of Gentleman co-conspirators Reece Shearsmith and Steve Pemberton unleash a second run of twisted tales, each set in some sort of No. 9. The scripts are endlessly inventive, bounding between found-footage chills, slapstick witch hunts and a heartbreaking supernatural drama from episode to episode, and it’s all scored through with Shearsmith and Pemberton’s trademark macabre wit.

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Narcos

Better known these days for the havoc his wild breed of hippos wreak on the Columbian countryside, Pablo Escobar was once the world’s most feared drugs kingpin, as Netflix’s stylish drama deftly chronicles. Though it sometimes moves too fast for it’s own good, José Padilha’s blending of archival footage and unflinching violence makes this stranger-than-fiction tale frighteningly real.

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Unbreakable Kimmy Schmidt

Rescued after 15 years ‘trapped’ in a bunker with a handsomely unhinged Jon Hamm, adorably upbeat Kimmy tries to navigate life in an unforgiving New York City armed only with a perma-smile, a back-pack and a fetching array of floral blouses. Blessed with Tina Fey’s wit and originality, it’s as odd as it is hilarious, with Ellie Kemper nailing her unabashedly kooky lead role. P.S. Watch out for the disarmingly catchy theme song – you’ll be singing it in the shower (and on the train) for months to come.

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Jonathan Strange & Mr Norrell

This adaptation of Susanna Clarke’s best-seller, about two English magicians at war during the early 19th Century, doesn’t get off to the best start. In rejigging and compressing the narrative into something resembling a BBC miniseries, screenwriter Peter Harness loses much of the novel’s dry wit. It improves immeasurably as it goes on, however, transforming, as if enchanted by some ancient spell, into a dazzling romp that combines elements of old-school ghost stories with outlandish spectacle. The special effects are exquisitely executed and Eddie Marsan and Bertie Carvell deliver winning performances in the title roles.

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Daredevil

The first offering in a series of interlocking shows leading to a Defenders cross-over, this gritty origin story charts blind lawyer Matt Murdock’s tumultuous ascension to the mantle of Hell’s Kitchen’s resident masked vigilante – a role secured mostly by pummelling all challengers into the asphalt. With its visceral fight choreography, morally conflicted characters and no-nonsense dramatic flair, this is a superhero show meets hardboiled crime saga, proving definitively that the world of spandex-clad do-gooders isn’t just for kids anymore.

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Doctor Foster

Now dubbed the unofficial Fatal Attraction spin-off, this glossy and absorbing drama stars Suranne Jones as a jilted wife whose idyllic life is brutally shattered when she suspects her husband (played with a squirming charm by Bertie Carvell (yes, him again)) is having his cake and eating it too with a much younger woman. It might be too melodramatic, unhurried or just plain bonkers for some, but those who click with it will find an edgy nail-biter about a marriage being slowly poisoned. And no bunnies get boiled alive, promise.

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Fargo

After defying expectations by delivering a TV spinoff of a movie that wasn’t completely terrible, Noah Hawley returns to blood-splattered, folksy Minnesota to unfurl another sinister yarn about evil lurking in the most ordinary places. This time, we’re in the 1970s – with the flares and split screens to prove it – with a clutch of (mostly) new characters to play with. But in Fargo, some things never change, namely: dark humour, stylish violence, quirky characters and incredibly odd twists. Simply put, this is the most brilliantly idiosyncratic show on TV right now.

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Catastrophe

Sharon Horgan’s young(-ish) Irish woman meets a handsome(-ish) American stranger in a bar and embarks on a week-long hump-a-thon they both know will end when he heads back to the US. Problem is, she falls pregnant and they decide to stay together and keep the kid. Thus begins TV’s most charmingly realistic romantic comedy. It’s grown-up, rude, uproariously filthy and has a genuine warmth that flows from its two leads’ rootable chemistry.

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London Spy

Do you really know the person you love? That’s the insidious question that hangs over this elegantly elliptical story of love in contemporary London. Danny is a wayward romantic thrown into a whirlwind romance after a chance encounter with tightly-wound virgin Alex. But when his new beau disappears, Danny must venture into the murky world of espionage to discover what happened, and what he finds makes him doubt whether he really knew Alex at all. Led by Ben Wishaw’s tender and compelling performance, the drama unfolds at a languid pace, but each episode ends with a dark sting in the tale to ensure you’ll keep watching till the bitter end.

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Humans

Taking the age-old fear that our increasing reliance on those glowing gadgets stuffed into our pockets might backfire on us, this stylish remake of Swedish drama Real Humans centres around the unnerving idea of what could happen if mechanical pals became as commonplace in our homes as our iphones? The result is a deeply disturbing domestic drama that skilfully weaves several intriguing threads into a grand overarching plot via many interesting analogies and stylistic flourishes that instantly grab the audience’s attention.

 

Doctor Who: Hell Bent – TV Review

After the events of last week’s episode, the last place you might expect to find the Doctor is sitting in a strangely familiar American diner, playing blues guitar and spinning a yarn to a waitress who closely resembles an old friend. But such oddness is just par for the course in this bold, baffling, outrageously barmy finale, Hell Bent.

On the surface it seems like Steven Moffat’s latest finale has everything going for it: the long-awaited return to Gallifrey, plenty of call-backs to old friends, enemies and adventures, and a comment-stirring regeneration. But the end result is uneven and likely to be divisive amongst the fandom, but if you stick with it you might just find it’s more satisfying than first meets the eye.

Hell Bent gets off to a promising start with director Rachel Talalay evoking the mood of a sci-fi western as the Doctor returns to his home planet, engaging in a bitter standoff with the Time Lords, fronted by Donald Sumpter’s tyrannical president Rassilon.

Capaldi is on fantastic form in these opening scenes, modelling himself as a space Clint Eastwood, swaggering into town as a silent hero who can usurp an army and turn back a spaceship with just a look or a gesture.

The stage is seemingly set for another madcap romp as Moffat and Talalay ramp up the silly costumes and camp performances. We are also warned of an emerging threat in the form of potentially deadly foe, the Hybrid – an atrocity crossbred between two warrior races that is hell bent on unravelling “the web of time” itself.

Yet our hero’s true intention turns out to be not quite as noble as first appears as every step he’s taken to halt the hybrid is in fact part of a much bigger plan to bring back his dearly missed friend, Clara.

It’s this moment that will prove the most conflicting for fans. Some will understandably feel cheated, not least because this change in direction pushes the much anticipated return to Gallifrey into the background, leaving several conflicts unresolved as the Doctor and Clara make a swift escape.

More significantly, there’s a temptation to see Clara’s sort-of resurrection as something of a cop-out. Having bravely opted to kill Clara in the first place, Moffat fails to follow through with his choice, meddling with space and time to deliver a happy ending as Clara and Me ride-off into the cosmos inside a stolen TARDIS.

It’s frustrating partly because it diminishes the impact of Face the Raven and Heaven Sent (both superior episodes), but also because it’s completely illogical. By choosing to avoid a return to Gallifrey to face her fate, Clara is refusing to take responsibility for her dangerous behaviour, which is surely the entire point of her arc this series?

Still, there is another, far more satisfying way to view this twist that becomes clear as the episode develops. In offering the Doctor a way to save his friend, Moffat continues to explore his anger and grief whilst also opening a path toward closure and redemption.

Despite their genuine affection for one another, the Doctor and Clara are not good for each other – as this series has gone to great lengths to stress. He makes her reckless and she brings out the exact same quality in him.

That their companionship is revealed to be the Hybrid is both surprising and entirely believable – Clara has always brought out the worst (as well as the best) in the Doctor, from the moment he defied his own principles to resurrect Ashildr right up to his decision here to risk the destruction of the universe just to bring her back.

“This has to stop,” the Doctor finally accepts. “One of us has to go.”

Except his plan to wipe all memory of their time together from Clara’s mind doesn’t come-off as expected. Clara reverses the polarity, meaning it’s the Doctor who forgets her. It’s a clever twist, allowing the Time Lord to escape his grief and once again become the Doctor Clara wanted him to be. Cue a return to the TARDIS to retrieve his velvet jacket and a new sonic screwdriver: The Doctor is back.

When viewed in this light, it’s masterful story telling from Moffat. Having laid the seeds throughout the series, the writer intentionally led us down the wrong path in order to deliver a final shock that knocks us off our feet. It might not be to everyone’s tastes, but you have to admire Moffat’s mad ambition.

Hell Bent might not be the finale many wanted or were anticipating, but it’s still brave, inventive and affecting – anchored by two powerful lead performances from Capaldi and Coleman. No series is perfect, and Doctor Who is no exception, but series nine has proven the show remains unafraid to push boundaries and take risks. And for that it deserves to be heralded as one of Britain’s most exciting shows.

Click here to watch Doctor Who: Hell Bent on BBC iPlayer