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Killjoys S01E08 “Come The Rain” REVIEW

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Airing in the UK on SyFy
Writer: Jeremy Boxen
Director: Peter Stebbing


There’s been a storm brewing in the Quad for a while now, and this episode finally sees it break, although maybe not in the way we were expecting.
Last episode Pawter said she would see the captain of the med ship “staked in the rain” if he didn’t help her, and now we find out exactly what that means. Execution, Company-style. A group of three men fastened to a scaffold, facing the heavens and exposed to the elements. The electro acid rain is lethal, so it’s a rather gruesome way to go, but the imagery here is superb.

The episode has its own story but the main focus is on giving us more backstory for everyone, and they all have issues. It’s a bit late in the series for this sort of introspection but it does serve to split up the team as we go into the finale. And while the plot here is a little incidental, it’s well-written and serves as a nice diversion to everyone’s problems.
John gets the most airtime this week, and it’s great for him to be the focus of the episode. Aaron Ashmore is more than capable of taking the lead, and he really seems to have relaxed into the role now. It’s also good to see a bit more from Morgan Kelly as Alvis. Kelly is great at playing the monk with a god complex and one eye on a revolution.

Dr Pawter’s “headache” turns out to be her jonesing for a Jakk hit. We find out she took Jakk in med school to get through finals. Of course she ended up getting hooked, and killed a patient while high. Her parents covered it up, shipped her off to Westerley and have been supplying her with a supply of pure Jakk ever since. Sarah Power does a great job with the Doctor, and after mostly taking a back seat recently it’s nice to see.
Dutch and D’Avin try and work through their problems, and even get close to getting close again, but Dutch has a problem. If Johnny or D’Avin (normal D’Avin, not evil psycho D’Avin) hurt her, she’d just kill them, mourn them and move on. Their current situation is messier than that, and she doesn’t know how to move on. And as Dutch says, D’Avin is as much a victim as she and John are in this. Seems it really is D’Avins turn getting it in the neck, as John finally lets loose at him for leaving to join the army. This left John to look after their parents, and there are hints that their mother was something of a Jakk addict. In the end D’Avin is left on Westerley, off the team for now.
Dutch and John’s relationship is stronger than John and D’Avins – they’ve been together six years after all – and we end the episode with a cute scene of them reading comics in bed.
There’s some nice lighting this episode, using red filters for the heat, blue for Pree’s bar in the storm, back to orange after the storm. There are also a couple of standout shots too, one of Lucy falling into the storm, and a really neat long shot of Dutch and D’Avin dancing on Lucy’s bridge seen from a distance.
With an action series like Killjoys it would be easy to forget the little things that make a universe more whole. But the little things here are really appreciated: Dutch and D’Avin have their own ladders on Lucy; there are more references to level 6 Killjoys; the use of “staked in the rain” before we find out what it actually means. All of these things combine with the action to make Killjoys a real treat.


Review by Arthur Scott
Killjoys S01E07 “Kiss, Kiss, Bye Bye” REVIEW

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Airing in the UK on SyFy, Mondays, 8pm
Writer: Michelle Lovretta
Director: Paolo Barzman


The very aptly titled, “Kiss, Kiss, Bye Bye” sees Killjoys moving from monster-of-the-week territory to more of a major-arc-driven format. When there’s so much going on in the Killjoys universe, it’s a better bet than trying to shoehorn a new story in every week.
So Dr Pawter isn’t in prison anymore, and we don’t get an heroic D’Avin-shaped rescue. She’s pissed at him for not answering her calls from prison, which leads to a, “I didn’t know this was a relationship” exchange between the pair, which feels a little 90210. Pawter being in prison doesn’t really seem to have served any purpose; not as yet anyway. In fact, Dr Pawter as a character seems to have been mostly ancillary to the plot up to now. She seems to have been downgraded from mystery high-born Doctor to sex-crazed therapist with a thing for broken bad boys.
The visit to Utopia is a nice diversion: a floating fetish club decked out appropriately with Das blinkenlights and filled with dodgily dressed patrons. D’Avin and Dutch’s initial canoodle may be drug-fuelled, but it’s been on the cards since episode one, and inevitably it leads them into bed. Although what follows is probably not what Dutch was expecting from a relationship, with D’Avin going all Angelus and trying to kill her. It’s a little hackneyed to hook up two of the main protagonists, make them happy and then turn everything around, and perhaps a little moralistic for it to happen straight after coitus. During the fight with D’Avin we see Dutch look genuinely frightened for the first time, but we suspect this is more to do with her not wanting to hurt D’Avin than getting hurt herself. She gets a little battered, but as usual she comes out on top.

Another link back to episode one is the explanation for the warrant that reunited the Jacobi brothers, created by Dr Jaeger in case D’Avin ever came back to the Quad looking for answers. Even though the Killjoys have been pinging around the Quad all series looking for Jaeger, she’s been hiding out on Westerley the whole time, and it’s Delle Seyah who leads them to her, not anything Pawter has been up to (we did say she’d become somewhat surplus to the plot).
It’s nice to see Mayko Nguyen back as the snarky Delle Seyah, and there’s some fun banter between her and Dutch. Dutch flirts with her as much as she does with D’Avin.
Rather randomly Dr Jaeger turns out to be played by none other than Stargate’s Amanda Tapping (maybe she could lay claim to being this episode’s monster-of-the-week but she probably wouldn’t thank us for that). She spends most of the episode looking startled and seems a little wasted here, although she doesn’t die at the end so maybe she’ll make another appearance.

The latter part of the episode manages to pull out all the emotional stops. And even though we’re pretty sure Johnny isn’t going to die –this isn’t Game Of Thrones after all – it’s still a wrench to seem him lying on Lucy’s floor bleeding out. The final scenes give us a nicely done musical montage of Johnny being operated on and then recovering in hospital, with a few neat soft focus screen wipes.
We end with D’Avin wracked with the guilt for what he’s done. He managed to get together with Dutch at last and then ruined it by trying to kill her, as well as stabbing John. Maybe the fact that his brother survived the attack is worse for D’Avin, especially as John seems so ready to forgive him when Dutch can’t. He’s been seeking Dr Jaeger for redemption the whole series, and when he finally finds her all he gets is more remorse.
There’s not really anything new here (but is there anywhere these days?); the show’s not breaking new ground. But what is here is very well done. In what’s ostensibly an action series, it’s refreshing that characterisation doesn’t take a back seat. We’re not sure where we’ll be going from here as we head toward the end of the series, but we’re happy to be along for the ride.

*No she doesn’t – there isn’t really a Stargate, because this is Killjoys, not Stargate.
Review by Arthur Scott

Killjoys S01E06 “One Blood” REVIEW

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Airing in the UK on SyFy
Writer: Annmarie Morais
Director: Michael Nankin


Following last week’s episode was always going to be difficult. Maybe if this episode had been in another position in the season, it may have stood up better. As it is, it feels a little like it’s trying to impart too much information, and set up the rest of the series in one fell swoop. The last episode showed us you could progress the series plot, while still telling a really riveting story. The Killjoys’ world is so rich and great thought has been given to the backstory, the politics, the language. The downside to this is that sometimes it feels like it’s trying too hard to cater to everybody in explaining everything, and ends up doing a disservice to the fans.
There’s such lot going on here, and maybe viewers don’t need to be handed everything on a plate. Sometimes, we can join the dots ourselves; sometimes the details don’t need to be so detailed. If the show had kept a little more back, or wasn’t so heavy-handed with the exposition, more could have been made of the actual episode plot, which feels a little contrived at times.

The whole premise of the family of Lethian freedom fighters is a case in point. Using the family gives us a little more politics and serves to show what the device is capable of, but at the expense of complicating the episode plot unnecessarily. And in showing us what the device is capable of, how convenient that it leaves someone untouched to explain what has just happened. Apparently he was only family by marriage (but he loved those boys like they were his own).
That said, the things the episode does well, it does really well. The competitive nature of the black warrant brings out a great sense of camaraderie with the Killjoys in the bar, including an urban legend about a secretive cadre of Level Six Killjoys based on a remote moon.

The stand-out characters this episode actually come from outside the usual threesome of Dutch and the brothers Jacobi: namely Khlyen and Fancy Lee.
The interactions between Khlyen and Dutch, (or as he calls her “Yala”) are well scripted and well acted. Rob Stewart is wildly unpredictable as Khlyen, moving from friendly banter to creepy stalker to vengeful father figure without missing a step. To add to the air of mystery surrounding his character, Dutch stabs him several times in the stomach, he doesn’t blink, and there doesn’t seem to be much – if any – blood.
In the same way that Khlyen is mysterious and enigmatic, Fancy Lee is well, fancy. His diatribe about every group needing an asshole – and that for the Killjoys that responsibility falls to him – is spot on, self-deprecating and serious at the same time. The final scene in which he shoots Joe and then goes back and sits on his own is perfect in its simplicity; it speaks volumes about his character without him saying much at all.

Back to the usual crowd, and there’s still building sexual tension between D’Avin and Dutch. She mentions his “special therapy” with the good Dr Pawter and he tells her he’s going to quit. This leads to Pawter trying to help find his missing doctor. The scenes with Pawter seducing grumpy old Company agent Hills are fun but like much of the plot this episode seem a little contrived. All her efforts only serve to get her arrested. Surely some sort of gung-ho D’Avin rescue/break-out is inevitable.
There’s a sense that a storm is brewing in the Quad, between The Company and The Nine, with the RAC stuck somewhere in the middle. Here’s hoping future episodes can keep one eye on the storm, while still remembering to tell their own story.


“Fancy Lee, an asshole, but undeniably a fancy one.”
Review by Arthur Scott
Killjoys S01E05 “A Glitch In The System” REVIEW

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Airing in the UK on SyFy
Writer: Adam Barkin
Director: Chris Grismer



We’re halfway through the season now, the perfect time to bring in an absolutely storming episode. “A Glitch In The System” not only stands well in its own right, but progresses both major plot arcs: giving us insight into D’Avin’s and Dutch’s murky pasts.
The pacing is exceptional: the initial claustrophobia of the abandoned spaceship; the excitement and action of D’Avin’s capture and his subsequent rescue by Dutch; finishing with Khlyen’s continued control over Dutch and her life.
Atmosphere is also top notch. There’s a great sense of isolation as the teams comms break down and the music that John asked Lucy to pump through the ship keeps glitching. We catch glimpses of fleeting shadows, corpses and bloody writing. There’s a nicely chilling touch as one of the discovered crew members – Wilson played by Kyle Mitchell – chews off the ends of his fingers to paint Red 17 in his own blood, before blowing himself out the airlock. Extreme finger painting!

The premise of the perpetual interrogation loop is horrifying; the ship and its systems are so broken that the interrogation program just repeats itself forever. Using the nanites to constantly break down and then repair the unfortunate subjects’ bodies is the perfect torture device. The only way out is brain death, the one thing the nanites can’t repair. Hence an infirmary full of crew members who’ve resorted to shooting themselves in the head to escape the endless cycle.

Hogan (Richard Clarkin) has been acting as prison guard for the ship since its accident. Once he ran out of crew members to interrogate he used the ship’s distress beacon to lure in unsuspecting travellers. The realisation that Hogan is so far gone that he regularly submits himself to interrogation, even though he doesn’t know the answer, is unsettling.
Richard Clarkin is outstanding as Hogan. He portrays the crazy loner determined to carry on the mission regardless very convincingly. The interplay between him and Hannah John-Kamen, when he realises that Dutch has turned the tables on him is great.
We learn the name Red 17, which could just be a plot device for this episode. However, Dutch’s reaction to the name, and her admission to Hogan that she knows all about it, makes us think it’s more important than that. She could have been bluffing, but we don’t think so. Most likely it’s to do with Khlyen and the mysterious red boxes.


Review by Arthur Scott