Like last year’s The Darkest Hour, series five of Merlin opens with a dramatic, exciting and promising two-parter penned by show co-creator Julian Jones. Arthur’s Bane - a title with more than one application - continues the darker, more adult tone established at the top and tail ends of the previous series, and reintroduces a familiar, if not immediately recognisable foe.
Those who’ve followed Merlin from the beginning will know that the show has improved greatly with age. The improvement isn’t just noticeable in its young cast, but also in Merlin’s ability to build a convincing magical world of wizards and dragons without the help of a big-screen budget. It’s here that Arthur’s Bane really prospers, as its locations, action sequences, and CGI backdrops are more impressive than ever.
It’s no spoiler to reveal that this opening episode is set some three years after the events of The Sword In The Stone, a gap of time necessary to properly fulfil a key series five plotline, and one that will become clear to fans by the end of part one.
The action is divided between Camelot, which is still feeling the ripples of Uther’s sorcery ban, and a stark, wintry landscape. The change of location allows season four director Justin Molotnikov plenty of opportunity to show off snowy vistas reminiscent of Game Of Thrones’ impressive beyond-the-wall locations. The contrast between the blue-white stone walls of an isolated fortress and the red-yellow infernal activity it conceals is gorgeously done, recalling not Westeros this time, but Isengard (well, as much Isengard as you can conjure up in the vicinity of Cardiff on a modest BBC budget).
Without giving away anything in terms of plot, the episode deals in betrayal, heroism, prophesy and revenge. Both King Arthur and Queen Gwen face difficult decisions, and each is tested as a leader and commander, though it’s unarguably Merlin who carries the heaviest burden.
Acting-wise, Colin Morgan, Bradley James and Angel Coulby all acquit themselves well, the latter showing the most character development in the three years she’s gone from serving girl to Queen and finally – finally – getting a regal frock to rival Katie McGrath’s fantastic gowns. The episodes’ chief guest-star also lends weight to proceedings, filling the patriarchal gap left by Uther and Agravaine’s departure in the previous series.
It wouldn’t be sporting to reveal whether or not Merlin makes the long-awaited step out of the magical closet in Arthur’s Bane (as the producers keep saying, you’ll just have to wait and see), but the first half of the two-parter gives him scant opportunity to show off the powers - now three years matured, remember - that he displayed in the series four finale. Those keeping their fingers crossed for more than a few parlour tricks from the mythical sorcerer will have to remain patient a little while longer.
Even if the magic isn’t all-guns-blazing at this early stage, the action certainly is. One battle scene in particular is wonderfully choreographed and shot, and every second of slo-mo sword wielding is great to watch. Merlin’s still a teatime show, so don’t expect bloody decapitations or gruesome bone-cracking sound effects, but in comparison with the much less confidently rendered fight scenes of earlier seasons, it’s clear that Merlin now has a clear handle on its 12A action.
As well as action, you also can expect some typical Merlin silliness, though it’s kept to a minimum and largely relegated to brotherly bickering between the two male leads. Weaving the comic moments in with the peril adds light to the shade, ensuring both that the show avoids high camp and that the clowning doesn’t outstay its welcome.
Overall then, Arthur's Bane (Part One) is a confident, exciting return that proves Merlin to be not just a plug for the Doctor Who gap, but great standalone family entertainment. Roll on Saturday.
Part one of Arthur's Bane will air on BBC One on Saturday the 6th of October at 7.45pm.
