Red Dwarf Series II Overview

Despite the maintenance of the submarine-grey sets and beige uniforms, Series II of Red Dwarf is quite a departure from the series that began it all. Series II tends to be driven more by character action rather than specifically character conflict, while still delving into the characters' differing philosophies. Lister is still fairly slobby, but less so, and starts to move towards his "philosophical space bum" role, while Rimmer, despite probably being more neurotic than ever, is less like Lister's aggravatingly petty and pompous boss and more like his slightly sad roommate. Cat feels a bit like "Lister's sidekick", as rather than occasionally showing up he seems to be around more regularly, and the two of them hang out together in "Better Than Life" and "Stasis Leak", and work together in "Queeg". Holly gets some more verbal tics and personality quirks. There's more adventure and an early sense, in episodes like "Kryten" and "Queeg", of the characters as a team rather than individuals with markedly separate agendas.

As such the crew starts leaving Red Dwarf regularly, and this is ably supported by some excellent model work and composite shots, which for the moon visited in "Thanks For The Memory" and for the observation dome on the ship are remarkably effective. Some of the location shooting in "Better Than Life" doesn't really work, but other than that it's generally quite nice to watch despite obvious budgetary limitations. The sets have also been brightened up as much as possible, from screens in the remodelled drive room down to blue paint on the rivets in the sleeping quarters. The obvious standout addition is of course the huge inflatable banana, which draws the eye in Lister and Rimmer's accommodation to the extent that I almost think of Series II as "the one with the banana." Despite the fact that this was apparently just a random piece of set dressing by assistant floor manager Dona DiStefano (who appears as Kochanski in the final scene of "Stasis Leak") I find something whimsically amusing about it within the fiction of the show, as if one decoration Lister and Rimmer could definitely agree upon was having a big inflatable banana by the window. It also seems to tie in nicely with the underlying concept, expressed in the theme song, of longing for an escape to a tropical paradise.

Series II also moves away from Series I's tendency towards having what almost constituted an ongoing plot in order to portray more distinct and self-contained events. Unlike what occasionally happened in Series I, events are generally resolved by the end of the episode, such that the next episode is something largely unrelated. This would similarly set the tone for Series III, and in that regard, despite retaining much of the "look" of Series I and the fact that it's still largely the original four characters, it moves substantially towards the "settled" feel of Red Dwarf for the subsequent few series. Effectively, however, it's something of a halfway house, with episodes exploring the characters, like "Thanks For The Memory", perhaps evoking Series I to an extent, while "sci-fi gimmick of the week" episodes like "Better Than Life" and "Stasis Leak" start to crop up, which would become more commonplace in Series III. Series II is still fairly light on action, but it strikes a fairly good balance in terms of what had been the show's initial strengths, and the strengths that would be developed more fully in later years.

In general, Series II is strong, although I'd argue that "Stasis Leak" and "Parallel Universe" somewhat represent dips in the effectiveness of ideas or fulfilment of the narrative. On the other hand, I would argue that "Kryten", "Thanks For The Memory" and "Queeg" are some of the best episodes in the show's original run. Personally I find that the movement towards a more episodic writing style made the less effective episodes more difficult to disguise, as by contrast I think that Series I, with its very limited cast and sets, feels more consistent across its run than this. Nonetheless, it's natural that with a bit of experimentation and movement away from an established form, as well as the need to produce more stories, there's the chance of elements being hit and miss. It doesn't alter the fact that Series II is definitely one of the overall highlights of Red Dwarf's history.

Red Dwarf Series III Overview

Series III is when the look and feel of Red Dwarf would come to be a bit more "settled". Grant and Naylor would take a more hands-on role in production, and a new look in terms of both costumes and sets was established through the work of Howard Burden and the late Mel Bibby respectively. The show also built upon some of Series II's tonal shifts to delve further into an action-adventure setup in addition to the sci-fi comedy, with a new rock-guitar fast-cut opening sequence reflecting the shift to a livelier universe than the one found in the first two series, now featuring strange space phenomena, genetically-engineered monsters, time-travelling developing fluid and deranged domestic androids.

The series is also noteworthy for two major cast changes: the recasting of Holly with Hattie Hayridge in the role and the casting of Robert Llewellyn as Kryten, turning the guest role portrayed by David Ross in Series II into a regular character and making the show more of an ensemble piece. The cast move further towards being a sort of squad or team, with their computer in support. Perhaps it's just that I knew he was coming, but Robert Llewellyn fits in effortlessly as Kryten, and the character feels like a natural addition to the cast. Holly has less to do than ever, unfortunately. I wonder, had Norman Lovett's travel arrangements been sorted out such that he could stick around, if he would have moaned and complained enough that Holly got a bigger role.

These changes also make for a bit of a departure from Series I and II's common focus on long conversational scenes between Lister and Rimmer in which they spar with each other and discuss their various life experiences. While one episode, "Marooned", is still devoted to this, these staple scenes only really crop up elsewhere in Series III in "Bodyswap", in which they largely service the plot, and "The Last Day". Supposedly this was to a degree instigated by a somewhat poor offscreen relationship at the time between Craig Charles and Chris Barrie, although the extent of this seems questionable. Craig Charles seems to attribute such a situation these days largely to his own immaturity at the time, although Chris Barrie charitably seems to accept some of the blame, describing a "competitive" environment in rehearsals. I get the impression, in any event, that stories of friction between them may have been somewhat exaggerated, and it's probable that Grant and Naylor wanted to change things up anyway. It seems highly unlikely to me that "Marooned" would have been made if the show was to any extent trying to avoid having the two actors doing that kind of one-on-one material together.

One thing I've noticed about Series III on rewatch, if I was to criticise it for anything in general, is that at times it can be a bit, well, "twee". Things like "the Red Dwarf shuffle", Smeg and the Heads and the "special mechanoid menu" come across at points as rather corny from a modern point of view, not unlike Miranda the Mermaid or some of the female-opposite jokes from Series II. I'd also argue that "Backwards", "Bodyswap" and "Timeslides" are all rather gimmicky episodes in which a central effects-driven conceit dominates the story, and not necessarily to its advantage. On the other hand, at times Series III can be quite dark and character-driven, as Lister faces apparent death with only Rimmer for company in "Marooned" and when Kryten confronts what he believes to be his doom in "The Last Day".

As is usual for Red Dwarf, the strongest episodes are those which explore the characters and what makes them the people they are, which is something we get in the two episodes I just mentioned, along with, to an extent, "Polymorph". Nonetheless, there is still a lot of good model work and the location shooting is, by and large, effective, and does not demand too much suspension of disbelief. Series III sets the standard for what Red Dwarf would find itself most consistently comfortable being, yet I feel reasonably confident in arguing that these were still early steps, setting a foundation for the show to improve in subsequent series.

Red Dwarf Series IV Overview

To a comparable extent to Series III, Series IV of Red Dwarf feels like the show at, perhaps, its most "friendly". There's not a great deal of interpersonal conflict between the characters, when they're in mortal danger it's not treated in a particularly dramatic fashion, the science-fiction concepts are comfortably vague and unrealistic, and they meet a variety of oddball characters. I'd almost be inclined to say that, despite dealing with some reasonably weighty themes in several episodes, this is Red Dwarf at perhaps its most pleasantly light-hearted, as opposed to, say, the farcical comedy of Series VIII.

Series IV increases the amount of time the characters spend off the ship, visiting other locations and travelling either aboard the now-ubiquitous Starbug or through other means. It more firmly establishes a wider universe, as we begin to discover, as Red Dwarf makes its slow return journey to Earth, a galaxy littered with the detritus of an extinct human civilisation, the artefacts of which now are scattered across space. The show comes up with more and more interesting ways to have guest characters despite the lack of humans; this series notably first introduces the term "GELF", Genetically-Engineered Life Form, as well as the concept of simulants as danger lurking in deep space, both of which would become staples of the show in future years.

A couple of episodes explore Kryten's character, a couple explore Rimmer's and one juxtaposes Lister and Rimmer's attitudes towards war and violent conflict. The series also sees the previous storyline being adjusted somewhat in order to accommodate ideas Grant and Naylor developed in the Red Dwarf novels: the idea that Red Dwarf had a crew of over one thousand people, and that Lister had, in fact, had a brief relationship with Kristine Kochanski rather than simply admiring her from afar. Both of these ideas would resurface more prominently in the Doug Naylor-only era from Series VII onwards. Series IV also sees, for the first time, an episode adapting a story from the novels rather than the reverse, as the "pool with planets" concept originated in the novel Better Than Life.

Series IV, to the best of my knowledge, sees few design changes relative to Series III, as the show's look seems to have been firmly established at this point. I think Lister gets his even bigger furry hat in this series, which I think rather suits the character, and Cat has some particularly bizarre outfits, particularly in "Justice" and "Dimension Jump". I've often thought that Kryten has an extremely rectangular head in this series, but the mask is obviously an improvement over the previous iteration. The series also has some excellent models, including the DNA Ship, Justice World and Ace Rimmer's ship, the launch sequence for which is very pleasing.

If Series IV has any particular problems, they might be found in a couple of structural issues with the writing for some episodes and some location choices. I would argue that the ending of "Camille" is a bit too derivative (much as "Back to Earth" would be 19 years later), "DNA" doesn't entirely follow through with all of its ideas, and "White Hole" quite clearly feels like two different stories jammed together. The location work used for Justice World and Waxworld in "Justice" and "Meltdown" respectively is not entirely convincing. Other than that, I would say that Series IV is a solid string of interesting and entertaining episodes and a strong continuation of the show's Series III reworking which, as usual, introduced some now-classic concepts to the show's ongoing fabric and featured some of the show's best set pieces.

Red Dwarf Series VI Overview

Like all of the series from the "Grant Naylor" era of Red Dwarf, Series VI is good. The shift to Starbug and the over-arching premise of the pursuit of Red Dwarf is interesting and it makes some very inventive uses of the various sci-fi concepts it deploys. It trims away any chaff by focusing purely on the four most major characters, and more or less gives each of them something to do, treating them like a team who are capable of cooperating while still rubbing against each other. In many respects it's a natural evolution of Series V in that regard. Nonetheless, I'm inclined to say that Series VI might be the weakest series of those "classic" years, not in terms of specific episodes, which overall are quite strong, but in terms of some of the composition across the board.

One aspect I noticed about this series upon rewatch is that a huge amount of the humour derives from the characters making silly similes and comparisons, to the point where it goes from the characters taking the piss out of each other to simply seeming to be in non-stop joke-cracking mode even when they otherwise seem to be taking a situation very seriously. The problem is not the making of jokes, obviously: Red Dwarf is, after all, a sitcom. The problem, rather, I would argue, is that the situations in which the characters find themselves are often so non-comedic and intense that the comedy doesn't fit well.

Something feels rather repetitive about elements of Series VI. Two episodes ("Psirens" and "Emohawk") both conclude with the Dwarfers chasing a GELF around Starbug's engine deck in their climaxes. A simulant ship and its crew are used in two episodes, "Gunmen of the Apocalypse" and "Rimmerworld", although to be fair they are consciously linked. "Gunmen" also features the characters inhabiting an illusion through a video game, as already occurred in "Better Than Life", and "Rimmerworld" has Rimmer in a world made hostile by his own worst traits, as in "Terrorform", and failing to get along with duplicates of himself, which already happened in "Me²". Furthermore, "Emohawk" is a kind of triple sequel, featuring a return of Series III's polymorph, Series IV's Ace Rimmer and Series V's Duane Dibbley – a character who had only appeared in the show four episodes previously. "Gunmen", depicting Kryten's subconscious struggle against a computer virus with metaphorical representations of death, peace, existence and the like, also evokes "Terrorform". The most creative and original episodes are almost certainly "Legion" and "Out of Time", which to a degree once again feature the characters failing to get along with alternative versions of themselves. Thus, while Series VI appears more fresh by exchanging Red Dwarf for Starbug and featuring an overarching plot, in some ways it's a victory lap for the show to rehash well-worn and previously successful narratives and plot conceits in a different setting.

Series VI appropriately feels dirty and grimy. Lister and Rimmer are both afforded rather unflattering outfits, Craig Charles being costumed in a pair of stained long johns as his primary costume rather than the shirt and trousers he sports in the previous few series, with Chris Barrie in a size-adding padded jacket which is very different to the svelte red Series V costume. It suits the more action-oriented narratives, admittedly, for which his rather formal-looking Series III to V uniform appears increasingly out of place, but it also seems to add a few pounds to him undeservedly; this is made worse in Series VII. The Cat's costuming is now largely based around changes of jacket with a single all-purpose undergarment, while Kryten goes back to being a bit more colourful.

It's worth noting that this series also sees some changes to characterisation. The Cat is now presented as the main pilot, with feline intuition and implausible nasal powers enhancing his abilities. Lister, by contrast, seems to regress a bit, with the scripts playing up his delusions about his musical talent and treating Kryten like a servant when previously he'd encouraged him to be independent. Rimmer is presented as more of a self-conscious and active coward, although the series' setting is used to emphasise his interest in militaristic order and discipline.

To expand on the point I made in the second paragraph, an issue with Series VI that I noticed in the latest rewatch is that much of the comedy becomes formulaic, perhaps as a result of behind-the-scenes pressure to get scripts written on time. I also understand that Grant and Naylor, after watching a lot of American TV while attempting to get the failed American Red Dwarf off the ground, became interested in a sort of gags-per-minute approach in which the characters spit out a new joke every other sentence. Thus the scripts tend to deliver a combination of the following:

1. An "old cat saying".

2. Cat declaring "we're deader than" some outmoded item of clothing.

3. Rimmer misquoting a Space Corps directive or similar regulation.

4. A joke about the shape of Kryten's head.

5. Lots of silly comparisons and similes, very much in the Blackadder mould.

I have to admit that even from the point of view of a Red Dwarf die hard like myself, these become a bit tiresome after a while. This, combined with the increased action and some excellent effects work, gives the show an even more intense feeling than Series V, and as a logical development of where the show had been going since Series IV if not earlier. Some consider VI to be the last "good" Red Dwarf, but I'm almost inclined to argue that, Rob Grant or no Rob Grant, it's actually the start of "less good" Red Dwarf, mostly due to structural issues with the narratives of several of the episodes, which I'll discuss in the individual articles, and limited characterisation.

Just as each of the four Dwarfers has a spot in Starbug's cockpit now, so do they have a clear role. Kryten delivers exposition and is used to make cooking and cleaning jokes; Rimmer makes snide remarks; Lister makes silly comparisons; Cat is stupid. They're meant to seem more like a team, but the relative lack of interpersonal conflict in more or less every episode except "Rimmerworld" possibly leaves something to be desired. Furthermore, most if not all of the episodes feature interesting ideas which aren't usually given the attention they might warrant due to the hectic pace of plot developments in the stories. Thus, while Series VI still has the "feel" of the "Grant Naylor" era in general, it also feels like the show struggling in a way that many commentators generally attest purely to Series VII onwards.

Red Dwarf V Episode 1: "Holoship"

One thing this episode establishes straight away is the high visual quality of Series V. With very little location shooting (and that used effectively) the show is able to focus on its visual strengths: sets and model work. The Holoship model is very pleasing to the eye, and its sleek semi-transparent appearance is pleasingly juxtaposed to the bulky utilitarianism of Red Dwarf. While the Holoship sets naturally maintain the classic "nineties hotel lobby" aesthetic of much futuristic imagining of the period, they similarly work effectively as a contrast to the dingy corridors and cargo holds emphasised elsewhere in the episode and series. Perhaps the only shortcoming, apart from the natural contextual tackiness of the sets, is the contemporary computers which should, in my opinion, have instead been presented in the same way as Captain Platini's props, on coloured semi-transparent plastic (the keyboards in particular) to give them a less tactile, more "hologrammatic" quality. Interestingly, before desktop computers were around, this kind of interface was something achieved effectively in the 1969 Doctor Who serial "The War Games".

I'd say the sets and costumes are almost certainly meant to pastiche Star Trek, particularly the Original Series films and The Next Generation, and the characterisation of the "notoriously arrogant" individuals who make up the "hologrammatic cream of the Space Corps" seem rather evidently to be a mockery of the entire concept of Starfleet and the Federation, suggesting that such individuals would be more likely to be sneering, condescending snobs than high-minded altruists. Jane Horrocks' enormous hairdo as Crane seems almost certainly to be a takeoff of the extravagant 'dos of Trek past, with the mix of British, American and Russian officers similarly suggestive of Trek's multiculturalism. The "sexual recreation" policy also evokes the constant romantic entanglements which seemed to compose much of The Next Generation's filler content.

One curious aspect of the episode is that in terms of characterisation it emphasises the "misunderstood" quality of Rimmer, who only needs someone, in this case Crane, to appreciate him. It implies that Rimmer is more of a "softy" than he's given credit, but that he needs an attractive member of the opposite sex to take him seriously for this quality to emerge. On the surface, I'm not entirely convinced that Rimmer's plot in the episode is that meaningful given that the rest of the show is so intent on emphasising to us how charmless, graceless, rude and irritating he is; I suppose, however, it's summed up by Lister's "bon voyage" gag, which argues that he would fit in with the holoship crew, who are as arrogant and pretentious as he is, albeit with vastly superior intellects. Thus perhaps the Holoship really is the only environment in which this side of him could emerge, and in that respect the narrative is actually a success.

Lister, Cat and Kryten have very little to do in the episode, but I do like their scene interviewing the potential new hologram, and the scene in which Lister is mocking Don Warrington's Commander Binks is a classic. It's worth noting that Harrison, the hologram they interview, likes "horse riding and ballet". It may not be opera, but is this character inadvertently the model for, or at least an accidental foreshadowing of, the second Kochanski? I wonder if Doug Naylor was responsible for her lines. Kryten gets some smashing gags in this one, such as asking if anyone besides him thinks the sexual culture of the holoship is "just a little bit tacky" and informing Rimmer that if St Francis of Assisi ever said anything about never giving a sucker an even break it was "strictly off the record." Some other classic woofers in the episode are "Quick, let's get out of here before they bring him back" and "IQ unknown." I also like the little touch, which I only noticed recently, that just as Red Dwarf's holographic computer is called "Holly", the Holoship's "stochastic computer" is called "Stocky". Post-mind patch Rimmer is a little odd, but his effort to solve both exams at once is amusing, and his "I've come to regard you as people I met" farewell is very memorable. To an extent, "Holoship" feels weirdly out of kilter with the rest of this series given its lack of horror, violence and existential dread, but it's still an entertaining entry and a strong indicator of the concentration of talent in the show at this time.

Red Dwarf Series V Overview

When talking about the "classic" years of Red Dwarf, the "Grant Naylor" era in which both creators were writing for the show, sometimes it's a little hard to think of things to say other than "this is good and I like it". This series is, as I understand it, often considered to be a particularly high point in the show's history, and while I'm not sure I personally have a "special" affection for it, I definitely think it's probably the most consistently strong set of six episodes from Series III to VI. More or less every series (apart perhaps from VIII, I'm afraid to say) added some new memorable thing to the "fabric" of the show, and Series V gave us Mr Flibble and Duayne Dibbley. There's far more to it than that, however, and Series V stands out somewhat from the eras of the show around it.

If one thing in particular strikes me about Series V of Red Dwarf is that it generally feels "darker". The characters appear to be in some kind of mortal peril in all but one episode and the quandaries they deal with typically seem to be of a heavier nature: the meaning of their existence and their inner demons and neuroses. In fact, virtually the entire series is about this in some capacity. It's also noteworthy that the characters spend more time on Starbug or in dark and dingy parts of Red Dwarf itself rather than in the brightly-lit quarters, which are actually only used in the very first episode and are then revamped to serve as the quarantine accommodation and the quarters of the good and evil versions of the crew in later ones.

The characters themselves are a little visually different as well. The addition of a long overcoat to Lister's fur hat gives him an oddly Russian look, while Cat looks more feline than ever with some quite heavy eye makeup. Kryten sports his most "boxy" head in this series, and arguably a more expressive one, but also quite pale compared to other series, contrasting starkly with the dark body. Although the green costume appears briefly in one episode, Rimmer primarily sports a red uniform in this series, which is quite distinctive but further adds, I feel, to the more intense visual scheme of the series, making everything look more darkly warm. Notably, this series would set the scheme of red as being the dominant colour of "soft light" holograms, recurring in Series VI and Rimmer's brief switch to soft light in Series X.

The series also sees some character changes. Something reflected on in "Quarantine" is the fact that Kryten comes across in this series as the "leader" of the group, and they seem to spend more time exploring nearby space and salvaging vessels, which sets up the narratives of three of the episodes. Kryten not only has to deliver reams of exposition but also seems to make many of the major decisions. Cat almost reverts to a Series I style role of hanging around to throw out the occasional one-liner and almost functions at times as "Lister's sidekick", whereas Lister himself takes on a more proactive role, perhaps implicitly instigated by his experiences in "The Inquisitor". It's particularly noteworthy that in "Holoship" it's discussed that he spends most of his time mucking around, playing games and eating curry, but we see very little of that in this series; there's less of the idle time-wasting that seems to preoccupy him in the previous two. Rimmer, who at times seemed to have rather mellowed out in the previous two series (with the exception of "Meltdown", mainly) comes across as more vindictive and unpleasant again in this series. The series is in many respects heavily Rimmer-centric, with the plots of "Holoship", "Terrorform" and "Quarantine" all substantially involving Rimmer in some position separate to the other three protagonists. Watching this it seems no wonder that many viewers, as I understand it, came to see Rimmer, rather than Lister, as the "central character" of the show, and I wonder if this is simply because, as the more psychologically complex character, Grant and Naylor found him more interesting to explore.

Series V is probably also the zenith of the show's self-insight and reflection on the characters, with multiple alternative versions of the characters appearing, most prominently in "Back to Reality". It's also probably the series which crams the most musing and philosophical thought into the nature of being into half-hour sitcom episodes, with plenty of consideration of what makes a worthwhile life in "The Inquisitor" and "Holoship" and the fundamental building blocks of identity in "Terrorform", "Demons & Angels" and "Back to Reality". The plot devices, particularly in "Terrorform" and "Demons & Angels", at times feel a bit "magical", but as this services interesting ideas and effective comedy it doesn't really matter. Series V shows how, at its peak, Red Dwarf could keep doing new and interesting things, and more or less encapsulates the show's combined strengths as both a character-driven sitcom and a contemplative science fiction show.

Red Dwarf Series X Overview

Red Dwarf made a welcome return in 2012, and by and large I was happy with the ultimate product. Budgetary limitations obviously worked in the show's favour, with the episodes achieving an "early Dwarf" feel by focusing on the characters. It's a nice-looking series as well, with good costumes for the main cast, nice sets and the high-quality filming making the entire production easy on the eye. Overall, this "back to basics" approach makes Series X evocative, in my opinion, of the show's notionally "classic" era. There's both camaraderie and conflict between the main characters as well as background character arcs for Lister and Rimmer, the latter dealing with his family history and the former trying to make something of himself and looking for Kochanski (who is mentioned in five of the episodes).

Series X has a very "red" look, appropriately enough I suppose for a show called Red Dwarf, and I think the sets and props are utilised well. Cat has some great costumes in this one, and I like Rimmer's uniform; it's a nice "hard light" take on the "classic" Series III to V Rimmer look. I know many people don't like the Series X Kryten costume, but I personally do, and I like the mask as well; it seems to enable a lot of funny expressions. That being said, the bands on his shoulders seem to be out of place and I wonder if they derive from the designers forgetting or not realising what the bands between the shoulders and neck were for on the old costume. Lister's costume overall is fine too, although much like Series VI's undergarment thing I'm not entirely fond of those red long johns he wears in a few episodes. The visual effects in Series X are a welcome return to model work too, with the ships and stations that appear in several episodes looking very believable and reminiscent of the old days. The cut-down version of the Series VIII ship model used to make a new model of the vessel is quite striking too, and I think it's appropriate. One thing I miss a tad is some of the effects work done in "Back to Earth" to give a sense of the vastness of the ship, although these probably weren't within the scope of the series' budget.

There are a few ongoing points in Series X that are a bit confusing. One of these is the concept of the "JMC Onboard Computer", which interacts with the crew in "Trojan" and "Dear Dave". The implication is that it's some kind of backup system which, in the absence of Holly or a similar AI, enforces the strictures of the corporation and facilitates the operation of the ship in accordance with the owners' policy, but this isn't made terribly clear, and at times it really feels as if one of the characters ought to point out, as I assume is meant to be the case, that the computer is enforcing rules and regulations that have presumably been obsolete for millions of years. Another is that, while talking vending machines have been in the show since the first series, this introduces some odd things like garbage robots and medical computers with personalities that never appear elsewhere in the show. I suppose you can just argue that it's a big ship. On the other hand, I like that they still give Starbug a look-in through some model work despite the fact that a Starbug set wasn't available; the Series reminds us that just because they primarily use Blue Midget in this Series, Starbug is still definitely present.

It's worth noting that Series X is a very "back to basics" version of the show, the ship itself only featuring the four main Dwarfers and a few automated services. There are no Skutters and there's no Holly or Kochanski, although the former is mentioned once and the latter mentioned in every episode but the last, as Lister is meant to be looking for her. This is worth discussing slightly further as an alternative to the "Speculation" sections I've done for Series VII and VIII. Supposedly the original plan was that Kochanski was going to be reintroduced in the fifth and sixth episodes of Series X, but the scrapping of the location budget made it impossible to produce the stories that would have done this. It's not clear to me whether scripts existed for this or not, and I wonder in what capacity Doug Naylor intended to reintroduce her: as a regular or just in a guest role? Personally I like Kochanski, mostly because I like the idea of a fifth Dwarfer, and I think there are things that could be done with the character that haven't been done yet, but I feel like the writing would have to be good enough to justify this, and not simply use her as "the woman". I've read that at Dimension Jump (the main Red Dwarf convention) a few years ago Doug Naylor said he wouldn't necessarily bring the character back, so who knows. In any event, given what happened in "Back to Earth", I'm inclined to think that Series X would have been too soon for the character to reappear, an anticlimactic conclusion to a new character arc for Lister. Personally I think a recurring guest role would suit the character more so that, as seemed to be the problem in Series VIII, the script didn't have to find stuff for her to do in episodes in which she didn't feature heavily in the plot. Supposedly they intend to make a couple more series after XII, and if she's not in either of the upcoming ones I think she ought at least to make an appearance in one of those last two hypothetical series.

Focusing on the show as produced, however, while I definitely think some episodes of Series X are stronger than others, and I think some jokes, plots and characters aren't entirely successful, overall I think Series X was a solid follow-up to "Back to Earth" and more or less established that the show could be revived and still be funny, exciting, and feature much-loved characters in familiar and unfamiliar situations. It's probably just a shame it took so long for this to be all figured out.

Red Dwarf VII Episode 5: "Blue"

Lister misses Rimmer and the infamous kiss occurs. In some respects, despite everything, "Blue" is a classic Red Dwarf episode because it featured two major things: the aforementioned kiss and the Rimmer munchkin song. The rest of it is pretty forgettable, although I like the idea that Lister's nostalgia for the "good old days" are all times when things went badly for Rimmer in some fashion. That being said, while we could imagine the golf scene happening sometime between "Tikka To Ride" and "Stoke Me A Clipper", the "locker room game" scene feels out of place. This isn't because it's Rimmer in his Series VI and Series VII uniform, although the fact that he doesn't touch anything suggests that it's meant to be soft light Rimmer from Series I, before they started spending as much time with the Cat. I don't understand why they didn't put Rimmer in one of the uniforms from the flashback in "Ouroboros". The real issue, however, is that Rimmer and Lister seem to get along too well in this scene, making it feel rather unlike anything from the era (Series I) it seems to be trying to evoke.

The introductory element featuring Kochanski trying to reopen the "linkway" to the other dimension feels rather perfunctory and it's just an elaborate setup for the main thrust of the episode. It's noteworthy that apart from a mention of "my Dave" in "Epideme" and "the Kryten in my dimension" in "Nanarchy" this is the final time the "alternative universe" aspect really comes up apart from one joke in Series VIII. The bit where Lister calls the Cat "Rimmer" is quite clever, but the idea that Lister is wearing rose-tinted glasses about Rimmer sits a little awkwardly given that when he left he'd become a hero, in the first two episodes of Series VII he's not especially unpleasant, and in the finale of the previous series he also does something rather "brave", ie dashing off to destroy the time drive, something we see at the start of Series VII. Thus the whole concept arguably comes across as a bit misguided. In any event, the whole concept is misconceived because by dwelling on an absent, popular character, the show undermines itself by encouraging the viewer to regret that character's absence.

There are a couple of bits I like in the episode. I like Kryten's description of Kochanski as "she who must be drooled over" and the idea that Kryten named the washing machine. "Frank" seems to be a popular name in the Red Dwarf world. Hollister and Todhunter are both named Frank; Rimmer's uncle and his second-oldest brother were both named Frank; in this episode the washing machine is named Frank. There's another "Hermann Göring was a transvestite" joke in this one as well, much like in "Balance of Power" and "Meltdown". His warning about "spiralling out of control into the core of a newly formed sun" is kind of amusing too. Cat's joke with the baked potato timer and how "it makes us look like we don't know what the hell we're doing" got a laugh from me recently too. Poor old Kochanski has to deliver some dreadful material, though, like "cosmic seasoning" and "whoever the hell he is, I'm not going to get to see him." I do, however, like the indignant way that Kryten says "This is the medical bay, for sick people only." The scene in which Kryten confronts Kochanski and she ends up yelling at him is a complete misstep though; it's not funny or dramatic, and doesn't endear Kochanski to the viewer whatsoever.

I'm sure it's intentional, but I always found something deeply unsettling about the "Rimmer experience" with the weird makeup, and I'm not sure the representation of Rimmer as a complete narcissist who was utterly deluded about his own importance really works. By comparison, consider his "death video" from "Me²", which is essentially Rimmer wallowing in self-pity and blaming other people for his shortcomings, something fundamental to his character in other episodes as well, such as "Dimension Jump" and "Holoship". Rimmer is also quite open about his cowardice in other episodes as well, which compounds the sense that the "Rimmer Experience" doesn't quite derive its humour in a way that is consistent with the character. It might have been more effective if, like the "death video", the "Rimmer Experience" was presented as a kind of pseudo-tragic "memorial" in which Rimmer blamed everyone but himself for his failings. I know the point was to make Lister hate Rimmer, but the presentation of a disturbing hagiography doesn't quite work for me; it's more creepy than funny. Apparently the filming experience was very unpleasant for some of the cast, which fuels the performance at the end, but it's a bit odd to see them come out of the experience with Lister and the Cat looking furious and Kochanski sitting there with a big grin on her face (apparently she's the one who didn't find the filming of the sequence so horrible). The Rimmer Munchkin Song, however, is of course a classic moment, as is the kiss. The kiss scene is ripe with entertaining moments, from "Hello Listy" to the party-blower "Hey hey!" It almost makes me wish, however, that Rimmer would just step back into the show.

Red Dwarf VII Episode 2: "Stoke Me a Clipper"

Ace Rimmer returns and Rimmer Rimmer leaves. I honestly don't like this episode that much, although I know it's fondly regarded by some. It's not a terrible way of writing Rimmer out of the show; I just don't find it that funny. The opening sequence with Ace fighting the Nazis is obviously entertaining in how cheesy and exaggerated it is, but it almost feels more like a parody of the original Ace character. Again, there's obviously the excuse that it's not the same Ace, but it's possibly just a bit too ropey to look deliberately naff (something I think Doug Naylor points out in the Series VII documentary). Upon rewatching, the bit that made me laugh the most in this sequence was the bit where one German soldier says to another "That was Ace Rimmer! We're lucky to be alive!" and then a big rubber crocodile falls on top of them.

The sequence of Lister going into the virtual reality game to get his jollies feels very much like a repetition of the opening of "Gunmen of the Apocalypse", even if the "cheat code" element provides a slight spin on it. I also don't get why Kryten needs to be with him in the game; essentially it means Lister is fine with having Kryten in the room with him while he pleasures himself, which is pretty weird when you think about it. It also sets up the bizarre moment later in the episode in which Lister tells Cat and Kryten that "one of them knights has escaped from the AR Unit". What the hell does he mean? The AR characters only exist in the heads of people plugged into the game; it's not like the Holodeck in Star Trek: The Next Generation. Maybe Cat wouldn't notice this (or care) but wouldn't Kryten question it? Again, I know I'm overthinking it, but that's what happens with these episodes.

Overall, though, the way of writing out Rimmer doesn't really make sense if I think about it. As I stated in the Overview, the whole point of "Dimension Jump" was to show how small decisions could produce radically different people. "Stoke me a Clipper" basically says "no, that doesn't matter"; Ace even says that it's Rimmer's "destiny" to become the new Ace. Apparently he's competent enough after shooting a fake knight and sitting in the AR machine for a few minutes. This might be fine if any of it was funny, but it's not. It's just daft. It would have made more sense if Rimmer had to sacrifice himself in some way, but obviously they didn't want to close all doors on the character. To be honest, perhaps they were between a rock and a hard place here. This is why I think they should have done something that meant, like, Rimmer's light bee was disabled and they couldn't repair it until they got back to Red Dwarf or something. Doug Naylor even says in the documentary for Series VII that he didn't want to recast Rimmer (I find it highly unlikely that this option was ever seriously considered) because he wanted room to bring Chris Barrie back into the role for the film he wanted to make if nothing else. If he was trying to keep the character's options open, a sacrifice which incapacitated the character would surely have been enough.

I'm not entirely sure how many more funny things happen in this episode; it's possibly a bit funnier with cast commentary on the DVD than it is on its own. The bit where all the Ace coffins form the ring around the planet is kind of nice I suppose, although graphically it looks weak, and the episode has some nice music; I also kind of like how Rimmer and Lister hug before he leaves, but it's all a bit implausible given Rimmer's characterisation. I suppose the fact was they didn't know if Chris Barrie was leaving permanently or not (thank God he wasn't) and so didn't want to write him out in some offhand way. Possibly the best other funny bit in the episode is when Lister and Kryten burst into the cockpit when Ace's ship appears and Rimmer casually says "'Morning," as he and Cat put out the fires around them. This episode also features the series' first of two jokes about nuns: "Your brain moves faster than a nun's first curry." The funeral scene just involves rehashing a bunch of jokes from old episodes; probably the only bit that's funny is when Rimmer (as Ace) refers to himself as "Iron balls". You know what, bugger it. At one point I would have been inclined to say that "Stoke me a Clipper" is an okay episode, but it's not. It's bollocks. There is too much revisiting of stuff from old episodes, the way it writes out Rimmer is complete nonsense, and it isn't funny.