Starring Paul Darrow as Kerr Avon, Michael Keating as Vila Restal, Jan Chapell as Cally, Josette Simon as Dayna Mellanby, Steven Pacey as Tarrant and Peter Tuddenham as Zen
with Jacqueline Pearce as Servalan and Gareth Thomas as Blake

The Liberator breaks off as the Federation take over the fight

27 Aftermath

This one always plays tricks with my memory - I always remember more of the battle and escape from the Liberator and rather forget the tedious plot with the Sarrans. However, the sparkling scripting for Avon and Servalan makes up for some of the silliness, as does the very strong debut of Dayna (pity that won't last). Silly tat, but surprisingly watchable.


28 Power Play

A tense whodunit again largely focused on Avon and Dayna (Vila and Cally are sidelined in a rather boring subplot, which at least doesn't get in the way of goings-on on the Liberator). Obviously this one is much more effective if you have no idea Tarrant would become a regular, but it still works rather well as a novel introduction for him, even if finding such a good pilot within an episode of Jenna disappearing is a wee bit contrived.


Avon is held at gunpoint by Captain Tarrant

Dayna and Tarrant experience the excitment of being in the crew

29 Volcano

Very tedious on the whole. It's great that Tarrant and Dayna immediately get to be the away team, but beyond that it's very cheap and superfluous. The search for Blake feels a little weird within the greater context of the season as they just give up offscreen until the final episode, and it just feels like a promise of something more interesting than this tacky rubbish actually delivers.


30 Dawn of the Gods

It starts off as a passable bottle show, with the scenes on the Liberator allowing us to get a better feeling of the new crew dynamic, notably the friction between Avon and Tarrant. When the plot kicks in it falls apart, though - cheap, implausible and very irritating, as once again Cally's mind gets messed with. The cast treat the thing with all the respect it deserves too.


Reluctant explorer Vila

Servalan and that lump Jarvik

31 Harvest at Kairos

Chiefly remembered for that bloody ant, and Andrew Burt's lumbering, charmless Jarvik, "Harvest at Kairos" also features dodgy reuse of a NASA landing module too. However, an especially aloof role for Avon makes for some good fun in places, and the broadness of much of the episode has a sort of roguish charm - it's stupid, but strangely compelling.


32 City at the Edge of the World

Vila gets centre stage, but the episode somehow isn't as fun as it should be - maybe because Vila's not partnered up with Avon in the ideal double-act. However, there's much to praise, from the tense scenes onboard the Liberator to Tarrant swallowing his pride when the deal goes sour to Colin Baker having the time of his life as the OTT Bayban. Vila's relationship with Kerril is sweet, however, and it is nice to see him be the hero for once - even showing off his intelligence and craft when cracking the forcefield.


Bayban shouting, coincidentally at Vila

Frampton in the cloning lab

33 Children of Auron

Cally finally goes home, though you could argue about what exactly makes Auron any different from any other Earth colony we visit. Imaginative direction of the usual mundane locations gives this one a more stylish look than is the norm thanks to the ever-excellent Andrew Morgan, while Cally's twin Zelda isn't overplayed. Servalan is on marvellous form, feeling properly involved in the script for the first time since "Aftermath" and it's another good, solid episode.


34 Rumours of Death

Everyone got their own episode in Season 3, and this is Avon's. It's a great study of the deeper aspects of the character, and the Anna Grant storyline is handled very well - as is Avon's relationship with the equally damaged Servalan. And there's even time for some great scenes with Shrinker at the start, and to flesh out a pair of hapless Federation security guards. Maybe, just maybe, the best episode of the series.


Avon and Sula

The alien is confronted by Avon

35 Sarcophagus

A rather pretentious return to the 'something possesses Cally' storyline (maybe Jenna was right back in the first season?). Her complex relationship with Avon provides most of the interest in the episode, but against this there's some bizarre stuff, such as the mime sequences and Dayna's song. It's quite embarrassing in places due to how seriously it takes itself, though the production crew do a good job in making the Liberator sets look a bit different.


36 Ultraworld

More trash - Season 3 seems to really struggle for consistency. This one feels very much like a fanfic or an annual comic - it's difficult to put your finger on, but it just feels like it's all be done by the show before, even the stuff that hasn't been. The Ultras' commentary is very cringe-inducing too, and Vila's given a bunch of unfunny lines with which to magically solve things.


The one who's only a bit bald finishes off the plausibility

Good grief, Jacqueline, what are you wearing?  Apart from "not a bra"...

37 Moloch

There's probably a bit too much going on in here for just one episode, what with the situation with the Federation, the rogue soldiers making a power-play, whatever the civilians are up to on the planet, the crew's antics and Moloch itself. Still, at least this means it's never boring, despite the effects failure of Moloch and Davyd Harries completely misplayed the deeply nasty Doran (though the script doesn't help in this regard; we're clearly meant to think he's just a bit of a rogue).


38 Death-Watch

Tarrant's episode, and Steven Pacey playing both Del and his big brother Deeta is less awful than it sounds. The duel instead of a war is a great concept, and there's some fast thinking from both Avon and Servalan on show. Full of good performances, and like "Children of Auron", the usual warehouses and power stations are made to look a bit interesting and different. Much better than you'd think.


Vinni finishes off Deeta

Avon finds Blake

39 Terminal

Brilliantly plotted around the excellent characterisation of Avon, "Terminal" is full of great touches - notably the unsettling 'heartbeat' which accompanies all the scenes on the artificial planet. The single scene with Blake makes it feel like he never left the show, while Servalan is on great form too. The Liberator's undoing is perhaps a slight anticlimax, but then at the same time it being destroyed due to Avon's single-mindedness and some simple bad luck fits in with the more cynical second half of the show nicely.