The end of the peerless first episode of this story ends with the
Doctor, for the first time this century, setting foot on the sands of
his home planet. What we expect is a barnstorming homecoming and,
indeed, the depiction of Gallifrey is (naturally) the most visually
stunning that the programme has ever seen. Steven Moffat complements
what we know about the Time Lord home world with his own intriguing
additions to the mythos (the Cloister Wraiths or ‘Sliders’ being
particularly memorable) and, in a nod to the past, the way in which the
Doctor re-enters the higher echelons of Time Lord society has hints of The Invasion of Time.
Yet, as the subdued pre-credits sequence shows, this is not the thrust
of the story; and, indeed, the barn is literally not stormed.
The one thing that has been driving the Doctor is the loss of Clara,
more specifically, his unwillingness to come to terms with it. Using all
the power of Gallifrey, he rescues his best friend before the Raven
claims her, despite the fact that this is a fixed point and will
literally tear the cosmos apart. In order to do this, we see the Doctor
act with greater authority – ordering Rassilon himself off Gallifrey,
effectively staging a military coup in taking control of the planet and
(most troublingly) shooting an ally. It is clear that the Doctor and
Clara combined can be devastating. In the past two episodes, we have
seen how frightening the Doctor can be when Clara is threatened and here
we have its ultimate expression – the Doctor violating all that he has
lived by. It could be said that the Doctor’s abandoning his sonic
screwdriver in "The Witch's Familiar" means that the Doctor has
abandoned his promise and his Name and, that the ‘me’ referred to at the
end of "Heaven Sent" is not what the Doctor thought it would be. The
Doctor and Clara, the human and the Time Lord have it in them to destroy
everything. As Me says, they are the Hybrid.
Rachel Talalay again does stellar work in the director’s chair. The
Gallifrey scenes have a hint of Western about them, but the sitcom-esque
reactions of the Time Matron (as I am now going to call her)
discovering people of greater and greater importance outside the barn
work seamlessly with this. The scene where the Gallifreyan military
surrender to the unarmed Doctor is brilliantly realised. The Capitol is a
masterful combination of brilliant effects, design and great direction
and the Cloisters are memorably spooky. We have the welcome return of
Ken Bones as the General and Clare Higgins as Ohila. The resurrected
Rassilon has regenerated into the less celebrated, but equally
authoritative form of Donald Sumpter – less megalomaniacal than his
previous form, but equally ruthless. We also have the return of Maisie
Williams as Me – a lot wiser, if still not possessed of an infinite
memory. Capaldi is his usual brilliant self – utterly commanding, yet
making a line like ‘I had a duty of care’ truly heart-breaking.
Which brings us to the impossible girl. With the Doctor off the rails,
it is Clara who must take responsibility. Despite her rescue, she is
never passive in this story and she makes sure that the Doctor’s usual
gambit backfires and it is his memory that is wiped – not just because
Clara can keep what Donna could not, but so that the Doctor can finally
let go. Jenna gives a stunning performance in her final story as the
longest running companion of the revived series. She is left to live out
her final seconds in her own time, like Albert in Discworld and like
Vince Vega in Pulp Fiction, the fact that we have seen her die
does not prevent her from riding off into the sunset – or, in this case,
bucketing off into infinity in a TARDIS with a faulty chameleon circuit
that has trapped it in the form of an American diner.
This season has mixed the intimate with the epic with even greater
effect than before and, as the Doctor brandishes his new sonic
screwdriver, it is clear that our never cruel, never cowardly, hero is
back in black. Or burgundy.
NEXT: "The Husbands of River Song"
Wednesday, 23 December 2015
Saturday, 5 December 2015
"Heaven Sent"
Doctor Who in the 21st Century is a very polished product and
every story, no matter the quality, has something remarkable about it.
It is still rare, however, to find a story in which every single aspect
of its conception and execution is first rate and to this elite list
must now be added "Heaven Sent". Steven Moffat has crafted a tale that
is, at its simplest, the Doctor being chased by a scary monster. It is
this that will suck in and keep the terrified attention of the small
child that remains (and should always remain) a key part of the
programme’s demographic. However, we have musings on facing one’s own
death, of facing oneself as a person. It is a story set in a fairy-tale
castle and, indeed, can be seen as a Doctor Who version of a
fairy-tale as it channels (and acknowledges) the Grimms’ tale of the
Shepherd’s boy. It is a time-bending sci-fi tale with a truly shocking
twist. It is a way of showing the Doctor being tormented in a truly
horrible way, without showing any violence whatsoever. Steven Moffat’s
script manages all of this, leavening the grimness with his uniquely
pitched humour in one of his best scripts for the programme.
The episode is especially unique for its cast. The episode is, for the most part, the Doctor talking to himself and Capaldi tops his considerable best in an unforgettable performance. The Doctor starts off vengeful over the death of Clara, but as time goes on, as well as his own perils, he muses on his sense of bereavement. Capaldi never loses the fire and the feelings of loss, of despair and anger are all combined to devastating effect. We are shown the thought processes of the Doctor in times of peril, so mush faster than a human’s, where the Doctor’s ‘mind palace’ appears to be his perfect display of ‘showing off’ in the TARDIS. As we find out the Doctor is in his own personal Hell, we find the Doctor fighting to turn it into Purgatory, refusing to take the easy way out.
Helming the show, we have the best work Rachel Talalay has done in any medium. Each shot drips with atmosphere and the episode has to be seen more than once to take in all the information fed to the viewer. The Veil is a genuinely terrifying threat and there is more than one genuine ‘jump’ moment. There is a slight disconnect between scenes, which begs the question as to whether we are seeing multiple pecks by the bird on the mountain. The production team make the castle look beautiful, spooky and scary and the cinematography by Stuart Biddlecombe is first rate. A special mention must be made for Murray Gold’s finest score to date, one which has influences ranging from the best of Roger Limb and Paddy Kingsland in the Davison Era to Beethoven.
The first second of eternity passes, though and we find ourselves somewhere where we never thought we would be. The Doctor finally reveals the secret he was hiding for aeons ‘The hybrid is me’. Whether it is ‘me’ or ‘Me’ remains to be seen…
NEXT: "Hell Bent"
The episode is especially unique for its cast. The episode is, for the most part, the Doctor talking to himself and Capaldi tops his considerable best in an unforgettable performance. The Doctor starts off vengeful over the death of Clara, but as time goes on, as well as his own perils, he muses on his sense of bereavement. Capaldi never loses the fire and the feelings of loss, of despair and anger are all combined to devastating effect. We are shown the thought processes of the Doctor in times of peril, so mush faster than a human’s, where the Doctor’s ‘mind palace’ appears to be his perfect display of ‘showing off’ in the TARDIS. As we find out the Doctor is in his own personal Hell, we find the Doctor fighting to turn it into Purgatory, refusing to take the easy way out.
Helming the show, we have the best work Rachel Talalay has done in any medium. Each shot drips with atmosphere and the episode has to be seen more than once to take in all the information fed to the viewer. The Veil is a genuinely terrifying threat and there is more than one genuine ‘jump’ moment. There is a slight disconnect between scenes, which begs the question as to whether we are seeing multiple pecks by the bird on the mountain. The production team make the castle look beautiful, spooky and scary and the cinematography by Stuart Biddlecombe is first rate. A special mention must be made for Murray Gold’s finest score to date, one which has influences ranging from the best of Roger Limb and Paddy Kingsland in the Davison Era to Beethoven.
The first second of eternity passes, though and we find ourselves somewhere where we never thought we would be. The Doctor finally reveals the secret he was hiding for aeons ‘The hybrid is me’. Whether it is ‘me’ or ‘Me’ remains to be seen…
NEXT: "Hell Bent"
Tuesday, 1 December 2015
"Face the Raven"
More than any story than I can think of, "Face the Raven" could exist as a magical fantasy story with only minimal changes to the script. The notions of what secret worlds may lie unseen in a major city is a background to many a genre story and here, the trap street in London forms an irresistible hook for the plot and the hidden community with its rules form a fascinating addition to the corpus of this type of tale. The search for the Street is a puzzle that our heroes have to solve and the rules for the Street are established early on and the Quantum Shade's role as peacekeeper have a real mythic resonance with its form as the titular raven. The way in which events become a puzzle, become a cause, become a trap for the Doctor are expertly woven by writer Sarah Dollard. The realisation of the street owes more than a little to Diagon Alley from the Harry Potter Films and a very confident production is helmed by Justin Molotnikov who makes the aerial survey of London spectacular and the Street sinister and magical.
Supporting the regulars, we have two returnees.¤ Joivan Wade's again gives us his memorable Rigsy. He has clearly matured from the lovable ragamuffin we were introduced to in "Flatline", with a partner and a child, whom even the Doctor finds irresistible. Also returning is Maisie Williams as Me, Mayor Me of the street. Apart from these, the only supporting character of note is Letitia Wright's Janus. However, this story is very much a character story with one in particular taking centre stage – Clara Oswald. The plot tells of a sentence for Rigsy, which is, in reality a trap for the Doctor. The way in which Clara puts herself in harm's way to save the life of a young father is totally believable, as is the way in which she underestimates the nuances of the rules concerning how the Shade takes its prey. Clara is not reckless in taking on Rigsy's sentence, and her naivety in not realising that she has attempted to trick the Shade is understandable. In constructing the events in this way, Sarah Dollard gives Clara's sacrifice a real sense of beauty and dignity and the way in which Jenna Coleman plays it is utterly heartbreaking. Peter Capaldi's portrayal of the Doctor's despair and fury at the death of his best friend is shocking. We have seen him pretend to beg Davros for Clara's life, knowing that she was safe. Now we see what happens when it is real. Not since the Time Lord Victorious have we seen the Doctor more aware of his power and less concerned about how he uses it. Maisie Williams does good work in showing Me's increasing disquiet at the Doctor's anger, but this is Capaldi's show and the line 'the universe is a very small place when I am angry with you' makes the audience feel genuinely afraid about what the Doctor would do if he were to break the promise of his chosen name.
Beautiful, touching and chilling, this story is first-rate Doctor Who, even without the thrill of anticipation over what is to come...
NEXT: "Heaven Sent"
Saturday, 21 November 2015
"Sleep No More"
The ‘found-footage’ premise has become a very popular approach since The Blair Witch Project
was released in 1999, where it has been used to add a degree of
verisimilitude to various genres and it is now the turn of our favourite
hero to have his tale told in this manner. Immediately, this story
looks different, because, for the first time ever, the Doctor Who
opening sequence is completely absent from a story. Gone, too, is
Murray Gold’s incidental music. We are left alone with the sets, the
lights, the cameras and the actors…
It is fitting that, as with other unusual stories, this episode is helmed by a newcomer to the series, in the shape of Justin Molotnikov. The camerawork is either static or hand-held and we are initially led to believe that the sources for the images are helmet cams and security cams. Molotnikov effectively builds up tension and real scares when the Sandmen attack as well as brief, but awe-inspiring views of Neptune from orbit and, of course, the end, which is genuinely unsettling. The set design is as good as ever and, with no non-diegetic music, the sound plays a more important role than usual.
There is effective world-building – the Indo-Japanese fusion, the genetically engineered Grunts and, most notably, the concept of Morpheus, the system that compresses sleep into five minutes. Characterisation is, perhaps inevitably, sketchy, but this is helped by some good guest performances, notably Elaine Tan as Nagata (Indo-Japanese-Geordie, going by her accent!) and Bethany Black as Grunt 474 – designed to be less than human, yet involuntarily striving to be more so. Best of all is Reece Shearsmith as Rasmussen, the final member of the League of Gentlemen to appear in the programme. The regulars are more reactive than is usual, but this is no Eric Saward script and the Doctor soon takes charge. However, there is more going on in Mark Gatiss’s script than meets the eye. There are no cameras either in the helmets of the troops or the station itself. Moreover, events occur seemingly only for effect. In an inspired twist, it turns out that the episode itself is the means for the infection to spread, in the most metafictional the programme has been. It is therefore not, found footage after all – it is an edited mixture of a sinister reality version of Peep Show and the video from The Ring. It is a real pity, therefore that the script shows all the marks of a first draft. Personally I don’t find the idea of sleep dust forming the base of a malevolent new entity particularly ridiculous, especially when the realisation in as effective as it is here, but the way in which the plot develops, though understandable, is oddly paced and resolutions are few. Perhaps this is intentional – even the Doctor says that events make no sense – however, there is a slight sense of dissatisfaction left at the end, which is only partly assuaged by the promise of a sequel.
Nevertheless, this is a gripping tale that definitely works. I hope that the sequel (which I hope is called "Rheum With a View") builds on the foundation laid down.
NEXT: "Face the Raven"
It is fitting that, as with other unusual stories, this episode is helmed by a newcomer to the series, in the shape of Justin Molotnikov. The camerawork is either static or hand-held and we are initially led to believe that the sources for the images are helmet cams and security cams. Molotnikov effectively builds up tension and real scares when the Sandmen attack as well as brief, but awe-inspiring views of Neptune from orbit and, of course, the end, which is genuinely unsettling. The set design is as good as ever and, with no non-diegetic music, the sound plays a more important role than usual.
There is effective world-building – the Indo-Japanese fusion, the genetically engineered Grunts and, most notably, the concept of Morpheus, the system that compresses sleep into five minutes. Characterisation is, perhaps inevitably, sketchy, but this is helped by some good guest performances, notably Elaine Tan as Nagata (Indo-Japanese-Geordie, going by her accent!) and Bethany Black as Grunt 474 – designed to be less than human, yet involuntarily striving to be more so. Best of all is Reece Shearsmith as Rasmussen, the final member of the League of Gentlemen to appear in the programme. The regulars are more reactive than is usual, but this is no Eric Saward script and the Doctor soon takes charge. However, there is more going on in Mark Gatiss’s script than meets the eye. There are no cameras either in the helmets of the troops or the station itself. Moreover, events occur seemingly only for effect. In an inspired twist, it turns out that the episode itself is the means for the infection to spread, in the most metafictional the programme has been. It is therefore not, found footage after all – it is an edited mixture of a sinister reality version of Peep Show and the video from The Ring. It is a real pity, therefore that the script shows all the marks of a first draft. Personally I don’t find the idea of sleep dust forming the base of a malevolent new entity particularly ridiculous, especially when the realisation in as effective as it is here, but the way in which the plot develops, though understandable, is oddly paced and resolutions are few. Perhaps this is intentional – even the Doctor says that events make no sense – however, there is a slight sense of dissatisfaction left at the end, which is only partly assuaged by the promise of a sequel.
Nevertheless, this is a gripping tale that definitely works. I hope that the sequel (which I hope is called "Rheum With a View") builds on the foundation laid down.
NEXT: "Face the Raven"
Saturday, 14 November 2015
"The Zygon Invasion"/ "The Zygon Inversion"
Doctor Who very rarely “does politics” and, in the past, the results have been mixed. The Green Death managed to be an engaging story as well as informing the viewer on environmental matters and their political ramifications and The Curse of Peladon takes a look at an independent body joining a composite political entity that could be applied to EEC/EU membership. However, we also have the less successful likes of The Mutants in the 20th century and the ‘massive weapons of destruction’ which form the weakest part of the weakest story of the Eccleston era. "The Zygon Invasion"/ "The Zygon Inversion" immediately attracts, due to its irresistible title(s), but it also attempts to deal with some present-day hot-button issues - especially bearing in mind the events of 31 October and 13 November of 2015, chillingly close to broadcast. These aims have to hit their mark, especially now and the degree to which the story succeeds is completely unprecedented.
Following the events of "The Day of the Doctor", 20 million Zygons have assimilated into the human population. The overwhelming majority are peaceful, but a few of the younger generation are growing restless with the need to hide, to conform and have radicalised to form the group Truth or Consequences. The elder generation are appalled, but insist it is best for them to be dealt with by their own. It doesn’t take a genius to realise how much of this applies to radical Islam but the script by Peter Harness makes the issues easy to understand, without grossly simplifying them. Both sides spout hateful rhetoric, yet the viewer can understand the motivations of the characters spouting it. However, the dangers of radicalisation are only a part of the whole, for Harness and Moffat are just as keen on attacking modern warfare, indeed the entire concept of war itself. One abhorrent aspect of modern warfare that the vast majority of people just ignore or worse, accept, is the use of drones. Killing has become like a computer game, where, in a place of complete safety, operators can target images on a screen. Dehumanising the enemy makes their killing more effectively, and a dehumanised target is a faceless target. This story simply, yet devastatingly effectively, shows what happens when the faceless are given a face. Daniel Nettheim’s direction is unshowy, yet devastatingly effective in realising this and many other things. It takes a second to realise that the tumbleweeds in New Mexico are something more sinister and the dynamics of the Doctor negotiating peace with what looks like two little girls in a playground are fully explored for both incongruous comedy and grim drama. The Invasion of the Body Snatchers aspect of the Zygons is alluded to more strongly than ever before, most notably the 1978 version. It goes without saying that the production is fantastic, with the scene with the forced transformation of the peaceful Zygon being a deft mixture of the grotesque and the poignant.
The dialogue is brilliantly effective – the scene where the Doctor and Colonel Walsh have to give a pep talk to the UNIT soldiers follows a scene where they have a fundamental disagreement. Their speeches complement each other, yet do not betray their disagreement. However, it is in the key scene with the Osgood boxes that concept, dialogue, direction and performance combine to form one of the greatest sequences the programme has ever had in its 52-year history. War, the Doctor points out, is both preceded and succeeded by diplomacy and is the middle-man that needs cutting the most. Capaldi truly gives one of the best ever performances in the title role and, with the kindly smile he gives Bonnie, you can swear that you see all 2000 years of the Doctor’s life in his eyes. Jenna Coleman is great as both Clara and Zygella (sorry, Bonnie!) and we have the welcome return of Jemma Redgrave’s Kate and the brilliant Ingrid Oliver as, the far steelier, but still adorable, Osgood. We say goodbye, all to soon to Jaye Griffiths's Jac, but hello to Rebecca Front as Walsh - there is not a hint of The Thick of It when she and Capaldi share scenes.
"The Zygon Invasion"/ "The Zygon Inversion" doesn’t end with a bang, but neither does it end with a whimper. Zygella doesn’t betray the peace at the last minute and Kate doesn’t order UNIT to blow the Zygons up. What we have is better than a bang, a crescendo. "The Zygon Invasion"/ "The Zygon Inversion" is a story that I am tempted to throw superlatives at – ‘the best UNIT story since Inferno’ springs to mind. However, what I will say is this; there may be better stories than this one, but I cannot think of one that better shows how marvellous a programme Doctor Who is.
NEXT: "Sleep No More"
Following the events of "The Day of the Doctor", 20 million Zygons have assimilated into the human population. The overwhelming majority are peaceful, but a few of the younger generation are growing restless with the need to hide, to conform and have radicalised to form the group Truth or Consequences. The elder generation are appalled, but insist it is best for them to be dealt with by their own. It doesn’t take a genius to realise how much of this applies to radical Islam but the script by Peter Harness makes the issues easy to understand, without grossly simplifying them. Both sides spout hateful rhetoric, yet the viewer can understand the motivations of the characters spouting it. However, the dangers of radicalisation are only a part of the whole, for Harness and Moffat are just as keen on attacking modern warfare, indeed the entire concept of war itself. One abhorrent aspect of modern warfare that the vast majority of people just ignore or worse, accept, is the use of drones. Killing has become like a computer game, where, in a place of complete safety, operators can target images on a screen. Dehumanising the enemy makes their killing more effectively, and a dehumanised target is a faceless target. This story simply, yet devastatingly effectively, shows what happens when the faceless are given a face. Daniel Nettheim’s direction is unshowy, yet devastatingly effective in realising this and many other things. It takes a second to realise that the tumbleweeds in New Mexico are something more sinister and the dynamics of the Doctor negotiating peace with what looks like two little girls in a playground are fully explored for both incongruous comedy and grim drama. The Invasion of the Body Snatchers aspect of the Zygons is alluded to more strongly than ever before, most notably the 1978 version. It goes without saying that the production is fantastic, with the scene with the forced transformation of the peaceful Zygon being a deft mixture of the grotesque and the poignant.
The dialogue is brilliantly effective – the scene where the Doctor and Colonel Walsh have to give a pep talk to the UNIT soldiers follows a scene where they have a fundamental disagreement. Their speeches complement each other, yet do not betray their disagreement. However, it is in the key scene with the Osgood boxes that concept, dialogue, direction and performance combine to form one of the greatest sequences the programme has ever had in its 52-year history. War, the Doctor points out, is both preceded and succeeded by diplomacy and is the middle-man that needs cutting the most. Capaldi truly gives one of the best ever performances in the title role and, with the kindly smile he gives Bonnie, you can swear that you see all 2000 years of the Doctor’s life in his eyes. Jenna Coleman is great as both Clara and Zygella (sorry, Bonnie!) and we have the welcome return of Jemma Redgrave’s Kate and the brilliant Ingrid Oliver as, the far steelier, but still adorable, Osgood. We say goodbye, all to soon to Jaye Griffiths's Jac, but hello to Rebecca Front as Walsh - there is not a hint of The Thick of It when she and Capaldi share scenes.
"The Zygon Invasion"/ "The Zygon Inversion" doesn’t end with a bang, but neither does it end with a whimper. Zygella doesn’t betray the peace at the last minute and Kate doesn’t order UNIT to blow the Zygons up. What we have is better than a bang, a crescendo. "The Zygon Invasion"/ "The Zygon Inversion" is a story that I am tempted to throw superlatives at – ‘the best UNIT story since Inferno’ springs to mind. However, what I will say is this; there may be better stories than this one, but I cannot think of one that better shows how marvellous a programme Doctor Who is.
NEXT: "Sleep No More"
Sunday, 1 November 2015
"The Woman Who Lived"
Catherine Tregenna was the writer "Captain Jack Harkness", unquestionably the best story of the first series of Torchwood
and she makes her debut writing for the mothership here. Amongst the
writers who have worked on the programme since its return, Tregenna is
unusual, in that she has never professed to be a lifelong fan of Doctor Who,
which immediately gives this story a fresh feel. The influences are a
bit more esoteric. Ashildr’s life (including times spent as a man) bears
shades of Virginia Woolf’s Orlando and, of course, a woman
highwayman disguised as a man and putting on a man’s voice immediately
brings to mind "Amy and Amiability" which I would call a hilariously
classic episode of Blackadder the Third if that wasn’t a complete tautology.
Ashildr’s journey is funny and tragic at the same time – unlike Captain Jack she isn’t a unique space-time event, which means that she can only remember a fraction of her 800 year life. Her diaries may record the rest, but they might as well be someone else’s. Maisie Williams, so strong in the irresistible Game of Thrones is wonderful – sweet, yet steely as Ashildr, detached, yet not too remote to be brought back as Me. There is great support from Rufus Hound, who is very likable as Sam Swift; as with Frank Skinner last year, he is clearly having the time of his life. The alien invasion seems to be over egging the pudding a bit, but Ariyon Bakare lends his commanding authority to Leandro. Our leading man is on fire in both parts of the story whether channelling Tom Baker with his bad Odin impersonation or channelling his previous iconic role when assigning the Vikings their nicknames. Capaldi continues to impress in fresh ways as he goes on.
However, in both parts of this story there is a considerable handicap. The direction by Ed Bazalgette is, in my opinion, the worst since the programme came back. There are some good sequences, most notably CGI used in handheld shots. However, Bazalgette fails to keep track of the small things and the editing is clumsy. If you are showing a rider passing a milestone, it is a good idea to clearly show what is on that milestone, for example. Other sequences fail to make sense on first viewing because of choices Bazalgette has made, most notably the gag concerning the Vikings’ first use of real swords. Possibly linked to Bazalgette’s inconsistent helming is the fact that Murray Gold’s score is a disappointment. However, the production team is so strong that it can paper over most of Bazalgette’s cracks and the design is first rate, despite being completely inaccurate, historically – the horned helmets are understandable, but the sense of period in "The Woman Who Lived" is non-existent – the costumes and iconography are from the eighteenth century, yet the setting is unambiguously the Commonwealth Interregnum a century earlier.
Despite these flaws this is a hugely enjoyable story and I look forward to seeing more of Me(!).
NEXT: "The Zygon Invasion"/ "The Zygon Inversion"
Ashildr’s journey is funny and tragic at the same time – unlike Captain Jack she isn’t a unique space-time event, which means that she can only remember a fraction of her 800 year life. Her diaries may record the rest, but they might as well be someone else’s. Maisie Williams, so strong in the irresistible Game of Thrones is wonderful – sweet, yet steely as Ashildr, detached, yet not too remote to be brought back as Me. There is great support from Rufus Hound, who is very likable as Sam Swift; as with Frank Skinner last year, he is clearly having the time of his life. The alien invasion seems to be over egging the pudding a bit, but Ariyon Bakare lends his commanding authority to Leandro. Our leading man is on fire in both parts of the story whether channelling Tom Baker with his bad Odin impersonation or channelling his previous iconic role when assigning the Vikings their nicknames. Capaldi continues to impress in fresh ways as he goes on.
However, in both parts of this story there is a considerable handicap. The direction by Ed Bazalgette is, in my opinion, the worst since the programme came back. There are some good sequences, most notably CGI used in handheld shots. However, Bazalgette fails to keep track of the small things and the editing is clumsy. If you are showing a rider passing a milestone, it is a good idea to clearly show what is on that milestone, for example. Other sequences fail to make sense on first viewing because of choices Bazalgette has made, most notably the gag concerning the Vikings’ first use of real swords. Possibly linked to Bazalgette’s inconsistent helming is the fact that Murray Gold’s score is a disappointment. However, the production team is so strong that it can paper over most of Bazalgette’s cracks and the design is first rate, despite being completely inaccurate, historically – the horned helmets are understandable, but the sense of period in "The Woman Who Lived" is non-existent – the costumes and iconography are from the eighteenth century, yet the setting is unambiguously the Commonwealth Interregnum a century earlier.
Despite these flaws this is a hugely enjoyable story and I look forward to seeing more of Me(!).
NEXT: "The Zygon Invasion"/ "The Zygon Inversion"
"The Girl Who Died"
NOTE: In this two-parter-heavy series of Doctor Who, this tale is something of an oddity. It is anchored by the same supporting character and made with the same director, yet each part tells a very different story and is written by a different writer, so I will look at these stories separately – for the most part.
Jamie Matheson, who made an immediate impact in his two excellent debut stories last season, returns (assisted by his boss) in this gloriously enjoyable romp. In this story of a Viking village staving off an attack by warlike aliens, there is the obvious influence of The Seven Samurai and Sam Raimi’s Army of Darkness. Despite several well worn (and inaccurate!) Norse clichés, the idea of having the pillaging part of the population removed quite soon means that we have a rather atypical bunch of Northmen and Northwomen. The story is full of cracking one liners and lyrical monologues and the way the plot resolves itself is very satisfying, because of, rather than in spite of the contrivances used to get there.
The ‘not the best half’ of the village is memorably cast, with such memorable figures as Lofty the blacksmith and the not-very-fierce Heidi, played excellently by Tom Stourton and Barnaby Kay. In the key role of Einar (or ‘Chuckles’) we have a wonderfully steely, yet warm performance by Ian Conningham. It has to be said, however, that David Schofield, fine actor though he is, isn’t quite commanding enough for Odin – if ever there was a role tailor made for Brian Blessed's return to Doctor Who, it was this one. Clara’s role is mainly confined to this half and, again, Jenna Coleman knocks it for six in a space suit.
Which brings us to the key character of Ashildr. A tomboy in her late teens, she is the engaging storyteller of the village whose imagination is fuelled by the adventures of the raiders, who love her, misfit though she is. The defeat of the Mire is largely due to her gifts, and what happens is tragic. However the girl who died is dead no longer and the centuries race by...
Saturday, 17 October 2015
"Under the Lake"/"Before the Flood"
The basis (under siege) for this story is rooted in several well-worn tropes of science-fiction in general and Doctor Who
in particular - indeed, beats are taken from the Tennant classic "The
Impossible Planet"/"The Satan Pit", most notably the death by airlock
with the body floating outside the base window. However, in the very
capable hands of Toby Whithouse, we are constantly left scared and
surprised at every turn in a story that gives us terrifying underwater
hauntings, time-bending paradox crunching, Cold-War era dummy towns,
Arthurian legend, and love, both unrequited and requited. The
explanation for the ghosts and their motivation is revealed only
piecemeal, which makes re-watching the story all the more rewarding and,
at no point does it alienate anyone who had given the story their
proper attention – the untranslatable characters on the spaceship wall
are the seeds of a ghost factory, the TARDIS is wary because the Doctor
is already there in the hibernaculum. The Fisher King is a far more
malevolent figure than his Arthurian namesake, yet the roots in the myth
are present and correct – both require those who venture upon his abode
to assist in his return...
The production is flawless in realising Whithouse's vision – the ghosts are designed, realised and filmed to live in the nightmares of many in years to come and Daniel O'Hara makes a stunning début as director crafting each scene with care, an obvious highlight being the ghost of Moran dragging an axe just a few paces behind Cass. The design work is fantastic, from the sets for the Drum, to the dummy town to the memorably crustaceoid (if that's a word) Fisher King.
The characters are somewhat atypical for the base-under-siege formula and the actors do stunning work. Morven Christie manages to be completely convincing both as a hard-as-nails NCO and as an utterly adorable Doctor-fangirl. Whithouse never makes Cass a mere token character and the gutsy performance that Sophie Stone gives in the role only adds to the effectiveness of the character. We also have a nice turn by Paul Kaye as the Tivolian, Prentis. It must be said that it is a pity that Colin McFarlane has so little to do in his non-ghost form, but it is no surprise that this very charismatic actor is the scariest of the ghosts. The imposing size of the Fisher King (courtesy of Neil Fingleton) is matched with a memorable turn by Peter Serafinowicz, one of the most versatile voices in the business.
The Doctor's job is a bit more complicated than in should be. How can a time-traveller defy his own ghost? Very well indeed, if the Doctor is as brilliantly written and performed as he is here. Capaldi portrays the Doctor as being stoic in the face on inevitability, totally in control of the end of the moment, if not it's beginning, yet needing cue-cards to help him console those he is about to help. He is also given the most lengthy piece of fourth-wall breaking in the programme's history, which he pulls off with aplomb. With the characters separated, Jenna is left to be the lead in her segments, which she does magnificently.
So, we are left with the Bootstrap Paradox and a question that is never answered. But don't some of the best stories end with a question mark?
NEXT: "The Girl Who Died"/"The Woman Who Lived"
The production is flawless in realising Whithouse's vision – the ghosts are designed, realised and filmed to live in the nightmares of many in years to come and Daniel O'Hara makes a stunning début as director crafting each scene with care, an obvious highlight being the ghost of Moran dragging an axe just a few paces behind Cass. The design work is fantastic, from the sets for the Drum, to the dummy town to the memorably crustaceoid (if that's a word) Fisher King.
The characters are somewhat atypical for the base-under-siege formula and the actors do stunning work. Morven Christie manages to be completely convincing both as a hard-as-nails NCO and as an utterly adorable Doctor-fangirl. Whithouse never makes Cass a mere token character and the gutsy performance that Sophie Stone gives in the role only adds to the effectiveness of the character. We also have a nice turn by Paul Kaye as the Tivolian, Prentis. It must be said that it is a pity that Colin McFarlane has so little to do in his non-ghost form, but it is no surprise that this very charismatic actor is the scariest of the ghosts. The imposing size of the Fisher King (courtesy of Neil Fingleton) is matched with a memorable turn by Peter Serafinowicz, one of the most versatile voices in the business.
The Doctor's job is a bit more complicated than in should be. How can a time-traveller defy his own ghost? Very well indeed, if the Doctor is as brilliantly written and performed as he is here. Capaldi portrays the Doctor as being stoic in the face on inevitability, totally in control of the end of the moment, if not it's beginning, yet needing cue-cards to help him console those he is about to help. He is also given the most lengthy piece of fourth-wall breaking in the programme's history, which he pulls off with aplomb. With the characters separated, Jenna is left to be the lead in her segments, which she does magnificently.
So, we are left with the Bootstrap Paradox and a question that is never answered. But don't some of the best stories end with a question mark?
NEXT: "The Girl Who Died"/"The Woman Who Lived"
Sunday, 4 October 2015
"The Magician's Apprentice"/"The Witch's Familiar"
If there has ever been a greater hook for the fans than the pre-titles
sequence to "The Magician's Apprentice" I have yet to see it. As
written, however, it serves to anchor the purpose of the story, for,
before the main course, we are given a sweeping entrée through the known
universe as we are used to from a Moffat two parterbefore two random
amuse-bouches of Doctor Who story types - the UNIT story that
reintroduces Missy and the wacky pseudo-historical that marks the
Doctor's re-entry into the story. We are taken further 'into the Dalek'
than we have ever been before - free will apparently means nothing
inside a Dalek and the reason for the constant repetition of their most
notorious chant is that it is the only vocalisation permitted towards
any non Dalek - a good way to reload. We are expressly told what happens
to senescent Daleks; immortal they may be, but not ageless (it is good,
incidentally, that the more cloacal aspects of the Skarosian slime are
addressed and the word 'sewer' used, as the intimations would have been
there anyway).
However, this is the tale of the Doctor and Davros and the creator and the created. We are taken to earlier in Skaro's history than we have ever been before and to the apparent end of Davros's life. A goodly portion of "The Witch's Familiar" is taken up with a remarkable conversation between Davros and the Doctor. Davros's seeming deathbed repentance is one of the most shocking moments in the programme's history and only someone blindly subservient to the programme's past would deny that Julian Bleach exceeds Michael Wisher's high mark in his performance in the role. He is helped by the best make-up job for the character yet - recognisably the same, but utterly convincing as simply the face of an old man, so the opening of his Kaled eyes (helped by the framing of the shots) doesn't seem jarring. In addition, we finally find out just how much of Davros's Kaled body is left, as the Doctor literally unseats his arch enemy! Hettie Macdonald puts in stellar work and marshals an outstanding job from the production team, such as the retro, but utterly convincing Skaro and the trips to UNIT and mediaeval Essex, which are treated with as much care as if they had been the centre of the story.
It is testament to the skills of Moffat, Bleach and Michelle Gomez that the first story to feature both Davros and the Master doesn't have one swamping the other. Missy is brought back (the method of her survival, lovingly detailed in the pre-credits sequence in "The Witch's Familiar". Gomez's psychopathic flightiness makes Missy genuinely unpredictable and genuinely frightening, notwithstanding the fact that for the vast majority of their screen time together, the Doctor and Missy are allies. Indeed, Clara is pretty much Missy's companion in the story and Missy is quick to make Clara very much the fall guy in their double act. This makes her apparent betrayal of Clara both totally expected and incredibly powerful. Jenna Coleman effortlessly makes Clara noticeably more mature, as she should be, following the loss of Danny. Capaldi is on fire throughout, whether belting out 'Mickey' on his Yamaha SGV800 (with an invisible wah-wah pedal!) pleading for Clara's life or regenerating the Struldbrugs of Skaro.
The dénouement, brings all these strands together. Embodying a Dalek Empire that has literally been reborn, Davros is triumphant - yet he has forgotten that all his children have been renewed; including the abandoned elder ones. The sewers are, indeed, revolting. Most crucially the Doctor saves the young Davros, answering the question 'Who Made Davros?' with the only acceptable answer 'Skaro'. People who have kindness shown to them when they were younger sometimes still become monsters.
The ninth series opener is a storming piece of work that seems contemporary, retro and timeless at the same time thanks to sterling work on all aspects of creation and production. The Doctor and Clara are again free to wander time and space together. We are, however, left with the promise of a horror awaiting our heroes in the future...
NEXT: "Under the Lake"/"Before the Flood"
However, this is the tale of the Doctor and Davros and the creator and the created. We are taken to earlier in Skaro's history than we have ever been before and to the apparent end of Davros's life. A goodly portion of "The Witch's Familiar" is taken up with a remarkable conversation between Davros and the Doctor. Davros's seeming deathbed repentance is one of the most shocking moments in the programme's history and only someone blindly subservient to the programme's past would deny that Julian Bleach exceeds Michael Wisher's high mark in his performance in the role. He is helped by the best make-up job for the character yet - recognisably the same, but utterly convincing as simply the face of an old man, so the opening of his Kaled eyes (helped by the framing of the shots) doesn't seem jarring. In addition, we finally find out just how much of Davros's Kaled body is left, as the Doctor literally unseats his arch enemy! Hettie Macdonald puts in stellar work and marshals an outstanding job from the production team, such as the retro, but utterly convincing Skaro and the trips to UNIT and mediaeval Essex, which are treated with as much care as if they had been the centre of the story.
It is testament to the skills of Moffat, Bleach and Michelle Gomez that the first story to feature both Davros and the Master doesn't have one swamping the other. Missy is brought back (the method of her survival, lovingly detailed in the pre-credits sequence in "The Witch's Familiar". Gomez's psychopathic flightiness makes Missy genuinely unpredictable and genuinely frightening, notwithstanding the fact that for the vast majority of their screen time together, the Doctor and Missy are allies. Indeed, Clara is pretty much Missy's companion in the story and Missy is quick to make Clara very much the fall guy in their double act. This makes her apparent betrayal of Clara both totally expected and incredibly powerful. Jenna Coleman effortlessly makes Clara noticeably more mature, as she should be, following the loss of Danny. Capaldi is on fire throughout, whether belting out 'Mickey' on his Yamaha SGV800 (with an invisible wah-wah pedal!) pleading for Clara's life or regenerating the Struldbrugs of Skaro.
The dénouement, brings all these strands together. Embodying a Dalek Empire that has literally been reborn, Davros is triumphant - yet he has forgotten that all his children have been renewed; including the abandoned elder ones. The sewers are, indeed, revolting. Most crucially the Doctor saves the young Davros, answering the question 'Who Made Davros?' with the only acceptable answer 'Skaro'. People who have kindness shown to them when they were younger sometimes still become monsters.
The ninth series opener is a storming piece of work that seems contemporary, retro and timeless at the same time thanks to sterling work on all aspects of creation and production. The Doctor and Clara are again free to wander time and space together. We are, however, left with the promise of a horror awaiting our heroes in the future...
NEXT: "Under the Lake"/"Before the Flood"
Wednesday, 1 April 2015
"Last Christmas"
Doctor Who has never been shy of taking inspiration from other
sources. However, what elevates some of these stories far beyond mere
plagiarism is the way in which ideas have been used to tell wonderfully
fresh stories. The layered dream saga that is "Last Christmas" is
clearly inspired by Christopher Nolan's Inception, and there are obvious nods to Alien - so blatant, that the script has to acknowledge it ('There's a horror movie called Alien?!
That's really offensive. No wonder everyone keeps invading you!') - but
it is what the layers consist of that really make the story stand out.
The state of dreaming is vitally important to the presentation of the story. Events and motivations are understandable, but have a fuzziness that often happens in dreams. The key scene here is Shona’s initial infiltration into the sick bay. What she is trying to accomplish is unclear, but the characters treat the situation with complete sincerity, as does director Paul Wilmshurst who masterfully creates fear and tension in the Dream Crab scenes that are not invalidated by Santa and his elves making a completely incongruous appearance. The supporting cast is outstanding – Michael Troughton makes an appearance where more than one member of his family has been before, and the excellently steely Maureen Beattie makes an immediate impression as Professor Bellows. Natalie Gumede shows a maturity and authority I never realised she possessed, which leaves the adorable Faye Marsay in the junior role – her hilarious dancing has to be seen to be believed. Then, as the ultimate unreality of the season we have Nick Frost, who makes Santa into the jolly, bearded deus ex machina that we need him to be – and, if there is any justice, ‘Nick Frost’ will now become an actual nickname for the Man in Red. Alien, wrapped in Inception wrapped in Doctor Who makes an interesting three-bird roast, but it is the appearances by a, seemingly, completely real Father Christmas that make the irresistible pigs-in-blankets. This is a truly extraordinary script by Steven Moffatt not only managing to be a truly terrifying monster story and a jolly Christmas story at the same time, but also examining the notion of Christmas as a dream state that we must all wake from. The supporting characters are scientists in the base, but all wake up to a more mundane reality and, vitally, get on with their lives.
Anchoring all of this is a beautiful pair of performances from the two regulars. The Doctor is, as always, the man in charge, but keenly protective of his companion. Clara is still in mourning and the way they share their loss is very touching, as is the scene with the apparently aged Clara. ¤The dynamic changed after Danny died, but it still exists and it will be interesting to see how it will progress.
I (jokingly) wondered when Steven Moffat would do his version of The Box of Delights, but this thrilling tribute to the necessary dream of Christmas (to which an extra layer is added when the viewer watches it on Christmas Day) goes a good way to fulfilling this.
NEXT: "The Magician's Apprentice"/"The Witch's Familiar"
The state of dreaming is vitally important to the presentation of the story. Events and motivations are understandable, but have a fuzziness that often happens in dreams. The key scene here is Shona’s initial infiltration into the sick bay. What she is trying to accomplish is unclear, but the characters treat the situation with complete sincerity, as does director Paul Wilmshurst who masterfully creates fear and tension in the Dream Crab scenes that are not invalidated by Santa and his elves making a completely incongruous appearance. The supporting cast is outstanding – Michael Troughton makes an appearance where more than one member of his family has been before, and the excellently steely Maureen Beattie makes an immediate impression as Professor Bellows. Natalie Gumede shows a maturity and authority I never realised she possessed, which leaves the adorable Faye Marsay in the junior role – her hilarious dancing has to be seen to be believed. Then, as the ultimate unreality of the season we have Nick Frost, who makes Santa into the jolly, bearded deus ex machina that we need him to be – and, if there is any justice, ‘Nick Frost’ will now become an actual nickname for the Man in Red. Alien, wrapped in Inception wrapped in Doctor Who makes an interesting three-bird roast, but it is the appearances by a, seemingly, completely real Father Christmas that make the irresistible pigs-in-blankets. This is a truly extraordinary script by Steven Moffatt not only managing to be a truly terrifying monster story and a jolly Christmas story at the same time, but also examining the notion of Christmas as a dream state that we must all wake from. The supporting characters are scientists in the base, but all wake up to a more mundane reality and, vitally, get on with their lives.
Anchoring all of this is a beautiful pair of performances from the two regulars. The Doctor is, as always, the man in charge, but keenly protective of his companion. Clara is still in mourning and the way they share their loss is very touching, as is the scene with the apparently aged Clara. ¤The dynamic changed after Danny died, but it still exists and it will be interesting to see how it will progress.
I (jokingly) wondered when Steven Moffat would do his version of The Box of Delights, but this thrilling tribute to the necessary dream of Christmas (to which an extra layer is added when the viewer watches it on Christmas Day) goes a good way to fulfilling this.
NEXT: "The Magician's Apprentice"/"The Witch's Familiar"
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