Doctor Who Series 12 Overview

Posted on March 2nd, 2020 in Culture | No Comments »

Fuck me, that was rough.

My final rankings are as follows…

Best of a profoundly sorry bunch was The Haunting of Villa Diodati (4 out of 5 stars) which actually had some thematic unity and dramatic power to it.

Praxeus (4 out of 5 stars) and Nikola Tesla’s Night of Terror (3.5 out of 5 stars) are thin but they basically work. Spyfall (3 out of 5 stars) was nonsense but it was fastmoving and the surprise reveal of The Master was well-handled. Can You Hear Me(2.5 out of 5 stars) and Orphan 55 (2 out of 5 stars) are both mis-fires. Ascension of the Cybermen (2.5 out of 5 stars) showed some promise, but the finale isn’t worth any stars at all because it wasn’t a story. Fugitive of the Judoon was the story I enjoyed most as it was on, despite its maddening flaws. Whether it’s still worth the 4.5 stars I gave it then is up for debate.

This compares to the noble burghers of GallifreyBase as follows. Averaging their scores out of ten, we get the following. They put Fugitive top with 8/10, then Villa Diodati close behind on 7.9. Ascension and the two parts of Spyfall are next, all scoring in the mid-7s. TeslaThe Timeless Children and Can You Hear Me are all in the mid-sixes and Praxeus gets 6.1 before Orphan 55 rounds out the series with a pretty poor 4.8. What these averages don’t reveal is the enormous number of ones (balanced by a fair few nines and tens) for the finale which really has proven to be divisive.

At the end of his first series “I don’t read reviews” Chibnall suddenly seemed to realise that his plan to treat this as a brand new programme with no past, and to never reference the show’s 57 year history had been an error and so he threw the lever so far back in the other direction it snapped off in his hand. What the hell this means for Series Thirteen is anyone’s guess. I suppose I’ll still be watching. And hoping.


The Tiresome Children

Posted on March 2nd, 2020 in Culture | No Comments »

This isn’t so much a review as a collection of disorganised rambling thoughts. I can only assume Chris Chibnall would approve.

The current showrunner of Doctor Who appears to be incapable of structuring a story. The companions are once again shunted off into a side quest which is boring on its face (running away from Cybermen, hiding from Cybermen, mysteriously not being shot dead by Cybermen). The Doctor is completely passive throughout. Absurd plot elements such as a so-called “death particle” are introduced arbitrarily, their abilities never defined, and then they are written out when convenient.

The current showrunner of Doctor Who appears to be allergic to drama. If we absolutely have to disinter the foundations of the central character and make what was once so appealing – those lovely mysterious origins – so much more prosaic and dull, then could we not at least find some way to do it which has a bit more power to it than the Doctor being shown a slide show? And how does the Doctor escape from her confinement? She plays herself a clip compilation of old episodes of Doctor Who. Does she literally fanwank herself out of jail??

The current showrunner of Doctor Who has decided to have three companions and has forgotten why. I don’t think we even see Ryan back on Earth. Why should we bother? He’s a nothing character. A space where a person might be.

The current showrunner of Doctor Who is impervious to the dramatic possibilities of his own ideas. Committing, for whatever boneheaded reason to putting a piece of the Doctor’s DNA inside every Time Lord, he then continues to write a story in which there’s a piece of Time Lord in every Cyberman, but the implications of this are never addressed because let’s just blow them all up instead. Not by the Doctor though, ugh, yuck, violence. Let’s have someone else do it instead. Hurrah. I love happy endings. Never cowardly or cruel! Run away and have them all blown up by someone else. Look for a third way? Why bother?

And the stupidity mounts up and up and up. Two of the companions and some other people I couldn’t give a shit about are trapped on an impossibly vast Cyber battle cruiser. Some of the Cybermen have been activated to go and kill humans on the planet below. How many? Not sure. What about the rest? Never specified.

The humans have been detected by Cyber technology so they need to hide – and quick. Luckily, they come up with a plan to very slowly and laboriously dismantle the dormant Cybermen they happen to be standing next to. Hide all the (apparently odourless) body parts they’ve had to scoop out from the inside. Then climb inside the suits – what do you know, they’re all a perfect fit – and stand and wait for Ashad the hero Cyberman to do his rounds. On the countless floors of this enormous ship, WHICH HAS SENSORS TO DETECT HUMANS, he finally wanders into the bit where the humans actually are, potters around a bit sniffing the Cybermen and then just leaves. Phew. Now our plucky humans can escape to the planet’s surface. Not before, that would have been silly. How do they get there? Never specified.

This, for one reviewer, was the highlight of the episode.

And I could go on, and on, and on. Try as I might, I can’t bring myself to care about the Doctor’s previous lives. Clearly the interesting version of the Doctor is the one who decided to steal a TARDIS and go on the run. Previous versions apparently just obediently did what they were programmed to do by a higher power – you know the way The Doctor never would. In fact, the insight which allows the Whittaker Doctor to get her shit together and dive back into the fray (for all the good that does) is that her past doesn’t define her. How can it? Her memory of being all those other incarnations has been wiped. So, it hasn’t changed her at all, then? And all that build up was for… nothing, I guess. Why should we care? Why should she care? Why should anyone care about all this bullshit?

It hasn’t “broken the show”, because it’s all just demented fan theory nonsense that doesn’t mean anything either while it’s on, or for the future of the programme, or its past. But I guess at least we know where Chris Chibnall stands on the Morbius Faces Debate now. Next year – the UNIT DATING REVELATION THAT CHANGES EVERYTHING. “Doctor, every calendar you thought you knew, was a lie.” Etc, etc. Continued on page 94.

And I’m sorry Sasha, but I’m really bored of this performance now. Third time out, there’s no gas left in the tank. While Michelle Gomez’s Missy revealed layer after layer in writing and performance, this time around, the actor repeats the same pop-eyed ranting and the writer just turns the character into his own personal avatar. “You miserable fans! Quake in fear as I threaten the very nature of your realities! Ha ha ha!” He’s so keen to make the Master the hero of the story (he does have agency after all, which is more than can be said for any other character) that he has him in two places at once. Heaven forbid that the Doctor should be allowed to investigate her own back-story.

And like all good writers, with two charismatic mega-villains, facing off against each other, he just unceremoniously writes one out in a flat second when he’s run out of ideas. Ashad, the paranoid Cyberman, brilliantly played by Patrick O’Kane, reduced to a magic mega bomb to end the story with.

It’s all so stupid and pointless, that it’s barely worthwhile trying to summon up the energy to point out all the plot holes. How did the Master find Gallifrey? Never explained. How did he manage to get past their defences and kill everyone? Never explained. How does this enable him to discover the Doctor’s boring origin story? Never explained. Why are portions of Gallifrey’s darkest secret which must never be revealed to anyone because… reasons… redacted and others not? Never explained. Why is Ruth Martin swanning around as the Doctor when Brendan has no idea who he is? Never explained. Why is Brendan’s magic power to survive death by shooting and falling unscathed, when the whole point of this stupid backstory is that what makes Time Lords special is regeneration? Why did they call themselves Time Lords when they gave themselves regeneration not Time Travel? If there are countless previous incarnations of the Doctor running around the Universe, why have our Doctor and them never crossed paths before? Why does Ko Sharmus even have a bomb which can only be detonated manually? Who would make such a thing? Who would buy it? Why is the TARDIS suddenly so vulnerable to incursion? How can the Judoon suddenly identify their quarry on sight? Are we meant to be pleased that the current showrunner remembers how funny it was when an earlier showrunner had the Doctor repeatedly say “What?” during an end-of-season cliffhanger?

This is not so much a story, it’s a mad Whovian ranting his idiotic fan fiction in your face for an hour.

And that’s who’s running Doctor Who now.

Jesus suffering Christ.

Anyway, I hear Star Trek: Picard is good.

So, what did I think… oh for fuck’s sake, I can’t even…

Posted on March 2nd, 2020 in Culture | No Comments »

In 1986, a teenaged Chris Chibnall appeared on BBC television to publicly criticize the 14 part serial The Trial of a Time Lord which made up the 23rd Season of Doctor Who. Now, in 2020, he is able to put his own vision of the show on screen. A vision which includes…

  • The Doctor in an incongruously colourful costume
  • The unexpected return of The Master
  • A heavy reliance on old enemies and PR-friendly guest stars
  • An alternative version of the Doctor whose provenance is uncertain, and who we don’t realize is the Doctor until later in the story
  • A desolate alien planet revealed as Earth in the far future
  • Evil capitalists who want to use human brains for their own purposes
  • An over-arching season-long storyline revolving around Gallifrey and the Time Lords, which makes it hard for casual viewers to understand or keep up.
  • Lengthy sections consisting of the Doctor watching Doctor Who via the Matrix instead of taking part in the story.
  • In the final bumper-length episode, the Doctor and the Master disappear into the Matrix, a world of illusion where it isn’t clear what’s real and what’s not (a bit like in The Deadly Assassin).

Make of that what you will.

As to the content of this episode – I mean it defies reviewing really, doesn’t it, being mainly gibberish. Not so much a sci-fi adventure story as a mad Whovian ranting his dreadful fan theories into your face for an hour. I may have some more detailed thoughts later, but for now I’m just profoundly disappointed and shocked at the vacuous inanity of it all.

And then there’s this.

So… yeah…

So… what did I think of Ascension of the Cybermen?

Posted on February 26th, 2020 in Culture | No Comments »

Well, this seems to have gone down well with fandom as a whole. And it’s not hard to see why – classic monsters reimagined, proper jeopardy for the regulars, some Moffatian mystery with impregnable Brendan, lots of action and excitement and a doozie of a cliffhanger ending.

Me? I’m not quite so happy.

Let’s take this in stages. The basic plot begins with the Doctor arriving to save the last vestiges of humanity from the Cybermen. So far, so Utopia. The aforesaid vestiges are apparently named Ravioli, You-Alarm-Me, Fearcat, Biscuit, Fo’c’sle and – for some reason – Ethan. Nothing any of them can do, not even doughty Julie Graham, can put much life into them although Steve Toussaint does much with little.

The Doctor comes armed with a multitude of anti-Cyberman devices which she confidently deploys but none of them work. So, in plot terms, the same as if she’d turned up without them. I mean, I suppose we’ve raised the stakes a bit but we know the Cybermen are fearsome foes anyway and it’s much more in character for the Doctor to turn up in the thick of things and have to improvise. Having all her gadgets fail is not only narrative vamping (and if you like that, you’ll love the rest of the episode) it also does much more to weaken her than it does to build up the threat.

When the Cybermen make their appearance, it’s initially in the rather comical form of a swarm of flying Cyberheads. If you can stop giggling at how absurd this looks, then it’s suddenly clear that these flying drones are way more effective at finding, cornering and eliminating the humans than the slow-moving stompy Cybermen of yore. So it’s rather surprising (and convenient) that the efficient and brutal drones kill a single human and then all bugger off, job done.

The fam get split up with Graham and Yaz joining Ravioli, Biscuit and You-Alarm-Me and Graham and Yaz prove that when the chips are down a tone-deaf approach to personal trauma is all you need to get out of a sticky situation. Sadly, the script can’t make up its mind whether the plan is to vent the oxygen into space to propel them to the “safety” of a Cyberfreighter, or whether it’s instead to divert all life support power to the thrusters. It genuinely sounds as if different drafts of the script were being shot simultaneously.

Although the stuff with the Cybermen all waking up is well done (hey, cute, they look like the ones from the 1970s), the level of threat seems absurd compared to the number of humans. One Cyberman should be enough to “delete” half a dozen exhausted freedom fighters. Once you get above about six, who really cares? Having thousands just seems pointless. And just what is Ashad doing to them to make them scream? I thought he was reviving them, but in one shot, he looks like he’s murdering them.

Speaking of Ashad, his stuff with the Doctor is all much better. Again, none of this really accomplishes very much. Just as all that ultimately happens to Yaz, Graham and the numpty squad is that they move from one place where there are Cybermen to another place where there is a portal, all that ultimately happens to the Doctor and the other one is the same thing, but the Doctor and Ashad get better dialogue. Patrick O’Kane is the real MVP of this and the previous episode and Jodie Whittaker really rises to the occasion here too.

Finally, after an awful lot of running up and down corridors, we arrive at the portal. Hey! It’s Gallfrey! Oh! It’s the Master! Gosh, it’s the end of the episode. So, this is all tease and no pay-off, and it’s taken a enormous amount of screen time to accomplish precious little.

And speaking of all tease and no payoff, let’s talk about Brendan. Having channelled RTD for a lot of this series, the teaser and subsequent Brendan material is straight out of the Steven Moffat playbook – except I can’t help but think that Moffat would have got us at least to the cliff fall (very familiar looking cliffs, those, DI Hardy…) if not to the electrocution / chameleon arch / shock therapy scene before the opening titles and given us much more to go on by the episode’s end.

So as 50 minutes of television, this was profoundly unsatisfying. Lots that made very little sense. Lots of running around accomplishing nothing. No characters that really popped (although it was nice to see Ian McElhinney). And no real sense that this season arc is coming together at all. That makes this episode hard to judge on its own merits. If The Timeless Children smashes it out of the park, then that might make this seem far more effective in hindsight. If Chibnall flubs the finale, this will likely seem ever thinner. For now, 2½ stars is the most I can muster.

2.5 out of 5 stars

So… what did I think of The Haunting of Villa Diodati?

Posted on February 21st, 2020 in Culture | No Comments »

I’m really conflicted about this one. Much of this was very good indeed. Frustratingly good. If this is what this team can do when they try, why have we had to suffer through so much slurry recently? But there are still lots of niggles, lots of things which smack more of fan fiction than prestige television for all the family.

Let’s start with the fact that we only have ten episodes to play with and yet we’ve got two episodes in a row in which the team are stuck in spooky situations, unsure what’s real and what’s not and menaced by animated fingers. And what on earth is the point of bringing back the cold open if you don’t actually have anything to do with it? Everybody screaming makes no sense at all. It’s just stupid.

And there probably isn’t quite enough story for 50 minutes of television. The first third is all exposition and marking time. The second third is fun-and-games in The House That Jack Built. And the final third is where things really start getting good. But it’s quite a long wait and, again, while there’s some good stuff here, there’s some pretty ropey stuff too.

The eternal problem of the trio of redundant companions hasn’t gone away. Maxine Alderton does make them sound like people – and she doesn’t make them all sound like the same person. That might be damning with faint praise, but she’s the only writer to do that so far this series. What she can’t fathom (and nor can anyone else) is how to integrate them into the storyline. Yaz, who’s the most archetypal companion anyway, does do a bit of poking around, but only during the early “marking time” sections of the plot. Ryan manages to get challenged to a pistol duel – a hugely exciting development, especially for a series which is so reluctant to put any of the regular cast in mortal danger.

(Sidebar: that’s only recently struck me, but it’s really odd. One of the reasons that the end of Spyfall Part One was so effective was that it looked like all three companions were going to die. But that’s super-unusual. One of the benefits surely of having an expanded regular cast is that it gives us a lot of people who we care about who can get into life-threatening situations and need rescuing – by the Doctor or by each other. But most of the time, they just stand around comfortably. Even when plans fail such as when Rani Not the Queen of the Racnoss comes through those doors near the end of Nikola Tesla’s Night of Terror, the fact that Graham is in harm’s way doesn’t seem to be the point. Why aren’t all three of them constantly being menaced by buzz-saws, taken over by alien mind parasites, facing firing squads, being infected by spektrox nests and so on?)

But, then, in a truly bizarre bit of scripting, this terrifying turn is just forgotten about and never referred to again. Poor Graham, meanwhile is stuck in a subplot which involves him needing the loo. Thrill! As TV’s Bradley Walsh asks people where he can spend a penny. Marvel! At his inability to empty his bladder! Truly, this is our “the one with the giant maggots” moment.

And the guest cast are a bit thinly drawn too. With characters as big as Mary Wollstonecraft and Lord Byron to play with, I would have expected a bit more dash and panache, but – as with Rosa and to some extent Tesla – this is just decent actors reading out parts of Wikipedia at each other. And it’s truly weird to have Byron in one episode and Ada Lovelace in another and have nothing more than a single line of hasty acknowledgment to cover this. Christ, maybe they need even longer to plan the series out properly.

Now, all of this sounds like I didn’t like it, and it’s true, I was frustrated, but this episode had some much better stuff coming. Once the Castrovalva walls kicked in, the atmosphere was incredibly intense, and I did find myself starting to care about what happened to these bland people. We even got a couple of actual jokes. I laughed out loud at “Is it too late to pick another group?” True, Steven Moffat would have given us ten lines as good as that before the opening titles, but that doesn’t make it less funny.

And when the Lone Cyberman appears, it’s a genuine triumph of costume, make-up, performance and conception. True, it’s largely the same trick with a Cyberman which Chibnall already played with a Dalek in Resolution but it works even better here, and the Frankenstein allusions thankfully remain just that. We’re spared seeing Mary’s clunky moment of inspiration. But down in that cellar, backed into a corner, Jodie Whittaker shows us just what she can do as the Doctor, and just where the series has been taking her. It’s with only a trace of smugness that I report that her defining moment of owning the character comes through an epiphany that her three companions are essentially useless, but all of this stuff is actual proper drama. High stakes science-fiction adventure coupled with a real feeling for character and a genuine moral dilemma.

There’s a slight fumble towards the end as the Doctor first needs to retain the Cyberium and then, within the space of the same scene, needs to surrender it, but the ending is absolutely gangbusters. Of course she’d risk the universe to save one poet – not because he’s Shelley but because he’s a life. Because she’s the Doctor. Yes.

So, I’m tempted to give this five stars, overlooking all of the flaws in the first half – as I overlooked the gibberish science in Kill the Moon. But this isn’t as sure-footed as It Takes You Away or The Witchfinders, nor does it have the sheer brazen shock value of Fugitive of the Judoon. I think four is fair, but the last fifteen minutes were an easy five.

4 out of 5 stars

So… What did I think of Can You Hear Me?

Posted on February 15th, 2020 in Culture | No Comments »

I mean at least it’s trying…

God, where to start with this one. Again, it’s a mix of old episodes tossed into a blender, with very little thought for how all the pieces are going to work together. The storybook exposition as well as the theme of nightmares put me in mind of Listen, the darkest fears bit is a lift from (among many other places) The God Complex and Amy’s Choice and there’s the now obligatory pointless references to Classic episodes, because Chibnall has now decided that he needs to do that all the time, instead of never as was his stated philosophy last season.

It’s heartening, I suppose, to see some attempt made to give the companions a bit of characterisation, and some attempt has been made to actually connect the inner lives of the TARDIS crew to the adventure story of the week, rather than putting the adventure on pause while somebody talks unconvincingly about their feelings, but the pacing and the construction of the early part of the episode is very clumsy, as everybody simultaneously has somewhere better to be, and then everybody simultaneously wants to come back on board the TARDIS again. And just what is it that Yaz and her sister a celebrating the anniversary of in this desultory way? Her suicide attempt? Who does that?

The main threat is original enough, I guess, but instead of that pleasing obvious-only-when-you-hear-it kind of originality, like the explanation in The Witch’s Familiar about why Daleks talk the way they do, or Rose being missed by her family in Aliens of London, this is just odd for its own sake. It doesn’t make sense for dreams to communicated finger-to-ear and even visually, this just looks wrong as the fingers pop off (all five although only one is needed) and sail aerodynamically towards their target before very awkwardly reversing course and then burrowing into the ear fat end first – you know, the way that fingers don’t.

And this is another episode which seems determined to weaken and diminish the Doctor. First she can’t cope with being left on her own. Then she can’t tell that The Terrible Zodin is using her to free his friend. And then, worst of all, she can’t even give poor Graham a hug. Even the conversation between Yaz and the other one at the end weakens the Doctor. Past companions have been so enriched by being their travels in the TARDIS, they can’t conceive of ever having to leave. This lot are worried that it’s making them lesser.

And the poor structuring continues. Having tried to make the companions’ nightmares a part of the actual story, Chibnall and co-writer Charlene James just give up and give us the (fairly weak) catharsis for Yaz after the main story is over. The actual climax is almost too stupid for words. The all-powerful immortal Zodin who can travel at will through time and space shits his pants at the sight of the monster he summoned into being? Give me strength. And just how did the Doctor get hold of that sonic screwdriver? Does she have Force powers now?

And yet, as frustrated – and often, frankly, bored – as I was watching this, there are flickers. Finally, somebody (I assume James) has tried to dig a little deeper into these three bland characters who stand around and let plots happen near them. The animated exposition is fun and it is new. Asking the question: what do you gain, and what do you lose travelling with the Doctor? is the kind of thing that having a bigger regular cast should give you access to – although it’s somewhat pointless if they all come up with the same answer. So this isn’t an Orphan 55 or Very Long Walk to What is Obviously the TARDIS scale of disaster, but the general level of incompetence coming from the top is still doing its best to smother the best intentions of the rest of the writing team.

2.5 out of 5 stars

Oscars 2020: Parasite and predictions

Posted on February 7th, 2020 in At the cinema, Culture | No Comments »

Parasite was my final film of this year’s crop of Best Picture nominees, and it came with quite the hoopla. People better-versed than me in South Korean cinema tell me that in comparison this seems very very good as opposed to exceptional, but my only previous exposure to Bong Joon Ho had been his very Hollywood (and totally demented) Snowpiercer, so I sat down with high if rather vague expectations.

I’d also tried to keep myself spoiler-free, so I didn’t even know the premise of the film, and in many ways it was the early scenes which I found most engaging. The apparently feckless Kim family, living in a squalid sub-basement, always on the scrounge or on the make – but furious at the bad behaviour of others – turn out to have a more entrepreneurial side. Following an introduction from his cousin, the son becomes English tutor to the daughter of the very wealthy Park family, whose bonkers house resembles that in Mon Oncle (although they don’t quickly turn on the fountain whenever there are visitors).

Ki-woo passes his sister Ki-jeong off as an art teacher for the other child and pretty soon, Kim père and Kim mère have replaced the incumbent chauffeur and housekeeper. When the Parks go away for the weekend, the Kims revel in their borrowed luxury. But hiding in the basement is a terrible secret, and it’s this plot left turn which gave me a moment’s pause, because although there is thematic unity here (height equals wealth and status; depth equals degradation and poverty) nothing to this point has been quite so outré as the previous housekeeper hiding her unemployed husband in a secret basement for the past four years.

Once I swallowed that, I was on board all the way to the end. There’s one plot contrivance in the climax which I felt was a little too constructed to really resonate, but for the most part this sings. The story is expertly assembled, Bong shoots it with the eye of a master and the acting is absolutely superb throughout. I was particularly struck by the Kim family matriarch (Chang Hyae-jin) and son (Choi Woo-shik) both of whom manage to transform themselves in a way which is utterly convincing for the Park family and yet the deception is perfectly clear to the audience.

There’s loads going on here about capitalism, climate change, wealth inequality and the nature of trust and deceit. The point of the title (for me at any rate) is that both families are parasites. The Kims leech off the Parks’ good natures and the Parks can’t survive without the seemingly servile Kims. I can’t help thinking that I would have appreciated this parable even more if it had avoided the shift into the grand guinol but I can’t deny that I was completely enthralled for every minute it was on.

So, despite the fact that my track record is pretty pisspoor, if you’ll indulge me, I will embarrass myself once again with some predictions. Best Picture will go to 1917 and Sam Mendes will also take Best Director. As luck would have it, I also think this is the most deserving film of the year, with shoutouts to Little Women and Parasite, coming in a close second and third. While it’s just possible that Bong will pinch Best Director, no foreign language film has ever won Best Picture and if Roma can’t do it than I don’t see Parasite succeeding. 1917 seems to have all the momentum anyway.

I did not like Joker at all, but Joaquin Phoenix’s performance is exactly the kind of showboating so often rewarded by the Academy, and provided it doesn’t win either Picture or Director, I’ll allow it. Of those nominees, I’d probably give it to Adam Driver, but it’s a crime George McKay isn’t nominated. Best Actress can only go to Renée Zellweger who has no doubt been working on her speech since June.

Best Supporting Actor likewise has Brad Pitt pretty much nailed on, and fair enough I suppose. Best Supporting Actor is tougher to call. I’d love to see Scarlett Johansson lift the statuette on Sunday but Laura Dern seems to be a lock. Best Original Screenplay should go to Rian Johnson for his delightful and inventive Knives Out, but I suspect Tarantino will nick it. Best Adapted Screenplay must surely go to Greta Gerwig for her magnificent Little Women script or there’s no justice whatever in the world.

See you in a few days for a detailed explanation of how and why I got it all so wrong.

So… what did I think of Praxeus?

Posted on February 7th, 2020 in Culture | No Comments »

And, like an over-extended elastic band, Doctor Who snaps back into familiar patterns. What had briefly threatened to be a US-style saga with an ongoing narrative across the season, reverts unceremoniously to being an anthology show as it has been for most of its existence. We’ve seen this before of course, most notably in Series 9 where the transition from Let’s Kill Hitler to Night Terrors was particularly jarring, and this doesn’t have that particular problem. But it is disappointing and frustrating to see no more of Doctor Ruth and learn nothing further about her origins.

Anyway, let’s try and judge this episode on its own merits. And here we have another problem, because the overall standard since Chibnall took over has been so poor that I’m now pouncing on any crumb of competency with joyful delight. Stories I gave two or three stars to under Moffat now look like near-masterpieces.

We start, as is becoming the norm, in media res at least for the TARDIS team. After two virtually-identical death scenes, it becomes apparent that the Doctor and fam have been investigating strange goings-on in Peru, Hong Kong and Madagascar for some time. This country-hopping is fairly new for Doctor Who (the opening reminded me strongly of Resolution) and if we are going to have an Earthbound season, then it’s nice if it isn’t all in the UK. And thhis does all look fantastic. The location filming in South Africa has really paid off, director Jamie Magnus Stone makes the most of all of the scenery he has access to, and the bird attack is gangbusters.

The companions are… better. Instead of commenting banally on the story as it rolls past them, unheeded by their presence, they’re active, purposeful and resourceful. They’re still written fairly interchangeably (save for a couple of Graham-is-a-doofus gags) but I’ll take these generic investigator archetypes over the passive along-for-the-ride or sequestered-in-their-own-unrelated-story versions we’ve had for the last five episodes. It’s a shame they don’t figure out that Jake isn’t on duty. They had all the pieces but couldn’t put them together, which weakens them unnecessarily (especially as we already have the information).

And although the supporting cast is super top heavy, there’s still time for the actors to chisel out some kind of characterisation here. Warren Brown and Matthew McNulty get the most to do, but Joana Borja and Molly Harris have their moments also. And Tosin Cole seems to come alive in his scenes with Gabriela. Presumably that’s what the production team saw in him at his audition. Shame he’s been sticking with his half-asleep-monotone line delivery for a season and a half.

It’s also a shame that having spent all that money on plane tickets, the monster costumes ended up being some hazmat suits and old gasmasks. The section with Yaz in the Hong Kong lab is definitely the weakest part of the whole episode, with Yaz’s sudden picking up of a bit of equipment and divining that it is highly valued by the gas mask crew totally unmotivated and clumsy.

The big climax sees all of the supporting cast standing back and watching the Doctor at work, as is the usual way of things lately, but Jake’s threatened self-sacrifice adds a bit of needed human drama, and does work despite – or maybe because of – being a very familiar Doctor Who trope. And it’s freshened-up here by having him survive, which felt right overall given the number of unmourned bodies which have hit the deck already.

So, what to say about this? Jodie is fine – coasting rather than soaring, but the material doesn’t give her much to work with this time round, beyond enthusiastically solving the problem. Clearly it’s far less ambitious than Judoon but equally clearly, it’s a competent piece of writing on the whole, certainly compared to dross like Orphan 55 or The Very Slow Race to What is Obviously the TARDIS from last year. It’s a bit frantic, and the plot has to grind to a halt to allow a slightly forced character moment between Graham and Jake. But the science-fiction-adventure plot does work and the fam can’t be cut out of it. It’s an RTD three but a Chibnall four I suppose.

4 out of 5 stars

So… what did I think of Fugitive of the Judoon?

Posted on January 29th, 2020 in Culture | 1 Comment »


What!? What!? What!??


Okay, let’s back up…

Early on, the signs were promising. The little love triangle between Ruth, Lee and Allan – while it didn’t have the warmth and richness of RTD at his best, nor the topspin of Moffat’s best work – had a few more wrinkles than typical Chibnall fare. These might not have been truly three-dimensional characters, but they had attitudes. They were differentiated. That’s a start.

When the Judoon materialise, it’s pretty much the Smith and Jones playbook, except I don’t remember them being quite so murderously callous, but I haven’t gone back and checked the other episode, so I don’t know if that’s the show rewriting history or me. What follows is exciting enough, but a bit of a run-around, with Segun Akinola’s pulsing music working hard to up the tension. It rankles that Jodie’s Doctor sounds less certain of her deception when talking to the Judoon captain than Yaz does, but I suppose that’s just BAU for this incarnation.

And then we get the first WTF moment of the episode. Graham is whisked away from the action to join – of all people – Captain Jack Harkness as played by John Barrowman. There’s a swagger and what Russell called a “size” to the performance (and the lines, tweaked by Barrowman apparently) which seems very at odds with the Children’s Film Foundation version of the show which we’ve been treated to over the last couple of years, but it works. Hello, mate.

Then things take a real turn for the bizarre. Having pointed the finger very clearly at Lee for the first third or so of the episode – and he absolutely does have something to hide – it turns out that Ruth is the quarry that the Judoon are seeking. There must be some kind of connection between the two of them. I really hope that Chibnall and Vinay Patel aren’t asking us to swallow the idea that two covert aliens arrived independently on Earth, and by sheer coincidence they hooked up with each other, neither knowing that the other was not human.

Ruth is “activated” and suddenly develops ninja fighting skills which are sufficient to see off the Judoon. She and the Doctor travel to her family home – a lighthouse (an old fashioned structure designed to keep the public safe, with a light on top). In the garden, the Doctor’s attention is caught by an unmarked gravestone which strikes her as odd. She’s right. A better hiding place would be a marked gravestone. She starts digging, and uncovers… a police box. It’s absolutely the biggest, most incredible WTF moment in about ten years of the show – immediately topped by Jo Martin striding out in a costume which is sort of half-way between Jodie’s and Barrowman’s. She announces that she is the Doctor.

Wow. What the hell? Where to start?

Pointless speculation time. Regardless of what Chibnall is saying on social media, I suspect that the reset button is going to be hit pretty hard before long. The fact that neither one remembers the other is a pretty enticing thread to pull on, and it wouldn’t be hard to pull on it strongly enough that the whole conceit unravels. It wouldn’t be the first time that showrunners have tried to insert extra Doctors – see also The Brain of Morbius, The Trial of a Time Lord – but to date only one has “stuck”, John Hurt’s War Doctor in The Name / Day of the Doctor. As (most) previous examples of this kind of retconning ably demonstrate, it’s perfectly easy for future showrunners just to ignore this kind of thing if they don’t like it. Been a long time since we heard about the Doctor being half human on the mother’s side, isn’t it?

She obviously can’t be a pre-Hartnell Doctor if she has a TARDIS shaped like a police box, and she claims she can’t be a future version, so I suspect either it’s the Master playing games again or some kind of alternate universe time paradox. I dare say we’ll find out before too long. Possibly not next week though. Also, Jo Martin’s Doctor being “activated” and her instinctive reaction being to judo the Judoon into unconsciousness and then threaten them with a huge gun is about as un-Doctorish as you can get.

So… is this any good or not? Well, to be begin with, it’s very hard to judge a take-off until you’ve seen the landing. I will give a star rating for this episode, but I reserve the right to retcon it in the light of future events. Let’s start with a major structural failing. Not only do the companions have very little to do – once again, they just traipse around after the Doctor, parcelling out one companion’s worth of exposition-prompting lines between them – they eventually get shunted off into an extended trailer for a future episode. If Captain Jack’s storyline had converged with the Judoon storyline, and the whole thing had ended at the 49 minute mark, I would have been ready to give this my second five star rating for the Chibnall era – it’s less ambitious than It Takes You Away but more exciting and just as well done.

But that’s not the story that Patel and Chibnall have in mind for us in any way at all. This is the beginning of a multi-part saga and we don’t know how it will play out. What we do know is that – once again – as it stands, it would have played out exactly the same with one companion, or in fact, zero.

So, let’s just discount all the Captain Jack stuff for now. Looking at the rest, it’s very artfully constructed. I was completely suckered in by the Judoon-pursuing-creepy-Lee feint and never suspected cheerful loser Ruth. This is by far the best structured episode of the whole Chibnall run so far (if we discount the Captain Jack side-quest). And Jo Martin does wonderfully well as ordinary Ruth and as the multiverse Doctor. And her TARDIS interior is gorgeous. The Judoon are fun, with the animatronic head looking and moving better than ever. And Ritu Arya as Gat gives Barrowman some real competition in the cheese-meets-swagger stakes. And Nida Manzoor makes the whole thing hurtle on from ridiculous plot point to the next even more demented one without letting us catch our breath for a second.

Back in the TARDIS, everyone explains their bit of the plot to each other, and there’s time for some contemplation and a character beat for the top-heavy regular cast. Here’s that little scene again. Do you like it? Do you think it’s well-written?

DOCTOR: Something’s coming for me. I can feel it.

GRAHAM: Let it come.

RYAN: You’ve got us.

DOCTOR: Ryan… I’ve lived for thousands of years, so long I’ve lost count. I’ve had so many faces. How long have you been here? You don’t know me. Not even a little bit.

GRAHAM: Don’t talk to him like that!

YAZ: Yeah, I’m not having that. We do know who you are. You’re the woman that brought us together, the woman that saved us and loads of other people.

GRAHAM: You’re the Doctor

RYAN:. Whoever you were in the past or are in the future, we know who you are right now. Right?

YAZ: Right! The best person we know. And whatever is coming for you, we’ll be here. Cos we’re your mates.

RYAN: Well, not just mates. Family.


YAZ: Yeah.

RYAN: So, whether you want to go looking for whatever trouble’s coming, or whether you want to wait here and let it come to you… we’ll be right here, by your side, like it or not, Doctor.

It’s nice to hear them bonding like this, I suppose, but this isn’t writing with any texture or subtlety or sub-text. Everyone just says exactly what’s on their mind. And notice that the attitudes of all three companions are identical, as is the way they express themselves. It’s an old test of good writing that you should be able to cover up the names of the characters and know by the dialogue who said what line. Can you do that here, with any confidence?

In fact, are you even sure that I’ve assigned the lines accurately?

So, what score to give this, then? As a single piece of television, unfurling over 50 minutes, it beats everything we’ve had so far since Moffat left in its sheer exuberant ambition. It’s not without flaw. Apart from the anycompanion dialogue, the return of the shakydoctor and the quarantining of Captain Jack into his own unrelated short film, there’s the fact that as eye-popping as this is, it’s pretty much all an RTD remix. I rather wonder if Vinay Patel and Chris Chibnall got drunk and watched a load of David Tennant episodes together. “Wasn’t Utopia great, when Derek Jacobi turned out to be the Master?” “I’d love to do something like Smith and Jones, we should totally get the Judoon back.” “Remember The Next Doctor?, I fuggin loved that episode.” “Cattain Jack Harshness! Has you got John Barrowmum’s nander?”

What the hell. I’ll give this four-and-half stars. This one got me. It really got me.

Let’s see if it can keep me.

4.5 out of 5 stars

So… what did I think of Nikola Tesla’s Night of Terror?

Posted on January 24th, 2020 in Culture | No Comments »

This was about the most entertained I’ve been by Doctor Who probably since Chris Chibnall took over. I still think The Witchfinders and It Takes You Away are the episodes to beat, but the one thing I can say about Nina Metivier’s script is that it was fun. Sadly, elsewhere there are plenty of flaws, but let’s try and be positive, eh?

This doesn’t try and reinvent the form in any way. The Doctor and her new celebrity historical pal team up to rid the Earth of aggressive aliens. Good. That’s the kind of story you can tell in 45 minutes. It should work – and by and large – it does. Tesla is an interesting figure, his rivalry with Edison gives the narrative a few millimetres of depth, and it’s perfectly understandable that the story didn’t want to go into Tesla’s misogyny or views on eugenics.

And you can’t say it’s slow and boring either. It’s a – sometimes bewildering – whirlwind of narrative beats, flinging us from Niagara Falls to Wardenclyffe to the Orient Express (for some reason) to the Skithra ship while viewers struggle to catch a breath. And director Nida Manzoor tries, and largely succeeds, to give the breakneck narrative some quieter moments to breath in.

There are two big problems with this episode as a whole. Even for a space-adventure-romp kind of story, it doesn’t make a whole lot of sense, and often what is said does not match what is depicted. The Skithra are scavengers (or at least, this lot are). They don’t really know how to work their stolen technology and it keeps on breaking, meaning they have to find someone skilled to repair it for them. You might think that it’s in their inability to maintain their weapons and means of transport that the seeds of their destruction will be sown, but this isn’t the case – indeed what we actually see is all of their tech working flawlessly first time, every time.

The first mis-matched piece of tech they are seen brandishing is a Silurian weapon, which the Doctor diagnoses as “alien”. The trouble is that the Silurians are native to Earth and ruled the planet 70 million years ago. Does that make the Skithra time-travellers as well? If so, it doesn’t come up again. And then – rather than kidnap a scientist at the same time as they are making off with all of this hooky gear – they pick a barely technologically advanced planet and zero in on one inventor virtualy at random. Tesla could no more fix their devices than my cat could change the oil in your car.

And why do they bother making bad copies of the people they kill? They can’t pass as the people they are duplicates of, and they never try to. The scorpion versions look great, but if they aren’t interested in pretending to be humans, why do they ever bother with this kind of disguise? And the plan to deal with them is a bit ho-hum as well. It’s the latest in a long line of big zappy tower things – see also Partners in Crime, The Vampires of Venice, The Idiot’s Lantern and probably more besides. And again, what we’re told doesn’t match up with what we see. First we’re told – again, yawn – if we kill the Queen, then all her brood will die too. Then, the Doctor – who hates guns – turns Tesla’s mast into a great big gun to blast the Skithra ship out of the sky. Then, what in fact happens is that teleporting the Queen back on board her own ship causes all of her brood to teleport back with her. Huh!? And then the zappy thing just looks like it makes the Skithra ship go away. A pretty poor solution, as – whether it makes sense or not – Rani from the Sarah Jane Adventures cos-playing as Queen of the Racnoss seemed very keen on Tesla, so she’ll probably be back in ten minutes or so.

Now, to be fair, a lot of this is fridge logic, and on first watch, it all goes by so quickly, that not all of this niggles. The playing of Goran Višnjić and Robert Glenister is strong enough and the twist that the Queen isn’t on board the ship do work well. What did not evade me on first watch is that whereas two weeks ago, two famous women from history can’t be trusted to keep their traps shut without being mind-raped by the Doctor, this week, two famous men from history can see the inside of the TARDIS, meet aliens from other planets, handle and inspect off-world technology and be left at the end of the story with all of their memories intact.

But the biggest problem with this story is that the regular cast just troops around after the Doctor with no stake in the plot at all. There’s an attempt here to make the interaction with Tesla and the Skithra to mean something to the Doctor, and Jodie Whittaker plays the “dead planet” line beautifully. But it never really works. Are we really supposed to buy the Doctor – who stole a TARDIS from Gallifrey – having the murderous moral high ground over the thieving Skithra? But at least there’s a nod in the direction of who the Doctor is. With the other regulars, they are just along for the ride or doing dad jokes in the background. Graham’s gun doesn’t work, Yasmin can’t get people off the streets without Edison’s help, Ryan as usual, might as well have not bothered turning up.

In fact, if you’re interested, here’s the whole episode with every single line from the companions cut out. Doesn’t hurt it in the least. I could probably have lost all of Dorothy Skerrit’s lines too, if I’d tried.

To be clear, I don’t really blame Metivier for this. What’s she supposed to do, after fourteen full episodes have resolutely refused to give these three anything remotely resembling characterisation? Suddenly giving them recognisable human failings and desires would jar, but apparently she’s not allowed to write any or all of them out, so she shoves them to the fringes of the narrative and concentrates on the guest stars. I might well have done the same thing.

So, overall this is decent. After the slurry of the last few weeks, that seems like a relief, but this would be a run-of-the-mill episode in any of Series 1-10. This is at the level of The Long Game or The Lazarus Experiment or Cold War or Time Heist. Why do I have a nasty suspicion it’s going to prove to be the highlight of this season?

3.5 out of 5 stars