Category Archives: doctor who reviews
I found myself double-booked for The Doctor Falls, and so over a week after broadcast have returned with a follow-up review for Time Lines, John Connors’s blog which continues the ancient traditions of his earlier fanzines Top, Faze, This Way Up, Antenna and others. As I write, it’s not quite a review:
Steven Moffat at his best is very good at treating characters and events as symbols whose interaction as principles not only shapes but often overtakes conventional narrative. Looking back after over a week of rewatches and reviews, the success of The Doctor Falls lies largely in how this coded writing works, laying emphasis on specific aspects of character and setting which sometimes confound expectations which World Enough and Time might have encouraged. What follows isn’t quite another review but a set of reactions considering some of the opinions I’ve come across since The Doctor Falls was broadcast. In case anyone is in any doubt, I greatly enjoyed the episode; there was a tense fatalism throughout, leavened by statements of optimistic principle. I realised while watching it that kindness was probably the factor that kept me watching Doctor Who in the first place. The Doctor has not always been kind, but he tries to be kind to the greatest possible conceivable number of people, all the time. This is his virtue and periodically, in limited ways, his downfall.
Reviewed by me over at the Doctor Who News Page’s Reviews section.
Again, I’ve been remiss about reviewing the 2017 series of Doctor Who for this site. However, I have reviewed World Enough and Time for John Connors’s Doctor Who blog. It’s always a pleasure to guest review there, and to read my reactions (though managing not to say anything about the controversial and intriguing pre-credits sequence, I notice) please visit Timelines.
I’ve not written reviews of every story this season, but hope to get round to them eventually. However, I did undertake a review of Empress of Mars for the Doctor Who News Page’s reviews site. It’s best read over there…
It’s been a Doctor Who-intensive week, with one thing and another; and one cannot live by Doctor Who alone. So this review is posted somewhat later than I would have ideally liked.
Thin Ice has been widely praised and deservedly so. I enjoyed the episode’s treatment of Regency London, more black than it was in the movies and yes, perhaps more black than it would have appeared to many of those in London on 4 February 1814. This story, though, was set by the Thames, where London was at its most diverse and a large proportion of Britain’s trade came, often to be re-exported. The Frost Fair allowed the sons and daughters of Empire, the children of unions of no or doubtful legality or those made across social class and colour in the colonies and trading posts, to emerge from their protracted schooling or clerkships, their domestic service or their soldiering, or even, now and again, their unexpected but substantial wealth, and mingle with those from around the world who were just off ship, and perhaps not feel so odd and tolerated by an ambivalent society. It’s entirely likely that Bill would recognize this feeling and share it, and we see the crowd through her eyes. The companion has been explicitly identified before as the series narrator – Doomsday was the last story Rose would ever tell, and BBC America viewers in 2010 saw an introductory narration from Amy at the start of each episode which framed Doctor Who as her story – the young woman whose childhood imaginary friend turns up the night before her wedding and takes her away from everything.
Bill is a step away from the Amy model, back towards Rose – the ‘mystery’ she holds for the Doctor isn’t that she embodies a fantastical problem to be solved, but that her reactions are human and early-twentysomething and the Doctor is non-human and two thousand years old (at least). Thin Ice as we see it is Bill’s adventure – her experience, her casting, and it is right that we should see the story that way. However, there’s more to this ‘diverse’ London than boosting Bill. The London of 1814 was a few decades beyond Ignatius Sancho keeping his shop in Westminster, and of Olaudah Equiano campaigning for the rights of enslaved Africans; Dido Belle had been dead ten years, but Joseph Emidy was alive and was a celebrated musician, and Britain was eighteen years away from the election of its first known non-white MP, John Stewart. Bill’s reality needs to be our reality because it’s the memory Britain had to be prodded to remember after more than a century of it being painted out.
Pearl Mackie has a marvellous expressive face, and feet which can show off the most daintily laced boots. These are the slightest representations of her range. Her disgust at the Doctor’s apparent lack of concern for Smiler’s fate makes us feel the conflicts – how can we put our trust in the Doctor when he seems to show such little concern for human life? We are also unable to judge the Doctor ourselves because Bill is our narrator; for me, the Doctor’s calculations as he moved across the ice were based around saving the boy and the screwdriver, but circumstances meant that the screwdriver had to be saved if nothing else was. Bill as yet knows little about it nor understand what it means to the Doctor. The viewer is caught between choices made by the director, camera operator, editor, performers and writer among others and they have to make their decisions about their own impressions of a scene as it plays out before them. I thought that there was a lot of room for a more compassionate reading of Peter Capaldi’s performance than many found, but the emphasis in editing was on Bill’s interpretation of events.
Capaldi’s Doctor, though, remains much more approachable than in previous series, but without losing his edge. In reading from Struwwelpeter to the children, he’s refusing to conform to twenty-first century ideas of responsible guardianship while at the same time showing his appreciation of children’s attraction to the gruesome. He’s reading Hoffman thirty years before publication, which suits the Doctor’s philosophy of not worrying too much about the consequences of intervention in the human past. The scene nevertheless might point towards the Doctor’s irresponsibility at breaking his oath by travelling in space and time away from twenty-first century Earth. He thrives on crisis, and wants to promote it.
The realisation of the frozen Thames was striking, with enough shadow of Canaletto’s riverside views from sixty or seventy years before in them to convince me, while depicting an altogether more rumbustious river scene than he did. The design of the handbills and posters was believable too, resembling real survivors or images seen on early photographs from twenty or thirty years later, though a street nameplate seen looked distressingly modern and digital. Costuming was astute with the Doctor and Bill firmly in the middle or upper middle of a society otherwise seen at its extremes.
For an episode about a trapped marine creature and a frozen river, it’s not perhaps surprising that the episode felt it needed more buoyancy. I’d have enquired about the colour grading too. We need more warmth against the cold on a Saturday night. It’s a pity we couldn’t have seen more of the river serpent or of Lord Sutcliffe, the monsters below and above the water. Sutcliffe was credibly petty, his vision hobbled by greed, but we saw less of him than we might have done. His villainy was based in the cruelty of his time, but there was room for the viewer to have seen more of his schemes and how they might have played out in practice. I’m sure the residents of Fairford – a Gloucestershire village associated with one of the major political families of the period, the Hills, marquesses of Downshire, and latterly with a forthcoming open-minded literary festival – are happy that Sutcliffe is not wanted in the Fairford Club.
Thin Ice, though, was a very good Doctor Who story indeed, not only for its muscular liberalism as the Doctor referenced Captain America number one’s cover in a scene recorded several months before someone punched American ultra right-wing leader Richard Spencer, but also for its sense of design and its vivid sketching of a historical place and time through costume, setting and modelwork as well as through dialogue and performance. The Doctor doesn’t overthrow the established order in this story, but in endowing the children, though Perry, with the Sutcliffe inheritance, he does shift it a little towards the society we hope we know or would like to see, an optimistic note in troubled times.
I’ve written this story up for Doctor Who Reviews, the Doctor Who News site’s reviews section. The review was based on an advance viewing copy. I didn’t find
room for the line of continuity between Invasion of the Dinosaurs, The Beast Below and Robot of Sherwood (compilations of images and sound on a screen depicting unpalatable depictions of the truth) and might read Samuel Butler’s Erewhon tonight, as Frank Cottrell Boyce has Tweeted that it was an influence – but I’m not displeased with this review, nor with the story.
I’ve reviewed The Return of Doctor Mysterio as the additional reviewer for the Doctor Who News Page, and you can find the review here. Look at Matt Hills’s lead review for the site too – it makes lots of excellent points, including recognising the breakthrough in Bill’s line about using the toilet on the TARDIS.
Time has been limited the past few weeks, so I’m behind on Class reviews. However, John Connors asked me to review The Power of the Daleks, animated version, for his site Timelines, and my look at that story was published a few hours ago. However, reading the review back, I’ve realised that apart from having committed some very cumbersome phraseology indeed at times, I have managed to write a review of Patrick Troughton’s first Doctor Who story, without mentioning Troughton himself.
Troughton’s performance in The Power of the Daleks remains enigmatic even after the valiant and effective reconstruction by the animation team led by Charles Norton. There’s a sense from the telesnaps and from recollections by those who worked on or watched the serial that there was a lot of physical comedy of which we see very little – only the leapfrog in episode one, I think, is achieved, the point of which is to subvert the viewers’ expectations of the Doctor, as it appears that he isn’t measuring the rock for the purposes of geological, petrological or mineralogical study, but as a precursor to testing his new body’s physical capabilities. There’s a great diffidence about this Doctor, which often makes him irritating rather than charming, his recorder-playing a puzzle as it leaves so few cues for Ben, Polly and the viewer to draw conclusions. Even his destruction of the Daleks is left ambiguous by the script, as it’s not clear what the Doctor had anticipated from his attack on the power supply.
As for Troughton’s playing of the Doctor, it’s difficult to draw conclusions from the evidence we have. I remember, many years ago, going through one particularly frantic scene on the first VHS release of The Seeds of Death, where it appeared that Troughton changed his facial expression completely on each frame. With such flexibility and control, the animators can’t be expected to keep up with Troughton within the parameters of this project, though they have a good try. The New Doctor Who of 1966 is still a mystery to the 2016 audience, but we can at least now see with more definition the space the acted performance would fill.
The schools in Sheffield were very different.
Certainly – and this school in the displaced location of Shoreditch-on-Taff is very different from anywhere else. Coal Hill has been translated from its late-nineteenth/early-twentieth century redbrick incarnation in the Moffatverse into the gleaming antiseptic of an early twenty-first century academy, creaming off its brightest and the best while under the pressure to improve its results in science. The greenish hue of the walls suggests somewhere which needs to be wiped clean. There’s a lot of gore at Coal Hill Academy – people explode, Shadow Kin ooze across walls, members of staff are skinned alive and consumed. It’s not just the walls which are wiped clean, but memories too; the only way for students and staff to function is to block out the body count. At Coal Hill, we are told by a certain passing Time Lord, time has worn thin, and various unpleasant visitors are being drawn to its as to a beacon in space-time.
So far, so Sunnydale, and so Torchwood too. However, Class is its own entity. It has no Buffy nor a Captain Jack figure to act as the leader of action and centre of mystery. Greg Austin’s Charlie is carefully positioned to be neither surrogate-Doctor nor quasi-Buffy; he’s neither knowledgeable enough nor sufficiently open to fill either role. The other youthful leads are flawed too: Sophie Hopkins’s isolated, fragile-seeming but steely April knows she is seen as ‘nice’, her mother thinks she is ‘kind’, and she thinks she needs to be overtly ambitious. The mismatch between her and decorating (organising?) the Prom is evident to all – as she lets slip, it’s going to look great on her university application. One of the highlights of the first episode was April’s visualization of the home planet of Charlie and Miss Quill – this imagined kind and well-ordered world showed Charlie’s people dressed in old-style Coal Hill School uniforms, both a symbol of reassuring certainty for April but also a suggestion that, like school, this society was full of arbitrary self-justifying cruelties and that Miss Quill’s description of Rodea injustice and her resentment at her own ‘slavery’ is well-grounded.
Writer Patrick Ness and director Ed Bazalgette enjoy combining trauma with gags without diminishing the tragedy. The playing and filming of the murder of the cleaner in The Coach with the Dragon Tattoo, complete with synchronized cigarette-falling, teases the idea that Ram will get covered in blood every single episode, but this isn’t South Park and Ram isn’t wearing an orange cagoule. A dominant theme in Class is dealing with grief – Ram (a braggartish and vulnerable performance by turns from Fady Elsayed) sees his girlfriend murdered and is only allowed to say that she has ‘disappeared’, at the same time as he mourns the death of his own confident social- and sporting-player self; Tanya’s father is dead; all of Charlie’s and Miss Quill’s people have been slaughtered. April’s mother, who has adjusted to a life beyond a point when she was expected to have died, directs us to the need to adjust in a world of dislocation. Finding meaning in a world of change is the message of Class from the theme song onwards – Coal Hill’s autumn prom is recognised in the script as something transposed from and trying to imitate American custom, April wondering aloud what ‘prom’ actually means as she prepares decorations for the hall. These are teenagers searching for identity in an environment with no deep-fixed cultural anchors and which deliberately deprioritizes kindness.
Thematically, Class involves, but there are problems with exposition. I wasn’t quite sure, though could infer, why Miss Quill’s gun seems to have killed Kevin and (it’s implied) almost killed April. Likewise, in The Coach with the Dragon Tattoo I wasn’t quite sure who or what was doing the cleaning up after the flaying so quickly and easily. Presumably the dragons were very good at rapidly absorbing almost all a victim’s blood. The moral of the episode was laid on with too heavy a trowel too, with dialogue heavy in self-realization from Ram, though in part redeemed by canny juxtaposition with April playing the violin and ignoring the phone call from her absent, not-yet-discussed father.
After only two episodes, and aimed at a teleliterate audience, Class is playing with expectations. Mention of the governors by Mr Armitage and then in a different context by Miss Quill reminded me of the introduction of the Mayor through dialogue in Buffy the Vampire Slayer, and poor Mr Armitage has gone the way of Buffy‘s original school principal in an even shorter space of time. There are worlds beyond Coal Hill Academy yet to explore – how great a role will the Cabinet of Souls play in the ongoing narrative? What is Mateusz’s fate – included in the Doctor’s injunction but ‘grounded’ by his religious and presumably homophobic father, is he to be the Suzi Costello or Jesse of the series, and his inevitable disposal is merely delayed?
Doctor Who fans, of course, were propitiated by the appearance of legendary costume designer June Hudson as a glamorous elderly woman in a shop complaining about the behaviour of her husband on the stairs… (I knew I should know who she was, but had to question the cast list…) and by the materialisation of Peter Capaldi as the Doctor during For Tonight We Must Die. Capaldi gave a less abrasive Doctor here than he has done so far in his own series, more at home with contemporary references (this is I think the first time the Doctor has shown he is aware of IKEA – does the sonic screwdriver dispense with the need for Allen keys?) and warmer towards other people without needing to hide behind dark glasses. This might augur well for the 2017 series of Doctor Who for those of us who appreciate Capaldi as an actor but think his version of the Doctor has been either too much of a Malcolm Tucker in the TARDIS (series 8) or archly working out his mid-life or new life crisis (series 9).
Class, though, is its own entity – and the third episode promises to develop the already self-possessed presence of Vivian Oparah’s Tanya as something gets its tentacles into the material and remembered worlds. For the moment, though, Class shows promise but still needs to find a stronger sense of its own place in the displaced world of streaming television.
We sing in praise of total war…
This post exists to provide a link to my review of Doctor Who – The King’s Demons by Terence Dudley for the Doctor Who News Page. I find few redeeming features, but might just be thought open to some of the charges I level against Dudley – except that I do like the Doctor and Tegan. In general, from the mid-1980s I came to appreciate more and more the economic writing style of Terrance Dicks; handing over the books to the authors of the television serials didn’t always gain the desired results.