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.
Doctor Who commentator, editor and blogger John Connors has begun to reissue a series of articles which I originally wrote for the fanzine Plaything of Sutekh, which John co-edited with Richard Farrell. The series concerns the Doctor’s ‘British’ identity as defined and explored by Doctor Who since 1963. The first article looks at the first ten years of the programme.
S0me of the material in this series has not been published before and we intend to follow this ‘archive’ unpublished commentary with more. Please find the first of these articles here.