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Posts Tagged ‘Season 34’

You know what, two weeks in and that new arrangement of the theme tune is already beginning to be gratingly shrill: it’s almost starting to sound like how the music might have been realised back in 1963, had Verity Lambert hired the Tornadoes to do it.

I am getting ahead of myself. The most obvious thing to say about Into the Dalek is, obviously, that the plot makes more sense than that of Asylum of the Daleks: but then I would imagine that many of the home-brew stories written at home by primary-school children make more sense than Asylum of the Daleks. Beyond that, well, you can look at the story as a piece of narrative carpentry, and then on a more thematic level – and I suppose it’s a point in Into the Dalek‘s favour that the theme of the story is so completely realised, which isn’t always the case.

But first, the woodwork. Steven Moffat has been in charge of Doctor Who for a fair few years now, so I suppose that we shouldn’t be surprised if an element of repetition begins to appear: certainly there was quite a lot in this story that I felt I’d seen before. Obviously a huge amount of Dalek, but also bits and pieces from a bunch of other stories.

Is it too soon to declare the new Dalek Paradigm dead, by the way? Not a sign, not a mention of them anywhere in this story – can we have the Dalek civil war from the Experience walk-through declared canon and just say the bronze Daleks blew them all up? The use of the bronze Daleks in this story may simply have been down to the availability of prop casings, but possibly also for aesthetic reasons – I shudder to imagine how garish and plasticky the inside of the tellytubby Daleks must be.

Interesting, also, that there was no attempt to locate the Dalek menace in this story, either in terms of space or time: they finally seem to being back to their old status as a general-purpose threat to lifekind. The only real question, then, is surely why they haven’t actually conquered the universe, given this is the same breed of super-advanced Daleks that fought the Time Lords to a standstill in the Last Great Time War.

Apart from that I thought the plot was fairly decent, if a bit gimmicky: someone should tell Moffat that there’s a generation of children growing up who haven’t seen an old-school Dalek story, and he might be able to profitably lay off all the soaringly high-concept nonsense for a little while (perhaps exhibit B in favour of regime change). My main criticism was that it wasn’t really made clear what the purpose of the mission into the Dalek was – people were actually saying things like ‘this Dalek has been damaged so badly it has become good’ so it did seem strange that they were apparently intent on fixing the damage, and it also robbed one of the story’s reverses of much of its shock value.

And were we not promised that this year we would be back to standalone stories? Is Michelle Gomez going to be in every episode as the mad woman with the brolly? At least she was less of a plot device this time around. I was alarmed to come across a rumour that her character – the Mistress – is a new version of the Master, which as long-term readers will know is something I would have a deep-seated and intractable objection to, on principle. Fingers crossed good sense will prevail, or that at least there will be acceptable wriggle room.

On the whole, though, this did feel rather like a Matt Smith story, without much of the thoughtfulness or atmosphere of Deep Breath lasting very long into it: unless you count the bookending scenes with Danny Pink. Samuel Anderson is clearly a performer with screen presence, but his stuff did feel a little forced and obvious – if this is a man reduced to tears merely by remembering his experiences as a soldier, is he really psychologically capable of doing a stressful job like teaching?

Still not quite sure what to make of the new Doctor’s character. The spikier and more Scottish he is, the more I like him – but many of his scenes when alone with Clara seem to suggest that this is just a front and underneath he is really as soppy and fluffy as Matt Smith ever was. Giving a Dalek a cutesy pet name is pure eleventh Doctor – I laughed very long and hard at the suggestion from a friend of mine that the name ‘Rusty’ indicates Moffat has some sort of fixation with his predecessor as showrunner.

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Given this, it is a bit odd that the theme of the story is that the Doctor is clearly not a perfect hero, but a man with prejudices of his own, someone occasionally in thrall to his darker emotions. The irony, of course, is that a man who hates Daleks and has no time for soldiers is a good Dalek himself – as nice a reformulation of ‘fascist liberalism’ as you might wish for. Again, I thought some of this was a bit overdone, especially the Doctor’s rejection of the Zawe Ashton character – it’s almost too obvious to mention, but at least one of the Doctor’s closest friends was a career soldier, after all – but it did provide a strong thematic core to the episode.

And, as I’ve seen pointed out elsewhere, what’s the problem with hating the Daleks? The Daleks are, after all, essentially a sentient, highly technically-advanced equivalent of the ebola virus, intent on and capable of wiping out everyone in their path. This is their nature; they are anathema to everything we believe in. Maybe it’s as irrational to hate the Daleks as it is to hate a virus, but there’s nothing wrong in seeing them as a threat to be eliminated as quickly as possible. Things being as they are, I am happy to overlook the potential inconsistency in the nature of the Daleks, or at least the lack of a mention of the fact that their charming personalities are largely the result of genetic engineering, with no need for some sort of high-tech commissar within the casings themselves (which, by the way, are much hollower on the inside than I would have expected).

But anyway, on the whole another episode which I enjoyed more than I wanted to scream at. I have more or less come to the conclusion that any Steven Moffat-overseen episodes I genuinely love are going to be highly-unusual flukes rather than regular occurences, but this series is doing okay so far: I’m curious to see how they handle doing a funny one next week, but curious in a positive sort of way.

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Regular readers and those who know me well may be surprised to hear this, but my record in the matter of New Doctor Debut Episodes is not great. In reverse chronological order, the roll of dishonour runs as follows.

  • The Eleventh Hour: missed it on original broadcast. I was in Sri Lanka, where the internet is so atrocious I could never afford to spend long enough in an internet cafe to watch the whole episode. Eventually saw it all the way through nearly a month later.
  • The Christmas Invasion: saw it. Actually forced virtually my entire family to watch it at my brother-in-law’s grandmother’s house (this was back in the days before my brother-in-law pronounced that Doctor Who was ‘occult’ and thus not welcome on any TV he was watching).
  • Rose: saw it. Well, I was hardly going to miss this one, given the length of the break leading up to it.
  • The TV Movie: missed it on TV broadcast. I was on holiday in a TV-free environment at the time. That said, I had of course bought it on tape the day it was released, the previous week.
  • Time and the Rani: saw it. Whether actually watching Time and the Rani is ever something to be proud of is another matter.
  • The Twin Dilemma: missed all but the lastĀ five minutes of the first episode due to not having a watch at the time and getting quite involved in watching Quo Vadis on the other side when it was broadcast. The shame, the shame.
  • Castrovalva: missed the odd-numbered episodes due to being forced to attend meetings of a religious paramilitary organisation on Monday nights. Said organisation reliably shifted the nights it met on throughout the early 80s to ensure I routinely missed half the Davison episodes on first broadcast. Possibly this is why I have such an antipathy towards organised religion these days.
  • Robot: missed it, probably. I was rather less than a year old at the time, so my memory is not entirely reliable.
  • Spearhead from Space, Power of the Daleks, An Unearthly Child: missed them, definitely, but I have the good excuse of not actually existing when they were broadcast. I did faithfully catch the repeat of An Unearthly Child in 1981, though (and in 2013, come to that).

This is quite a poor record, for someone who for decades has lived and breathed Doctor Who. Recently, of course, I have found myself perhaps living and breathing it less than in previous years, mainly because – as documented at some length in these pages – I have become increasingly unimpressed by the storytelling since the beginning of Matt Smith’s second season. The show’s hold over me remains undiminished – I become as instinctively transfixed by any casual reference to the series in my presence as ever – but I have increasingly got the sense that I was giving more to the series than I was perhaps receiving in return, and also that the programme was more and more being made for other people, not me: that the day was coming when it would in truth not really be for me at all.

Perhaps this was why I found myself initially a bit reluctant to fully engage with the looming arrival of Peter Capaldi’s Doctor: too many previous disappointments and the awareness that despite all the talk of a new direction and a different sensibility, the recasting of the Doctor was the only significant change in personnel from the last Matt Smith episodes.

Of course, one of those episodes was The Day of the Doctor, which I genuinely enjoyed, not least because of the experience of seeing it at the cinema. So when it was announced that Deep Breath was also going to be shown on the big screen, I found myself booking a ticket almost reflexively. As this one isn’t in 3D, the Phoenix – my favourite Oxford cinema – was able to join in with the fun, and this was where I went to see it.

Due to not reading my ticket properly, and perhaps also a small case of brain failure, I turned up at the Phoenix about an hour before the episode started: but with their typical creativity the Picturehouse staff had mocked up a set of TARDIS doors at the cinema entrance, organised a menu of somewhat dubious-sounding Doctor Who-themed cocktails in the bar, and – most striking of all – had engaged the services of a replica Dalek which was on sentry duty in the foyer when I arrived. The black and shocking pink colourscheme was perhaps not entirely authentic, but otherwise this was a spiffing fan-built casing, and it was nice to speak to the Dalek’s handler in the full knowledge I could talk about Ray Cusick and Terry Nation’s contractual affairs and be pretty sure he would know what I was on about.

And seeing the reaction that the Dalek got from other people either arriving at or leaving the cinema was, well, really lovely: selfies by the dozen and everyone smiling. This was all before the Dalek’s operator got inside, and it did make me remember that, when it comes down to it, Doctor Who isn’t actually about me sitting in my garret complaining about Steven Moffat’s plots and trying to work out what year The Seeds of Death is set in, but families and young people enjoying something which brings them together, entertains, and – one would hope – enlightens them, a bit.

My new-found epiphanous bonhomie was dented a bit when I had to help lift the Dalek up the stairs so it could get to the actual auditorium – the irony was not lost on any of us – and the prospect of the entire event being cancelled due to the Dalek getting jammed in the auditorium doors briefly seemed a distinct possibility. (I learned later the casing took some structural damage from being forced into such cramped quarters.) But this was averted and the cinema soon filled up with a genuinely broad cross-section of society, all of whom seemed equally entertained by the Dalek until the main event got under way.

As you probably know, the cinema screening was accompanied by a number of bonus items. Probably the least essential was ‘Doctor Who Extra’, which is essentially an ultra-cut-down, even-more-enthusiastic version of the old Doctor Who Confidential. Rather more fun, though containing a high percentage of Zoe Ball, was the Q&A beamed from the Odeon Leicester Square, which opened with Capaldi, Coleman and Moffat rising from the pits of the earth like Reginald Dixon and his organ, and was perhaps most memorable for the Doctor and his showrunner arguing about whether or not the Tenth Planet Cyberman design is any good (I’m with Peter Capaldi) and Steven Moffat’s reaction to the suggestion that a live link-up to One Direction might be in the works.

The oddest element was the opener, which was another comedy item from Strax, this time giving his guide to the Doctors. Considering Mark Gatiss was practically banished from the Doctor Who family for making irreverent jokes about old Doctors back in 1999, to have lines like ‘the third Doctor was half-man, half-granny’ and ‘the fifth Doctor showed a grasp of the basic principles of camouflage, by having no distinguishing features whatsoever’ beamed across the nation was rather startling.

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But what of the episode itself? Well, starting with a few rather cosmetic and peripheral issues: exactly how big was that tyrannosaur supposed to be? (It was a tyrannosaur, wasn’t it?) To be able to fit the TARDIS down its throat without choking, it would have to be three or four times bigger, at least, than any specimen known to science – getting on for Godzilla (or, given the setting, Gorgo) proportions. Then again Doctor Who‘s grasp of facts when it comes to dinosaurs has always been shaky. It was with great relief that I realised that the theme music had reverted to its original, non-mucked-about intro, though on reflection I do think it sounded a bit too Christmassy: heavier on the bass for the next arrangement, please.

This story wasn’t as radical a reinvention of the series as The Eleventh Hour, and perhaps less obviously successful as a result. Still, the inclusion of more low comedy business from Strax (the newspaper gag is admittedly funny) and some 50 Shades of Green stuff between Vastra and Jenny should have appealed to the Matt Smith fanbase. This story seemed to be spending a lot of time actively soothing people who might be thinking the new guy was too old and remote for them, as opposed to just letting him be himself. Given that apparently Peter Capaldi has not yet been confirmed for a second year, I sense wariness from the BBC on this topic. Perhaps this was why the episode made such a big deal about Clara’s own doubts and eventual acceptance of the new Doctor, and why Matt Smith was wheeled on to give his seal of approval: an unimaginable decision on any other such occasion, and surely a risky one in that the last thing Peter Capaldi would want, I expect, was to potentially be upstaged by his predecessor in his debut episode.

He hardly needed it, for me at least. I am aware I am biased as I am, as you can probably tell, a fan of the old-school style Doctors anyway, but I thought Capaldi rocked the house down: not as unremittingly dark and spiky as I had expected, but angular and unpredictable and alien when he needed to be, and subtly vulnerable at the end of the episode. My only concern is that a lot of his dialogue was functionally interchangeable with the kind of lines Moffat routinely gives Sherlock Holmes: the conceptual distance between the two characters seems to be getting smaller and smaller. Much potential for a truly great Doctor here, given a chance and some decent material. (My take on the ‘why did I pick this face?’ issue: the Doctor remembers it as the face of a man who needed saving…)

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My overall impression of this episode was very positive, but this is more in terms of its tone and atmosphere than its nuts and bolts. I liked the dingy and macabre steampunk overtones – all the hints of an old enemy, plus the presence of the Chinese droid in the cellar, almost led me to expect the bad guy to be someone from Talons of Weng Chiang, but alas no – plus the more relaxed and character-driven pace of it. Set against this I feel obliged to point out the story was reliant on a blatantly unresolved plot device – exactly who is Michelle Gomez’s character, beyond being arch-villain the Mistress of the Nethersphere? (And yet another woman apparently with designs on the Doctor…) Not to mention the fact that Clara’s big scene (fending off the Half-Faced Man’s threats) was predicated on her either forgetting or declining to make use of the fact she had heavily armed back-up outside who could be summoned in seconds.

Largely recycling elements of The Girl in the Fireplace struck me as a questionable choice: it’s a quick and easy scenario for people in the know, but possibly a little baffling for anyone not as familiar with that episode as the likes of me: I discussed it with a family member who isn’t one of the faithful and he confessed to finding it somewhat confusing. But then again, as usual this episode wasn’t really driven by the plot but the characters, and in that sense it was very much business as usual.

So, much cause for optimism there, in terms of the tone and the new dynamic between the characters. It will be interesting to see if the new, more measured pacing survives into regular-length episodes, and if the quality of the plotting genuinely improves. But as I say, for the time being I am hopeful.

 

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