I wonder if Steven Moffat hates the Daleks as much as the Doctor does by now? They’re expected to make an appearance at least once a series, but finding new ways to present the psychopathic pepperpots must be something of a challenge.
Into the Dalek does find a new way to look at the old enemy – albeit one that combines elements of several previous stories, most notably the best Dalek story (in modern Who at least) – Robert Shearman’s stunning s1 episode Dalek and s6’s Let’s Kill Hitler.
It also questions, not for the first time, the Doctor’s morality. We’ve been here many times (for example, Davros goading Ten in The Stolen Earth/Journey’s End about how he turns his companions into soldiers and the numerous bodies he’s left in his wake), and we didn’t learn anything new in this outing. (I suspect we’re heading for a similar reckoning with the mysterious Missy further down the line though, so I’m not complaining. Yet.)
[Spoilers below the line…] Continue reading
(As always, don’t read on if you don’t want spoilers)
No disrespect to Peter Capaldi (we will get to his superbness in a moment) but in order to discuss the first proper appearance of the Twelfth Doctor, I’d like to briefly revisit the first proper appearance of the the Tenth.
Not because both wander round in their nightwear, or because the villain falls through London skies to his death in both debuts either.
“Don’t you think she looks tired?”
With six words the Doctor brought down Prime Minister Harriet Jones. And now I can’t help but think Steven Moffat’s scripts are looking tired too. And wonder if the brilliance of the new Doctor is going to increasingly show this up.
Introducing a new Doctor is a challenge and having the companion struggle to cope with the change is entirely reasonable way to deal with it, but Clara is still too annoying and not interesting enough for me to care that she doesn’t like the new man. He is, after all, Peter fucking Capaldi. Never less than mesmerising and with the bonus that he’s allowed to be properly Scottish. I just want to tell her to get a grip.
There were too many moments in Deep Breath when I knew where the gags and/or the story was going and, while Matt Smith’s brief appearance was a lovely, it was one of the few genuine surprises.
Enough of my grumbles though, let us focus on the good stuff.
- Peter Capaldi.
- Peter Capaldi
- And did I mention Peter Capaldi? What a class act that man is. Imagine if he was your first – Your Doctor. It’s almost enough to make me wish I were seven years old again. I know that this Doctor is going to break my heart a hundred times over. It’s cracked already – by his pain when Clara says, “I’m sorry, I’m so, so sorry … but I don’t think I know who you are anymore.”
- “I’m not flirting!” He might have been talking to the dinosaur, but we all know it’s a mission statement for Twelve and it’s long overdue.
- The idea that he’s picked this face because he’s seen it before, and that it’s a message to himself is a neat one – as long as we actually find out what the message is. What exactly did Lobus Caecilius teach the Doctor in Pompeii? (I’m assuming he doesn’t know about John Frobisher…)
- I guess there’s meta humour in cannibalising your own plots to produce a new story about clockwork robots scavenging flesh to make repairs.
- Strax discovering Clara likes “muscular young men doing sport. Is that sport? It could be sport” All that Sherlock fan art and slash fiction must have made an impact on Steven Moffat. Speaking of which, do we know if Insp Gregson is a Lestrade-based meta joke? I do hope so.
I’ll be back for more, of course. Drawn by the charisma of Capaldi and in the constant hope that they’ll find a way to make me care about Clara. And with the difficult Doctor’s debut episode out of the way, things can only get better…
Posted by Jo the Hat
All right then. We have at long last wrapped up all those dangling threads that have been hanging around since the Pandorica opened and the Doctor reset the universe. And we have said farewell to the wonderful Matt Smith. Regular readers of these sofa-based despatches will not be surprised to learn that I waterproofed the laptop before sitting down to watch Eleven’s swansong (and that it was just as well that I did).
After being bounced around inessential, but not irrelevant, scenes like a pinball – the now traditional Doctor Who opening – we find ourselves, inevitably, on Trenzalore. We learn at last who blew up the Tardis, why silence must fall (not to mention who the Silence are), what’s on the other side of the crack in the universe (and that it was the crack that the Doctor saw back in his hotel room The God Complex), and why the oldest question in the universe is Doctor who?
I think Steven Moffat has given my brain indigestion. Even sleep didn’t untangle the knots he tied in my mind last night. It seems that The Day of the Doctor is an episode that genuinely requires two passes – the first to follow the plot, the second to absorb the story.
The first viewing left me a little deflated – there were so many good things in there, but it hadn’t moved me (and as you will know by now, I cry at the drop of hat – be it a fez or a stetson). A rewatching has, however, had me reaching for the tissues…
I can’t tell you if this is a reflection on my diminishing abilities to keep up with the Moff’s timey-wimey plotting, or a change in the way the man writes.
(Spoilers of many things 50th-related below the line…)
[Spoilers all the way down this week.]
Oh, he’s a clever so-and-so that Steven Moffat. The fans want a multi-Doctor episode to mark the 50th anniversary, so he gives us not one but several. He’s been dripfeeding us echoes of Doctors One to Ten for weeks and when we sit down to watch the series finale, with – let’s be honest – half an eye on the November special, he gives us all Ten (blink and you miss Eight though) and in a way that makes sense.
He doesn’t, of course, tell us the Doctor’s name, because the power of it lies in its mystery. There is no name you can give him that can match his chosen name or the draw of the secret surrounding his other name.
Wooooohooo! Now we’re on fire… Neil Gaiman is back at the keyboard and applying his Midas touch for a second time. And as long as you weren’t expecting another The Doctor’s Wife (he did tweet that he didn’t even try to top it) I’m hoping you enjoyed it as much as Hat Jr and I did.
One of my favourite things about Neil Gaiman’s writing is his gift for deception. He has a sleight of hand that is breathtaking (Neverwhere is a classic example, and I can’t recommend it highly enough, by the way) and immensely satisfying. It also makes rewatching a special joy.
[Spoilers below the line]
Well that was fun! And funny too. Master of gothic humour (or perhaps I mean gothic and humour) Mark Gatiss has turned in one of the best episodes of the series with The Crimson Horror.
Look at the ingredients – Madame Vastra, Jenny and Strax, more Victorian references than you can shake a stick at, ‘trouble at mill’, Diana Rigg AND her daughter Rachael Stirling, creative use of flashback and a Willy Wonka-esque ‘manufacturing process’ – and you can’t help but get your hopes up.
[Spoilers below the line….]