Doctor Who: The Magician’s Apprentice (2015)

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“Compassion Doctor. It has always been your greatest indulgence…”

This year, I have decided to not read too many Doctor Who spoilers, to not look at set reports, or to not read costuming announcements if I could help it. Usually something really big gets spoiled for me, and I did this in order to experiment with my enjoyment of various things. I have also done this with many of the summer blockbuster films this year, and as a result I feel that I have enjoyed everything more than I usually do.

What this means, is that for the first time since 2005, I have no idea what any episode is going to be like this fall. This is both refreshing and a bit scary. With a title like The Magician’s Apprentice, I was half expecting a riff on the 1940 Disney film Fantasia – full of zany antics in an old castle, perhaps some brooms walking around. I was expecting a classic Doctor Who “romp” – something like 2014’s Robot of Sherwood. Boy, was I wrong.Doctor-Who-magicians-apprentice-davros

Very seldom is there a Doctor Who episode that starts with an opening scene that hits you in the gut like a jackhammer, only to increase the tension until you are left utterly blindsided at the end. This episode plays out like the first part of a two-part finale, rather than the whimsical series opener that we’re all used to.

In many ways, this episode is a send-up of a much older episode, Genesis of the Daleks, going so far as to use a clip from the episode as a punctuation mark in the episode itself. I would even say that the entire premise is based on something said by The Doctor to Sarah Jane in Genesis of the Daleks: “If someone who knew the future pointed out a child to you and told you that that child would grow up totally evil to be a ruthless dictator who would destroy millions of lives… could you then kill that child?”

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Genesis of the Daleks was a Tom Baker episode wherein The Doctor was given a choice to commit mass-genocide on the entire Dalek Race before they rose to power. This act would have saved countless lives, ended the time war before it started, and saved himself and various companions many times. The Doctor, in his young age, could not bring himself to do this act – he could not lower himself to their level.

The Twelfth Doctor is less romantic about this idea of pacifism, and does the opposite. The idea here is that The Doctor meets an old adversary, perhaps his arch-nemesis (much to the chagrin of Missy) when said person is nothing more than a small child. A horrible war is going on, and a boy ends up in the middle of a field full of creatures (or weapons? They were called “handmines”) that mean certain doom. The boy cries out for help, to be met with a re-assuring voice and the choice of taking a 1/1000 chance at survival. Then it happens:

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The Doctor: “Tell me the name of the boy who isn’t going to die today.”

Boy: “Davros. My name is Davros.”

It appears, as of this moment (stupid two-parters!), that The Doctor chooses to abandon the boy in his moment of need once he realizes who it is. This boy grows up to become a scientist called Davros, the man that creates the Daleks to end thousands of years of perpetual war on planet Skaro. This episode highlights the problems with his ongoing inner struggle: Is he a good man or a bad man? It seems that being good causes all sorts of troubles.

In many ways, this problem is a variation of The Grandfather Paradox, a popular trope in science fiction, where an event pre-supposes a previous event to the point where a discernible beginning cannot be established. If the Doctor, in a moment of weakness, attempts to kill or allows the death of the creator of the universe’s chief antagonist, and that man survives to be embittered by the event (perhaps driven to hatred), surely The Doctor is to blame for this happening. It’s not as tidy as a classic Grandfather Paradox, but I can see some sort of “timey-wimey” shenanigans popping up to “fix” the events of the episode. If anything the episodes cliff-hanger only serve to make the causal-loop worse.

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I have stated many times that I LOVE Steven Moffat‘s use of the aforementioned “timey-wimey…stuff” since the show has never really capitalized on the time travel aspect of the premise aside from changing scenery. Dealing with paradoxes is hard, and Doctor Who usually gets it right, so I’m hoping that part-two of this season opener has a nice resolution and no Red Dwarf-styled shoulder shrugs and hand-waving.

I may have made it appear that this episode was nothing but a bleak ball of stress on our TV screens, but that isn’t exactly true. While the laughs are few and far between, they are still there. One of the best moments for me was The Doctor, assuming he was about to die, throwing himself a three week party in Medieval England. For some reason he is set to duel a large warrior in an arena for the entertainment of the assemble masses. and proceeds to ride into this duel on top of a tank playing an electric guitar. Since the Doctor usually refuses to allow anachronisms for leak into the past this is far beyond his character and shows he doesn’t care anymore.

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Missy is another fun element to the episode, if one can consider her scenes fun. I finally figured out why I enjoy her as Missy so much, she reminds me of a female version the popular DC comics adversary – The Joker. She’s funny, but the humor is so dark and somewhat in the poorest taste that you laugh, but feel bad doing so. I think this was where Russell T. Davies was trying to go with John Simm’s portrayal of the character, but he fell flat for me. My favorite incarnation of “The Master” was Roger Delgado, but Michelle Gomez is giving him a run for his money.

Another nod goes to Julian Bleach who is once again portraying the megalomaniacal Davros. He has been great almost every single time he appears on any of these shows. He first appeared as the Ghostmaker in the Torchwood story From Out of the Rain. His second appearance was as Davros in the Doctor Who stories The Stolen Earth/Journey’s End. His third appearance was as the Nightmare Man in the The Sarah Jane Adventures story The Nightmare Man. So far he is one of the ONLY people to appear in all of the Doctor Who related shows since 2005. He does particularly well, for me, simply because he takes a character so over-the-top as Davros and grounds it in some way, thus making him far more terrifying. The moment Davros is twirling his proverbial mustache it looses something for me.

This was a solid opener for Doctor Who, and perhaps the “ballsiest” way to start a season that they could have done. I will discuss everything more next week when we see a completed story, but so far I have one word – WOW!

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One awesome thing that BBC America did was make this entire episode available for FREE on Youtube (which I have linked to below). Feel free to watch the episode if you already haven’t and bookmark their page just in case they decide to make more available.

 

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Doctor Who: Mummy on the Orient Express (2014)

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Hello. I’m so pleased to finally see you. I’m the Doctor and I will be your victim this evening. Are you my mummy?”

One might get the impression that all I do each and every day is sit around watching British science fiction, but let’s get real here – I waste time with a lot of other stuff too! Pro Wrestling! TV! And Anime! All kidding aside, I wanted to start this review out talking about my love for space trains, you heard me right – trains all flying around in space for some reason or another. I chalk this all up to my love for the visionary Japanese manga creator Leiji Matsumoto and his epic series of space opera works including one called Galaxy Express 999. Originally written in the late 70’s, Three-Nine introduced me to a fantastical world where space travel was made more comfortable by echoing the past and looking back at the golden age of travel. Of course Mr. Matsumoto’s works also contemplated what is really meant to be human, and what it means to be loved in a universe where people seem to be abandoning such concepts. It was a little more than just the concept of the space trains I went for. I’m not going to lie though, I cheered on the inside when I saw the trailer for this episode.

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I’m not writing here about Galaxy Express 999 specifically, but I wanted to briefly point out a few thematic similarities between it and a few episodes of Doctor Who, chiefly Voyage of the Damned and Mummy on the Orient Express. If you like these episodes, you might seek the show out on Hulu. My love for the similar material has made me love these episodes quite a bit, despite the fact that I know for sure VotD was pretty unpopular with most fans. That’s how I am though, if I feel inspired by certain things in an episode, I love them no matter what, case and point was my adoration for Rings of Akhaten. I think it all goes back to that feeling of comfort in keeping things simple. Perhaps, that’s a world I’d love to live in: just as modern but somehow not as plastic and disposable….comfortable. Many folks may be scared of the dreaded mechanization and inhumanity of our present technological progress, dressing it up like older more simpler times may be the way to go. That’s at least what Leiji Matsumoto saw, and coincidentally what it seems a few Doctor Who episodes echo.

It has been a few weeks since the complete meltdown by Clara directed towards The Doctor. She has come to realize that she doesn’t actually hate him, and that she wants to travel one last time with him – “The Last Hurrah!” if you will. They arrive sometime in the future aboard a space train that has been modeled after the legendary Orient Express, with many of its passengers in period outfits. The Doctor quips that “There were many trains to take the name Orient Express, but only one in space.” It seems that they have arrived right after a mysterious death, perhaps even murder, in which an older lady claimed she was being attacked by “a mummy”, as in Egyptian dead person style mummy. After The Doctor does some research, he discovers that there seems to be a pattern with these mummy attacks – everyone claims to be chased by a mummy, and they die exactly 66 seconds later after a flash of light. This also seems to correlate to a myth that another passenger, Prof. Moorhouse, reiterates about the legend of a supernatural being called the Foretold.

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Suspicious of the ships computer system, Gus (voiced by John Sessions) and the fact that multiple people on the train seem to know a bit too much about the Foretold, The Doctor puts together that the train ride must not be a coincidence and that they have been brought there deliberately to solve the mystery. Suddenly everyone realizes that they have been duped by someone who is allowing Gus to force all of the various scientists, doctors, and engineers aboard to figure it out or die trying. Much to her fury, The Doctor even confesses to Clara that the mysterious figure that brought him to the Orient Express “even phoned the TARDIS once”. Astute fans might recall a line from The Big Bang, in which The Eleventh Doctor, answering the TARDIS phone, replies “an Egyptian goddess loose on the Orient Express, in space? A bunch more people die, and eventually The Doctor figures it all out.

I noticed last week that The Doctor seemed to be outright channeling Tom Baker a few times, and it seems like this has been kept going for this episode. The most blatant use of this is the discovery that The Doctor now keeps Jelly Babies, the candy that The Fourth Doctor always carried around, in a silver cigarette case.

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It is later explained that our nefarious mummy is actually an ancient warrior that has somehow been kept alive long past it’s own expiration. This is due to a faulty life support system that basically doomed the poor soul to warp around absorbing life force to keep fighting the long forgotten war that it was still fighting. In some ways, this almost makes The Foretold a creature not unlike a rogue cyberman – desperately trying to do what it can to survive in an almost mindless manner. The Foretold was pretty scary for a mummy considering we’ve all been around various mummy stories for upwards of 80-100 years. Usually these mindless beasts are nothing more than cursed specters that attack anyone in sight but are easy to foil. The Foretold, however, can teleport, change it’s dimensional phase to only appear to certain people, and ruthlessly kill just about anyone in under a minute. A far cry from the one Abbott and Costello fought. On a side note: I am glad that, upon the realization that The Foretold was actually a soldier, The Doctor didn’t slip into another anti-military rant as those are starting to get a bit forced.

Thankfully this episode doesn’t end with a gigantic fight between Clara and The Doctor, as she finally seems to be certain that he is a good man – manipulative perhaps, but good at his core. She did promise her now boyfriend Danny Pink that she was done with her travels, so I can see some more Doctor vs Danny drama coming up. Since we’re past the halfway point, and it’s rumored that Jenna Coleman isn’t going to be on the show much after the Christmas special, I want to see a few episodes where there isn’t tons of tension between the characters. I always hated most of the Peter Davison era because characters like Tegan and Adric were constantly at his throat, and I really do not want a return to that tone.

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What can I say? Show me a space train, and I’ll enjoy the hell out of it. Yeah, the mummy was a bit silly in space, and we didn’t find out who the real villain was (hopefully it’s shown later) but it was a solid episode nonetheless. I really enjoyed the atmosphere, the majority of the side-characters, and even that cool version of Queen’s Don’t stop me Now sung by pop singer Foxes. This was another almost legitimately scary episode, and the body count may prove that this was potentially a bit much for some kids. I’m glad the show is getting creepier, as the horror episodes are some of my favorites.

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Doctor Who: Kill The Moon (2014)

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Oh, well you’re just going to have to shoot us, then. Shoot the little girl first. Yes, she doesn’t wanna stand there watch us getting shot, does she? She’d be terrified. Girl first, then her teacher, and then me. You’ll have to spend a lot of time shooting me because I will keep on regenerating. In fact, I’m not entirely sure if I won’t keep on regenerating forever.”

My apologies for being so behind on these reviews! My plan was to watch and review each of these on Sunday, but boy did that get away from me. Nonetheless, let’s get down to business. Season eight of Doctor Who continues to be pretty awesome, and while there have been a few merely average episodes this season, I’d say it has been the most consistent season since Matt Smith’s season five. So far, my favorite story has been Listen, which was a total surprise to me because I didn’t expect to enjoy it much. So, why am I mentioning this during my review of Kill The Moon? It’s because I didn’t think I’d enjoy Kill The Moon prior to the moment I started actually watching it. I thought something like: “Not only does it have a silly title, but what could the premise possibly be?” and “that child actor is in this…uh oh!” I should do this prior to everything I watch, because BOY was a mistaken.

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Our episode begins with Clara speaking on behalf of Courtney Woods, the girl from the previous episode – The Caretaker, attempting to rejoin The Doctor within the Tardis, or to at least clean up the horrible mess she made when she was last there. The Doctor decides to take them up on the offer and go on a “field trip of sorts”. This trip lands them on a one-way suicide mission to The Moon via a re-purposed space shuttle filled to the brim with nuclear warheads. It seems that in 2049 tides got out of hand killing much of the Earth’s population. Not sure what was really going on, the earth somehow decided that it was a great idea to nuke the moon for a chance at survival. It is discovered that the moon is actually a huge egg that is about to hatch, and the moral implications of killing a huge “space baby” for no reason other than fear upsets Clara quite a bit. The Doctor is willing to let this transpire, but he wants no involvement in the decision – leaving it up to Clara, Courtney and The captain of the mission to figure out the fate of the moon – and possibly humanity.

The “monster of the week” for this episode is actually pretty horrifying and should play on anyone with any sort of arachnophobia. There are some truly unsettling things on the moon like the deaths of multiple supporting characters and web-covered corpses strewn about for quick jumps. I’d imagine that this is an episode that would freak little kids out pretty bad, because I recall being horrified by the titular hand in The Hand of Fear, and that was a cheap special effect in comparison to these guys. Not only are the “Spider-germs” pretty menacing in appearance, but their brutality is so inhumane that it’s unsettling. It was sort of silly that they were fought off using Windex and flashlights (it’s revealed that they are evolved bacteria essentially), but I guess other films have done stuff like that to critical success, so I’ll try not to be too cynical.

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Thankfully my fears about Ellis George reprising her role as Courtney Woods were not realized. I’m not going to say that she blew me away with her acting ability, or that she was the highlight of the episode, but she at least kept from annoying me. Sometimes it’s the small things that count! Child actors usually get placed in shows like this as the “moody genius kid” or “sassy street-wise kid” and become almost insufferable ten minutes into their first appearance. Courtney is no Wesley Crusher or Adric thankfully, as she doesn’t simply exist to be sassy and spout one-liners or try to make other characters look dumb.

We once again are faced with the question as to whether The Doctor is a good man or not, and this seems like the ultimate iteration of this ongoing theme. Channeling his inner Seventh Doctor, The Doctor seemingly ends up abandoning everyone in order to force them to choose whether or not to blow up the moon. This is sort of similar to that time Sylvester McCoy‘ Doc treated Ace like garbage to get her to loose faith in him in order to defeat the monster in The Curse of Fenric. Peter Capaldi is once again very awesome, and usually straddles the line between being hilarious and terrifying at the drop of a hat.

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Clara once again yells at the Doctor in this story, and while I like the character development I hope this begins to be the end of this theme. The Doctor is a jerk, yes, but we have seen him warming in the last few episodes to a degree that I just want them to be friends now.

I did get sort of irritated when I ventured online to gauge what the general fan consensus to this episode was like. Most seemed to enjoy it, but a loud minority seemed determined to hate it because of the scientific implausibility of the the whole thing. Sure, it’s weird that the moon was revealed to be a giant space egg, but it’s not like Doctor Who is particularly “hard” on the scale of what sort of science fiction it is, it’s always been more of a space opera. But there I was, knee-deep in annoying comments saying “the classic series was ONLY grounded in science!!”. This is laughable, because I can immediately think of TONS of older episodes with laughable science. Hell, my favorite Hartnell episode, The Dalek Invasion of Earth, centers on the premise that the Daleks have somehow made it to Earth because Earth is the only planet with a magnetic core. What followed was a plan that involved hollowing the earth out and flying it around like a spaceship. So any notion that, prior to 2005, Doctor Who was in a similar vein to something like Gravity is, quite frankly, laughable.

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This episode is pretty notable for how amazing it looks, considering I’ve seen big budget films that do a worse job of conveying the lunar surface than this. The episode was under the helm of two newcomers to the show, as it was written by Peter Harness and directed by Paul Wilmshurst. They are both formerly BAFTA nominated industry veterans, so it seems like a great choice to bring them both on board. Many lunar shots were filmed around a volcanic area in Lanzarote, Spain, which seems like a great stand-in for the actual lunar surface. It’s at least a far cry from the “rock quarry” planets we get used to in many science fiction TV shows.

The story is also pretty intelligently written, seeing that it seems to be a commentary on our penchant to kill anything we don’t like, issues with funding for space travel, and to a lesser degree – abortion. These are all pretty mature themes for a show like this, and I felt that it was handled in such a way that adults can see these sorts of things, and kids will just enjoy the monsters. In the episode, The Doctor reveals that because of the brief re-interest in what happened with the Moon, humanity would be rekindled to travel to the stars, helping them to spread across the universe, and then assures Lundvik that she will now have a real space program to lead. With constant set-backs to manned space travel as of late, I can see Lundvik’s space travels in a very similar vein to how it is now – we don’t travel out of wonder or discovery, but because of the opposite. It’s a pretty epic ending to a Doctor Who episode, and makes me wish a similar thing would happen in real life – minus the apocalyptic tsunamis of course.

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As you can see, I really enjoyed Kill the Moon. I think it’s another one of those episodes, like Listen, that seemed like it was going to be a totally different thing than what it ended up being, and it’s this playfulness with the format of the show that has made me love season 8. In fact, the few times I thought an episode was sort of lame, was when they followed older conventions to a fault. I loved all of the throwbacks to Tom Baker, especially small partial quotes that he was notable for like “Earth isn’t my home” and his use of a Yo-yo as a scientific experiment. The next episode looks amazing,so I’lll end my review here, and hopefully I’ll get caught up before this run of episodes stops!

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Doctor Who: Time Heist (2014)

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“This is a recorded message. I am the Architect. Your last memory is of receiving a contact from an unknown agency – me. Everything since has been erased from your minds. Now pay close attention to this briefing. This is the Bank of Karabraxos, the most secure bank in the galaxy; a fortress for the super-rich. If you can afford your own star system, this is where you keep it. No one sets foot on the planet without protocols. All movement is monitored, all air consumption regulated. DNA is authenticated at every stage. Intruders will be incinerated.”

Stephen Thompson’s last foray into Doctor Who writing was last year’s somewhat lackluster Journey to the Centre of the Tardis, an episode that I didn’t hate, but characterized as “well done from an atmosphere and effects standpoint, but [a failure] with the writing.” Thompson seems like a decent enough writer, considering his work on Sherlock, but I feel that he gets too trapped in the mindset of finding a theme for each episode he does. So far, his track record with Doctor Who involves a pirate episode with The Curse of the Black Spot, his aforementioned Jules Verne pastiche, and now an Ocean’s Eleven episode. “Theme episodes” work sometimes, but often fall flat as the writer tries to shoehorn all of the characteristic tropes into one episode. It’s fun to have the occasional homage, but constant ones make the show seems like a parody of other shows.

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The episode follows another routine day in the life of The Doctor and Clara until they get a phone call on the Tardis phone. The scene suddenly jumps to an entirely different room with a handful of strangers as they watch videos explaining that they have all willfully erased their memories for some reason. They discover a briefcase left by a mystery person simply named “The Architect”, only hearing his digitally altered voice. The briefcase contains plans to rob the impregnable vaults of the Bank of Karabraxos for some reason. While The Doctor usually doesn’t do things like rob banks, whatever his reasons, this seems important. The group takes items from the case designed to aid them in their caper, and head to the bank. They have no memories of why they are doing it, or who sent them, but it seems like the right thing to do under the circumstances.

The supporting cast was very decent in this episode including those “strangers” I spoke of. It appears that “The Architect” has enlisted two specialists with what could be considered “powers” to aid The Doctor. Psi, played by Jonathan Bailey, has a computer enhanced brain like something out of a 80’s cyberpunk story, and Saibra, played by Pippa Bennett-Warner, can shape shift into another being by simply touching them. They, of course, have their own motivations for the robbery, and it seems that everyone involved is in this to get something VERY important.

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I really liked seeing Keeley Hawes as Ms. Delphox, the ruthless chief of bank security, since I have enjoyed her in many shows in the past. I was one of those folks, that when comparing the two, actually loved Ashes to Ashes better than its predecessor Life on Mars, the former having starred Hawes in the leading role. She is almost like a “Bond Villain” in Time Heist, down to the silly part where she explains all of her motivations, then leaves the room so that The Doctor and company can escape her clutches. All she needed was a big interrogation laser, well, I guess she had “The Teller”.

This week’s “monster” was pretty awesome and somewhat different to the sort of monsters we’re used to seeing in Doctor Who. “The Teller” is a psychic creature, said to be the last of his kind, that uses psychic abilities to determine motive in anyone it comes across. If anyone has even so much as a thought about a way to defraud the Bank of Karabraxos, the terrifying hammer-headed beast will turn their mind to “soup”, which is every bit as gruesome as it sounds. From the first moments that we see “The Teller” accompanied by handlers, a straight jacket, and crunchy guitar riff, you can tell The Doctor is going to have trouble this week.

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Time Heist is sort of jarring in that it uses the literary technique of the “unreliable narrator” in that we don’t get much explanation as to what is happening and are somewhat misled until the end of the episode. The way The Architect’s plan plays itself out reminds me of some of the sillier stuff from those “Bill and Ted” movies where they set things up with time travel to aid in the present. In Bill and Ted’s Bogus Journey, for instance, the titular characters went through and “set up” convenient Deus-Ex-Machina type things to get them out of sticky situations – like hidden guns and the like. In Doctor Who, we see characters seemingly die, then come back later at the “nick of time” as if it’s all according to one big plan.

Time Heist is better than Journey to the Centre of the Tardis and The Curse of the Black Spot in that Stephen Thompson went a bit more abstract than the usual “theme episode”. This episode is by no means a classic, and has silly logic, but it was entertaining none-the-less. Keeley Hawes and “The Teller” were highlights for me, and I honestly hope we get to see both make a return at some point, although I’m not holding my breath.

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Doctor Who: Listen (2014)

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For me, there has never been an episode as deceiving, and surprising, as Listen. At first, I was under the impression that this was going to be a straight-forward horror episode, in a similar vein to last year’s Hide. This was “egged on” by a trailer that reveled in the creepy aspects of the episode, leaving no question to me exactly what we were going to be getting. I like these sorts of episodes a bit, but usually find them to be somewhat worse than other episodes due to the tendency to overdo the explanation for whatever supernatural creature they “seem” to be fighting. That’s not a ghost! It’s merely a time traveler trapped in a parallel dimension! That’s not a vampire! That’s an alien from the deepest outer-reaches of space! You get the idea. Then I watched the episode and everything changed. While the beginning segment of the episode was a straight forward “creep out” exercise by Steven Moffat, what followed was quite possibly some of his most clever writing since Blink.

I’m going to do far more of a recap than usual, because this is not an episode that simply needs a one paragraph blurb to get the point across. In fact, I have no idea how to express the plot of this other than actually analyzing it, and you will soon see why.

Question. Why is there no such thing as perfect hiding? Answer! How would you know? Logically, if evolution were to prefect a creature whose primary skill were to hide from view – how could you know it existed? It could be with us every second and we would never know. How would you detect it, even sense it… except in those moments when, for no clear reason, you choose to speak aloud? What would such a creature want? What would it do? Well? What would you do?

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Listen opens with the long-awaited date between Danny Pink and Clara Oswald that was hinted at few episodes ago. As one can imagine, this does not go well at all, and both parties end up awkwardly offending each other in probably the worst way possible. Clara once again mentions something that offhandedly seems to be a reference to Danny’s buried past, and he lashes out at her – ruining the date. Disheartened, Clara goes to the Tardis to meet a Doctor that seems to have been left alone to ponder something for far too long.

It seems he has become completely consumed with the idea that every living being has a constant companion, an entity that is with us at all times, watching us, experiencing all we experience. Being a bit into western esotericism, this almost seemed to hint at an old Platonic theory of the eidolon, a “shadow being” that we all have that may or may not be our actual suppressed personality or essence. This isn’t actually referenced in the episode whatsoever, but I was all ready for the possibility that they were going for that and I got excited (LOL). The Doctor’s “theory” is that everyone seems to have the same dream at some point in their lives, a dream in which a hand grabs them from under the bed at night. He asserts that this was no dream, but this entity trying to communicate with us. Clara initially dismisses this wholesale, but agrees to return to her childhood so they can investigate.

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There is a blunder in the Tardis navigation circuits (WHAT!? That never happens!), and instead of visiting Clara’s childhood, they seem to visit a young Rupert Pink, a boy that it is assumed to be none other than Danny. Of course, The Doctor has yet to officially meet Mr. Pink, so he seemingly does not know the significance. Rupert is terrified of a monster under his bed, making him a prime candidate to test The Doctor’s theory. As they discuss the situation, and odd apparition rises from under Rupert’s bed sheets, leading The Doctor to have them turn away from it, ignoring it. While this could be a monster, it also could have merely been another child keen to play a prank on Rupert.

An interesting thing happens here when both Clara and The Doctor seem to “create” Danny Pink by imprinting values and future information on him. Clara suggests he let a toy soldier stand guard for him, which he enjoys the idea of. He’s always been into soldiers, and names one of his toys “Soldier Dan”. Since he hates his real name, we can see this as when he chooses “Danny” as his new alias. Before wiping his mind of their meeting, The Doctor encourages Rupert to see his fear as a “superpower,” because adrenaline will empower him to overcome obstacles and foes. He seems adamant of this, as if he knows something he isn’t telling anyone else. Rupert slips into a deep sleep with his new life as the heroic “Soldier Dan” firmly implanted into his mind.

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This is where the episode veers off into a place where I had no idea it would go. The Doctor and Clara decide to go back to her “date”, mere minutes after she storms off, in order to set things right with Danny. The Doctor isn’t so keen on this, but seems okay as long as he can ponder his theory more. The date still goes poorly, this time with Danny storming out after she accidentally calls him “Rupert”. He assumes that she is making fun of him in some way, and is hurt. A man in an orange spacesuit steps into the diner, and assuming it’s The Doctor, Clara follows him angrily. The man removes his mask to reveal a much older Danny Pink!

The Doctor identifies this man as Orson Pink, one of Earth’s first time travelers, having originally come from over one-hundred years in Clara’s future. The Doctor found him stranded at the end of the universe, where he was on the verge of death and fearing that an entity was trying to kill him. The Doctor theorizes that this is the very same “companion entity” that he was looking for earlier, and that it may be trying to kill Orson since he is the only remaining life in the Universe.

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Orson decided to become a time traveler when he was a child due to things that happened in his upbringing. It is revealed that one of Orson’s great-grandparents told him stories about time travel and that Orson possesses the small toy soldier given to Rupert earlier in the episode. He gives it back saying that she is worthy of his family heirloom. Something happens and our crew attempts to escape the entity and end up in an odd location as the cloister bell rings, a telltale sign of enormous danger.

Clara finds herself in a rickety barn with a crying child in it. She is forced to hide under the bed when two people enter and try and coax the child out of the room. They are concerned that his constant fear of the dark is going to make him a poor soldier, and that he will never become a TIME LORD at his current state. Horrified at what she has heard, Clara accidentally grabs the child’s leg from under the bed.

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It is at this time that she realizes that she has met none other than The Doctor himself as a young boy, and she is the “companion entity” that he is fearful of. She tells him that he is dreaming, and that he needs to channel his fear into something good, a similar idea that The Doctor told a young Rupert Pink. This barn is none other than the rickety old barn seen in “Day of the Doctor”, so it can be assumed that they are somehow on Gallifrey. Clara tells the Doctor that they need to leave without question, and that he isn’t to know where they just were.

Listen is the perfect set-up for a Moffat-style monster that ends up being a GIANT red herring. He excels at creating conceptual monsters that embody some sort of primal fear that we all share, and in this case it was taken to the ultimate conclusion. For half of the episode, I was on the edge of my seat waiting for the reveal on the constant companion and why it seems to be terrorizing The Doctor so much. Realizing that this monster is none other than a misunderstanding from The Doctor, and that he is secretly “scared of the dark” is pretty awesome. In fact, knowing what is going on makes a second viewing that much better.

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To be honest,  When I thought this was a straightforward monster episode I felt that the beginning was weird and oddly paced. The episode seemed to be almost nonsensically put together on a narrative standpoint and concentrated on Clara’s date way too much. It’s only half-way through when I realized that the monster isn’t the main point of the episode, and the date is a study of what makes Danny Pink tick, and why the Doctor acts the way he does. We basically end up searching the negative space of the episode, looking for clues that help us know about the monster (much like The Doctor) and are left speechless when we find out that there is no monster.

We are left assuming that The Doctor has basically made an immense leap of logic that seems somewhat uncharacteristic for himself, and has veered somewhat into the realm of the conspiracy theorist. I’m not going to say that this fact makes The Twelfth Doctor crazy, but his motivation here seems to be that of someone that is utterly horrified by something, but can’t get past the most likely reason for feeling the way he does. He literally cannot come out and say that he’s scared and show any weakness; being so used to carrying the universe on his shoulders, he has somehow internalized it into this “superpower” he tells Danny about.

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As a complete package, it all comes together in such a gratifying way that I haven’t felt since the 50th anniversary special. In a way, this is the current show’s Edge of Destruction, an episode from “classic Who” that seemed weird, oddly paced, and yet immensely gratifying once you realized what was happening.

If anything, this season has proven to be much more about character building than the previous few, and I for one am very happy about that. While I hope that we don’t see too much more of The Doctor’s past, it was cool seeing him as a child. Writers always run the risk of spoiling the mystery of characters like The Doctor by showing their “origin stories” (see X-Men’s Wolverine) but seeing him before he became who he is was awesome. Clara has really imprinted herself on The Doctor much more than anyone else has, she really is “The Constant Companion.”

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Doctor Who: Robot of Sherwood (2014)

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“No castles, no damsels in distress, no such thing as Robin Hood!”
Here we are at that very moment in just about every season of Doctor Who, post-2005, where The Doctor asks his companion what they would like to see in order to “show off” his time traveling capabilities. Clara, knowing that The Doctor would write the whole thing off as nonsense, decides that she would love to meet the fabled outlaw hero, Robin Hood. Robin Hood is one of those “historical figures” that always makes things hard in shows dealing with time travel because nobody actually knows if he existed or not.

Much in the same way that folks have been searching for the “real King Arthur” for centuries, Robin Hood has been assumed to be probable, but most-likely a myth. This ordeal is played up as a main plot point for this episode from the get-go as The Doctor does not believe that they will actually meet anyone, and when faced with someone that meets the Robin Hood description, basically assumes he’s a charlatan, robot, hologram, shapeshifter etc.

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Mark Gatiss decided to pen this script in a farcical way that I know most hard-line fans hate. Just go to any review site and look up episodes like Love and Monsters, The Crimson Horror, or even The Gunfighters – the episodes that are less than serious are very dividing, some will love them, and others will absolutely hate them. Take a character such as Strax, for instance, I love the guy, but the general “fandom” of Doctor Who, if podcasts can be believed, HATE him.

This silly tone of near-comedy in Robot of Sherwood is directly at odds with the previous two episodes and how dark they actually were. This may be my biggest complaint with this episode as it almost doesn’t feel like it “fits” with the previous two. It’s almost like a leftover Tennant or Smith script slightly changed for Capaldi. That isn’t to say it’s bad or anything, but I’ll explain what I liked and didn’t like.

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The highlight of this episode, for me at least, was the banter between Robin Hood (as played by Tom Riley) and The Doctor. Since he’s convinced that Robin is in some way false, The Doctor is not willing to give him any slack on anything he does. Every quip, bit of banter, or boisterous laugh that he exhales is met with derision and anger. Here is an example of one such exchange:

Robin Hood: Whatever it is, you bony rascal, I’m afraid I’m must relieve you of it.

The Doctor: It’s my property. That’s what it is.

Robin Hood: Don’t you know all property is theft to Robin Hood?

The Doctor: You can’t be serious.

Robin Hood: I am many things, sir, but I am never that. Robin Hood laughs in the face of all! Ah ha ha ha haaaa!

The Doctor: Do people ever punch you in the face when you do that?

Robin Hood: Not as yet!

The Doctor: Lucky I’m here then, isn’t it?”

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This becomes the most humorous in the often re-created archery contest scene where Robin Hood sneaks in with a disguise calling himself “Tom the Tinker”. The worn out scene where Robin splits an arrow with another arrow plays out like it has in just about every adaptation of the story, then it gets sillier. The Doctor, irritated by the smug arrogance of Mr. Hood, uses his archery skills to split these two arrows a third time, Robin counters with another, and so on, until The Doctor just blows up the entire target with his Sonic Screwdriver.

Tom Riley basically uses every contemporary Robin Hood trope used since Errol Flynn donned the green tights to create one of the most irritating heroes of all time. He’s so boisterous and arrogant that he’s essentially Lord Flashheart from the Blackadder series. He’s one of those characters that the hero of our story despises, but everyone else thinks he awesome at everything he does.

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It will come as no surprise that the villain in this episode is none other than the Sheriff of Nottingham himself, as played by Ben Miller channeling his best Roger Delgado impression. I actually liked him in the role, even though he really didn’t challenge anything at all. He’s just as much of a bastard as one would expect, and has an army of alien robots at his side to do his dirty work. Alien robots? Did I forget to mention that Sherwood Castle is discovered to be some sort of crashed spaceship, and in classic Doctor Who fashion, these aliens have tricked the Sheriff into helping them hoard gold to fix said spaceship? It’s pretty silly, but it works.

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It’s in the actual plot of this episode that I have some problems. Much in the same way that Gatiss wrote a plotline into Victory of the Daleks wherein our heroes convinced a robot that he wasn’t a robot to stop a bomb from exploding, this episode involves the “bad-guy” space ship not having enough gold to escape The Earth’s atmosphere (it’s engine uses gold somehow), and Robin Hood shooting gold into the ship to make it fly away then explode. It’s cool when you see it, but as one thinks about what they just saw, it falls apart. If it wasn’t for the fact that this episode doesn’t take itself seriously I’d be concerned that Mark Gatiss rarely knows how to finish most of the scripts he has written. I really like Mark Gatiss episodes, but he needs to smooth some rough corners if he is ever going to take the reins from Steven Moffat like everyone assumes.

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No Missy appearance this week, but the thread binding it all together was that the robots crashed on Earth while searching for “The Promised Land”, which viewers might remember was the reason the clockwork droids ended up on Earth in Deep Breath….curiouser and curiouser…

All in all, this was a fun episode. Most of it made no sense under scrutiny, but as a farce it did it’s job. It does a good job of poking fun at the Robin Hood mythos and showing that most of our myths we hold as a society are probably based in some truth from the past. The Doctor starts the episode out, set in his ways, very closed-minded, then realizes that he doesn’t always have all of the answers. Join me again next week as we take a look at an episode sure to make me scared of my bed in addition to the dark, angel statues, and kids wearing gas masks.

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Doctor Who: Into The Dalek (2014)

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“This is Clara. Not my assistant, she’s ah, some other word. […] Yeah. My carer. She cares so I don’t have to.”

At first glance, Into The Dalek could be seen as an homage to 2005’s Dalek in many ways. The episode centers around a military confiscation of a wounded Dalek, The Doctor being brought in to examine it, and it’s eventual rampage through a base. Luckily, this similarity isn’t the case for the most part as Into The Dalek goes off into it’s own direction almost immediately, and is a whole different affair than the Rob Shearman classic.

Rather than existing as a tired “base under siege” story, we get something that harkens back to 1966’s Fantastic Voyage, a film where a crew of scientists shrink themselves down and enter a human body; except this time it ain’t no human! Inventive things like this are my favorite sort of Dalek stories, as we’ve seen all of the Dalek tropes hundreds of times each to a point where nothing is new. I’ll hand it to Steven Moffat, after this and Asylum of the Daleks, he can sure write a solid Dalek epiosde.

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After accidentally ditching Clara in Glasgow during a “coffee run” The Doctor finds himself in the middle of a war between one of his oldest foes, The Daleks, and a human outpost. He ends up on the bridge of a haggard military ship with a new secret weapon – a captured Dalek. Bound in chains, this Dalek (or “Rusty” as The Doctor dubs him) seems different. Sure it’s a genocidal killing machine hell-bent on universal domination, but this one seems to hate one thing more than any other – his own race. If only the crew of the Aristotle, a former hospital ship locked into battle with the Dalek Empire, can figure out what makes the heretical “Rusty” tick, perhaps they can end the war for good. With this in mind, they do what any reasonable military squad would do – shrink themselves down and adventure into the beast itself!

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So far, Peter Capaldi is doing an awesome job portraying everyone’s favorite space hobo, and the main selling point for me is a return to his more emotionally distant state. He gets chastised many times for being a bit too callous when faced with the deaths of seemingly unimportant characters, showing that to him the needs of the many outweigh the needs of the few – a direct callback to the Hartnell era. At one point, a soldier causes a flood of Dalek “antibodies” to swarm the party, the Doctor tosses a device to him and urges him to swallow it as fast as he can. When he does the Dalek spheres immediately kill him. When everyone gets mad, the Doctor has to acknowledge that the man was already dead, and The Doctor bought everyone else time. This is a far cry from the Tennant-era teary-eyed doctor apologizing every time something went wrong.

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The “carer” quote that I placed above is a good nod at this newly re-discovered saltiness, and Clara seems to be there to keep The Doctor from being a self-absorbed jerk to everyone. When he says that Clara “is his carer” I don’t see it as simply wanting to do whatever he wants with no regard to others, Clara is there to ground him. Instead of existing as a convenient Deus Ex Machina as with her previous season, she has evolved into something more.

Her character development has accelerated in these last two episodes, and she’s finally shaping up to be something special. While Capaldi definitely has a “fatherly” vibe to himself, I wouldn’t say that he acts as her father figure. In many ways, I’d even suggest that he’s almost more childlike that he was in previous incarnations.

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The Doctor once again brings us to one of the themes this year, his questioning whether he’s a “good man” or not. While Deep Breath reveled in his moral ambiguity and questions of unscrupulous things he may or may not have done, this episode is a bit more weary. In many ways it reminds me of season one’s Ninth Doctor trying to recover from all of the bad things he thought he did in the time war, but instead of survivor guilt he seems to be saddled with the feeling that he’s always doing bad things and hurting people.

Since he recently undid the thing that ultimately made him feel the worst (the destruction of his people) and lived 900 years in a wonderland where he was beloved by many (The Town of Christmas) one would wonder why he isn’t a bit happier. Could he be worried that’s he’s going down the same path that so many of his former Timelord acquaintances went down? Could we see a return to the sheer arrogance of The Doctor we saw in Waters of Mars?

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On a slight side-note: Capaldi also gets all of the best lines in the episode, my personal favorite being a quip regarding the “shrinking machine”: “Fantastic idea for a movie. Terrible idea for a proctologist.”

This episode sees the inclusion of a character that I hope becomes the second companion this year – Danny Pink as played by Samuel Anderson. It’s immediately apparent that Pink is going to be Clara’s love interest this season, seeing as The Doctor is now off the table. A former soldier with a dark past, Pink could be the sort of action man that I’ve been wanting since John Barrowman left the show years ago. Danny Pink’s secret obviously involves his accidental killing of a civilian or something similar, as we see hints that he didn’t come back in one piece after his fighting.

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With the Doctor’s assertion that “he hates soldiers”, I can see there will be some sort of sparks flying this year. While I liked Rory during the Eleventh Doctor era, he was usually emasculated for comic relief ala Mickey Smith a lot of the time. Since The Doctor shouldn’t have that whole jealous love-triangle thing going on, I hope they can get on as friends. Strong male companions are about as rare as strong female characters in about every other show, and I hope this season puts an end to that!

I refrained from discussing another supporting cast member in my last review aside from a tiny sentence, but here we go – Who is Missy!? Michelle Gomez plays this new character that, while not specifically shown to be evil, comes across like a dark Mary Poppins. So far, she has plucked two characters from certain doom (at the hands or suggestion of The Doctor) and taken them to a place called “Heaven”. I have no idea what her motive is at this point, but it’s fun speculating on who she is. Everything is pointing to her being a fellow renegade Timelordess, but the real question is – who? Could she be the Rani? The Master (Mistress)?, or a totally new character? For right now all I can say is that she’s creepy, and I hope we see more of her this season.

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Before we close out today’s review, I’d like to touch on the direction of this episode. Ben Wheatley seems like one of the many Doctor Who directors that can really make an episode look far more polished than other similar shows. His use of blue-lighting, slow motion for action sequences, and pyrotechnics really made this feel like a movie in certain places. Hopefully Mr. Wheatley does more work for the show, as both episodes so far have looked great.

My only real quibble is that the sound mixer has once again allowed the soundtrack to overcome some of the dialog in certain scenes, a problem that has been plaguing the show for years. I blame the fact that everyone is expected to have huge home theater systems in 2014, and those of this that do not are simply out of luck.

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All in all, this was another solid episode – nothing classic by any means, but another fine example of what the show can offer. I was happy to see some familiar faces in there, like Michael Smiley from Spaced and The World’s End, showing that this show has some of the best supporting casts out there. I can’t wait to see Danny Pink in action, and hope The Doctor treats him better than other male companions as of late, we don’t need another Mickey! Here’s to the next episode Robot of Sherwood, and to more of this solid season!

Doctor Who: Deep Breath (2014)

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“Look at the eyebrows! These are attack eyebrows! You could take bottle tops off with these! They’re cross, crosser than the rest of my face. They’re independently cross. They probably want to cede from my face and set up their own independent state of eyebrows!”

 

It’s been a long eight months since the newly-born Twelfth Doctor mused about his new kidneys. Eight months where I had to recover from what was most likely a Doctor Who overload during the 50th anniversary celebrations. So here we are, summer 2014, and I don’t know about you guys – but I’m glad my favorite TV show is back! I’m especially glad that the recent trend of having short seasons, split seasons, and other things that generally make me (and a lot of other fans) feel like we’re getting ripped off has ended. We’re in for a full, uninterrupted , 13 episode season this time around, and I couldn’t be happier.

The story of Deep Breath takes us back to Victorian England where everyone is amazed, and somewhat terrified, by the presence of a real-life Tyrannosaurus Rex in the middle of London. The Paternoster Gang (Strax, Jenny, and Vastra) are about to get to their crime fighting on, when a familiar blue police box is expelled from the maw of the mighty beast. Faced with a giant monster on the loose, a possible serial killer, spontaneous human combustions, and a version of The Doctor who isn’t really feeling like himself, it looks pretty bleak for our heroes.

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Being the first episode of a new series, and the introductory episode for a new Doctor, I was actually surprised at the way Deep Breath unfolded on our screens. The episode opens with the aforementioned T-Rex attack, something that is typical “premiere episode” fare. A lot of times, we have had season openers that go crazy with special effects and spectacle to gear us up for the rest of the season, much in the same way US television pilot episodes are a bit more “flashy” than the rest of the show. This episode starts that way, but slowly evolves into somewhat of a character piece that we usually do not see until around mid-season. I bet this slower pace put off some fans, but I personally found it a bit refreshing. My main concern with a lot of current Doctor Who is that the episodes sometimes feel constrained by the timeslot, running time, and a general lack of “breathing room”. With an episode title like “Deep Breath”, this breathing room seems built into the DNA of the episode itself.

Clara is given room to really show her personality, which is amazing because her story-arc in season seven had the potential to doom her as some sort of a gimmick-companion if she never matured past it. It’s almost like Steven Moffat listened to some of the criticism he has been given of late, regarding his writing of female characters, and gave them most of an episode to shine. The Paternoster Gang is given quite a bit of screen time, with Vastra and Jenny’s relationship dynamic getting aired out a little more than usual.

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This did come across sort of silly at times because a lot of it seems to be both of them constantly re-affirming to the audience that they were in fact married, just in case the subtlety of a lesbian inter-species marriage was too ambiguous for the audience to comprehend. I can just imagine some guy sitting in front of his TV completely baffled and exclaiming “wait, so these two women are MARRIED!!! what what WHAT!” That aside, I really enjoyed seeing this interaction between the two of them. Strax is basically there as comic relief like usual, and although he does the same jokes in every episode he is in, I love them each time.

Most importantly, this episode showed us the usual overly-manic side to The Doctor that always makes these introductions a bit unpredictable. His “regeneration sickness” played out much in the same way that the Sixth Doctor’s did in his first outing. Well, minus that whole “trying to kill the companion” business. There are moments where one really wonders if The Doctor is about to turn evil or something, but I think that’s because we’re so used to the more touchy-feely, less-alien versions of the doctor since 2005. Capaldi’s Doctor, once he mellows out, is definitely a throwback to a previous time with the moral ambiguity of Hartnell’s First Doctor and a dash of Fourth Doctor showing through the most.

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Hartnell had those moments where he was hardly what anyone would call a “good guy” a stark contrast to the recent “Space jesus” archetype that David Tennant’s Doctor especially had. One can recall the often referenced incident from the first serial where he was about to crush a caveman’s skull with a boulder simply because he was slowing the party down. This anti-hero tendency is revisited here in spades. Capaldi’s Doctor has a moment where is is left with a conundrum: in order to defeat his foes he has to either A) commit an act of murder or B) convince the villain that he has nothing to live for an “off” himself. Both are horrible choices, and The Doctor lays out the fact that he’s “hardwired” not to preform option A, but will do anything to protect Earth if he needs to.

When the deed actually happens, it happens off camera, with us only seeing the aftermath. The question ends up being: “did he do it?!” This hammers home the “theme” from the trailers, that went out earlier this summer, where The Doctor was asking the audience whether he was a good man or not, somehow I think this will pop up more this season. All-in-all Capaldi has already hit it out of the park for me, because a combination of Hartnell and Baker just happens to be a combination of my long-time favorite versions of the character.

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The Doctor had some great interaction with Clara this time around, and to me it almost seems like Clara and Twelve will “work” the best together, better than Clara and Eleven. One scene in particular involved the dynamic duo meeting in an Italian restaurant that hides a horrible secret. Clara is angry at The Doctor because he left her “high and dry” and seemingly went into great lengths to come up with a contrived puzzle for her to solve to find him. The Doctor says that the person that did the puzzle was an egotistical power hungry lunatic, which Clara takes as an apology, but it soon becomes clear that he is under the impression that she placed the ad, and is actually talking about her! There is also a joke in the scene where he tries to lie about where he got his new coat, one that reeks of all manner of horrible gutter smells that a typical Victorian homeless man would have. He almost makes it seem like he stole it from someone as he sheepishly answers her questions.

The all-important villain to this episode is somewhat surprising to me, because it marks the return of a “monster” that I felt was surely just a one-off, in the clockwork service droids last seen in The Girl in the Fireplace. That previous episode showed the droids actively looking for parts to repair their ship after the S.S. Madame du Pompadour was damaged. In desperation, they eventually killed the entire crew and used human flesh for the repairs, then went even more “crazy”. Somehow they got it in their clockwork noggins that the actual brain of their ship’s namesake would repair their ship. Deep Breath shows an even more dangerous version of these droids that seemingly survived “crashing” on mesozoic Earth after yet another failed voyage of a 51st century time ship, this time the S.S. Marie Antoinette.

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The droids have spent millions of years repairing themselves to the point that they have created their own religion and have lost all sight of their original purpose. The “leader” of this group speaks of “The Promised Land”, but seems confused as to what that actually means and how he is to attain his goal to go there, seemingly his plan is to simply survive by killing innocent people until it just shows up. Basically they have become “reverse-Cybermen” in that they are trying to keep themselves alive by grafting human parts onto their original machine bodies. The Doctor makes an apt remark about a hypothetical broom where one might replace the handle, then later replace the broom’s head. He questions whether this is in fact the original broom at all, in reference the the constant replaced parts used by these droids.

I really enjoyed Deep Breath, and although it had an odd pacing and seemed a bit “talky” it was one of the better opening episodes since the show came back. I honestly wish they would just make the episodes an hour long even though the U.S. Market would flip out due to our stupid 42 minute run-time rules. My only real complaint with the episode is that the initial set-up involving the Paternoster Gang investigating cases of spontaneous human combustion was overshadowed by the T-Rex attack so much that it made the whole thing seem tacked on. I’m not sure if it’s because the subject matter is fairly disturbing for a family audience, or that the episode was already pretty long, but it simply felt like a loose end. Next week, we have a new Dalek episode to look forward to, so check back soon to see what I though of Into the Dalek.

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P.S. “Missy” better be The Rani, I know she probably isn’t but having another renegade Timelord would be AWESOME!!

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BBC America preps “Real History of Science Fiction” » Realscreen

“Airing at 10 p.m. EST, the series features filmmakers, writers, actors and graphic artists known for their sci-fi work “looking back on their experiences and on how their obsession and imagination has taken them into the unknown,” according to the network.

LINK:BBC America preps “Real History of Science Fiction” » Realscreen.

 

Syfy’s Plan: More Space Operas, Less ‘Sharknado’ – The Hollywood Reporter

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LINK: Syfy’s Plan: More Space Operas, Less ‘Sharknado’ – The Hollywood Reporter.

“Almost five years after a rebrand that abandoned the Sci-Fi moniker and enraged fans, NBCUniversal brass is aware that its attempt to lure a broader audience might have lost it some clout in the increasingly lucrative genre that shares its former name. Now Syfy president Dave Howe is trying to rectify the perception problem with changes in the executive ranks that will translate to new programming more familiar to its core audience.”

I’m all for this personally! I know Syfy got huge press for Sharknado and similar intentionally bad films, but the channel should be going after viewers that have largely flocked to Network channels to get their science fiction fix. When The CW and BBC America have more science fiction than a dedicated “syfy channel” (that spelling still drives me up the wall) something is wrong. And even as much of a pro wrestling fan that I am, I am always baffled by Syfy’s airings of WWE Smackdown! Let’s just hope the rumored Blakes 7 remake is part of this initiative!

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Trailer: Orphan Black Season 2

Here’s an excerpt from the press release that went out with this trailer:

Season two of BBC AMERICA’s breakout original series, Orphan Black, hits the ground running with Sarah (Tatiana MaslanyParks and Recreation, Picture Day) in a desperate race to find her missing daughter Kira (Skyler Wexler, Carrie) – a wild pursuit that brings her head-to-head with ruthless pro-clone, Rachel (Maslany). This season also rejoins Sarah, Alison (Maslany) and Cosima (Maslany) as they struggle to keep the ‘clone world’ a secret and pick up the pieces of their broken lives – all the while dealing with the harsh reality that literally no one around them can be trusted. Orphan Black returns Saturday, April 19, 9:00pm ET/PT.

 

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Doctor Who – The Time of the Doctor (2013) Christmas Special

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Doctor Who Christmas specials, like many other special Christmas-themed television episodes, are usually fairly “fluffy” and hold little substance in the grand scheme of things. TV execs usually assume that many will only have the TV on in the background if they have it on at all, and anything complex is unwanted. Thankfully this mindset has been fading away recently, leading to some halfway decent Christmas programming.

I grew tired of narrow Christmas themed episodes a few years ago in Doctor Who when The Doctor, The Widow, and The Wardrobe bored me to tears. I will take my hat off to Steven Moffat for blessing us with two consecutive years of solid holiday specials (Last year’s The Snowmen, and now this), thus wiping the blandness of the 2011 special from my mind. What makes The Time of the Doctor so good is that it’s not just a typical “here’s a huge guest star!” affair like previous Holiday episodes, it’s a fairly subdued regeneration episode with only a dash of Christmas theme in place. That isn’t to say it lacks spectacle, but they got most of that out of their systems with The Day of The Doctor.

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The Doctor has found himself amongst thousands of spacecrafts all locked onto a “distress call” of sorts. This “space beacon” is being broadcast across all time and space, and seems to be untranslatable. His curiosity gets the best of him, and he attempts to force his way onto a few of the ships to get some answers as to what the signal is all about. After humorously boarding both a Dalek craft and a Cybership, he ends up picking up Clara and visiting an old friend at “church” to get answers. This church is the Church of the Papal Mainframe, a gigantic space church headed by Mother Superious Tasha Lem, someone The Doctor seems to be fairly intimate with. The church has locked the planet where the signal can be traced from, and horror of all horrors, the planet is coming up as “Gallifrey” on all sensors. The Doctor Volunteers to go to the surface and investigate, not realizing that the longest chapter in his life is about to begin.

Of course, we eventually find out that this mysterious planet is in fact Trenzalore, the place where the Doctor is said to die, and he realizes what has been put in place. Somehow the Time Lords themselves are behind the crack in time we saw back in series 5, and want to use it to escape their existence outside of reality. Apparently The Doctor has to simply utter his name (The distress call was “Doctor Who?!”), and they will be released back into the rest of the universe, but that comes at a price. If they do appear the Daleks will surely re-ignite the “Time War”, and drive all reality into madness. The Church locks down the planet and the siege of all sieges begins, they call themselves “The Silence” and impose a rule that The Doctor can never utter “The oldest question in the universe” or they will blow Trenzalore out of existence. The Doctor stays on Trenzalore in a “Town called Christmas” for over 900 years, that’s right after this episode The Doctor is now over 2000 YEARS OLD!

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This battle between multiple races, The Silence/Church of the Papal Mainframe, and the citizens of Christmas is barely shown on screen, and we only see brief glimpses hundreds of years apart. This almost Tolkien-esque choice of not relying on the actual battles of this war, and simply the fallout of such a conflict is a pretty jarring choice and a brave one by Moffat, as many were probably expecting something more along the lines of “a war to end all wars”. I actually commend Mr. Moffat for this because I tire of the ridiculous season ending spectaculars we used to get in the Davies era. After the Earth got towed around the galaxy by the TARDIS, and there was a giant Cyberman in Victorian England, his M.O. Seemed to be “how am I going to top that this year?” Thankfully, it’s mostly left to our imaginations in this episode.

Steven Moffat has been criticized in the past for leaving large plot holes in episodes and generally not fleshing out all of his ideas. I have been of the opinion that he would eventually conclude all the loose plot threads from the previous episodes involving the “crack in time”, the Silence, the exploding TARDIS etc. I’m under absolutely no impression that he expertly planned out the entire plot, or that he knew when Matt Smith would leave, but I feel that he probably grew tired of fans complaining all the time about things he felt were sufficiently wrapped up, and wanted The Time of the Doctor to be the big red bow atop the gift box that was Matt Smith’s reign as our favorite time hobo. And that’s what we get with this episode, a clean slate going into the eighth season. The baggage of missing regenerations has been cleared up, the regeneration limit has been tackled, holdovers from the Russell T. Davies era have been sorted out, and his own plot holes have been vanquished for the most part.

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Matt Smith does a fine job in this episode, and really conveys the sadness of a man seemingly “trapped” on a planet that needs his help for nearly 1000 years. As one would imagine, he buys into his own mythology, and yet hides himself away in a similar manner to the way we saw him post Amy and Rory departure. His only real companion for a large portion of this time is a re-purposed Cyberman head named “Handles” that harkens back to the days of K-9 and Tom Baker in the TARDIS. Their banter is pretty hilarious, and it really makes me wish that handles would have been around longer. It’s sort of like the Tom Hanks film Castaway and the relationship between Hanks’s character and “Wilson” only “Handles” is somewhat sentient.

As the Doctor gets older and older (handled with old age makeup) he becomes more unhinged, lonely, and prepared for death. He begins to embody the “old man”mentality that we’ve always seen him covey, albeit with a young body. I will miss Smith in the role, but feel he is leaving at the correct time. I’d rather wonder what another Smith-helmed season could have brought, instead of hoping he leaves ala David Tennant during his final “season” on long-form specials.

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My only few gripes involve the actual regeneration scene. What I assumed to be the “final moments” of the Matt Smith Doctor involved a release of regeneration energy so massive that he was able to project it towards Dalek ships, destroying the entire fleet. Suddenly, The Doctor was engulfed in a massive explosion that made the one from The End of Time look weak. Had Clara found a comatose Peter Capaldi Doctor laying in rubble, or something similar, it would have been something different. What we actually got was somewhat similar to the last one, almost down to the dialog in play. For some reason, the writers added in a scene where Smith “got younger” before the actual regeneration took place and met a hallucination Amy in the TARDIS. I get the sentimentality involved, and it was awesome to see Karen Gillan, but an episode that prides itself in “fixing confusing plot holes” sure added some baggage in the mix at the end.

I also feel that the script downplayed the regeneration limit more than I figured it would. I definitely didn’t want to see more “I don’t want to go!” Emo Doctor fan-girl bait, but the actual realization that the end was nigh seemed to neither bother Clara or The Doctor very much. Clara did plead with the crack in the wall for Time Lords to help him somehow, someway, which resulted in a new regeneration set being magically granted to The Doctor, but it was like it never crossed her mind that he could have ceased to exist essentially. Thankfully, the new regenerations either re-wrote time or pushed his final resting place from The Name of The Doctor further in the future, and perhaps it will only become an issue in another 50 years!

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I enjoyed The Time of the Doctor quite a bit, especially for it’s refreshing take on the holiday special template. The humor was well-placed like the “nude scenes” and interactions with “Handles”, and the drama was great when it needed to be there. I thought the end was sort of off-kilter, but it didn’t ruin Capaldi’s first scene any more than loud Murray Gold music did (for the record, not much). While I think this special was inferior to 2012’s The Snowmen, it’s still in the upper tier of Christmas specials all around. Here’s to season eight, good Lord it’s going to be yet another LONG wait!

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Orphan Black (2013) Episode 1


What happens when the American arm of a UK-based media giant makes a show in Canada for an American cable station? A show like Orphan Black is born! Until recently, I wouldn’t have considered myself a fan of an “urban thriller” show such as this. I can’t say I enjoyed Dollhouse, Alias, or even Nikita. There have been, however, a few shows that technically fit this mold that I’ve loved this year. Utopia, Arrow, and now Orphan Black. It seems that these guys can layer a science fiction or comic sheen onto just about any genre and I’ll dig it – case and point is my disdain for procedural police dramas and my love for Life on Mars.

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BBC America has been on a roll lately with all of these well-received original shows. I’m a late comer to the show like so many, and only heard about it through the huge avalanche of critical praise this summer. When people like Patton Oswalt go out on an Emmy nomination campaign for a show, I knew something was up. Here he is giving props to the star of the show, Tatiana Maslany, via twitter:

She absolutely deserves an Emmy […] There’s just no argument to it. Not a nomination. AN EMMY. An. EMMY.”

I was intrigued after watching a trailer and a few interviews via The Nerdist a few months ago, but the show somehow slipped my mind, but this endorsement settled it; I had to watch this. Not having cable has made it to where I am painfully slow on discovering new shows sometimes. That is until today.

Orphan Black follows the misadventures of a young woman named Sarah. After witnessing a woman’s suicide in a subway terminal, Sarah assumes the strangers identity. You see, Sarah isn’t really a great person. She is an orphan, and has slipped into a life of drugs and other vices in a country that isn’t her native land. This would be hard unless the person in question was identical to Sarah in every way, and she is….well, was.  Expecting to solve all her problems by cleaning out the dead woman’s savings, Sarah is instead thrust into a mysterious conspiracy of epic proportions. As Sarah searches for answers, things just get crazier and crazier.

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It’s really no mystery that the conspiracy involved with this show is the fact that Sarah is just one of many clones, as they hyped the fact up in all the press stuff I’ve read. Tatiana Maslany does a fine job pulling off what is essentially many multiple roles per episode. Sarah Manning is the principle character, a street-wise British ex-patriate living in the vague Canadian-ish-American city that the show takes place in. We all know it’s actually Canada, but the production team has left it really vague for some reason. When she adopts the dead woman’s life, she has to change completely in accent, mannerisms, and temperament. It seems that the woman, Elizabeth Childs, was a troubled native police detective, and quite different than Sarah. We also see Katja Obinger, a German clone, although she isn’t around very long. One can see why Tatiana Maslany is getting all of these acting nods, as she is sometimes acting against herself in many scenes and is able to pull of very different characters with none of them blending together. This is only episode one, I can only imagine what is coming up.

Another nod goes to a young actor named Jordan Gavaris as Felix Dawkins, Sarah’s flamboyant foster brother and sole confidant. For an actor that has only been in something like three shows, Gavaris seems like a pro here. and to be honest I was amazed to find out that he was not actually British and was Canadian. He pulls off a camp “posh” accent fairly well here. Felix also acts as the comic relief of the show in many scenes. One in particular that made me chuckle was when he commandeered a phone at a local bar, only to get reprimanded by the bartender. To get his way, he shouts something like “do not snap towels at me Bobbi, I had a very traumatic childhood.” There is worry that Felix will become nothing more than a sassy one-liner machine, but so far his character is well-done.

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I will say that I was somewhat surprised at how raunchy the show was considering it not being part of HBO or something. there is quite a bit of brief nudity in a few scenes, but nothing like a show such as True Blood, this isn’t a “Skinimax” porn, and it wasn’t gratuitous at all.

So far, so good for Orphan Black. While this pilot episode only scratches the surface with the plot, what is here is plenty to keep the viewer guessing and build suspense. I’m glad I started watching this and recommend it to everyone that didn’t give it a chance at first. Yes, the hype is justified and BBC America has hit another one out of the park.

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Blake’s 7 Could be Perfect for Syfy

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I’ve been slacking on posting news on here for years now, but I did want to comment on a recent announcement. It seems that a brand-spanking-new version of the classic BBC science fiction series Blake’s 7 is in production by the former Sci Fi Channel. I know it changed its name to Syfy years ago, but that still looks like a slang term for syphilis to me, and makes me cringe when typing it. Syfy has been looking for their next big show for quite a while now, and with channels like BBC America directly competing with, and in many ways overtaking them in the realm of speculative fiction TV, something like Blakes 7 could be a real “shot in the arm” that the network needs. It could even be their next Battlestar Galactica if they play their cards right. Truth be told, I wasn’t a fan of the recent version of Battlestar Galactica because I was far too fond of the original show. For years I wondered why they chose the BSG license to do such a remake, when more fitting brands would have been better – ones like Blake’s 7.

Blake’s 7 is a dark show comprised of anti-heroes and criminals banded together to fight a common foe. The story follows the struggles of Roj Blake (as played by Gareth Thomas). A notorious political dissident, Blake has been arrested, tried, and convicted on false charges by a brutal totalitarian government, and deported to a prison planet. Blake unites a group of fellow misfits, steals the transport ship he’s on, and wages a war against his oppressors. To sum up Blake’s 7 one simply has to imagine George Orwell meets Star Trek. Well, that was the original show at least; nobody really knows what direction Syfy will take the show. And considering the fact that the show is very underground here in the States, I seriously doubt that it will stay completely faithful.

I did find an official write-up (posted below) for the show that appears to be some sort of treatment for the new show. Is it the same magic, or could we have another dud like Syfy’s unwatchable Flash Gordon catastrophe? I guess time will tell.

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The year is 2136, Blake wakes up on one side of the bed. He reaches for the other side. There’s nobody there. As reality sets in, this handsome ex-soldier sits up, and looks at a photo of his wife Rachel. Beautiful. Deceased. 

A revolutionary reinvention of the long-running BBC series made in the late 1970s, Blake’s 7 tells the story of seven criminals – 6 guilty and 1 innocent – on their way to life on a prison colony in space, who together wrestle freedom from imprisonment. They acquire an alien ship which gives them a second chance at life and become the most unlikely heroes of their time. 

David Ellender, CEO FremantleMedia International and Kids & Family Entertainment said, “Blake’s 7 was such a forward-thinking concept that the show continues to have resonance with audiences today. Its complex characters and gritty storylines, coupled with the highly talented team and modern production techniques are sure to appeal to both original fans of the show and new viewers.”  Leon Clarance, co-founder of Georgeville Television and CEO of Motion Picture Capital, the finance arm of Reliance Entertainment, said, “Joe Pokaski and Martin Campbell have worked tirelessly with the Georgeville TV team to create an amazeballs reboot of this classic space opera which I watched with my father when I was a child. This reimagined classic for a new generation of science fiction fans will enthrall original and new fans alike. I couldn’t be happier to have our beloved show handled internationally by the passionate team at FremantleMedia.”

And yes, He said “amazeballs” in a press release…

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Doctor Who Season 7 Postmortem

Note: Much like my review of the season 7b finale, this contains spoilers, but why would you be reading this anyway if you haven’t seen it!

So there we have it folks, another season of Doctor Who has finally reached its resting place in The Fields of Trenzalore, and all we have left is the horrible fact that we have to wait months for the 50th anniversary special. This season has had its ups and downs, but it all came together in the end to pave the way for the biggest celebration for science fiction fans all year. I have decided to count both halves of season seven as one for the purposes of this write up as I generally dislike the whole “7a and 7b” stuff. Not being a fan of split seasons is rough when every show seems to be either doing it these days. I will touch on this sort of thing later, for now let’s get on with my analysis of the season. Was it successful? Was it good? What can we look forward to in the 50th anniversary? All of these questions should be answered.

Before we talk about season seven, let’s peer back into the long off time of 2011 and what happened in season six. When we left The Doctor in season six, he had just foiled the plans of a religious order hell-bent on his own destruction. It seems that “The Silence”, the name given to this group, are some of the most comically inept villains in the history of Doctor Who. I say this because they not only botched their own plan no less than three times, but have unintentionally caused the demise of existence a few times as well; all in the name of saving everything from The Doctor! When we first saw them, they had orchestrated a convoluted plot to destroy the Tardis and kill The Doctor resulting in the fragmentation of time itself and the collapse of the universe.

Plan B seemed to involve the creation of River Song, a being designed to kill The Doctor; shame that The Doctor faked his own death. So why were they after him? It seems that they wanted him to never venture to a time traveler graveyard called the Fields of Trenzalore, as his name could destroy the Universe –  the very plot of the finale for series seven. If we have really grasped the intentions of “The Silence”, it seems that they were not the villains at all, but went about saving the universe in utterly horrible ways. That is assuming we won’t have a big change-up next year, something Moffat could easily do to mess with us. My hope is that this will be addressed to show their fear of the “John Hurt Doctor” a mysterious possible incarnation of The Doctor, we briefly saw at the end of The Name of The Doctor. Perhaps, he is why all the aliens tried to trap The Doctor in the Pandorica? Maybe he is the nemesis of the Silence? I hope this isn’t left hanging in the end.

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From my thrown together synopsis up there, one can gather that series six was very complex and existed as one long storyline from episode to episode. I liked season six, but was not a fan of the slow burn, almost Lost-like nature of the season. I still think it created far more questions than it answered and left the fans with a truckload of presumed plot holes that have been speculated on for years now. I was excited to see the focus shift to a more “one-shot” styled season, a decision that was really hyped up prior to the transmission of Asylum of the Daleks. In a long interview for BBC America, Karen Gillan laid out the nature of the series pretty well:

“This season has been done in a really interesting way with five standalone epic episodes, like a movie a week, all building to the departure of the Ponds! We actually kick-off the season with Amy and Rory’s relationship in a sticky situation; it is less than marital bliss. Those scenes were really interesting to do, she explains, because they created such a different on-screen atmosphere between Amy and Rory, something that the viewers wouldn’t have seen before. That is the good thing about Doctor Who, it gives you the chance to shift the character, and you never know what is going to happen from episode to episode.”

Granted, that synopsis is for the first half of season seven, but the general tone was kept the entire time. Some of the stories would have benefited from either a longer timeslot or a second part, but I don’t think any of them were truly harmed by not being like that.

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I mentioned earlier that I hate the new television fad of splitting seasons in half in order to create a ratings boost in the middle of a show’s run. Fans hate it, but networks have to do it nowadays to cling to their old ratings models and get advertising revenue. I could rant about how times are changing, but that’s a topic for another day. There are many good reasons to split seasons. Not only can companies sell half DVD sets and make a tiny bit more money (ex: two 50 dollar sets as opposed to one 75 dollar one), but they can also save money on production, and I feel this is what hurt Doctor Who this year. With huge BBC budget cuts hacking apart their usual expenditures, big shows like Doctor Who had to find some way to avoid a long hiatus or lackluster special effects due to a low budget, and it seemed a split was the best idea. Granted, everyone involved is highly in demand and wanted to work on other projects, so the split season idea seemed to benefit everyone. I’d rather deal with it than to loose Matt Smith of Steven Moffat to other commitments.

That wasn’t the only problem that occurred during season seven behind the scenes. There for a while it seemed like a revolving door of new executive producers was constantly spinning. There has been no reason to believe that anything bad is going on in the shadows, but having people like Piers Wenger and Beth Willis leave after such a short time had to be hard to deal with. Next Caroline skinner left amidst rumors of some sort of backstage fallout between herself and Moffat. She had this to say upon departure:

“I will miss them all enormously, but I’m leaving Doctor Who in fine form, with the new series starting at Easter and the fantastic plans for the 50th Anniversary already underway. I am delighted to be now returning to BBC Drama Production in London as an executive producer, and the new opportunities and projects that will bring.”

Russell T. Davies and his crew of executive producers seemed in there for the long haul, so one has to wonder what the problem is backstage. On a good note, season seven saw some great change-ups and new blood on the writing and directorial front. On the writer’s side, Luther’s Neil Cross was brought in to pen two episodes. I actually enjoyed both immensely,but some fans disliked Rings of Akhaten for it’s different tone. The most notable new director is probably Saul Metzstein,who seemingly directed more than half the new episodes. The new guys aren’t getting all the fun, as I honestly see this season as a real return to form for some long-time contributors. Chris Chibnall has been really hit or miss for me, but he was the star of the first half of the season for me. It seems that he is perfect in doing these short self-contained episodes. Both Dinosaurs on a Spaceship, and The Power of Three reveled in the new format and excelled more than anything else he has done for other seasons. Mark Gatiss was another person that really brought out his big guns, somewhat redeeming himself for the Victory of The Daleks. I didn’t hate that episode by any means,but felt Cold War and The Crimson Horror were leagues better and easily his best since season one!

The first half of the season concentrated on the impending departure of Amy Pond and Rory Williams, and consisted of five episodes as well as the 2011 Christmas special. The following is a list of these episodes as well as links to reviews I did during the run. Note: I did not get around to doing three of the episodes at their time of broadcast due to personal time issues, so those will be added later on.

The Doctor, the Widow and the Wardrobe (2011)

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It’s Christmas Eve, 1938, when Madge Arwell comes to the aid of an injured Spaceman Angel as she cycles home.

Asylum of the Daleks (2012)

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Kidnapped by his oldest foe, the Doctor is forced on an impossible mission – to a place even the Daleks are too terrified to enter… the Asylum.

Dinosaurs on a Spaceship (2012)

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An unmanned spaceship hurtles towards certain destruction – unless the Doctor can save it, and its impossible cargo… of dinosaurs!

A Town Called Mercy (2012)

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The Doctor gets a Stetson (and a gun!), and finds himself the reluctant Sheriff of a Western town under siege by a relentless cyborg.

The Power of Three (2012)

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The Doctor and the Ponds puzzle an unlikely invasion of Earth, as millions of sinister black cubes arrive overnight, almost like presents falling from the sky.

The Angels Take Manhattan (2012)

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The Doctor’s heartbreaking farewell to Amy and Rory – a race against time through the streets of Manhattan, as New York’s statues come to life around them.

Next up we have season “7B” concentrating on the adventures of “the impossible girl” Clara Oswin Oswald. This half consists of a further eight episodes as well as the 2012 Christmas special

The Snowmen (2012)

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London, 1892. Snow is trying to evolve, feeding off of the nightmares of a little girl. But the Doctor has given up on saving the world. It is up to a young governess named Clara to convince him, with just one word, to save the day.

The Bells of Saint John (2013)

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The search for Clara brings the Doctor to London, 2013, where something deadly is waiting in the wifi.

The Rings of Akhaten (2013)

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The Doctor takes Clara to the Festival of Offerings, but the Old God is waking and demands sacrifice!

Cold War (2013)

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On a Russian submarine in 1983, a frozen alien warrior is waking up, just as the TARDIS materialises.

Hide (2013)

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Something terrifying is hiding in Caliburn House, and the Doctor finds himself part of the ghost hunt.

Journey to the Centre of the TARDIS (2013)

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The TARDIS has crashed, Clara is lost inside, and the Doctor has 30 minutes before his ship explodes!

The Crimson Horror (2013)

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Something ghastly is afoot in Victorian Yorkshire, as bodies are found with their skin a waxy, glowing red…

Nightmare in Silver (2013)

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Hedgewick’s World of Wonders: The perfect theme park day out. And ground zero for a deadly silver resurrection…

The Name of the Doctor (2013)

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The Doctor has a secret he will take to his grave. And it is discovered…

After the mystery of Amy Pond got wrapped up at the end of season six, it was simply a matter of time before she and her husband Rory were on their ways out of the show. Fans were teased that they were most likely going to die in the episode, however that was usual Steven Moffat teasing. Everyone knows that he speaks in riddles and lies to make the fans believe the total opposite of what is really happening. By the end of The Angels Take Manhattan, we saw the bittersweet ending of the pair. Yes they did die, but they lived a long happy life before that, only without The Doctor. I’m glad the episode was bittersweet as I do not want an honest to God death to occur (like Adric), but an ending that permanently separates the companion from The Doctor is usually the best idea. Returning companions could get old pretty fast if they still make cameos constantly (I’m looking at you Rose Tyler) so having an ending like this complicates things for the better.

The actual characters of Amy and Rory were moved pretty decently as characters. At the beginning of Asylum of the Daleks, we see their relationship has crumbled over the years. Seeing that they have been together for something close to a decade by the time this episode airs, I’d say they had a good run, but were on the verge of divorce. It seems that Amy felt bad due to her experimentation by the Silence to create River Song. Having been made sterile and never able to care for their child, Amy wanted Rory to move on and have a “real family” with someone else.

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Fans noticed early on that Amy seemed to love Rory less than he loved her at times, most noticeably when she was throwing herself at The Doctor in season five. This led to a lot of fans disliking her character from the very get-go. I never liked the criticisms that some gave the character as being very selfish, but I have to agree here that she was in season seven. Their reconciliation (and her redemption) comes at their very last episode as Rory is captured by a Weeping Angel and flung into the past. If you recall, the way the Angels feed is to ruin the potential lives of someone by taking them into the past and feeding on what could have been. Amy could have stayed there with The Doctor, but ultimately chose to stay with Rory by sacrificing herself to the Angels.

So how were Amy and Rory as companions? I felt that they were too tied into the plotlines to really breathe as companions at times. In season seven we really got to see them at their best, especially Amy in Dinosaurs on a Spaceship. Perhaps the multiple season mystery of the couple was a great idea on a drama standpoint, but it was dragged out far too long to have a real spark of chemistry ignite between themselves and The Doctor. They were more successful than Martha, perhaps one of the most tragic companions ever, but pale in comparison to Donna Noble.

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Things are looking up with the newest companion Clara. It seems that The Doctor and she already have a spark, and she can stand toe-to-toe with him when it comes to witticisms and one-liners. For reasons of plot, she is a stronger character in Asylum of the Daleks and The Snowmen, but seems to regain what we saw before in The Name of the Doctor. This can be directly attributed to the interactions between The Doctor and Clara being hampered due to her status as “The Impossible Girl”. When one has witnessed someone dying and yet coming back, it’s really hard to trust them; and with The Doctor’s ability to attract trouble, I can understand his reluctance to trusting her. Once that barrier is lifted later on in the season it was smooth sailing, and season eight should be amazing if they can keep it up.

Aside from Amy, Rory, and Clara there were a handful of secondary companions that hung around this season. First off, we had Rory’s dad Brian Williams as played by Arthur Weasley himself-Mark Williams. I loved Brian because he was initially the most cynical, lazy person ever. He was content just staying around inside and paying attention to things that don’t matter. Thinking in terms of season four, he was the anti-Wilf! Due to his exposure to the Doctor and traveling around he does change his ways a bit, as Brian began traveling around the world and sending homemade postcards back to Amy and Rory. Most notably, he went to the planet Siluria with the Doctor and the dinosaurs aboard the Silurian Ark. Part of me wishes that Brian stayed around for more than the couple of episodes he was in, but I enjoy older companions for some reason. Season seven also contained a few appearances by The Paternoster Gang, the Victorian sleuth team that I love. I’d never go as far to say that they need a spinoff, but Jenny, Vastra and Strax always entertain me when they grace my TV with their hijinks. I’m especially a big fan of Strax for reasons that I brought up in reviews above.

The theme of the second-half of season seven seemed to be kicking off the run-up to the 50th anniversary. First and foremost, we saw the return of a lot of old foes. The Great Intelligence from the Troughton era was brought back in a very big way; he was the main villain essentially. Granted, he was in a different form than the old classic fans might be used to, but casting both Ian Mckellen and Richard E. Grant for different aspects of the role was a great feat. Grant, as longtime fans will remember, was originally going to be the ninth incarnation of The Doctor via a series of animated “webisodes”. Other retuning foes included The Ice Warriors, last seen in the Pertwee era. This nostalgia and homage was set to a fever pace in the finale, and episode that essentially featured small cameos by ALL of the previous Doctors, something that made me very excited. then we have the reveal of John Hurt as some sort of unseen Doctor, in the most WTF-worthy moment the show has ever seen.

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I kid, I kid, I loved the reveal of a possible “missing Doctor” and who can go wrong with such an amazing actor as John Hurt. Ever since I was able to see him in George Orwell’s 1984, I’ve known that he was a great actor. Even in smaller roles like the president in V for Vendetta, he was amazing and chewed the scenery like a master.

I was immensely satisfied with season seven, but I know a lot of fans were not. While long-time fans were mostly thrilled with the majority of the episodes,I noticed a lot of casual fans complaining about various things. These fans should be satisfied with the brief return of Rose Tyler and the Tenth Doctor this autumn- a pairing that I know most of them enjoyed. If anything, this season was very atypical for Doctor Who, episodes like Akhaten took big chances with the writing and direction, and that put off some people. I know that some UK based newspapers were all “doom and gloom” about ratings, but they seem to not realize that time-shifted ratings, those including non-live viewing via DVR boxes and BBC iPlayer, have been as good as previous seasons. Fans using this as fodder for obnoxious “flame wars” need to get with the times, people don’t watch TV in the same way that they did even a decade ago. In the US rating were up from series six and usually got somewhere around two million viewers – an amazing number considering the small number of folks that have BBC America!

I hope the rotating producers, odd timeslots, and other issues lead to an end to split seasons, or we at least get a FULL 13-14 episode season next year followed by another one after. for a drama to hold it’s audience, ratings, and get new viewers every year is no small feat, it’s time for the BBC to notice this. If that means the end to the Moffat Era, and an exit by Matt Smith in season nine so be it, change is always fresh in a show such as this. We all know that Jenna-Louise Coleman is returning for a newly commissioned eighth season, and that Matt Smith will probably be in it, but that’s just about all we know. I think we have the potential for a real amazing season next year, especially if those Peter Jackson & Doctor Who rumors are true, so here’s to the future,and more importantly the two specials yet to air this year!

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Doctor Who: The Name of the Doctor (2013)

Doctor Who season finales have been generally decent throughout the current run, although most of them were getting a bit too epic until Moffat took over as show runner. When you’ve had things escalate from the earth being in peril, to a Cyberman / Dalek war, to The Master decimating everything on up, it seemed that Russell T. Davies was always trying to outdo himself each year. One thing I’ve enjoyed a lot since season five is that this tendency to “popcorn movie” finales has been toned down in favor of slightly more subdued ones. Granted, the universe is usually blinking from existence or something, but at least the Doctor is no longer part of an immense war or similar things. Tonight was at long last the finale for season seven, a season I generally enjoyed despite a feeling of disjointedness all year. Even though The Name of the Doctor seemed low key, there were far more moments where I was literally yelling “holy (expletive)!” at the screen.

First and foremost, I was amazed at the opening scene, one which shows a crew of puzzled technicians called to the scene of a theft. What we soon realize is that this was “the theft”, the one that started it all; this was when the Doctor borrowed the Tardis on Gallifrey! Clara is seen falling through time itself, and says that she has been running throughout his history in order to save him. It was at this point that I was grinning from ear to ear, as the next few minutes are filled with scenes of Clara interacting with all of the “classic” Doctors in various old episodes. This was obviously done with a computer, but there were some real cool things like a colorized William Hartnell in the mix. I know the fiftieth anniversary isn’t until November 23rd, but I think this was the moment that this fact really sank in for me.

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The plot for the episode is as follows: An evil scheme is revealed by the Great Intelligence/Doctor Simeon (one again played by Richard E. Grant) to force the Doctor to his final resting place – Trenzalore. The nature of Trenzalore has been a lingering mystery since it was revealed last season, but we find out that it is the place where time travelers are laid to rest. Since Simeon has kidnapped The Doctor’s friends (The Paternoster Gang) The Doctor has to jump into action to save them, and stop Simeon at whatever plan he is concocting. It seems Simeon, flanked by the creepy “whispermen”, wants to open the “Doctor’s Tomb” and destroy the Doctor from existence in a petty act of revenge. He does this by jumping directly into the Doctor’s time stream, and reversing every success he ever had as the protector of the universe. Pretty soon entire planets begin to disappear, as does the people most important to The Doctor. Clara then realizes that the only way to stop him is to also jump into the time stream, at the cost of her own life.

“I don’t know where I am, I just know I’m running.  Sometimes it’s like I’ve lived a thousand lives in a thousand places.  I’m born, I live, I die.  And always there’s the Doctor.  Always I’m running to save the Doctor.  Again and again and again.  And he hardly ever hears me, but I’ve always been there right from the very beginning, right from the day he started running.”

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This selfless act answers the question of how Clara could have shown up multiple times and died trying to help The Doctor. When entering the portal, she has shattered her existence into millions of fragments all destined to save The Doctor from Dr. Simeon. Moved by her kindness and a little chat with his “timey wimey” wife, River Song, The Doctor decides that he will save Clara for once and leaps into his own timeline. What followed was the most spectacular and yet also infuriating cliffhanger in the history of the show. When he is re-united with Clara, The Doctor tries to divert her attention from a dark figure standing in the bowels of his time stream. This figure is his greatest secret, something the Doctor is both trying to hide and feels ashamed of. The figure turns and it is revealed to be none other than John Hurt (1984, V for Vendetta) as a mysterious forgotten regeneration of himself…..credits roll. The wait until November is going to be excruciating!

My brain is buzzing with speculation that this is an aborted regeneration of The Doctor, perhaps the one that turned rogue during the time war. Fans have often wondered which incarnation that did all the bad things that he feels terrible about all the time, looks like it may be this guy. I love this revelation because we all know what happens when The Doctor loses his grip on “humanity” just a bit. We’ve seen the Dram Lord, Mr. Clever, The Valeyard, and even what happened to the Master, we could finally be getting close to the mystery of the Last Great Time War. I know some fans will get mad that there could be a tangential incarnation of the Doctor out there, but this is not a new thing. I mentioned the Valeyard from Trial of a Time Lord. But don’t forget that there could have been pre-Hartnell era regenerations as seen in The Brain of Morbius!

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I also loved how the “name of The Doctor” was not revealed in this episode, as anyone with half a brain cell could figure out. Steven Moffat isn’t as dumb as the folks that decided to reveal the Marvel character Wolverine’s backstory; as it would ruin all the mystery, plus no one would be happy with it. The name was the “password” to his crypt, and he was nearly forced to utter it until River Song whispered it to open the door. The episodes title is actually a play on the fact that he took the name “The Doctor” as an oath to be good and help people, but one of his lives didn’t for some reason. And I’m sure we will find out why in November. While the episode did reveal just about all the mysteries related to Clara, there is a bit of muddled continuity in previous seasons. One has to wonder why The Silence were so keen to stop The Doctor from going to Trenzalore, unless they were actually not bad guys at all and knew he would cause something really bad to happen by showing up. I hope this gets addressed and doesn’t get added to other plot holes related to The Silence from way back in season five.

I absolutely loved this episode, and felt it was easily one of the better season finales. Granted I hated the finale for season three, and a few others felt a bit bloated, but that is saying a lot for me to have liked it so much. The acting was superb, the cameos from “classic” Doctors was really cool, and the finale was amazing. The long wait until November is going to be excruciating; I mean this is almost as bad as the infamous Star Trek cliffhanger from The Best of Both Worlds!

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I’ve been Catching up on Doctor Who On Amazon, maybe you should as well:

Doctor Who: Series Seven – Part Two [Blu-ray]

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Doctor Who: Nightmare in Silver (2013)

Neil Gaiman gained many accolades for his last foray into Who-dom, The Doctor’s Wife. These included, but were not limited to, the Hugo Award for Best Dramatic Presentation (Short Form) and the Ray Bradbury Award for Outstanding Dramatic Presentation. Gaiman had some huge expectations to live up to with his sophomore effort; an uphill battle that many fans would take to heart. All I noticed for the last few weeks was a steamroller of hype leading up to Nightmare in Silver, and I held back. I know that whenever I let hype color my eyes when it comes to TV and film, it always ruins my experience. The ill-fated Brett Ratner film, X-men 3, is a prime example of this, I got far too hyped prior to release and was utterly destroyed by what could have been an average film – to me it was an atrocity on celluloid. Noticing the general lukewarm reception to Nightmare in Silver earlier today, it looks like this over-hype may have happened to a lot of Doctor Who fans. This season seems to be the most divisive season since the McCoy era, some love the episodes and others are complaining endlessly. Let me get this out of the way, Nightmare in Silver is not as good as The Doctor’s wife, but my enjoyment of the episode did not hinge on this; I really liked it despite its flaws.

As you can probably figure out, Nightmare in Silver is a Cybermen episode. Gaiman said many times in his lead up that he wanted to “make the Cybermen scary again”. This is a tall order because many feel that they haven’t really been scary since the Patrick Troughton era. Unsettling? Yes, but “scary” is hard to pull off with a large metallic dude stomping around shouting “DELETED” and other catchphrases. What we have is an updated version of the original Cybermen; they have evolved long enough that they now strive to “Convert” other creatures aside from just humans. They have become sleeker, employ an updated version of a Cybermat (now called a cybermite and used in partial Conversions), can warp time to teleport briefly, and have removable body parts that act as decoys, drones, and searchers. Is somebody under that table? Just take your hand off and walk it over to them! Is a pesky non-converted person behind you? Swivel your head around like an owl! These upgrades make the Cybermen more of a threat and in that regard scarier in mass. While I would have enjoyed something more disturbing than what we have here, an overpowered and nearly Borg-like version of these guys is pretty hopeless to our heroes.

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These upgrades and the general “feel” of the episode was almost exactly like Rob Shearman’s 2005 episode Dalek. In that particular piece we were shown the “upgraded” time war-outfitted Dalek model including some crazy new technology like a force field, swiveling midsection, and the ability to take DNA by touch. In Nightmare in Silver fans are treated to a new Cybermen fresh from an undisclosed “Cyber war” that can do the aforementioned feats of awesomeness like teleportation. It was this little head nod that made me enjoy this episode quite a bit, since I generally like “base under siege” episodes quite a bit.

The plot follows the Doctor, Clara, Angie and Artie (The kids Clara takes care of) as they attempt to visit the best theme park in the universe. If you recall, Clara got blackmailed by Angie and Artie in The Crimson Horror and basically forced The Doctor to let them tag along. When they get there, they realize that the whole park is in ruins after a huge battle with the Cybermen long ago, and a group of world-weary soldiers and con-men are hiding there. The gang runs into a man named Webley (Jason Watkins) who has a surprise – a hollowed out Cyberman that “magically” plays chess against all that would try to defeat it. This is an obvious allusion to the infamous automaton “The Turk” that wowed players such as Napoleon and Benjamin Franklin way back in the eighteenth century. And just like the real Turk machine, this Silver Turk (also the name of a Big Finish audio play with a similar plot) is a fraud. A man named Porridge (Warwick Davis) is actually under there moving the arms and such. This “shell” of the old Cybermen waits until Webley is alone and dumps Cybermites all over the place putting its plan in action. Pretty soon, people are partially converted, the kids get captured, and an army of Cybermen awakens from one of their infamous “Tombs”.

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While the villains in this episode are obviously the Cybermen, but their leader is actually none other than The Doctor! During one of the kerfuffles, he is partially converted and his body is taken over by a cyber-consciousness. In a creative twist to a battle of wits, we see the internal battle in The Doctor’s mind played out with amazing shots of Matt Smith talking to himself. Whether you see two opposing versions of his mind arguing in his head, or the quick cut Gollum-esque arguments in the real world, the banter is both hilarious at times and scary at others. “Evil Doctor” the Cyber-Planner is really over the top, and nearly and comically mustache twirling as Mrs. Gillyflower last week. While it should have been cringe-worthy, I liked the scene where The Doctor plastered his “golden ticket”(admission to the theme park) to the circuits on his face and temporarily took complete control of his body, thus utilizing the tried and true Cyberman weakness.

Warwick Davis is awesome in anything he is in, and I really enjoyed him as Porridge here. Whether it is last year’s Life’s Too Short, or the fantasy classic Willow, he is one of those guys that seem pretty under-rated for how good of an actor he is. I know that a lot of that can be chalked up to his height, but those barriers seem to be fading with Davis and Peter Dinklage finally getting some substantial roles. I also felt that Jason Watkins did a fine job in the small amount of the episode he was the focus of, props for his half-Cyberman face. Now that I’ve mentioned the good part of the guest cast, here is the bad – CHILD ACTORS! I’m not usually a fan of child actors because they don’t act like children at all; they act like tiny adults that are smug and douche-y. If you met an adult that was like most characters portrayed by child actors they would get the crap kicked out of them in seconds! There are a few exceptions like Abigail Breslin in Little Miss Sunshine, but for every one of her, you have ten Jake Lloyds from The Phantom Menace. To me the kids seemed tacked on, I’d be amazed if they were in the original script, as they felt somewhat superfluous and contrived just to put children in peril. I especially did not like Angie as “know it all kid” characters are the worst. Dear science fiction writers- we do not want young Anakin, Wesley Crusher, Adric, or Boxy in our shows! Thanks, the fans. Oh, I nearly forgot the inept soldier characters, and you will too – nothing memorable about them to be honest.

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While the music wasn’t that noteworthy, I will say that I enjoyed the sound design, especially with the new Cyberman voice. While the original 1960’s voice is still the creepiest, the voices in Nightmare in Silver seemed a lot like a cross between the Cybus models and the 1970’s ones. Special effects were decent, if not low-key, in this episode. Certain scenes like the Doctor’s brain were realized in a truly beautiful way – as an energy filled void with a brain glowing behind the Dual Doctors. Other things like the Cybermen teleportation seemed sort of bland, as that scene could have been terrifying had it been done right. I think this season has been a real work in progress on the director side of things, and it shows with some of the choices made like this.

All in all, I enjoyed tonight’s episode and felt it was above average. I think fans will judge it too harshly as many expect a great writer to constantly top themselves each time. People need to realize that Shakespeare himself didn’t make classics all the time; plays like Timon of Athens are a testament to that. This was classic Gaiman faire that fans of Neverwhere and Mirrormask will enjoy. And while it isn’t his best work, it’s still better than anything else on TV.

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Since I don’t have cable I watch Doctor Who on Amazon Prime, maybe you should as well!

Nightmare in Silver

Nightmare in Silver [HD]

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Doctor Who: The Crimson Horror (2013)

I know they aren’t everyone’s cup of tea, but I LOVE the Paternoster Gang. You may be wondering why I feel the need to qualify that statement; well, it seems that being a fan of them can be a misstep in the serious high-octane world that is Doctor Who fandom. Every once in a while I mistakenly try to venture into Doctor Who-related message boards, but am utterly underwhelmed by the negativity and cynicism within. I won’t name any forums that I used to frequent, but you can probably figure out which fun vacuum I am speaking of. One of my biggest pet peeves on these sites, are the folks that seem to think (and want to change everyone else’s opinions to agree with the notion) that Steven Moffat has ruined both the Sontarans and the Silurians by having Strax and Lady Vastra be good guys and have a sense of humor; for me, he has helped make the two somewhat stale races more enjoyable.

The humor from Strax alone (big props to Dan Starkey) can easily make an episode for me, but that’s no surprise because I’m a sucker for stories involving a guy from an extreme military background being forced to deal with normal human life. Characters such as Worf from Star Trek the Next Generation easily fit this bill as does Sousuke from Full Metal Panic, but my favorite of all is easily Strax.  Case and point, would be his ordeals with the Doctor’s memory worm in The Snowmen, a scene that nearly made me visit the bathroom upon watching. Because of this love of all things Paternoster, I was really excited for this episode, and I wasn’t let down.

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Mark Gatiss was quite at home here with his exaggerated pastiche of Victorian London. I have longed to see him write a script that came close to the warped world that was The League of Gentlemen, but got left with a few “hit or miss” episodes instead. The Crimson Horror may not be the same sort of black comedy as League, but it’s every bit as off-kilter and has as many laughs as scares. At this point and time, I think Gatiss has produced the two strongest scripts this season, with Cold War being his other one. This vast improvement shows that he could be a clear contender to take the mantle of Doctor Who show-runner should Steven Moffat decide to step down in the near future – an opinion I did not have during his episode last year.

The story of The Crimson Horror takes a very unorthodox approach by not actually showing The Doctor and Clara until a long time into the episode. In fact, Madame Vastra, Jenny, and Strax are the focal point this time around. This isn’t the same idea as when we used to have “Doctor-lite” episodes such as Love and Monsters, but a cool way to tell a story from the middle rather than the beginning. The Parternoster Gang has received an inquiry to investigate a strange illness called the “Crimson Horror”, a terrible ailment that leaves its victims rigid and with bright red skin. The trail leads them to an apocalyptic community in Yorkshire called Sweetville. This town is led by a woman named Mrs. Gillyflower and her “silent” and unseen partner Mr. Sweet. Mrs. Gillyflower preaches that the end times are near and that our moral decay is destroying the world, a fact made more evident by appearance of her daughter Ada, a younger woman disfigured by a beating from her late father.

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I mentioned that viewers are left in the dark as to the whereabouts of The Doctor and Clara for quite a while. This is because The Doctor is locked in a dungeon for the beginning of the episode; we hear him mumble and groan unseen while Ada calls him “her monster”. It is not revealed until Jenny discovers him rigid and with sanguine skin that he’s this “monster”. The main reason the Paternoster Gang is trying to figure out the “Crimson Horror” is because of an old urban legend that supposedly reveals a way to see the last thing a dead person sees. We learn that when someone dies, the final image they see is imprinted on their eye, and in the case of one of the victims, the last thing he saw was The Doctor! In hilarious antiquated sepia-toned flashbacks we find out the real story –

The Doctor isn’t the killer, but a victim himself. Clara and The Doctor found out about the problems in Sweetville long before the Paternoster Gang, and infiltrated the same way Jenny has, posing as interested parties. It seems that Mrs. Gillyflower has a preservation process that she is using to “save” folks from the upcoming apocalypse. It seems that she is using the venom from an ancient parasite – this, my friends, is Mr. Sweet, an ugly worm creature. The Doctor isn’t human, so he did not react well to the “treatment” and suffered the same fate as other “rejects”. In fact, had he not been saves by Ada he would have been dumped in the river like other discarded victims.

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This episode is both VERY dark, almost grotesque at times, and hilarious. There are tons of little one-liners and quips that make the dialog for me. One of the funniest is when The Doctor brings up his issues with Tegan, a past companion: “Ooh, I once spent helluva long time trying to get a gobby Australian to Heathrow Airport!” Like I said above, my favorite scenes were with Strax. One of the best is his interaction with His new flesh and blood GPS sidekick Thomas Thomas (get it! LOL). The way “Tom Tom” saves Strax’s poor horse from execution because of its inability to navigate the streets of Yorkshire was hilarious. We also see Strax getting to FINALLY shoot his gun, an act that he obviously gets a bit too excited for leading to a scolding by Madame Vastra: “Strax, you’re over excited.  Have you been eating those jelly sherbet fancies again?” I’m not in it for only the jokes, but if there are jokes in Doctor Who, stuff like this is great.

Ada and Mrs. Gillyflower are played by real life mother and daughter Dame Diana Rigg (of Avengers fame) and Rachael Stirling. Rigg is awesome in her role, and one can see that she simply had fun “chewing the scenery”. Their relationship in the episode is pretty dark and goes against the grain of the ongoing trope of “love saves the day” that we have seen constantly through the last few seasons. Once Ada realizes that her mother lied about her blindness and basically lets it slip that she used her as a test subject for the antidote for the preservation process, Ada is a bit less than happy. Let’s just say that Mrs. Gillyflower and Mr. Sweet are a bit worse for wear at the end.

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So there we have it, one of my favorite episodes this year, and my favorite Gatiss script altogether! He seems to have the Paternoster Gang down, and hope that he uses them more often. The episode has a few small plot holes, and a bad guy plot just as silly as The Invasion of the Dinosaurs, but that doesn’t matter – it was pure fun! Next week we have Clara and the Kids she babysits facing the Cybermen, in a script by Neil Gaiman! Saturday can’t come soon enough!

Want a way to watch this episode, but don’t have cable? Maybe Amazon is a good choice, that’s how I watch them at least!

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The Crimson Horror [HD]

Doctor Who: Journey to the Centre of the Tardis (2013)

I really had no idea what to expect with Journey to the Centre of the Tardis. On one hand you could surmise that the episode may have something similar to the classic Jules Verne story A Journey to the Center of the Earth, but the trailer looked more like a scary high-tension episode than an action adventure story. I was surprised to see that this particular episode was something of a horror episode, strange in the fact that it comes right after another horror-based episode in Hide. Journey to the Centre of the Tardis is notable for one reason – we get to see the insides of the little blue box that could. We have seen bits and bobs of the Tardis here and there since the very beginnings of the show, but never have we seen this much of the ship. Even the classic Invasion of Time pales in comparison in terms of Tardis touring. The question is: Was it any good?

I will start out by saying that this episode is one of those that really improves with repeat viewings. For the basis of this review, I watched it twice and liked it a bit more after the initial viewing. You can surmise that I had some problems with the episode if I said “it improves”, and I definitely did. I didn’t hate it, in fact I thought it was pretty good, but it could have been a lot better for reasons I will soon explain. I think my main complaint is that the nature of time travel concepts and cause and effect found within is very chaotic, and to be honest came across as messy. I will not say that it was as incomprehensible as a story like Ghost Light, in which fans have notoriously elevated to being “good” because “complexity” means “smart” but it has its problems.

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The story follows The Doctor and Clara as they come across a large salvage ship piloted by three expert salvagers called The Van Baalens (played by Ashley Walters and Mark Oliver) and their “android” named Tricky (played by Jahvell Hall). This salvage crew captures the Tardis with a powerful magnetic beam wreaking havoc on its internal systems as a result. Not only is she leaking fuel, but the Tardis looks so unsafe that the salvage crew decides to eject it back into space. The Doctor has apparently escaped the ship unscathed and is pretty mad at the salvage crew; it seems that Clara is still trapped somewhere inside.

The Van Baalens were a bit hard to pin down. I love the concept of these three guys traveling around and listening to The Cult whilst gobbling up bits of wrecked ships. Too bad that the characters were pretty unlikable; I know that they weren’t necessarily “good guys” but their decision making skills were horrid (don’t take that part of the ship, the Tardis will try to kill you – takes piece anyway). I also was not a fan of the fact that the two older brothers somehow brainwashed their younger brother (Tricky) into believing that he was an android servant for the simple thrill of bullying him. With character traits like this it’s really hard to feel bad when one of them dies, since he was a jerk anyway.

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The Doctor tricks them into going inside, and fakes a self-destruct system to force the Van Baalens into helping him save Clara, and generally comes across as a bit unhinged, even more so than usual! The rest of the episode is basically everyone running around in various corridors and rooms trying to elude the Tradis’s self-preservation systems and make it to her core. Time starts to unravel, and everyone starts seeing weird things like future and past echoes of themselves as well as terrifying radiation zombies with glowing red eyes. These creatures were pretty creepy for the same reason that “The Crooked Man” last week was – you never get a good look at one of them. Until it is explained as to the nature of these beings is, you usually see the shape of one, with eyes ablaze, surrounded by a haze of obscuring “waves”. They had me on the edge of my seat trying to figure out what these things could have been. I honestly was wondering if he wasn’t housing scarred up refugees from Gallifrey or something, but the real answer was almost as creepy. It seems these were future versions of Clara and the Van Baalens disfigured and driven mad by the energy from the Eye of Harmony, a possible future that is adverted with a stupid plot device.

What really bugged me about this episode was that it involved a “reset button”, and we’re not talking about a figurative one for the purpose of storytelling – an honest to God big red reset button. This trope usually drives me crazy when it’s used this way, and not since the ending of Superman the Movie has it been used in such a silly manner. We saw it at the end of season three to undo The Master’s massacre of the human race, and I hated it then as well. The “reset button” concept is something Russel T. Davies used to employ a lot, I wish it would have stayed with him and not crept into these newer episodes.

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I did enjoy the fact that we got to see things like Clara reading a huge book about the Time War (where she may have seen The Doctor’s name!) and the Eye of Harmony. Little nods to the past such as these usually lead me to “nerding out” even though it reeks of fan service. The special effects for the various Tardis rooms (especially the Eye of Harmony and the Heart) were awesome, and really gives a sense of how massive the whole ship can be. Things like this really helped an episode that could have been pretty mediocre into something special despite its flaws.

Did I love Journey to the Centre of the Tardis? Well, no. The episode was well done from an atmosphere and effects standpoint, but failed a bit with the writing. I’ve loved each episode this half-season so far and having one that “isn’t quite there” is pretty typical (sort of like Curse of the Black Spot), at least this was pretty solid and not terrible. Had they stayed away from things like a giant red reset button, I may have even loved this episode as well. So on a scale of one to ten, with 10 being “woo hoo” and one being “aaargh!” I’d say this one was a “meh” (I should use that as an official rating system…lol). Next week we have Diana Rigg and the Paternoster Gang to look forward to, so can’t wait till Sataurday!

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Lately I have been watching this show on Amazon.com’s portal on the PS3 as I do not have cable nor do I want to “steal” the episodes. Here are some links if you want to try this method out as well:

Journey to the Centre of the TARDIS

Journey to the Centre of the TARDIS [HD]

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