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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The Monday Meme: Self-Control

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If you have a funny image that would make a great edition of The Monday Meme, feel free to send it to my Tumblr, Facebook, or email it to me! Links for these options are located in the links at the top of the page! Don’t be surprised to see it on here someday!

The Monday Meme: Honesty

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If you have a funny image that would make a great edition of The Monday Meme, feel free to send it to my Tumblr, Facebook, or email it to me! Links for these options are located in the links at the top of the page! Don’t be surprised to see it on here someday!

An American View of British Science Fiction Ep 4 – Cons

The McCoy Panel

The McCoy Panel

It’s been a few weeks since Planet Comicon, so this week Stephen discusses the rich convention schedule that has been popping up in Kansas City, MO in recent years. A big emphasis is placed on the fact that KC is turning into a place to meet a lot of the Doctors from Doctor Who!

An American View of British Science Fiction Ep 4 – Cons

An American View of British Science Fiction Ep 3 – Threads

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“In an urban society everything connects, each person’s needs are feed by the skills for many others, our lives are woven together in a fabric, but the connections that make society strong also make it vulnerable”

Last episode, Stephen started a series on the 1980’s fascination with our own impending doom by discussing a much earlier film called The War Game. This week Stephen discusses the 1984 post-apocalyptic disaster film Threads – perhaps one of the bleakest films ever made.

 

An American View of British Science Fiction Ep 3 – Threads

The Monday Meme: point

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The Tripods: (1984) France, October 2089

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AKA season 1, episode 12

Episode 11 of The Tripods was an action-heavy chapter that dealt with the boys resorting to theft to get food while traveling to the White Mountains. The aftermath of said choice was basically the resulting punishment they received. Not only did they have to escape a tribe of murderous “Vagrants” living outside the town, but were apprehended by some Blackguards and put on trial for theft.

They apparently have a semblance of a fair trial, but it seems that the trial itself is more of a ritual than an actual legal proceeding. It seems like it’s a foregone conclusion that they will get capped once a Tripod arrives, and that is even if they are somehow found innocent. Boys of their age simply do not walk around uncapped, it’s uncivilized and terrifying! Our buddy Danielle, the French Blackguard that has been stalking the boys ever since they left the vineyard, shows up and punches holes in their defense. Danielle basically ruins everyone’s day by stating that he knows they are up to no good. he’s no Duc Du Sarlat on the scale of jerkitude, but he’s got to be pretty close.

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They are caged, and Danielle volunteers to take him back to his precinct for processing. Suddenly the boys are in a moral dilemma – Henry feels bad that they have to hurt Danielle in order to escape seeing that he is part of the family that took care of them. It comes down to the fact that “it’s either him or us” and the boys attack.

Danielle isn’t killed or anything, but bound, gagged, and stranded in the middle of nowhere locked inside of the cage he trapped the boys in. I liked this scene a lot because Henry had to come to terms with the fact that he probably wasn’t going back to that vineyard, and that Danielle was not their friend and family member.

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The rest of this episode is full of some very important information including our very first glimpse at what the true nature of The Tripods is. This kicks off when the boys are traversing an eerie ruined city and stumble onto a Tripod that is guarding it. Somehow they have gone completely undetected, or as beanpole puts it “just like how a fat man cannot see his own feet”.

Pretty soon a plan is concocted to attempt to destroy this Tripod. Henry climbs up a rock face and places a hammer under the foot of the hulking enormity of the machine’s foot. Beanpole then hoists one of the grenades that were plucked from the shopping mall way back in the beginning of the show, and pulls the pin with a rope. The resulting explosion knocks the beast over and a hatch opens on the front face of the Tripod.

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Until this very moment we were not exactly sure if the Tripods themselves were sentient robots or if somebody was inside of it piloting. With the hatch opening, the boys get a glimpse of an off-screen face that proves the latter is most likely the case. This is, of course, right before another grenade is hurled into the cockpit rendering the occupant inside nothing more than a thick green slime oozing out of the door.We are not only one step closer to knowing the true nature of the villainous Tripods, but we now know that they can also be killed.

As the episode closes, we see The White Mountains off in the distance, signaling that the first part of the boys’ quest is nearly complete. They aren’t sure what to expect other than the fact that there are probably more like-minded individuals there, and none of them should be capped. Here’s hoping that crazy old coot Ozymandias was right and this whole ordeal wasn’t a wild goose chase.

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Last week I discussed how much I loved the location shooting in this show, and this is yet another episode full of great shots. The ruins that the boys walk through were especially eerie, seemingly plucked from a medieval village that was destroyed. I did a bit of research, and it appears that this was actually an old Welsh slate quarry called Diffwys Quarry, that had been abandoned since the 1950’s. I’m not sure how something so recent fell into such disrepair so quickly, but it definitely gave this episode the terrifying post-apocalyptic vibe that it had lost a bit of in all of the pastoral episodes.

Also of note, were the awesome model shots and practical effects especially in the Tripod battle at the end. I’ve seen far more recent films have less realistic scenes of large creatures or machines walking around, and it really goes to show that sometimes models and puppets work better than computer generated effects for some things. My hat goes off to the director, Christopher Barry, and his entire crew.

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That’s it for this week, join me again in seven days as discuss the final chapter of season one – Episode 13, The White Mountains! Remember, if you missed any entries for this series and want to read more, go to the front page and click the “Tripods” button.

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Doctor Who: Colditz (2001)

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Sylvester McCoy (The Doctor), Sophie Aldred (Ace), David Tennant (Feldwebel Kurtz), Toby Longworth (Hauptmann Julius Schäfer), Nicholas Young (Flying Officer Bill Gower), Peter Rae (Timothy Wilkins), Tracey Childs (Klein).

Colditz takes place during World War II, and as one can probably easily piece together from the title, it has to do with the infamous prison camp Colditz Castle. While Americans are not as familiar with this legendary facility, The UK has had decades of documentaries, Television shows, and even board games based on the many escape attempts of it’s prisoners. The camp was basically set up to house officers and other high ranking people who tried to escape from other camps, so it was almost seen as the Alcatraz of it’s time. Over here, we have tons of versions of the Steve McQueen movie The Great Escape which is based on an escape from a polish POW camp, so you get the idea.

The bad guys in this are Nazis, and if there was any “Tardis team” that has a good chance of being able to deal with Nazis, it’s definitely Ace and the seventh Doctor. We have seen their influence in Curse of Fenric, The Silver Nemesis, and one could argue that The villains of The Fearmonger were essentially some type of right-wing Neo-Nazi types. Because of this, I actually chuckled when Ace mentioned “not Nazis again, I hate Nazis!”. I’m not a huge fan of science fiction having Nazi bad-guys because it usually ends up being the lazy Star Trek “Space Nazis!” trope, but thankfully this isn’t the case here. These are regular Nazis in their correct time line.

I’m a big fan of historical episodes that do not involve some sort contrived alien involvement, and this one is almost entirely of that sort. In fact, The Doctor himself is the only real alien involvement we see here which is refreshing. The plot of this episode centers around The Nazis confiscating a CD Walkman from Ace and creating a paradox in which they reverse engineer it and win World War II. This plot is more-or-less in the background, but it’s the way they a new anti-hero character named Klein is introduced. You see, Klein’s from this alternate time line in which the Nazi powers have taken over the rest of the world. As far as she’s concerned, her world is the better one; as a child of German parents growing up in England, she welcomed the Nazi victory. I know from looking at Wikis that Klein’s story is fleshed out more, and can’t wait to fill the gaps in.

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Perhaps the most notable thing about this story is that the main villain of the story, Kurtz, is played by none other than a young David Tennant in his first Doctor Who related piece of entertainment. Kurtz is an awful piece of work, the sort of character that one really hopes will come to an early death. He plots behind the backs of his superiors, tries to hold information for his own gains, and even tries to take advantage of inmates in unspeakable ways. Kurtz is definitely a Hollywood Nazi archetype, as is another character in Schafer – the sympathetic Nazi. While these character tropes aren’t bad they reek of being historically inaccurate to some degree.

My only downside to this audio seemed to be the sound mixing, which shocked me because Gary Russell directed episodes are usually very well done. There were many scenes within the interior of Colditz Castle that had weird foley work such as footsteps that sounded as if everyone was wearing concrete shoes on metal floors. I have a digital file for this audio, so perhaps I got a bad download? I’m not sure, but it sounded off in places. Perhaps somebody with the CD could chime in on the comments page. This didn’t take me out the play by any means, but there were times where it got distracting or drowned out a bit of dialog.

All-in-all this was a great story, and considering people think that I’m too harsh on 80’s Doctor Who, this is the second McCoy/Aldred story in a row that I’ve really enjoyed. I do wish that the audio mix would have been a bit better, but it’s still a hearty recommendation to every Doctor Who fan. Upon listening to this, I also have a strange feeling that I should watch Chicken Run for some reason.

An American View of British Science Fiction Ep 2 – War Game

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This week, the podcast takes a look at post-apocalyptic fiction in the 1980’s – starting out with a movie that was banned in 1965 by the BBC for being “too horrific” and shown some twenty years later. The War Game is a chilling look at what could happen if The World had “a bad day”.

An American View of British Science Fiction Ep 2 – War Game

The Tripods: (1984) France, September 2089

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AKA season 1, episode 10

I believe that John F. Kennedy said it best when he once wrote: “There are risks and costs to action. But they are far less than the long range risks of comfortable inaction.” I chose this quote in particular because it best illustrates the central dilemma of this episode of BBC’s Tripods.

In case you’re following along at home, the previous episode of Tripods showed our intrepid trio “laying low” for a while in a French vineyard. They were seeking shelter so that Will could recover from a Tripod abduction and the resulting amateur surgery required to remove a tracking device crudely clamped onto his torso. Much like the time spent at the Chateau earlier in the year, the gang is finding it hard to leave the relative comfort of the vineyard, even though Tripods seem to be everywhere. We see the gratuitous long tacking shot of Tripods walking around in the distance, and considering the way the boys evaded them in the last episode, they are probably close by because they are looking for them.

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One thing became clear in this episode, and it is that teenagers are really stupid when they get hormones pumping through their systems like a rush of Nitrous through the engine of a sports car. It’s hard to not want to punch both Henry and Beanpole at the beginning of this episode. They are having fun and chatting up cute girls and constantly telling Will to “lighten up!”. This is a complete 180 degree reversal from the chateau where Will was “livin’ it up” and the boys wanted a one way ticket out of Dodge. Winter is soon to be there, and Will understands that they need to make it to the mountains ASAP.

Luckily we don’t see too much bickering between the boys, but the animosity is there. Will is jealous about what happened last episode regarding the “love of his life” Eloise. He took part in a village Olympics sort of festival, and lost to a cheating ball of jealousy that chose his love interest as the town tribute to the Tripods. She now gets to live in the Tripod city far away from Will, because if the Duke couldn’t have her nobody could. Will now sees everyone else having googlie-eyes at girls and feels like crap about it.

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The mother of the house, Madame Vichot, pulls the boys aside to show them a collection of art and other wonders from the past that they may have never seen. This sort of stuff is mostly lost to time and frowned upon by the Tripods and those that support them. We find out that she is showing them this a trade of sorts, she is suspicious why a french boy (Jean Paul aka Bean Pole) is traveling with two boys that are obviously from somewhere in England. They let it spill that they are on their way to the White Mountains, a place we discover is somewhere in the French or Swiss Alps. If this wasn’t red flag number one that they are too comfortable, our buddy the Blackguard-in-law Danielle starts nosing around to figure out who these “travelers” are, and it’s just a matter of time before his superiors want answers as well.

The reason that Madame Vichot is so worldly and interesting is that she is some sort of “Vagrant”, whose capping was not fully completed or failed. If you recall a “capping” is the process by which the Tripods place a mind-control device on every person of a certain age, and vagrants are those that cannot be capped or are rendered insane by the process. While she isn’t crazy, the Vineyard mistress is very distraught by the fact that she has ambition, hopes, and can still dream – all things that other capped adults simply cannot do.

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She talks to Will about his guilt about what happened to Eloise, and the fact that he seems to be redirecting all of his angst towards Henry an Beanpole. This seems to level Will’s head a bit, and by the end of the episode he seems mostly angst-free for the most part.

The boys get a new set of traveling clothes, maps, and travel documents to aid them on their journey, and eventually set off. Unfortunately, it seems that Danielle was basically trying to trap them with the documents, as he is seen stalking the boys at the end of the episode.

If you’ve missed any reviews in this series, please feel free to click the “Tripods” banner on the main page – It’s all there! Tune in next week for my review of episode 11!

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Doctor Who: The Eye of the Scorpion (2001)

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Cast: Peter Davison (The Doctor); Nicola Bryant (Peri Brown); Caroline Morris (Erimem); Harry Myers (Yanis); Jack Galagher (Fayum); Jonathan Owen (Antranak); Daniel Brennan (Kishik); Stephen Perring (Horemshep); Mark Wright (Slave); Alistair Lock (Priest); Gary Russell (Ebren)

For some reason or another, this particular audio drama happens to be the one audio drama that I have listened to the most. A lot of it has to do with the time period in which I first started to listen to these, a time when I had long walks to work and back every day, and the fact that I would sometimes miss important things due to walking in traffic – thus repeated plays. Then again, I think I can chalk a lot of it up to my fascination, at an early age even, with the ancient Egyptian civilization, mythology, and everything related to it. For a long time, the movie Stargate was actually a film that I considered to be my favorite movie for much the same reason!

This adventure stars Peter Davison as The Doctor and Nicola Bryant as his voluptuous companion Peri. Neither Davison’s Doctor or Peri are my favorites if I were to lay out a big list of preferences, but I’ll hand it to Big Finish – they take things I dislike about Doctor Who and trick me into liking them! Bryant has definitely matures as an actress, and everything that annoyed me about her portrayal of the character (the terrible accent!) is gone now. She also has gone from being the eye candy of the show, merely there to twist her ankle and scream, to someone that is an actual asset to The Doctor’s travels. Big Finish has also redeemed Paul McGann‘s Doctor, Mel, and even Adric for me somewhat, it’s like they know what fans don’t enjoy about the show or something!

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This story is perhaps Davison’s strongest yet, and considering how critical I’ve been with a few of his adventures so far, that’s strong praise. The Tardis materializes right in time for the Doctor and Peri to witness an attempted drive by assassination of a young girl on a chariot. The Doctor channels his inner-Ben Hur and saves the day without realizing that he has possibly changed the course of history completely. You see, the girl he has saved is the only daughter of the great Pharaoh Amenhotep II, Princess Erimemushinteperem (or Erimem for short), her father has died and she is possibly next in line to be pharaoh. The problem is that The Doctor has no recollection of any pharaoh named Erimem, meaning that something is wrong.

Erimem is happy to give much thanks to her saviors, and the strangers’ arrival in Thebes is the talk of court. This causes problems for a lot of her direct aide’s such as a man named Antranak, who serves as her head of security, as there have been a lot of attempts on Erimem’s life as of late, and her consorting with strange people is not good. What follows from here on is an adventure involving a disputed throne, a warlord trying to become pharaoh and an alien hand in the whole mess.

I really enjoyed Both Erimem and Antranak (who reminds me of Egyptian Brigadier) and love the idea of an unknown historical figure as a companion. We have seen so many times, the travels of a contemporary person in the Tardis, but imagine someone from ancient history doing it. Not only would that person be amazed by the future, aliens, and space, but pretty much anything else they are shown. I think this is why I was initially excited when Clara on the TV show was revealed to be a Victorian character initially, only to have my hopes and dreams dashed just like that!

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Without spoiling too much, Erimem realizes that she has no place in history and chooses to travel with The Tardis crew, I for one, cannot wait to listen to their travels. I have so far loved these “original companions” like Charley, Evelyn, and now Erimem – great characters that keep me coming back time after time. Perhaps the only downside to this drama is that it keeps with a lot of tropes seen in Hollywood films about ancient Egypt, but we really have no idea how the civilization really lived, so it’s fair game. At least it didn’t succumb to the fad of ancient alien theories, that I have no doubt would be in an Egyptian episode made today!

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: Project: Twilight (2001)

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A review of Big Finish audio drama no. 23

  • Written by Cavan Scott and Mark Wright
  • Directed by Gary Russell
  • Sound Design and Post Production by Gareth Jenkins
  • Music by Jane Elphinstone and Jim Mortimore
  • Starring: Colin Baker (The Doctor), Maggie Stables (Evelyn Smythe), Holly De Jong (Amelia Doory), Rob Dixon (Reggie Mead), Rosie Cavaliero (Cassie), Stephen Chance (Nimrod); Rupert Booth (Dr William Abberton/Matthew), Mark Wright (Mr. Deeks),Kate Hadley (Nurse), Daniel Wilson (Eddie), Gary Russell (Newsreader)

Full disclosure here: In all honesty, I’m not much of a fan of vampire fiction. While I would say that Nosferatu is, quite possibly, one of my favorite horror films, anything after the 1950’s is pretty hit or miss for me. Things that “try something different” with the legendary creatures like Hellsing, Vampire Hunter D, I am Legend or even Lost Boys are fairly interesting, but exists as diamonds in the proverbial rough of all of the other vampire stuff. I especially am not a fan of the more “romantic” side of vampire fiction, meaning that anything from Anne Rice novels to True Blood aren’t necessarily bad, but are not my most favorite thing to watch/read/ listen to. So imagine my apprehension when I come face to face with an audio drama that is not only about vampires, but has the word “Twilight” smack dab in the center. If there is anything that I don’t like it’s a story of pre-pubescent love between a vampire werewolf, and a caricature of a high school girl, but I digress.

Doctor Who has tackled vampires before, to varying degrees of success. We have seen things like fairly classical vampires in State of Decay, fish monsters that have fangs in Vampires of Venice, or grotesque mutations with a taste for blood as in Cure of Fenric. I think one of reasons I’m not too enamored with these stories is that they go leagues out of their way to explain common vampire tropes like an aversion to garlic, thirst for blood, and sensitivity to light all with a scientific slant. This has been done so often since 1954’s I am Legend that it almost seems silly at this point; it’s quite similar to how contrived many of the “origin stories” for zombies have become. In the 50’s, Richard Metheson breathed new life into a tired genre by making his vampires somewhat science-based, 60 years later it’s yet another tired cliché. I honestly can handle these mythological creatures, there doesn’t need to be an elaborate background of expositionary dialogue to set everything up.

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In Project: Twilight we find ourselves knee deep in just such a situation, with vampires being explained in a silly way. It appears that the ‘Twilight’ vampires were a form of botched scientific experiment, having been humans (typically prisoners or war wounded) created during the First World War by the Forge, a top secret government initiative to research means by which a superior soldier class might be engineered. So basically, the vampires in this episode are like a messed up version of Captain America.

The reason The Doctor and Evelyn end up coming face to face with this situation is The Doctor’s hunger for what he says is the best Chinese food in all of the galaxy, located in the most unlikely place – a dockside in south-east London. He assures Evelyn that he has sat for dinner with the legendary Kublai Khan, and not had Chinese take-out as good as this restaurant – The Slow Boat. Once they are chowing down on MSG-filled wontons and noodles, they discover the remnants of what can basically be called a “nest” filled with carcasses of brutalized small animals and other refuse. Next thing you know something like a mafia hit appears to happen nearby, and The Doctor and Evelyn are stuck in the middle of another bad situation.

‘Private. Do not enter.’ Oh dear, perhaps I should tell them that’s ancient Gallifreyan for ‘Doctor come on in, have a snoop around.’

We are introduced to the staff of a shady nightclub and casino called Dusk, run by a man named Reggie Mead who is obviously in some sort of organized crime syndicate boss, oh and a vampire. Other characters are varying degrees of likability, but a character name Nimrod stands out the most. he is described as an older man, donning all sort of futuristic vampire hunting technology. He is apparently nearly one-hundred years old, and was a twisted scientist in his past. He was mortally wounded and had to inject himself with the very same serum that created the vampires in the first place, cursing himself to hunt the earth for his own kind. My mind immediately slipped to the Marvel comics character Blade, who was a vampire himself, and yet hunted other vampires.

I liked Project: Twilight for what is was, but it’s not my favorite entry of the Big Finish line. Try as I might, I just have trouble enjoying vampire stories as much as other people and I’m not sure why. I like the inclusion of the shady governmental organization Forge and Nimrod, and hope they show up up again in a later installment. Much like with a few of the New Adventures related Sylvester McCoy dramas, I disliked how gory this episode was. I am not squeamish to this sort of thing, but I don’t see Doctor Who as the prime place for exploding people and vampire torture with added “squishy organ” sound effects. I originally didn’t finish this drama a few years ago because it got silly towards the middle with this stuff, and I was especially burnt out on vampire stuff having worked at a retail store when those Twilight books and films were coming out. On the second listen I’m glad I finished it, and I would say that it’s above average.

The Monday Meme: I Mustache You a Question

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If you have a funny image that would make a great edition of The Monday Meme, feel free to send it to my Tumblr, Facebook, or email it to me! Links for these options are located in the links at the top of the page! Don’t be surprised to see it on here someday!

 

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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Here’s Your Saturday Links: 9-20-14

 

 

 

 

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‘Think of the children!’ Parents express outrage as Doctor Who travels through time to new latest EVER slot to avoid Strictly clashing with The X Factor

“Parents have been expressing their outrage after learning that the new series of the show is to be pushed back to it’s latest ever time slot of 8.30pm, one hour after the 7.30pm slot that the previous episodes have been airing at.

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HIGHLANDERS

Doctor Who and the Scottish referendum: The Doctor’s adventures in time and Scotland

“With Scotland voting for and against Independence in the referendum today, let’s take a look at the times when Doctor Who and the North of the Border featured together.

Of course, let’s not forget the prominent Scots: Peter Capaldi, David Tennant and Sylvester McCoy, who have all played the Time Lord; John Barrowman, Karen Gillan and Neve McIntosh, who played the Doctor’s friends; and Steven Moffat, the current showrunner.”

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The Monday Meme: Supermodels

TWIN-DILLEMAFrom: Doctor Who: The Twin Dilemma

 

Here’s Your Saturday Links: 9-13-14

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Fun fact of the day:

“According to a report in Variety, published on 6 November 1956, a nine-year old boy died of a ruptured artery at a cinema in Oak Park, Illinois during a showing of this double bill. The Guinness Book of Records subsequently recorded the incident as the only known case of an audience member dying of fright while watching a horror film.”

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Deep Breath Hits No 1 At US Box Office!

 “Soumya Sriraman, BBC Worldwide North America’s EVP Home Entertainment and Licensing, says “Doctor Who continues to grow in the U.S. and it is thrilling to see the fans come out for the theatrical screening experience as we’ve embarked on new adventures with Peter Capaldi as the Doctor. We’ve enjoyed partnering with Fathom Events and our accomplishment in the box office is a testament to the successful collaboration between our two companies.””

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Project Hieroglyph: Fighting society’s dystopian future

“Just glancing at this week’s movie listings, those in the US can see humans battling super apes for world domination, a gang of Marvel misfits fighting against the universe’s certain doom, or a young boy tasked with keeping all memories of a society that has done away with individuality.”

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Revealed! The covers of our GQ Men Of The Year issue (Peter Capaldi gets a cover)

“On 2 September it was the hottest ticket in town, but if you couldn’t make it to the ceremony itself you can now catch up on all the winners in this year’s issue celebrating the GQ Men Of The Year Awards 2014, in association with Hugo Boss. From the Beatle who’s been promoting peace and love for five decades, as well as the rogue British hotshoe shaking up Formula 1 to a sci-fi double-hitter of in the form of Doctor Who’s Peter Capaldi and Sherlock’s Benedict Cumberbatch, you’ll find interviews and shoots with 22 incredibly influential men – and one perpetually intriguing woman – on the bleeding edge of now.”

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American Doctor Who fans befuddled by Capaldi’s accent: ‘He should be called Doctor What!?’

“While the 12th Doctor may have been thrilled about his development, it turns out that some of the show’s fans are not. As Capaldi made his debut, the internet’s complaint registry (aka Twitter) was quickly filled with the grumbles of fans struggling to understand the new Doctor’s new accent.”

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Steven Moffat Talks Peter Capaldi’s Doctor Who Costume

“Showrunner Steven Moffat has spoken exclusively to SFX about the new series of Doctor Who, launching next month on BBC One. And he tells us that new star Peter Capaldi had a major input into just what the well-dressed Time Lord is wearing this aeon…”

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