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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Here’s Your Saturday Links! (9-6-14)

Hey everyone! Yeah, its actually Sunday, so I’m a day late with my news roundup. Work was rough and yadda yadda….all that matters is that it’s up now! We have a Doctor Who heavy edition of Saturday Links, full of reviews and other little tidbits. If you have a news snippet that you think I might be interested in, feel few to pop me a message, I might just use it!

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IN MY NOT SO HUMBLE OPINION – DOCTOR WHO REVIEWS: DEEP BREATH AND INTO THE DALEK

“Following on from his transformation at the end of “The Time of the Doctor,” our resident Time Lord is understandably discombobulated.  He is quickly put to bed in Vastra & Jenny’s house, while Clara attempts to process what, exactly has occurred.”

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Sourcerer – Doctor Who Series 8, Episode 2 Review: “Into the Dalek”

“Journey is part of the Combined Galactic Resistance, on board a hidden hospital ship, the Aristotle. Her commander and uncle, Morgan Blue (Michael Smiley), shows the Doctor a captured, injured Dalek. The Doctor is disgusted by it, but becomes intrigued when the Dalek says “All Daleks must be destroyed!””

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Could There Be Any Truth To These Doctor Who Rumors? [Updated]

“Showrunner Steven Moffat has made it clear that he’s already making plans for at least some ofDoctor Who‘s episodes in 2015 — but speculation as to who might replace him continues to spread. And one surprising candidate has seemed to fuel the speculation, with a series of confusing tweets.”

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‘Doctor Who’ Up In Week 3 On BBC1; Episode Is Latest To Be Edited For Content

“Doctor Who returned for the third episode of Season 8 last night with 5.22M viewers for a 25.4 share from 7:30-8:15 PM UK time on BBC One. That was 20,000 up on last week, according to the overnights. Last Saturday’s episode was down 1.59M on the August 23 S8 debut that introduced Peter Capaldi as the 12th Time Lord. Last night’s episode again had a 15-minute overlap with ITV’s X Factor UK which was also up compared to last week.”

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From ‘Doctor Who’ to ‘The Leftovers,’ TV tries to regenerate the hero

“The corrupt cop. The principled drug pusher. The avenging serial killer. The vengeful peacekeeper. The romantic vampire. The heartless doctor. Television has been rotten with ironic or immoral protagonists for most of the new century, though the drama they’ve produced has often been golden.”

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‘Doctor Who’ beheading scene edited out following Isis killings

“The BBC has revealed changes were made to the third episode of the new season of Doctor Who “out of respect” for journalists Stephen Sotloff and James Foley. Video footage of their executions was released.”

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Actually, society needs dystopian sci-fi more than ever

“But Solana’s accusation that an influx of dystopian science fiction as guilty of somehow exacerbating this fear is troubling. Dystopian fiction mimics what it actually feels like to be in the world, so if it ends up scaring people, well, that’s because the world is scary.”

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Echopraxia scores ‘diamond cutter’ on the sci-fi hardness scale

“There’s hard sci-fi and then there’s the likes of Peter Watts’ Echopraxia, a book that should come with its own scientific reference library to aid reading. Usually, being a fan of science-heavy writing and having a smattering of real-world knowledge is enough to unlock a hard sci-fi world – you just kind of lean back and let the science wash over you. You might only understand one in every five concepts, but you glean enough to work out what’s going on in general.”

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and finally, this blast from the past:

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The Monday Meme: Don’t Blink

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Steven Moffat seems to make it his goal to freak us all out about every inanimate object in our homes. Pretty soon, any Doctor Who fan will have to come to terms with the fact that going outside simply isn’t safe anymore. So what are we scared of boys and girls: Weeping angel statues – check, shadows – check, children’s dolls – check, kids in gas masks – check, and even innocent children’s songs – check.

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Paul McGann Messing with Fans on Twitter

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@pauljmcgann “This is my moment…!”

Some people criticize Steven Moffat for relentlessly “messing” with Doctor Who fans all the time, but this week saw the rise of a new contender in the game. Paul McGann (of Eighth Doctor fame) posted this image of himself, donned in his new costume from NIght of the Doctor, standing in the most-current Tardis interior. While most realize that this was most-likely taken DURING the filming of that mini-episode, others are clinging to hope that we will see Paul making a cameo appearance this year. I wouldn’t bet on it, but I’ve been wrong before!

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More Lost DOCTOR WHO Episodes May Have Turned Up « Nerdist

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More Lost DOCTOR WHO Episodes May Have Turned Up « Nerdist

I’ve been trying not to hype the so-called “omni-rumor” so much, but it looks like we have more recovered Doctor Who on the way. For those not in “the know”, there has been a rumor going around for months years hinting towards a MASSIVE haul of recovered BBC material that was believed to be lost. After the reveal of two such releases late last year, anything seems possible now! After the recent Gallifrey One convention, it seems that people high up in Doctor Who have all but confirmed that more is on the way, click the above link for details!

 

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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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The Monday Meme: It’s Like All My Favorite Stuff Rolled Into One!!

Deadpool / Doctor Who Mashup
The best Deadpool / Doctor Who Mashup ever

Continuing The Peter Capaldi Discussion

Earlier this week I posted an article entitled “The Twelfth Doctor & Why I’m Sick of Nerd In-Fighting” which seemed to incite some awesome discussion on my feed. Thanks for checking that out everyone! A fellow American of the nerd persuasion named Ben Herman wrote an awesome follow up to my blog post that everyone should read called “Old vs new: fan wars and Doctor Who“. And While you’re there check his other stuff out like an ongoing retrospective of David Quinn’s take on Marvel’s sorcerer supreme in “David Quinn’s Doctor Strange, part one“. It’s one of those blogs that I ALWAYS enjoy reading, and I think any reader of this site would enjoy it as well!

 

 

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: 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]

Doctor-Who-Journey-to-the-Centre-of-the-Tardis-clara

Doctor Who: Hide (2013)

“It’s ghost time!”

While many Doctor Who episodes are a little bit scary (what else would make all those kids hide behind their sofas?), strict horror-based one are kind of hit or miss. Sometimes you have episodes like The Unquiet Dead that really hits the ball out of the park when it comes to atmosphere and scares, and unfortunately there are episodes like Fear Her. I think that a lot of this comes down to the fact that we will NEVER see a ghost story or monster story where the creature in question is really a paranormal entity, thus making the viewer question it the whole time. It’s kind of like watching an M. Night Shyamalan film; on one hand it’s usually sort of creepy, but on the other one becomes preoccupied with the upcoming “twist ending”. You may be assuming that I’m about to bash Hide based on the above sentiment, that’s where you are wrong – I loved it. Hide take’s everything you thought you knew about these kinds of stories and turns them on their heads.

It’s a dark and stormy night, and there seems to be a paranormal investigation going on in a large haunted mansion. Our two co-stars for the evening are a psychic named Emma Grayling (as played by Jessica Raine, soon to be Verity Lambert in the upcoming Doctor Who historical drama) and Professor Alec Palmer (played by Dougray Scott, known for Mission Impossible II and the recent Day of the Triffids films) as they try to find out the secret behind “The Witch of the Well”. It seems that the Caliburn mansion has been plagued by reports of a horrible spectre for hundreds of years, and since this is 1974, our ghost hunters are using all the latest gizmos to find it. Emma and Palmer are soon joined by The Doctor and Clara, who seem to be there on purpose for once exclaiming “we’re the Ghost Busters!” instead of the usual scenario of not knowing where they are.

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Dougray Scott is one of those actors that I am not really all that familiar with aside from a handful of film and TV roles, but always delivers with his acting. After seeing him in Day of the Triffids and this I can definitely say that he would make an awesome Bernard Quatermass if that franchise ever gets off the ground again. Sadly I cannot say that I am at all familiar with the previous work of Jessica Raine, but she did a fine job here. I’m looking forward to spotting her in the aforementioned historical drama An Adventure in Space and Time, soon to be hitting our airwaves this November.

For the most part, Hide reminds me a LOT of some of the older Big Finish audio dramas that I’ve listened to. I’m not sure why, but the mixture of decent, plausible science, and the moody atmosphere gave me a bit of a throwback to some of the 2001 Paul McGann audios especially. Notice that I said “science” up there when talking about a ghost story? That’s because this episode does have a twist on the origin of the “ghost”, but the reveal isn’t the usual Scooby Doo-esque “it looks like this ghost was really an alien!” Instead we are presented with a cool idea: The Doctor realized that “The Witch of the Well” never moves in ANY picture that is taken of it, so he decides to find out if this could be a fixed point in time. He and Clara board the Tardis and take snapshots throughout the lifespan of the Earth looking for the ghast. Sure enough, it’s there, but it’s not what he expected.

Doctor Who - Series 7B

It seems that the “ghost” is actually an ill-fated time traveler named Hila Tukurian (played by Kemi-Bo Jacobs), who disappeared after a time flight. Hila has been caught in what The Doctor explains as a “pocket dimension” where thousands of years in our time are mere moments there. This is the reason for the seemingly static shots of the ghost, as Hila is actually running for her life from an unseen enemy. So if Hila isn’t the “villain” of the episode, who is? It seems the unnamed “crooked man” briefly spotted in the final picture is the culprit, and The Doctor must save Hila from him. This “crooked man” is pretty unnerving and harkens back to movies like The Ring. When we do see him, he crawls around in an unnatural manner, his twisted face grimacing in anguish. But the crooked man has a reason for his actions, and it’s not because he’s evil – he’s in love!

Yeah, yeah, I know what you’re saying “love saves the day AGAIN!?” The Doctor beat the peg dolls and Cybermen with love last year, and this year he defeated the parasite sun-god of Ahkaten with it as well. Well, this is different. It seems that “The Crooked Man” is angry because his mate is trapped in the “real world” behind a door that The Doctor closes. The Doctor has unwittingly doomed him to the very death that was once going to be Hila’s fate. In a silly twist The Doctor flies in to save the beast, in one of the oddest endings that we’ve ever witnessed as viewers. Some people have complained that this ending was either “out of the blue” or “tacked on”, but I liked it because the Doctor would never let an innocent die if he could save them, no matter how ugly they are.

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If anything was bad about this episode, I think that Hila was not a very well-developed character. Granted, she is the focus for around three-quarters of the whole episode, but just stands there like furniture once she is safe. I almost wish that this episode was a two-parter with the haunting storyline reserved for episode one, and the time travels bits in episode two. Maybe in this arrangement, characters like Hila could have stood out more, but what we do have is more than sufficient.

My favorite bit of this episode was probably the interaction between The Doctor and Clara regarding her mystery. We are starting to see more and more that they really don’t trust each other at all, a fact that was hammered home no less than twice. In the first instance Clara stayed in the Tardis while The Doctor took tons of pictures to see if he could figure out if the ghost was a fixed point in time. We see a montage of sorts involving rapidly changing times from the dawn of the Earth to the very end. This disturbs Clara as The Doctor seems totally unaffected by what they just saw, but she just saw her entire existence pass before her eyes. This makes her realize that The Doctor is not like her and must see all humans as mere ghosts. The second instance is actually the entire reason that this episode happened. It seems that The Doctor tried to find Emma to ask about Clara, noting her strong abilities as an empath. When Emma remarks that “she is a normal girl” this sets him off, she must be a trap or something! Clara also asked Emma about The Doctor where she found out that he has a “ sliver of ice in his heart”; seems like he is still the Dark, brooding Doctor from The Snowmen, and Clara might be the only thing keeping him going.

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All in all, Hide was a fine episode, I’ve enjoyed this season a lot despite the fact that a bunch of other fans seem to be having trouble with it. The intelligent nature of the unorthodox plotting by Neil Cross is a breath of fresh air from the tendency to do “Doctor Who by numbers” that many writers fall victim to. I know some writers want to please the fans at every turn, but taking chances like this is the only way the show can keep going and staying fresh. Cross was the man behind The Rings of Akhaten as well, another unorthodox episode that I enjoyed. “The Crooked Man” was a creepy “villain” proving that less can be more sometimes. He wasn’t as ambiguous as the antagonists in Midnight or Silence in the Library, but he came across just as terrifying. Next week we have a Journey to the Center of the Tardis to look forward to, and it looks like all hell breaks loose in the relationship between Clara and the Doctor.

 

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:

Hide

Hide [HD]

Doctor Who / Star Trek: Assimilation Squared Issue 2

Since there is a new Star Trek film just on the horizon and a new season of Doctor Who hitting the airwaves, I figured that now would be a great time to read some more of the recent comic crossover Assimilation Squared. For those that didn’t catch my last review, this story centers on an alliance between The Borg and The Cybermen – two similar alien races from both franchises. Their first action as a unified front was the sacking of Delta IV, an attack that was very surprising considering the way The Borg usually make themselves known prior to any offensive actions. In the final panel in the previous issue the crew of the U.S.S. Enterprise and the crew of the Tradis were just about to meet in what The Doctor assumes is prohibition era San Francisco.

While the first issue dealt mostly with setting up the shocking alliance between both armies of zombie androids and their attack on Delta IV, issue two is a little deeper, a bit more “talky”. Tipton does a great job writing convincing Star Trek: The Next Generation dialog. For example, I really enjoyed the conversations between Commander Geordi LaForge and Commander Data since their “bromance” was often times my favorite part of the show itself. Usually Data would misunderstand a human trait of some sort whether it be laughter or anger, and Geordi would have to set him straight. Take this snippet for example:

Data shows that he is often very human
Data shows that he is often very human

Geordi has pointed out that Data was created more than thirty years ago, and that he could benefit a lot from some of the more “modern” android technology being worked on currently. Data, in the most supreme example of foreshadowing ever, ponders on whether that could get out of hand, and if he’d lose himself in the process.

I was surprised that the beginning of the issue shifted back, in a non-linear manner, to before the meeting between The Enterprise crew and The Doctor. This makes sense because we only saw Picard and Co. for like half a panel at the end of the last issue, so it’s good to see what they were doing during the Delta IV attack. Starfleet has set up a mining operation on a remote aquatic planet populated by “fish people” a fact that Commander Worf humorously undercuts with “they sound delicious!” In order to make quotas and keep the flow of the minerals steady, the folks in charge of the operation have had to cut corners leading to accidents and losses of life. Geordi asks why they are mining so frantically, a question Picard replies to with “The Borg”. It seems that Starfleet was nearly decimated at the battle of Wolf 359, a Star Trek battle depicted in the fan favorite episodes The Best of Both Worlds: parts 1 and 2.

Speaking of those episodes, and derailing any sort of flow here: that two-parter is soon to be re-released with HD special effects next week on Blu-Ray, you should all pre-order it below if you like the series:

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Star Trek: The Next Generation – The Best of Both Worlds (Blu-ray +UltraViolet)

You may be asking yourself: “Where is this Doctor fellow that is supposed to be in the book, I think there is an image of him on the cover?” Well, much like the previous issue, the interactions between the two sets of characters is kept to a minimum until the very end where we finally see them interact. This scene is pretty funny as The Doctor basically ignores everyone and bee-line’s it directly to Commander Data. There is a misunderstanding where the Enterprise crew thinks that the holodeck has gained sentience and that the Doctor is merely a “bug” in the system, and The Doctor simultaneously thinks that Data is some sort of anachronistic robot that shouldn’t be in the past. And just when everyone is having fun, the Borg and Cybermen arrive…..bummer

Poor Data
Poor Data

I really enjoyed issue one of this series, but issue two tops it in every way. The first issue almost seemed like two unrelated stories jammed together, and this one flows so much better overall. I definitely love the art style by J.K. Woodward, he uses life-like painted interiors that one seldom sees in comics these days. It really adds to the realism that makes one think this could have been a real episode of either show. Now that the cast is all together, and the villains have appeared, I think we are in for a real treat in the next issue. Maybe Commander Worf will smack the Doctor for talking too much or maybe we’ll find out what’s going on!

 

Doctor Who: Cold War (2013)

After The Rings of Akhaten puzzled fans with what is quite possibly the most unconventional (and divisive) episode of modern Doctor Who, this time we have something so conventional it feels almost retro! This is definitely helped by the fact that a returning villain, The Ice Warriors, make their modern era debut in Cold War, and with a make-over to boot. The recipe for tonight’s episode is easy: just take one part classic “base under siege” template, add it to one part Ridley Scott’s Alien then mix it all in a bowl of Hunt for Red October.

The story follows The Doctor and Clara stumbling in on a Cold War era Soviet submarine at the height of tensions with the U.S. The crew is taking part in a routine test to see if they have the testicular fortitude available to nuke everything if the call was ever made to start a nuclear war. It seems that the crew has taken a bit of “extra cargo” in the form of a huge ice block with a presumed mammoth inside. Of course, this isn’t the case, and we have a loose Ice Warrior running around. His name is Grand Marshall Skaldak, and the poor guy thinks that he is the last of his people. In fact, he is utterly devastated that his family, including his daughter, aged to dust by the passage of almost five thousand years in his icy tomb. When faced with losses of that sort combined with his militaristic nature means that he may just cause a nuclear incident because he has nothing to lose.

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First things first, I’d like to discuss the changes made to the ice warrior costume itself. The new costume, as we see with Grand Marshall Skaldak, is a vast improvement on the older suits, without losing the iconic look of the classic series version. Really the only BIG change was the hands, and let’s be honest, most people are happy that they lost their robot claws/Lego guy hands in favor of three-fingered Ninja Turtle-like ones. The problem I always had with the 1960’s iterations are that they looked so much like a guy in an overdone fiberglass and fur suit that I was expecting Godzilla to fight them off. You could tell the actor’s visibility was bad, and the mobility was clunky and slow. The new suits look somehow more maneuverable and more armor-like at the same time despite being obviously made from a less rigid material.

As for one controversial aspect of the episode, I quite enjoyed seeing Skaldak outside of his armor. It seems like I am the only one out there, but the effect wasn’t so bad. Yeah I know his face was computer generated, and that folks are averse to any CGI creatures, but the unusual take on them was interesting. I think many people figured that there would be a random make-up faced dude under there, but what we got was more alien. Let’s be honest if it was just somebody with lizard make-up they would have been too similar to the Silurians.

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Another big plus for me was the guest cast. It was almost refreshing to see a bit of media based on Russian soldiers to escape the almost propaganda-esque portrayal found in most shows. Instead of a crew of militant Stalinists hell-bent on the decimation of the United States, we have a level-headed crew of guys that look like they’d be fun to hang out with. The inclusion of veteran actor (and former audio-only Doctor Who actor) David Warner as professor Grisenko especially stood out. I’m not sure if it was the adorable grandfatherly wacko-vibe (the one that made me love Wilf so much in season 4) or his love for new wave music that I enjoyed so much, but Warner delivered the goods. I’m one of probably four people who have yet to watch the blockbuster show Game of Thrones, but I hear Liam Cunningham is quite good in it. I’m not familiar with him much aside from smaller roles, but if his stint as Captain Zhukov is any indication, he is pretty good.

On a side note while we are discussing the ship’s crew: That the guy that originally released the Ice Warrior from the block of ice was comically inept to such a hilarious degree, I’m amazed that he didn’t inadvertently kill the entire crew long before the Doctor even showed up. He causes the whole catastrophe simply because he couldn’t wait to see the mammoth they found, and took a blowtorch to it like a naughty child on Christmas Eve peeking at their presents.

Ice-Warrior-ship

The way the whole episode was put together was very good. I really enjoyed the script, which is amazing since it was penned by Mark Gatiss. I’m no Gatiss hater by any stretch of the imagination, but he has had troubles for some reason or another doing solid scripts for the new series. I loved The Unquiet Dead, but was let down in most of his other episodes. Cold War contained his old-school sensibility and his attention to historical detail very well, and unlike Victory of the Daleks, it didn’t fall apart in the end. The direction was very well done as well and retained the cinematic feel that Douglas McKinnon got so right in The Power of Three. The claustrophobic feel of all the steamy, drippy submarine corridors and the attention to shadows and darkness gave this episode a nice nod to the Ridley Scott Film Alien.

Cold War is quite possibly the best episode this half of the season so far. Keeping the tense mood and claustrophobic vibe ramped up to eleven was great, as it really helped the “mini-film” nature pop out. Skaldak is a great adversary for the Doctor, and I really hope we see him again at some point. His honor code mixed with his refreshingly real emotions and motives are a nice change for a show usually populated with villains that are evil for the sake of being evil. You really feel for the guy, even though he decides to handle his predicament pretty poorly, but honor wins out in the end. He honestly reminds me of Klingon characters throughout the many Star Trek shows. While they are usually the antagonists of any given story, rarely are they doing any action solely based on bad intentions alone. That’s what makes them so iconic in that universe, and I hope this carries over to Doctor Who. Move over Sontarans, I think the show has rediscovered its resident “Klingons”.

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In closing, I really hope that professor Grisenko is still alive in the modern Doctor Who world and is enjoying the recently re-united Ultravox; hopefully he never gave up hope after they broke up around the same time as the fall of the Soviet Union!

 

Doctor Who: Dinosaurs on a Spaceship

While the novelty of having a title such as X on a(n) X (ex: Snakes on a Plane) would have been more topical in 2006, it does show exactly what we are getting here: a fun “romp” episode that doesn’t take itself seriously at all. With how serious and well-layered the previous episode was, this stands as a stark counter-balance to Asylum of the Daleks with all the “in your face” zaniness that is usually reserved for comedy episodes. I know a lot of fans dislike episodes like this, but I generally like them. As you will see, there is a dark edge here as well, not just fluff.

The plot centers on an unidentified spacecraft that is found to be hurling towards earth, this of course freaks out many Earth-based agencies including the Indian Space Agency. The Doctor is enlisted by the ISA to “take care of it” so that they can stop any sort of crisis with it crashing. The Doctor needs a “Gang” to check it out, so who better to enlist than the legendary Queen Nefertiti, a big game hunter named Riddell, and “the Ponds”. They find out that the ship is an ancient Silurian “ark” full of dinosaurs, and fun ensues.

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This episode is notable for introducing a new character – Rory’s father, as played by Mark Williams of Harry potter fame. Brian (Rory’s dad) is sucked into the whole situation completely accidentally, and the first truly humorous scene involves The Doctor’s reaction to his presence. When the Doctor picks up “The Ponds” Brian is helping Rory fix a light bulb just as the Tardis shows up and materialized around all three of them. The Doctor does not in fact notice Brian until way later when they are leaving the Tardis. He assumes some random person walked into the Tardis. It’s never explained how the two don’t seem to have ever met despite the zany antics The Doctor was up to at Amy and Rory’s wedding, but I guess he could have been absent. In The Big Bang, we clearly meet Amy’s parents, but Rory’s family appears to be his siblings or something. I guess it’s a mystery we will never know the answer to!

Another Harry Potter Alumni takes the stage as the villain of the piece – David Bradley as Solomon. As with many Doctor Who villains, Solomon is initially not the antagonist of the piece, but reveals himself in the third act. His initial story is that the problems are all related to the fact that his legs have been mauled by raptors and his “Tweedle Dee and Tweedle Dum” of the robot world (as played by the double act –Mitchell & Webb) have been insufficient in helping him out. Once we realize that he wants to capture “Neffy” for his collection we learn the real truth. Solomon is basically a space pirate and has killed all the Silurians on board and a lot of the dinosaurs. He was trying to figure out a way to monetize the dinos before the accident happened, just as the “Gang” shows up.

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What happens next has divided fans of the show, but is not without precedent. The Doctor, realizing how truly evil Solomon is, sets it up so that Solomon is killed by a slew of missiles launched by the ISA. He doesn’t give him a second chance or anything; he basically says “your dead!” and leaves him to his fate. Many internet fans flipped out because of this, partially because many were lead to see the Doctor as a pacifist “space Jesus” up through the first few seasons, but having this view is a mistake. I could list a number of times where the Doctor essentially murders people, but there is no more telling instance than the very first serial of the show. At one point The Doctor, as played by William Hartnell, has to be stopped from smashing a caveman’s skull in with a huge rock simply because he “was slowing them down”. The doctor has a dark side, and being away from companions makes him like this. Hopefully this is a theme further explored!

All in all, I really liked this episode. It isn’t the most intellectual stimulating episode out there, but it’s a fun episode none-the-less. It was great to see some of Rory’s family in a little bit of detail, and Brian was a great character. He was not as cool as Wilf when it comes to family members of companions, but not many are as awesome as that guy! Chris Chibnall has done some mediocre work on Doctor Who in the past, but this episode was pretty good. Maybe fans can look forward to his second episode this season after all!

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Doctor Who: The Snowmen (2012)

Watching the yearly Doctor Who Christmas special is fast becoming one of my personal Christmas traditions that I most look forward to. I’ll admit that I wasn’t entirely thrilled by last year’s iteration; it was saccharine sweet and lacked any real drama compared to most episodes of the show. I remarked in my review that “I think they should be less “Christmasy” for the most part from now on. The Christmas gimmicks worked very well at first, but seem too forced now.” Gladly, aside from a snow theme, this episode lacks any sort of “hitting you over the head” Christmas treatment that we’ve had in the past. As the episode opens with a group of people being massacred by an army of sentient snowmen, filled with what appeared to be evil snowflakes, I knew I was in for a real treat.

Right from the moment the opening theme starts, this second half of season 7 is really starting to show that this year is a special anniversary year. Some fans have complained that Steven Moffat didn’t follow through with making this new show (2005-current) like the old one, a claim he made years ago as he was just getting handed the reigns to the Doctor Who show-runner title from Russell T. Davies. Right away we have a new opening sequence with graphics that include swirly space debris and a picture of Matt Smith’s face in stars, a small detail that looks back at the show’s past. I’m not going to lie, my wife and I “Marked out” (to use a pro wrestling term) when we saw this new intro. It wasn’t even an earth shattering change or anything, but it really shows that small things like that can make or break it for some people. New fans won’t even notice the charge, bus us older fans have another little touch there to make us happy.

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The new titles sequence isn’t the only change we had in this episode. We were also graced with a new Tardis interior that was obviously somewhat based on the original one using the basic structure of the one from the last few seasons. Now it’s just far more spacious, has lighting, and gives an entirely new (and yet old) sci-fi feel rather than the played out “organic spaceship” theme that was sort of refreshing in 2005, then used by every other sci-fi show. The Doctor is also sporting a new outfit that somewhat carries over to the next episodes based on the “coming soon” trailer.

The actual plot of this episode involves evil snowmen controlled by an old villain that we haven’t really seen since the Patrick Troughton era. “The Great Intelligence” that we see here, played by the voice of Ian McKellen, is sort of a reimagining of the creature of the same name we saw in The Abominable Snowmen and The Web of Fear. In fact, this episode is directly tied to those older episodes with little bits of dialog tossed in as a nod to fans. Ian McKellen does a great job providing a booming evil voice that we would expect from something called “The Great Intelligence”. Richard E. Grant, who played the Doctor in Scream of the Shalka, returns to Doctor Who playing a character named Walter Simeon. Simeon met “The Great Intelligence” as a young boy, and used its power to get back at those that hurt him, and gained power for himself. Little did he know that he was merely a pawn in the grand scheme of things.

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The Doctor has been “laying low” and attempting to place himself into the same sort of self-imposed retirement we saw him in way back when we first met the character with William Hartnell in the role. Luckily he isn’t in total hermit-mode and has been hanging around the “Paternoster Gang” including the sword toting Silurian warrior Lady Vastra, her human wife Jenny, and their butler Strax, a reluctant Sontaran servant. I really love these guys, and am glad that they will be somewhat taking the place of River Song now that the Pond saga has ended. I was really hoping for a non-human companion this year, and although these three aren’t the main ones, I can handle them being there a few times this season. Most of the fun comes from the same sort of humor that used to pop up in Star Trek: the Next Generation with Worf. The fun lies in taking Strax, from the warrior Sontaran race, and placing him in mundane situations that he hates, can’t relate to, or simply doesn’t understand. I love Strax because he does things like suggest maximum force in every situation, like throwing grenades at something or blowing up the moon, when said action is grossly inappropriate.

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Also returning are the very same dark fantasy elements that have been popping up in the entirety of Moffat’s tenure as show-runner. I really liked an instance where Clara found the entrance to the Tardis in a cloud only reachable with an invisible “Stairway to heaven”. Rather than just having the Tardis sitting next to a building or something, the production team went the extra mile to make Clara discovering the Tardis that much more special. This of course reminds me of stuff from Neil Gaiman, fitting that he wrote a script last season, and has one this season as well.

Jenna Louise Coleman returns for a follow up to her previous encounter with the Doctor, this time playing a “new” character named Clara. Once again we can see that Clara is far more intelligent than some previous companions and takes charge in a similar way to Ace way back in the late 1980’s. She gives me hope that the Doctor has met his match in a companion that won’t take guff from him. I like Amy Pond quite a bit, but felt that she sometimes fell in line with the old “companion always getting in trouble” mold, here’s hoping Clara stays strong.

There were a few quibbles to be had with the episode, like the scheme of the Great Intelligence never really being fleshed out fully, and some wonky computer generated effects with the “old Governess” but for the most part I feel that this was a very strong Christmas special, far better than last year’s. I can’t wait for this upcoming season, a new companion, and the return of the Cybermen as written by Neil Gaiman!

 

Doctor Who / Star Trek: Assimilation Squared Issue 1 Review

Outside the realm of fan fiction and other such non-official works of fandom, there really hasn’t been any sort of official crossover between Doctor Who and Star Trek. While fans would no doubt go crazy for an actual televised adventure pairing the two properties, something like a novel or a comic book is such a better fit. When I opened my mailbox earlier this week, this is exactly what I got with Doctor Who / Star Trek: Assimilation Squared Issue 1. The book is written by Scott and David Tipton along with Tony Lee.

This first issue starts with a bang, as a federation aligned planet called Delta IV is invaded by the Borg in a manner not fitting their usual attack patterns. We find out that it is typical of these monstrous zombies to warn people before they set out for assimilation, but this time they just swoop in with guns blazing. Could this be caused by their mysterious alliance with a new race that the federation has never seen?! (yeah we all know it’s the Cybermen :P) The Prime minister of Delta IV and a few Starfleet officers are left to find help on a tiny escape shuttle. One can only assume that they will stumble across the enterprise pretty soon. We jump ahead to Ancient Egypt in which the Doctor, Amy, and Rory are setting out to stop an ancient alien invasion. It seems that the pharaoh at this particular time might just be not what he seems. With that plan foiled the Tardis crew set out for 1940’s San Francisco, a locale very popular for fans of Star Trek: The Next Generation!

This book does a great job of capturing the two styles of the seemingly unrelated universes. While we don’t actually get to see the crew of the U.S.S. Enterprise until the very last page of this issue, all of the other Starfleet related stuff is very much in line with what we have seen for many years in all of the various Star Trek materials out there. It will be nice to see how the writers handle Picard and his crew in the upcoming issue, especially with the Doctor in tow. Speaking of the Doctor Who front, the dialog is very much spot on, with how the Doctor tries to handle a bumbled infiltration into a pyramid to confront the pharaoh. His hijinks are the comic relief of this issue, and definitely show the tone of the show very well i.e. fun but dark. Some of the dialog is a bit sparse, but with the nature of the comic being VERY action oriented, it really doesn’t warrant a ton of heavy dialog. I will be looking out for that in coming issues.

The highlight of this book has to be the art style. J.K. Woodward, an artist I’m not familiar with, does these cool painted interiors that make the book look like a million bucks. I’m not sure if this is hand painted or digital, but it’s really nice. Some of the images of The Doctor and Amy look especially great as I’m assuming the artist is using references from the show itself. Here is an example page:

All-in-all, this was a great kickoff to a fun romp, but it was all over way too soon. The next issue should be awesome with the Doctor ending up on board the Enterprise and meeting the crew that we all want to see. For me this is a definite buy for fans of both franchises.

Speaking of Tardises in DC Comics Cartoons…

…or is that Tardii? I’m not sure what the plural is 😛

Yesterday, I posted about the cameo of a red Tardis-like police box in an episode of New Teen Titans, but it doesn’t end there. Someone pointed out that the Justice League uses a blue police box to gain access to their secret hideout in Young Justice as well! It seems that somebody at Cartoon Network must be a fan!