World Enough and TimeBookmark and Share

Saturday, 24 June 2017 - Reviewed by Matt Hills
World Enough and Time: Mondasian Cyberman, The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))
Starring Peter Capaldi, Pearl Mackie and Matt Lucas
Guest starring Michelle Gomez and John Simm
Written by Steven Moffat
Directed by Rachel Talalay
Executive-produced by Steven Moffat and Brian Minchin

First broadcast on BBC1, Saturday June 24th, 6:45pm
 

This review is based on a BBC preview and discusses major spoilers from the very beginning

 

From its specially-shot 'A Time for Heroes' promo trailer onwards, Series Ten has raised the question of Bill's fate. And although Steven Moffat's writing is famed for reversing and undoing the loss of key characters, this episode has the feel of something truly irreversible. It's the bleakest and darkest that Doctor Who has been for quite some time, and hopefully it won't provoke audience complaints. But the Mondasian Cybermen are incredibly spooky and unsettling, thanks both to their authentic, old-school voices and the very visible remnants of their humanity. Moments such as a pre-Cyberman intoning "pain" over and over again seem a world away from stereotypical 'children's TV' (either that, or I need to adjust my sense of the stereotype). Bill's predicament is treated in a full-on stylized fantasy mode, though, as if to render it less shockingly 'realistic'. Of course, there was never going to be blood - Doctor Who has to make sure that it doesn't transgress BBC guidelines - but the impressively striking visual of Bill (and us, and the Doctor, and the camera) realising that there was gaping, empty space where flesh and blood should have been was a truly startling sequence. And this in an episode packed with reveals and surprises, right from the pre-titles.

Seeing the Doctor fighting his regeneration suggests that this must be the beginning of a three-parter that will only properly conclude at Christmas. Yet featuring a flash-forward (if that's what it is) to the Doctor's moment of regeneration doesn't quite seem to fit with recent publicity discussions of the regen's "complication" this time round. There must be more to it, I would have thought. And the opening's impact also felt a touch reduced thanks to the game-playing of Lie of the Land earlier this series: is this just another tease and fakeout, or is it the real deal? Hopefully the latter, but in a provisional world of stories and simulations, doubts can linger.

However, there's enough 'meta' and self-referential commentary on show to stock a supermarket shelf's worth of easter eggs; the Master seems passingly familiar with conventions of Doctor Who episode titling, for instance. He prefers 'Genesis of the Cybermen' to World Enough and Time, though is less familiar with the Big Finish story Spare Parts that this appears to supersede in canon. And Missy enjoys teasing her "disposables" (and the fan audience) with tales of the Doctor's "real name", resulting in the fourth wall at times appearing to have a ragged SFX hole punched right through it. Putting Missy and the Master together risks overloading the density of camp quippery, but sadly they share relatively little screen time during this outing.

World Enough and Time: Bill (Pearl Mackie) (Credit: BBC/BBC Worldwide (Jon Hall))For an episode marked by the science of time dilation, there's an odd kind of temporal distortion going on throughout. In effect, 'time' has already passed much quicker in Doctor Who's hype and marketing than it does within the story: we already know that the Cybermen will show up, and that the Master is somehow behind proceedings. Consequently, World Enough and Time frequently feels like an episode striving to catch up with itself, yet remaining focused on almost pure delay (the emphasis on arriving elevators captures this perfectly well, along with the near freeze frames of Mr Razor's TV). This must surely count as one of Who's great set-up episodes. Even the Doctor gets in on the act, settling down to watch with a packet of crisps.  

Despite much grumbling about the recent (final?) series of Sherlock, one thing I thought it did extremely well was to mislead the audience into believing that a particular actor was actually a number of different characters. Prosthetics skill aside, the device is far less successful here. Depending on your facial recognition capabiities and knowledge of past Doctor Who, it may seem fairy obvious what trick is being pulled for the sake of a Masterful cliffhanger, and this aspect struck me as the least well achieved element of the episode. But given how hard-hitting the reveal of Cyber-Bill was, the Master's ornate scheming was always going to be left slightly in the shade, and it could be argued that its "dah-dah, it's me!" daffiness offered a lighter counterpoint to the terrifying narrative of Bill's situation. (As an aside, presumably part of the BBC's strategy behind live-streaming a Pearl Mackie Q&A right after this episode must be to reassure younger audiences that Pearl is fine in real life). And as a lead-in to episode 12, this multi-cliffhanger does its job perfectly.

'New' Doctor Who (though of course, it's not-so-new now) tends to be at its strongest when it intricately melds intimate moments of characterisation and emotion with epic science-fictional conceits. World Enough and Time displays this quality of 'intimate epic' by combining the vast Colony Ship with moments such as the Doctor and Bill discussing his history with Missy. This suffers slightly from the old 'show don't tell' maxim; a lot of the emotional weight behind the Doctor's fateful decision to test Missy's redemption/'goodness' relies on what we are told rather than what we're shown, and on how invested audiences are in the Doctor-Master/Missy backstory. Yes, the Doctor's hope was sharply delineated at the very end of last week's episode, but it still feels as if more emotional scene-setting would have been valuable for the Doctor-Missy storyline. As ever, though, Missy is a joy to behold, and her introductory sequence as she steps out of the TARDIS and shares her newly adopted name is simply brilliant. Michelle Gomez makes the absolute most of Moffat's zinging dialogue, whilst Missy's companions/pets look on, suitably aggravated.  

If the Master-Third Doctor era was marked by the 'UNIT family', then this moment in the show's history also carries a strong familial sense, and not just because Missy's continued presence echoes that of the Delgado Master. Bringing Rachel Talalay back behind the camera for another finale means reassembling a crack team, whilst Bill and Nardole have gelled extremely well across this series, with Capaldi's Doctor undoubtedly benefitting from Doctor-companion relationships designed to World Enough and Time: Missy (Michelle Gomez), The Master (John Simm), The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway/Ray Burmiston))suit his characterisation. 

Talalay's direction makes the Mondasian Cybermen genuinely scary; the decision not to directly show Bill's partial conversion is also a sound one, as it ramps up the tension when we realise that a cyber chest-unit must have been installed, whilst the eventual 'full' Cyberman emerging from shadows is a memorably familiar sequence. Although the body horror that could have been pursued is dialled down somewhat, the partial conversions' monotone cries of anguish remain bleakly forceful. Who has rarely been this disturbing or this existentially raw. Thankfully, Talalay also has some fun with the time dilation (assuming this wasn't purely an editor's choice), as various sequences cut stylishly in and out of freeze frame. It is only the treatment of Mr. Razor that feels a little curious; he is featured so directly, even in relative close-up, that it's difficult not to discern the stunt being entertained, even though this kind of disguise has a well-established history in the programme. Presumably it was decided, directorially, that it didn't really matter when the penny dropped for audiences as they'd be waiting for the cliffhanger pay-off in any case.     

Given that the 'iconic poster image' for this episode so strongly echoes that from Day of the Doctor, next week's title seems equally likely to refer back to the "Gallifrey Falls" strand of Steven Moffat's overarching plot. Will we see more of the Doctor's regeneration... perhaps even a number of different possible new faces starting to coalesce as the twelfth Doctor progresses towards the thirteenth? This transition has been more of a tease than ever before, and no doubt the showrunner hasn't run out of tricks yet. 

Bring it, as the Doctor would say.





The Eaters Of LightBookmark and Share

Sunday, 18 June 2017 - Reviewed by Martin Hudecek
The Eaters of Light: Bill (Pearl Mackie), The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))
Written by Rona Munro
Directed by Charles Palmer

Starring Peter Capaldi, Pearl Mackie and Matt Lucas

Produced by Nikki Wilson
Executive Producers: Steven Moffat, Brian Minchin

A BBC Studios Cymru Wales production for BBC ONE

First broadcast 17 June 2017​

This review contains spoilers

CAUTION - Some Spoilers Apply

 

The trio of Nardole, Bill and the ever-developing (and 'reborn') 12th Doctor find themselves in the time of the Roman Empire - a period which previous selves such as the '11th' and '1st' had been in. The location is Scotland, which is long before the times of referendums and Brexit controversy. This also happens to be a land where the current incarnation of the Doctor can speak, and sound like a native).

The story follows a standard modern Doctor Who pattern in having a simple enough foe to face, but mainly showing the characters (both regular and one off), who go through a journey of personal discovery.

There are some similarities to Thin Ice, in terms of exploring the impact of invasion and subjugation of a weaker settlement. The Roman Empire left many a positive aspect over the course of time, but the means to the end were brutal and borderline-animalistic. Bill Potts does good work in pointing out the problems with the system to Kar (one of the valiant Picts).

The exploration of language translation is also pleasing, as this was often glossed over for much of the show’s history (and especially so with the 'psychic paper' device). Bill’s ability to recognise the issue without the Doctor telling her is yet another big step forward in proving how the Doctor needs his companions, just as much as they need him.

Returning female scribe Rona Munro knows how to pace her stories and bring something a little different so that they are a cut above the average in terms of being memorable. Ever since creating the final transmitted Sylvester McCoy story, she has forged a fine career as a playwright.

But something is missing in this episode. I deplored the cheesiness of ‘girl/Vikings in Series 9, and felt it was more akin to a CBBC show (in other words for mainly children under the age of 12). This episode does some good work – especially for the Doctor – but it never comes together with the gravitas of the most successful modern Who tales.

Munro’s premise is fine, but perhaps her partnering the writing team of today sees an awkward clash of storytelling styles. Doctor Who – despite being set anywhere in Space and Time – should always be forward-looking, and this entry is somewhat of a nod back to glories of long ago.

But the season arc continues to gather steam, with Missy's witty remarks being the very best sections. Michelle Gomez simply cannot do no wrong, and displays even more facets to this villainous character. Facets which were never for a moment contemplated by previous writers, when he was in ‘his normal’ form. Now we are getting to the finale and the long-awaited appearance of the (perhaps divisive) John Simm Master. I for one simply cannot wait.

Back to this episode. The production values are decent enough, with the alien being that consumes its victims being especially scary, in concept and visual execution. The guest cast never really present more than the minimum necessary for the stakes to feel relevantly high. I also found both Lucas and Mackie a little flat at times. After such good work from Oxygen onward, this seemed to be a relative come down in their ability to either be funny or conveying ‘normal reactions’ to unusual events. But Capaldi never misses a trick in his ability to translate the words on page he is given. I expect great things from this record breaker (in terms of seniority in the main role), in the ensuing conclusion to a great run of episodes.

Doctor Who is really on song once again, and makes the most of its spotlight during the Spring/Summer seasons.





The Lie of the LandBookmark and Share

Saturday, 3 June 2017 - Reviewed by Matt Hills
The Lie Of The Land: Nardole (Matt Lucas), Bill (Pearl Mackie) (Credit: BBC/BBC Worldwide (Simon Ridgway))

Starring Peter Capaldi, Pearl Mackie and Matt Lucas
Guest-starring Michelle Gomez
Written by Toby Whithouse
Directed by Wayne Yip
Produced by Nikki Wilson
Executive-produced by Steven Moffat and Brian Minchin

First broadcast on BBC1, Saturday June 3rd at 7:35pm 

This review contains spoilers and is based on a 'Work in Progress' BBC preview 

 

So let's get the obvious thing out of the way first, the thing that has generated plenty of speculation and some promotional energy: how does the Doctor's surprise (or not) regeneration (or not) fit into proceedings? Given the lengthy time scale within which Doctor Who's lead actors now have to announce any departure, it's perhaps inevitable that a kind of 'regeneration game' will be played with fans and audiences, full of fakeouts, bluffs, and teasers. Russell T Davies couldn't resist The Next Doctor, after all, and The Lie of the Land falls squarely into this newly implanted tradition. Oddly, the 'WIP' preview copy of this episode didn't actually include any regeneration special effects, suggesting that these must have been added to the brief extracts used in trailers and publicity far ahead of finished SFX being done for the broadcast version (I assume the Doctor's golden, glowing regen energy will be present and correct in the televised episode). But given the genre that Toby Whithouse is working in here -- political-thriller-slash-science-fiction-dystopia -- it always seemed likely that the Doctor's collaboration, and regeneration, would prove to be part of a twisty-turny 'is he, isn't he?' series of mind games and loyalty tests. As such, the resolution to all of this is eminently guessable. Yes, Doctor Who's format is put under stress as a result of the Doctor's apparent turn to the dark side, and the Monks' successful occupation of the world, but at the same time Lie of the Land still needs to safely revert to form, which it duly does.

There are more than enough hints and reminders of Last of the Time Lords (the title even turns up in dialogue), whilst a collaborationist Doctor is also strongly reminiscent of The Invasion of Time. What this story represents is not startlingly original for the series -- or at least, it's not quite as innovative as it wants to be -- but the episode's many strengths nonetheless lie in its execution, and in precisely how things play out.

The Lie Of The Land: Missy (Michelle Gomez), The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))Lacking any additional major guest stars beyond Missy's appearance, this is very much a story belonging to our regulars and semi-regulars. And it provides moments for all to shine, with Whithouse's dialogue constantly firing on all cylinders. The Doctor's justification of his support for the Monks is chilling and superbly played (as ever) by Capaldi, whilst Pearl Mackie's seemingly effortless naturalism continues to shine through, both in her opposition to the Doctor, and in her own sacrificial plan. The Lie of the Land is crammed with set pieces and grand-standing explorations of character, with even the Doctor-Missy coda putting a fresh spin on things. There's a lean muscularity to the script throughout, aided by the unusual and noirish dominance of voiceover that races the viewer from plot point to plot point. Rather brilliantly, these voiceovers are also integrated firmly into the key premises of the story: the Doctor's opening defence of the Monks is surely one of the show's most stunning pre-credits sequences, whilst Bill's reports to her Mum help to set up the eventual denouement, as well as stopping this from feeling overly sentimental and/or unearnt in story terms.

If Whithouse's writing deserves high praise then so too, for my money, does Wayne Yip's direction. We're treated to glorious moments such as Missy's watchful eyes superimposed over a grey sky, and the mission to penetrate the Monks' pyramid transmitter is also skillfully handled via incursions of stylish slow-motion. Even the 'glitching' image/edit effect that's added to suggest disorientation and dystopian surveillance adds neatly to the story's overall mood, although I did wonder whether there had been a plan to include some relevant (or even wildly incongruous) pop music via the team's headphones during the storming of the Monks' base. As this sequence stands in the BBC preview, the headphones aren't greatly focused on via sound design or music, which strikes me as a missed opportunity. However, the production team have clearly revelled in creating a "true history" of the Monks' presence, with Einstein and Churchill appearing along with Gary Lineker and Trevor Brooking as photoshopped hosts for the Monks (who, in story terms, evidently appreciate the importance of sport as much as science and politics). And fittingly for a story focused on the blurring of reality and fiction, or reportage and 'fake news', both the real-world and Whoniverse/Ian McNeice versions of Winston Churchill crop up at different moments.  

I suspect that the defeat of the Monks' occupation may meet with some fan criticism: at first glance it falls immediately into the 'love conquers all' template of contemporary Who's defining emotionality (although in this case it's the more obscure storge ex machina rather than deus ex machina). But I found Bill's resistance to be smartly grounded in the episode's themes. Right from the very beginning, Bill's Mum is established as a positive product of her imagination. We see them chatting, but this mother figure is ultimately no more real than the Monks' history or the hallucinatory figures created to multiply their occupying forces. The difference, of course, is that Bill has freely imagined her mother, whereas the Monks have imposed altered perceptions on the populace. More than merely being a case of sentimentalism, then, Bill's simple use of two gloriously ordinary words -- "hello Mum" -- represents a familial inversion of the Monks' methods. Rather than just free will versus suppression, Whithouse shows us how the creative and consoling imagination can triumph over a signal-boosted imaginary world.  

The Lie Of The Land: Monk (Credit: BBC/BBC Worldwide (Simon Ridgway))I expected Missy to receive more screen time than she actually gets, but given her ongoing imprisonment in the Vault, this is perfectly understandable. Michelle Gomez excels yet again, making the most of every morsel of dialogue whilst her character mirrors the question that was first posed by the twelfth Doctor in series eight: can she be a "good" figure? Presumably this quest for redemption is eventually going to relate to the Doctor's regeneration-proper, and as a low-key story arc, or a kind of "arc lite", it's an intriguing development.

The Lie of the Land sits perfectly well among what has been a very strong series thus far. As the capstone to a trilogy of sorts it evidently has a lot of work to do, and although the Monks' departure feels a touch too rapid, as well as the Monks themselves sometimes seeming more like a visual gimmick rather than a well-realised culture, overall the episode delivers. Yes, "the band are back together", and all the series' leads are on top form. Matt Lucas continues to impress as Nardole, or 'Nardy' as he styles himself in this case, bringing an unobtrusive but much-needed thread of light comedy to what would otherwise be a very dark tone.

There is a blended success of script, direction, production design and acting all seamlessly on show here. And with Cardiff streets doubling for London, folk being marched from their houses, and cutaways of various world locations, at times this feels highly reminscent of the Russell T. Davies era. John Simm's return can't be far away now either, and it'll be fascinating to see how his version of the Master is integrated into Steven Moffat's take on the show.

It seems as if series ten only began a few weeks ago, yet we're already two-thirds of the way through. My excitement, as a fan, is somehow shifting my perceptions of time... At least, I think that's what must be true...





The Pyramid at the End of the WorldBookmark and Share

Saturday, 27 May 2017 - Reviewed by Matt Tiley

"Oh my God!"

"No. I'm the Doctor, its an easy mistake to make - its the eyebrows."The Pyramid At The end Of The World: Bill (Pearl Mackie), The Doctor (Peter Capaldi), Nardole (Matt Lucas) (Credit: BBC/BBC Worldwide (Simon Ridgway/Des Willie/Ray Burmiston))

 

Here we are. Part two of three, part one being last weeks Extremis - which I have to be honest with you dear reader - was an episode that I wasn't entirely blown away by. I rather thought it was too 'full on' Steven Moffat. The proof of this is that I always watch Who with my partner, we watch it time shifted, normally to around 9pm, on the evening of broadcast. He is a casual Who fan, in that he has seen (and enjoyed, for the most part) all of new Who at least once, but gleefully scoffs at the classics (there you are, now you know what I have to put up with). Halfway through last weeks episode I turned around and he was asleep. I nudged him, and he jumped up, muttered how rubbish he thought the episode was, and went to bed. I didn't mind too much, as I opened a bottle of wine, and popped Mawdryn Undead on as soon as Extremis ended....

 

Beware......there are plenty of spoilers below.

 

The Pyramid At The end Of The World: Monk (Credit: BBC/BBC Worldwide (Simon Ridgway))I'll refer to this weeks episode Pyramid, it saves on the amount of characters that you have to read, and I have to type. Pyramid immediately shows Extremis for what it essentially was, and that is a fifty minute trailer for the start of the main event.

We begin with a recap on the previous episode, interlaced with scenes of Bill's REAL date with Penny. Bill is filling her in on the details of last week's simulation. They settle down in the kitchen and Bill jokes about the Pope making a sudden appearance, then boom - the door is broken down by soldiers, who march into Bill's kitchen, and are followed by the head of the UN, who is requesting an audience with the Doctor. Here we go again....

Pyramid is essentially a story about first contact, and it's handled quite realistically. A 5000 year old pyramid suddenly appears overnight in a territory that is flanked by the Chinese, Russian and the US army - now if that isn't a way to get an international audience, I don't know what is.

The Doctor (or the President, as he is known in times go global crisis), is called upon to investigate - but of course he is still blind - but he has augmented his glasses so that he can see basic images, outlines - just enough to get him by.

The Doctor edges towards the pyramid, while Nardole narrates the seen for him through the top toggle in his jacket....to an earpiece the Doctor is wearing. The The Pyramid At The end Of The World: Secretary General (Togo Igawa), The Commander (Nigel Hastings), The Doctor (Peter Capaldi), Bill (Pearl Mackie) (Credit: BBC/BBC Worldwide (Simon Ridgway))Monks are in the pyramid, and they want to make a pact with the people of Earth that will save the planet. There is a truly global disaster looming, and the Monks can stop it, but we, the human race have to ask the Monks for help. The Doctor is of course suspicious of the Monks motives, and does something rather out of character. He instructs the UN that they should show a force of strength. Attack the pyramid with all that they can throw at it. Sadly the attack is a complete failure.

As these events unfold, there is another story being quietly told in the background. We find ourselves with two people who are working at an agricultural research centre. One has broken her glasses, and the other is incredibly hung over. The sub-story is cleverly introduced, it feels out of place at first, but all the while it is drip feeding the viewer information vital to the story until the two plots converge. It really is a joy to witness the cleverness of this writing. 

The end of the episode is very tense, with the Doctor trapped in the agriculture research lab with a hastily put together bomb. He is trapped on the inside of the lab. There is a simple combination coded lock that would release the door, but his glasses can't pick up the detail of the numbers. The episode ends with Bill making a pact, and the Doctor gaining his sight back. But theres not a Missy to be found anywhere....

Peter Harness (Kill the Moon, Zygon Invaision/ Zygon Inversion)wrote this episode with Steven Moffat, and that is probably a very good thing, as it seemed instantly more accessible for the not so avid fan. There is a lighter touch to a lot of scenes. I particularly liked the Doctor being surprised, when exiting  the TARDIS to see that he was onboard the UN's version of Airforce One. He asks a soldier "How did you move her, the windows at the university aren't big enough?" The soldier responds with a sheepish "Ummmmm - well.....they are now....".


The Pyramid At The end Of The World: The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))Let's talk about the Monks. I'm not sure about you, but I think they could be the best new original villain since the Silence. I realise that the way they speak is actually nothing new, with their mouths hanging open and words tumbling out - but they are quite unsettling. But what is their motive? At the end of the episode they save the Doctor, the Monks restore his sight and save the world, well actually the Doctor saves the world with his bomb, but he would have surely have needed an early regeneration at the very least if he had stayed in the lab. Are the Monks truly malevolent though? When they stop the UN attack, it's done quickly and efficiently, and almost gently. I'm guessing that we will find out what their game plan is next week.

Another very good plot point in this  episode is that it makes a great tool out of the Doomsday clock. About a third of the way through, every phone and clock on the planet is set to 11:57, this of course, on the Doomsday clock is three minutes to midnight, which is actually what the Doomsday clock is set at now to indicate the global threat level, 12:00 being Doomsday. Having all the clocks inch forward to 11:58, and then 11:59 is a brilliant plot device, and a great way of describing how big the threat is, and to ramp the tension up. Never before has Doctor Who communicated a threat so well, and so basically.

I read today that this episode would be edited as a result of the horrendous events in Manchester, and yes I can see why. I suspect the preview copy that I saw was unedited, as the events on screen were sometimes quite close to the bone, and traumatic enough with out the terrible events of Monday night looming in our memories.

The Pyramid at the End of the World is a cracking watch. The cast are all great, the story writing dialed back to just the right level, and the direction by Daniel Nettheim (last seen in charge of events in 2015's aforementioned Zygon two parter) is fast paced and to the point. Pyramid isn't the best of the season, but it definitely isn't the worst. If we have an upturn in quality from the previous episode like this again next week, Toby Whithouse's The Lie of the Land could well be a cracker.





Knock KnockBookmark and Share

Saturday, 6 May 2017 - Reviewed by Matt Hills
Knock Knock: The Landlord (David Suchet) (Credit: BBC/BBC Worldwide (Simon Ridgway))

Starring Peter Capaldi, Pearl Mackie and Matt Lucas
Guest starring: David Suchet
Co-starring: Mariah Gale, Mandeep Dhillon, Colin Ryan 
Ben Presley, Alice Hewkin, Bart Suavek and Sam Benjamin 

Written by Mike Bartlett
Directed by Bill Anderson
Produced by Nikki Wilson
Executive Producers: Steven Moffat and Brian Minchin

First broadcast on BBC1 on Saturday May 6th at 7:20pm 

This review contains spoilers and is based on a standard, non-binaural preview version of the episode. 

Speaking at the BFI/Radio Times TV Festival last month, Steven Moffat remarked that one thing he'd like to do after showrunning Doctor Who is write a play. Moffat has done his bit for trafficking between the worlds of theatre and TV talent this season, however, by securing the services of both Rona Munro and feted playwright and Doctor Foster creator Mike BartlettKing Charles III, one of Bartlett's recent and highly successful plays, is about to hit our television screens in an adapted version, whilst 2016's Wild -- a piece based loosely on the Edward Snowden case which took a radical turn into almost Who-esque territories -- has shown Bartlett's affinity with relevant material. Now, it would seem, is very much Mike Bartlett's time to clamber aboard the occasionally creaking but always smartly veneered Whoniverse.

Knock Knock is, let's face it, a rather cheesy title, gesturing at those repetitive old "Who's there?" jokes that probably still generate endless amusement among the programme's youngest fans. But by giving this reference an adult spin -- for this is a riff on the venerable haunted house subgenre -- Bartlett cleverly blurs together child and adult sensibilities right from the outset. Playing with the Doctor's relationship to Bill, and having her address him as "grandfather", is also a lovely throwback to the 1960s show; I initially responded to it in exactly this manner, as a gift to long-term fans. But cunningly, it also slots perfectly well into the theme of this episode's eventual and familial denouement, a smart tongue-and-groove piece of thematic construction (and generational confusion) that's hidden in plain sight.  

Writers new to Who have a tendency to emulate the leading tropes of their commissioning showrunner -- Matthew Graham's Fear Her often felt like RTD-lite, and Stephen Thompson's The Curse of the Black Spot replayed Moffat's favoured device of 'technology gone awry'. Here, we get an aspect of the ordinary, everyday world transformed into a fantastical threat, something which, though it has an extensive history in the programme, has also become part of the Moffat repertoire. And there's a kind of variant take on "are you my mummy?" which harks all the way back to The Empty Child/The Doctor Dances. Having said that, Bartlett doesn't only seek to fit seamlessly into the Moffat-esque way of things, and also stamps his own mark on proceedings, notably in a comedic sequence criticising the state of students' rental accommodation in the UK, albeit imparting its critical stance with a deftly light touch.

On the minus side, I felt that Bartlett was sometimes a little cramped by the demands of a 43-minute single episode when he's evidently used to working with longer dramatic forms that have more space to unfold characterisation (something that the serialised Doctor Foster achieved quite brilliantly). Since the haunted house story calls for a number of characters who can be bumped off, Bartlett is also pretty much obligated to give Bill a decent number of housemates. This immediately causes a difficulty because each one threatens to become a student stereotype or a single-note creation. Perhaps slightly fewer students to be menaced by Wester Drumlins -- sorry, Bill's new residence -- would have helped on this front.

The tightly-coiled demands of an episode that has to set up atmospheric menace before delivering a pay-off 'reveal' also make life slightly difficult for guest star David Suchet, who is required to oscillate between ordinary-but-odd, outright creepy, and something far more essentially and basically human. It's a tough ask, and in places Suchet's performance seemed a little too mannered to me. But regardless of that, Doctor Who is fortunate to attract actors of such calibre, and I was admittedly disappointed that fan speculation regarding 'the Landlord' (that he would become a recurring character of some mysterious and Time Lordly status) fell wide of the mark. Suchet's character is very much a one-shot, belonging to this story alone. 

 

Knock Knock: The Doctor (Peter Capaldi), Bill (Pearl Mackie) (Credit: BBC/BBC Worldwide (Simon Ridgway))
Series 10's Vault storyline continues to gather pace, and the concluding moment -- withholding a reverse shot that would have revealed who was in there -- was deliberately cheeky, and all the more effective for it. But an episode entitled Knock Knock is bound to rely, more than most Doctor Who, on its sound design and soundtrack. On the whole, this worked very well, though the level of aural threat could perhaps have been more intense (I'll be interested to see whether advance hype surrounding this as a very scary episode is reflected in the general fan and audience response, as well as how much difference the binaural version makes). I'm a horror fan, but for my money this was far stronger on atmosphere and build-up than any genuine sense of shocks, jumps or 'scares'. The monsters' mass presence was, in the end, effective without being remarkable -- we dodged a Tractator-level incident, to be sure, but all the CGI hordes still felt generically competent rather than truly memorable.

 

And packing an episode with wood-related content is, I suspect, always going to be a risk in terms of inciting reviewers' puns or provocations (you can just imagine how any journalist looking for a punchline would reach for their finest grain of 'wooden' material). Actually, focusing on this dimension -- something that has rarely featured in Doctor Who other than as a challenge for the sonic screwdriver -- gives this episode a very specific and quasi-historical flavour. Yes, it's a present-day story, but instead of brutalist concrete-morphing creatures, steel-and-chrome monstrosities, or electronic/nano-techno-villains, there is something almost pleasingly quaint, if not retro, about a good, old wood-based threat. There's a sense of sedimented history, and the dust of ages, that setlles over 'Knock Knock', making the eventual reveal of Eliza's presence (and identity) an integral part of this 'return of the repressed past'.

Knock Knock does what the best of contemporary Doctor Who has always strived for: it combines fantastical threats with social commentary and moments of touching emotion and humanity, at the same time as fusing 'child' and 'adult' levels of meaning. As the proverbial 'family television' it also uncovers a gothic, dysfunctional family -- one that needs to be fixed by the Doctor's intervention. Holding on to the past at any cost is shown to be a powerful mistake, and 'Knock Knock' is ultimately about a very different kind of fear to its earlier evocations of creaking floorboards and unseen forces, zeroing in on the fear of loss, and all the misguided actions it can provoke, rather than notching up a villainous case of megalomania or 'evil'. In this, it marks its distance from certain previous incarnations of the show, and develops an approach highlighted in The Pilot. But the question that remains, given the Doctor's chatty engagement with the Vault's occupant, is whether he too, like the Landlord, is mistakenly holding on to an aspect of the past... In a week or two, we'll start to get some answers. 





The Mind Of Evil (AudioBook)Bookmark and Share

Friday, 5 May 2017 - Reviewed by Martin Hudecek
Doctor Who - The Mind Of Evil (Credit: BBC Audio)

Novelization By -Terrance Dicks
(based on a story by Don Houghton)

Read By - Richard Franklin

Released: 6th April 2017

Available On DIgital Download, or on CD - (4 CDs)
Approx Duration - 246 Minutes

BBC AUDIO

This unabridged recording is the latest such release from BBC Audio to cover the novelizations of the Third Doctor Era, following different adventures featuring Daleks, Axons, and The Master (as here depicted in typically brilliant fashion by Chris Achilleos, on the retained book cover). 


Mind is a distinctive adventure in that whilst it immediately followed Terror Of The Autons, it was strongly implied that the Doctor, Jo, and UNIT all kept very busy, looking to consolidate their role as a professional group of defence - both for their native country, and the wider world in general. The Master also has kept himself occupied, and (for once) chooses to use a pseudonym in ‘Emile Keller' which gives no hint at his true nature.

The original TV story was for many years notorious for having a paucity of actual colour material, and yet by being in black-and-white it actually took on a more adult and 'horror-surreal' tone, than Don Houghton or Timothy Combe ever intended. Eventually it became 're-colourised' for DVD release, and works well enough in the format it was intended to be shown. Some Doctor Who stories have only mildly above-average scripts, but become strong or even outstanding due to first-rate work by their director. I would certainly place the opening and closing stories from Season Thirteen in that bracket. With Mind, there was a potential story idea to rival the first effort from Houghton, but the tale as transmitted did have some consistency and logic issues. It mattered little, as virtually the whole cast and the production values are as robust as any from the Jon Pertwee Years.

This adaptation comes courtesy of Terrance Dicks; which was the case for so many TARGET books at the time. The first half of the book seems to signify greater effort from the story's original script-editor, in terms of expanding on the characters and explaining the overall set-up of the story. Thereafter, nothing vital is lost, but opportunities to get into the inner thoughts of the principle characters, as well as to really explore the threat to Earth in terms of the missile and the shaky political situation are not really seized upon. However, choosing to keep the titular monster/machine as mysterious as possible is a good move, as much of its creepiness lies in the lack of clarity behind how it is alive, and how it is able to kill with greater ease as the narrative progresses.

Jo Grant in her second story would rarely have such strong material again - only The Curse of Peladon, and most of her final season would again see such heights of maturity, quick thinking and sheer likeability. Whilst Katy Manning never turned in a half-hearted televisual interpretation, she was forced to often portray a semi-helpless damsel, needing aid from the Doctor or one of the supporting characters.

The Doctor’s ‘Moriarty’ is rarely better than here, being both ruthless and generally very sure of himself, with only the autonomous Keller Machine getting him truly flustered. At one point, he is totally convincing when he threatens the Doctor - "You'll do nothing, or I'll put a bullet through both your hearts." Surely this is one of the few ways that a regeneration can be cut off and thus lead to a Time Lord's premature demise. (Turn Left gave us another example). And during the finale, the brutal manner in which the Master escapes a trap laid by the Doctor - partly due to the after-effects of his machine being tested on the hardened criminal Barnham - is a notable moment where a fictional character created for escapism, feels chillingly credible as a threat.

The biggest problem I have with the story - apart from how the Kellar Machine actually helps with the ‘World War Three plan - is the portrayal of the Chinese. The Talons of Weng Chiang has come under fire in the years following its transmission, but this story does itself even less favours. The sheer number of repeated references to a "Chinese Girl" (which is already suspect,given that she is an adult woman) are carried over into this novelisation. There is also some broadly played humour over the Doctor being able to speak to Fu Peng, but the Brigadier completely struggles to understand a single word. Also, the Doctor's somewhat boasting references to meeting Chairman Mao seem to be a somewhat questionable choice of political commentary by Barry Letts and Dicks, and have only become further awkward over the ensuing years. Finally, the TV cliffhanger for Episode Two was risible in the extreme. I could never credit a world-weary diplomat having any kind of phobia of a ceremonial symbol like a 'Chinese Dragon'. That Dicks tries to explain this away as a strong distrust of the Chinese in general perhaps was acceptable when the book was published, but is glaringly dated now. And for good measure, it really makes no sense that the others who intervene on Chin Lee (channelling the Kellar Machine) in this assassination attempt would see the same thing.

In this novel version the Master having a chauffeur of Afro-Caribbean roots is barely acknowledged, but then the original TV story gave no dialogue to the character either, and furthermore he is simply missing by the end of the story. Whether he was hypnotised or simply on good pay was also left to one’s interpretation. This is a more minor reservation I have, however,. The Master really does make a great initial appearance with cigar in hand, whilst cruelly giving his latest destructive orders to the mesmerised Captain, from the comfort of his limousine.

Also slightly disappointing is how economical the author is when it comes to UNIT ‘turning the tables’ at Stangmoor. A fantastic set piece - indicative of the TV production being so polished as to qualify as a borderline TV movie – is condensed to its barest details. This was presumably due to the restrictions of page count that the author had to meet. The Invasion of Time, (previously reviewed on this site), had many moments that could be condensed down, or left without embellishment, as the original story was made in trying circumstances and did not fully justify six episodes. But this 1971 action-thriller had a lot more meat on the bones – partly due to the three major plot threats - and more expansion was needed, instead of the opposite.

But now to turn to some praise. The depiction of all of the principle criminals that feature, is very nicely done by Dicks, with evocative and entertaining back stories. I also appreciated how Professor Kettering was depicted as a virtual quack, and was made far less likable in general than the original TV version. Whilst the Doctor would not have wanted him to lose his life, (and especially in the manner he did), there is consequently a tinge of poetic justice owing to how this man carelessly helped the Master with his scheme, with nary a concern for wider society.

As an audio book, this is a solid effort. Sound effects for the riots, the various high-speed vehicles, and the brutal gun shots, all manage to bring the right feeling of tension or excitement. As for the ‘Mind of Evil’ itself, the audio dressing used for this creepy monster/device is perhaps a little stripped-down compared to its TV counterpart, but still effective nonetheless in selling the threat it poses to both mental and physical well-being.

Richard Franklin does fine work in the overall narration of the story. I found his takes on Jo and Benton better than his previous interpretations of these two roles, (which in the parent TV show were classic cases of the actor and character being very close indeed to one another). He is at his very best when breathing life to the self-assured Third Doctor, and of course to the very familiar Yates persona.

The Brigadier gets a passable interpretation, but will always suffer in comparison to Nicholas Courtney's superlative voice. However Season Eight was a distinctly marked downturn in the character's initiative and general intelligence. (Whilst The Three Doctors had some infamous moments, it did not actually signal anything new at that point). As a result, the rather more lackadaisical take Franklin has on Lethbridge-Stewart is reflective of the change in depiction of this long-standing character in the show's history.


SUMMARY:

This story is entertaining and a definite change from the standard formula of many a Doctor Who tale. Whilst never getting to the dizzy heights of Inferno - or indeed a good handful of other Third Doctor stories - it is always worth a revisit. This digital and CD production is especially convenient for a person with some other tasks requiring attention, and likewise is a good listen when ‘on the go’. Thus, it ultimately succeeds as being a worthy alternative to one of the better stories, which featured the ‘Earthbound’ Doctor on increasingly prevalent colour television.