The Ghost MonumentBookmark and Share

Sunday, 14 October 2018 - Reviewed by Matt Dennis
 The Ghost Monument: Yaz (Mandip Gill), The Doctor (Jodie Whittaker), Graham (Bradley Walsh) (Credit: BBC Studios (Coco Van Opens))

 

BBC One (United Kingdom)
Broadcast on: Sunday 14th October 2018
Running Time: 50 minutes

There are spoilers in this review - so if you haven't seen the episode yet, and want to stay in the unspoiled, please come back later.

With the major festivities of that exciting and fresh-faced first episode well and truly out of the way, it's time for Doctor Who to settle in properly and get back to business. Of course, with a new head-writer in the driving seat and a whole new production team bringing a fresh approach to the show, business, as usual, could mean pretty much anything at this point. Judging by The Ghost Monument alone, it seems to mean both entertainment and frustration.

Like with the Doctor's other recently-regenerated incarnations, this second episode crash-lands our new hero onto an alien world (in this case, literally), before setting off with the herculean task of setting a tone for the new Doctor and her companions by testing their mettle. We’ve seen it done before in episodes like The Beast Below or Smile – throw the new companions into a completely alien environment and see how they cope.

Here, the marooned time-travellers must join the surviving participants of an interstellar race to survive the hostile dead planet of Desolation. By doing so, they stand a chance of finding the Doctor's lost TARDIS. But the planet holds a secret, and enemies are lying in wait.

For the most part, the episode has its charms and isn't without incident - there are some cracking ideas here that merit further exploration. But Chris Chibnall’s script is handicapped early on by a severe lack of momentum, with the episode spending too much time merely chauffeuring the characters from point A to point B. The main monsters of the episode - the ribbon-like Remnants - only make their presence properly felt in the final few minutes, and when they do show, it's largely underwhelming.

The big reveal of the alien world being weaponised by kidnapped scientists is a solid idea, but it's only mentioned briefly towards the end and never utilised in a manner that benefits the drama. Even more jarring is how the plot suddenly hints at a connection to the Stenza, last week's human-hunting aliens, only to forget about the whole thing altogether. Clearly, this looks set to be a continuing story arc thread running through this series (which is certainly welcome), but the reference feels clumsily forced here.

Of course, whilst the main crux of the plot is merely a hodgepodge of half-baked ideas (were the random robots really necessary?), Chibnall's script does deliver in terms of sound character moments, both for the main characters and guest cast alike. Jodie Whittaker is just as watchable and captivating as she was last week – ever-evolving in her portrayal of the Doctor, here showing off a bit of the Doctor's more judgemental, authoritative tendencies, but still the delightfully mad and upbeat character we met previously.

The Ghost Monument: Epzo (Shaun Dooley), The Doctor (Jodie Whittaker) (Credit: BBC Studios (Coco Van Opens))Guest stars Susan Lynch and Shaun Dooley benefit from Chibnall's script as well, each of their respective characters getting a fair portion of the drama, with some excellent insights into their pasts and their motivations for partaking in the deadly space race. Chibnall’s strength clearly lies in his ability to identify and write the relatable aspects of a character, no matter the setting/situation.

Unfortunately, the companions are not all served by the script as well as they should. Tosin Cole's Ryan continues to get the most to do, whilst Bradley Walsh again provides the episode with plenty of heart (and a few banging comedy one-liners). Better yet, the previous episode’s major tragedy isn’t forgotten, which leads to a touching scene between the two bereaved men. However, Mandip Gill’s Yasmin still remains hugely underdeveloped, and oft-times her character feels severely inconsequential to proceedings. Of course, there may be more chance for her to shine in future episodes, but at this point, there isn’t a lot here for us to go on. Three companions plus a new Doctor may be a bit too much for the show to handle. Hopefully, this concern will be proven wrong soon enough.

Of course, the big talking point of this otherwise so-so episode is the big reveal of the new TARDIS interior. We only see it for a bit, slowly teased out to us as the Doctor enters, and it’s a lot to take in when we do. A slight return to the more organic look of the Davies era set, albeit with a more crystalline aesthetic as opposed to coral, first thoughts are mainly that it looks a bit cramped around that console and the lighting doesn’t quite do its grand size justice. However, it’s interesting and visually stunning enough to warrant more screen time in the future. Yet another box ticked for this new era.

Frustrating as the main alien plot is, there's still much to admire in The Ghost Monument - the direction and cinematography are both slick and sumptuous to behold, the new Hartnell-influenced opening titles look amazing, the cast is excellent, the ideas are imaginative and Chris Chibnall clearly has a talent for creating relatable characters in extraordinary situations. But the more pedestrian pace proves the biggest detriment to an otherwise decent episode, with both the monsters and any actual incident included as if they were merely an afterthought.

Entertaining but instantly forgettable, The Ghost Monument is nowhere near terrible, but for an episode that centres around a race to the finish line, it's ironic that it chooses to crawl instead of run!





The Woman Who Fell To EarthBookmark and Share

Sunday, 7 October 2018 - Reviewed by Matt Tiley
 The Woman Who Fell to Earth - The Doctor	- Jodie Whittaker (Credit: BBC Studios)
Written by Chris Chibnall
Directed by Jamie Childs

Starring: Jodie Whittaker, Tosin Cole, Mandip Khan,
Bradley Walsh, Sharon D Clarke

First broadcast 6.45pm, Sunday 7 October 2018 

I'm the Doctor - Sorting out fair play throughout the universe......

 

Writer Chris Chibnall, and Director Jamie Childs finally present to us The Woman Who Fell To Earth. It feels like it has been a long time coming (which it has). Now for the big question...was it worth the wait? Absolutely. 100%.

 

There are spoilers in this review - so if you haven't seen the episode yet, and want to stay in the unspoiled, please come back later.

 

Talking of spoilers, I must say that the new team have done EXCEPTIONALLY well at keeping key story points away from prying eyes, something which is an amazing feat in this day and age, and  is a factor that I'm sure will help this new series of Doctor Who become appointment television once more.

 

The Woman Who Fell To Earth is a story that has the theme of family solidly at its core. As the story unfolds we are first introduced to Ryan Sinclair (Tosin Cole), who at nineteen years of age is learning to ride a bike. Ryan has dyspraxia, a condition which has affected his co-ordination. The dyspraxia features in the story later on, and it is great to see the writer not being afraid at bringing something like this to the fore of the story, and to make it a positive factor for Ryan, by shaping his determination.

 

Ryan's Nan, Grace (Sharon D Clarke), and her husband of three years Graham O'Brien (Bradley Walsh) are trying to encourage Ryan in his efforts, which end with a very frustrated Ryan throwing the bike off a cliff. When Ryan tries to retrieve the bike he stumbles across some strange, glowing geometric shapes, that when touched, result in a large blue...blob suddenly appearing. Ryan calls the police and as a result we meet Yasmin Kahn (Mandip Gill).

 

From here the action moves swiftly onto a train that is under siege by an alien force. Graham and Grace are both caught up in events, urging Ryan and Yasmin to rush to help them. It is here that our new Doctor literally drops from the sky and takes complete control of the situation. Jodie Whittaker's first scenes immediately reassure the viewer that the character of the Doctor is in very safe hands.

 

 The Woman Who Fell to Earth - Ryan Sinclair - Tosin Cole (Credit: BBC Studios)What follows (for the most part) is a regeneration story that (I would say) is most comparable to The Eleventh Hour. In it we have an alien warrior on a hunt, which once the hunt is completed, will ensure his succession on his home world. It of course falls to the Doctor and her new friends to stop him, and protect the hunter's  prey.

 

Along the way we learn that the TARDIS is missing and that the Doctor can build a sonic screwdriver by combining a small piece of alien technology along with some spoons. We also learn that the Doctor will stop at nothing to protect her new friends, and even strangers. 

 

Things suddenly become very serious towards the end of the story, with the surprising, and rather shocking death of Grace. The aftermath of which is very sensitively handled. So much so in fact that I did wonder how the Doctor's new friends would be written into the next story, which is resolved quite simply by the Doctor accidentally kidnapping them all.

 

Oh - and along the way the Doctor gets her new outfit from a charity shop - which I think is quite a perfect way for her to acquire new clothes.

 

 

The story positively romps along. Chibnall obviously loves the characters that he has created. The background on the companions (there I have said it! Companions!) is quite rich. Ryan gets the most development. The story opens with him saying the line "So today, I want to talk about the greatest woman I ever met." Of course at the start of the story we immediately think that he is referring to the Doctor, but by the time we reach the end, and catch up with Ryan, we realise that he is referring to his Nan, Grace. It's a clever and beautiful piece of writing.The Woman Who Fell to Earth: Graham (Bradley Walsh), Yaz (Mandip Gill) (Credit: BBC/BBC Worldwide (Ben Blackall))

 

Graham also get's his fair share of screen time, with his character (as probably to be expected) having many of the funnier lines. His speech, at Grace's funeral is particularly moving. I did feel though that Yasmin could have been given more to do. This is something that  I am hoping  is put right in future episodes.

 

So what of the new Doctor? well, she actually drops into a scene to the beats of the Doctor Who theme (more on that later). Here we have a massively confident debut for Jodie Whittaker. For me there were two absolutely defining moments. The first was her rather beautiful description of the regeneration process. Never has regeneration, and what it does to a body and mind been summed up so perfectly and in so much detail. The second is  the crane top speech to the alien hunter, which immediately shows that she stands firmly shoulder to shoulder with any man that has gone before her. The characterisation is re-assuringly the Doctor. She is quirky, full of energy, brave, kind and absolutely outraged in the face of injustice.

 

The feel of the show is fresh, and this isn't just because we are in Sheffield, and not Cardiff. The effects are very well realised and rather beautiful, especially in the rendering of the alien's other worldly Gathering Coils, a frenetic tangle of metallic tendrils and lights. Jamie Child's direction is urgent, but at no point does anything feel rushed. 

 

The Woman Who Fell to Earth (Credit: BBC)The biggest contribution to the shows freshness is the  writing. By killing off a seemingly major character in the shows first episode, Chibnall has created a feeling of very real threat and menace, and also a plot line that should bring two of the characters closer together. In the shows closing minutes the Doctor's new friends are literally dragged into her next adventure, which in itself should create some interesting character dynamics.

 

Ah! - The theme! There's no blast of the  new theme tune at the beginning of the story. In fact there are no credits at the start of the show all. However we do get to hear the new version over the end credits. Personally I think that new composer, Segun Akinola's closing theme is the best since David Tennant departed. Don't get me wrong, I loved Murray Gold's music, but I thought the main theme had lost i's way through Smith and Capaldi's tenure. I can't wait to hear his version played over the opening credits next week. To me, Akinola's main theme reminded me of McGann's. The incidental music throughout is also very good, and different to what has come before, but this again further freshens the feel of the show.

 

The Woman Who Fell To Earth is a confident opener to this new series, and an episode that heralds an exciting new era for Doctor Who. The story made this viewer laugh, shed a tear, and kept me gripped throughout - which for me means that the show hit all the right notes. In it we find a confident, yet down to earth Doctor, surrounded by new faces both in front of and behind the camera. Personally, I can't wait to see where they all take us next.        

 

 

 

 





Twice Upon A Time - Second ReviewBookmark and Share

Monday, 8 January 2018 - Reviewed by Elliot Stewart
Twice Upon a Time: Bill (Pearl Mackie), The First Doctor (David Bradley), The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway)) BBC One (United Kingdom):
First Broadcast: Monday 25th December 2017
Nowadays, Doctor Who is a blessed show – whereas thirty years ago, it seemed cursed. After the sacking of a Time Lord the previous year, 1987 saw the show scheduled against a long-running and extremely popular soap opera, while starring a spoon-playing comedy actor who spoke out of his ‘R’s, accompanied by pantomime star Bonnie Langford and children’s television presenter Sophie Aldred.
 
When it returned in 2005 after a long hiatus, the show had evolved, instead of becoming a popular cult success through continued mass appeal. A declaration of love for the Time Lord quickly became a way into a quirky social scene celebration: geek chic rocks.  However, fashion – sadly – is fickle. But the makers of the long-running sci-fi show are well aware of this – so they intentionally reboot the show every few years to ensure they buck the trend of being left behind or dated. Doctor Who is therefore unlike most science fiction franchises; braver than the ever-popular duet of Stars Trek and Wars, it never stays the same show long.
 
But changing all the time is a risky business. Some eras of the so-called “classic” years are held up as “pure” Doctor Who, while others are seen as the show losing its way, being thought of as either too silly or too violent. So when Peter Capaldi was cast as the Twelfth Doctor in 2013, a cheer was felt across the fan-base as the show looked like it was returning to roots with an older lead. (Although both David Tennant and Matt Smith gave excellent performances, their appeal was their youthful energy – so Capaldi could be seen as a bit of a risk to the non-fan.)
 
Four years down the line, Twice Upon A Time saw Capaldi’s time as the Doctor come to an end, as well as introducing Jodie Whittaker as – another risk, but this time for fan and non-fan alike – the first female incarnation of the time lord (shock horror!). But before that, there was time enough for one more risk for Capaldi: this time, there’s no evil plan. Instead, similar to Tennant’s or Smith’s departure indulgences, we have the Doctor meet himself to debate whether its time to move on.
Following on from the fan-serving cliffhanger of the Twelfth Doctor encountering his first incarnation, the episode follows the unexpected duo as they quarrel and philosophise about what both the past and future has in store for themselves in a way only Doctor Who can.
 
Unfortunately, although some great humour is found as the more current Doctor finds his early persona less than PC – we all look back and cringe at ourselves in the past, the doctor being no exception – the story itself lacks a hook. We know our modern Doctor is leaving, and the Earth isn’t threatened, so there’s no real concern to the outcome. Even the effect of the Doctor’s emotional reunion with previous companions was severely lacking when it is revealed that they are just memories, rather than the “real thing”.
 
Also, the First Doctor’s desire not to regenerate comes out of nowhere. Just before his final moments, William Hartnell’s original First Doctor dramatically declared “it’s far from being over!” and walked out into the heavy Antarctic snow, determined to reach his ship; that’s an example of powerful acceptance rather than refusal. Bradley’s softer recreation of this scene doesn’t entirely change the meaning. So was hearing the Twelfth Doctor shouting ‘Nooo!’ to the polar skies what changed his mind?
 
Twice Upon a Time: The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))Throughout the episode, Peter Capaldi gives a superb final performance, as does David Bradley as the First Doctor, although he’s more a homage than a full-on virtual Hartnell. Show writer and occasional actor Mark Gatiss, meanwhile, gives a wonderful final turn as a confused and charming War World One soldier out of time in more ways than one.
 
Being both experimental while at the at the same time oddly similar to his previous episodes, Twice Upon A Time was also the last episode ever to be written by current showrunner Steven Moffat, who has helmed the show since 2010, and written episodes since 2005, and will be stepping down to be replaced by Broadchurch creator Chris Chibnall. So it was no surprise that the episode featured a few nods to the Moffat era, including an obligatory Dalek cameo and the usual mix of knowing meta moments, both funny and fan servicing.
 
On a technical level, the various worlds and past Earth settings are fantastically realised, as was the all-too-brief recreation of scenes from the First Doctor’s final adventure from 1966. With such effort into detail, I was thinking (indeed, hoping) for a “Back To The Future” approach to the old meeting new – but sadly, for most of the episode, only the two differing TARDIS console rooms show the contrast in the show’s development.
 
As a coda for the explosive previous season’s two-part finale, it works perfectly well: the third and final part of Capaldi’s farewell.  The look, the laughs and occasional dab of poignancy of the episode made up for the narrative lulls. What plot there was – people being alive when they should really be dead – made the episode focus on the parallels being the Time Lord regeneration process, and bringing new life from death. Which was very appropriate, because as with Matt Smith before him, Jodie Whittaker’s fun and surprising entrance, though shorter than previous others, is a clear declaration of a new era in the show: the youthful energy is back.
 
Twice Upon a Time: The Captain (Mark Gatiss), The First Doctor (David Bradley), Bill (Pearl Mackie) (Credit: BBC/BBC Worldwide (Simon Ridgway))Only the Twelfth Doctor’s actual final moments aboard the TARDIS – though exquisitely performed by Capaldi – felt completely indulgent, being more a chance for the Twelfth Doctor to go out speeching than saving a friend, a planet or the universe. Previously, we’ve seen this Doctor emote deeply against war; we’ve seen him plead for help to two versions of his best frenemy, and we’ve seen the heartbreak of him losing the memory of his closest friend. Wouldn’t it be better if we saw him leave as he arrived – cross and ranty?
 
But let’s be fair. As a piece of drama put on as Yuletide seasonal entertainment, it’s very strong. Though not that representative of the Moffat style or even the Capaldi arc, Twice Upon A Time gives a mature wave goodbye to the pure rebel Time Lord realising his war was over and to step aside and let new blood continue the fight. Yes, it is lacking any real sense of peril or threat, but instead, it is witty, moving and at times very sad. Anyone dealing with a family loss at this time of the year might wish it had been more a traditional festive romp with killer Christmas trees or robot santas.
 
But then, that’s the nature of risk – you end up with something you hadn’t had before, and change is good. So here it is: Doctor Who at Christmas. Look to the future – it’s only just begun.




Twice Upon A TimeBookmark and Share

Monday, 25 December 2017 - Reviewed by Simon Moore
Twice Upon A Time - The Doctor Who Christmas Special (Credit: BBC)
"Twice Upon A Time".
Written by Steven Moffat 
Directed by Rachel Talalay

Starring Peter Capaldi, David Bradley,
Mark Gatiss and Pearl Mackie

This review contains spoilers from the Doctor Who Christmas Episode 

 

To be frank, the more recent “Doctor Who” Christmas Specials have somewhat fallen flat in my humble opinion, predominantly due to Steven Moffat’s overreliance upon festive frivolities and holiday humour. Indeed, with the possible exception of Matt Smith’s swansong, "The Time of the Doctor", I haven’t ‘thoroughly enjoyed’ one of these seasonal-themed shows since Russell T Davies’ 2008 masterpiece “The Next Doctor”. I’m also not the greatest fan of Peter Capaldi’s tenure as the time-travelling Gallifreyan either, and believe the Scottish actor’s considerable talents were woefully wasted during his first two seasons, and only really came to the fore once he was ably accompanied by characters like Bill Potts and Nardole.

"Twice Upon a Time" however, does not seemingly fall into many of the tinsel-laden traps its predecessors have succumbed to, and instead tells a relatively straightforward story of the Timelord trying to understand whether a company capable of replicating the memories of the deceased should be universally viewed as a villainous malignancy or, somewhat perturbingly for the Doctor, an actual cause for the greater good. In fact, the realisation that this particular adventure specifically occurs on Christmas Day only becomes relevant (and resultantly noticeable) at the episode’s end when it enables the titular lead to engineer a military ceasefire through the manipulation of a few blessed hours of time.

Peter Capaldi’s portrayal of a Timelord desperately seeking peace after two thousand years of life, is also far more watchable (and likeable) than the version who required Clara Oswald’s hastily-written handy cards in “Under The Lake” so as to demonstrate even the smallest amount of compassion and humanity. Despite being tired of living himself, the Doctor isn’t about to stand by and watch a single lone soldier die if he can help it, even when Mark Gatiss’ World War One British officer nobly agrees to sacrifice his life in the belief it will save others. Such natural empathy and warmth on behalf of the Twelfth Doctor was sadly missing through so many of his earliest adventures, so it’s nice to see a far more agreeable attitude being shown throughout his final adventure.

Twice Upon a Time: The First Doctor (David Bradley), The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))Far more impressive though, has to be David Bradley’s ‘tour de force’ as the First Doctor. For those old enough to remember, I thought Richard Hurndall’s performance in the Twentieth Anniversary special “The Five Doctors” would be hard to beat, yet the star of “An Adventure in Space and Time” effortlessly transforms into the grumpy grandfather’s role and proves a pleasure to watch; even if he is given the majority of Moffat’s less than subtle sexist jokes – ‘smacked bottom’ for Pete's sake… 

Admittedly, some of the “original” Doctor’s athletics are a bit hard to accept. The oldster’s zigzagging in between numerous Dalek disintegration beams as he fast approaches a watchtower belonging to the only ‘good’ Kaled in the galaxy takes a bit of getting used to, and one could certainly never imagine the frail-looking William Hartnell hurling himself from atop the TARDIS onto the ground, even if his fall was cushioned by a sheet of Antarctic snow.

Fortunately, such physicality doesn’t jar too much upon the senses, and are always quickly eclipsed by Bradley’s acting gravitas. In fact, one of the highlights of the story is the heart-wrenching despondency etched upon the old man’s face when he comprehends that he will become “The Doctor of War” his adversary is seeking after. This fate, despite being engineered through the sheer necessity needed in order to fight the universe’s many wrongs, clearly reaches down to the very core of the Timelord’s fears as to what his violent legacy may become should he accept the need to regenerate for the first time, and the Yorkshire man ‘nails’ this inner turmoil on-screen marvellously.

Twice Upon a Time: The Captain (Mark Gatiss), The Doctor (Peter Capaldi) (Credit: BBC/BBC Worldwide (Simon Ridgway))Mark Gatiss’ Lethbridge-Stewart is similarly an inspiring casting choice, with the English screenwriter putting in a remarkably charming, stiff upper-lipped performance. Such firm fondness for a non-regular character is particularly impressive considering his sombre introduction, trapped inside a bomb blast crater with a wounded German soldier pointing a pistol at him. Yet the World War One Officer (“Sorry… Spoilers.”) soon becomes a decidedly engaging companion, whose baffled bewilderments and naïve nobilities quickly endear him to both the audience and the Twelfth Doctor. It’s certainly a role which seems to far better suit the actor’s strengths than his previous foray into the world of “Doctor Who” as the decidedly over-the-top villain-come-monster Doctor Lazarus.

Plot-wise, "Twice Upon a Time" undoubtedly still suffers from some of Steven Moffat’s infamously head scratching discombobulations, as no-one ever seems to properly rationalise just why the Gallifreyan’s dual contemplation of ‘ending his travels’ causes a participant of the Great War to be erroneously dispatched to the South Pole in the year 1986? There’s also little explanation provided as to just how the universe’s mysterious benefactors ever came to be in a position to extract everyone’s memories just before their moment of death, nor how they developed the technology to travel back in time and do so retrospectively?

Similarly disconcerting, though perhaps understandable given this adventure is supposed to finish with a feel good finale, are the handful of sickly sweet cameos thrust upon the Doctor at the very end of the show. Rusty the Dalek’s somewhat bizarre appearance mid-way through the tale definitely caught me by surprise, but it at least provided a valid contribution to the plot, seeing as how the Matrix no longer existed, and even Mark Gatiss’ revelation that he was Alastair Gordon Lethbridge-Stewart’s ancestor made some sentimental sense. Yet the sudden materialisation of Nardole in No Man’s Land appeared to have been manipulated purely to provide the tenth season TARDIS crew the chance for a last group hug, whilst the ‘blink and you’ll miss her’ manifestation of the Impossible Girl, Clara Oswald, was seriously super sugary-strong stuff…

Sadly, this particular Christmas Special also insists on treating the Timelord’s regeneration as an opportunity for the lead actor to perform a lengthy swansong; a trend arguably initiated by Russell T Davies dreadfully drawn-out dramatics for the Tenth Doctor in “The End of Time”. True, Matt Smith’s “like breath on a mirror” speech from “The Time of The Doctor” was memorably magnificent and encapsulated much of his tenure on the television series within the space of a few minutes. However, Peter Capaldi’s soliloquy seemingly comes across as a bit of an emotionless rant, in which the show’s producer appears, once again, to be trying far too hard to be funny or clever, and thus disappointingly causes the Twelfth Doctor’s final moments to be far more reminiscent of his disagreeable early days rather than the more warm, likeable time traveller he has become over the past twelve months.





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.