Tag Archives: Arthur

Doctor Who: Series 6: Episode 7 – A Good Man Goes to War


Before you read on: Spoilers sweetie.

The Guardian series blog, written by Dan Martin, has been my first port of call as soon as the credits roll after every episode of this series. The story arc is so layered and baffling, with the hints and in jokes so carefully hidden, that even after a second viewing it’s difficult to pick up on everything. Thankfully the Guardian blog has been there whenever I’ve really struggled to get my head together and form some thoughts of my own. And the comments section is the perfect breeding ground for theories about where things are going.

This week’s mid-series finale gets a rather bruising verdict on the Guardian website. Very rarely do I disagree with it but this week I definitely do. I see where they’re coming from. It’s certainly true that not a lot happened despite the build up and the scale. And the cleric characters on Demon’s Run, particularly the token gay couple, the thin/fat marines, are chucked into the mix briefly and rather pointlessly. It was undoubtedly disappointing that the Cybermen were waggled before us in the pre titles sequence and that the Doctor’s dark side, whilst brilliant, did not plumb any seriously shocking new depths. But I think Dan Martin is missing the point of A Good Man Goes to War.

In many ways it matters little that the standalone story element was lacking this week because this was an epic conclusion to the first seven episodes. Rather than a war, this was the climactic battle. After the weaknesses of the flesh based double bill, I actually thought the story was improved to a much greater level and it was a joy to get Moffat’s writing back. The Doctor’s dialogue was so much wittier, cleverer and funnier.

Indeed the most surprising thing about A Good Man Goes to War was just how funny it was. The variety of the humour on show really added to the cinematic and epic feel. Besides the usual comedy deriving from Smith’s performance, for example in the scene where he’s trying to work out how Melody came to have Time Lord DNA, there are laughs from the other characters Moffat brings in as the Doctor’s allies.

The Sontaran nurse was absolute genius and perfectly in keeping with what the Doctor would do. When he tells Colonel Runaway to keep his back straight so as not to damage his posture, I laughed, during my first and second viewing.  However it was only on my second viewing that I noticed a filthy lesbian tongue joke between the mysterious Silurian detective and her female sidekick, after the Silurian asks “why do you ever put up with me?”. I can see an adult spin-off show, with the potential to be far better than Torchwood, for those two. There was also a jolly fat blue thing that we’ve seen before, who was a delightfully wise presence.

With all the grim seriousness and concentration required to keep up with the secrets and twists of the story arc, the laughs were absolutely essential to making A Good Man Goes to War enjoyable. After the endless tension that has been coiling and tightening over the preceding weeks, I thought that this seventh episode actually had merits of its own, by leaving the ongoing secrets for the dramatic and emotional final ten minutes. Even if it didn’t go as far as it could’ve done, this episode was a fascinating exploration of the Doctor’s character.

We get to see the theatrical, arrogant side of the Doctor as he pulls off his genius takeover of the base. Matt Smith is in his element here and the impact of his performance is all the greater because Moffat kept him off the screen during the beginning as the team assembled, using the TARDIS alone. Moffat has previously said he wanted to put the “who” back into Doctor Who, and he’s done that with his confused, overlapping timelines and references to off screen adventures. But in A Good Man Goes to War he asks the question more directly and the Doctor ponders his own legacy, just as he did at the end of the last series when the monster sealed within the Pandorica turned out to be him. River Song then delivers some home truths. This episode may have been light on story but all of the key characters are explored in greater depth than before.

To River then. Finally we know who she is! And at last we have substantial answers to big questions looming since the beginning of the series. I was genuinely more satisfied by the big reveal than I thought I would be. But at the same time I am left craving more. I want to see the next episode. Moffat has, predictably, left an awful lot of questions unanswered. With a title like “Let’s Kill Hitler” my mind is already in a whirlwind of excited anticipation about the next episode itself too, let alone the answering of more secrets.

People tend to focus on the big question of this series: the Doctor’s death. But I am still waiting for the unresolved events  of The Big Bang at the end of Series 5 to be explained. Who manipulated the TARDIS? Who organised the coalition of baddies to imprison the Doctor? Surely they must have some sort of connection to this year’s big enemies? Why are the clerics anti-Doctor now after working with him against the Weeping Angels in the last series? Who is Madame Kovarian?

So many questions and so many throwaway lines I can’t dwell on, partly because it would be useless and dull for you if I asked questions forever and also because I am falling asleep. Stevie Wonder performed in 1814 London. Just remembered that. But we mustn’t tell him!

See you in the Autumn.

EDIT: Blimey forgot the Headless Monks completely. And not because they were bad. A good idea but underdeveloped. Worth it just for having new monsters and that wonderful moment when the Doctor disarms all the clerics.

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Doctor Who: Series 6: Episode 6 – The Almost People


Yet again I am late with my thoughts on the latest episode. I’d actually been putting off my standard pre-blog second viewing, for two reasons. On the one hand I was so blown away by the unexpected cliff hanger that I didn’t think I would be able to say much besides “what will happen next week?” in various different ways. On the other, I was disappointed with The Almost People.

I should qualify that statement by explaining that when it comes to Doctor Who, even a below par outing is a must see event I can always derive satisfaction from. A bad Doctor Who episode is merely relatively poor, compared to the greatness of other episodes, and still one of the best things on telly.

Why was I disappointed though? It’s difficult to pinpoint an exact reason. As the Guardian series blog points out, the shocking and momentous twist at the end would overshadow whatever came before it, no matter how good it was. But The Almost People was certainly not as good as it could have been and not as good as the promise set up in The Rebel Flesh. In fact there were some shockingly bad elements.

As I said in last week’s piece, Matthew Graham’s script was inconsistent. After watching The Almost People for a second time, I liked it a lot more and appreciated the extremely intricate and clever plotting. All of the character development ploughed into the Gangers, for Jimmy and his son, Cleaves and her blood clot, even the Doctors shoe swapping, made more sense once you knew that this was all part of the Doctor mulling over Amy’s impostor. The Doctor still gets the odd good line; with Matt Smith making most of the disappointing ones look good too with a varied and vibrant performance. Re-watch it and see the burden of worry about where the real Amy is on his face, way before we find out.

 However Graham’s script also contained such truly awful lines as “who are the real monsters?” and “It will destroy them all”. And whilst you can see the idea behind the development of the Gangers far more clearly after a second viewing, it doesn’t always come off, with stereotypical northern Buzzer not convincing at all as he moans “I should have been a postman like me dad”. Then there’s the terrible acting, which I touched upon last week, even more noticeable this time. Cleaves and Jennifer in particular are woefully portrayed.

So despite a lot of potential, with intelligent moral dilemmas and frightening psychological horror, this double bill never really grabbed my attention completely. Until the climax that is. With the rather random and forced CGI monster out of the way and the ridiculous farewell hugs when the beast was supposedly breaking down the door, the Doctor becomes grave and ushers Amy and Rory into the TARDIS. He had a reason for his visit to the factory with the flesh. Amy has not been with them for some time.

But how long? She must surely have been there for the Doctor’s death at the beginning of the series? Did the swap take place during an adventure we saw on screen or another in between time? It would seem a bit of a cop out if it just happened somewhere along the line and we’re not given a precise explanation as to when.

There are endless other questions, and knowing Moffat, the majority will be left unanswered. We are promised that next week’s A Good Man Goes to War will see the unveiling of River Song’s true identity though. And the trailer shows us that the Cybermen are back, but once again, knowing Moffat, they’re unlikely to be the real masterminds behind it all. Who impregnated Amy? Was the Timelord child from the opening two parter hers? The Doctor shouts something about not using a baby as a weapon in the trailer, to mysterious eye patch midwife Madame Kovarian, so how exactly does she do that?

After this disappointing pair of episodes following the superb The Doctor’s Wife by Neil Gaiman, doubts resurface, for me at least, about trying to do too much with the story arc. In overlaying so many secrets, which are often tagged onto the ends of episodes, Moffat risks devaluing the standalone stories and turning the increasingly strained relationships within the TARDIS into soap opera. I’m sure that A Good Man Goes to War will be an improvement on The Almost People, if only in terms of the quality of the dialogue. But hopefully, with some real answers, Doctor Who will also begin to get back to just telling damn good stories every week too.

Torchwood to return in summer 2011 with Miracle Day


Captain Jack Sparrow has recently returned to swashbuckling action at sea in Pirates 4. Not to be outdone, John Barrowman’s Captain Jack Harkness of Torchwood is soon set to burst back onto our screens. But the Americans will be getting the first look.

Just as the latest series of Doctor Who began in the US, its spinoff is going stateside. And judging by the trailer (see bottom), in a very big way. The last series of Torchwood, Children of Earth, took it away  from both its ties to Doctor Who and its naff storylines in favour of one epic plot. The fruits of the BBC’s colloboration with American company Starz appears to be vastly higher production standards and cinematic scale to realise such scripts.

Once again there seems to be just the one key plot with more adult sci-fi themes. Last time it was governments bribing an alien with children to avoid an attack. This series has the big idea of – what would happen if everybody stopped dying? 

This is an interesting theme, given that, as fans of the show will know, Captain Jack cannot die because after he was killed by the Daleks in the first series of modern Doctor Who, Billie Piper’s Rose Tyler brought him back to life using the energy of the TARDIS. Which yeah makes him immortal somehow, don’t ask me watch the show.

After series 2 of Torchwood I had given up on it. The idea of an adult sci-fi show, Spooks meets Doctor Who, was an immensely exciting one. The first ever episode, about a sex crazed alien, was pleasing enough for teens but hardly satisfying sci-fi storytelling, a waste of the premise and a taste of most of what was to come. Children of Earth restored my faith and now the trailer for Miracle Day looks mindblowing.

It will benefit from discarding most of the original cast in favour of better known and probably more capable Americans. And hopefully, with Russell T. Davies also now free of Doctor Who duties, he can give it his best rather than his disappointing worst. The differences between the RTD era and Moffat’s reign, coupled with the new direction of both series, makes the dream combination of Torchwood and Doctor Who unlikely for fans in the near future though.

Anway enough waffling teasing. Here’s that trailer. A really pleasant surprise. WARNING: British viewers, a helicopter actually realistically blows up!

http://bit.ly/mnvAoR

Torchwood: Miracle Day lands in America in July. And if the BBC know what’s good for them it will air here shortly after.

Doctor Who: Series 6: Episode 3 – The Curse of the Black Spot


The TARDIS crash lands in a wardrobe. Beloved outfits are callously clobbered from their hangers and crumpled beneath the weight of Time Lord tech. Beyond the doors lie in wait neither lions or witches but the Doctor’s most terrifying foe yet. Amy and Rory will have wished they’d stayed at home. The spine chilling tunes of My Chemical Romance make it through the Doctor’s atmospheric filters, numbing even Amelia Pond’s fiery ginger heart with angst and melancholy. Outside in a teenage bedroom the curse of the blackheads lurks in the shadows.

Thankfully this wasn’t the plot to Episode 3. Pirates are about as far from serious adolescent tedium and clouds of Clearasil fumes as it gets. This was a fantastical and traditional romp, and in many ways a return to a classic Who episode formula that Moffat’s era has largely abandoned. Doctor picks up distress signal, Doctor lands in middle of dangerous situation, Doctor seems to work out what’s going on, Doctor works out what’s really going on is scientific and alien related, Doctor fixes things and moves on.

Some commentators are already calling this episode predictable and disappointing, but for me it was the most enjoyable of the series so far. I understand why for some a light hearted and often comic dash about a “becalmed” pirate ship is a rather lifeless contrast with the bombastic, secret stuffed opening two parter. But as I said last week, Day of the Moon was something of a letdown for trying to do too much, which affected its strength as a standalone story. The Curse of the Black Spot was a self contained and entertaining tale, that kept the key things that make the new Who so, so much better than the RTD period.

There was once again a wonderfully realised childhood fear and fancy, that has become Moffat’s trademark. He didn’t write this episode, but Stephen Thomson wrote the second episode of Sherlock, The Blind Banker, so the two have history. Last night’s theme was reflections. There is something scary about a reflection, particularly when it distorts or is not clear. Also when you think you see something that you can’t have done in the mirror image of your surroundings. I remember imagining as a child that mirrors could act as gateways, as they do for Lily Cole’s Mermaid here and also that there was a whole new world on the other side.

The Guardian’s weekly blog calls these ideas “high concepts” and I believe that these lifted the fun of the episode to a new level. There were some good red herrings in the plot that were difficult to work out and it was nice that even the Doctor’s reasoning took mistakes to progress, after he initially thought the creature could only appear through water. Then of course the big reveal was that there was another ship, a space ship, sending out a signal from the same place. This was typical Who as the historical fun and detail of the pirate ship was contrasted brilliantly with a sci-fi sick bay. The seemingly supernatural goings on of course had scientific explanations. The idea of a computerised nurse so fiercely protective of her human charges was an interesting commentary on the limits and excesses of technology, and Lily Cole’s turquoise illuminated figure had convincing and captivating FX.

The pirate ship setting, whilst not as impressive as the American locations of the series opening, nevertheless retained an air of higher quality about it. This wasn’t the Doctor running around a quarry or a council estate as he tended to do under RTD. Hugh Bonneville clearly relished playing a pirate and there were some good performances from other members of the supporting cast of swashbucklers. Cole did well despite not having a single line to say. Most of all this episode was a refreshing change of tone from the seriousness of the American episodes, with Rory mucking about under the influence of Mermaid song and Matt Smith unshackled from ambiguous and sexual banter with River Song to simply be a scatter brain genius. Having said this he still had chances to show his range in scenes with Bonneville and then in that climax with Rory and Amy. He continues to impress.

Twitter went mad as the show reached its climax. The general feeling was that a Time Lord who has been round the block a few times would know CPR. I agreed that this was ridiculous. They could have still had a dramatic moment with the Doctor helping Amy. He’s called the “Doctor” after all. The falseness of this moment undermined some of the other strengths of the episode. But they did certainly achieve drama once again and question the strength of Rory and Amy’s love for one another for the umpteenth time.

In terms of the ongoing secrets of the series, I much preferred how this episode handled them. There was a random appearance from the same woman Amy saw in Episode 2 and the Doctor pondering that fluctuating pregnancy scan. But the secrets were slipped into a great story, rather than taking centre stage and becoming too numerous.

Next week’s show, mischievously entitled The Doctor’s Wife (River Song wasn’t in the trailer, but then given the hints being his wife always seemed too easy), looks extremely promising. It could improve upon the simple fun of this show by touching on the Doctor’s fascinating past with more “high concepts”, still being a standalone story and hinting at those continued secrets. Bring it on.

Doctor Who: Series 6: Episode 1 – The Impossible Astronaut


I was blown away by last night’s opener to the new series. It has once again confirmed my belief that Steven Moffat is an absolute, scientifically certified genius. He joins the handful of men whose lives I would like to steal, perhaps via some sort of wickedly clever sci-fi device, that of course, damn him, only he could probably dream up.

I was always a fan of Russell T. Davies and both Eccleston’s and Tennant’s Doctors, but for me there’s no doubt that Davies was always playing things safe now. Moffat has grabbed the nation’s beloved Timelord by the lapels and thrown him headlong into a series of interlinked stories, that are simultaneously the same and completely new. By taking risks Moffat has shown just how masterfully clever, funny, scary and gripping Doctor Who can be. People really ought to see that this is Television at its best, and writing at its best. If they don’t they are dullards with tame imaginations and bland dreams. When they blew out birthday candles as a child they probably wished that the trains would run on time. I’m sticking my neck out here.

But I’m being so uncharacteristically passionate and assured of myself for good reason: The Impossible Astronaut was an impossibly confident and swaggering opening to any series in the world. It wasn’t trying to please or conforming to any tried and tested formula. It was the realisation of playful ideas and desires formed in Moffat’s marvellous head. As several commentators have remarked, this is probably how Moffat always wished Doctor Who should be. He loved it but he knew it could be better. With all of time and space to play with, Doctor Who should never be safe, never be predictable, and never be limited. It should always be surprising and inventive. Moffat sees this.

And how I missed that music! The bow tie, the tweed, that blue box and Doctor Who Confidential!

With last year’s climatic two parter, Moffat showed he could do story arcs, drama and spot on contrast better than his predecessor. This time he’s once again wonderfully flipped expectations on their heads by beginning his second series at the helm with all the secrets and emotional punches of a series finale. And he set it in glorious 60s America!

FROM NOW ON THE SPOILERS BEGIN

He killed the bloody Doctor! In the first episode! And in all interviews he insists it’s real death, seemingly inescapable death, an end beyond even the healing powers of regeneration. All the clues within the show suggest it’s the actual end of the Doctor. Knowing Moffat, the answers to this, the biggest question of all, certainly will not be resolved in the second episode. Of course there’ll probably be a get out but knowing Moffat, not an easy one. The implications will hang over the entire series. And given the way he ended the last series, with the mysterious manipulator of the Tardis still hidden, and the half built Tardis in the Lodger unexplained (it turned up last night though!?), he could well carry the question of the Doctor’s death over to his third series.

 After all the Doctor we’re left with is two hundred years younger than the one so thrillingly and absorbingly killed. Moffat sent him gallivanting through history at the beginning, something Davies would never have done but is far truer to the potential of the character. He is not hopelessly tied to companions; he can travel in time for god’s sake.

The Silence are brilliant monsters. In appearance they pay gothic homage to the classic Roswell alien, but their defining ability is so very Moffat; you look away and you forget you ever saw them. Hence the tagline: “Monsters are real”. The image of them in Secret Service suits was so iconic and striking and scary, but not all that original. Crucially with Moffat it’s the ideas that have to be good first and foremost.

All the performances are improved from last time out, and in particular Smith as the Doctor himself is now completely confident. The role is his own. Moffat’s more intriguing Doctor is his Doctor and vice versa; the writing makes him so good, but Moffat’s writing also needs talented interpretation and portrayal.

So many questions were raised; I worry for even Moffat’s genius as to how they are resolved. The impact of any story arc will be diminished if every episode is so packed with “what ifs” as this one. It can’t maintain such a pace and accommodate endless secrets too. But obviously if I see this, so does the wise one. He’ll have more hints than previous series, rewarding the diehard viewer, but each episode will stand alone and grip in itself. And as I said earlier, Moffat’s disregard of convention will ensure that he doesn’t feel he has to resolve every question in this series. Why shouldn’t he throw all his good ideas at us at once and string them out tantalisingly?

I would now only begin to repeat the more eloquent words of more qualified commentators, so I shall stop and treat myself to watching the episode again. In the meantime check out The Guardian’s excellent, weekly post-show blog and feel free to check back here regularly for my own thoughts.

http://www.guardian.co.uk/tv-and-radio/tvandradioblog/2011/apr/23/doctor-who-the-impossible-astronaut

All hail Moffat! Long live Who!

P.S. He’s put the Who back in Doctor Who and he says this is intentional. Thank goodness, let’s see more of the dark side to such a powerful and fascinating character!