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.

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.

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.

Daily Telegraph Ghost Story Writing Competition

In my idle hours today I stumbled across The Daily Telegraph’s ghost story writing competition. I decided to while away my time contributing an entry, but had little idea what I wanted to do, other than something different. The result of my endeavours I entered into the competition, but I suspect it is nowhere near as cleverly composed and close to the original genre as required. I wanted to challenge the idea in the article by the Head Judge that comedy kills a ghost story, but my efforts may prove her right. I think the tension builds a bit too slowly and in the wrong places and the finale is rushed. But I like some of it and will post it here as evidence of my development and boredom

Link to competition here: http://www.telegraph.co.uk/culture/books/bookreviews/8093081/Telegraph-ghost-story-writing-competition.html

“May I sit here?”
“…”
“Excuse me, may I sit down?”
“Oh yes…ah, sorry. Of course.”

He was reading, wading through the thickets of what looked like a cross between an ageing government dossier and an academic paper. Thumbing down the page, he let the bulky scroll slap onto the table and hoisted his bag, a rustic looking holdall bursting at the seams, with a solitary wire peering out from within like a periscope or antennae, onto the seat next to him. I shuffled gratefully into the vacated space. I commenced a brief wriggling and squirming search for comfort. Ritual complete, I fixed my new companion of circumstance with my widest polite grin. His eyebrows flicked briefly in acknowledgement before darting back down to the task at hand. I remember thinking that he resembled Father Christmas on a business trip, a tedious contractual quest for toys that sucked the joy out of his life’s passion. Or Dickie Attenborough in Jurassic Park. Funny that even then his kindly, disinterested face had monstrous associations.

I didn’t so much as glance at the man with the white beard sitting across from me, with the mysterious bag and endless reams of type, for the next hour and a half or so. Once or twice I sensed him slowly twirling his neck in my peripheries but for the most part I was absorbed in my marking and he in his mammoth read. I had only bothered the poor guy, for that’s all he was to me then, a stranger I had briefly inconvenienced, so I could use the table to mark my lower sixth’s Crimea essays. I should have done them days ago but had got caught up in her company, as usual. It was typical of me lately to have left things for a last minute slog on the train, but at that moment I didn’t much care. I scrawled my half-thoughts in the margin, racing to finish and bathe fully in recollections of the weekend. I was oblivious to the gradually darkening sky outside and the black clouds amassing in the distance. I didn’t watch as the night was born prematurely of a congealed, thickening, all consuming blob that would quickly engulf the train galloping towards its jaws. I was blissfully unaware of the twitching forks of lightning flashing electric blue warning signals on the horizon. I did not then regard him or his eccentric belongings as suspicious. I did not regard him at all.

The next thing I knew the carriage’s sickening sway had jerked me awake. Shamefully my head was lolling lifeless on my shoulder, oozing an indulgent drool. The last essay lay untouched on the table in front of me. I wiped the slobber on the back of my hand and scrunched the sleep from my eyes. He was hastily stuffing wires back into his bag, snatching glances at me from the corners of his eyes. I observed him groggily in the black sheet that used to be the window. Total, absolute night had fallen during my slumber. The never-ending blackness was only interrupted by the occasional shaft of sinister blue, winking at me, warning me again. Again I was ignorant; choosing instead to gaze dreamily at the distant amber twinkle of streetlights, rendered a blur by the patchwork of water droplets. He was reading again, deep in thought. A frown furrowed his forehead as I watched his reflection in the mirror of night.

The wobble of the carriage really was unusually vigorous. So I was relieved when the automated squawk of an announcement about suspicious bags was interrupted by the neutral, but alive, voice of the on duty guard. He said something about stopping at the next station for maintenance in a barely audible mutter, laced with boredom and tiredness. I looked briefly about the carriage to find empty seats everywhere. The poor guy must know how few passengers he was addressing and how few were left awake to care what he was saying. I briefly considered hopping across the aisle to the now completely vacant table opposite. But my unintended sleep made this more awkward than staying put, I thought.  The wind howled.

The promised pit stop seemed to stretch on and on. At first I was curious, then concerned, about a series of loud bangs and jolts that didn’t normally accompany such maintenance in my experience. Dickie too, was bothered; even pushing aside his report or whatever it was, going all alert like a Meerkat.  Still though no words were spoken. Eventually sleep crept up on me again, tempting me to embrace the boredom and the rhythmic, soundless splashing of water visible through the gloom on the platform.

This time I woke up dying for a piss. We were no longer stopped. In fact we seemed to be hurtling through the blackness, the whole carriage snaking to the sounds of a gale. I think he was reading as I staggered past him to the WC, but now I’m not so sure. He might have already started. On reaching the toilet I find a makeshift “OUT OF ORDER” notice plastered across it. For some reason I decide it would be embarrassing to retreat past Dickie to the other end of the carriage and the other WC, so I head onward to the next carriage and salvation on the horizon. I considered simply going back to my seat, but I literally felt as if I was about to burst. I jabbed a finger impatiently at the button for the door to the next carriage. The doors didn’t open and the darkness beyond yawned at me through the glass as I hopped and jigged on the spot, frantically pushing the button and then scrambling ineffectively at the join in the door. I wheeled around in a complete circle; no one around to help, no one official. Suddenly the intensity of the blackness in the empty, unreachable next carriage struck me as odd. I peered through the glass at the rows of red seats shrouded in gloom, all the while shaking stupidly. Was there something wrong? Something going on here?

I walked briskly back into our carriage, Dickie now the solitary occupant. He had definitely stopped reading by this point and he had his wires out. This time there was no attempt to hide the contraption he cradled on his lap. The luminous green digits on the carriage clock had faded out to almost nothing, with the exception of a “1” and a “7”, which flashed on and off every few seconds, broadcasting the message “17”. Despite my still swelling bladder, I can’t help but stand rooted to the spot, transfixed by this. I hadn’t been following the time, but I’m sure it must have been approaching midnight when I got up for the toilet. I still needed the toilet. This basic urge and the spectacle of the clock meant I didn’t hear Dickie speaking.

“Spooky isn’t it.”

At first I ignore him and make to head off down the carriage towards the other toilet, but something held me back. I didn’t want to be alone. So I flopped, no for fear of an embarrassing mishap I eased myself back into my seat, and indicated his pages and pages of text.

“Quite the mountain you’re climbing.”
“Oh this? It’s alright really; I’ve read it all before but needed to recap some things. I might have missed something important…”
His voice trailed off. I was about to ask what exactly he was reading when he spoke again, raising his eyes from the device he was fiddling with for the first time.
“You went to the toilet and it was out of order.”
“Yes…” full marks Dickie, I thought.
“Would you like to know why it was out of order? Why so many things have been malfunctioning, why they’ve discretely cordoned off these three carriages, why it feels so cold, why the power fluctuations? Why the number seventeen?”
He reeled off these enticing questions not with any air of mystery or power, but with one of indifference, whilst he went back to manoeuvring wires and turning a large dial at the centre of his gadget, his toy, his gizmo. 
“How can you…? Do you work for the train company? Did I miss an announcement? The number is just a coincidence…”
“Oh no it’s all connected. And I work for humanity.”
“…”
“That is to say for the good of mankind. For its protection.”
“…”
I stared at him blankly. I still needed to pee and didn’t have time for this old guy’s games. Just my luck, Dickie was insane. Bad choice for a partner in a power cut. I started to get up with the intention of finally relieving myself in the other toilet. I told myself to man up and get over my stupid irrational fear of the lonely rattling murk.
“A paedophile slashed his wrists in that toilet almost six months ago and this train has been plagued with problems ever since. It’s riddled with faults. They refuse to admit that the issue is supernatural. I’ve told them again and again they would need my help. The number just confirms it.”
“What!? What are you…?”
Dickie wasn’t finished.
“His case notes show that the deceased consistently claimed that the girl he raped and later murdered, claimed she was seventeen years of age. She was eleven.”
I had frozen in the aisle. Dickie was sick, I thought. Could Dickie, I wondered, also be dangerous? At that moment the dial on his blob of wires clicked loudly into place. My whole frame shuddered involuntarily. Dickie twisted the dial and a high pitched beeping began.
“Yep. He’s here.”
The remaining lights went out.

*

I’m pretty sure a lot of what happened after that is still suppressed somewhere in my mind. She keeps telling me I should get some therapy to sort it out. But why inflict that on a therapist? They’d either label me insane or join me in the madhouse if they truly understood. I don’t understand what happened, neither could they. Why spread the misery? I do remember Dickie telling me not to move. For quite a while I remember him urging me, in a low, gentle voice, how imperative it was not to move, not to disturb his “zone”, not to anger him. Then the monologue began.

It was definitely Dickie’s voice doing all that ranting and raving, and yet it was not Dickie’s voice. Every now and then what sounded like the real Dickie would break through and manage to say something to interrupt the flow in a choking, rasping croak. Distressingly though whenever it did really sound like him, he simply reiterated the same unhelpful advice; do not move. I wanted to run and keep running. I remember staring at the only source of light left; that blinking 17, trying to block out the tortured tale emanating from Dickie’s body, which I could feel writhing in its possessed state over my shoulder. My natural defences have done a reasonably good job of deleting that twisted monologue, but certain phrases still come to me at night in dreams, vivid and alive like he were whispering in my ear. Then I wake up, sticky and warm all over with sweat. And in my half-awake, half-asleep state, I imagine I am covered in blood, his hot, dirty, vile blood in that clattering WC. Then I vomit and an attendant comes in with a mop.

I really wish I could remember how Dickie came to be on top of me, covered in blood, a cold corpse. How the window came to be smashed, how his beeping gizmo had vanished. How the howling tube, speeding through the storm, came to be serenely waiting at the platform, undamaged, unblemished. How the knife got into my pocket, covered in my DNA, my fingerprints, Dickie’s blood. But I don’t need counselling, therapy doesn’t work and I don’t believe in ghosts.