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