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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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.
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Whilst I was primarily wowed by last week’s opener to the new series, I wasn’t the only one having worries about the abundance of plotlines being introduced and secrets set up. And with this second episode, cracks in Moffat’s genius are beginning to show.
I know I never thought I’d hear myself say a bad thing about the man. But Day of the Moon simply tried to do too much. The really sad and disappointing thing about it is that it’s made of sublime component parts; it just didn’t work as well as it could have done as a complete whole.
The start of the episode was really impressive. All three companions seemingly hunted and gunned down in stunning and iconic American locations by the FBI. The Doctor locked up in Area 51 with a striking beard and strait jacket. Then of course a brilliant escape. It’s here perhaps that the flaws start to show however. Was anyone else baffled by the need for such an elaborate plan? Especially when later in the episode they simply wheel out President Nixon as the ultimate authority in their favour? Ultimately you can ignore the implausibility of our Timelord’s scheme for the added benefits to the drama; the cinematic scale of Americans locations, the stunning CGI shot of Apollo 11, a swimming pool dive from River and a seemingly bearded and beaten Doctor.
It’s later in the episode, around the middle, when the dialogue gets so bogged down with secrets that can’t yet be revealed, that as a standalone episode Day of the Moon begins to unravel somewhat. It’s simply unsatisfying for an audience to have so little payoff on the hints of huge revelations. In many ways Day of the Moon is too similar to the first episode; I was expecting it to leave a great many of the secrets untouched, to wrap up the story of The Silence in suitably engrossing style. In the end the Doctor sees off the terrifying foes rather easily, even if we’re told that this isn’t quite the end of them.
With the concluding two parter of the last series Moffat demonstrated his understanding of the impact of contrast, and there is not enough contrast between these first two episodes. The scenes in the children’s home are too similar to those in the tunnels at the end of The Impossible Astronaut. They have some wonderfully, typically Moffat ideas that are truly haunting, but throw in all the stuff about Amy’s baby and the completely confusing space suit and it’s all too much. These scenes with images of “Get out” scrawled on the walls and markings on Amy’s skin could have formed the foundation to a brilliant episode, but they are overshadowed by random but no doubt significant moments like the woman saying “she’s just dreaming” from behind the door. They also don’t sit right with the light hearted, race against time that’s the rest of the episode.
I’m not saying that I did not enjoy Day of the Moon. I am probably just bitter because it so completely baffled me and I’ll look back on it more fondly with hindsight. There were undoubtedly more than a handful of classic moments, and some brilliant dialogue. But it all just felt rather disjointed and overloaded. The relationships and jealousies between the companions are almost beginning to resemble soap opera. Here’s hoping that next week delivers a cracking and clever story truly independent of the secrets of the series.
Of course I’m not going to sign off without mentioning the Timelord child. Is it Amy and the Doctor’s? That’s the constant suggestion, which means it’s not as simple as it seems. Not that it does seem simple. I’m confused. And I have mixed feelings about it. Whilst Moffat should continue to push the boundaries of the character and take risks, he also could push it too far. One thing’s for certain; it’s worth sticking with the series to find out if its fetish for cliff-hangers becomes misguided or is sheer genius.
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