I can’t work out whether or not I’m a massive fan of All Watched Over by Machines of Loving Grace yet. It’s been recommended to me by several people and I finally watched episode 2, about the illusion of self-regulating ecosystems, and a lot more. On the one hand it’s clearly very different, ambitious and bold, and should be applauded for a rare example of demanding and ideas driven television. But then it also seems simplistic and forced at times, especially when trying to bring the focus of its enormous scope back to its core theme of the influence of machines.
There’s definitely a strong chance that I simply did not fully understand the programme. I am still digesting the theories in my head and the central thrust of its weaving argument. I think my only reservations about it stem from the fact that All Watched Over by Machines of Loving Grace relies on being an impartial, enlightening and myth busting statement. Clearly though it has its own agenda and world view.
Whilst most of the analysis and arguments are sound, indeed I agree with most of it, I was slightly annoyed at times that a programme attacking deceit was playing its own tricks on the audience. Now and then the tone veered across a line from informative and intelligent to preachy and patronising.
However I will be watching more of the series. Undoubtedly I enjoyed it. Indeed whilst I moan about the programme’s own agenda, it was refreshing that this was something with a worthwhile point to get across. Somehow it encompassed vital but mostly overlooked elements of formative 20th century history, scientific theory, cultural shifts, communes and topical stories like the Arab Spring and even the Big Society.
I’m not going to delve into the depths of the arguments here because even though I have my opinions they will be convoluted and poorly expressed. For the most part though, rest assured, All Watched Over by Machines of Loving Grace talks valuable sense. It is clever. But don’t be intimidated as it’s no bad thing to question the weaknesses of its points either, as there are clearly holes in such an admirably ambitious undertaking.
Aside from the substance, the style is a delight. Weird and wonderful archive footage is mashed together to give a vivid sense of the times, as well as the spooling complexities of some of the theories. The narration is mostly engaging but sometimes repetitive and, as I’ve said, patronisingly simplistic. However one of the good points to take from All Watched Over by Machines of Loving Grace is that in the past solutions have tended to be unnecessarily complex in pursuit of unrealistic ideals.
Enough vague waffling about something that, basically, you should watch to judge for yourself. And onto Wall-E, one of just a handful of Pixar pictures I hadn’t seen. Last night, at a silly early morning hour, I decided to finally meet the lovable waste management unit on iPlayer.
Wall-E has everything you expect from Pixar, and more. Not only is it touching, funny and heart warming, with a particularly poignant and understated love story, but it makes political points too. This certainly isn’t the complex, deep level of commentary on offer in All Watched Over by Machines of Loving Grace, but rather symbols highlighting contemporary and sometimes controversial problems.
Some themes certainly do overlap with All Watched Over by Machines of Loving Grace, mainly to do with mankind’s dependency on technology. In Wall-E the point is predictable and hardly subtle, with robots scurrying round to cater to our every need and humans literally not having to leave their hover chairs. But for children’s animation this is still a film with some brains as well as that required Pixar heart.
The key point Wall-E has to make is about over consumption, with Earth so littered with waste that humans have had to take an extended space cruise. But this 90 minute romp also touches on the power of corporations, advertising, global warming and junk food. We get so fat we can’t stand and so pampered and manipulated that we can’t think.
The real magic is that all of this is seamlessly stitched into a charming and compelling story though. Wall-E stands out from other Pixar creations because it’s given space and all its sci-fi trappings with which to visually dazzle, and also because the protagonist barely speaks. Much of Wall-E is without dialogue and the wonder of silent movies is recaptured, especially when he’s making use of his extensive collection of human memorabilia and music. Stripping away everything else allows the best of Pixar to shine.
So if you’ve got time on your hands head over to BBC iPlayer for a thrilling and touching journey with Wall-E through outer space, and an intelligent and inspiring tour of our recent past with All Watched Over by Machines of Loving Grace.
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Am I getting overexcited if I say that this episode had everything? The Guardian series blog says that at its heart this was just a story of love between a man and his car, “perfectly pitched”. But I think that’s a simplification of the abundance of ideas in The Doctor’s Wife and a misunderstanding of the bond between Doctor and machine. If the TARDIS is a car it’s the fastest and most exclusive vehicle on the roads. And the machine is so deeply rooted in Time Lord culture, carrying such a magical image with divine possibilities, that its equivalent as a car would have to be the very latest model opening up the world for travel in a time of horse and carts. The Doctor, after all, is more than just a poser in a Porsche; he’s an adventurer, explorer and conquering genius. And the TARDIS is his home, the one constant in his lonely existence.
There is too much to talk about after such a spot on execution of a tantalising premise. I had not heard of Neil Gaiman before this week but he brings a distinctive and fresh feel to this episode, with its industrial junk and grimy Victoriana costume. Yes we’re clearly in the classic setting of a quarry, but it isn’t samey; the set is wonderfully lit and decorated to create a unique rubbish dump environment.
His glittering CV in sci-fi and fantasy is evident everywhere but Gaiman also grasps the history of Who and mines it for inspiration. More than any other incoming writer he creates a fan fest for die hard followers. The focus on a personification of the TARDIS and distress calls from Time Lords such as the Corsair, provides the pudding for lifelong Whovians, whilst the running around corridors is a classic treat many newer fans will have missed from the RTD era.
But it’s not just running around corridors. With the jaw dropping concept of the soul of the Doctor’s beloved blue box transplanted into a woman, it would be easy to gloss over the scenes with Amy and Rory. There’s no doubt that the Suranne Jones and Matt Smith double act steals the show. However the scenes with our married couple continue running themes of Moffat’s reign, raising further questions about the story arc.
What is it with constantly killing Rory? Mysterious and powerful entity House, brilliantly voiced by Michael Sheen, twice kills him with his hallucinogenic tricks. He also turns him against Amy, which is something many are saying might happen for real later on. There are chilling psychological scares with “Kill Amy” daubed all over the walls and some classic Whovian prosthetic frights with the tentacle strewn beard of the Ood.
What next? How about the marvellously creepy and eccentric Auntie and Uncle, both “patchwork people” continually “repaired” by the sadistic House? They add a delightfully quirky touch with touches of humour as well as menace. And Auntie, with what many might have missed as a throwaway line, hints at the story arc of Amy’s pregnancy. She grabs her and says “House loves you” and given that House feeds off of Time Lords or at least their TARDISes, are we meant to take that as a hint that the regenerating child at the end of The Day of the Moon is Amy’s? How on earth do the Doctor and Amy have a child? Is this just an elaborate red herring?
Enough speculation and back to the genius of this episode. House is a great idea for an adversary for the Doctor, an intelligent “entity” and one that simply wants to feed off of Time Lord energy, whilst also having fun with his food. The lovely sci-fi idea of a “bubble on the outside of a soap bubble” of the universe was also introduced through fantastically playful dialogue. Suranne Jones, effectively playing the TARDIS, did an absorbing and varied job of realising the rest of Gaiman’s excellent lines.
Indeed Gaiman’s script was perfectly structured as the TARDIS adjusted to human form, moving the character from nonsense, by degrees, to harmonious cooperation with the Doctor. This is an episode that really rewards a second viewing, as all the seemingly mad ramblings from Idris/TARDIS at the beginning, turn out to be quotes from later in the script or confused foresights from the time machine of what’s to come. For once the accompanying episode of Doctor Who Confidential was a total joy, as Gaiman read extracts from his screenplay that sounded more like intoxicating poetry and far better in many ways than the action brought to life in the episode itself.
Other odds and ends then: Matt Smith was excellent, getting the chance to be emotional, crazy and angry and determined. If we didn’t get many answers relating to this year’s story arc, we did get some partial ones to age old questions about the TARDIS and the Doctor’s past. For one thing we finally ventured beyond a control room. Ok the budget didn’t stretch to that swimming pool, but there was a lovely cameo from Tennant’s old control room. The TARDIS, given a voice, was at pains to say it was she that chose the Doctor to see the universe, not the other way around. And a satisfying explanation for all the random thrills and battles with evil: “You didn’t always take me where I wanted to go,” /”But I always took you where you needed to”.
After last week’s enjoyable run around, The Doctor’s Wife was a romp, romance and refreshing ideas episode rolled into one. Hopefully Gaiman will be persuaded to return and deliver the kind of one off story Moffat used to do so well. Next week The Rebel Flesh looks set to bring back some sort of Cassandra like creature. But things still look dark, dingy and dangerous.
P.S Are all humans like this? Bigger on the inside?
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After getting the ball rolling last month with the underwater mad, but still in my view underrated Thunderball, I was looking forward to sitting down to the even grander and more SPECTRE dominated You Only Live Twice. Here was a Bond film not only hell bent on exotic thrills but a whistle-stop tour of Japanese culture for a Western audience. With such a diverse location to work with, a script adapted by Roald Dahl from one of Fleming’s best novels and the fresh direction of Lewis Gilbert, this would surely be bigger and better Bond. I licked my lips at the prospect of rediscovery.
Unfortunately I came across a substantial stumbling block perusing the beloved and holy row of Bond DVDS. I do not own a copy of You Only Live Twice. I am anxious to keep this knowledge from my friends. Among them my, perhaps unhealthy, obsession with all things 007 is the stuff of notorious legend. I am counting on the fact that they are not good enough friends to read my blog.
You might ask why I haven’t simply gone out to buy a copy. I am not marooned on a desert island with no access to British high streets and if HMV should prove woefully stocked the internet is of course at my disposal. If it were a missing fragment of any other film series I wouldn’t hesitate. But my James Bond collection is comprised of two disc Ultimate Editions with beautiful matching packaging. To my horror, around the release of either Casino Royale or Quantum of Solace on DVD, the Ultimate Editions were re-released with all new (and vastly inferior) packaging. Reluctant to tarnish the perfection of my sacred DVD area, I have refrained from buying a newer copy of You Only Live Twice and have been unable to find a copy to match my collection.
Oh I know you feel my pain reader. Life is a cruel and unpredictable mistress. I felt resigned to my fate and the torturous wait till June where the snowy delights of On Her Majesty’s Secret Service lurked in the Alpine trees. I was on the verge of giving up and leaving a gaping hole in my own personal BlogalongaBond journey. But then I got to thinking: why didn’t I own You Only Live Twice? Why hadn’t I made it a priority when assembling my shrine to the world’s most recognisable spy?
For Sean Connery of course it was the film that took the character too far and into the realm of the ridiculous. He resented the space age driven plot and the increasing repetitiveness of the one liners. In particular he must have felt like a first class prat being initiated as an honorary citizen of Japan, with a haircut that made him look like a monk (perhaps M really did want him to be “half monk/half hitman”). For fans looking back on the whole series of 22 films, Connery’s concerns might seem rather unfounded compared to the silliness to come with the Moore era. But clearly the Scot didn’t agree with the direction of travel away from intimate plots like those in From Russia With Love. The scale of this, the franchise’s fifth film, couldn’t be beaten without being dreadful.
I think some of Connery’s conservatism must have rubbed off on me. As a child YOLT was one of my favourite Bond entries. In particular I thought the climactic battle at the volcano base was one of the most exciting things in the universe, a totally awesome shootout with the baddies. I would have called it “an engrossing and epic finale on an impressive scale. One of the classic scenes in film history” had I had the required vocabulary. I also loved all the scenes featuring Little Nelly, as my Dad would chirp on and on about it, building the anticipation until the treasured scene would grip the household with awe and laughter.
But then as a teenager I obviously sought to reject the things my parents thought of as “good”. Little Nelly became silly. It was the sort of bland nonsense my Dad would always blabber on about. Later on I would find my love for Bond rekindled by the approach in Daniel Craig’s Casino Royale, so that I rapidly acquired and devoured the books (none of Fleming’s are missing from that collection). So enthralled was I by the dark and bleak novel that pushed Bond’s character to the limit, that my attitude to the film as a whole became lukewarm at best.
Most of all it was my view of Blofeld that changed so dramatically after reading YOLT the novel. I was struck by the complete contrast between the cinematic and literary characters, even in terms of physique. In the books he was tall, in the films a short, bald, fat and often wheelchair bound man with a fluffy white pussy. I don’t mean that he was a woman; the contrast wasn’t quite that shocking.
Anyway I might be being unfair because it’s Austin Powers’ Doctor Evil that creates such a daft cultural vision of Ernst Stavro, rather than the portrayals from the Eon films (aside from perhaps the PTS of For Your Eyes Only). But after reading the book I was no longer captivated by Donald Pleasence’s iconic performance. He was THE Blofeld to me and countless others, but after my personal enlightenment he became a wasted opportunity, a stupid cardboard cut out villain and an imitation.
I’ve already mentioned that unintentionally hilarious assimilation of Bond into the ninja community, which ruined the pace of the film and its focus upon Japanese culture. Another definite reason I came to find YOLT a turnoff was that it tried too hard to do its location justice at times, almost showing too much respect. That is not to say there wasn’t beautiful cinematography of the landscape and cities, just that too much was made of the whole “culture clash” angle. Having said this there were some wonderfully contrasted Ken Adam interior sets, which simultaneously showcased the equally beguiling faces of modern and traditional Japan.
In the aftermath of the recent earthquake and tsunami it is fitting and poignant to watch YOLT this month. Sadly, as I’ve explained, I am not. Everything I have said so far I have said from memory. Some of these files have been saved since childhood, others downloaded from more recent viewings. The trend seems to be that boy me loved it, more recent me had reservations. There are things about the film that the younger me hated that I now love however. Nancy Sinatra’s title song was whiny and not very Bondian back in the 90s, but now I find it a refreshing and beautiful track. Likewise John Barry’s score, which picked up substantially on the Japanese themes at times if memory serves me right, now strikes me as majestic when once it was irritating and plodding (not that I’d have used those words).
I genuinely wish I owned YOLT on DVD, despite what might be a tone of negativity coming across because of my love for the pages of the book dripping in revenge and sensual doubt. I know that the last time I saw the film on TV I found it to be a wonderful snapshot of both 1960s and Japanese culture, with fun as well as thrilling moments and the fresh angle of the space race. In many ways it is the classic film of the entire franchise, adhering more to the globally recognised Bond formula than Goldfinger and coming complete with spiky dialogue with Blofeld; the ultimate confrontation.
But perhaps this is also why I can’t quite bring myself to love YOLT. Like Connery, and with the added benefit of hindsight, I see YOLT’s sensational and epic tone as the start of a trend away from the style of the early films. I adored these grander and dafter cinematic Bond adventures for different reasons, but in the early films I could indulge my love for the books and the movies at the same time. Whilst good, perhaps YOLT symbolises the end of my own personal Bondian bliss and this is why my memories of it are so mixed.
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The result was crushing. A firm no to electoral reform and a pummelling at local level for Lib Dem councillors is a devastating double whammy. The road back to even slight popularity will be rocky and steep, with huge risks of even further falls on the way. The media were quick to pounce on the misery of Clegg and the tensions within the coalition. Whilst exaggerated, there is no doubt that the coverage accurately reflects a permanent shift in the dynamic of the parties in partnership.
Firstly then why was the defeat so bad? And why did the Conservatives not only escape punishment but considerably strengthen their position with gains? In many ways it is pointless to dwell on the results. What’s done is done. Liberal Democrats across the board are declaring the need to move on and get on with the job, seemingly out of bitterness, but also out of practicality and necessity. It is perfectly understandable however that some big names, such as Cable and Huhne, have lashed out at their Tory coalition partners in the dizzying spiral of disappointment and defeat.
They feel, rightly, that their party has become a human shield. They feel that they are victims of immense unfairness, ironic given that the core of their policies on tax, education and indeed the voting system, are intended to increase fairness. The Liberal Democrats had to enter into coalition with the Conservatives. Labour was never a viable or democratic alternative. A minority Tory government would have been ineffective and lacked any Lib Dem input on policy, whether as a restraining or creative force.
They were damned if they did and damned if they didn’t. Clegg would never have been forgiven had he passed up the chance to introduce a host of coveted Liberal measures. As I’ve argued before Clegg also saw an opportunity to open up politics. By showing that coalitions could work, the old seesaw between Labour and the Conservatives would be challenged. Consensus and cross party collaboration would produce broader ideas and solutions to the bigger issues, in a 21st century where ideology is far less important than results, to voters at least.
Where they went wrong is debatable. There are obviously a range of reasons. But primarily it seems to be that too much eagerness and what’s been described as “personal chumminess” between Cameron and Clegg, was on display. The broken promises therefore appeared to be callous and genuine deception, rather than an inevitable concession from the minority partner in coalition. On tuition fees the Lib Dems made the mistake of trying to claim that the new policy was a better one because of changes they instigated. They needed to make a greater show of their overwhelming reluctance to charge fees at all, whilst still championing the restraining measures for fairness that were their doing.
Ultimately it all comes down to Clegg’s economic gamble though. I am still not sure just how fully he buys into George Osborne’s interpretation of the crisis and his drastic solution. It may well be that privately Clegg still stands by his pre-election comments, that the deficit should be reduced gradually with a focus on growth in the short term. Adopting the Tory approach could be the primary price of going into government for the Lib Dems. But publicly he has signed his party up to comprehensive cuts in public spending that are at odds with the instincts of most Liberals. And you’d have to say that Clegg must believe the Conservative plan will eventually lead to growth, because if it doesn’t his party will be battered once more come the next General Election.
Certainly earlier this year I wrote about a speech in which Clegg made the most compelling argument thus far in favour of extreme deficit reduction, which essentially boiled down to longer term sustainability and strength in diversity for the economy. I still think he may be torn though and that he might accept some of Labour’s arguments that claim a slower pace of cuts would have restored greater growth sooner.
With regards to the referendum on AV Clegg clearly made an error when choosing the date. The key reason for Yes2AV’s failure was that their argument became inseparably embroiled with party politics and the local elections. Clegg’s personal unpopularity rubbed off on the campaign for reform, mainly because of dirty tactics from the No camp. Yes2AV also made ridiculous unrealistic claims about accountability, rather than keeping their argument simple. Celebrities made a late push for reform at a rally but by then it was too late, the argument should have been made more forcefully outside of the political sphere weeks before May the 5th.
Of course the important and interesting question now is what do the Lib Dems do to recover? And how will this affect the coalition? Paddy Ashdown, the former leader of Britain’s third party, was on Question Time on Thursday. He spoke eloquently and with reason on foreign affairs, prompting cheers and claps from the bulk of the audience. But when it came to domestic politics he found himself bogged down by the harsh public opinion of Clegg, so very different from the polls after the TV debates over a year ago. He valiantly defended the courage of his party’s leader under fire but could only react with frustration when the audience flatly refused to hear him out.
Clegg continued to show that courage in an interview with Andrew Marr on Sunday. Given the pictures of his gloom and the mountain to climb left by the results, Clegg gave remarkably assured answers and honestly asserted that he’d misjudged things, and that the Lib Dems needed to have a “louder voice” in the coalition. He spoke of the need to sing about the unexpectedly high number of Lib Dem manifesto policies being implemented. But in many ways all this was predictable and necessary.
The efforts to give his party an individual and distinctive again will undoubtedly begin to heal the wounds of defeat. He needs to show greater reluctance when he must go along with Conservative plans, pick the Tory policies he does oppose carefully for maximum impact and point out measures that perfectly illustrate the moderating influence of his party. Clegg has already worked out that NHS reform is the best way to begin a recovery, threatening to block it and demanding changes are made to meet concerns. However what would really give the Lib Dems a distinctive voice back is to propose and explain policies they would be implementing without the Conservatives.
What I mean by this is to set out policies, on tuition fees for example, that the Lib Dems would implement if they had the ideal (but unlikely) scenario of a majority government. These policies should be calculated to appeal to Labour voters and those within Labour potentially open to coalition. The Lib Dems need to reach out to Ed Miliband or those around him with influence, to stop him pounding the human shields of the coalition as opposed to those in the driving seat. A senior figure in the party, perhaps likeable President Tim Farron, should be chosen to run what would almost be an alternative Lib Dem opposition.
I accept this would be difficult to handle and could shatter trust and cooperation with the Tories. Many might say it’s impossible. But as long as Clegg and key Lib Dem ministers weren’t directly involved, the group did not challenge specific government policy and simply proposed Lib Dem alternatives not covered by the coalition agreement, there would be little the Tories could do to stop it. AV may be lost but the Lib Dems have plenty of arguments they can still make that are unique to them. They must take the philosophy behind AV, choice and fairness, and tie it to attractive policy. For example their manifesto went further on tax, transport, energy and the House of Lords. Choice is the key to freedom in a modern society and the Lib Dems must make the case for the state actively empowering individuals. The Liberals must show how they would liberate.
It’s probably better for Clegg to keep his head down for a while and continue to soak up pressure whilst his party recovers independently. Clegg’s popularity will take longer than his party’s to heal. But this does not mean he is the wrong man to lead it. He has for the most part taken bold decisions both in the national interest and to achieve greater fairness sought by his party’s voters. He has had to concede costly economic compromises, but to overcome these he must be bold again. Frankly after the tactics of the No Campaign, so wholeheartedly backed by Cameron, Clegg must dirty his hands a little. A louder voice will only convince dispirited voters if it hints at what the coalition is doing wrong because of the Conservatives, as well as what it’s doing right because of the Lib Dems.
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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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