Showing posts with label Peter Bennett. Show all posts
Showing posts with label Peter Bennett. Show all posts

Sunday, June 14, 2015

#11 (8.11 - 8.12): Death in Heaven.

The Doctor fails to recognize an old friend...











2 episodes: Dark Water, Death in Heaven. Approx. 107 minutes. Written by: Steven Moffat. Directed by: Rachel Talalay. Produced by: Peter Bennett.


THE PLOT

Clara calls Danny, determined to come clean about her continued travels with the Doctor. She begins by telling him that she loves him. She never gets any further. While they are talking, he steps off a curb onto a street and is killed. Alive one second, dead the next.

Clara announces that she not only deserves better, she's "owed." She calls the Doctor and hops into his TARDIS, pretending nothing is wrong. She wanders around the console room while chatting, picking out every one of his spare TARDIS keys, and then knocks him unconscious. When he wakes, she threatens him with the destruction of every key unless he agrees to go back and save Danny.

The Doctor goes one better, with an idea to save him that will not violate the laws of time. He will take use the traces of Clara's subconscious still within the console to follow Danny's trail - materializing the TARDIS in the Afterlife.

Whatever they expect, they end up finding something very different. They materialize in a corridor of "The 3W Facility," in which the bodies of the dead are suspended in water that reveals only their organic tissue - Their skeletons. Dr. Chang (Andrew Leung), a scientist at 3W, reveals that the skeletons are actually in a metal casing, which cannot be seen through the water - News which makes the Doctor wary.

With good reason. By coming to 3W, he has sprung a trap set by "Missy" (Michelle Gomez), an old enemy in a new form. The dead have been converted to Cybermen - And Missy plans to set them loose on Earth, gloating that the human race's greatest weakness is that "the dead outnumber the living!"


CHARACTERS

The Doctor:
"Do you think I care for you so little that betraying me would make a difference?" The Doctor brushes aside Clara's attempted betrayal as if was nothing - In fact, he seems far less affected by it than he was by her chewing him out! Though pulling Danny out of the Underworld is the actual goal here, he still warns Clara to "be skeptical and critical... even if it breaks your heart." The end sees him fully ready to kill in cold blood, a decision that's taken from him by an unexpected intervention.

Clara: If you have ever let this creature live, everything that happened today is on you. All of it, on you!" Clara's determination to force the Doctor to save Danny is convincing enough to be almost frightening, and her horror when she believes anger has pushed her into destroying the last TARDIS key is wonderfully played. You can read the line, "What have I done?" flying silently and desperately across her face. Also good is her pain as she listens to Danny's voice on the phone and forces herself to question him, her despair growing as he can't give answers. Part Two loses track of Clara for too much of its running time, but her anger at what's been done to Danny fuels much of the climax.

Danny: Is dead. And, I'm sad to say, I'm rather glad. I noted in my review of The Caretaker that Danny too often was coming across as Rory 2.0... and he's been nothing more than that ever since. Anderson has done a creditable job with the thin material he's been given, and it's nice that Moffat does remember to tie up Danny's "very bad day." But that, and a last jibe about the Doctor keeping his hands clean by having Clara be the one to end matters, aren't enough to make me sorry about losing him. The character had potential and the actor was good - But the series lost interest in him about half a season ago. In the end, Danny Pink represents a rare failure in a mostly excellent season.

Kate Lethbridge-Stewart: Jemma Redgrave returns, and is as welcome a presence as she was in her appearances last season. I particularly enjoyed her exchanges with the Doctor about Brigadier Lethbridge-Stewart. When the Doctor criticizes her strongarm tactics by invoking her father, she tells him flatly that they both know full well that he would have done the same. A rare quiet moment sees them looking at the Brigadier's portrait, her musing that he always wanted the Doctor to salute him and him replying that all he ever truly had to do was ask.

"Missy": Michelle Gomez's season villain, glimpsed in multiple episodes, finally gets her big moment, complete with a big cliffhanger reveal as to her true identity. The reveal works, as does Gomez's performance. As with most of the series' major players, she shows strong chemistry with Capaldi, and their interplay is a highlight of the story. A good feature is that neither Capaldi nor Gomez play their confrontations as enemies. These are two friends who took very different paths and have very different values, but who do at heart miss and even like each other. Since a return of this villain has already been confirmed, I hope more is done with this specific character beat.

Cybermen: Basically just plot devices. This isn't a Cyber-story, they're just the mechanism through which Missy intends to achieve her goal. The conversion of the dead into Cybermen is less effective than seeing living humans turned into these creatures, because there's no horror of watching an individual be transformed - particularly when two of the individuals in question are allowed to retain their identities and core values. I would actually have preferred it if these were simply a generic robot army (since that's basically what the Cybermen are reduced to here) - but then we wouldn't be able to end Part One with a visual nod to The Invasion, as the Cybermen march once again outside St. Paul's Cathedral.


THOUGHTS

After two years of only single-part episodes, seeing a two-parter with a proper cliffhanger is extremely welcome. Steven Moffat has already confirmed more two-parters for Series Nine, so it seems that the experiment of making all stories one episode has finally been declared over. The cliffhanger is a good one, too: Cybermen in London, Clara in imminent danger, and the reveal of Missy's identity... Very hard not to push on straight to Part Two from there!

As is often the case, Part One is the stronger episode. It is tightly-paced, with new twists and revelations coming throughout. There are several effective moments, from Danny's death to Clara's betrayal to her phone conversation with Danny to the revelation of the Cybermen and Missy... Really, the whole hour is an extended string of terrific scenes, all of them focused and unified.

Part Two loses a lot of that focus. Once Kate and UNIT are introduced, the narrative all but loses track of Clara until the last twenty minutes. The UNIT scenes also do very little to advance the story. If Missy simply took the Doctor prisoner and escorted him to the graveyard, the plot would make every bit as much sense and be a lot more focused. All that would be lost would be some fan-pleasing cameos, an unexpected character death, and an action scene - none of which are actually important to the plot.

Lest this start sounding negative, I should say that I enjoyed the whole thing. The first episode is terrific. The second episode loses focus, but remains fun even if most of the middle isn't actually necessary to the story. Most of the character scenes work, the "big" scenes are as effective as they're meant to be, and the two hour running time passes quickly.


PROLOGUE AND EPILOGUE

The two scenes bookending the story are among the best writing Steven Moffat has ever done. Danny's death is stunningly well-done. There are no emotional histrionics, no swelling music or slow motion. We're just watching two characters having a phone conversation, followed by silence - Silence which lasts just long enough for us to know something's wrong before a kind woman's awkward voice tells Clara there's been an accident. It hits because it's the way such a moment plays out in reality. One moment someone is alive, one moment they're dead, and on a phone call you never even know how much was heard before that final second.

The epilogue is equally good, a perfect bow tied around all the deceptions and lies between the Doctor and Clara all season long. The Doctor is so convinced that he's found a way to return Danny to Clara that he lies to her about his own state so that he can nobly get out of her way. Clara is so convinced the Doctor is ready to move on with his life, she lies that Danny is back so that she can nobly get out of his way. These are two badly-damaged people who desperately need each other... But they can't stop lying long enough to recognize that they are both in equal amounts of emotional turmoil.

What comes between these bookends is slightly overbusy and unfocused, true... But those two scenes are flatly excellent, and the rest is never less than entertaining. The two-parter as a whole does not rank among the season's highlights in my opinion... But it does have several excellent moments, and even with its faults it remains a more than respectable close to the best Doctor Who season since Series Five.


Overall Rating: 7/10.


Previous Story: In the Forest of Night
Next Story: Last Christmas (not yet reviewed)


Search Amazon.com for Doctor Who


Review Index

Monday, May 18, 2015

#8 (8.8): Mummy on the Orient Express.

66 seconds: The countdown begins...











1 episode. Approx. 48 minutes. Written by: Jamie Mathiesen. Directed by: Paul Wilmshurst. Produced by: Peter Bennett.


THE PLOT

Having had a chance to calm down after the events on the moon, Clara has agreed to allow the Doctor to take her on one last trip. The Doctor chooses the Orient Express - not the classic train connecting Europe and the Middle East, but rather an exact replica - in space in the distant future, but decked out to look like the 1920's, complete with passengers in period costumes.

Their interactions are awkward. Clara doesn't quite know how to say goodbye (or if she really wants to), while the Doctor doesn't quite know how to ask her to stay. Fortunately, their impasse is broken by some good old-fashioned mayhem. The Foretold (Jamie Hill) is a mummy, a creature of legend that can only be seen by the victim it is about to claim. Once you see the Foretold, you have exactly 66 seconds to live.

The Foretold is on this train, picking off passengers and crew one by one. And the more the Doctor investigates, the more certain he becomes that this is all according to some unknown figure's design...


CHARACTERS

The Doctor:
We've seen all season how this Doctor avoids emotional reactions - turning away from Gretchen's self-sacrifice; being bewildered by a kiss of gratitude from a woman he saved; being first confused, then near-desperate to appease, in the face of Clara's rage. We see that again in the early scenes of this episode. He can't quite grasp what Clara's sad smile means, complaining that it's like two emotions at once - He just can't decode it. Later, when he decides there truly is a mystery to solve, he stands uneasily at her door, not certain whether to wake her up to join him or leave her to sleep.

As bad he is with emotion, that's how good he is with intellectual puzzles. Once all the scientists and experts on the train realize that The Foretold is very real and coming for them one by one, he is constantly in motion, using each 66-second opportunity to gather as much data as possible, then using the gaps in between to process it. When he finally defeats the monster, it's a breathtaking scene, superbly scripted and acted as the Doctor uses every precious second to gather the last shreds of data before acting.

Clara: I'm not in any way advocating for a return to the Doctor/Companion "almost-romance" of the previous season... But I will say that as much as I enjoyed Jenna Coleman in Series Seven, she has much stronger chemistry opposite Peter Capaldi than she did opposite Matt Smith. When she's taking his arm, half-listening half-sadly as he rattles on about dead planets, she feels more like she belongs there than she ever did with the Eleventh Doctor... And in the ending scene, when she looks at him and finally sees the hero again rather than the flawed man, the hunger in her face for more adventures is tangible.

Danny: Is on board with Clara taking one final trip with the Doctor, and tells her that "dumping him sounds a little 'Scorched Earth.' You still basically get on." She's evidently not convinced by his expressed willingness for her to travel with him, though, as she lies to both Danny and Doctor at the end; she doesn't tell Danny she's continuing to travel, and she lies to the Doctor that Danny is fine with it. This is a lie that will certainly come back to haunt her - Though I'm guessing not until the season's end.


THOUGHTS

That was terrific. The Doctor/Clara awkwardness does just enough to follow up on the emotional turmoil of Kill the Moon, while making sure to play up the fondness the two characters have for each other enough to make it believable that Clara changes her mind. Meanwhile, around the character material, we get a fast-paced episode that mixes Agatha Christie pastische, horror, and an element that's not only uniquely Doctor Who, but uniquely Peter Capaldi's Doctor Who. Enormous fun.

This was the first Doctor Who script by Being Human's Jamie Mathieson. On the strength of this installment, I hope it is the first of many. He captures the Doctor particularly well, characterizing him as brusque without being deliberately hurtful. There's a hint of compassion in his brutal honesty as he tells two different victims that he won't be able to save them, but needs them to tell him as much about the Foretold as possible so that he can "save the next one." Which he finally does achieve, in a dazzlingly well-executed climax. Equal credit is due to Paul Wimhurst, whose direction maximizes the energy throughout.

All that really keeps this from full marks is an ending that feels just a touch rushed, with the Doctor somehow getting everyone into his TARDIS despite us being told that his ship is inaccessible, and all of this happening offscreen to be filled in with dialogue after the fact. A couple dangling threads are also left, though I suspect that may be done deliberately to be followed up either in the season finale or the next season.

Those minor issues aside, I thought this was a fantastic bit of pure entertainment.


Overall Rating: 9/10.


Previous Story: Kill the Moon
Next Story: Flatline 


Search Amazon.com for Doctor Who



Review Index

Friday, May 15, 2015

#7 (8.7): Kill the Moon.

A mystery on the moon...











1 episode. Approx. 47 minutes. Written by: Peter Harness. Directed by: Paul Wilmshurst. Produced by: Peter Bennett.


THE PLOT

Clara advises the Doctor that he hurt the feelings of troubled student Courtney Woods (Ellis George) when he told her that she wasn't special after she threw up inside his TARDIS. All Clara wants is for the Doctor to apologize... But he overcompensates wildly by instead taking Courtney and Clara on a trip to the moon.

They materialize inside a space shuttle in the year 2049. The shuttle is an antique, salvaged by astronauts Ludvik (Herimone Norris) and Duke (Tony Osoba), in response to a lunar emergency. A Mexican survey station stopped transmitting several years earlier - And then the moon began "putting on weight," resulting in natural disasters on Earth.

The time travelers join the astronauts in exploring the site. The team there is dead, their corpses hanging in cocoons. It isn't long before their killers appear: gigantic spider-like creatures the Doctor identifies as germs. That's when the Doctor starts to realize that if these are germs, then they must be part of an even larger biological system. Something immense is alive at the center of the moon, and the only hope for the Earth may be to kill it... A choice which could itself prove devastating.

As Clara, Courtney, and Ludvik argue the best course of action, the Doctor does the most shocking thing he's ever done: He announces that he can play no part in this decision. He hops into the TARDIS and dematerializes, leaving the frightened humans to make their own choice, for good or ill!


CHARACTERS

The Doctor:
When Clara suggests they simply leave, as they know the moon will be saved because of visits farther in the future than this one, the Doctor replies that he can't just assume that. This moment is the opposite of a "fixed point." It's a moment that he describes as "fuzzy" and "gray." He doesn't know what ends up happening to the moon, because "it hasn't been decided yet." He does know that the decision made at this moment will be a major turning point for humanity - And for that reason, he decides that it's humanity's choice to make.

Clara: When the Doctor withdraws, Clara is left to carry the weight of the choice before her. She debates with Ludvik over the consequences of there being no moon (somehow, the astronaut doesn't correct the ludicrous assertion that the only consequence would be "no tides"), then tries to appeal to democratic principles by transmitting to Earth and asking for a vote. Finally, however, the decision comes down to her, and is made in a split second - with her having no idea whether what she's just done is wrong or right until the Doctor returns to tell them all what happens as a result.


THE DOCTOR WITHDRAWS

"There are moments in every civilization's history in which the whole path of that civilization is decided - The whole future path. Whatever future humanity might have depends upon the choice that is made right here and right now. Now, you've got the tools to kill it. You made them. You brought them up here all on your own, with your own ingenuity. You don't need a Time Lord. Kill it. Or let it live. I can't make this decision for you."
-The Doctor, leaving humanity to its own devices

The best and, I suspect, most talked-about scene in this episode is the final Doctor/Clara scene. Alone in the TARDIS, she tears into him for leaving them to make that decision alone. She demands to know exactly what he knew, angry and hurt at what she sees as a betrayal by a man she trusted completely. Jenna Coleman is so good in this scene that it's actually painful to watch how much she is hurting, and at the same time how much it hurts the Doctor to have so bungled the human part of his decision as to leave her in this state.

It's a searing moment. All the moreso because there is plenty of room to debate (Clara's hurt feelings aside) whether the Doctor leaving this choice to humanity was the right choice or the wrong one.

However, I would like to posit one possibility regarding his withdrawal. He says, when Clara confronts him, that he did it because he trusted her to make the right decision. What if it goes further than that? What if he withdraws because, in a situation in which he cannot see the right decision, he actually trusts her more than he trusts himself?

We have seen multiple times that this Doctor has no problem making cold, pragmatic choices. In this very episode, he takes advantage of one man's death as the moment in which the others can escape. "I'm so, so sorry" has been replaced by, "He was dead already; I was saving us!"

Clara screams her anguish that she almost made the wrong choice - But what if he believes he would have made the wrong choice? That would put a very different spin on his actions - And while I'm not saying that's the intent here, I do think it's a reasonable bit of speculation.


WEIRD SCIENCE (OR JUST PLAIN BAD)

My biggest problem with this episode - one that keeps me from rating it as highly as I otherwise might - is the bald-faced jettisoning of known facts about the moon. "The moon is an egg" flies in the face of multiple moon landings (which weren't just to take "giant leaps" and play golf, after all) and decades of analysis of samples brought back, not to mention centuries of astronomical observation. I'm not asking a Doctor Who episode to deliver an exhaustive science lecture. But in a series initially conceived as part educational, is it horribly wrong to at least not want it to deliberate contradict known facts?

All that I personally would require to paper over this is a quick exchange in which Ludvik, or Clara, or even Courtney protests some of the things we know about the moon - Such as its composition being rock and not eggshell, or the existence of varied minerals - and for the Doctor to give some handwaved explanation to address the disconnect. We don't even get that. Just "the moon is an egg," and an assumption that we're willing to unplug our brains and go along with it.

In an episode that's very smart about character interactions, that really grates on me. Not even a 20-second exchange to cover the bad science - Just the assumption that the viewing audience won't care or won't notice, something which feels far more "cheap... pathetic... (and) patronizing" than anything in the Doctor's treatment of Clara.


FINAL THOUGHTS

However, I am giving the episode a positive review despite that. The bad science annoys me (a lot). But it doesn't obliterate how effectively the episode built suspense, or how very real the emotional fireworks play at the end.

The first part of the episode, as the characters investigate the moon and then try to survive the killer germs, is terrific. The suspense starts almost instantly, with the exploration of the dead landing site and the discovery of the corpses creating wonderful atmosphere. The spider-germs are well-realized and genuinely creepy, and the moment in which the Doctor finds an innumerable mass of them lurking beneath a crack in the surface is sublimely nightmarish.

Once the bad science is shunted to the side, the sequence in which humanity "votes" on the life or death of the Moon Creature is beautifully portrayed. Clara asks them to vote by either leaving their lights on (to vote to let it live) or turning their lights off (to vote to kill it). Little by little, we see the lights on the Earth's surface switch off, leaving an Earth as dark and forbidding as the moon Clara inhabits. Then she makes her choice, we get the aftermath, and then the episode's biggest fireworks explode as Clara excoriates the Doctor for his behavior.

Emotionally riveting, stunningly well-made. If I could fully get past the failure to even address the real science readily available about the moon, I would be very generous here. I can't quite turn off my brain enough to skip over that, but I still would rate this as an above-average episode:


Overall Rating: 7/10.


Previous Story: The Caretaker
Next Story: Mummy on the Orient Express


Search Amazon.com for Doctor Who



Review Index

Thursday, April 30, 2015

#4 (8.4): Listen.

What lies on the other side of
a closed door at the end of time?

1 episode. Approx. 50 minutes. Written by: Steven Moffat. Directed by: Douglas MacKinnon. Produced by: Peter Bennett.


THE PLOT

"What's that in the mirror, or the corner of your eye? What's that footstep following, but never passing by?
"Perhaps they're all just waiting. Perhaps when we're all dead, out they'll come a-slithering from underneath the bed!"


The Doctor has developed a hypothesis: That the reason people speak aloud when they're alone is because, subconsciously, they know they're not truly alone. He wonders if a species might evolve with perfect hiding abilities, so that they are never directly perceived, and takes as evidence the universally shared fears of the dark, of sounds in the night, and of things lurking in closets and under beds.

To test this, he picks up Clara, fresh from a disastrous first date with Danny Pink (Samuel Anderson). He slaves the TARDIS' telepathic circuits to her subconscious, his goal to travel back to her childhood, to whenever she had a dream about something under her bed. In mid-transit, her cell phone goes off - A call from Danny, which distracts her and lands them in his childhood instead of hers.

The child Danny is actually named Rupert (Remi Gooding). Clara tries to reassure him that what he experienced was just a bad dream, even sliding under his bed to show that there's nothing there. Then a presence sits on the bed. They come out to see a shape sitting up, underneath a bedspread. When the Doctor enters, he immediately makes Clara and Rupert turn away and convinces what might be a prankster or might be a monster to please just go while they aren't looking. After it does so, they leave Rupert and travel to their next stop...

The distant future, the very end of the universe, where the last man remaining is actually from only 100 years in Clara's future. It's Orson Pink (also Samuel Anderson), a direct descendant of Danny's. Orson is a time travel pioneer who was shot far forward to the very end of time. Orson is relieved at his rescue and desperate to escape his ship, whose locked door is the only thing standing between him and the desolation outside - an emptiness that seems somehow far from empty...


CHARACTERS

The Doctor:
There's no telling what exactly prompts this quest. Maybe, as Clara hints, the Doctor's simply been spending too much time alone in his TARDIS; maybe it's a hint of a memory that got shaken loose by his recent regeneration. Whatever the case, he pursues his self-imposed mission relentlessly. In the time capsule at the end of the universe, the Doctor's protective side comes out, with the same brusque ferocity that seems to personify this Doctor, when he orders Clara into the TARDIS after unlocking the door. He tells her that he has to know what's out there - But he isn't willing to put her in danger for his obsession. When she refuses to leave, he shouts that if she doesn't do as he says then she will never travel with him again.

Clara: In the previous episode, the Doctor was told that he was Clara's hero. That remains true. When Clara presents young Rupert with a toy soldier that's missing its weapon, Clara identifies that soldier as special because "he's so brave he doesn't need a gun; he can keep the whole world safe." It's pretty obvious who Clara is identifying with that broken plastic man. She starts out quite skeptical of the Doctor's hunt for invisible beings - But she's rattled by the shape in Rupert's bed; and by the time they are in Orson's ship, she clearly believes that there is more than wind and dust on the other side of the locked door.

Danny: Though Into the Dalek introduced Clara's new love interest, this episode is the first to spend any proper time with him. One notable item is that Dan is not his real name, but a name he's chosen for himself - the same name he chose as a child to identify the "brave" toy soldier is the name he chose after his own military service. His time in the military is a sensitive subject, particularly talk of killing. He rushes to point out all the good he did in the service, with such vehemence that it's clear that there is some incident he's hiding, or at least compensating for.


THOUGHTS

"Let me tell you about scared. Your heart is beating so hard, I can feel it through your hands. There's so much blood and oxygen pumping through your brain, it's like rocket fuel. Right now, you could run faster and you could fight harder. You could jump higher than ever in your life. And you are so alert, it's like you can slow down time. What's wrong with scared? Scared is a superpower!"
-The Doctor, reassuring a child in the middle of a frightening situation.

Listen is about fear.

It's not just an atmospheric episode that strives to be frightening. Don't get me wrong when I say that - Thanks to the sterling work of director Douglas MacKinnon and the dead-on performances of Capaldi, Coleman, and Samuel Anderson, it has atmosphere to spare and several effectively creepy moments. But the story is really an examination of fear... Something I'm not sure Doctor Who has ever attempted before.

The teaser is masterful. The Doctor whispers to us to "listen," then sets forth his hypothesis, like a professor lecturing to a class, complete with chalk and board:

"Evolution perfects survival skills. There are perfect hunters. There is perfect defense... Why is there no such thing as perfect hiding? Answer: How would you know? Logically, if evolution were to perfect a creature whose primary skill were to hide from view, how could you know it existed?"

The Doctor's lecture is set against a series of perfectly-judged visuals which set the tone instantly... And on that note, I have to say that Series Eight is shaping up to be the most visually gorgeous season of Doctor Who to date. The story that follows carries on from that, exploring those primal fears: Fear of the dark, of the monster under the bed, of the movement in the corner of the eye or the sounds in the pipes.

At every turn, it's ambiguous. Is there something there, some monster hiding under the sheet on the bed or waiting on the other side of the door? Or is there simply a child playing a prank under that sheet, simply empty night on the other side of the door? We're never truly told - Even at the end, when Clara offers up one possible explanation, doubt lingers. Just like fear of the dark after a bad dream - You know there's nothing there, but you still turn on a light before going back to sleep.

The fear of the dark and monsters is contrasted, in the "B" plot, with the nervousness and fear that comes with a first date, a potential new relationship. Clara and Danny finally have the drink they talked about in Into the Dalek. It goes disastrously wrong, because each is afraid they might say the wrong thing to the other - And that fear makes them say all the wrong things to each other. The scene wouldn't have been out of place in Steven Moffat's Coupling (maybe with a few more jokes thrown in) - but as a counterpoint to the main story, it works strikingly well. Even in the relationship subplot, fear is the dominant emotion, the enemy that keeps two very nice people who clearly like and are attracted to each other from being able to properly connect.

I know there are plenty who will disagree with me on this - Just giving a quick web browse turns up plenty of negative reactions. But for my money, this is the best Doctor Who episode since at least The Rings of Akhaten, and maybe the best since The Doctor's Wife. I found it a genuine treat to watch.


Overall Rating: 10/10.

Previous Story: Robot of Sherwood
Next Story: Time Heist

Search Amazon.com for Doctor Who

Review Index

To receive new review updates, follow me:

On Twitter:

On Threads: