TV REVIEW: Doctor Who - The Witch's Familiar

Not to intentionally start on a negative note, but The Witch’s Familiar was always going to be a bit of an anti-climax after last week’s excellent series opener.

Fortunately, however, the episode was good enough in its own right that said anti-climax is really just a side note – one of a few small niggles in what was otherwise a really rather good episode of Doctor Who.

As with Series 8, we’ve had an early appearance here for classic enemies the Daleks, albeit with a twist, as Davros (Julian Bleach) emerges as more the star of the show than his creations. Picking up pretty much exactly where The Magician’s Apprentice left off, The Witch’s Familiar (I’m with Becky on the series titles!) sees The Doctor (Peter Capaldi) still trapped at heart of the Dalek empire, with no sonic screwdriver, no TARDIS, no friends and, or so you’d think, no hope.

Except of course, he’s The Doctor, and his loyal friends Clara (Jenna Coleman) and er, well Missy (Michelle Gomez) too I suppose, aren’t too far away, having ejected themselves from the compound after Missy saw through its spaceship disguise. Whilst The Doctor chats with his nemesis Davros, providing us with some of the most compelling dialogue we’ve seen in recent series to boot, Clara and Missy steal their way action-movie style through the Dalek sewers in an attempt to rescue him.

Said dialogue provided ample and interesting opportunities for the ‘What makes a good man?’ question to come up again, and what that means when you can quite easily time travel back to the past and not save the life of a small boy who will go on to murder billions – to pluck one example totally at random. Both Capaldi and Bleach handled it magnificently. Capaldi in general has really settled into the role in this second series. Now that he’s not in anybody else’s shadow but his own, a new confidence is emerging, symbolised rather well by his new shades (more on those later). And despite such serious and poignant considerations going on in the foreground – it’s marvellously good fun.

There were laugh out loud moments peppered through the episode, “The only other chair on Skaro”, “Course, the real question is ‘Where did he get his cup of tea?’” and the now infamous “pointy stick” to name but a handful. Michelle Gomez’s continued presence no doubt adds to this general atmosphere of amusement, with Who now unimaginable without her.

She also provides an interesting contrast with Jenna Coleman’s dutiful Clara, who can’t help but come across as much more than a walking hairdo next to her eccentric antics. What Missy is really up to though, remains to be seen. The fact that you can’t help but watch her from the edge of your seat is in part due to the brilliant energy of her performance, but also because at any moment she could drop the mask and dramatically change the status quo. Or you know, just find a new pointy stick.

The episode’s most memorable moment for many will be that of Clara trapped inside the Dalek, itself in many ways a call back to Soufflé girl, and through it our learning about how Daleks translate and channel their emotion into killing. Turns out “Exterminate” isn’t just a catchphrase, it’s their way of re-loading. Who knew? It also gave her a much needed angle, in what was otherwise fast becoming a tea party of The Doctor and his biggest nemeses.

We learn too, that Missy has, or at least had, a daughter at some stage, which, coupled with her seemingly genuine efforts to save The Doctor, leave us wondering just how many gaps need to be filled in our knowledge of their friendship, as opposed to what we already know about how many times they’ve tried to kill each other. Hopefully this reference means we’re going to find out more.

On the downside, I’m not sure quite how to feel about the ‘wearable technology’ instead of the screwdriver. It all felt rather too James Bond for my liking, much as I do like the sunglasses as a fun accessory. The sewers were a bit mad, too. Interesting idea to have decaying Daleks down there, but I couldn't quite understand why they were so angry. Surely, as Daleks, they would understand that they are ultimately just expendable killing machines? And with the spirit of self-sacrifice for the Dalek cause which so many of them have shown over the years, you'd think they'd understand that it's all for the greater good of Skaro? Or maybe this is all part of the development of their emotional side, hinted at frequently in this episode.

Will the show continue down this intriguing vein of balancing on knife edge between fun and sinister? Will we find out more about The Doctor and Missy? What will Clara’s hair be doing next week?

Becky will be with you for all this and more.

-Jen

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TV REVIEW: Doctor Who - Into The Dalek.

It was a distinctly unsubtle case of another week, another call back in last Saturday’s episode of Doctor Who. ‘Into The Dalek’, episode two of this brand new series, with its brand new Doctor, saw The Time Lord (Peter Capaldi) and companion Clara (Jenna Coleman) visit a Dalek prisoner stranded on an enemy warship.

Reminiscent of Christopher Eccleston’s trip to a Utah alien museum in series one, the Dalek in question is alone, ill - possibly dying- and trapped. This particular egg-whisker is a Dalek with a difference, however. Its illness has changed it. No longer perma-angry and murderous, Rusty, as The Doctor cheerfully dubs him, is even quite chatty.  He (I’m sticking with he- I have no idea if Daleks actually do have genders) is, it seems, essentially a good Dalek. With Rusty’s health failing and the un-named war between the future-humans and his kind raging on, the soldiers need information. Operating a dangerous new technology, they shrink the crew down small enough to, you guessed it, the clue was in the title, go into the Dalek.

The episode proved surprisingly imaginative. Despite choosing to focus on Daleks, them being the most infamous Doctor Who villain since The Time War, and despite having the most obvious title since ‘Snakes on a Plane’ was released into the world, its subject matter was actually rather bold new territory for the show. We’ve seen inside a Dalek before, sure, but only because it decided to throw its doors open and reveal the goop within of its own accord. This showed us the intricate workings of a killing machine, step by step as The Doctor et al walked its veins. It was also a thoughtful, thought provoking look into war, its casualties and how we deal with them. As one of the soldiers sombrely announced early on in the show ‘We don’t need hospitals any more. Daleks don’t leave any wounded. And we don’t take any prisoners’. 

All this context of conflict sat very well, both literally and symbolically, alongside new character soldier-turned-teacher Danny Pink (Samuel Anderson).  Writing fully-fleshed non-irritating side characters is not exactly Moffat’s strong suit (perhaps no surprise then that this episode was actually co-written by Bill Ford) but, so far at least, this character comes across as a companion who might actually have that quality, so elusive in the show of late: likeability. Shown struggling to pluck up the courage even to ask Clara out for a drink, conflicted by his feelings and berating himself for his ineptitude afterwards, whilst also showing very visible distress when questioned about his past by his new pupils, it’s clear the man has layers. 

In fact, it was character in general which shone in this episode. Jenna Coleman goes from strength to strength as Impossible Girl Clara, juggling her day to day life as an ordinary English teacher and her time-travelling ‘hobby’ with good judgement. Capaldi, meanwhile, has settled into the TARDIS as if was born in it. Whilst he doesn’t quite seem to have found his Doctor’s own personal energy just yet, he’s incredibly likeable in the role, bringing wit, intelligence and a sort of calm passion to what had become a distinctly giddy Doctor. You do begin to feel ever so slightly beaten over the head with their ‘I’m not attracted to you. Nobody is attracted to anyone anymore. This is platonic. Platonic!’ (delivered with the syntax of a Dalek) banter, amusing though it is, it just feels a little try-hard. And it just isn't needed.

Finally, I simply cannot let this review go by without a good hearty mention for another new character. There was a second appearance here for the mysterious Missy. Played by the ever-fantastic Michelle Gomez in a spark of utter genius casting, this enigmatic lady/alien/ghost-woman appears to pluck those who have died a death in some way caused by The Doctor right out of their scenes, seemingly re-materialising them in a place she calls Heaven.

Naturally, various theories abound on the internet, with ideas on her identity ranging from a female Master, to the TARDIS, to Clara, to River Song and back again. For now at least, this is a refreshingly new series arc, with the tiny cameo clips at the end of each episode filled with just enough intrigue and a sense of impending doom to keep us all once again clearing the diary and booking the remote for the following Saturday night.

Jen

@jenniferklarge

Becky will be looking after you all next week.

In the meantime, here’s a link to her review of last week’s Deep Breath.

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TV REVIEW: Doctor Who - A Town Called Mercy

Following on from last week’s ‘Dinosaurs on a Spaceship’, Doctor Who provides another cleverly named hour in the form of ‘A Town Called Mercy’, written by Toby Whithouse and continuing with the recent cinematic hints. With a reference to The Jam and the promise of a Stetson or two in the air, coolness points were off the chart from the start as we romp through the third episode in the current series of Doctor Who.

Dodgy American accents were very much ahoy as the Doctor found himself in a small town in the American ‘Wild’ West. A small town in the American West which happens to have electricity just a few years too early, a rather odd looking barrier fence, a resident physician with a face tattoo, a Cyborg gunslinger and a self-destructing spaceship that looks a lot like a Tic-Tac. Obviously.

It started well. It started really well. The Doctor finds himself in spot of bother almost straight away, when he is promptly picked up the townsfolk and kicked out of town Western style. Quite literally, actually, as he is unceremoniously dumped on the other side of the ominous looking perimeter fence. He is met there by a glimpse of a rather shady looking character we will come to know as ‘The Gunslinger’ (Andrew Brooke), an angry Cyborg on a mission. Where are all the nice, relaxed Cyborgs popping down the shops or having some down time in front of the telly I can’t help but wonder?

We then meet the real ‘alien doctor’, Kahler Jex (Adrian Scarborough) and things begin to make sense. Well, as much as they ever do. The Cyborg wants Jex, Marshall Isaac (Ben Browder) wants to protect him, the townspeople want to throw him to the wolf, the Doctor wants everyone to behave themselves, Amy wants to get her own way and Rory presumably just wants to go home. In short, and without giving too much away, The Doctor winds up looking after the town and having to make the decision for everyone.

There’s much to like in this episode. I know I mention this a lot some more absolutely stonking lines of dialogue including a gloriously Milton-esque moment late on in the episode. Amy and Rory are great in an ‘our days are numbered’ sort of way, with the team having clearly cottoned on to the thoroughly shocking fact that girls watch Doctor Who too, providing a healthy handful more Arthur Darvill close ups than usual, and is that a slightly new hairdo? The set was perfect, the lighting was lovely and there were some very well executed and indeed, very cinematic shots. Structurally, it worked well. The epic tone did admittedly at times feel shoe-horned it, but for the first time in a long time you could watch without the creeping sense that the creative team suddenly looked at their watches, found there to be 8 minutes to go and threw in a Cyberman or six to wrap things up. It was the best out and out story the show has produced in a while, with plot twists, morals an Stetsons in all the right places.

The only thing beginning to worry me in all of this, and I suspect it’s because of the Pond Williams focus, but I would like to know what on earth, for want of a better phrase, has happened to The Doctor? It may just be me, but all of a sudden he seems distracted. It’s been apparent since the series opening but in this episode in particular he always seems the last to ask obvious questions, plays with his hat instead of joining in and has wildly different changes of heart from one scene to the next. I’m all for character development, but there’s an uneasiness about this. It may well be intentional, in which case may the Lord High Dalek Prime Minister shoot me down with an electrified egg whisk, but there’s a lack of confidence in his decisions and moods which doesn’t sit quite right.

It was fun, well put together show, but something missed the spot somehow.

To continue with the theme of vaguely space related puns- let’s cross our fingers and watch this space.

- Jen

You can read Becky's review of Dinosaurs on a Spaceship here.

You can read more of Jen's writing here: https://memyselfandtheothers.wordpress.com/

Or you can follow her on twitter here: https://twitter.com/jenniferklarge

TV REVIEW: Doctor Who - Asylum Of The Daleks

It’s back.

Doctor Who time has come around once again. Don’t worry- we’ve utterly no idea of when to expect it anymore, either.

On the plus side, the first episode of the next 5, Asylum of the Daleks, gave an altogether welcome departure from the norm. For starters, we were presented with the Daleks from the get go- in the first five minutes of the first episode, in fact. A lovely change from the usual practice of everybody carrying on in the vague pretence that the Daleks might not appear for six weeks. Look- it’s right there in the title: Daleks. Thankfully, this meant that Writer and Executive Producer Steven Moffat could stop worrying about hiding them until the last possible appropriate second and get on with the rest of the show.

And boy did it make a big difference.

The pre-titles sequence jumped straight in, with our beloved hero caught in the trap of a woman/Dalek tragically clueless as to the damage she’s about to cause in asking the Doctor (Matt Smith) to help rescue her daughter from a nearby prison ship. Meanwhile, as they say, back on Earth, a separated Amy (Karen Gillan) and Rory (Arthur Darvill) are in the process of signing their divorce papers. However it isn’t long before they too find themselves whisked off (apologies) to join The Doctor over on the Good Ship Dalek.

So far, so same old. However we get another tweak to the blueprint here in that this time, the Daleks want The Doctor, their ‘Predator’, to save them. Sure, they’re probably up to no good and have evil ulterior motives, they wouldn’t be Daleks and it wouldn’t be Doctor Who if they didn’t, but to essentially open the show not so much with a character twist but a complete species twist, is undeniably interesting. Add to this the fact that they want to be saved from themselves, from their own insane and defunct kind on the icy hospital planet down below, and you’ve got the makings of a strong episode.

The script’s as sparky as ever, and we know the character formulae well enough now for the actors to have some fun with it. Smith and Darvill consistently perform well, but Gillan in particular stands out here. We’re treated to a competent spot of character development and a rare insight into the realities of life with Rory post Demon’s Run . The slow introduction to Jenna Lousie Coleman’s character was well thought out, too. Fun, flirty and clever, she didn’t reveal too much, but just enough to pique our interest for future episodes. There’s also a classic Whovian ‘focus on a tiny seemingly insignificant detail and then reveal it to be crucially important in the last thirty seconds’ angle, but I won’t give it away here.

If there are criticisms to be had, and regrettably there are a few, they are very much the usual suspects. Doctor Who often falls foul of the length of its time slot, and Asylum is no exception. Overall, it feels every bit the well-crafted show, but the last five minutes are rushed, and we do get the impression that interesting areas for exploration have been dropped or completely ignored. A more thorough investigation into what exactly makes a ‘broken’ Dalek, to pick one example, might have made for an even more engaging episode. It seems ironic to be asking for more time for an episode when talking about Doctor Who, but that's often exactly what it seems in need of.

Other than a slight case of runaway plotline, this was a big idea for the show’s and ground is covered well. For me, Moffat really excels in the stand -alone episodes. They allow him to showcase his best jolting plot twists, and to juxtapose his sharpened dialogue with touching character relationships, without the complications of a narrative arc. Despite Asylum ‘s introduction of several big ideas, as well as a brand new series, this opening episode really does show him at his best with all of the above.

Pun intended, we might be in for a good time here.


http://www.bbc.co.uk/iplayer/episode/p00wqr14/Doctor_Who_Series_7_Asylum_of_the_Daleks/


- Jen




  
You can read more of Jen's writing here: https://memyselfandtheothers.wordpress.com
Or you can follow her on Twitter here: https://twitter.com/jenniferklarge