First of all, let me apologise for the lack of reviews for the previous two episodes, both Jen and I were afflicted with unfortunate life things and the good Doctor had to fall by the wayside for a couple of weeks! But we are back and what a cracker of an episode to return to.
The Zygon Invasion finds the peace treaty negotiated between human and Zygon back in the 50th Anniversary special, The Day of the Doctor, under a considerable threat. The treaty, forged by Osgood and Osgood (one human, one Zygon), allowed 20 million Zygons to settle in human form all over the world provided they keep their true species hidden. When one Osgood is killed back in the last series, the other Osgood is consumed by grief and the negotiated peace begins to break down. Zygons want their freedom and will stop at nothing to get it. As they repeat throughout the episode, it's a game of 'truth or consequences.'
The idea of consequences is something this series has been playing with a lot where the Doctor is concerned, as decisions of his past have considerably affected his future. Here, it's dealing with a treaty that he oversaw to save both the humans and the Zygon race as well as the death of Osgood and the shaky ground that treaty is based on. The Day of the Doctor was itself along those themes as the Doctor came to terms with his part in the apparent destruction of Gallifrey during the Time War and it makes sense that The Zygon Invasion, a pretty much direct sequel to that episode, should pick up those themes too.
We are not only dealing with that, but the whole episode functions as an analysis on our own society and the fears that we constantly deal with. The idea of a 'secret invasion' has come up a lot as part of the European refugee crisis, that the refugees aren't fleeing because their country is consumed by war and their lives are in danger, but because they're secretly after our benefits/jobs/homes or that they are secretly terrorists on their way to undermine our country through violence. You name it, a tabloid newspaper has printed it. The parallels run through The Zygon Invasion with abandon, from the white and black logo that Osgood sits under during her demand video to UNIT consistently arguing that there was no way the human population would react to the Zygon presence with anything but fear and xenophobia.
That critique of our society is painted in large brush strokes and does get a tad heavy-handed at times, but it gives the episode a greater depth than simply offering up some sci-fi based entertainment. It allows for some wry commentary from the Doctor, whose function has often been to point out some of the more ridiculous and dangerous aspects of human behaviour during his relationship with Earth. And the Zygons want something that feels deeply humane; to be allowed to live and stay true to themselves without judgement. It's pretty ambitious stuff for a Saturday evening family show and really great to see Who again striving to do something more than simply entertain.
This political background provides a solid foundation on which to build the narrative of the episode and to spin out some really great sequences from it. Being the first of a two-parter meant the story was paced better, a recurring theme in this series and it's been much stronger for it. There's an oppressive, paranoid atmosphere to it all so we are aware there are twists coming, but they lose none of the impact for that or guessing what twists they might be. The Zygons' abilities are also utilised for great dramatic effect as soldiers are confronted with Zygon copies of their families, planting a seed of doubt about the reality of the situation. The drone pilot confronted with copies of her family on the steps of the building she's about to bomb offers a neat counterpoint to the inhuman use of drones; it personalises a destruction that is usually kept at a distance.
This series of Doctor Who has been consistently strong and it seizes the opportunity to take on a bigger, global story now that everyone has settled in for the ride. This episode left us on a whopper of a cliffhanger and Jen will be here to discuss how that plays out next week.
Oh, one final thing. Can we get a round of applause for Action Rebecca Front? She was awesome.
- Becky
You can read Jen's review of Before the Flood here.
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Dear reader, I must begin this review with a confession. I have never managed to finish Jane Austen's classic Pride & Prejudice. I have attempted it three times and have slowly lost the will to live during each and every attempt. However, despite my ongoing internal battle with my determination to get through that book, I was mightily intrigued by the adaptation of Death Comes to Pemberley, based on the novel by PD James, which follows on from the events of Austen's narrative but takes on the guise of a murder mystery. Coupled with the excellent cast and the high standard which comes with a BBC period drama, I settled down to the series with a little expectation and smidgeon of anticipation.
Set a few years after the events of Pride & Prejudice, Lizzie (Anna Maxwell Martin) and Darcy (Matthew Rhys) are happily married and residing at the Darcy family pile, Pemberley. The house is in the process of getting ready for a ball, with the majority of the Bennets on their way to attend, except of course, Lydia (Jenna Coleman), married to the wicked George Wickham (Matthew Goode) and therefore uninvited. Not to be outdone, the Wickhams set off for the ball with their friend Captain Denny (Tom Canton) but a fight along the way and a dastardly murder in the woods finds Wickham arrested and Lizzie and Darcy trying to solve the crime.
The first episode got off to a slow start, but it had so many pieces to put into play that it was a necessary beginning. Once they were all in place, the tension ramped up steadily to the series' slightly heartstopping conclusion. Fortunately those like me who had never managed to finish Austen's novel, an extensive prior knowledge was not required as flashbacks and other references in the dialogue give you enough information to provide a good background to these events. Usually exposition scenes tend to detract from the main event, but here they provided a nice link between the two works, as well as highlighting some of our characters' anxieties, particularly Lizzie's.
As with any good murder mystery, there were a few red herrings to be fished out amongst the other clues but what resonated most was the way in which the murder acted as a catalyst for an analysis on relationships, rather than simply driving the plot towards to its conclusion. Both the Darcys and the Wickhams achieved their supposed happily-ever-afters (one genuine, one as the result of some fast monetary intervention), but the murder pries open cracks in each relationship. For the Darcys, it comes back to the idea of status and Lizzie's worry that Darcy regrets their marriage because he married for love not money. With Lydia, it is trying desperately to keep up the charade that she and Wickham are happy, whilst possessing the knowledge that he's been unfaithful.
There is also a typical marriage plot buried in one of the developing narratives alongside the main one, that of Georgiana Darcy's desire to marry the lawyer Alveston (James Norton) whilst her cousin Colonel Fitzwilliam (Tom Ward) vies for her hand. Both relationships are disrupted as a result of the murder with Darcy forcing Georgiana into an engagement with her cousin before he realises that his cousin is just trying to keep his reputation untainted. It lends a fascinating element to what could have been just a straight murder mystery and one that is enhanced by PD James' decision to use these existing characters; we're offered a chance to see what hand life has dealt them and how in turn they respond to it.
It helped that the performances were all excellent with Matthew Rhys and Anna Maxwell Martin bringing a lovely chemistry to one of literature's most famous couples. Though they remain the stoic centre at the heart of the chaos, they are never dull, always observing with a quick intelligence and Martin gets in some great one liners with Lizzie's trademark wit. Matthew Goode is another standout, carving a fine niche for himself in the charming reprobate category after this year's Stoker, whose Wickham may be all kinds of awful, but has enough charm and vulnerability about him that you keep rooting for him throughout.
Trevor Eve made for a suitably gruff investigator, one whose motives remained in doubt throughout but ultimately came good in the end. Initially, Jenna Coleman and Rebecca Front hold up much of the comedic end in the first half of the series as Lydia and Mrs Bennet, but Lydia in particular far from one-dimensional. In just one scene she is transformed from a selfish, inconsiderate irritant to a put-upon wife determined not to allow her marriage to fall apart. It's a testament to Coleman's performance that this seen registered so strongly.
Finally, the most interesting element was the way in which Pemberley became a character in itself. Using the beautiful grounds of Chatsworth in Derbyshire (as well as interiors at Castle Howard and Harewood House), the estate itself became a crucial part of the narrative, not only as its location, but also because of the regard in which it is held by the characters. Whilst the murder itself was motivated more by individual concerns, the reason behind it, mainly the existence of baby George, was founded on Wickham's love of Pemberley and the memories he had of it. Darcy's attempts to rein in the scandal are to save its name as is Georgiana's decision to marry her cousin despite not really caring for him.
Much more than just a simple murder-at-a-country-house tale, Death Comes to Pemberley was a beautiful exercise in how to create a compelling story of family and scandal, with fantastic performances and a real dedication to bringing Austen's characters back to life. It may have just inspired me to give Pride & Prejudice another go.
- Becky
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