Not, I should immediately make clear, by the story and events of “The Name of the Doctor”, the series finale of the extended staccato season 7 of Doctor Who. As has so often been the case with Steven Moffat’s work down the years, what appeared at the outset to be brain-scrambling head-twister of a puzzle is by the end almost charmingly simple and straight-forward by the time it’s explained – and I mean that as a sincere compliment, an example of the craft of writing at its highest level.
Most of us had already figured out that the secret to Clara Oswald (Jenna-Louise Coleman) was that she had somehow been ‘split up’ and scattered (“like confetti”, as the show itself described it) across all of time and space in a manner akin to the fate of the last of the Jagaroth from the classic serial “City of Death”; all that this new episode did was provide the mechanism for how this did indeed come to happen, and why it was that the Doctor kept running across her. It was not coincidence, it turned out, but an essential part of the design – no accident but rather completely unavoidable. Read the rest of this entry »
One consistently recurring question among fans over recent years has been why accomplished writer and performer Mark Gatiss hasn’t been able to deliver a follow-up to match “The Unquiet Dead,” his first Doctor Who episode back in 2005. There was the undercooked ‘meh’-ness of “The Idiot’s Lantern” for example, and the flat-out disappointment of “Victory of the Daleks” which was only partially the result of the new-model primary-coloured candy-floss iDaleks. Even 2011’s “Night Terrors” felt like it should have been so much better rather than just acceptably decent.
Given his undoubted talents – just check out his writing for Sherlock for example – and his unimpeachable love of the series, a resounding Doctor Who success for Gatiss has been long over due. Arguably last month’s “Cold War” was the best of Gatiss follow-ups, and it was certainly pretty good and well-received even if I personally thought it narrowly failed to fully deliver. So you can understand then when I say I’d rather given up hope of ever finding a Gatiss-penned Doctor Who that I could unreservedly, unhesitatingly gush over and declare as being his best contribution to the series of all time; and I certainly wasn’t expecting “The Crimson Horror” to be the episode to prove me wrong.
Well paint me red, dress me in long johns and call me dear monster, because I’ve never been happier having to eat my words: “The Crimson Horror” was the most tongue-in-cheek fun that Doctor Who has had in a very long time. Possibly ever, actually. It is delightfully wicked and clever from first to last and shows just how good Gatiss can truly be when he slips his leash and goes on the rampage unfettered by cerebral concerns of what a ‘good’ Doctor Who episode needs to or should look like. Read the rest of this entry »