There’s a particularly nice touch at the start of “Orphan 55”, the latest episode of Doctor Who, which opens as the Doctor (Jodie Whittaker) and her friends Graham (Bradley Walsh), Ryan (Tosin Cole) and Yas (Mandip Gill) are literally mopping up after their latest (unseen) adventure, in which the Doctor is called out for being unusually moody and downbeat. It is of course a reference to the way she is still processing the seismic impact of what she learned about Gallifrey at the end of “Spyfall”, but she’s not sharing that with the others. Instead, they decide it’s time for a holiday and duly head off for a break at the practically perfect paradise resort of Tranquillity Spa.
Naturally they’ve barely been there for ten minutes before everything starts to go catastrophically wrong, starting with Ryan being infected by a biological computer virus from a vending machine. Soon the entire facility is malfunctioning, opening the way for a full-scale invasion by terrifying monsters called the Dregs who make short work of dozens of guests until the Doctor can find a temporary solution to the problem. Long-time fans of the show will be thinking ‘this sounds familiar’ and the episode is indeed the latest iteration in one of the series’ most reliable variants, known to one and all as ‘base under siege’. It’s a very effective take on that established sub-genre, fast and furious from the start and not letting up for a second thereafter. The close-up, visceral way that the Dregs are photographed by director Lee Haven Jones is barely less horrifying than how Ridley Scott presented the xenomorph in the original Alien film, and I was amazed that the BBC cleared this for transmission so early in the evening. I suspect a lot of small children (and bigger ones, too!) had trouble sleeping afterwards. Read the rest of this entry »
Contains spoilers for the episode
It was the best of episodes, it was the worse of episodes…
Regular readers might recall that I was a bit grumpy last week in my review of “The Witchfinders”. It simply didn’t work for me, although I know the vast majority of viewers appeared to genuinely love it beyond measure. However for me, it was comprised of individually strong elements that lacked an overall coherent vision. The different parts rubbed against each other awkwardly and kept throwing me out of the story so that I wasn’t able to enjoy it at all, and instead ended up frustrated and less than happy. Or to put it another way, you could say that the individual parts were much greater than the whole, at least as far as I was concerned.
This week’s episode “It Takes You Away” is almost the mirror image (pun intended) of its precursor. Like last week, it is also comprised of several distinct parts; and on this occasion the quality of each component was less consistent than the previous instalment, ranging from the brilliant to the near-risible. But what writer Ed Hime and director Jamie Childs are able to manage this week is to wrangle these different elements into one unified end result that was superior to the sum of its parts. The key was a consistent stylistic vision and tone to the overall endeavour, provided by an adherence to overarching universal themes of love, loss and mythic folklore. Read the rest of this entry »