Contains spoilers, in duplicate
As someone who had been an out-and-proud, unabashed fan of Doctor Who’s Peter Capaldi and Jenna Coleman for sometime now, one of my biggest frustrations has been why so many other people have not been able to see the self-evident truth of their greatness as the Doctor and Clara. Initially I could kinda-sorta understand it in the latter case, since Clara’s first year was somewhat wasted being saddled with ‘the impossible girl’ label, and even once that was mercifully put to bed showrunner Steven Moffat continued to have an oddly unfocused view of the core of the character that remained. Clara ended up being pushed and pulled all over the place, first by the demands of that week’s story and then by that season’s overall arc, yet even when Clara was at her most untethered Coleman herself was always excellent, often making Clara credible purely through the force of her own will and acting talent alone.
Similarly, I’ve completely believed in Capaldi’s Doctor ever since his opening scene in the first post-regeneration story “Into the Dalek”. I liked the whole ‘crisis of confidence’ voyage of self-discovery of season eight and how they dared to make the the Doctor a much darker and more mysterious figure than his most recent predecessors – although at the same time I’m even more thrilled by the way they’ve matured the character this season, making him warmer and more heroic while at the same time still retaining the spiky edges and the sense of alienness. And yet strangely a lot of people people seem to have remained rather cool toward the twelfth Doctor, perhaps still pining for the days of the more straightforwardly cute and adorable Matt Smith or David Tennant to return.
One theory I’ve seen is that for many, Capaldi’s Doctor has been lacking a ‘signature moment’ to match Tom Baker’s early highlight in “Genesis of the Daleks” when he debates about whether to destroy the Daleks for all time; or Sylvester McCoy’s ‘Unlimited rice pudding”; Eccleston’s “Everybody Lives!”; or Tennant showing up to a sword fight in his pyjamas and toppling a Prime Minister with a whispered “Doesn’t she look tired?”; or Smith’s full-blown rock star moment at Stonehenge. Actually I’d argue that if anything, the problem for Capaldi is that his tenure-to-date as the Doctor has been so packed full of such moments that we’ve become overloaded by them, inured and immune to their effect. Rather like the way that we develop a protective shell and become blasé about Aaron Sorkin’s genius by dismissing his work as ‘just’ a bunch of stylistic tricks and tropes, we run the risk of becoming hardened about and blind toward just what Moffat and Capaldi are achieving not just on a week-by-week basis but also in a scene-by-scene and at times even line-by-line sense.
When that sort of attitude sets in it can be very hard to break through the shell and make people see the matter with fresh eyes; but from the online reaction I saw after “The Zygon Inversion” from professional critics, die hard fans and casual viewers alike then the breakthrough defining moment for the Twelfth Doctor might just have finally arrived, and it was a glorious sight to behold. The ‘truth or consequences’ third act is surely the moment that will be played on clip shows whenever they cover the Capaldi era on the show; and the only worry is that it might end up overshadowing everything else around it, because it really was that good. It’s the kind of scene where everything – concept, plot, dialogue, performance – comes together so brilliantly that if just this one scene had been in any other television series in history, that series would necessarily be instantly acclaimed an all-time classic. That it comes in a show already 52 years old and with more than 200 stories under its belt is almost unfathomable.
But let’s go back for a few minutes and rewind all the way to the start. Read the rest of this entry »
Contains Spoilers in Duplicate
A few weeks ago, I commented on how Steven Moffat is able to pick up a stray bit of random, accidental production miscontinuity and weave an entire story beat out of it, as he did recently in “The Girl Who Died” when he made use of the fact that Peter Capaldi had already appeared in Doctor Who as a different character before he was subsequently cast in the title role.
This week’s story “The Zygon Invasion” does that again, this time taking a whole bunch of loose threads left over from past stories and fashioning from them a full-blown tapestry to compete with the very best that Bayeux can produce. So much so in this case that for the first time I can recall outside of a formal two-parter, the episode has to do a fully-fledged American-style pre-titles flashback in order to recap events that happened a couple of years ago – specifically in the 50th anniversary special “The Day of the Doctor” which had marked the first return of the classic Who adversaries the Zygons, one of the best loved creatures from the history of the show despite the fact that they only ever made one appearance back in a 1975 Tom Baker story. Read the rest of this entry »
Contains complete spoilers for the episodes, and for the season.
It’s genuinely hard to know what to say about the two-part season finale that concluded series 8 of Doctor Who this week. It was the most extraordinary, compelling and unique 75 minutes of television I think I have ever seen. But if you ask me whether I enjoyed it, I’d have to say: ‘I’m not sure. Was I actually supposed to?’
“Dark Water” and “Death in Heaven” were not enjoyable in the sense that, say, 2008’s “The Stolen Earth”/”Journey’s End” had been. That David Tennant story was practically a celebration of all that the modern rebooted series had been up to that point, and it was intoxicatingly uplifting and rousing. By contrast, the final two episodes of Peter Capaldi’s first season in the Tardis could scarcely have been more different: a dark and sombre meditation on some of the most difficult and profound issues pertaining to the human condition, there were no happy endings here and the ultimate feelings it engendered were bleakness and melancholia. The abyss hadn’t just looked back into you, it felt like it had signed a long term lease, moved in and redecorated the walls in the blackest of black for good measure.
I said a few weeks ago that “Kill The Moon”‘s foray into full-blown Alien-esque horror refuted the argument that Doctor Who was just a kids’s programme any more, but the season finale took the show so far out of its children’s/family background that it was more akin to a classical and/or religious epic quest story such as Homer’s “Odyssey” or Dante’s “Inferno” or even Charles Dickens’ “A Christmas Carol”. (I’m joking with the comparison: obviously, Moffat is by far the better writer of the quartet!) It gave us a deep examination of death and loss, of love and hate, of grief and despair, of the nature of true friendship, of truth and lies, and ultimately the question of good and evil as the show finally answered the question that the Doctor had asked three months ago in “Deep Breath” when the Time Lord had wanted Clara to tell him whether or not he was a good man. Read the rest of this entry »