As things turned out, there wasn’t enough time between the end of Doctor Who series 9 and the follow-up Christmas special for us to produce our now-traditional look back over the most recent run of stories featuring our favourite maverick Time Lord. Instead, we thought we’d allow the holiday festivities to well and truly settle down before finally turning our merciless combined fan gaze on the latest run of episodes. Plus, there was the small matter of John, self-confessed Star Wars superfan, experiencing an awakening of some sort…
Then, just as we were thinking of putting pen to paper (or fingertips to keyboard and touchscreen), the news broke that Steven Moffat is to step down as showrunner after the next series and the torch is to be passed on to Broadchurch creator Chris Chibnall – himself a man with impeccable Doctor Who fan credentials who has contributed several stories to the show over the years, and also to Torchwood which he co-produced for the first two series.
Does the confirmation of his impending departure colour our perspective of Moffat’s fifth complete series in charge of our favourite show? Will we get misty-eyed and sentimental about the Grand Moff’s achievements now that the end is in sight? You’ll have to read on and see, as we embark on a particularly timey-wimey trip through the highs and lows of series 9.
Spoilers ahoy, Sweeties! Read the rest of this entry »
Spoilers. Big Ones. Right from the start.
As feared, I’ve been too inundated with work to sit down and tap out any thoughts about the second episode of Doctor Who on Saturday, although I did at least get to watch it live at the time which was rather more than I’d hoped for. There seems little point in going into too much detail this long after the fact – I’m sure you’ve already read dozens of review pieces about “The Witch’s Familiar” by now and are hardly slathering over the prospect of another – so I’ll keep this relatively short. And when I say ‘relatively’, long-time Taking The Short View readers can feel free to smirk.
If you cast your mind back, you’ll recall that my main churlish complaints about the season opener were that for all its fan-pleasing treats, the episode was overly reliant on several old tropes and in particular lacked substance under all the tricks. Given that the follow-up episode was completely the reverse of that – taking risks and doing things the show has never done before, and overall stuffed to the gills with genuine substance with remarkably few mere ‘frills’ – you’d think I’d come away from this one feeling really happy and praising it to the skies as one of the best episodes of recent years.
Actually I’m going to praise it not just as one of the greatest episodes of Doctor Who of all time, but as one of the most superlative pieces of TV drama I think I’ve ever seen. Full stop. Read the rest of this entry »
Spoilers. Big Ones. Right from the start.
It’s strange, but I knew exactly where “The Magician’s Apprentice” was going less than 30 seconds after it began. And I mean exactly.
As soon as I saw soldiers fleeing over the smoke-wreathed battlefield and the eclectic mix of technologies (WW1 biplanes, bows and arrows, laser blasters) I thought ‘Skaro’. And the minute the young boy came into focus I knew what his name was before he gave it. And I was also pretty certain that we were heading for an exploration of a seminal bit of dialogue from the classic “Genesis of the Daleks”, the one in which Tom Baker’s Doctor asks Sarah Jane (Elizabeth Sladen) what she would do if she travelled back in time and met an evil dictator – Hitler, say – when he was just a small boy. Would she be justified in killing him before he could commit his heinous crimes, even though he’s just an innocent, blameless child? Sure enough the exchange was not only implicitly evoked but eventually explicitly shown.
I don’t know how or why I was able to instantly jump to this revelation. I had stayed absolutely clear of spoilers, save for the fact that the Daleks themselves were back – and that was hard to avoid given that they were out and about, doing station announcements on the London Underground as part of the PR blitz leading up to the first episode of season 9 of Doctor Who. While you could argue that Daleks immediately suggest Skaro, in fact the Daleks’ home world has only featured once – and just briefly – in the rebooted TV series to date. Similarly. while Davros might appear to be an easy leap to make, the creator of the Daleks actually hasn’t been in the show for seven years, not since he encountered the Tenth Doctor in “Journey’s End” during the Russell T Davies era. In the circumstances therefore, I don’t think my sudden flashforward leap was quite as obvious as it might have initially appeared. But it was made, and that’s all there is to is, and with it comes a bit of a problem. Read the rest of this entry »
Generation Star Wars‘ John Hood and Taking The Short View’s Andrew Lewin look back over the latest series of Doctor Who and come to a shocking verdict…
Before it started to air, Steven Moffat promised that series 8 of Doctor Who would be completely unlike anything we’d seen before – and he wasn’t joking. Peter Capaldi’s mysterious, unpredictable and at times downright unlikeable portrayal of the titular Time Lord at times evoked Colin Baker’s tenure as the Sixth Doctor. While he didn’t actually try to throttle his companion this time around, the latest Doctor certainly threw enough caustic barbs at Clara Oswald to provoke some of the most memorably heated confrontations between the show’s stars that we’ve ever seen in 51 years of the programme’s history, while at the same time in Danny Pink’s character arc there was a hint of the redemption found by mercenary Lytton in 1985’s über-violent “Attack of the Cybermen”. The eighth series certainly proved full of dark themes, challenging subjects, black humour and genuinely frightening horror to an extent that the series has never before attempted, but it also aspired to moments of pure visual poetry and took time to indulge in the silliest of comedy romps along the way. No wonder that Capaldi’s first year in charge of the TARDIS has proved almost as divisive and controversial as Baker’s did in its day.
With a few weeks now elapsed since the shattering climax, and just before we board the TARDIS once again for the 2014 Christmas special, John and Andrew compare notes about each episode of series 8 in turn with the benefit of distance and hindsight, and then gird themselves to debate the big question of the year: was it a triumphant hit or a disastrous miss? You might be shocked by how it all turns out… 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 »