Contains major spoilers and scattershot speculation
So, that happened. Now the only questions that remain are exactly what did happen, where did it all came from, and what it means for the future. And does the final outcome live up to the pre-broadcast hype that ‘everything changes’?
Certainly you could hardly get more night and day than this year’s run of episodes compared with its season 11 predecessor. When Chris Chibnall took over the reins of the show, the declared intention was to make Doctor Who open and accessible to all once again. It planned to do so by doing away with the disconcertingly convoluted timey-wimey plots spanning one or more seasons, dispensing with recurring characters, adversaries and monsters, and cutting out the relentless deep-dives into the series history that had hallmarked Steven Moffat’s tenure as showrunner. While well-intentioned, the end result was somewhat divisive with many fans unhappy with season 11’s sudden change of direction, leaving them feeling that the approach had resulted in a run of disconnected and fragmented episodes that lacked dramatic heft. Whether they were right in this verdict or not, the question today is whether this adverse fan response to season 11 resulted in a major rethink in approach by Chibnall and his production team, or whether it was always the plan all along to go down this entirely different road in 2020. I suspect it’ll be a long time before we know the truth of the matter either way.
What’s beyond doubt is that this series has gone all-in on bringing back familiar characters and monsters and complex plotting, and most of all using the series’ own continuity to a degree that even Moffat would likely have baulked at. The season finale leaned heavily for inspiration on three seminal stories from the 1970s, and on the never-realised plans for the show that were cut off by the series being cancelled (or: never actually renewed) at the end of 1989. Let’s take each of these influences in turn. Read the rest of this entry »
Contains spoilers and speculation
Last week (and indeed the week before that, too) I commented that Doctor Who is at its best when it’s at its most scary. I totally stand by that assessment, but should add a coda: that the show’s greatest strength is its sheer diversity, in how it is continually able to flip from one genre and style one week to a completely different one the next. Hence last episode we had a precision-crafted chamber piece, a sublime 19th century gothic haunted house mystery; and without skipping a beat, this time out we have a full blown galaxy-spanning epic space opera set in a far future dystopia following a disastrous war that has all-but wiped out humanity. You really couldn’t get much more of a completely contrasting tonal shift than that, surely?
Better yet, it pulls off this sudden change of direction even though “Ascension of the Cybermen” is a direct narrative continuation of the ending of last week’s episode. The Doctor (Jodie Whittaker) is determined to deal with the consequences of her decision to surrender the Cyberium to the Lone Cyberman – otherwise known as Ashad (Patrick O’Kane) – and to defend the last seven known human beings alive in the galaxy. Unfortunately even by the Doctor’s eccentric standards, this proves to be terribly ramshackle effort that’s quickly overcome by Ashad and his guards, putting everyone in mortal danger. Considering how much the Doctor talked up the severity of the situation at the end of last week, you’d have thought she’d have known to come up with a plan just a little more robust than a few second hand bits and pieces from the far future equivalent of eBay. Read the rest of this entry »
It seems like only last week I was suggesting that Doctor Who is best when it’s at its most scary. Oh, wait a minute, it was only last week. There you go, you see: you wait for ages for an effective, chilling episode to come along and then inevitably two turn up in quick succession, in what can’t help but look like a bit of an awkward hiccup in scheduling.
But in fact, despite sharing some basic horror elements, this week’s story is very different from last week’s “Can You Hear Me?”. That started with a ‘big monster on the rampage’ sequence, segued to a creepy guy lucking in the shadows in people’s bedrooms, went on to the very stuff of modern nightmares, only to veer off into an earnest and well-executed drama about mental health which unfortunately came at the cost of pretty much losing the plot in the process. In contrast, “The Haunting of Villa Diodati” starts with a classic haunted house tale, and despite adding a science fiction element to the heart of (almost) all the ghostly incidents and even very effectively connecting it up to the overall series arc, the script by Maxine Alderton manages to never lose focus or cohesion and as a result delivers an episode right up there with the classic entries in the history of the long-running series.
The story has its own message – about how “words matter” and can change lives – but it does so very nimbly and as part of building up the stakes for a no-win decision facing the Doctor, rather than as some major declarative statement as has been the case at other times in the Chris Chibnall era of the show. The episode also continues Chibnall’s interest in foregrounding real historic events and people as seen previously in “Rosa” and “Nikola Tesla’s Night of Terror”, but again a light touch means that this time it feels much like a natural scenario and interesting line-up of guest characters appropriate for the drama on hand rather than another public service historical infodump. Read the rest of this entry »