NOTE: packed full of spoilers, and possibly traces of nuts.
Oh boy. Remember how, in my review of episode 1 of the new series of Doctor Who, I suggested that we might have a better chance of understanding what was going on in the season opener after we’d seen the second of the two parts? How sweetly naive and utterly wrong that hope turned out to be.
To put it simply: at some point during the 42 minutes of “Day of the Moon”, my brain broke. Not only did the episode totally and wilfully avoid answering any of the questions that part 1 threw up, it then plunged on and upped the ante with a series of further shock twists and revelations that left you questioning just about everything you were seeing.
Was the first episode shock of the Doctor’s shooting picked up and resolved? No. It wasn’t even mentioned once this time around. Do we learn who the little girl is? No. But we do find that she has a photograph of her with Amy, upping the likelihood that she’s Amy’s daughter after Amy blurted out that she was pregnant at the end of episode 1 … except that in an oddly belated off-hand follow-up, Amy says she’s not pregnant after all and it was just a side-effect of the Silents’ mind control leaving her with nausea (something we saw affect River as well, so it’s possible.) But then why is the Doctor running a pregnancy scan on her? And why is that scan oscillating between pregnant/not pregnant? Is that just what it does while calibrating and is teasing us by withholding the actual answer from us, or is it possible that she’s genuinely both in some way? Or is this just all too obvious for someone as fiendish as Steven Moffat?
The one thing the episode did do was wrap up the immediate story about the invasion (or rather, ongoing occupation) of the Earth by the Silents, through a very neat (if hard to keep up with) twist of broadcasting the aliens’ own commands over the most watched single piece of TV footage in history, hence enabling the population of Earth to be able to see and thus fight the Silents. Some people might grumble that this was a piece of technobabble deus ex machina sleight-of-hand, but in which case they need to watch again: all the pieces are so carefully and fastidiously put in place beforehand that it’s practically a text book example of how to write this sort of thing and not cheat the audience. But while it provides an immediate end to the current story, it does nothing to answer the bigger questions. The Silents, we learn, are parasites who have been steering human history in order to get us to build things they want – such as instigating the space race in order to get spacesuits. But why do they need the suits? Why put a little girl into one? What’s the overall plan? And what’s that leftover ship from “The Lodger” doing? (And yes, it was confirmed that it was the same sort of ship by the Doctor, who comments “I’ve seen one of these before, abandoned.”)
Some of the flaws in episode 1 were addressed and improved upon by the second part. The period feel I felt missing last week was handsomely delivered this time around. And the Silents were much more effective: for long stretches of the episode we don’t see them at all, but their presence is registered by flashing implanted voice mail indicators and by pen marks the characters draw on their arms and faces to mark a “sighting”; and it’s utterly chilling and jarring, when with no warning at all these indicators suddenly appear and we don’t know why, because … Well, we’ve forgotten, too. Suddenly the power and the threat and the sheer terror of the Silents is brought right home to us in a way it never was as a CGI alien in a suit.
Those voice mail capsules were a brilliant addition to proceedings, enabling Amy to speak to the Doctor and Rory after she’s abducted. Rory’s unswerving devotion to her – insisting on talking to her despite it being receive-only – is hugely affecting, and when he starts to believe that she’s declaring her love for the Doctor over the broadcast it’s also utterly heartbreaking, because Rory is such an appealing, rounded and sympathetic character. Far more so these days than Amy, who even after she returns and assures Rory that she was talking about him all the time, you still feel that she’s pulling a fast one somewhere along the line. With the Doctor eternally unknowable, and Amy not entirely trustworthy, Rory’s importance as our main point of audience identification is crucial and shows how vastly more than the “tin dog” add-on he is to the current triumvirate.
Alex Kingston as Dr River Song was magnificent again, from showing superb gun skills through to diving off the Empire State Building … and into the Tardis’ swimming pool (a 5s scene that managed to make me laugh while being simultaneously a riff off the start of “The Time of Angels” and a throwback to the start of “The Eleventh Hour”.) Her shooting down of the Silents may raise eyebrows from fans raised on the Russell T Davies era of the Doctor for whom guns were anathema, but looking at the wider history of the character you’ll see that’s a very 21st century affectation. And besides, River cheekily comments that she hoped her “old fella” didn’t see any of that … Is that one question answered at least – confirmation that River is indeed the Doctor’s wife? Possibly. There’s a lovely coda back at River’s prison where she suddenly locks lips with the Doctor and Matt Smith performs some inspired writhing as he tries to find someway out of this latest diabolical clinch … but the comedy then quickly turns to tragedy as the scene closes out on River commenting that this is “the last time” for them.
There are still flaws: the Nixon character completely collapsed from any credibility or closeness to the real person, although he did make for a funny “running joke” as he was wheeled out of the Tardis all over the place to establish the Doctor’s bone fides at key moments (what, the psychic notepaper no longer doing the trick?). And his final scene with Canton Delaware, in which Canton’s choice of life partner was revealed, was a wonderfully light touch scene that shows how to be both outrageously politically correct and in service of the story.
But really it was the sheer ferocious pace of everything coming at you that left you gasping and reeling. The pre-titles sequence this time had the Doctor a prisoner in Area 51 and all the companions chased down and killed by a seemingly turncoat Canton, the time having moved on three months since the cliffhanger at the end of episode 1 which was never really picked up again. At least there was no timey-wimey bumpy-wumpy timeline jumping this time around, but Moffat was instead having a grand old time playing around with linear story structure and it had a similar implosion effect on the average human mind. At times, all you wanted was a nice quite moment, a bit of exposition and explanation, a few questions answered. A nice scene in the Tardis with everyone on the couch drinking tea for 5 minutes to catch their breath, is it too much to ask for?
Instead what we got was a haunted orphanage that was straight out of gothic horror (they should just have called it Arkham Asylum; the only remaining person there was a Doctor Renfrew which is surely a knowing wink to the insane Renfield in Dracula) – scenes that were so impressively designed and shot, and so brilliant and scary, that you wished they’d make an entire episode about this one location rather than career in and out of it in ten minutes flat.
And then there was the end. Back to the little girl. If anyone had still laughably believed that they were just about clinging on to the narrative, then surely this final scene would have broken their resolve too, because surely no one saw this coming. What does it mean? How could it be? Who could it be?
What … the **** … is going ON?!
I’m hoping for some very light-hearted, no ties, question-free swashbuckling pirating action next week, I really am.
NOTE: contains some mild spoilers, and possibly traces of nuts.
And so “the Doctor is in” once again. This time he’s hitting the ground running with the sort of big, bold, epic adventure normally reserved for season finales – including the shock moment in the first 10 minutes that would normally be the end-of-series cliffhanger par excellence, and yet here it’s merely the kicking off point and the start of things.
It’s not an episode you’re really going to understand, unless your name happens to be Steven Moffat. It’s too devious and intricate to ever let you think for one minute that you’ve got a firm grip on where its going or how it’s going to play out. In fact the best thing is to actually stop even trying to follow the plot at this time and instead just view it as a “mood piece”, where you sit back and enjoy the overall flow of it and the specific set-pieces and hope that the plot will come to you later on – after part 2, maybe. It’s certainly not the sort of easy-access starting point to the series that we may have expected given the show’s obvious efforts leading up to this season opener to really try making it big in the USA at long last.
A big problem in ‘breaking’ America is that the show, while expensive in UK terms, is on a pauper’s budget compared to US network productions. One of the biggest criticisms that people had of the previous season was that the widely publicised across-the-board BBC budget cuts had really hurt Doctor Who, with CGI not as good as previous years (Vampires of Venice) and other shows having to make do with a boutique guest cast of 5 or 6 where really it needed crowds of people to make it live up to the script’s vision (Hungry Earth).
Well, no budget problems in evidence in this season opener (perhaps thanks to a co-production deal with BBC America?) It’s hugely impressive, stunningly cinematic throughout and looks wonderful, right up there into proper movie territory, especially with the location shooting in Monument Valley and Lake Powell in Utah and Arizona adding a genuinely epic feel to the early scenes, as does the hiring of well-known US series actors (and real-life father and son) W Morgan Sheppard and Mark Sheppard in a key role (and yes, I do mean one role, that of temporary new companion Canton Everett Delaware III.)
The ensuing 40 minutes of action are non-stop, but not the story of melodramatic running about that most shows practice – every single scene has a vital role in progressing the story and the ideas forward. So you have breath-taking, show-stopping iconic scenes following one after the other: a giddy chase across history keeping up with the Doctor’s exploits; the arrival in Monument Valley and a picnic by Lake Powell; an Apollo astronaut in the middle of the desert; a shock shooting, and the death of a regular character; a Viking funeral; the Tardis in the White House; the creepy warehouse and the underground tunnels with that strangely familiar control room, and then the return and unmasking of that astronaut again. And above all, the new villains – the Silents, who are staggeringly creepy as little grey men incongruously dressed in “men in black” suits and ties: they only lack the shades. Their scenes in the White House (and in particular, in the rest room) are among the most gripping moments of the episode. All of this is hugely captivating and arresting, even if you don’t really have a clue what’s going on: but I suspect only adults will worry about whether the show is “understandable” while kids won’t think about it for a second as they’ll be too busy hiding behind the sofa or watching with their mouths open in wonder.
And then there’s the dialogue and the character interplay: I just love how the four regulars (the Doctor, Amy, Rory and River Song) play off each other, and their scenes together top any others in the show whatever the spectacle or the scare factor on offer. The main cast (Matt Smith, Karen Gillan, Arthur Darvill and the wonderful Alex Kingston) are all on terrific form and really strong in their respective characters now. The team reacting to the Doctor’s surprise reappearance in the diner; later, the trio struggling to keep a vital secret from the Doctor (and his sulking about it); Amy’s revelation toward the end; Rory having to walk Canton through basic Tardis induction protocols; and in particular, River’s opening up to Rory as they search the tunnels are all genuine character highlights. There’s also a lovely character grace note where the Doctor reassures the new crew addition with “Brave heart, Canton!” immediately reconnecting us with the Peter Davison years.
There are a few things that don’t quite come off. Stuart Milligan, playing President Nixon, is a good actor but he really isn’t anywhere close to a good-enough representation of America’s most notorious leader in any way. And while the Oval Office set is perfectly fine, there’s a lack of sense of genuine West Wing ‘atmosphere’ that belies the show’s British origins which fail to quite understand the nuances (one basic example being the Secret Service overlooking River Song’s firearm and never taking it away from her.) Plus, given that the show makes a big play about being a trip to Space: 1969, there’s actually an odd lack of period feel at this point too – although that might be rectified in part two.
Oddest of all, there’s a sense that Moffat – a hugely imaginative and ambitious writer – is strangely stuck on certain themes when it comes to his Doctor Who scripts. Once again we have a show that starts with a prison breakout by River Song; a series regular’s (apparent) definite-and-final death (they all died at one point last season); followed by a lot of tricksy jumping around and complex interweaving of timelines of the sort we’ve seen in several of Moffat’s previous scripts starting with his award-winning episodes The Girl in the Fireplace and Blink through to the S5 two-part finale last year, the Christmas special and still more recently the Children in Need special in March. Even the new villains are strangely familiar riffs on an old successful theme: where Blink‘s Weeping Angels could only move when someone wasn’t looking, here the Silents are able to erase themselves from memory as soon as someone looks away. It’s still working, it’s just that really it’s starting to get a little bit familiar and needs resting. Russell T Davies, for all his faults, never stayed still and was always trying something new and different – even if sometimes his approach failed or resulted in unfocused ADHD scripts, it couldn’t be faulted for always trying new directions week in and week out. Moffat is running the risk of overthinking things and finding himself stuck in a particular furrow, where Doctor Who should always be about unlimited possibilities and infinite alternatives week in and week out.
But right now, that’s carping. The Impossible Astronaut was a hugely successful and effective epic opener and one that makes you desperate to see part two right now and not have to wait for another seven days, and that’s always quite the best compliment you can pay to the show.