Posts Tagged With: the witchfinders

Have I Got Whos For You (Valentine’s Day edition)

First things first: Happy Retrospective Valentine’s Day.

I wrote a poem for the occasion, and make no apologies for posting it after the fact; it’s a show about time travel:

Racnoss are red,
Dorium was blue.
And if it’s the last chance to say it,
Rose Tyler.

(Sorry.)

But there’s been more than one marketing stunt doing the social media rounds over the week. National Pizza Day, for example, came and went.

I’m never one to blow my own trumpet here at BoM, but can I just say that I’m really quite pleased with the Photoshopping in this one? I’d spent half an hour trying to get a Dominos box into a photo of Jodie and the others leaning over the glowing thing on the workbench (you know the one I mean), before abandoning it because, for all my rubbing out, her fingers were unavoidably yellow. I probably could have fixed that, but going in a completely different direction seems to have worked. Sometimes the simplest ideas are the best.

Speaking of Jodie, a leaked promo photo for series 12 has got the fans up in arms.

Disney are seldom out of the news these days. If they’re not dropping teasers for Frozen 2 (yes, I have seen it; yes, I tried a Doctor Who mash; no, it didn’t work) then the fans are getting their knickers in a twist over Will Smith’s lack of blueness following a magazine publicity shot for which he elected not to put on the hours of makeup (is it even makeup? Or is it just CG?). So a few days later they released a teaser, in which the genie appears in his full blue glory – far less rude than it sounds, by the way – and unsuspecting fans who presumably haven’t seen the original were taking to the internet in their dozens to Tweet “WHY THE HELL IS HE BLUE?”. You can’t please all the people all of the time, it seems, and if it’s millennial Disney fans you’re better off just throwing in the towel before you get started.

Anyway, the genie’s not without his contemporaries, as this family reunion picture will attest.

When I published this, all hell broke loose. Eagle-eyed readers will notice I’ve basically recycled the assets from the Elton John image I did last year, but that’s not the cause of consternation: rather, everyone is wondering why their own favourite is missing. “Where’s Yondu?” read the first comment.

“Um,” I said. “Yonder?”
“No, where’s Yondu? You know, the guy from Guardians of the Galaxy?”
“I know who you meant. He’s way over yonder. You know, over there.”
“Ha! Love the Jimi Hendrix reference.”
“Um. Yeah, OK.”

It went on.

“Where’s Dr Manhattan?”
“He’s in exile. Didn’t you read the book?”
“You forgot Jake Sully.”
“So I did.”
“What about the blue dude who shot Bill?”
“Who do you think’s taking the photo?”
“Oof.”
“Well, he’s good at shooting things.”
“Shouldn’t Avatar be here?”
“He’s in the Night Garden with Iggle Piggle.”
“Wait. What about the Blue Man Group?”
“Oh, yeah, well -”
“Where’s Mystique and Beast? The Diva from the Fifth Element? The Andorians from Star Trek?”
“Well, I-”
“Jim the Fish? Moxx of Balhoon? Karen Gillan’s Avengers character? What about-”
“STOP THE MADNESS!”

There’s a particular elephant in the room here, and that’s the question of whether all these blue-skinned aliens are part of the same race, or whether they’re all different. The latter is of course the answer, but the funny thing is I did actually have someone complain about this: a disgruntled New Zealander who is keen to use this as a drawing board on which he can scribble his own invented problems. “Hmmph,” he said. “So when a white man dresses up in blackface then it’s racism. But when a black man dresses up in blue, that’s OK?”

Well, I’ll tell you what Dave (not his real name). If you can find me a race of blue-skinned natives to get offended by this grotesque cultural stereotyping, then we can have a conversation. Seriously, fuck off.

Blue is clearly the colour of discussion here, but can we all calm down a bit? It’s not like they’ve changed the TARDIS or anything.

Yes. Well.

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Doctor Who series 11: the executive summaries (part two)

I’m sure you’ve all been sitting there with baited breath waiting for part two of my collection of Doctor Who Companion episode summaries, and you know how I hate to disappoint you. This is going to be a long one, so let’s get straight on with it – do be aware that things get a little silly in this installment, for which I make no apologies whatsoever. Oh, and if you missed part one, it’s available here.

 

Demons of the Punjab

(I wrote the review for this one, and thus didn’t provide a summary. But this is what I would have said if I had…)

‘Stepping back into history is nothing if you don’t put some sort of contemporary spin on it. It’s not enough to narrate the Partition of India (important as that may be); such moralising may be well-intentioned but it ultimately comes to nothing if you don’t pack the twenty-first century lens. And so it is that this week the time-travelling quartet (I cannot and will not bring myself to refer to them as ‘Team TARDIS’) travel back to 1947 to discover the roots of a story that Yaz’s grandmother refuses to tell. The notion of delving into the past to solve untapped mysteries is one that’s naturally going to appeal to just about everyone (while I’m not about to go into details, it’s one I’ve been thinking about a lot this past week) and while it inevitably turns out to be a Pandora’s box, there’s never any question that it was an adventure not worth having. As Yaz notes, “What’s the point in having a mate with a time machine if you can’t go back and see your nan when she was young?”

So before you know it, we’re trundling round the Punjab two days before they draw a line in the sand and neighbour makes war upon neighbour. There are resentful siblings and an upcoming wedding to a man that no one recognises – and the woods are littered with alien technology. The twist, of course, is that the titular demons turn out to be nothing of the sort, becoming instead a paradigm for a wiser, older version of humanity, roaming the universe and honouring unobserved deaths as an act of penance. Introducing such a concept so soon after Twice Upon A Time is a narrative risk – Big Finish’s monthly range has suffered in the same way – but if anything, the Assassins of Thijar (what do we call them? Thijarians? Anybody know?) are a better fit. Masked, armoured, and imposing, appearing from the shadows like a cut-price Predator, they are obvious villains in the same way that the Fisher King was, and the fact that they turn out to be entirely benevolent (if ultimately impassive) is a harsh lesson in judging by appearances.

This is, above all, a story about reacting – the consequences of being in a situation you can’t change, a sort of virtual reality history lesson that is likely not to sit well with some people. “All we can strive to be,” notes Graham, in a lump-inducing moment with Prem that is by far this week’s high point, “is good men”. Graham, indeed, is the one to watch this week – moving from childlike fascination to helpless abandonment with the precision of an actor at the top of his game. Elsewhere, Ryan spends most of his screen time kicking up the dust, while the Doctor officiates at the wedding (in a speech that’s likely to outlive Tumblr itself, never mind do the rounds on it). But even if they’re only chewing up the scenery, at least they do it with a certain panache. The supporting characters, too, acquit themselves well, although Amita Suman rather lets the side down, giving a performance as wooden as the huts that sprinkle the roads.

As with the first Lord of the Rings movie, the real star is the scenery. The Doctor and her companions stride through the fields and lanes of rural Punjab (actually Granada), given a warm, almost sepia-tinted glow by Sam Heasman’s exemplary cinematography. The forest sparkles in the low sun of afternoon, and the camera lingers over the poppies that bloom in the fields. The cavernous interior of the Thijar spacecraft is bland and fundamentally pointless, somehow, and yet again the TARDIS barely gets a look-in (did they only have that set for half an hour, or something?), but both are forgivable offences when everything else looks so pretty. Is the moral hand-wringing appropriate for prime time BBC? That’s another post. In the meantime, at least you can enjoy the view.’

DWC write-up

Kerblam!

No, no, no. This won’t do at all, McTighe. Twists? Balanced arguments? Subtlety? Structure? That’s not a fit for 2018 Doctor Who, and you know it. It was all going so well, and then you had to spoil things. I’m incredibly disappointed. You’ve let me down, you’ve let yourself down, and you’ve let the whole multiverse down.

Let’s take a look at how that would have ended if Chibnall had written it, shall we?

INT. WAREHOUSE LEVEL. DAY

The Doctor, Yaz and Ryan stare in horror at the scene: thousands of workers, across the vast packing level, juddering and writhing in a distorted and grotesque fashion, their bodies spasming with what looks like electrical pulses. Veins pop, and the eyes of each worker have gone ghostly white.

CYNICAL EXECUTIVE: Watch closely, Doctor. Watch, and witness the next stage of efficiency.

YAZ: Doctor, what’s happening to them?

DOCTOR: The virus is entering its final stages. It’s only a matter of moments before they’re lifeless corpses reacting purely to electrically stimulated impulses. Going through the motions, but to all intents and purposes, dead. Clinically dead.

RYAN: You mean like X-Factor finalists?

DOCTOR: Not now, Ryan!

RYAN: Sorry. I trip over words sometimes as well as my own feet. It’s ‘cos I’ve got dysprax-

EVERYONE ELSE: WE KNOW!!!

YAZ: Isn’t there anything we can do?

The Doctor locks eyes with the Cynical Executive, who keeps his gun trained. 

DOCTOR: Help them. These aren’t machines, they’re people! They can’t function in a state of constant productivity; they need rest! They need interaction! They need time away from the packing spaces! This obsession with productivity has driven them into the ground. That’s why they reached out to me – well, one of ’em did. I knew something was off at Kerblam the moment we arrived – just couldn’t see what it was. So I dug. And now I find you’re turning them into zombies!

CYNICAL EXECUTIVE: It’s too late, Doctor. When the virus enters its final stage, they will reach a state of uninterrupted productivity, at the cost of most neural functions. They’ll be able to perform the roles we give them, never stopping, never resting, never tiring. We call it… permawork.

Graham is still over at the side of the room, tending to Forgettable Sidekick, who is sat in a chair.

GRAHAM: Doc, she’s fadin’!

Yaz does that thing with her eyes, Ryan shuffles his feet, and the Doctor bites her bottom lip and looks like she’s trying to smell a fart.

DOCTOR: Fading… but not succumbing! That’s it! It’s technobabble jargon jargon resulting in a speedily delivered convenient plot device!

YAZ: Yer wot?

DOCTOR: SHE’S IMMUNE!

She turns with a flourish and does that thing with the screwdriver. You know the one. The Dance School routine.

CYNICAL EXECUTIVE: Wait, no –

DOCTOR: Sorry fella. This order’s been cancelled.

The Doctor whirls on the spot, and points the screwdriver at the strip lights above the assembled mass of workers. A jolt of electricity zips down and hits everyone. The lights go out momentarily. When they flicker back on, the hordes of workers are miraculously restored to normal, staring at each other, brushing the dirt from their clothes. There’s probably an inter-racial hug.

RYAN: What did you do?

DOCTOR: Reversed the polarity.

YAZ: The polarity of what?

DOCTOR: Oh, I’ll explain later. [To the executive] Just as you’ll have some explaining of yer own to do, once the authorities arrive. I’m sure they’ll be very interested to learn about the lengths you’ll go to just to meet a sales target.

CYNICAL EXECUTIVE [With a smirk]: They’ll have to catch me first.

He rolls up a sleeve and punches a couple of buttons on a concealed pad, and then blinks out of existence.

DOCTOR: NO!!! Gaah. Always the teleport.

GRAHAM: Anyone else notice this seems to be ‘appening every week?

DOCTOR: Fuck off, Graham.

DWC write-up

The Witchfinders

‘Fun fact: in this week’s episode the word ‘Satan’ is used thirty-nine times. Thirty-nine. I know this because I checked the SRT file. It’s almost as bad as the overuse of ‘fungus’ in the Mario movie. Of course, Satan doesn’t make any sort of appearance and the witches aren’t really witches at all. But you knew that before they’d finished rolling the opening titles, didn’t you?

There’s a lot of reacting going on in The Witchfinders. Graham wears a hat; that is about all you can say for him. Ryan’s job is to look uncomfortable, but Cole does this extremely well and thus it seems fairly pointless to bring it up. Whittaker, for her part, is snooping around examining the mud like a caffeine-fuelled archeolologist and mostly getting wet, at least during the scenes when she’s not sending Yaz off to do a bit of family liaison – real police work for the second time in two weeks. (Why is it only the guest writers who remember Yaz’s career choices? Did Chibnall forget his own brief, or does he simply not care?)

Then there’s Alan Cumming – an extremely talented actor who is clearly having a ball with this cacophony of mud monsters and pitchforks, although it is frankly difficult to see him as anyone but Alan Cumming. Playing James, I like an effete pantomime baron – or at the very least a supporting character in Casanova– he is a braggart and a poseur, condescending to the Doctor (who stomps away complaining about being ‘patronised to death’) and flirting with Ryan. It’s a warm and memorable performance but there’s something off key about it: something that hearkens back to Graham Crowden in The Horns of Nimon, a serious part rendered utterly ridiculous. Is this a good thing? It depends whom you ask, surely?

Still, perhaps that isn’t a bad thing. Perhaps the lesson we’re learning from this Brave New World that is Chibnall’s Who is that it is capable of good things when it is worthy and serious, but even greater things when it is not. Would The Witchfinders have worked better had it been graced with serious performances, or more elaborate social commentary than the brief monologue that we were given? It seems doubtful. 45 minutes is not long enough, and the world does not need another Crucible. In many respects, this week was as wobbly and precariously balanced as a house of cards, but I spent most of it laughing. I’m honestly not sure, this morning, just how much of that was intentional. But nonetheless I was laughing. That’s not a bad way to spend a sabbath.’

DWC write-up

It Takes You Away

Righto, folks. To the tune of ‘We All Stand Together‘, by the inimitable Paul McCartney and the Frog Chorus.

Oh, this was
Simply cack
Think it will a take me a while to unpack
Opened well
Went to hell
Not funny or clever

Norway’s nice
Clean and bright
But what’s the point when the story is shite?
Family bored
Wife just snored
We suffer together

Aaaaah
Don’t mind surreal when it works
Aaaaah
Turn off the murk
Eric’s a jerk

Eldon sneers
Smells of wee
I’d like to staple his head to a tree
They’ve gone through
I’ll come too
Escape this forever

Dialogue’s bad
Sluggish pace
Graham’s upset ‘cos that’s not really Grace
Hanne’s mum
Seems quite glum
They all stand together

Aaaaah
Twitter’s ablaze through the night
Aaaaah
Got nothing right
Though next week might

There’s a frog
On a chair
Whittaker’s doing that thing with her hair
She’s run off
Where’s the moth?
It’s gone. Oh, whatever.

DWC write-up

The Battle of Ranskoor Av Kolos

‘There’s a scene at the end of The Battle of Ranskoorav Kolos that is as inevitable as it is disappointing. Out of breath, heavily armed, and as angry as we’ve ever seen him, Bradley Walsh is given the chance to avenge the death of his wife, and he bottles it. It would have been so nice (not to mention realistic) if he’d pulled the trigger; it’s no less than Tim Shaw deserves, and watching him face the repercussions of that –heaping him in with the likes of Wonder Woman, or Brad Pitt at the end of Se7en – would have made for a fascinating story. Instead, Chibnall lapses into the most oft-mined cliché in the action movie handbook, apart from the slow-motion flame run (and we even get a bit of that as well). Graham becomes the bigger man, and good old Tim is locked up on a planet with no security, in a cryogenic prison that’s so easy to open even Ryan could manage it.

It’s a shame, really, because – while hardly a classic– Battle does offer us a glimpse of the Doctor Who we’d got used to in recent years. That’s not to say this is another Journey’s End (and by the way, Chibbs, referencing that story in this one really doesn’t do you any favours) or even a Doctor Falls. But it does have pitched battles, the Earth in peril, and rifle-toting robots with AI that’s so terrible it manages to outgun Assassin’s Creed. Everyone gets out alive (well, almost), and everyone gets to be useful. There are even extensive quarry sequences. Who cares that they’re basically ripping off The Pirate Planet?

And yet… And yet there is a problem with unleashing this low-octane melange of explosions and countdowns, because all it does is make you wonder how the episode might have looked had Russell T Davies been at the helm. Perhaps the result would have been no different – the BBC can spin all they want but it’s obvious that Doctor Who’s had its budget cut this year, and this gets to be a problem when they’re clearly hearkening back to the fiery set pieces we’d become accustomed to over the last decade and a bit. Sat next to them, the end product is like one of those films where the heavily-armoured jeep gets stuck in the mud and the heroes have to go the rest of the way on a stolen micro-scooter. If the impression we’ve had all this year is that of a work in progress, rather than something that’s forged its own identity, then it’s worrying that this damp squib is all they can pull out of the hat for a series finale. Or perhaps the New Year’s special is the actual series finale, and this was just the build-up.But either way, it doesn’t help when, having spent 9 weeks bleating about how we need to move on from the old days, an episode like this merely serves to remind me how much I miss them.’

DWC write-up

Resolution

(This was another one of mine, and as we go to press the collective write-up is still forthcoming. But seeing as we’re here…)

‘As well as being a remake of DalekResolution is also an exercise in restraint. That we do not see the Dalek proper until the fourth act is a risky stunt, but one that pays off: there was a deep-rooted fear that it would be reduced to little more than a cameo, the sort of thing the BBC show as little as possible because they’ve only got the props for one afternoon, but thankfully it’s unfounded, and the resurrected creature emerges from the smoke with plenty of time to spare. For a cobbled alien built with junk by an archaeologist, it is almost comically robust, right down to the jet pack thrusters and the tank-breaking rockets hidden behind its bumps. It is an excuse for an explosive showdown with the army from which the Dalek emerges unscathed, flying off into the sights of military jet planes and angry Twitter users who complained about ‘needless reinvention’. (For the record, it’s not needless and it’s not a reinvention; it’s an improvised Dalek made from scrap and you know perfectly well that you’ll buy the bloody thing when it comes out in May.)

There is the usual fan-baiting and the structure is off-kilter and some of the dialogue is dreadful – but somehow, none of it matters. This is as high octane and blazing as we’ve got this series – and even if that’s not a great deal, it somehow feels like enough. Whether it’s the galactic firework display that opens the narrative, the TARDIS crew standing at the doorway wearing expressions of unbridled, childlike joy; Segin Akinola’s pleasingly retro score; the numerous offscreen adventures the Doctor and her companions have been having that will have fan fiction writers reaching for notebooks… just the sheer joy of the thing, it all zips by in an hour of silliness, a metal dustbin doing ridiculous things before getting covered in lashed-together circuitry in a scene worthy of Scrapheap Challenge. It feels like the most overused monsters in the canon are fun again, and for all the clunky dialogue and jokes about the internet and narrative shortcomings (are we really supposed to be worried about the fact that the Dalek is about to call a fleet that isn’t there?), this is that rarity in Nu Who: an episode that I not only enjoyed but would actually watch again. Twice Upon A Time had us asking whether there could be any such thing as a good Dalek, when perhaps the question we ought to have been asking was whether, in today’s day and age, there could still be any such thing as a good Dalek story. If Resolution proves anything, it’s that the answer can be ‘yes’.’

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Have I Got Whos For You (series 11 edition, part 5)

The eagle-eyed among you will have noticed that it’s Wednesday and I have yet to upload a review. That’s in no small part because I was asked, at rather short but nonetheless welcome notice, to do a review for Metro, and you can read that one if you really want to, although it should be taken as read that it’s somewhat different to the one I’d have posted here.

But you know, audiences and that. I do have something quite special planned (that’s ‘special’ in a Church Lady sense, of course), but to help you while away your time while I get that finished, here’s a few…things to keep you going.

First up: Jodie Whittaker’s the king of the world. Sorry, that should be ‘woooooooorrrrlllld’.

On a hospital ship heading towards an outer colony, the damaged P’ting is healed by an unexpected visitor.

Elsewhere, in the forests of Lancashire, Nintendo resorts to unorthodox marketing strategies in order to shift units.

But that’ll have to go on the back burner for now, because the Eleventh Doctor would like a little chat.

See you in a few days…

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Have I Got Whos For You (series 11 edition, part 4)

And….we’re back from commercial. Right, did everybody enjoy Thanksgiving? ‘Cos the Doctor’s got the turkey on.

(Mr Bean did it first, of course, and to arguably better effect.)

Thanksgiving is typically more about spending time with your family than it is about exchanging gifts – but there have been scores of references to packaging all over the internet after ‘Kerblam’, and not in a good way.

Elsewhere in the Whoniverse this week there was consternation when an Amazon Prime scheduling cockup meant that American subscribers to their streaming video service got to watch episode eight before they’d seen episode seven.

As for me, I’ve been tinkering with grainy, near-unusuable shots from ‘Kerblam!’ (do I have to type out the exclamation mark every time? It’s incredibly tedious) in order to produce more obscure connections to CBeebies programmes, although feedback for this one does suggest I’m not alone.

But I did find time to get hold of this exclusive preview shot from next week’s Holby City.

Hoopy Froobs!

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Review: The Witchfinders

Lurking on Facebook somewhere is a woman that I recently blocked. Actually the blocking was mutual, which is in itself a long and not terribly interesting story, although the reasons behind it are worth a mention. She has spent a number of months in vehement protest against the casting of a female Doctor, because it was her concrete belief that the historical treatment of women would make it all but impossible for the writers to churn out adequate stories set in the past. Either no one would take the Doctor seriously, thus rendering her all but useless, or everyone would improbably fall for her irreverence and charm and the story would be historically inaccurate. There were a dozen ways the rest of us managed to explain away this potential stumbling block, both with narrative workarounds and at least a dozen male-dominated stories where this happened (not to mention the show’s frequent historical cock-ups), but they fell largely on deaf ears.

For all the bleating and cat-fighting on the internet, it was clearly preying on the mind of Joy Wilkinson – late of Nicholas Nickleby and now the writer of two episodes of this year’s Doctor Who. The first of these is ‘The Witchfinders’, in which the intrepid Time Lord and her companions land the TARDIS in the wrong place and wind up in a (literal) witch hunt. Taking charge as is her custom, the Doctor swiftly finds herself demoted, outvoted and dismissed by the patriarchy, and ends up accused of witchcraft herself and tied to an anachronistic ducking stool. Meanwhile, the witches aren’t really witches at all. But you knew that before they’d finished rolling the opening titles, didn’t you?

Fun fact: in this week’s episode the word ‘Satan’ is used thirty-nine times. Thirty-nine. I know this because I checked the subtitles. It’s almost as bad as the overuse of ‘fungus’ in the Mario movie. It wouldn’t be a problem had they unpacked things a little bit. Oh, there’s a passing reference to Lucifer. The rest of it is cries of “Burn the witch!” from authoritarian dignitaries and disappointingly quiet villagers; there is a token nod to the Bible but the Doctor casually brushes aside any religious arguments about Satan, merely declaring herself ‘not a fan’, while Graham quotes Pulp Fiction.

There’s a lot of reacting going on in ‘The Witchfinders’. Graham wears a hat; that is about all you can say for him. Ryan’s job is to look uncomfortable, but Cole does this extremely well and thus it seems almost churlish to bring it up. Whittaker, for her part, is snooping around examining the mud like a caffeine-fuelled archeolologist and mostly getting wet, at least during the scenes when she’s not sending Yaz off to do a bit of family liaison – real police work for the second time in two weeks. (Why is it only the guest writers who remember Yaz’s career choices? Did Chibnall forget his own brief, or does he simply not care?)

As seems to be the custom this year, Wilkinson keeps her supporting cast light: three with speaking roles, and one whose job is mainly to advance through a forest holding an axe, leering like someone doing a cut-price Jack Nicholson impression. Siobhan Finneran (Benidorm, Downton Abbey) acquits herself well enough: the revelation that Becka is related to the witch she accuses comes as an interesting twist that sadly goes nowhere very promising. She’s out for blood against Tilly Steele (Victoria), who does a decent line in frightened peasant, before becoming sufficiently empowered to lend a hand in Whittaker’s final rescue operation, marching across the fields with flaming torches like a Frankensteinian mob.

Then there’s Alan Cumming – an extremely talented actor who is clearly having a ball with this cacophony of mud monsters and pitchforks, although it is frankly difficult to see him as anyone but Alan Cumming. Playing James I like an effete pantomime baron – or at the very least a supporting character in Casanova – he is a braggart and a poseur, condescending to the Doctor (who stomps away complaining about being ‘patronised to death’) and flirting with Ryan. It’s a warm and memorable performance but there’s something off key about it: something that hearkens back to Graham Crowden in ‘The Horns of Nimon’, a serious part rendered utterly ridiculous. Is this a good thing? It depends whom you ask, surely?

Certainly Cumming (largely thanks to the considerable amount of screen time he is given, not to mention the insights into his lineage) has the effect of transforming the story, rendering a dark fable largely ridiculous and impossible to take remotely seriously even in its most sinister moments. Not that we can blame this entirely on him, considering the monster-of-the-week is an imprisoned race of alien warriors who emerge when a woman cuts down a tree, taking the form of sentient, bodysnatching dirt. At least I think they were alien warriors. While we leave the forests of Lancashire knowing King James all the better, the Morax – surely a verbal play on Lorax, Dr Seuss’s ecological fable – are a by-product, a last-minute substitute for real witchcraft, a focus for the villagers’ hate. There are dark things afoot in Pendle Hill but none of them concern black magic, just a panicky landowner who cannot cover her tracks quite fast enough.

In a way it’s a great shame that the story doesn’t actually feature any real black magic, because Clarke’s third law – to which Wilkinson pays affectionate homage at the episode’s denouement – has been done to death by now. The convenient dismissal of the occult happens in just about every story in which it makes an appearance, with the notable exception of ‘The Satan Pit’, introducing a monster whose existence even the Doctor isn’t able to adequately explain. “Maybe that’s all the Devil is, in the end,” he muses to Ida in that episode’s best scene. “An idea.” It’s a powerful moment, rendered all the more so for the story’s uncertain conclusion. But this is an infrequent occurrence, memorable for precisely that reason, and whether it is ‘The Daemons’ or ‘State of Decay’ anything supernatural in this programme is typically cast into the harsh light of reality the moment the TARDIS crew turn on the lights. With certain rare and deliberately ambiguous exceptions, the Doctor doesn’t do God.

Still, perhaps that isn’t a bad thing. Perhaps the lesson we’re learning from this Brave New World that is Chibnall’s Who is that it is capable of good things when it is worthy and serious, but even greater things when it is not. Would ‘The Witchfinders’ have worked better had it been graced with serious performances, or more elaborate social commentary than the brief monologue that we were given? It seems doubtful. Forty-five minutes is not long enough, and the world does not need another Crucible. In many respects this week was as wobbly and precariously balanced as a house of cards, but I spent most of it laughing. I’m honestly not sure, this morning, just how much of that was intentional. But nonetheless I was laughing. That’s not a bad way to spend a sabbath.

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