I’m not always making videos. But when I am, they invariably end up in here, sooner or later.
1. Doctor Who: The Blockbusters Edition (April 2019)
The Twitter conversation is still pretty clear in my head. It was the trailer from Pale Rider – that 1970s Clint Eastwood vehicle where he may or may not be a ghost – and what strikes you about it, if you’re British, is that it uses the Channel 4 News Theme. Or, to be precise, it uses a piece of stock music titled ‘Best Endeavours’ (composed for the library by Alan Hawkshaw, who also wrote the Countdown theme) that’s turned up all over the place, as stock music is wont to do. Anyway, there then followed a conversation about whether Jon Snow was actually a cowboy, and then somebody else quipped that in the original version of the Star Wars cantina sequences, the band was playing the music from Blockbusters.
Bang. There it is. Why has nobody done this before? Blockbusters is the eighties quiz show personified: all drum machines and synths and overly dramatic stings that made you feel the stakes were much higher than they were. It was staple viewing in our house – watching those incredibly grown-up looking sixth formers with Italian style shirts and mullets flounder over what ‘R’ defines an unsophisticated and rural person (Rustic, in case you were wondering). You tried to plot their pattern across the board, working out which spaces would be likely targets for the battling contestants, and you cheered when they won a Thailand holiday at the end of the Gold Run.
Plus the music was awesome, particularly when they were doing the hand jive on Friday evenings (and, unless my memory is playing tricks on me, singing some sort of lyric during a special anniversary show). It’s taken years – and a Wikipedia entry – for me to notice that it actually contains snatches of Beethoven’s Fifth Symphony, which is the sort of thing you can never unhear once you’ve noticed, and (as a consequence of this) something that’s been stuck in my head for the last three months. Make no mistake: the Blockbusters theme is infectious.
And it works perfectly with Series 11. Don’t ask me why. Perhaps there was an inherent cheese factor in that as well – some people loved it, some didn’t, but no one can deny its presence. Making this was simplicity itself: it was simply a question of delving into the episodes for appropriate footage. Cole and Gill really do deserve their own title cards, but the whole thing’s only about forty seconds long and I had a lot to get through, so there had to be sacrifices. And the synchronised shoulder pat at the end turned out to be a happy accident, but the sort I’m always anxious to repeat. I don’t always feel pleased with my work, but this was one time I did. And it made The Poke, of all things, so it was a good day.
2. Bungle from Rainbow dances to the Doctor Who theme (April 2019)
Let me conjure a picture. It’s the very next morning after the Blockbusters video went live, and I’m wandering home from the school run in the fresh heights of an Oxfordshire spring, and of course I’m ignoring everything around me because I’m on my phone. And then a video pops onto the feed of Bungle doing a dance to…something. I can’t remember. It might have been Soft Cell. But it was the sort of thing that happened a lot on Rainbow, which is the price you pay for creating an inherently musical show featuring only one non-human character with legs. Bungle got the lion’s share of the soft shoe numbers (well, you can’t exactly do ballet in a furry onesie) and usually it was to some sort of Rod, Jane and Freddy throwaway they hadn’t used for a while, but my mind started wandering and there was something about his turn in ‘The Show Offs’ (a 1986 story in which the entire cast get to act like dickheads) that struck a chord. In the story he’s dancing to an instrumental version of ‘We’re Singing A Little Song’, but…
This took me thirty-eight minutes. You can tell. It’s not quite in sync, which is something I probably could have fixed if I could be bothered. As it stands, I think the rough-and-ready nature probably works in its favour. And Peter Howell’s version of the Doctor Who theme is the one from my childhood and probably the best version of them all. Although I’m guessing Bungle was probably more of a Pertwee fan. Call it a hunch.
3. Tim Shaw the Enchanter (May 2019)
Yeah, this doesn’t quite work. But I’d been putting it off for months, and I really needed to confirm that it didn’t quite work. And now I have. And bits of it are good. Probably. Maybe. Anyone fancy rabbit stew?
Videos. You know the drill by now. And I’ve got a Holby I haven’t watched yet, so what say we dive straight in?
1. Things the Thirteenth Doctor loves (February 2019)
It was Emily who noticed. We were tidying the lounge one Monday morning, the day after ‘The Witchfinders’ (unless you had Amazon, in which case you’d probably already seen it), and talking about Series 11 and the way it was written. And Emily picked up on something about the new Doctor that I’d missed. “She doesn’t have a catchphrase as such,” she said, “but she does tell us about stuff she likes, doesn’t she? ‘Oh, a conspiracy. I love a conspiracy.'”
I looked through the transcripts, and it’s all over the place. I think almost every episode is referenced in the video below – ‘Rosa’ is missing, as is ‘Resolution’ and ‘The Woman Who Fell To Earth’, although in fairness the Doctor spent half of that one lying on a sofa. But everything else has at least one, and some have several. It’s the sort of thing that’s easy to criticise, if you’re not a fan of Chibnall, although this is somewhat pointless as Moffat did much the same thing with Smith, who had a tendency to say “And then you did that. Why did you do that?”. It became something of a trope, although it’s trickier to actually source the dialogue. I’m of the conviction that Doctor Who does not need catchphrases, and that (Baker aside) the fandom’s attempts at finding them are scrappy at best, but if we must have one these days I’m not sorry that it’s manifested as it has here. I know we’re giggling about it, but at least there’s a bit of variety.
I had a lot of fun making this one. Whatever you think of the writing, Whittaker has a sense of fun about her that I hope comes across. There is something particularly endearing about the way she bellows “APPLE BOBBING!”. Oh, and in reference to number 7, it was explained to me (via a YouTube comment) that the they’re talking about Hamilton, the Broadway musical dedicated to the life of Founding Father Alexander Hamilton, which opened a couple of years ago and which, according to the Doctor, is destined to have more revivals than Cher’s musical career. You learn something new every day, don’t you?
2. The Bohemian Rhapsody edit (March 2019)
Quantum ofSolace is a big pile of shit, isn’t it? Well, perhaps that’s a little harsh. It’s better than View To A Kill, at least, although I confess I’ve undergone tooth extractions which were less arduous than having to watch that one. But Solace – which has an interesting premise – is completely massacred by Marc Foster’s fondness for jump cuts. There are sometimes two or three a second, usually in the action sequences (the boat chase springs to mind), pummelling the viewer with shots of flying fists and the chains and the fizz of surf, as Bond and some random guy whose name I can never be bothered to remember duke it out in an exotic locale that we can’t even see anyway because the bloody camera won’t stay still. It is impossible to follow. I have no idea what’s going on and I refuse to put this down to old age: it’s just incomprehensible garbage.
Compare this to the fight scene in Atomic Blonde. You know, the one in the stairwell? Or John Woo’s 2 minutes, 42 seconds in the frenetic final act of Hard Boiled. Or, if we’re thinking about 007, the beautiful, single tracking shot that opens Spectre, where Bond wanders in and out of hotel rooms and across roofs as the dizzying spectacle that is the Day of the Dead unfolds below him. That, film students, is how you open a blockbuster. It’s all studio trickery, of course – so is Atomic Blonde, come to that – but it doesn’t matter: the only real difference between the two of them is that Atomic Blonde has an outstanding fight sequence couched in a generally wonderful movie, whereas Spectre is graced with a mesmerising opening and then it’s downhill all the way.
Anyway, I thought we were done with frantic jump cuts, until I heard about Bohemian Rhapsody. It’s a film I got to see quite recently and, as a word of reassurance, most of it’s fairly straight-laced, perhaps too much so. There is a press conference which mines every cliche in the book and there is a dramatic climax outside, at night, in the rain. Because obviously. On the plus side, the band look and sound the part (even if certain songs are dropped in earlier or later than they should have been) and the Live Aid set is so well done you can forgive the liberties they take with history. Besides, it’s kind of hard to concentrate on the anachronisms given that you spend about fifty per cent of the running time staring at cats.
Still. There’s one scene. You remember. It’s the one at the pub. The one that has more edits than the ITV version of Robocop. There are 52 in all, making the average shot around 1.57 seconds long (someone else’s homework, not mine). I’m told there are reasons for this; that narrative shifts after the scene was shot meant it no longer made sense and they had to go back and re-sequence it, but that doesn’t stop it inducing migraines. The film was Oscar-nominated for best editing; go figure. Interesting times at the Academy.
How to translate this into Doctor Who? It had to be something dialogue heavy, something featuring a number of people who could form different focus points, something where everyone stayed roughly stationary to keep the continuity fluid, and something I knew reasonably well. This one was an obvious choice: it is my favourite scene in an otherwise patchy episode and I do find it rather sweet, so I thought it might be fun to chop it up a little. The results speak for themselves, and not necessarily in a good way.
3. Doctor Who and the Vow of Silence (November 2018)
Yeah, I dunno. Thirteen years since ‘Rose’, and the Doctor still doesn’t have a clue.
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.’
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?
‘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.’
‘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.’
(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 Dalek, Resolution 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’.’
Shameless plug alert, folks: this is where I talk about The Doctor Who Companion. It’s a fan site that grew out of the not-exactly-defunct* Kasterborous.com (there’s a story there; you can read about about it if you want) and is run by Phil Bates, who is a capital fellow even if we disagree vehemently over whether the show’s currently any good or not. Phil is lovely to work for because he’s always very, very grateful for anything I produce for him, even though a lot of the time the pleasure is largely mine: it’s lovely to find an editor who is willing to let you write about whatever you please and who is willing to publish three-thousand rambling diatribes without ever asking you to cut out a paragraph or two; frankly I marvel at the people who manage to get all the way through them. But it’s a great site (I am unavoidably and unashamedly biased) because we aren’t afraid to ask the hard questions, and we manage to do a bit of everything – although we’ve spent most of the last three months looking in depth at Jodie Whittaker’s inaugural series.
The way The Doctor Who Companion works is this: each episode is reviewed by a different person, which keeps things interesting and fresh and allows for a variety of perspectives. While the user comments are drifting in for each episode, the site’s various writers are also hard at work preparing their three-hundred word summaries of each story for inclusion in that week’s communal write-up, published a few days later. This is great, as it allows you to still say your piece about episodes you particularly loved or hated even if it wasn’t one you got to review, and thus the DWC is a fan site that encompasses a wild variety of differing viewpoints, rather than concentrating solely on the positive or negative.
What I’ve found this year is that mine tended to be more positive than others. It’s no secret that (with one notable exception) I’ve generally enjoyed series 11, certainly more than some of the other writers and more than many of the regulars haunting the DWC comments file. Perhaps I’m not seeing something that other people see very well; perhaps it’s the other way round. Perhaps watching it with children gives things a different sheen; perhaps that’s the sort of smug elitism that I could do without. Or perhaps I’m just going soft in my old age. The truth – inconvenient as this may be – is that I don’t care about Doctor Who as much as I once did, having (d)evolved over the last couple of years into a sort of comfortable post-fandom where I recognise that it’s just a fun little TV show. I’m either the perfect person to be writing about it or the worst possible choice, depending on who you talk to.
Anyway, here are the summaries for series 11, simply because we might as well. If you’ve been reading the reviews I post here, you’ll find a lot of what I say vaguely familiar, because it is a bit of a copy-and-paste. There are no apologies on offer for this: I have a family and we need to keep the house tidy. I don’t want to tip this into TL:DR territory, so we will publish this in two instalments. Here’s the first, encompassing episodes one through five. The rest (including Resolution) will follow in a day or two.
The Woman Who Fell To Earth
‘In a way, this episode was cursed from its very inception. When you change everything at once – particularly the sort of changes we’ve seen over the past year or two – you loop a millstone of expectation around the neck of whatever it is you’re creating. It was never going to live up to the hype. The Blade Runner sequel didn’t, and they had a budget that would rival the annual GDP of some East European countries. What chance the BBC?
As first stories go, I’ve seen worse. Oh, there’s no real plot, but that’s not a bad thing. The narrative in post-regeneration episodes always plays second fiddle to the establishment and development of both new Doctor and, where appropriate, new companions: that’s exactly as it should be, and in this instance the new TARDIS crew show great promise. It’s easy to look at this as a box-ticking exercise but they’re real people doing real things, and after years of smugness from Moffat, it really is a breath of fresh air. Most importantly, Whittaker herself is confident, sparky and believable – there are clear echoes of Tennant both in her manic technobabble and heartfelt reassurances to the people whose lives she’s forever transformed.
Not everything works, of course. The social commentary is hopelessly shoehorned and the monster is about as derivative as they come – and you’re left, after the end credits have rolled, with a general sense of ‘meh’. Still, there’s a lot to like. With a pleasingly retro title sequence and refreshingly nonintrusive score, it’s a new direction I think I can get behind – along with a Doctor I’m prepared to follow, if only to see what she’ll do next.’
‘In the grand scheme of things, I suspect The Ghost Monument will be remembered in much the same way as The Bells of Saint John, The Lazarus Experiment, or Delta and the Bannermen. It is staggeringly average. There was nothing about it I loved; similarly, there was comparatively little I didn’t like, and certainly nothing that made me want to throw things at the TV. It jumps straight in: last week’s cliffhanger is resolved quite literally at the speed of light, the Doctor and her companions rescued from the vacuum of space faster than you can say ‘Bowl of petunias’ by two of this week’s guest stars. We have Epzo, hostile, treacherous and harbouring Freudian resentment since the day he fell out of a tree, and Angstrom – tortured, pragmatic, and conveniently lesbian.
It all looks very pretty, but it’s generally a bit of a misfire. There is needless shoehorning (including a pointless Call of Duty set piece) which may be crowd-pleasing but which only serves to undermine some of the very good character work going on, particularly with Graham and Yaz. Oh, and having Whittaker bring us up to speed by reading a scientist’s log book somewhat lessens the horror: it’s clear what they’re trying to do, but talking scarves really aren’t much of a threat, and besides, the sense of isolation was already done and dusted the moment the killer robots turned up.
It’s now apparent that Chibnall’s promise that these would be no series arc this year may have been a misdirection, as indicated by both the re-emergence of the Stenza and Whittaker’s apparent shock at being told about ‘the timeless child’, which may or may not have been the Doctor but probably is, in the same manner that Series 9’s Hybrid may or may not have been the Doctor but probably was. It’s too soon to know where we’re going with this, but it keeps the press hot and the fan theories bubbling, so everybody wins. There was a brief window when the comparative novelty of an overarching narrative was just about enough for the show to escape with its dignity intact: such an approach had worn out its welcome by the end of Series 5 and by the time the Doctor was stomping across Gallifrey in Hell Bent I was just about ready to throw in the towel and get on board that shuttle with Rassilon. Things may improve this year but there’s no point in sacrificing narrative for the sake of fulfilling a grand design, and if that’s really what’s about to happen again then the audience may be in for a long and tedious few weeks. Still, at least we’ve got the TARDIS back.’
‘It’s a curious thing, the butterfly effect. By and large, Doctor Who doesn’t do subtle, and even when it has a go they have to hit us over the head with the methodology. Still, it’s an effective way of doing things. A shift change here, a broken window there, and before anyone realises what’s happening years of progress are out of the window and segregation and institutional racism are alive and well in 2018.
We didn’t go there, quite, but you might be forgiven for finding the results a bit heavy handed. Has Doctor Who shifted once more into sledgehammer and nut territory? How else would you do it? There is no nice way to tell this story to its intended audience without talking about the way things are now, and no way to do so with the intended audience (kids) unless you are fairly transparent about it, and for all Malorie Blackman’s good intentions, while there are white people in charge, this is always going to come across as virtue signalling.
Was Rosa a stone that Doctor Who ought to have left unturned? Perhaps not. But make no mistake: it’s a throwback that is set to alienate a part of the fanbase as much for its style as for its content. This is as close to a straight historical as we’ve had in years, and that’s going to upset people. There are no monsters in the cupboard: merely an unpleasant man who could just as easily have stepped out of the house down the road as he could have warped in from the 49th Century. There is not a whiff of culture shock about Krasko and that makes him dangerously close to home – and it is this, I am convinced, that is likely to fuel much of the inevitable resentment that we’re seeing online from people who “aren’t racist, but”. The fact is, he’s much of a muchness: greater sins are committed by the people of Montgomery, and Krasko is bland and unrecognisable because he doesn’t need to be anything else. He’s not the villain. The villain is us, and all of us.’
‘There’s a scene at the beginning of Arachnids In The UK that is possibly its strongest moment. You’ll have seen it several times already because it’s the one the BBC used as their preview clip. It’s the bit where the Doctor lands in Sheffield, half an hour after she left, and releases her companions back into the wild, only for a guilt-stricken Yaz to ask her back for tea. It is a simple scene, with an obvious punch line, but it is absolutely endearing – not since the Duty of Care scene in Under The Lake has the Doctor been quite so lovable – and nothing else Arachnids throws at us quite matches it. Lesson learned? Hold back your strongest material, especially when people are going to watch you anyway.
This was a great episode, until its last 10 minutes. It’s frightening – the spiders are convincing, and the build-up to their reveal is decently handled, thanks to Sallie Aprahamian’s competent (if not exactly imaginative) direction. The leads acquit themselves well – Graham’s soft-eyed sightings of Grace are among this week’s quieter highlights, and Whittaker excels at just about everything, whether it’s striding through hotel corridors or trying not to eat Hakim’s dodgy pakora. The supporting characters are (for a change) interesting and engaging; Tanya Fear, in particular, excels as a scientist who is there solely to provide scientific exposition, but doing so with such flair that for once all the technobabble is actually fun to watch.
The ending is another matter. I don’t know. I spoke last week about how this was to all intents and purposes a kid’s programme, and have written reams elsewhere explaining why this is and how we must accept it and move on – but I do wonder if kids are the audience for this. Was it really necessary to have Robertson brandish his dead bodyguard’s firearm with an evil cackle like some 1990s supervillain? Even if it was, did we really need him to monologue, while the Doctor glowers about mercy, wearing a ridiculous spray gun kit on her back like someBlue Peter Ghostbuster? We were fine last week, because that was a story that was actively about social justice, but in something clearly designed to be a horror narrative (aired three days before Halloween) it feels like Chibnall’s trying to win a bet or something. I’m not adhering for stylistic unity, but moments like this just don’t fit.
It’s appropriate, in its own way. The last time the Doctor dealt with spiders we had 20 minutes of Hinchcliffe-inspired jump scares, followed by 20 further minutes of tedious social commentary, along with the revelation that the moon was an egg. I’m not so cross about that, but I do object to them shoehorning an abortion debate into what was, until that moment, a satisfying and frightening story. Arachnids doesn’t suffer from quite the same structural issues, but its climax, in which a leering Robertson declares that guns are what will make America great again – within 24 hours, as I write this, of another mass shooting – is undoubtedly hot property, but something that frankly could have done with a bit less piety and a little more subtlety. That Robertson escapes unharmed (and without so much as a by-your-leave by any character except Graham) is a sure sign that we will be coming back to him later, and if we’re counting possible story arcs in a year that we’re not supposed to be having them, I make that four for four.
Perhaps it doesn’t matter; perhaps this week the whole is greater than the sum. But there’s a sanctimonious tone to the conclusion of this story that taints it: the idea that all life is sacred, however many appendages you have. Has the Doctor never heard of pest control? Is she going after Rentokill next? When Robertson pulls the gun and announces that this is a ‘mercy killing’, you almost find yourself agreeing with him – and that, I’m convinced, is not how we’re supposed to be feeling. It all climaxes in a damp squib of a finale, the Doctor and her new friends (we’re not supposed to say ‘companions’ anymore, are we?) travelling off to new adventures in a sequence that’s supposed to be heartwarming, but simply isn’t. And as much as I’d like to put these moments out of my mind and concentrate on the good stuff, it’s scenes like this that linger like a bad smell. Perhaps it’s overstating the point, but how unfortunate that Arachnids should end its life the same way the mother spider ended hers – on its back, disorientated and confused, with all its legs wriggling in the air.’
‘For its first 15 minutes, The Tsuranga Conundrum is a godawful mess. The leads totter and stumble around a gleaming spacecraft trying to make sense of things, motiveless and directionless, meeting characters with no apparent pizzazz and learning snippets of information about a war that sounds about as interesting as all the food pictures that clog my Instagram feed. Meanwhile Whittaker is lurching along the ship’s many corridors (specifically, the same corridor shot six times from different angles) hacking the systems and generally behaving like the know-it-all brats you often see in Holby City who think they run the hospital. It’s not a bad thing to have a Doctor who – suddenly deprived of her TARDIS and still recovering from a life-threatening injury – is driven, maniacal, and not a little selfish, but that doesn’t necessarily make it fun to watch.
Thankfully once we get our first glimpse of the carnivorous Pting – gnawing its way through the ship’s hull and mechanical systems with the appetite (not to mention diet) of Ted Hughes’ Iron Man and the ferocity of Gnasher from the Beano – the crisis is in place and things start moving along. The Pting is small but deadly, with an insatiable appetite and no apparent motive for its path of destruction, so the Doctor sets about finding one while a conveniently situated war hero is tasked with flying the ship, even though it will probably kill her (and ultimately does). She’s assisted by an android who is by far the most interesting character this week, and it’s a shame that we don’t get time to plumb Ronan’s hidden depths – because if you’re doing a cute version of Alien, surely the robot’s going to turn out to be dodgy?
It collapses in yet another damp squib of a finale, the Pting flushed into space while Graham drops in a convenient plug for Call The Midwife – but all that said, there’s nothing really wrong with any of it. The monster-of-the-week gets less screen time than Baby Avocado, but clearly that set was an expensive build and they’d already spent enough money on the spiders. What happens in Tsuranga is nothing earth-shattering or ground-breaking – but failing to set hearts alight is hardly a capital offence, and if we’re in a place where Doctor Who is only worth watching when it says something then we have officially moved into interesting times and I might have to find myself another show for my Sunday evenings. Ultimately this is innocuous, harmless filler material: a pleasant way to pass an hour, nothing more, nothing less. It seems almost churlish to complain about that.’
* I had a look at Kasterborous.com this morning and it seems to have transitioned into one of those dreadful ‘news’ sites featuring articles in bad English that have either been written by someone who barely speaks it, or the result of a Babelfish hack job on existing copy. Still ascertaining which, although that could take me some time…
It’s no coincidence that during the screening of this week’s Doctor Who I started thinking about The Iron Giant. Specifically there’s a scene at the end of The Iron Giant where the shattered leviathan lies strewn and scattered across the world, having been partially incinerated in an atomic blast, only for its fragments to jiggle and wobble and then gravitate towards the disembodied head, buried in the ice like a decapitated Statue of Liberty, gradually and painfully reassembling. Assuming you’ve seen the New Year’s special – specifically its opening scenes – you will know why this moment sprang to mind. You will also remember that The Iron Giant was about an unorthodox family dealing with advanced alien technology and military bureaucracy, at which point the analogy more or less breaks down. But still. The jiggling components remain: a loose collection of nuts and bolts knitted together into something that shouldn’t make sense, and yet somehow does.
‘Resolution’ is ostensibly a remake of ‘Dalek’, which was in itself a remake of ‘Jubilee’, making it a cannibalised slip of a thing: a hotchpotch of ideas and themes that crawls from the belly of post-hangover prime time entertainment like something that doesn’t know quite what it wants to be. Part domestic, part love story, part Nationesque action adventure, part sprawling epoch-jumping drama, it has a go at everything, trying on a variety of outfits over the course of its hour-long running time, and just about gets away with it. The result is a light, airy affair, with discussion points kept to a minimum. The links to ‘Dalek’, for example, are slighter than they may appear, and are largely about setup rather than thematic elements – being restricted solely to the concept of a lone, conveniently superpowered travel machine that has been cut off from its fleet and is understandably desperate to phone home.
But ‘Dalek’ – whatever Russell T. Davies may want to tell you – was never about introducing Nation’s finest to a new audience. It was about reinventing the damned thing so it was improbably potent, drawing a huge number of parallels with the man who was trying to kill it. In many ways it was a strange choice for a first Nu Who Dalek story: this creature that was more like the Doctor than anyone had previously cared to admit, setting the stage for a dozen similar confrontations over the next decade, all saddled with the curse of diminishing returns. There is none of that here; no soul-searching from the Doctor, save a couple of hurried lines – Whittaker confessing, over furrowed brow, that she “learned to think like a Dalek a long time ago”, before seeking affirmation from her companions that she’s given the Dalek sufficient warning before trying to melt it with bits of an oven.
But that’s all you get. For the most part, there simply isn’t room. There is a lot of fetch and carry, but it occurs at breakneck speed: the Doctor flies back and forth along the vortex, events seemingly transpiring in real time, parking the TARDIS with newfound precision in front rooms (crushing at least one chair, which will have the Facebook groups arguing for weeks about continuity) and on city streets and in the confines of GCHQ come the episode’s fiery finale. There is technobabble but the Doctor seems infused with a new sense of purpose, someone who’s been given a tangible and unambiguous enemy to fight, when she gets the chance. It is not until the eleventh hour that she actually gets that chance, but it is worth the wait, just.
This is, once more, a story about family, Chibnall sidelining some of his characters during the episode’s downtime so that they can deal with personal issues. Early on, Ryan – who apparently can’t decide whether to call Graham ‘Gramps’ or ‘Grandad’ – takes his estranged father (Darren Adegboyega) to a familiar-looking cafe so that they can not quite bond, Aaron’s prepared monologue about running from your mistakes apparently falling on deaf ears. A few minutes later Graham has a go, with considerably more success, although the net result is unavoidably cloying. They make for the weakest moments in an otherwise decent script; it’s not that Chibnall can’t write domestic, more that…actually, look, Chibnall can’t write domestic. On the other hand, neither could Davies; Camille Coduri just about walked out of series one with her dignity intact but ‘Love and Monsters’ was – for all its other brilliance – simply embarrassing at times, at least when Jackie was on screen. Moffat wasn’t much better, decorating his heartfelt monologues and teary exchanges with a barbed wit and layered emotional pathos that frankly never felt real or authentic, becoming the sort of approach that outstayed its welcome long before the man who actually turned in the scripts.
Is it fair to say that Doctor Who’s family scenes only really work when they happen offscreen? Perhaps it is. Perhaps we’re being overly harsh. Nonetheless it is the family scenes that grate this week, and it’s a pity in a way that the story’s climax hinges around the possibility that we might lose a supporting character who was there largely to provide narrative closure and a convenient (not to mention clumsy) plant and payoff. That this doesn’t happen – the seemingly inevitable self-sacrifice of Aaron postponed, at least for a year or two – is, at least, quietly refreshing, even if Ryan’s old man is far too happy to accept that his son travels the cosmos in a flying police box with a whole tick sheet of BBC diversity rendered flesh.
Elsewhere, there’s the usual fan-baiting. The Doctor waxes lyrical about her own father, in a deliberately ambiguous exchange that provides a Rorschach of possibilities. Ryan is ‘a kid with dyspraxia’. There is also a line about Rels that had me on the floor. Still, you feel as if you’re being toyed with, each new location that the tentacled parasite visits providing a potential hotspot for the inevitable reunion with its casing. Surely it’s buried somewhere in UNIT headquarters? No, there is no UNIT – the taskforce conveniently sidelined as a result of Brexit-inspired shenanigans – and the nation that held its breath when Kate Stewart’s name was mentioned can let it out again in a hiss of disappointment, and then nip back on to iPlayer to watch ‘The Power of Three’.
That we do not see the Dalek proper until the fourth act is a risky stunt, but one that pays off: Briggs’ deep-throated growl is effective, and the sight of Lin (a watchable Charlotte Ritchie) shooting out speed cameras with an untethered ray gun undoubtedly had Top Gear fans cheering into their pint glasses, but it’s like watching an Avengers film where Bruce Banner can’t Hulk out (actually, did that happen? somebody told me that happened). 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. That would have been a reasonable assumption given the little we’ve seen of the TARDIS this year, but thankfully it’s unfounded – and following the sort of dimly lit montage that could have occurred on an episode of The A-Team (for the second time this series), the new Dalek emerges from the smoke like the prototype suit that Tony Stark built in the first Iron Man, all welded metal and anger. 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.)
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 is ‘yes’. It wasn’t as good as The Iron Giant, but that’s OK. Nothing is.
An earlier version of this article, published 01-01-2019, contained an error of judgement. It mistakenly attributed UNIT’s suspension to a funding crisis, rather than a retrospectively obvious Brexit gag. This has now been updated.
A mouse took a stroll through the deep dark wood. The mouse saw a TARDIS, which was in the process of being abandoned by four eccentric travellers, none of whom were dressed for hiking.
The group had a flat structure, which meant that one of them was in charge and told everyone else what to do. This was how they ended up at a mysterious log cabin with three locks on the door, although it was fine to pick them because this is Doctor Who and breaking and entering is perfectly acceptable when you’re a Time Lord.
The house was occupied by a blind teenager hiding inside the wardrobe along with Hitler and several copies of ‘Fury From The Deep’. She was frightened because her father had left her.
“Maybe he’s left yer,” suggested Ryan, prompting a furious Yas to sock him on the jaw.
“What? I’m only sayin’ he’s probably abandoned her – ” Sadly this sentence remained unfinished, because Yas had just kneed him in the gonads.
“None of that, here, Ryan,” said the Doctor, scribbling HER FATHER IS PROBABLY DEAD on the wall so they could all have a good giggle about it.
In the upper room there was a mirror which offered no reflection. Graham and Ryan considered the possibility that they were both vampires, which would explain why Ryan didn’t seem to have a pulse. Graham munched on his cheese and pickle sandwich and hoped the red stuff was beetroot.
The Doctor examined the mirror. “Shall I break the glass?” she asked.
“Why not?” replied Yas. “You already did it to the ceiling.”
On the other side of a mirror there was a long tunnel that looked like the Peak District because it probably was. Inside was Kevin Eldon wearing makeup that was at once instantly familiar and very slightly rehashed.
“I’ll take you through these tunnels if I can have the sonic vibrator,” said Kevin.
“Why do you want that?” asked Graham, which prompted a lecherous grin.
It was just then that the killer moths attacked. This was fortunate, because Kevin was frankly a dickhead.
At the end of the passage was the same room but the grips had moved some of the furniture. Downstairs there was a man wearing a Slayer t-shirt, and two dead women. Neither of them knew what they were really doing there, although this may have been a reaction to the shooting script as much as anything else.
Thankfully the Doctor had figured out that there was another facet to the creation of the universe that the show hadn’t done yet, and that it was responsible for everything, and conveniently well-intentioned.
“How do you know all this?” asked Yas.
The Doctor mumbled something about having seven grandmothers and then made a Zygon reference, which had tabloid journalists reaching frantically for their iPads, although it also had the unfortunate side effect of setting the internet on fire.
Elsewhere Ryan had allowed himself to be hoodwinked by Hanne, who then led him through the mirror into the passage.
“I hate you,” said Hanne, for no very good reason.
Ryan was in the process of composing a witty retort when the moths attacked again. They knew they had to make the most of their screen time, because union rules forbade them appearing at the finale.
One thing led to another, and everyone met up in the mirror cabin.
“You ain’t my real mum,” snarled Hanne with the ferocity of an Eastenders actress.
Ryan blinked. “How can she tell?”
“It’s ‘cos she’s blind,” replied the Doctor. “It’s like her superpower, innit?”
“Isn’t that a bit exploitative?”
“Stow it, Call-of-Duty,” she snapped.
Graham looked over at his dead wife. “You were much nicer before you fell off that crane,” he said.
Grace had recently watched Infinity War, and took this as an opportunity to try out her Iron Man impression. It really was quite good.
The Doctor was struggling with the mirror. “We’ve less than ten minutes to go before the credits, and they haven’t done the throwback gag yet,” she muttered. “Yas, can you drop in a Pertwee reference?”
Yas obliged, although she was too young to really understand how these things worked.
Isolated from her friends, the Doctor wandered through a cost-saving white space to be greeted by the sight of a frog on a chair.
“Hi-ho,” said the frog, “and welcome to The Muppet Show.”
The Doctor cocked her head. “I thought the Brexit debate was next week?”
“Be my friend,” pleaded the helpless frog. “We can make brownies and everything.”
“How are you with French food?” asked the Doctor.
The Doctor left, but not before blowing a kiss to the frog, who promptly turned into Mathew Waterhouse; one of the few times that shedding the body of a lime green amphibian cannot be said to be an improvement.
On their way back to the TARDIS, the gang discussed how they could have had such a cracking story last week only to find themselves caught up in something so gut-wrenchingly tedious.
“They did say everybody would be talking about it,” said Yas, being the only one who subscribed to the BBC Twitter feed. “Just not necessarily in a good way.”
Graham looked over at Ryan. “So is that our character arc done now?”
“Probably,” said Ryan, adding “Grandad. Can I go back to making zimmer frame jokes?”
Graham sighed, and unwrapped another sandwich. And off they went.
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.
Picture the scene. Jodie Whittaker is standing by a group of uniformed warehouse staff, all of whom are about to succumb to a fatal virus. She is in the process of shouting down an angry executive. Graham is standing six feet away, wrapping a blanket around the delirious, pockmarked supporting character they’ve picked up on their journey through warehouse central. Ryan is fidgeting, and Yaz is doing that thing with her eyes.
But our eyes are on the Doctor. “Look at them!” she’s yelling. “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!”
The executive smirks. “One hundred per cent correct, Doctor. And now it’s too late for you to stop me. 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…”
He pauses for emphasis. “Permawork.”
It is a silly thing, written in the shivery, pre-caffeine moments before the dawn on what is shaping up to be a cold and frosty November morning, but I think it’s probably the sort of sequence many of us were expecting in last night’s episode. The news that Doctor Who was off to Amazon had me raising my eyebrows: was this to be another rant at consumer culture, the want-it-now generation, a response to the many rumours about practices and policies behind the closed doors of the retail giant’s gargantuan premises? Certainly you’d be forgiven if you thought it was. The very first thing that happens in this episode – no, belay that, the second, right after the Doctor has fished out a fez from a cardboard box – is the discovery of a printed note, containing the words “Help me”, echoing stories in the broadsheets. But in a way you can’t blame Pete McTighe (this week’s guest writer) for avoiding outright condemnation. BBC Worldwide have to work with Amazon, after all – they stock the Blu-Rays. There are lessons to be learned from Rain Man, which was censored – and sometimes banned outright – on in-flight movie showings after Dustin Hoffman’s character refuses to get on a plane because they’re not flying with Quantas. Guess which airline was happy to screen the movie uncut?
Or perhaps it’s simply that McTighe is a better writer – better at least than Chibnall, who would have gone with the zombies plot, and consequences be damned. I’m not saying that’s a bad thing: if I do I have to reassess the entirety of series 11, and I’m not doing that before coffee. Perhaps if something like this had cropped up in the Moffat era, in which twist-laden stories were the show’s bread and butter, the eye with which we judge would be a little more critical. Nevertheless: as it stood, we got an episode of Doctor Who that surprised me, and in a world where I’m really starting to think I’ve seen everything the show has to offer, that’s TV gold.
At its core, ‘Kerblam!’ is a lighthearted and often humorous take on the daily grind of shift work and the feeling you’re a cog in a machine. It’s something I’m only able to relate to partially – I did my stint in a warehouse over twenty years ago and that was very much on a casual basis – but the jokes about office politics come thick and fast and are largely delivered by white-eyed, passive-aggressive robots who tilt their heads in a manner that ought to make more than a few of us feel uneasy. The outward friendliness that masks what is essentially a master-slave relationship is about as zeitgeisty as it gets, and they remind me of a temporary contract I had with a large insurance company I elect not to name – twenty of us crammed into a small space on the first floor of an anonymous building on the outskirts of a business park – and the woman in charge of our team who came over to me on the final day of the placement when I was chatting to a friend, to politely warn us that we’d been “spotted”. Nearly two decades on I’m still trying to work out exactly what she meant by that – I’d gone to school with this particular supervisor and it was difficult not to feel put out, particularly since the aforementioned friend and I had hit all our targets six weeks running.
The robots in ‘Kerblam!’ do not discriminate, unless there’s a reason. Certainly when they snatch away Kira (Claudia Jessie, recently seen in Vanity Fair) it’s hard not to feel a sense of relief. Kira is one of those irritating types you meet at university, the one who’s had a rubbish childhood and is now graced with flatmates from hell, but who is determined to make the best of her situation by singing badly at open mic evenings. Mercifully Kira does not carry a guitar, but even though she grates you know she’d be perfectly suited to Charlie, the doe-eyed janitor who is the epitome of Hugh Grant-esque social awkwardness whenever he has to be within touching distance. The four travellers watch from the sidelines, and Graham manages to have a brief heart-to-heart with his learning mentor in a darkened store room. “Have you smelt her?” Charlie enquires, eagerly. Walsh doesn’t let the smile slip from his poker face. “Funnily enough,” he replies, “I haven’t.”
That Charlie turns out to be the episode’s villain comes as a shock – as does the death of Kira, disintegrated to atoms when she touches booby-trapped bubble wrap. It’s all part of a series of tests that Charlie’s been running – testing out bombs on unsuspecting workers before enacting his master plan, which is to kill thousands of customers at once in order to destroy the public’s trust in machines. This is the same year that The X-Files did the exact opposite, in a strange, practically wordless episode in which Mulder and Scully are beset by angry drones when Mulder refuses to tip a robotic waiter. It was decently executed, but there was a heavy sense of deja vu that mercifully fails to permeate the confines of this week’s episode – there’s something refreshing about the way McTighe subverts the Angry AI motif, particularly when the unmasked villain turns out to be this story’s Professor Quirrell.
One of the nicest things about ‘Kerblam!’ is the way it manages to find roles for everyone. While Graham is off mopping floors with Charlie, the Doctor and Ryan are busy in the packing room – Ryan’s uncanny dexterity explained away by nods to a previous job, in the episode’s I Have Dyspraxia moment. They also have time to raid an office or two; McTighe sensibly gives us two executive types, one more ostensibly dodgy than the other, but all roads lead to Rome, and both of them turn out to be trustworthy. Meanwhile, Yaz is paired with Lee Mack, who warns her not to touch the antique lamps. Mack plays an older, world-weary version of his Not Going Out persona, and it’s a shame that more isn’t done with him – his early death, too, comes as something of a surprise, although it’s hard not to burst into giggles when Yaz is seen walking down the empty aisles of the warehouse yelling “Dan! Dan! Dan!” like Alan Partridge. But if this is the first week that Team TARDIS feels like a name that actually fits, it’s the guest stars that shine – particularly Julie Hesmondhalgh, brilliantly warm as an out-of-her-depth head of HR who nonetheless feels, at times, like she could secretly be a criminal mastermind, blustering and heartfelt and acting just about everybody else off the screen.
There’s nothing particularly world changing about this week. It starts with unexplained mysteries, ends with a bomb in a hangar, and mines enough reserves from the sinister robots cliché to last us until 2020. But there are plenty of things we could say about the people I spoke to last night who said that, for the first time this year, they were watching something that “felt like proper Doctor Who“. I’m not really sure where you go from that – whether that’s an unfair assessment, or an indication of a general drop in quality, this episode a blip on an otherwise uninterrupted downward trajectory, rather like Sick Boy’s assessment of The Name Of The Rose. If you’re a regular here you know my feelings on this year and we won’t have that conversation again, at least not for another week or so.
Still, none of that matters for the moment. ‘Kerblam!’ is ridiculous fun in the best sense of the word. Like many stories in the canon it is strongest when it is being deliberately silly – whether it’s the Doctor trying to talk a drone out of an existential crisis, or Ryan, Yaz and Charlie’s video game inspired descent through dispatch, easily the biggest laugh Doctor Who has given us in a long time. It is punchy, aesthetically pleasing television, delivered with the same panache, efficiency and attention to detail as a parcel from Kerblam itself. Just don’t touch the bubble wrap.