IDA: But Doctor, what did you find down there? That creature, what was it?
DOCTOR: I don’t know. Never did decipher that writing. But that’s good. Day I know everything? Might as well stop.
ROSE: What do you think it was, really?
DOCTOR: I think we beat it. That’s good enough for me.
Films and TV programs generally explain everything about the story they’re telling. They leave no stone unturned, they explain all the relevant events and all the characters’ motivations. Generally speaking, this is good practice. If they didn’t do this, we’d complain about sloppy writing, and about story threads left untied.
In this way, stories are really not like real life, where it’s quite common to not find out everything. Some things that happen to us remain unexplained forever. We never find out exactly what happened. That, as they say, is life.
There are quite a few things about The Impossible Planet/The Satan Pit that we never get to the bottom of, the true nature of the Beast being just one of them. Why, for instance, can it not speak in its bestial form, but can when possessing an Ood? How can it speak out of thin air when tormenting archaeologist Toby Zed (Will Thorp)? Why does it suddenly appear as a hologram on the control deck? I’m prepared to accept that it can somehow transfer the spooky rock writing to Toby’s hands and face when it possesses him, and make it appear and disappear at will, but how can he stand on the surface of Krop Tor unprotected and survive? And why, in the close knit team of Sanctuary Base 6, do two dialogue-less crew members, unfortunately killed by Ood, not have names? (I like to think of them as Mr Cannon and Ms Fodder, though acting Captain Zachary Cross Flame (Shaun Parkes) doesn’t even list them in his litany of the dead at the story’s end, so we’ll never know.)
The Doctor’s right. Not knowing can be good. If we’re satisfied with everything else; the story, the direction, the atmosphere. We’ll go along with things for a surprising amount of time. And it helps that The Impossible Planet/The Satan Pit gets so much right; well defined characters played by able actors, some great design work that allows us to forgive the inevitable running along corridors, and some directorial flourishes straight out of a 1980s horror film. And if there’s some mystery left over about origins and motivations, maybe it just makes the whole thing that bit more unsettling.
But on the other hand… consider No. 19 of Emma Coats’ 22 rules of storytelling, as observed from working on Pixar films.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
Both of these apply to this story and oddly enough both involve the TARDIS. When a quake hits the Sanctuary base, four of its storage bays fall into centre of the planet. As it happens, the TARDIS is in one of those storage bays, making life very tricky for the Doctor (David Tennant) and Rose (Billie Piper). That’s a coincidence which gets our heroes into trouble, and they worry about it from that point forward, even going as far as to contemplate getting a mortgage. (The Doctor looks horrified, so presumably he’s thinking of how much he’ll have to fork out for a one-bedder in Sydney. And those things aint bigger on the inside.)
But towards the end of the story, when the Doctor is facing the Beast alone, deep within the planet’s underworld, the TARDIS miraculously turns up. And handily, at exactly the right time to save the day. That’s the second kind of coincidence. I’d hesitate to call it cheating. But it’s one of those illusion shattering moments. A real shame too, because up until then the story had stayed this side of believability.
Back when talking about The Power of Three, I’d mentioned Speed and the bus jumping over the gap in the overpass. The TARDIS turning up in the final reel is this story’s bus moment. But it’s interesting how much it got away with before that happened. The Beast and its inconsistent ability to speak? Toby surviving on the planet’s surface? All this the story’s pace and slick direction helped hide. But when the TARDIS shows up, we feel that bus land with a thud. Who can tell why? More mysteries. Perhaps Ms Coats knows.
The overall impression of this story is of scary things left unexplained. Which in a way is absolutely fitting for a tale which is really about the nature of belief. Even the Doctor, normally silent on the question of faith, is forced to question what he holds as true and the reasons why. But in order to defeat the Beast, he has to take a giant leap of faith; he has to cut off Rose’s escape route, while trusting that she has the smarts to get herself out of trouble. Rose too has exhibited an unfailing belief that the Doctor would find a way back from the base of the pit, and indeed he does. In both cases, faith gets rewarded.
This air of mystery leaks out of its fictional universe and into ours as well. In normal circumstances we’d turn to the story’s writer to give us some insight into all these narrative gaps. But Matt Jones has been silent on the topic, for over ten years. Never giving an interview, and least none I’ve seen (correct me in the comments if you can). In fact, is he the only new series writer to not talk about his script, not in press interviews, or DVD commentaries or on Doctor Who Confidential? As silent as that voiceless Beast stuck down the pit.
The day we know everything about The Impossible Planet/The Satan Pit? I don’t think it’ll ever come.
LINK TO The Day of the Doctor: both star Tennant and Piper. Hmm, Tennant and Piper. Precocious children’s names bestowed by posh parents or a seventies pop duo?
NEXT TIME… it’s all aboard Tardis with Dr. Who, Susie, Tom and Louise as we go back to the cinema for Daleks – Invasion Earth: 2150 A.D.