Tag Archives: danny

Stop, look and Listen (2014)

listenSometimes, amongst all the noise and spectacle of a Doctor Who story, it’s the nuances that are most impressive. Watching Listen again, I was struck by one tiny but exquisite detail.

It’s on Clara’s (Jenna Coleman) second attempt at the date. She absent mindedly drops Danny’s (Samuel Anderson) real name, Rupert – a detail she’s not supposed to know and the catalyst for a new argument. At that point of the soundtrack, there’s the sound of a glass breaking. A nice, gently symbolic touch.

Listen‘s got lots of interesting little details like that in it, some adding extra meaning to the story, and some raising more questions than they answer. Let’s unearth a few more.

  • The story’s title is offered to us three times, in three different ways. In the very first scene, where the Doctor (Peter Capaldi) is meditating on top of the TARDIS (mind that lamp), his eyes snap open and he exclaims, “Listen!”. For no readily apparent reason. Then we’re in the TARDIS and the Doctor’s musing out loud, pre-credits and we see the word LISTEN scrawled mysteriously on a blackboard. Then the title card itself. We get it. The episode’s called Listen.
  • The restaurant where Clara meets Danny has a roundel patterned ceiling, making it feel a bit TARDISy.
  • Danny Pink is wearing a pink shirt. Now, this little detail feels wrong to me. I just don’t think he’s the sort of guy who would intentionally wear pink, because it would be like he’s trying to emphasise his surname. If anything, pink’s the one colour he wouldn’t wear.
  • When Clara arrives, Danny’s excuse for not having the date sooner is, “family stuff.” As we find out, this episode’s going to be all about Danny’s family life; his childhood and Orson Pink, who is strongly hinted at being Danny’s descendant. About which, more later.
  • During the date, Clara and Danny compare notes about a particularly frustrating female student. This is a clear reference to the show’s first episode, An Unearthly Child, during which schoolteachers Ian and Barbara are similarly flummoxed by their pupil Susan. Stay tuned, there are more links to the show’s very first story, and its first season, to come.
  • When she returns home from her date, Clara predicts she’ll get a phone call from Danny. And she does, while she’s plugged into the TARDIS telepathic circuits, causing the ship to veer off course, etc etc.
  • When the Doctor is explaining his theory about the dream that everybody has, Clara asks the Doctor if he has had the dream. He doesn’t say anything but we find out the answer is yes later in the episode, and Clara was the cause.
  • When the Doctor’s explaining how the telepathic circuits work, Clara says she doesn’t want to know when she’s going to die. This is the second time this season Clara has said that, the last time in Deep Breath. This could be just misdirection, making us think that Clara’s doomed when she’s not. But it feels like it was meant to lead somewhere, a hint at a story arc which never eventuated.
  • And speaking of which, there’s a major plot point about Clara being part of Orson’s family, the clear implication being that Orson’s a descendant of Clara and Danny’s. This isn’t how it turns out at all, and while it’s possible that Orson could be some the fruit of some other twisted branch of the Oswald and Pink family trees, that doesn’t feel like the intention. We know that Moffat was expecting Jenna Coleman to leave at the end of the series, and my bet is that Death in Heaven was going to end with her pregnant. But hey, we’ll probably never know.
  • While we’re on paths untaken, one of the things which Danny gets riled about is when people refer to him as a killer. In Into the Dalek, he gets called a ‘ladykiller’ and here, Clara jokes that when he says he could kill someone, that really means something. Perhaps this story arc was not meant to end with Clara procreating with Danny, but with him killing her?
  • There’s a running joke in this episode that Clara’s eyes are too large for her face. “Get them under control,” the Doctor says at one point. The makeup department has taken notes and assigned Clara nude lipstick. As Mrs. Spandrell, a trained makeup artist, pointed out to me, this draws the viewer’s attention away from her lips and accentuates her eyes. Clever, huh?
  • Orson’s spacesuit is from Sanctuary Base Six and thus a big continuity booboo. There’s no attempt to hide it either; there are a series of big close ups where its logo is front and centre. So a detail overlooked there, and here’s another. I can just about accept that the Doctor sends Orson into the restaurant to summon Clara. I can just about accept that he doesn’t say anything, just beckon mysteriously. But why on earth does his wear the helmet in the restaurant? Only, of course, to preserve the eventual reveal of his face being the same as Danny’s, one scene later.
  • So, Clara meets Danny when he’s a young boy and unintentionally rewrites his destiny. Later, she meets the Doctor as a young boy, and more intentionally, sets him on his life’s path. So Clara seems to have a thing about messing with men’s lives. She’s already a force for change in the Doctor’s life, running up and down his timeline. Though to be fair, she grows out of this habit. But next year, the Doctor picks it up and has a life changing impact on young Davros.
  • Back to 100,000 BC. Clara picks up a line of dialogue from that story, which is “fear makes companions of us all.” In fact, you could argue the whole story’s been built around this moment. Amongst the many shout outs to the first story, and remembering that Into the Dalek deliberately references the second, Listen picks up on the third. Inside the Spaceship. It’s the other story in the Who canon where the Doctor suspects the presence of an unseen menace, only for it to be revealed that it was all his own paranoia.

Listen is a story whose title asks us to observe and pay attention, as a schoolteacher scrawling on a chalkboard might instruct her students. For me, there’s just as much to observe in the small touches (some random, some carefully planned) than in the broad brushstrokes of this chamber piece of an episode. That could be the very definition of being a fan.

LINK TO Paradise Towers: lonely little boys playing soldiers.

NEXT TIME… oh, the end of the universe has come. Grab every companion you’ve ever had, it’s The Stolen Earth/Journey’s End.

 

 

Advertisements

An unearthly child, two bad wolves and In the Forest of the Night (2014)

Forest

Here’s my basic thesis on this odd little episode: it doesn’t make a lick of sense, but that shouldn’t stop us enjoying it.

Want to find logical flaws in In the Forest of the Night? We don’t have to look very hard. How does a forest spring up in a 24 hour city like London with no one noticing? If it happened overnight, did it happen in broad daylight on the other side of the world? And why are there so few people in London during the events of this episode? Isn’t the whole idea of trees instantly setting up an oxygen buffer to quell a solar flare just too unfeasible? How about how they all instantly vanish after the flare hits? How can trees repel flames? And what about all the damage caused to roads and buildings and so on caused by trees growing up around them? How was that all immediately fixed?

I have to admit that when I first saw this episode this ever growing pile of problems bugged me a lot. It was that there were so many of them, and they were so blatant. It was when I thought, this must be deliberate. Showrunner Steven Moffat and writer Frank Cottrell-Boyce are smart guys. They must know how preposterous all this is, so what’s their point?

Their point, I think, is that this is not an episode to be taken too literally. I think its closest cousin in Doctor Who would be The Mind Robber, where the events within are so fantastical that it makes more sense to concentrate on themes and subtext of the story, than worry too much about its internal logic. Once I took this approach, I found there was much to enjoy in this densely layered, lyrically written and at times, very funny story.

*****

This story centres on a lost little girl, Maebh Arden (Abigail Eames). ‘Maebh’ means ‘she who intoxicates’ and Arden is Shakespeare’s mystical forest in As You Like it. She wears a red hooded jacket, and she’s menaced by not just one but two big bad wolves, so she’s a strong signal of fairy tales and their influence on this story.  Later, Clara (Jenna Coleman) will compare hers and the Doctor’s (Peter Capaldi) situation to the lost children, Hansel and Gretel. The forest grows overnight with the speed of Jack’s famous beanstalk. Fairy tales are potent stuff and the journey into a dark forest, to suffer through bizarre ordeals but to also learn something about life, is a familiar trope of the fantasy genre. Stephen Sondheim even wrote a musical about it.

In this particular forest, there are strange, unpredictable creatures. They’re called children. Not just the traumatised Maebh, but the rest of the Coal Hill gifted and talented mob. Early in the episode, hard nut Bradley (Ashley Foster) is taunted by smart alec Samson (Jayden Harris-Wallace) by the flickering of torchlight in his eyes. Later, their teacher Danny Pink (Samuel Anderson) uses the same technique to scare off a tiger (is that a genuine Bear Grylls style jungle survival technique? Let’s not try it out). When wayward teenager Annabel (Eloise Barnes) arrives home, she’s peering out of the hydrangea bush as the wolves did earlier in the ep. Kids, wolves and tigers, they’re all the same thing, apparently. Wild, untameable beasts.

These earthly children are at the centre of a giant shout out to Doctor Who’s very first episode. In An Unearthly Child each of our Coal Hill schoolteachers have a flashback to trying to teach Susan something. Here, both Danny (Samuel Anderson) and Clara have a similar moment. Capaldi’s grumpy Doctor is close enough to Hartnell already, but Danny makes the connection clearer when he accuses him (albeit jokingly) of abducting Maebh, as he did Ian and Barbara all those years ago in a junkyard.

Hartnell used to compare the Doctor to a wizard, and that’s clearly what Capaldi is here. Even though Clara says his sonic screwdriver is not a magic wand, he has a mysterious magic cabinet. He can make shiny floating lights appear in the sky. And he inhabits this world full of magic – not just Clarke’s law kind of magic, advanced technology beyond our ken. But genuine-there’s-no-explanation-for-this magic. This is a world where trees don’t burn, where missing daughters reappear in a sparkle of fairy dust, where children can predict incoming solar flares, steal their teacher’s thoughts and command the world to be nice to trees. It is a world where science disappears in a puff of smoke. So of course it has a resident magician, a label often applied to our black clad Doctor.

There’s also a nagging sense the whole thing might be just a dream. Young Ruby (Harley Bird – the voice of Peppa Pig!) wonders how long they’ve slept for. Like Rip Van Winkle, or perhaps the characters of A Midsummer Night’s Dream, or even Sleeping Beauty… perhaps they are all the victims of these soporific woods. With reality and fantasy being harder to discern, our little wild animals become inured to the amazing sights around them. They don’t even react when they enter the cavernous TARDIS console room. “There wasn’t a forest. Then there was a forest. Nothing surprises us any more,” explains Ruby.

And then there’s the tiger, and the title, which throws William Blake into the mix. By now, we’re lost in a forest of allusions. What next? You could throw in a joke about Les Miserables and we wouldn’t bat an eyelid. Nothing surprises us any more.

*****

What do all these crazy references indicate? What on earth is Cottrell-Boyce trying to say? I think the common link is the mythic power of stories.

It doesn’t matter if your preferred bedtime story is Red Riding Hood, or The Tyger or An Unearthly Child. The point is the powerful impact they have on the imagination. They disrupt the real world, like a forest bursting through the pavement. And anyone who’s ever tried to put a tantrumming toddler to bed (as wild as a tiger), will know how the right story will transport them to a different world, and send them gently into a world of dreams. They’ll dream of saving the world and talking to trees.

To me, that’s what In the Forest of the Night is about – the power of stories, including Doctor Who, to fire the imagination. If we try to make it all make sense, we’re missing the point. Do you try to make The Tyger makes sense? Or the story of Hansel and Gretel? You might as well try to make sense of a man who changes his face and travels through time in a phone box.

LINK TO The Evil of the Daleks: I’m pointing out a thematic link here, but both are referencing the very earliest Doctor Who stories. As is our next random selection…

NEXT TIME: We get our grubby little protuberances on Remembrance of the Daleks.