Tag Archives: monks

The highs, the lows and The Lie of the Land (2017)

lie of the land

Sometimes, we get the best and worst of Doctor Who in one single episode. So come on down The Lie of the Land, which for me shows both those things in short order. It’s a tale of two scenes.

Let’s get the first and worst out of the way. It’s the most infamous scene in the story, and perhaps, in time, will become the most infamous in the whole of the new series. It’s the one where the Doctor (waspish Peter Capaldi) goads his companion Bill (Pearl Mackie) into shooting him, for no good reason.

The story goes that in a world subjugated by alien Monks, the Doctor has gone over to their side, issuing regular video sermons like it’s 1984. Bill is convinced he’s faking it and concocts a plan with fellow companion Nardole (Matt Lucas) to rescue the Doctor from the prison ship on which he’s being held.

(It’s easy to see why Bill jumps to that conclusion. Faking being bad is a standard Doctory ploy. And it’s not just that scenario which feels familiar. The whole episode, focussing as it does on what happens when the invaders have won and established a totalitarian regime, feels like a retread of The Sound of Drums/The Last of the Time Lords, complete with scenes of people being dragged from their family homes and towering statues of the dictators in question.)

Once Bill and Nardole arrive on the ship, they find their way to the Doctor’s office, but it appears they have made a critical miscalculation. The Doctor hasn’t been faking it. He really has given up and capitulated to the Monks. He berates Bill for causing the situation by asking the Monks for his sight back. He threatens to hand her over to the guards. For Bill, who has spent months fighting against the Monks’ mind control and struggling to hold on to what’s real, this is too much. Distraught, she snatches a gun and shoots the Doctor three times in the chest.

Which is when the Doctor fakes a regeneration, reveals the bullets were blanks and reverses his fake out. He was fooling her all the time. He’s not in league with the Monks. Nardole and everyone else in the room was in on it. He played out this macabre charade, because “I had to just check that you weren’t under the influence and testing me.” The end result is Bill humiliated in a room full of people, after her friend psychologically tortured her to the point where she attempted to murder him. For the sake of a cheap trick.

The Doctor faking that he’s gone bad is everywhere from The Invasion of Time to Mindwarp. And the Doctor breaking down his companions’ faith in him is equally common from The Curse of Fenric to The God Complex. But never before has the Doctor coerced one of his friends into murder. Sure, it’s an exercise in “how far can we take this?”, complete with an ersatz regeneration. But it’s not important to the plot, it’s instantly forgotten and it’s unnecessarily cruel. Bill never gets to redress this emotional abuse and humiliation. It’s the most poorly judged moment since the show’s return; the equivalent of the strangling in The Twin Dilemma. May we never see its like again.

But then – the second of these two remarkable scenes.

The Doctor and Bill realise they need some intel to help them beat the Monks so they decide to open the Vault and consult Missy (Michelle Gomez). There isn’t a Doctor Who story around which wouldn’t be enlivened by a scene with Missy and this one is straight out of The Silence of the Lambs, in which serial killer Hannibal Lecter is consulted by young detective Clarice Starling on how to catch another murderer. Like Lecter, Missy issues her advice from within a cell. She taunts and flirts with our heroes. She is, despite being caged, in complete control of the scene. One minute she’s a school mistress, circling her enclosure, correcting the Doctor’s faulty reasoning. The next she’s a vamp, rolling around on the top of a grand piano.

The Doctor and Bill have come asking for Missy’s help and she knows it. She starts with bragging that she could easily escape if she wanted to and then starts the horse trading. She wants a 3D printer and a pony apparently, but that’s a transparent lie. She already has what she wants. That’s the Doctor’s attention.

Better than that, the Doctor is going to be in debt to her and she can use that to her advantage. She’s correctly anticipated the situation and she knows that to defeat the Monks. Bill has to die. “Awk-ward,” Missy sing songs when she breaks this news to Bill, her steely eyes revealing that she knew this was where they were heading all along.

And it ends beautifully, with Missy pointing out that the Doctor doesn’t have a monopoly on virtue, and that the answers he seeks aren’t always easy.

MISSY: I’m sorry your plus one doesn’t get a happy ending, but, like it or not, I just saved this world because I want to change. Your version of good is not absolute. It’s vain, arrogant and sentimental.

And after watching the scene where the Doctor indulged in mental torture of his best friend, who could argue with the vain and arrogant part?

It’s a delicious, elegant scene. But it seems to me there’s so much untapped dramatic potential here. Imagine a better version of that first scene where Missy taunts Bill into defeating the Monks by shooting the Doctor. Or if the Doctor had indeed teamed up with Monk and Bill and Nardole had to release Missy to defeat him. Where might we ended up under these or any number of other scenarios? Not, I hope with an ending where the all powerful alien conquerors are defeated by a memory of Bill’s mum. Not since Azal was confused to death by Jo has a badass been defeated more bewilderingly.

I realise I’ve been a little more judgemental of this story than I am usually am in these posts. But as you might have guessed from my thoughts on Extremis, I find the Monk trilogy unusually frustrating. Clearly trying to do something new, but so clearly mired in what’s been done before. And in The Lie of the Land’s case, being muddled in tone and plot alike.

But then I remember that showrunner Steven Moffat was distracted at this time of script editing this by the death of his mother. Apparently, he was struggling to complete this episode as she passed away. That’s unspeakably sad and it goes some way to explaining the unevenness of this adventure. If there’s ever been an episode where we need to cut the Moff some slack, it’s surely this one.

Still, it doesn’t change the fact that The Lie of the Land is one moment clumsy and morally dubious, the next smart and stylish. I keep coming back to The Twin Dilemma. Like that infamous story, it leaves us with the queasy feeling that the companion is not safe in the Doctor’s presence, because at any moment she might find herself on the wrong end of his changeable morality. And that we as viewers aren’t in safe hands, in an episode which swings between such extremes of quality. With the good and the bad in such quick succession, it makes for an uneasy rollercoaster ride of a story.

LINK TO Carnival of Monsters: both feature Cybermen cameos.

NEXT TIME… Right then, troops. No, not troops. Team? Gang? fam? We end the year with the new Doctor in The Woman Who Fell To Earth.

 

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Heresy, hearsay and Extremis (2017)

extremis

It’s just as well that Extremis takes place not in the real world, but in a computer simulation. That helps explain why no-one in that world behaves in any believable way.

Let’s say you’ve just read a document which reveals that the world in which you live is a fabrication: a test run for wicked aliens to rehearse an invasion. (A kind of Android Invasion but where random numbers rather than newly minted coins and misprinted calendars are the tell.) Sure, you might be shocked. You might even be appalled. But would you really top yourself? Amongst all these brave readers, wouldn’t there be someone who would react with curiosity, or defiance, or even wonder? Surely, at the very least, you’d tell someone.

To be fair, after an awful lot of to do in Extremis, someone finally does tell someone else. It’s Piero (Francesco Martino), the unusually handsome priest (that’s his sitcom name), who has found his way into the Haereticum (it contains forbidden texts, so I assume things like Travels without the Tardis, Gary Downie’s Doctor Who Cookbook and Zamper). And when given the chance, he emails this explosive work to CERN. Interesting choice. I mean, if you wanted to convince someone to blow up the world, you could have chosen Donald Trump of Kim Jong un. Instead, he chose a group of scientists – rational seekers of the truth of things, unburdened with superstition. The one group of people you could safely assume would react with sobriety and rationality.

But then the CERN in this ersatz world is a strange place too. It’s staffed by Nicolas (Laurent Maurel) who speaks and a lot of extras, who don’t. On the whole, this odd crew seems to be taking mass suicide pretty well. OK, so there’s a couple of people with hands in heads and staring moodily out of windows. But most of the others are wandering around politely like it’s Inge from accounts birthday and they’re waiting for a Hadron Collider shaped cake to arrive. Companions Bill (Pearl Mackie, again given very little proactive to do) and Nardole (Matt Lucas) look more bemused than unnerved. I’m with them.

The other odd thing going on is the weirdly interventionist actions of the upper echelons of the Catholic Church. The Pope (Joseph Long) drops in on the Doctor to ask him to take on a special mission. “You don’t do this,” notes the Doctor. “The Pope doesn’t zoom round the world in the Popemobile, surprising people,” and he’s right. The Popemobile doesn’t zoom anywhere, it’s designed to amble.

Anyway, it’s very unlikely papal behaviour. But again, this is a computer simulation so in this reality, presumably the Pope does make home visits, is aware of the Doctor and his capabilities and is unafraid to transact with a man who could jump in his time machine and disprove the existence of God at the drop of a tall pointy hat. And presumably the Vatican never thought of getting someone to read the Veritas in padded cell with no way to harm themselves. And they never thought of simply destroying it.  And they never thought of… well, about a dozen different ways you could stop reading people a book. But to be fair, once they realised they couldn’t simply burden the Veritas with a crippling, lifelong guilt, they were probably all out of ideas.

***

Meanwhile, in another part of the story, the Doctor is being led towards his execution. But – fake out! – it’s not his at all. It’s Missy’s (Michelle Gomez) and the Doctor’s on hand to deliver the killing blow. Nardole turns up in a robe to deliver a stern but incomprehensible message from the missus. There are lots of meaningful stares between characters. It’s all a bit gradual, but at least it confirms that it’s Missy stuck in the vault the Doctor ends up guarding. And the scenery’s nice. And the Doctor’s gets his best coat ever.

But it ends on something truly stomach churning. To scare Ranfando the executioner (Ivanno Jeremiah) off, the Doctor once again goes for the gambit of letting his reputation as the supreme defeater of bug eyed monsters do the scaring off for him. I’ve noted before how inherently undramatic this is, but up until this point, this tactic has just been smug and irritating. The version Extremis gives us is particularly nasty and inherently unDoctorly.

This particular wheeling out of the Doctor’s track record is accompanied by the beeping tally of how many people he’s killed. It’s his kill record and it’s enough to terrify a man who has a fetishistic attraction to death. So the Doctor wins this battle, not by cleverness or cunning but by being a notorious murderer. The executioner does a comedy “gets frightened and runs off” bit, but it’s not funny. It’s awful. That the Doctor’s resorted to killing people is no surprise. But he’s always regretted it. Never before has he bragged about it in order to win the day.

All this adds up to a sort of un-Doctor Who story. Sure, the Doctor fights against an alien menace, but he doesn’t actually defeat them. He doesn’t save anyone. The best he does is sends himself an email, and it’s not like it contained any information which actually helped him against the Monks in The Pyramid at the End of the World. And none of it actually happened anyway. So it can’t help but be 45 minutes we’ve spent getting precisely nowhere.

***

There’s one line though that’s got me a bit flummoxed. It’s when Missy is surprised to see the Doctor, even though another Time Lord needs to preside at her execution, and he’s the only one this side of the end of the universe.

MISSY: Thought you’d retired. Domestic bliss on Darillium, that’s the word among the Daleks.

The word among the Daleks?  Whatever could this mean? If the Daleks have started to have gossipy little chats around the water cooler, that’s a real development:

ZEG: Well, I’ve heard he’s shacked up with that Song woman in a restaurant for 24 years.

TARRANT: Ooh, that Rose Tyler is going to blow her little blonde gasket when she finds out!

Turns out it that River has sent Nardole to remind the Doctor that virtue is only virtue in extremis – that it’s easy to the right thing when there’s no pressure, but when the chips are down is when we discover the true importance of doing the right thing. (It’s a surprise he needs to reminded of this after The Day of the Doctor, The End of Time and all the rest but there you go).

Quite why the ultimate expression of this is to save Missy’s life, I’m not sure. I mean, the Doctor was never going to let her die, so it’s hardly an example of virtue in extremis. And more crucially, why would River want him to save Missy’s life? On the face of it, this is a terrible idea, as the Doctor’s efforts to rehabilitate Missy lead directly to the disastrous events of World Enough and Time, which will eventually kill him. Makes you wonder why River has it in for him.

Ah well. More people failing to behave in a believable way.

LINK TO Rose: companions living at home in flats with overbearing mothers/step-mothers.

NEXT TIME: When you smile, I want to see those teeth! We sign up for The Happiness Patrol.