Tag Archives: twelfth doctor

Pink, possessiveness and The Caretaker (2014)

dannyp

Look, we’d better talk about Danny Pink.

Danny, as played by Samuel Anderson, is a committed teacher, an emotionally damaged war veteran and lover of Clara (Jenna Coleman). We meet him over the course of Into the Dalek and Listen, as he and Clara engage in an awkward but ultimately successful courtship. But in The Caretaker he meets the Doctor (Peter Capaldi) and everything changes. As it tends to.

The Doctor doesn’t like Danny; no surprises there. He’s never liked his companions’ boyfriends. But with Mickey and Rory, those tensions quickly subsided into grudging respect before developing into comfortable friendships. There’s little hope of that here. The Doctor is sneeringly dismissive of Danny, refusing to acknowledge that he’s a maths teacher, just because he was once a soldier (the irritating myth that the Doctor hates soldiers, again. Does he not remember his old friend Lethbridge-Stewart was a soldier turned maths teacher?). Danny can’t stand the Doctor’s automatic assumption of superiority, labelling him as an officer. The subtext is clear. They’re fighting over Clara’s affections.

So the two men in Clara’s life finally meet and they can’t stand each other. A level of rapprochement is achieved though when Danny helps defeat the robotic Skovox Blitzer. Still, Danny doesn’t appreciate Clara’s deception and he’s highly suspicious of what happens when she periodically absconds in the TARDIS for adventures. And it’s from this point that Danny’s behaviour shifts… in a way, which hit a bum note some of the show’s audience.

Mrs Spandrell summed it up. “He’s become quite controlling of her, hasn’t he?” she noted during a sideways glance at this episode. It’s a sentiment I’ve heard before. Danny’s controlling, manipulative, creepy. He wants to dictate what Clara can and can’t do. Is this reading justified?

If it is, he shows us this side of himself in record time. It starts here in The Caretaker and is ended when he gets hit by that car in the opening scene of Dark Water. That leaves only three episodes in which to cement this reputation as a possessive control freak, and in two of those, he makes only fleeting appearances.

So how does he manage to make such a bad impression with such minimal screen time? Let’s look at what he actually does to gain this reputation.

Moment 1: In The Caretaker, Danny discovers the truth about Clara and the Doctor and is upset that she hasn’t told him about it. He and the Doctor have a row, but then their combined efforts deactivate the Blitzer. When it’s all done, he gives Clara an ultimatum:

DANNY: If he ever pushes you too far, I want you to tell me, because I know what that’s like. You’ll tell me if that happens, yeah?

CLARA: Yeah, it’s a deal.

DANNY: No. It’s a promise.

CLARA: Okay. I promise.

DANNY: And if you break that promise, Clara, we’re finished.

Look, if Mrs Spandrell had been secretly moonlighting, even in a platonic sense, with some dashing adventurer, I think I’d have something to say about it too. But I think the problem here is the ultimatum; it seems like Danny’s way or the highway. And it sets up a threat – that Danny will leave her if he disobeys her – which clearly scares Clara.

What she doesn’t say here is, “Look, I’ll see whoever I like, thanks and if you can’t deal with that, too bad.” Whether that would be fair for her to say, I don’t know. But the absence of such a statement is part of the problem.

Moment 2: In Kill the Moon, the predicted boundary pushing happens and Clara returns to Earth distraught. It’s actually her who says it first:

CLARA: I’m done. It’s over. I’m finished with him, and I told him that. What is that face for? Why don’t you believe me?

DANNY: Because you’re still angry. You can never finish with anyone while they can still make you angry. Tell him when you’re calm, and then tell me.

So it’s Clara’s choice to leave. Or is it? Danny seems even handed here, but has he manipulated her, by predicting the Doctor’s behaviour and putting the seed of doubt in her mind?

Moments 3 & 4: In Mummy on the Orient Express, Danny is actually tempering Clara’s intentions.

CLARA: So, what are you saying? Just because he brought me somewhere cool, I shouldn’t dump him?

DANNY: Well, one, you can’t dump him because he’s not your boyfriend. And two, dumping him sounds a little scorched earth. You still basically get on. I think you should just enjoy your space train.

But then later in the episode, he rings her up, expecting her to have dumped him (“so is it done?” he asks). And at that point, Clara decides to lie to both Danny (by saying yes to that question) and the Doctor by saying:

CLARA: Danny. He’s fine with the idea of me and you knocking about. It was his idea that we stop but, he’s decided he doesn’t mind and neither do I.

She claims it was Danny’s idea but all indications are that it was her idea, although he did little to dissuade her. But the worrying thing is that she’s kept quiet about her decision to stay on board the TARDIS. She’s clearly at least concerned, and at worst, worried, about telling Danny. What would he do if she told him the truth?

Moment 5: In In the Forest of the Night, he notices a pile of unmarked homework in the TARDIS and realises she’s been on board.

DANNY: I just want to know the truth. I don’t care what it is. I just want to know it. Like Maebh said. Like the forest. Fear a little bit less, trust a bit more.

CLARA: Okay. Well…

DANNY: No, not now. Go home and do your marking. Think about it, then tell me. I saved you from a tiger today. I deserve at least that.

See, it’s interesting this. On one hand, Danny seems to have a valid gripe. He’s concerned about Clara’s safety while in the company of the Doctor and she keeps lying to him about it.

But if any of the blame for this situation is his, it’s never acknowledged. His lines often position him as a victim – I know what that’s like, I just want to know the truth – but then end with an instruction, tell him when you’re calm, think about it, then tell me. He’s reasonable and reassuring in one breath, but issuing orders in the next. And Clara always seems to be in the wrong.

It’s hard to pinpoint, but I think on balance, Danny Pink the controlling boyfriend is definitely there. It’s hinted at in the writing and gently reinforced by Anderson’s performance. Perhaps unintentionally in both instances. And although it might all be an unhappy accident, maybe instances of male characters trying to influence female characters who they can/can’t see and what they can/can’t do, should just be avoided.

LINK TO The Christmas Invasion. Both set in modern day London.

NEXT TIME: We’ve come (to) Full Circle.

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Underdogs, overlords and The Girl Who Died (2015)

girlwhodied

Of all the Doctors to star in a Doctor Who version of The Mighty Ducks, Peter Capaldi’s acerbic version seems one of the most unlikely. (Not the most unlikely, which would surely be Hartnell. “What, dear boy? I prefer walking to skating any day.”) Still, that’s what happens in The Girl Who Died, as he becomes responsible for training a group of hopeless Vikings for a fight against a group of relentless alien brutes, the Mire. It’s your classic underdog story, played pretty much for laughs, with Vikings too clumsy, too uncoordinated or too afraid of blood to be of any use.

The laughs can’t last for long though. The stakes are much higher than for a hockey match, football game or Jamaican bobsled team. If the Mire win, everyone in this village dies. The weight of that rests heavily on the Doctor’s shoulders.

This is a great episode for Capaldi, who gets to show that responsibility on every square inch of that deeply lined face. But he also gets to be funny and soulful. My favourite aspect is his ability to hear and translate the cries of a baby. P-Cap sells it. You really believe that he can speak baby and that his outlook on the fate of this ragtag bunch is changed irrevocably because of it.

On top of that, he gets to play out the Doctor’s grief and anger when his new friend Ashildr (Maisie Williams) is killed in battle, his furious determination to bring her back to life and the slow, hangover of a realisation that he may have sentenced this young girl to immortality. For a jokey script, it ends on a note of foreboding. In fact, it’s not miles away from the feel of Donald Cotton’s Hartnell stories, with historical settings full of gags which turn serious in the final reel.

But there’s something great about how the Doctor manages to beat the Mire. As Clara (Jenna Coleman) points out to him, teaching people to fight is not his style and she knows he’s not going to win until he comes up with a more Doctorly plan. This he eventually does, and as he says, it’s a doozy, complete with subterfuge, a dance, an elaborate pulley system, space YouTube and a tub of electric eels. Even by the Doctor’s standards, it’s mental. But he proves once again that the bullies and the warmongers can be overcome by using your brain. As essentially Doctor Who as that message is, it can never be said enough.

Then there’s Clara, who’s continuing on her journey to would-be Doctordom. She gets herself transported to the Mire’s spacecraft and straight into a conversation with Odin (David Schofield, who’s fine but oh, it woulda coulda shoulda been BRIAN BLESSED!) in which she very nearly manages to end the story 30 minutes early by scaring him off, with threats of advanced technology and half a pair of sonic sunglasses. And Coleman carries it brilliantly with exactly the sort poise that infuriates fans who hate her getting more screen time than the Doctor.

The other side of Clara shown here is her indispensability in getting the Doctor to win through. She is not so much his teacher, as shown in Into the Dalek, but a sort of motivational coach. When he’s ready to abandon the Vikings because they haven’t had the common sense to take his suggestion about fleeing, she gently questions him until he decides to save them – a decision she knows he’ll make, with some prodding from her. Later, when he’s despairing about the general rubbishness of his fighting force, she presses him to change tactics. She’s a prompt for his actions. Almost his manipulator.

It’s a co-dependent relationship. The Doctor needs Clara in order to function like a hero. Clara needs the Doctor to show her how to become a hero. It’s not exactly a cozy relationship, but between them, they are a functioning team, each making up for the other’s shortcomings. So it makes dramatic sense to throw in a third character to shake them up.

And so to Ashildr, the village’s storyteller and feisty teenage girl. Despite her young age, she’s a catalyst for the story’s big events. It’s her recklessness which leads to the Mire deciding to stay and fight and gives us the Mighty Ducks. It’s her puppetry hobby that inspires the Doctor’s wacky plan with the fake dragon. And it’s her imagination which feeds the illusion of the mighty beast into the Mire’s helmets. In many ways, it’s her story, not just because it’s named after her.

Both the Doctor and Clara are strangely drawn to her. The Doctor, as he explains, is haunted by a kind of future memory of her. Clara seems to have a crush on her (“Fight you for her,” she offers the Doctor at one stage). Both treat her as a potential protégé. In other circumstances, she might have been asked to board the TARDIS as a new companion.

Instead, she becomes the focus of the Doctor’s tempestuous grief, when she dies through a miscalculation in his plan. He breaks his own rules, lets her absorb some Mire technology, resurrects her and makes her immortal. But this tells us nothing new about the Doctor. That he’s a man of great power, that he’ll break his own rules when pushed, that he can take an ordinary person and turn them into a being of universal significance… all this we knew before The Girl Who Died.

But we didn’t know this vengeful god of a Doctor would turn up in the middle of what has been, up to that point, a jaunty historical comedy. After all, this is a story with Odin appearing in the sky straight from Monty Python and comic antics accompanied by the Benny Hill theme. It’s not where you expect to find a portentous immortal being created by an act of Doctorly rage.

That’s OK. This show’s frequently been about contrasting light and dark. And if it’s an uncomfortable mix in this episode, then The Time Meddler, Delta and the Bannermen and The Fires of Pompeii all have something to say about that. The only surprise is that a story-bending character like Ashildr, who will go on to be an ongoing force in the Doctor’s life, and who will eventually split our cozy couple apart, should emerge from such jolly hijinks as this.

Anyway, I best get on with my pitch to Big Finish. It’s called The Mighty Duxatrons. It stars David Bradley as the first Doctor. Emilio Estevez is going to co star. Underdogs as far as the eye can see.

LINK TO The Stolen Earth/Journey’s End: in flashback, we see the tenth Doctor and Donna again.

NEXT TIME: What a stupid fool you are! Let’s play The War Games.

 

 

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.

 

 

Early morning streaming, Whovians (2017) and Knock Knock (2017)

It’s 5:30 on a Sunday morning. I am awake, due to my life long habit of waking naturally by the time I know I have to be up. All is dark and quiet. I sit up in bed, reach for my iPad and headphones. It’s time for a new episode on Doctor Who, delivered fresh and perky from ABC iView.

It’s a ritual made familiar over the last few years, since the ABC has been fast-tracking new episodes of Doctor Who as they’re broadcast on BBC1. It’s the new way of watching Who, having taken over from Sunday night after the news, or if you could navigate through the ocean full of viruses and malware, bit torrenting.

When I was a youth, it used to be Monday to Friday, 6:30pm, which as I’ve mentioned before, is Australia’s version of Saturday teatime. Somehow though, I can’t see Big Finish producing audio promos in years to come harkening back nostalgically to watching the show this way. Can you imagine? It’s pre-dawn 2017 all over again! You’re hiding under the covers, hoping none of your family wake up!

If I’m lucky, I’ll get through the whole episode uninterrupted. If not, Master Spandrell will stumble in and sleepily climb into his parents’ bed and that will be the end of that. If not that, then Little Miss Spandrell might cry out from her bedroom, looking for an early start to the day. So I keep as quiet as I can, keep physical movement to a minimum and hope desperately to remain unnoticed.

This week’s episode is Knock Knock. And it’s been specifically designed to be consumed by nerds on tablets hoping to remain uninterrupted.

*****

Periodically Doctor Who adapts with a change in format. Spearhead from Space may be the first colour story, but it’s not until The Green Death that there’s a story conceived around being seen in colour. Ghost Light might be the first story designed for the VHS generation, a story you have to pause and rewind to understand. And the show’s 2005 series might be as much designed for consumption as a DVD boxset as a broadcast TV show.

In more recent years, we’ve had ancillary Doctor Who content designed to be watched on computer. It’s arguable which was the first such piece of content (as we call it these days) but The Night of the Doctor is definitely designed to be sought out online. Doctor Who you can’t watch on TV.

I watched the special binaural edition of Knock Knock, on my headphones, tucked up in bed, and very nice it was too. One specific knock made me involuntarily turn my head towards the supposed source. It’s an experience you can get on TV, by streaming from your tablet but to get the full effect (apparently) you need headphones. This is Doctor Who designed to be watched on your phone or iPad.

I suggest we get used to this. Doctor Who’s ratings are doomed to fall in future (although our new female Doctor – hooray! – should deliver an initial boost in numbers) and that has nothing to do with the quality of the show. The fact is all broadcast TV is losing viewers, and an increasing amount of people are watching TV shows on tablets and phones. It’s unsurprising there are special editions of Doctor Who for mobile devices; it’s only surprising that there’s not more of it.

How long, I wonder, until we get a spin off series delivered through catch up services like iPlayer and ABC iView only? When you think about how much time, money and effort went into one series of Class (which awkwardly straddled online and broadcast formats) an iPlayer only series may well offer a lower cost, less risky venture. It could lead to some narrative innovation too; freed of the requirement to fit into a 45 minute time slot, stories could be longer or shorter as the story demanded. Doctor Who for the commute home.

Then there’s factual content like Doctor Who Extra and The Doctor Who Fan Show both made for consumption across all devices, but I suspect mostly consumed on mobile. The show is building and nurturing its web-only fans. There must be fans out there now who have never watched an episode of the show on broadcast. Surely it’s only a matter of time before our first catch-up exclusive episode?

There’s a final destination here. We think of Doctor Who as a TV show, which is also available on other devices. Eventually it will stop being a TV show, and simply be a show, with broadcast TV being merely one way to watch it. If at all. It’s not inconceivable of a future where new Doctor Who is an internet only experience, the same as other streaming only shows.

All of which makes Whovians all the more strange.

*****

In Australia, series 10 was accompanied by a 30 minute home made show about watching and loving Doctor Who. It’s hosted by Rove McManus, one of Australia’s biggest TV stars, who had a highly successful evening variety show for years during the noughties, followed by a US chat show for a couple of years. He has always had something of the nerd about him, but he remains an unlikely host, let alone instigator, for a Doctor Who panel show. For one thing, he’s far too cool to display the Ming Mong level of fandom he clearly possesses. And for another, he’s far too expensive for the ABC.

He can only be doing this for the love of it, which is terrific. But Whovians seems to be exactly the sort of after party programming the BBC has been avoiding. Not only is it content they’d be more likely to put online, it’s actually mimicking what happens online after an episode going out live on air; a community of geeks wants to talk about it. It’s fun and its frothy and I love it, but the fact that it’s new broadcast content about Doctor Who seems to be directly the opposite direction that the show itself is heading in.

None of this is bad. It’s just that for a week in 2017 I watched an episode of Doctor Who designed not to be watched on TV, then tuned into a TV program to hear people talk about it. Welcome to the patchwork landscape of 21st century broadcast TV.

QUICK APOLOGETIC ASSESSMENT OF THE STORY WHICH IS THE SUBJECT OF, YET IGNORED BY, THIS POST: Spooky, exciting and a bit gross. But under no circumstances should you examine the plot too closely.

LINK TO The Ice Warriorsspooky mansions.

NEXT TIME: where do you get the milk? I get mine at the Asylum of the Daleks.

 

 

Six, Twelve and Into the Dalek (2014)

When John Nathan-Turner became producer of Doctor Who, he soon got to cast his first Doctor. He chose the youngest ever actor for the role, to create a likeable, appealing new Time Lord. Roughly 30 years later, showrunner Steven Moffat did the same.

JN-T later found himself re-casting the Doctor three years into the job, and he created a new version who was loud, brash and wore garish, multi-coloured clothing. The snider commentators suggested that JN-T had started fashioning the Doctor in his own image. What then to say about Steven Moffat, who when designing his second Doctor, produced a grumpy, dour Scotsman with a biting wit and a penchant for dark jackets?

Into the Dalek has got me thinking about the similarities between Doctors Six and Twelve, and not just that they may bear a passing resemblance to their creators. They are similar in many ways and both are extreme reactions to their charming, boyish predecessors. Both are deliberate attempts to make the Doctor less accessible, more challenging and to bring conflict to their relationships with their companions. If you ever wished the sixth Doctor’s era had better writing, better direction and a subtler costume for the leading man, you can more or less see the results in Peter Capaldi’s first season.

Into the Dalek features the twelfth Doctor at his least likeable; his charismatic nadir, from which he has been slowly but steadily climbing ever since. He lacks compassion, right from the story’s opening when he can’t bring himself to give a word’s comfort to Journey Blue (Zawe Ashton) who has just watched her brother die. He is openly dismissive of those he deems unworthy of his attention; he can’t bring himself to remember Morgan’s (Michael Smiley) name, just calling him “a sort of boss one” and “Uncle Stupid”. And he leads crew member Ross (Ben Crompton), under terminal assault by Dalek antibodies, to believe he has a chance to live, before using his death as an escape plan. In The Day of the Doctor, only three stories ago, we were reminded that the Doctor is never cruel or cowardly. He’s certainly no coward, but we can no longer be sure about his absence of cruelty.

Old Sixie was a bit like this. He couldn’t bring himself to be compassionate when his companion Peri was forced to kill that Mutant in Revelation of the Daleks. In The Twin Dilemma, he was rude and dismissive towards intergalactic policeman Hugo Lang. But he also had, particularly in Season 22, a violent streak which P-Cap lacks, dishing out unpleasant deaths to adversaries in Vengeance on Varos and The Two Doctors. Six was more likely to be a participant in people’s deaths and Twelve is more likely to coldly use them to his advantage.

Unexpectedly, the sixth Doctor is the more outwardly sympathetic of the two. Despite his apparent lack of warmth, he’s more likely than the twelfth to pause to mourn a comrade’s death, or to express remorse. Capaldi’s Doctor is more likely to simply move on. Quite horribly so, in the case of Ross, who is liquidated by Dalek antibodies and deposited in the chamber the Doctor and friends escape to. “Top layer,” he baldly tells Journey, “if you want to say a few words.” It’s a step too far; too crass and unfeeling for any version of the Doctor. It’s the twelfth’s version of the infamous moment in Varos when two men fall into an acid bath and the sixth says, “You’ll forgive me if I don’t join you.”

In the pre-publicity for his first season, Capaldi called his Doctor “less user friendly” than before. But it’s more than that. In conception, the twelfth and sixth Doctors are deliberate attempts to highlight the difference between his alien point of view and our human one. It’s a dangerous game, one which risks alienating audiences. And there’s a line you can’t cross. The Doctor can be irascible and remote, but he can’t be nasty. Then we start to wonder if he’s worth hanging around with.

This is where the companions come in, and here, Twelve has a few advantages over Six. The sixth Doctor’s relationship with Peri was so volatile it bordered on destructive. She was the focus of much of his unpleasant character traits; supporting characters he was generally nice to. Peri bore the brunt of his bad side. He shouted at her, belittled her and of course, on one occasion, attacked her. There’s a moment in The Two Doctors where he bemoans her for not deducing that he’s been to Seville at least once, and when he turns her back, she mouths silently, “hate you!” There’s a terrible abusive slant on their relationship, demonstrated in those moments when the Doctor suddenly switches from disdain to affectionate concern for Peri, often taking her protectively under his arm. Unpleasant mixed signals. Just awful.

The twelfth Doctor though, has Clara (Jenna Coleman) to whom he made an impassioned plea at the end of the previous episode to stick with him. Despite her misgivings, she agreed, and hugged him, in a powerful symbol that she at heart, loves this version of the Doctor. Her job, as Rose Tyler’s was (and as Peri’s should have been) is to teach him how to be more human, as to help him mend his ways.

Clara’s faith in the Doctor is critical here. It’s the reassurance the audience needs that this Doctor is worth persevering with. It’s the faith that Peri never had in her Doctor, and why her determination to stick with the sixth Doctor seemed so perplexing. We can see why Clara sticks with the twelfth Doctor, because they make a great team. It must be this potential that Journey can see, and why she asks to join the TARDIS at story’s end; Lord knows it can’t be because she’s charmed and intrigued by the Doctor who’s been an utter jerk to her throughout.

Having an unlikeable Doctor does enable us to more clearly see his flaws. In this story, they even become the means to resolving the problem at hand. Rusty (voiced by Nicholas Briggs) flip flops between “Dalek with a conscience” and your everyday murderous sort. But when he mind merges with the Doctor, it’s his hatred of the Daleks, so palpable and raw, which encourages Rusty to turn against his comrades and save the day. Difficult to see that working with Davison or Smith. You need an darker Doctor to be able to unleash that darkness on his enemies.

****

JN-T eventually reconsidered. When Colin Baker came back for The Trial of a Time Lord, he was still loud and brash, but the nastiness was gone and he was nice to Peri. At least until Part Six when… but that’s another story. Point is, he mellowed, and he needed to.

A similar regeneration has happened to Capaldi. By The Return of Doctor Mysterio, he’s a figure of fun. Companion Nardole calls him “very silly” and he’s pulling cheeseburgers out of his coat and swinging comically outside windows. In Season 10, companion Bill clearly adores him – whole lecture theatres full of students adore him. He’s more dotty and less acerbic than before. He’s come a long way from the version of him we meet in Into the Dalek, and he needed to.

LINK TO Mummy on the Orient Express: same Doctor, same season, easy done.

NEXT TIME: What phantasmagoria is this? Why, it’s The Unquiet Dead.

 

Break ups, break downs and Mummy on the Orient Express (2014)

mummy

We can be a bit shallow, us fans. We love a good monster. We’ll forgive a lot when a story features a proper, Hinchcliffe level, scary beast. And Mummy on the Orient Express has a cracker of a monster in the shape of the Foretold (Jamie Hill).

Too scary to put on the promos, it’s an grimy, cadaverous thing which makes the lot from Pyramids of Mars look welcomingly cuddly. It’s not just the empty decaying face of it, but also its slow relentless walk, always dragging that one foot behind it. The skinny, grasping arm stretching out at its victim’s face. Plus the onscreen countdown, adding a real time tension to proceedings. No wonder DWM readers voted this story best of breed in 2014.

However, being so in love with this story’s ghoulish brute, I think we have collectively papered over a few holes in the plot. The Foretold, we’re told, is an old soldier, who should be long dead, but is being kept alive by technology and will keep on killing until it gets orders to stop. Which is all well and good, but why is he a mummy? Was this alien war based in ancient Egypt? Is there a planet of the Mummies out there somewhere? What’s going on?

Then there’s Gus (John Sessions) the omnipresent, homicidal onboard computer, a direct descendant of 2001‘s Hal. It’s Gus, it turns out, which has orchestrated the whole affair, and brought the Foretold to the train, along with a group of scientists to divine the monster’s origins and purpose. To what end, though, we never find out. Let alone who built and programmed Gus, or what he has planning to do with a killer Mummy wth a gammy leg.

*****

Incidentally… MOTOE features a corker of an example of a Doctor Who quirk I like to keep my eye on: characters who should have lines, but don’t.

The simplest example I can think of happens in City of Death. Two heavies, played by extras (making them extra heavies, ha ha), have been employed by Scarlioni to spy on the Doctor. They appear at the top of the scene, but instead of giving their report, we just hear Scarlioni commend them on their work. They leave without saying a word. By all rights, they should have lines. But that would mean paying them more. So they remain silent, in the face of all credulity.

This happens not infrequently in old Who, less often in new Who. In MOTOE though, it’s back with a vengeance. It transpires that the passengers are not just any old trainspotters, but eminent scientists Gus has brought together to study the Foretold. Experts in their fields! A whole carriage of them! Working together on a wicked problem! And none of them ever say a thing. Very weird.

 *****

One more strange plot development. As the end of episode approaches, everything has to be wrapped up quickly, so the train suddenly explodes. Next thing we know, the Doctor (P-Cap) is waiting for Clara (J-Cole) to wake up on a beach. Turns out he managed to teleport everyone on board the train into the TARDIS before the explosion. Then he returned them all to a nearby planet.

Which is all fine… but why did he then drag Clara out of the TARDIS and on to the beach? He couldn’t have explained the plot to her in the TARDIS?

I know, I know. Shut up and look at the scary monster!

****

The other thing going on here is the break up of the Doctor and Clara.

She spends the episode questioning her relationship with him. There are a few crucial moments which punctuate this uncertainty: when she complies with his request to lie to Maisie (Daisy Beaumont) and bring her to him, when she realises the Doctor brought her to the Orient Express expecting trouble and didn’t tell her, when the Doctor takes Maisie’s place as the Foretold’s target and when the Doctor then saves everyone. Clara’s emotions rollercoaster accordingly.

Then she makes an interesting choice; she lies to Danny Pink (Samuel Anderson) and recommits to travelling with the Doctor. It’s a confusing choice because the Doctor’s the same spiky, manipulative grump he was at the beginning of the episode. So why would the events of Mummy on the Orient Express change her mind?

The answer is, of course, they don’t. It wouldn’t matter what happened in this episode, Clara was always going back to the Doctor. Because she is, as she hints in the final scenes, addicted to this lifestyle. This is another aspect to the darker side of Clara’s personality as explored in Series 8. She’s an addict, a liar and a cheater. She’s the Doctor’s proxy, which sometimes means being as sly and underhanded as he can be.

I gather from my discussions with various casual viewers I know that Clara’s not the most popular of companions. But I think she’s one of the most well rounded, if confounding, characters the new series has given us. Other companions have had depth, but have essentially been angels. Amy, for instance, could be fiery and flighty, but we were never in any doubt that she was 100% a good person.

With Clara, that distinction is much less clear. So as much as the Doctor asks during this series, “am I a good man?” we are just as often shown that Clara is just as morally ambiguous. And if we needed any further proof, when we get to the end of this season, they will part ways, each on the back of mutual lies to the other.

This caginess fits particularly well with this episode, where everybody is hiding something about themselves. Mrs Pitt (Janet Henfrey) is a grandmother masquerading as a mother. Maisie is hiding her hatred of her. Quell (David Bamber) is concealing a dysfunctional past. Gus pretends to be courteous mein host. And Chief Engineer Perkins (Frank Skinner) has nothing to hide, but acts shifty and secretive anyway. Because on a murder mystery, that’s what happens. Here, it’s not so much that everyone’s a suspect, just that everyone’s suspect.

And the Doctor? Well, he’s the one exception. Sure, he might have brought Clara here under false pretenses, but otherwise he doesn’t try at all to hide who he is. He’s a brilliant, brittle, uncompromising alien. Clara can’t help but love him, because despite all his crazy contradictions, he can, when he wants to, show us the most captivating monster contained within.

A bit like us fans and Mummy on the Orient Express.

LINK TO The Savages: victims being drained of their life force.

NEXT TIME: What have we learned today? More Capaldi, Coleman and scary monsters as we go Into the Dalek.

Secrets, separation and The Husbands of River Song (2015)

riversong

There’s a disquieting undertone to this episode, despite it being a big, bold Chrismassy romcom. Yes, it’s the episode that wraps up the relationship between the Doctor (Peter Capaldi, relishing the comic moments) and River Song (Alex Kingston, relishing every bit of it), and it does so in a festive melange of romance and continuity references. Yes, it’s a genuinely funny knockabout caper which celebrates the bond between two fascinating characters. But there’s a nagging concern I’ve been unable to shake. Here it is:

This is the story where River’s true self is revealed to the Doctor. And then he dumps her.

Much was made in this story’s pre-publicity of the comedy value of the Doctor seeing what River does when he’s not around. Due to an unlikely combination of contrivances (River’s convinced the Doctor has a limit of 12 faces, he’s been introduced as ‘the surgeon’), she doesn’t twig who he is, and so she lets the veil drop a little.

We meet a far naughtier character that we’ve seen her be before. We see that she has multiple husbands and multiple wives. That she’s prepare to marry a villain in order to steal from him and kill him. That she borrows the TARDIS when the Doctor’s not looking and stores hooch in a handy roundel. That she’s welcomed onto a spaceship full of mass murderers.

The Doctor looks suitably bemused at all these revelations. But it’s a short exchange with River over dinner that really seems to rock him. She talks about how she got King Hydroflax (Greg Davies) to fall in love with her.

RIVER: It’s the easiest lie you can tell a man. They’ll automatically believe any story they’re the hero of.

And she holds up her TARDIS diary to emphasize the point. Later…

DOCTOR: …you look sad.

RIVER: It’s nearly full.

DOCTOR: So?

RIVER: The man who gave me this was the sort of man who’d know exactly how long a diary you were going to need.

DOCTOR: He sounds awful.

RIVER: I suppose he is. I’ve never really thought about it.

DOCTOR: Not somebody special then?

RIVER: No. But terribly useful every now and then.

Of course, she’s shielding her true feelings, but still, it’s clear that these words sting the Doctor. Later on, in a more honest and revealing moment, River explains that while she loves the Doctor, he doesn’t love her in return.

RIVER: When you love the Doctor, it’s like loving the stars themselves. You don’t expect a sunset to admire you back. And if I happen to find myself in danger, let me tell you, the Doctor is not stupid enough, or sentimental enough, and he is certainly not in love enough to find himself standing in it with me!

Penny in the air. She turns to look at the Doctor. Penny drops.

DOCTOR: Hello, sweetie.

It’s a moment of reaffirmation. But the damage appears to be done. This relationship is toast. And River won’t get a say in how it ends.

Consider what happens next. The spaceship, under assault from a meteor storm, dive bombs into a planet. River recognizes the planet immediately as Darillium. We fans know what happens on Darillium. It’s the site of her final meeting with the Doctor before she dies. To escape the crash, the Doctor and River take shelter in the TARDIS. It survives the crash and is planted on Darillium. River is unconscious. The Doctor is awake. And now he has choices.

He could take off again. He and River could go off adventuring anew. No need to stop the fun. Another great escape.

But he doesn’t do that. He makes a conscious decision to engineer the building of a restaurant of Darillium so that he can take River for dinner there, and spend their last night together. He knows this will precipitate the end of their relationship. He does it anyway. It his opinion, it’s time.

Two things bug me about this:

He does it without consulting River. There are two people in this relationship but the Doctor is the one who decides to end it. Why doesn’t he discuss it with her? Presumably because he knows she won’t want to go, but everything has its time and every Christmas is last Christmas or something. Imagine if your partner took an action he/she knew was going to end your relationship, but didn’t discuss it with you. Or did it while you were unconscious! It’s pretty appalling.

He does this after she revealed her true self to him. There have been no end of opportunities for the Doctor to take River to Darillium. He chose this time. What’s different about this time? It’s all as exciting and wisecracking as usual, except this time, River has displayed some habits he doesn’t like. There is air of punishment about this, which is, well, icky. If you don’t like her stealing your TARDIS and murdering despots for jewels, then say something. Don’t just unilaterally decide to end the relationship.

When River works out what’s going on, she naturally protests. She begs for a loophole, for another chance. But the Doctor’s mind is made up. The silver lining? One night on Darillium lasts twenty-four years.

Well that sounds alright in theory, but have these two met each other? Neither of them can stand still for a minute and they’re proposing to spend nearly a quarter of a century in a restaurant? Personally I don’t think it will last twenty-four hours, let alone years.

Perhaps that’s River’s revenge. Perhaps while he’s off to the loo, she steals his TARDIS and pilots it twenty-three-and-three-quarters years into the future. That’ll serve the manipulative old git right!

LINK TO The Three Doctors: “remember that time when there was two of you?” says River. She wasn’t talking about The Three Doctors, but still.

NEXT TIME… As my random who generator’s will, so mote it be! It’s time to summon up The Dæmons.