The DW legacy continued into the 2nd half of 2011. Here's coverage of 4th series of TORCHWOOD and the remainder of DW Series 6. PLUS: My thoughts on the news and reviews!:D
So the air dates, across the globe were announced, some sooner than others....then bitched about ( with some justification I might add) and finally accepted. After all, what really matters is thatCaptain Jack Harkness and the series chronicling his adventures: TORCHWOOD IS finally back on UK screens.Episode 401: The New World, premiereson BBC1 this Thursday 14th of July at 9pmin the evening, as far as we're aware remaining on that day and time for the entire10 weeks.This seems to have been such a long time coming doesn't it....?2 whole years since thethird series of Torchwood aired across one week on BBC1. The little series, from the digital only station BBC3, had come what seemed like such a long way. The transformation between Series 3: Children Of Earth, and the first Series could be about to made to look small fry, compared to the latest evolutionary jump in thecontinuing story of the successful Doctor Who spin-off.
Later this year TW celebrates the 5th anniversary of it's first episode. A notable achievement, for a home-grown SF series on the notoriously genre unfriendly territory of British TV. Being commissioned off the back of it's parent show's huge success, obviously guaranteed a certain amount of goodwill and built in support. But when TW screened, almost 12 months after the announcement,it proved anything but a cheap nor creatively unworthy cash-in.
Through 2 full series of 13 episodes, and a 3rd of 5, thewriter and producer team of Julie Gardner and Russell T Daviessteered the series, carved out a niche and developeda tone starkly different from DW, whilst still somehow belonging to the same universe and staying true to it's ideals and legacy. One which served the crossover audience something DW couldn't, andattracting an audience who maybe wouldn't normally watch fantasy drama. Holding them with strong characters, RTD's signature snappy and honest dialogue....plus some of the biggest, maddest and thought-provoking stories on television full-stop. The fourth run looks set to deliver stories and spectacle, bigger and more thought-provoking than ever. Here's the official press release:
Torchwood: Miracle Day stars John Barrowman, Eve Myles, Mekhi Phifer, Alexa Havins.
One day, nobody dies. All across the world, nobody dies. And then the next day, and the next, and the next, people keep ageing - they get hurt and sick, but they never die. The result: a population boom, overnight.
With all the extra people, resources are finite. It's said that in four month's time, the human race will cease to be viable. But this can't be a natural event - someone's got to be behind it. It's a race against time as CIA agent Rex Matheson investigates a global conspiracy. The answers lie within an old, secret British institute. As Rex keeps asking: "What is Torchwood?", he's drawn into a world of adventure, and a threat to change what it means to be human ... for ever.
With all the extra people, resources are finite. It's said that in four month's time, the human race will cease to be viable. But this can't be a natural event - someone's got to be behind it. It's a race against time as CIA agent Rex Matheson investigates a global conspiracy. The answers lie within an old, secret British institute. As Rex keeps asking: "What is Torchwood?", he's drawn into a world of adventure, and a threat to change what it means to be human ... for ever.
Promotion began in the USA months ago.Starz, the US cable station co-producing with the BBC this year, broadcast a teaser and launched a website. It incorporated early footage into a show reel in the Spring.Starz confirmed broadcast for Friday 8th July.AustraliaandCanadasoon followed, leaving hungry UK audience watching the schedules. When the BBC1 date was revealed it was6 days after the US launch, prompting many loyal fans were moved to formally complain to the BBC over the matter.So much so they issued a statement in response, acknowledging viewer feeling but stating clearly:
"Starz in the US have the contractual right to the World Premiere, that relates to the deal that was done and ultimately this has created better value for licence fee payers. Contractually, the broadcasters in other territories can transmit from the next day onwards but being as close to the transmission in the US is not the only factor in the scheduling decision.We have identified what we think is the best slot for BBC One viewersand have also ensured that it's within a week of transmission in the US."
THIS WEEK - EPISODE 401:
THE NEW WORLD
By Russell T Davies
When death itself comes to a halt, the whole world faces its greatest danger yet.CIA agent Rex Matheson has only one clue - Torchwood. his analyst, Esther Drummond, sets out to discover what Torchwood is.Whilst far away, in Wales, Gwen Cooper lives in hidingwith her husband and daughter - she's the last surviving Torchwood member and is determined to stay hidden. When Esther meetsthe mysterious Captain Jack Harkness, assassins are activated to kill them all...
That's episode 1 of the new series of TORCHWOOD, coming Thursday 14 July at 9pm on BBC1 and then available to watch through the BBC iplayer, for the full 10 weeks to follow. Just as I did with Doctor Who a couple of months ago, here's a quick and SPOILER FREE look at what's coming this Summer on TORCHWOOD...!402: Rendition
by Doris Egan
As the Torchwood team is reunited, a flight to the USA turns into a desperate battle for survival.
403: Dead Of Night
by Jane Espensen
Torchwood goes on the run and Jack must confront the mysterious Oswald Danes.
Torchwood goes on the run and Jack must confront the mysterious Oswald Danes.
404: Escape to L.A.
by Jim Gray
The fight takes the team to California, where a trap is waiting....
405: The Categories Of Life
by Jane Espensen
The enemy is closing in...
406: The Middle Men
406: The Middle Men
by John Shiban
With Gwen, Rex and Esther trapped on both sides of the Atlantic,
it's a race against time as Jack goes straight to the heart of the conspiracy.
407: Immortal Sins
407: Immortal Sins
by Jane Espensen
Gwen must fight to protect her family and takes a terrifying journey, covering both miles and decades,as the long history of the Miracle is revealed.
The series is finished off with these three episodes,
of which there's not even a summary available yet:
408: End Of The Roadby Ryan Scott,409: The Gatheringby John Fay
408: End Of The Roadby Ryan Scott,409: The Gatheringby John Fay
and the finale, episode 410: The Blood Lineby Russell T Davies
Whilst I can't pretend I think it's fair that UK viewers should wait to see TW, when it's still so proudly supposed to be a British series, I can't deny the BBC have given it an excellent slot. Previously the home of such series asAshes to Ashes.
TORCHWOOD: MIRACLE DAYis a very important production, which will perhaps point the way for more co-productions between not just the BBC, but all major UK networks and those overseas. It's a pity the same luxury of same day premiere, on both sides of the pond whichDoctor Whomanaged for most of it's recent run, couldn't have been applied to this. But hey, if all goes well,maybe next time eh...?
TORCHWOOD: THE SPIN OFF'S
Yes, they'll all premiere in the US, but at least we get a short series of exclusive (as much as anything CAN be in the internet age!) radio episodes calledTORCHWOOD: The Lost Files. These 3 new full cast dramas made for the traditional Afternoon Play slot, take place BEFORE Series 3. That meansthey feature not only Captain Jack and Gwen, but also fan favourite character Ianto Jones, again played by Gareth David-Lloyd.BBC Radio have given us exclusive TW before, of course, gawd bless 'em! Long term fans should jump all over these episodes, not least of all because they serve as reminder of the series previous incarnation and boast scripts by some of the mediums best talent.
TW:TLF has been airing, across the afternoons on BBC Radio 4 this week and is available NOW through the BBC iplayer and as downloadable podcasts. Ideal to feed any craving for more TW, on a car journey or some such day-to-day banality! Here's the direct link:
On top of this there's the release ofthree brand new TW novelswhich act as loose prequels to Series 4, and will be released soon.Finally, there's a web basedanimated project from Starz Entertainment ,in 10 parts, running alongside the weekly new episodes of TW. This oddity, titledTORCHWOOD: Web Of Liesfeatures the voices of not onlyEve Myles and John Barrowman, but also Eliza Dushkuas new character Holly. Dushku is a much loved figure in the realm of cult fantasy, for her many TV and film appearances. Most notably of course, as Faith in Buffy the Vampire Slayer. I'll be taking a closer look at this series, alongside the main show in coming weeks.
After a big dry spell, all of a sudden there's more TORCHWOOD than we can consume...! (well, almost) I'll be rounding it all up, right here over the coming weeks with links and reviews, and any news on the rumoured 5th series. It could be filming as early as next January, if a quote from Barrowman himself, is to be believed.
For now though, enjoy what's left of the countdown to Miracle Day. Comeback here soon, for my views on Episode 401!
This is where I like to ramble on for while about the DW universe, and how marvellous it all is...HAHA!! I'll admit my interest in Torchwood only partially comes from the same place in my heart.Nowit's stepped pretty clear of the considerable shadow of the parent show and that should please anyone with an interest in good escapist drama or the real story of TW.The real miracle of a series which has thrived and evolved, when so many (..in some cases, worthier!) ones have disappeared. Thetenacity of TW is testimony to it's strength of identity(courtesy of creator RTD), wide appeal and the sensitive ear it has now across the global TV industry. As it's UK SF and Fantasy seriesI would've always watched TW. Whether it'd been connected to Doctor Who or not. Perhaps I'm in the minority, particularly when you talk about non-fans. If TW had have just stuck to catering forMY minority, or it's BBC3 audience, it's BBC2 oneor just it's UK audience,it wouldn't be entering a fourth season.Let's get stuck into the first episode which seems to have provoked much debate, as much on the politics and logistics of modern TV, as what's actually made it to screen...
When death itself comes to a halt, the whole world faces its greatest danger yet.CIA agent Rex Matheson has only one clue - Torchwood. his analyst, Esther Drummond, sets out to discover what Torchwood is.Whilst far away, in Wales, Gwen Cooper lives in hidingwith her husband and daughter - she's the last surviving Torchwood member and is determined to stay hidden. When Esther meetsthe mysterious Captain Jack Harkness, assassins are activated to kill them all...
TW returned to UK screens, later than just about everywhere elsewith the sensational, game-lifting and massively enjoyable first episode.Many feared an American-isation of the series, and the whole notion of a TW that was perhaps too slick.After all, the original version was hardly a failure. Enduring itself to increasingly large and wide audiences, series after series and evolving as a format with it. Moving channels with each fresh commission and even making an impact in the notorious US TV landscape BEFORE its parent show.So what can a US co-produced TW do, that previous series couldn't....?
Well, on this evidence...not that much after all. Just bigger, noisier, with less compromisesand more what I believe is often referred to as "chops". Just as much about the increased clout of the production staff, and huge commitment from theBBCand newUSA partners, Starz Entertainmentas it is geography and ambition. The extra wallet power was very obvious, even in just the establishing shots of Gwen's hideaway home but never squandered, I felt. There was no show-boating andthe story comes first!
Russell T Davies: creator, executive producer and show-runner, has penned this opening part of a series of 10. Series 4 is following in the mould of the last series as a serial withone central plot rather than the episodic nature of the first two runs. With links back to Davies (or RTD, as we refer to him) earlier dramas for ITV ( The Second Coming, Bob & Rose ) RTD has a track record with coming up with these premises which sound simple when summed up, but then again the best ideas often sound such, don't they...? We're presented this time, with the notion "what if no one died...?"It's a fast, broad and larger than life! RTD's own voice as heard in his years on Doctor Who, is coming across loud and clear.Obviously though, working to a post-watershed directive and able to go deeper into humanity and real world issues through science-fiction. In thetradition of the likes of Nigel Kneale and Harlan Ellison, but with modern energies.
Some will grumble that this first part takes a little while to get going. Not taking into account that this is now a serial, and that's exactly what first parts are tasked to do. Try watching this episode with someone who's never seen TW before, and they're more than happy with the pace given whats being introduced. The real world consequences of such a scenario are communicated amidst all this and with effort to reach even those less geeky amongst the audience.On both globally and individual human scales.The Real World alsohas to introduce, yet at the same time re-introduce three or four characters....as well as comepetely generate a host of new ones.
Rex Matheson, played so gamely by Mikhi Pfefir,is bound to take such a personal interest seeing as if not for this world over event he would definitely be in the mortuary by the time he first hear the word"TORCHWOOD". Alex Havins as Esther,Rex's colleague and confidant was also given plenty of time to make her mark over the first 20 minutes before familiar faces start to show up. Both roll up their sleeves and find the level with ease.Somehow it feels like I've known them much longer...? Then again, at present, one episode in they're generic types.I'm eagerly awaiting further layers to the latest cast members and the addition of more.
Only the most cynical could fail to be pleased to seeJohn Barrowman bring Captain Jack Harkness to life again. Former commander of TORCHWOOD, former travelling associate of "The Doctor", former rogue Time Agent...and possible future intergalactic spiritual leader.This combination of part and performer remains a firm favourite, despite Barrowman's almost irritating omnipresence on UK television, at times.RTD's gift with this creation is the combination of the derivative, with a voice we've not really heard before in a conventional hero-type. Even now, some6 screen years since his debut, he's unmistaekeable if a little played down by Barrowman's previous standards. As befits the tone of this episode, to be fair.
Barrowman himself has done as much to expand Jack, blessed as he is with boat loads of charisma, which more than makes up for being hardly the most naturalistic actor.Jack does seem changed to a degree though nothing has been mentioned of his more recent past yet.Where he's been and what he's done since the heart-breaking events of Children Of Earth. That's okay...there's plenty of time. I was a littledisappointed to see him NOT using his WWII revolver of previous yearsmind. Instead Jack discharges a modern BLAM-BLAM style hand-gun. It would be a pity for him to degenerate, in any measure to a default action-hero and little things like the gun add to his uniqu-ness.
Eve Myles has returned to the role of Gwen Cooper, with similar ease.Myles knows Gwen inside out. Both really ground the concept of TW, even when doing the most outrageous things! Kai Owens return as husband Rhys, is almost as welcome. Rhys now fills the role of the guy who points out the obvious, or says exactly what the viewer would in that situation ( "....running off with Captain Jack Bollocks"! ) The parallel storyline, featuringBill Pullman as the sleazy Oswald Danes is intriguing and challenging. Even if as it currently stands we know little other than he's a very nasty man indeed: boo-hiss!! But the dialogue RTD has written for him so far, point towards something more complex and a greater purpose for the character. I can't be the only one already waiting for the guaranteed conversations between Danes and Captain Jack.
The evolution of TW will continue over the next 9 weeks. That much is clear. The conclusion, in Cardiff Bay at the sight of TW's former secret base, will I'm certain provea parting gesture as the cast and story ships predominantly to the USA. Now I'm sure this won't sit well with everyone, but how many of us have watched home-grown genre series and not wondered about the interests of other bigger nations on something of this scale. In moving the premise overseas, RTD has removed a barrier to the truth of telling his story, hitting home.Seeing as the scenes in the US felt almost as much like TW as those set in the UK, the series and brand is in no danger of losing it's identity after all.If you want further proof of the defiant spirit of TORCHWOOD, just check out thathelicopter chase sequenceacross the beach..!!! Totally excessive, slightly unnecessary and therefore completely in character with the show viewers loved before. . Like the montages showing the reactions to Miracle Day" across the world, it's an element which is almost a pastiche of itself.Since its inception TW has played with these kind of toys, not always to best effect it's not unfair to highlight.Often sliding from the purposeful tongue in cheek, to plain camp in it's early days.Now the balance seems right.
I loved theSPLATTED man, still alive even when they remove his head from the rest of the body.The glances between him and Jack were incredibly haunting and proof of the darker side to RTD's writing which his detractors seem to easily forget. Thehorrorof that situation helped rein in the outlandishness of it all. The same goes for a nice little two handed scene betweenGwen and PC Andy, as they research the logistics and possibilities for the human day should the miracle persist.More of these elements over forthcoming episodes, will go down very well here. Murray Gold, long time RTD collaborator, provides a really cinematic score which goes so well with the capable direction.The contrasts between locations really worked, both visually and in story termsdue to the efforts of these two guys.
I have a theory that a big reason why TW's American-isation doesn't feel the kind of anachronism it could've, may be because TW always wasso strongly influenced by USA genre series,from Buffy, through CSI, from the start. Who could forget thatlong tracking shots across the city-scape of Cardiff, trying so hard to make it look like Los Angeles, for example.This episode was followed by a way too long trailer for the rest of the series.I'm sick of movies doing this, and spelling out the story for me, so I don't want TV to start going down that road too. I'll skip it on the re-watch. Still, what's stayed in the mind should prove more than enough to guaranteethe audience for Torchwood: Miracle Day, should grow, even whilst airing over the holiday weeks.
Programmes like TW thrive in the era of "series linking" and "time-shifting". Plot-wise, there are many questions left unanswered at the end of episode 401. Some may be answered next week, others not until episode 410! That's the nature of serial story-telling. I'm sure some will be funnier, spookier or talky than others, but it's clear this is STORY rather than ARC. It's a natural, evolutionary step that TW joins this generation of series, and The New World was a strong, confident and explosive start - 4/5
CLICK HERE for TORCHWOOD: MIRACLE DAY 401-The New World, through BBCiplayer..!
THIS WEEK - EPISODE 402:
RENDITION
By Doris Egan
As the Torchwood team is reunited, a flight to the USA turns into a desperate battle for survival
In episode 2 of TORCHWOOD, Thursday 21 July at 9pm on BBC1. Available through BBC iplayer afterwards...
WHAT'S WHAT -TORCHWOOD: WEB OF LIES
So what is TW: WEB OF LIES then...? Well it's an exclusive spin off project. A series in itself, being produced byBBC Worldwide Productions. BY HUGO award winning writer Jane Espenson andRyan Scott.It's Executive Producer isRussell T Davies. Espensen is one of the writers of TW Miracle Day, andveteran of the Joss Whedon serieswhich have done so much to shape genre drama, over the last decade. It was she who also first hinted at the involvement of another Whedon-name,Eliza Dushku (Buffy, Dollhouse) who provides the voice of Holly.
The story concernsa past day in the lives of TWstalwarts, Captain Jack and Gwen, in 2007. But it's one they've both since completely forgotten. Somehow those events are connected to a conspiracy of sorts, in the present as the mysterious "Miracle" impacts on the world. Holly Mokriis drawn into the web following the disappearance of her brother. At first glance a paranoid, standard conspiracy theorist type!Could he actually have been onto something...?
The format is described as "motion comics".It's not what you could call full animation, but obviously there are vocal performances and a soundtrack. The BBC has dabbled in this arena before, most notably with a couple of web-basedDWspin off'sin the early noughties.Russell T Davies spoke about it to Doctor Who Magazine, last in May:"....a hugely exciting innovation, a fully-scripted animated adventure with interactive elements, with fantastic voice talents -John BarrowmanandEve Mylesreprise their roles as Jack and Gwen, alongside special guest starEliza Dushku."
The adventures are running inweeklychunks. So that's10 x three minute, interactive parts. Parallel with those events unfolding in the main series. From the evidence of thefirst episode "Missing Day", adding extra intrigue and clues, along with a fresh voice and separate dangers for the cast. Released also throughiTunes and run through any application compatiblewith the Apple based iOS. The idea being that week after week, players can access another chapter in the story and play the tie-in game through their devices. In the press release, they nail down it's orientation with the rest of this season:" ..(it's) an episodic interactive experience..motion comic and gameplay elements to tell an original and digitally exclusive story...providing fans with a way to engage in the world of TW between episodes....The first narrative and game will be released promotionally andthe remaining nine can be purchased inside the app in packs of three, each for $0.99/59p.A special bundle forall 10 narratives and game can be purchased for $2.99/£1.79"
The promise is that it will all culminate in a finale of it's own, with the 10th chapter, and feed back into the finale of Series 4 itself. Ambitious and just a little bit ground-breaking, just like TORCHWOOD itself I'd say. I'll be reviewing this story, as the main series continues. Here's a link to watch the first instalment:
The fourth series of TORCHWOOD is going down a storm..! Delighting its established audience and seemingly winnng new fans. It's true that this series is definately a different animal to those which have gone before, and Miracle Day could prove to be somewhat more a winding road than many would've wished for.Still, the programme isn't playing to a low denominator.It's lost none of it's brains nor heart,and is still as capable of delivering the odd moment where the apple-cart maybe tipped a tadtoo far,hehe! There's still plenty of episodes left, and later (..well, latest!) this monththe series will be joined in the schedulesby it's currently absent parent series, ourbeloved Doctor Who. More on this, where you can see what, andthe REAL news about the future of both serieswill be here over coming weeks with my thoughts, and strictly (...after three everyone!!!)NO SPOILERS!!
For now, let's get up to speed with Jack and Gwen's road trip from hell....
Torchwoodis reunited: Jack realises he's the most vulnerable man on Earth;and a flight to the USA turns into a fight for life.
After theshakedown last time,TW was working up some real steam for Episode 2 of Miracle Day. Even if the production values weren't as excessive, nor the pace quick so sweeping.Doris Egan, co exec Producer and US TV "name" wrote this episode, Rendition (sadly none of these are named in the credits!) and whilst there was definitely input from Russell T Davies in there too, the change of voice too was, for the most part refreshing. Of course the only thing about that which may prove hard for some loyal Torch-heads is thatthis felt substantially less like "TORCHWOOD" as UK viewers know it to be....Quite rightly,extra screen time was given to fleshing out the supporting castand letting them run around a little whilst Gwen and Jack played out a scenario aboard the CIA plane. That element was very, very well played I thought. Particularly byEve Myles, reminding us how Gwen wore down even the biggest resistors over the first three seasons. Amidst what is becoming quite a slick and glossy series, this young Mum with her Welsh accent and most "un-glossy" turn of phrase stepped up, asJack was cleverly benched(Barrowman continuing to show greater range than he has, certainly as Jack before) That whole B-story did feel more quintessentially "US network TV" than anything previously seen on TW.Like something from an old MacGyver maybe...?Still, if it ain't broke etc I WAS approaching the edge of my seat, even though I know Jack's in the rest of the series...job done!
Mikhi Pfifer was able to add more colour to Rex as suspected. I really like this character, as I'm warming to the plucky Esther who may still be getting the thin end of the wedge but is doing most of the hardest work. Alex Havins is very lovely and her haplessness, even though she's a CIA analyst (only in TV-land eh..?) should balance out what could be a new team forming here, most agreeably.
Some of the elements which had beentouched on partially last episode, were fleshed out considerablyin 402. The real impact of something so seductive as "Miracle Day" ( as pointed to by those scenes with Gwen an Andy last time ) now being explored. Dishing out the wisdom wasDr Vera( Vera, esther and Gwen...RTD and his old ladies names again!!) played by Arlene Tur. She's the potential to be a bit aggravating but what's being said through her is so interesting, I'd barely noticed.At times, you could have been forgiven for thinking this was just another medical drama, if channel-hopping say. But thescript is more idiosyncratic than that....when was the last time you saw a US drama, where characters who are very much seen to be taking control, slip away for a fag break...?
We also got a bit more body horror in 402, as what was a great little fight scene the like of which is a staple of adventure series is shown to have grotesque consequences in a post-Miracle World. Dichen Lachman's Agent Lin seems a nasty piece of work, still the sight of herstill alive with a broken neck was this weeks "uurrghhh!" moment. So proud of this effect were they, that we got a good look at her stumbling round the car park afterwards (...so the excesses of past TW aren't totally at rest yet!,hehe) milking it a bit, as TW only can and get away with it.
The main development in 402 was inthe story of Oswald Danes.Bll Pullman was incredible as Danes, and whilst I can't pretend I'm 100% comfortable with where this thread could take us, the fact that this is a SF drama series which is making us think and confront the horrific demands attention.His live TV appearance made for powerful viewing.It's not so much in Danes himself, as the effect he has and the actions of those who come into his life. Talking of which,who is Jilly Kitzinger, and is she tied closer to the main story than we think...?
It's difficult to see on which side of it's split personality this current incarnation may settle, as things stand. I found it thrilling to seeJack and Gwen elevated onto a more global scale, but all there time there is this feeling that something's not quite....well, not quite TORCHWOOD. I don't know it you rememberthe episode of Magnum PI where Angela Lansbury appeared as Jessica Fletcher, in a crossover with that characters series Murder She Wrote, in the 80's...? Well, that's what this reminds me of at the moment: it's as if Jack And Gwen areguestingin any US action series. But then again, it's still early days, isn't it...? That'snot especially a criticism, however much it may sound like one.As the old expression goes, "the plot thickens.." and TW is proving essential viewing.- 4/5
Torchwood goes on the run, and finds a new enemy. When they raid PhiCorp headquarters, Jack must confronts Oswald Danes.
Miracle Day continues apace into it's third week.Taking on aspects of a road movie, as the quasi-team of Rex, Esther, Jack and Gwen go to ground to dig deeper to try and make some sense of the apparently divine event.But enough of that,let's cut to what everyone actually seems to be talking about after Dead Of Night (403):Jack took time out and picked up a one night stand..! Anyone who'd been left mourning the loss of the series we used to know and love, must surely have been reconciled by those small, butpretty full-on scenes between Jack and Bradthe bar man. Word is that we in the UK saw an edited version, but it was enough to get the general gist of things, haha! I don't know...on one hand,TW shouldn't look or behave too much like every other seriesfilling the schedules here or in the States. It'sidentity is important,and Jack is reckless at times, with an old fashioned, devil may care streak to his heroism in the oldest traditions.
On the other, it's no wonder people take the piss...! Unexplained phenomenon on a global scale..!!PLUS, he's seemingly 100% mortal again, but no...he hits the bars. The scenes are a fuss about nothing, in my opinion and they didn't undermine the story after all, but if theseason arcis to build naturally I doubt they could pull such off again and get away with it.
This episode also took a little time to play with thecultural differences between it's cast, and the UK/US audiences also. Gwen's double take at Rex taking his pants off, may be an oldy, but it's still a goody. I felt disappointed after the trailers had made so much of thosemasked crowds of the soulless,that nothing was really explored about this growing element to post-Miracle society. Yes, there are plenty of weeks left, but although 403 wasas polished and enjoyable as previous episodes, it lacked the sharper focus. I suspect this is the nature of the beast also, and the old maxim about some things beingmore than the sum of their parts, will prove true when Series 4 concludes. That's going to be as much because of these instalments, as the more stand-out weeks.
The infiltration of thedodgy PhiCorp organisation was pure CULT TV, wasn't it...?Likewise the big reveal of a cavernous secret warehouse. Each time a series of film uses this device,maybe George Lucas and Steven Spielbergshould get royalties...?! And although this version ofTW feels more detached from Doctor Who than ever, having moved away from overt similarities to any BBC house style, Jack's line about the warehouse being"...bigger on the inside......"was a totally apt, nod of the head to the estranged parent show. I loved it, and doubt I'm alone. The other blast from the past was Gwen bringing out theweb-cam contact lenses,as used in previous series of TW to great effect. Surely these are TW's equivalent to the Sonic Screwdriver now! Perhaps not a genius invention as such, but one which means that the series can get past obstacles which slow the plot of other, particularly non-genre series, and move information as fast as the audience see it. Maybe they'll be stepped on, later in Miracle Day, butfor now they're worth their weight in gold.
Though there weren't exactly any benchmark scenes in 403, the portrayal of Oswald Danes took another turn. Bill Pullmanknows this is a great part for him, and plays it at "full-tilt". Edgy to the point of near torture to watch. I'm sad to say though that I feltthe face to face between him and Jack, in the end, lackedany real purpose and sense of occasion. The Captain just diving in through the window, to exchange what was hardly vintage dialogue. The allusions back toChildren Of Earth'sconclusion, which should be much more powerful...kind of wasted. I doubt it's the last scene they'll share, soI'm hoping for an escalation of tensions there.
Going back to the bedroom, of course Jack wasn't the only one at it.Rex and Vera, got up close and personal after he breaks into her apartment to pick her brain. I still don't care for this character, but I like Rex.I predict a tragic end for this particular hero of Miracle Day,and he's portrayed as such a career-centric loner we need to see him struggling with his own changed existence, rather than just as some robotic, gun toter. In such a long, serial type story, the digressionneeds to be tight to maintain the pace. There'll be no more room for this come episode 7-8 than there will be for Jack to pick up again, or Gwen to make more video-calls. There was anothernice moment between Jack and Gwen,albeit over the phone, but it wasn't as deep as old fans would like, I'm thinking.
403: Dead Of Night including much milling around, upon reflection.But then again, at the time it wastremendously entertaining,as I'm sure it'll be on rewatches...so what the hell...!! Time to slip up a gear as we hit the middle parts though, for sure. Everyone looks desperately worried, not least of all our team. The vision of this near future Miracle Day offers is affectingin the way all good Sci-Fi should be. Answering our question almost before we've asked them. I just want them to start showing us, rather than telling us now.Let's turn the heat up on them, and run with thepreposterousness of it alljust as TORCHWOOD's fans love it to do. -3/5
THIS WEEK - EPISODE 404:
ESCAPE TO L.A.
By Jim Gray and John Shiban
The fight against PhiCorp takes the Torchwood team to California, where a trap is waiting.Meanwhile, Oswald and Jilly find themselves with a politician leading an anti-undying segregation campaign called "Dead is Dead" that threatens PhiCorps plans. Thursday 4 August, at 9pm on BBC1.
Meet me back here soon for more REVIEWS of the latest TORCHWOOD. PLUS: We're just weeks away from the return of DOCTOR WHO itself. Join me for a RECAP of the story so far, and look ahead at what's to come in the second half of Series 6..!
First the good news!! TW Series 4 has been a successful venture, for both BBC and Starz and they've signed a deal to team-up again. To produce roughly 100 hours of new programming and distribute it across the globe. A massive development in establishing the BBC Worldwide arm, internationally.
....but here comes the not so good, from our point of view anyway. Of the slate of programmes the two are looking at bringing to this stage, more Torchwood isn't one of them. Starz chairman Chris Albrecht seems of the mind that because Russell T Davies isn't looking to remain in the SF genre, that more TW will not happen. No RTD: No TW...!! Davies is developing new projects within BBC Worldwide, for the US cable market, but wants to spend time away from fantasy concepts and impending armageddon's. Fair enough, it has been 8 years since the man was announced to be the driving force behind the reinvention of Doctor Who.
I can't believe he wouldn't be okay with someone else guiding the paths of Jack, Gwen and whoever else may survive (...I'll say MAY because this is TW after all...!!) the finale to Episode 10 of Miracle Day, but if that the way the execs feel there's little we can say or do about it. I will watch developments closely, and of course keep watching the series itself to see how it all ends....possibly! So, whilst we still have them, seize every moment we have in the company of team Torchwood....
The team travel to California: A trap is waiting as they continue the fight. Oswald and Jilly face an enemy of their own.
I felt that however idiosyncratic last week's episode was, TW needed to start making waves as it heads into the middle third of this serial. Generally speaking episode 404 didn't disappoint on that front. Both old and new faces in the Torchwood camp were given plenty new to do, mostly concerning their family ties and how they reconnect with them. Esther, who's sister is struggling to care for her children. Rex and his estranged father and Gwen who's so far away from her infant child and gravely ill father. The fact this is played against the sun drenched backdrop of Venice Beach Los Angeles is somewhat diluting, but does feature enough exposition and character development to make the hour fly by.Escape from L.A. was the most episodic of all to date. The mood and story paid respects not only to the road movie, but now to the "heist" scenario's of Ocean's Eleven and Mission: Impossible (both the TV and film incarnations) But it was solid and put a British spin on things mostly in the presence of Gwen Cooper. In the suprising absence of any real development of John Barrowman's Captain Jack Harkness, Eve Myles completely consistent characterisation of Cooper carries the torch for Torchwood of old. Maybe the voice of the British viewer too.
It helped that they were up against a fun, "Men In Black" style villain Friedkin. He was played by 80's Brat-Pack actor C Thomas Howell. Howell, now resembling a nasty Phillip Schofield, attacked this hardly subtlest of protagonists with as much seriousness as was wise (ie: not much!) and gave Bill Pullman's Danes a run for his money with much less material. Danes gets another stand out scene this week where he makes an impromptu publicity stunt in a care facility, holding up a baby no less. This week I'm finally believing in Jilly Kitzinger, as played by Lauren Ambrose too, I'm pleased to say. How she's actually rather repulsed by Danes, yet is so driven and amoralistic. This makes for a quietly grotesque pairing, which I'm certain will either end in blood, tears or both. Their continuing presence through the run is rather puzzling, when it seems so specific to one corner of the arc. Perhaps the watch word there is "seems".
Aside from the capers as Jack and Gwen blag their way into PhiCorp with stiletto's, iffy accents and huge suspicious parcels, the rest of the story concerned what it actually means to be alive now. Through Ellis Hartley Monroe, Danes rival for the media spotlight, and her Dead is Dead movement. In the post Miracle society, they're intent on turning the un-dead such as Rex into a kind of under-class. Monroe has been a presence in the last few episodes, played by Mare Winningham and I would've liked her to survive a while longer, even if her demise provided TW with this weeks delicious " I can't look" moment. That was pure TW and RTD, I reckon!
Even in the context of such as strong over-riding storyline, as opposed to just "arc", I see no reason why RTD and his team of writers shouldn't still have fun with the dynamic of TW and it's corner of the DW universe. Escape from L.A. does that though it lacks the steam-roller like pace TW is really starting to need now. It will probably be a reassuring piece of the puzzle, for any brand new US viewers more used to NCIS and the like though. Whether some of us who've been watching since 2006 appreciate this so much, is by the by at this particular point. TW must seek to please, and it's only when the whole of the puzzle that is "Miracle Day" is complete when we'll be really able to judge what has been irrelevant, fruitless and indulgent and what hasn't.
In some ways, TW:MD hasn't quite convinced us yet has it..? Either that the world in is as much peril as Jack's frowning about up to now or in the transatlantic balancing act being performed week to week. The ease at which these fugitives make their way across the States, let alone across international borders, testing credibility. Yet at the other end of the scale the questions and scenarios being pondered in Miracle Day are some of the most though-provoking on television, and the reactions completely real. It's a tryer of a show, and being made to a very high standard! No one should knock it for that even, if I can't help but be concious of the fact the series hasn't substained it's edge.
The ending to this episode and clear line into episode 5, seems to change all up on us just in time again. The ever plucky Esther has learnt, through her technical expertise, that PhiCorp are behind a global response to the crisis of caring for those mortally wounded but still alive. The establishment of dedicated camps, away from society at large taking the burden away from the established health systems. For one of the team, that's hitting close to home. Gwen's heading back to Wales, after all it would seem. Time for TW too, to maybe touch base with it's own identity for a while too maybe.- 3.5/5
Gwen attempts to save her father as Jack makes a desperate pitch. A member of the team falls to a fate worse than death.
Half-time! All change ends.....as Gwen Cooper assumes a false identity and flies back to her family in Wales. To infiltrate a " overflow camp", as well as do her fair share of the night-feeds. This is one of those episodes of popular television where it's so tempting to talk about the ending first, isn't it..? There won't be many who saw it who weren't shocked and chatting about it at work or school or wherever the next day. But I'll hold off for a while and take stock of what I found generally the best instalment of Series 4 to date.Gwen Cooper is now Yvonne Pallister (...I know! More old ladies names...!) and has flew back to the Valley's to rescue her Dad (..still that bloke from Remembrance of the Daleks, to me!) who's about to be lost forever in the packed out overflow camp at Cowbridge. Gwen gets to infiltrate for the second week running, and although her progression into a practical one woman intel force isn't easy to swallow, it's hard not to respond to Eve Myles strong, honest presence. However improbable, it was nice to see her reunited with Rhys too.
Whilst over in the colonies, California mostly this week, the rest of Torchwood are starting to get a clearer idea of PhiCorp's role and answers to the rising problems resulting from the miracle hitting. All the talk of morphic fields is really interesting me, but they're leaving that one very much pinned to the board for the time being. Still building the analogies with other global events. As yet there appears no actual "alien or extra-terrestrial" elements, and I'm not sure whether that can continue to be the case for much longer. Esther has dug deep, and finds out that each of the camps are run the same, and they all have "modules". Clearly things of purpose, but no one is saying what for... Lucky Dr Vera turned up when she did, too. She's stopped to shake hands at the TW clubhouse and is quickly off to meet Mr Maloney, a pretty conventional jobs worth on the surface, who quickly displays a more sinister side. Dr Vera has had better first days on a new job, I would say! It really is shocking when he shoots her, in each leg. The inevitability of her fate, quickly dawns on both the character and viewer. These moments are what TW can do best, and there's been a lack of them in Series 4 up to now.
Captain Jack Harkness continues to be done a disservice by Episode 5. This is the third week running he hasn't really done anything. In fact Jack is feeling less like Jack every week, and more a Barrowman mascot linking back to the earlier series of the show. I'd almost completely forgotten the fascinating plot thread about him now being the only mortal man. The writers have done so little with it. Hardly even mentioned it, in fact! Surely this must be given some clear focus soon, or is it there solely to connect Harkness's destiny, much stronger to his eventually becoming the Face Of Boe in Doctor Who, over the millennia...? I really hope that isn't the case, not only because that was a silly indulgence in the first place but the fact this parallel is so unique, and ripe to explore in a series which seems to be treading a little water. The Doctor has been humanised, but hasn't been aware of the fact per se. Jack is, let's not squander it, or lose this character in the mire of US TV tropes. He does get his signature moment, once again facing Danes before he makes his grand speech. Bill Pullman is so powerful in the scene that follows, it's hard to recall what Jack even said.
So we come to the final moments. Literally for Dr Vera. I don't know whether I'm alone in this, but have said before I've struggled to like this character, even if I could appreciate her voice and function in the story up to this point. Struggled up until about 30 minutes before she was toasted in the great big burners round the bag of the camp. "Does this mean I'm Torchwood too, now...?" she'd asked Jack, earlier on. Well if it didn't then, it does now. The series has a history of dispatching team members in the most visceral ways. Sometimes a little gratuitously, but they've never really squandered such points in story terms. The fact that Rex, obviously disturbed at the sight of his friend and lover mutilated and helpless, still filmed through will convince any confused by his not always easy to like persona, that Rex is worthy of joining the likes of Janto and Owen in our affections. Of course people will lap up this conclusion and twist in the story, but it will only really be a great moment in the grander scheme if it leads somewhere. Like I said, it's not like Vera was a much loved regular like Tosh. Fair credit to writer Jane Espensen though: this was easily the most emotionally resonant moment thus far in "Miracle Day".
Like all instalments up to now, it's only doing just enough, and in the nick of time. It's not that I'm not enjoying the series! Far from it! I haven't scored a single episode below the 3/5 mark yet, and it IS appointement to view TV. But Miracle Day is frustrating and just a little baggy, compared to Children Of Earth (Torchwood Series 3) and needs to start getting much tighter and intense over the next two weeks to leave us salivating for the conclusion. -3.5/5
THIS WEEK - EPISODE 407:
IMMORTAL SINS
By Jane Espensen Gray
Thursday 25 August, at 9pm on BBC1.
Thursday 25 August, at 9pm on BBC1.
My REVIEWS of TORCHWOOD will continue, joined by DOCTOR WHO ITSELF..! Yes, the wait is practically over.
The parent show is back ,next week on BBC1 and BBC America.
Join me for my PREVIEW of the 2nd half of Series 6 of DOCTOR WHO, later in the week...!
Find merchandise at TNM COLLECTABLES Doctor Who Store
Doctor Who is copyrightby the British Broadcasting Corporation (BBC). No infringement intended.
Well, it was a while coming when the US had already set their dates, but eventully the BBC confirmed that Doctor WHo would indeed return to UK screens too, this coming Saturday 27 August 2011. The mid-season break, and the British Summer (blink and you'll miss it..) are over, and it's time to rejoin The Doctor and his companions for the second chunk of Series 6....
A further 6 episodes starting with show runner Steven Moffat's own "Let's Kill Hitler", airing in the fantastic time slot of 7:10pm on BBC1 and BBC1 HD. DW sitting exactly where it should in the schedules, in the heart of the nations Saturday night again at last! Recent slots had just been getting ridiculously early, hadn't they....? Let's hope someconsistencyis maintained on this until the finale. Also back is DOCTOR WHO CONFIDENTIAL of course. This weeks edition starts at 8:00pm, over on BBC THREE with both available for the following 7 weeks to view again through the BBC iplayer.Just in case you've not caught them, check these out...
So just to re-cap, last time, in A Good Man Goes to War, the battle at Demon's Run appears to have be done. Just as the final shots had been fired, the enigmatic River Song joins The Doctor, his companions and allies, to reveal she is in fact "Melody Pond", all grown up. The Doctor's enemies have just kidnapped the infant Melody, in a cruel battle of wits. Her distraught parents, The Doctor's companions Amy and Rory, may be human but Melody's DNA appears to show her as part Time Lord. Could she be used, by these malevolent forces, as a weapon in their war against The Doctor?
When we last saw him, The Doctor seemed sure the day was practically saved already. Ecstatic at the revelation of Rivers' true identity, he raced to the TARDIS, telling Amy and Rory that he knows what to do, to save their child. So all's under control after all. Isn't it...?? Hold that thought because in the latest PREQUEL, it seems The Doctor's promise may not prove as easy to keep as that. READ ON for a link to watch this micro episode...
It's been 12 weeks since episode 607 and whilst at first I found the gap a little disconcerting, I've re-affirmed my earlier notions that the "split" was absolutely the right choice to make. Now we're at the dawn of the second half, I actually do feel spoilt by the BBC. It does feel like we've been served 2 full new series this year, as the showrunner had intended. I know the nations children in particular, will respond to this and the shorter break between the end of regular episodes and the traditional Christmas Day special. So what's in store...? Well, it's not for me to say, though I do have my theories! For example, everyone has taken it as read that the little girl in the astronauts suit, the one who appears to regenerate in the alleyway at the end of The Impossible Astronaut and Melody Pond MUST be the same child. But what if that's not the case, and there's 2 girls, possibly more....? What if whoever wants to use Melody as a weapon, actually wants to use her as a blue-print to create an arsenal...? If you like that, there's plenty more where it came from, this is DW after all and Steven Moffat's DW in particular is never to be taken literally. People are grumbling about the title of this weeks episode even, as it sounds so unlike DW. Seems very simple to me, but then again I have wathed a lot of time travel TV and movies over the years. Anyway, enough of my rambling, back to the facts. I'm somewhat of a spoiler-phobic, but here's the basics of the rest of the series...
SERIES 6 PART 2: COMING SOON....
Series 6, Part 2 picks up the story thus ( from the BBC's official press release)
"The rules have changed, and the game is deadlier than ever. Out in the universe, where the earthly rules of time and space do not apply, Amy and Rory know only too well that their baby daughter needs them. For Melody Pond is destined to become River Song, mysterious archaeologist and convicted murderer - the woman who killed the best man she ever knew...The Doctor leads Amy and Rory across centuries and galaxies in a desperate search for baby Melody, but a terrible and inescapable date looms large. At 5.02pm on 22nd April 2011, the Doctor will die. These are his last days, and the quest for Melody his final mission...."
THIS WEEK - EPISODE 608:
LET'S KILL HITLER
By Steven Moffat. Director: Richard Senior
Saturday 27 August, at 7:10pm on BBC1 and BBC1 HD
Saturday 27 August, at 7:10pm on BBC1 and BBC1 HD
In the desperate search for Melody Pond, the TARDIS crash lands in 1930s Berlin, bringing the Doctor face to face with the greatest war criminal in the Universe. The Doctor must teach his adversaries that time travel has responsibilities - and in so doing, learns a harsh lesson.
609 - NIGHT TERRORS
By Mark Gatiss
Dir: Richard Clark
Mark Gatiss provides his fourth script, since DW came back in 2005.
Rumoured to be his most personal, and the scariest yet. It guest starsDaniel Mays.
610 - THE GIRL WHO WAITED
By Tom MacCrae
Dir: Nick Hurran
Time travel story, which teases on exploring the connection between The Doctor and his two companions.
MacCrae last wrote for the series in 2006
611 - THE GOD COMPLEX
By Toby Whithouse
Dir: Nick Hurran
This is the one which appears to look a little like The Shining, if it were set in a seaside hotel in England.
More scares, this time from the writer and creator of Being Human. It's Whitehouse's third story for DW, and features David Walliams in the cast.
612 - CLOSING TIME
By Gareth Roberts
Dir: Steve Hughes
Looking set to be a "sequel" to one of my favourite stories in recent years, 2010's "The Lodger", also by Roberts.
This episode again features James Corden as Craig.
613 - THE WEDDING OF RIVER SONG
By Steven Moffat
Dir: JeremyWebb
....of which I know next to nothing about, but even what I do know, may be considered a spoiler.My lips are sealed. Like all of the second half of Series 6, this too is a one-parter, breaking with tradition for the season finale.
Then screening on the same evening as the big finale, over onBBC THREE, there's thenext mini-episode:
613B - DEATH IS THE ONLY ANSWER
By children fromOakley CE Junior School in Basingstoke
It's the winning entry in a competition the BBC ran for Primary schools earlier in the year, and seems set to feature at the very least Matt Smith as The Doctor.
The actor has commented "It was so clever, we were all just bowled over, it was a brilliant script." The mini-episode's production will be covered in this Saturday's DOCTOR WHO CONFIDENTIAL,screening directly after DW itself, on BBC THREE as usual....
...but of course we have had another bit of new DW lately, just under two minutes worth. Still it all counts...The battle of Demon's Run has been fought. Now return to the TARDIS to discover a little of what happened next!
Amy leaves a message on the TARDIS answering machine. She speaks about her baby, and what to do when he finds her. She knows that her baby will become River, but still wants to raise her. She is living in the hopes that the Doctor will find Melody...
This miniest of episodes features two performers of the regular cast, Matt Smith (facially!) and Karen Gillan (vocally!) and is set shortly after the events of Episode 607. The earlier prequels all featured just guest artists from their particular episodes, so it's likely this may receieve greater attention. It certainly has greater resonance, as it concerns a friendship which has quantified much of DW over the last year a and a half. Amy seems very accepting of the fact that Melody is the sometime accomplice on their adventures, River Song. Whom Amy has known since the early days of her own travels with The Doctor. She's trying to keep up to speed, and be brave and strong, emotionally, as you would with your new born child absent. It's a heartfelt delivery from Gillan.When we pan around the TARDIS console, as the message plays and we see The Doctor is there after all. Listening intently and visibly tormented. He assured the new parents that everything would be okay. He seemed his heroic, confident self and charged back into the TARDIS like he knew exactly how it would all play out, once River revealed herself to him. Has something dawned on him since then..? Or was that the bravest of faces he could show, and there's always been more to it..?
Less is more: Smith doesn't utter a word as The Doctor. His character is so formed, and nuanced, he doesn't need to. The whole amblience instantly unsettles, and raises stakes again. This is the fourth prequel produced by the BBC to accompany the 6th series of Doctor Who, and the first which I would count as essential viewing. Available to watch, exclsuively (though keep you eyes peeled after Friday's EastEnders...you never know!!?) through the official BBC DW site.
Watch the PREQUEL to Episode 608: Let's Kill Hitler, here!
In the midst of all this excitement, TORCHWOOD: Miracle Day is rolling on, and I'll be catching up with the latest episodes soon enough. Check back here for next week for my reviews, plus my thoughts on this weeks new episode of DOCTOR WHO. To close I wish to congratulate Steven Moffat, as one of his DW scripts has again won the HUGO Award for Best Dramatic Presentation (Short form) this year. The 2010 series finale (The Pandorica Opens/The Big Bang) scooped a 4th such award consecutive award for the series. DW is at the very top of it's critical acclaim, and general popularity and I see neither changing anytime soon...
Almost like it never went away isn't it...? A triumphant return for Doctor Who last week, I felt and I'll go onto to explore why, in a moment. Firstly I'm re-asserting my delight and relief that the BBC has seemingly listened to what the viewers want and made sure DW will air in a consistent, and later slot, every week until the end of this run.First release of the schedules for the next two Saturdays show DW around the 7:00pm mark. Common sense prevails! Who'd have thought it...!? I'm sure this is as tactical as anything else, as DW and The X-Factor share much of the same target demographic and can feed eachother, if the timeslots allow.
Whatever the reasons, it's better for the viewers and it serves the drama greater too. Better late than never, eh..? Keep checking the listings guides, including the very DW friendly Radio Times ( see right for latest stunning DW cover!) which constantly carries exclusive photos and articles. Or you can just click back here, and the exact time will always be shoft aloft the banner for the current column. There's still five episodes to go in Series 6, and okay you can always rewatch anytime now (..check further down for the iplayer link to last weeks, as usual ) but you'd be mad to miss a single live minute of what promise to be crucial, and sensational episodes of simply the greatest SF series of them all unless absolutely neccessary...!
THIS WEEK - EPISODE 609:
NIGHT TERRORS
By Mark Gatiss. Director: Richard Clark
Saturday 3 September, at 7:00pm on BBC1 and BBC1 HD
Saturday 3 September, at 7:00pm on BBC1 and BBC1 HD
...back in time, 7 days and 60 odd years now for my review of the Mid Season Premiere episode.....! Enjoy!!
In the desperate search for Melody Pond, the TARDIS crash lands in 1930s Berlin, bringing the Doctor face to face with the greatest war criminal in the Universe. And Hitler. The Doctor must teach his adversaries that time travel has responsibilities - and in so doing, learns a harsh lesson in the cruellest warfare of all..
Phewwww....well, I'm not sure where to start with Let's Kill Hitler (608). Such a drastic change of tone and pace from the episode DW left us with, back in June. One that could've pushed credibility too far, just 7 days apart. Shades lighter in sensibility than any of the 7 episodes screened in that first wedge of Series 6, for that matter. About time too. DW had gotten about as "dark" it should ever get this year, without losing it's identity and remit. Even in the field of genre TV let alone mainstream, prime time. Episode 608 pulled away from that, following the teased reveal about River being the grown up child of The Doctor's best friends, to serve left-field concepts worthy of Douglas Adams and a deliver drastic character developments for all the regular cast.I know some were surprised, even disappointed we didn't actually get The Doctor chasing down The Fuhrer for 50 minutes, as they'd read the title so literally (we really should know better by now, especially Steven Moffat scripts!) What we actually got was maybe short on Allo Allo style laughs and Inglorious Basterds capers. Instead being far, far bigger, cleverer and break-neck. Sometimes too much for it's own good, in all three respects...
If I've a criticism of DW, under Moffat, it's that it can cloud the waters about how clever they actually are, just by observing the other two criteria to the same amounts. It makes it look, to those so desperate to dismiss (...yes, they're still watching, despite seeming to despise the series) like it's being thrown together, at it's worst.
Just marvel at that opening scene in the cornfield! Not only was it cinematically shot and scored, with a big visual hook, but it back foots the viewer, playfully, over and over. "... here comes River!" I thought to myself, "she's found THEM!" then of course, it wasn't River got out the car! Ten minutes later, it was all along! That's audacity, and that's the sign of a writer totally in synch with his audience, his "world" and totally in command of his characters:
The Ponds have found out that they named their daughter (their STILL missing, infant daughter I mean), after their daughter. All things considered I think they're keeping their end up well. I loved the flashback scenes of Amy and Rory "parenting" Mels, through school and her part in them getting together. Rory got a couple of great moments again, and Amy being used by the Teselecta was fun, which I'll come back to later. 608 really belonged to River Song though. Played not just by Alex Kingston this time, but all too briefly by Nina Toussaint-White ( Primeval, East Enders) as "Mels". After 3 years of a trickle of information about this vivid, adventurous and complex character, Kingston really got to really shine, and take centre stage. The performance, so carefully pitched. Getting so much of Song's back-story in just 50 minutes (still nowhere approaching the full picture, but a huge chunk of exposition certainly) was approaching over-whelming. Not all of it convinced me either, but it's out there now!
I have worries over the way regeneration is used, both visually and as a plot device here. Though intrigued by the idea Melody was able to control, even refine, the dimensions and visible age of her form, even if just in early hours (like The Doctor's hand from the Christmas Invasion) The scenes where Melody places faith in her mother's high regard for The Doctor, against her own conditioning, as an engineered assassin, to restore The Doctor at her own expense. Heaven knows what this has done to the genetics of the last actual Time Lord, if it used all of Melody's remaining regenerations. Time was taken to show their life energies, intertwining for good reason, past and future, back and forth. Both are changed, emotionally and physically to extents we're not fully seeing yet. People, being re-written, as the recurring theme of these latest series.
Yes Moffat's DW has certain themes, as RTD's did. His connection with the series, and inclinations lie in specific corners: that's essential. The only reservations I have are that regeneration, as a process and a story device is providing much in terms of plot points, spectacle and gags too. We saw it multiple times in this episode, and earlier in the series for that matter. Various outcomes and different people, yes. But if this element of DW lore is used to provide much slighter gratification, and purely heighten sensation? Well, the regeneration "effect" could seem worn by the time this 11thDoctor breathes his last.
Oh yes...almost forgot The Doctor himself. The old man is hardly having the easiest time of it. Totally and unwittingly, up to his neck now. This is a being whom, whilst hardly completely irresponsible, plays things a certain way. Choosing close friends/allies carefully and gets out at the first sign they're out growing him, or that he's getting enveloped into a domesticity. His reactions to holograms of previous companions, was on the surface played for laughs, but it was also a crucial moment when Amelia came into view. Since "fish custard", he's found himself travelling with a couple, then a married couple....then an expectant one! A child tied to his "home": his TARDIS. Then it turns out that child and the woman he's in a quasi-romantic, totally mixed up , relationship with, are one and the same. He would never have voluntarily gone there. Perhaps this baggage, will lead him to death on the shores of Lake '''''''' Although he too was playing something approaching 2ndfiddle to Kingston in Let's Kill Hitler, after a tour de force in the mid-series finale, Smith is at the height of his powers. Moffat's writing so strongly for this Doctor. The best is yet to come, I've no doubt at all, but for now this is Smith's time.The episode also had the famous "timey-wimey". Even if the joining of the dots in 608 was child's play by Steven Moffat's previous standards, it was satisfying to see it actually was the Doctor who gifts River the TARDIS like diary, at the end, and the motivations River had for studying archaeology. Of course, it's a common theme of time travel stories that altering big world events, even accidentally, is irresponsible and potentially catastrophic. Can you think of anything, in living memory certainly, which would be a more crucial alteration or a bigger world even than removing Adolf Hitler...? A fixed point even such as the Time Lords shouldn't be seen to mess with. So for The Doctor to find himself at a stranger's gun point, to do just that, is re-connecting with a core principle, since day 1. I like that Hitler as an individual was given short shift. "Chinned" by Rory, then left sitting in his cupboard.
This was a exercise in serving up those big ideas, and big statements, after so much mystery. Starting with the crop circle, but the cool kept on coming. TheTeselecta, it's inside and the way it copies its targets was fantastic and unlike anything seen before. The creaking and cranking as the height adjusted, and the target stared himself in the face, vintage DW. Keeping it from coming across too serious or Terminator-like. That tracking shot, out from the viewing area in the eye-ball, was as good as anything I've seen in a movie. Likewise the look of the Anti-body robots too, and the way they moved about the ship.
There is such a thing as being too clever for your own good. I'm not suggesting the scripts can't be this loaded with information and texture, but when it's delivered so fast DW can glide "across the lanes". Away from being a programme which rewards a re-watch, into one which demands it and that's still unwise. Even in the age of series links and box sets. Yet I couldn't guarantee, after first viewing, that all had sunk in, even of the stuff which wasn't so tethered to the driving arc of the Eleventh Doctor's continuing journey. It was definitely in the re-watch where I were able to note the confirmations of The Silence's place in things, and "the Question", and process who knows what, and who knows they know....if you follow me! Virtually all the regulars are keeping something from their most trusted allies.
The last thing I want to draw attention to is the poetry of the scene where Amy finds herself in a version of the same situation as she was at the end of the last episode, and with the same individual. This time she's the one who has to reveal, through the morphing technology of the Teselectaship, the identity of River Song to Melody. A beautiful moment, played down by Karen Gillan. In an episode chock-a-full of moments, thar was probably my favourite.
I consider 608: Let's Kill Hitler something of a near classic. It's dependence on earlier, and further instalments to really hit home, may hold it back a little. Week to week DW has to be remain mindful of the casual, and younger audiences, to maintain it's status. I'm not suggesting it should compromise, just resist excess. Let the story breathe, so more of that dialogue echoes before ladling in more. It was only until the 2ndwatch that certain crucial elements really sank in for me. I doubt I'm alone. Those without the trained palette, time or inclination to rewatch, just won't give the credit. That's dangerous ground in a season (even a mid-season) opener. In context with the TV schedules, of course it's of immense quality. Regardless of the sophistication present, I'm happiest that it's recaptured the sense of purest fun which has been lesser this series, up to now. - 4.5/5
Of courseTORCHWOOD: Miracle Day is moving closer towards it's closing chapters. Watch back here for a further review and one a week accompanying the DW coverage. Gremlins in the system have prevented my posting up the promised commentary on episode 6 today as planned...check back here soon though!! :D
Welcome back to my DW coverage. Getting stuck into the new episodes, showing on Saturday for the next few weeks on the BBC.
Just as the end comes into view for us, the production team are back on location and in the studio for the recording ofthis years DW Christmas special, as yet untitled! Amazingly, this will be the7th consecutiveChristmas Day when our show has provided the jewel for the crown that is the seasonal schedules. A far cry from my school days, when I was always so amazed that there'd never been a proper DW Christmas special, when they seemed even then, such a perfect match...!4 episodes, and almost 4 months left, before we get there( though I'm certain there'll be the customary preview on Children in Need night!) Much ground to cover, more revelations and fun to be had, I'm sure. Starting tonight, like this....!
THIS WEEK - EPISODE 610:
THE GIRL WHO WAITED
By Tom MacCrae. Director: Nick Hurran Saturday 10 September, at 7:15pm on BBC1 and BBC1 HD
It's time to slip back into the vortex, to last Saturday first though. My thoughts on the last episode.....
A little boy called George is terrified of something lurking in his bedroom cupboard. The Doctor receives a strange letter, begging "Help me". The creepy Peg Dolls are dead-eyed, implacable and relentless. But what do they want with young George?
It's tempting to start my look at the latest episode with some big sweeping statement, how DW is "back to earth" or some such. But Let's Kill Hitler was also set on the Earth! Could it be because THIS Earth based story was set in the present day, for one of only a handful of occasions in the 11thDoctor's era...? Or, because it represents, in contrast to the complex arc driving the series this season. A return to the foundations which DW's legend has been consistently built on over most of it's 48 years. That anthology like adventure, where the TARDIS lands and The Doctor must resolve a "situation", and make everything alright again....
The Doctors physic paper is a long standing device now. As clever, if not more so than the sonic screwdriver. It relays a call for help from a scared little boy. George is 8 years old, and afraid of "the monsters". The Doctor winks to the audience (well, not literally but he may as well have!) that a house call is in order, and points the TARDIS in the direction of the block of flats where George and his parents live. George's father Alex explains as best he can, to The Doctor who's posing as a health visitor, while Amy and Rory...well, they just seem to vanish...
This was the 4thscript by Mark Gatiss. One third of "The League Of Gentlemen", novelist, co-creator of BBC's Sherlock and of course enormous DW fan. I adored The Unquiet Dead, enjoyed The Idiots Lantern and have a soft spot for last years Victory of theDaleks(despite it's faults) but I reckon Night Terrors is THE classic Gatiss was always destined to write. A modern ghost story, unmistakeably Doctor Who, rather than just pastiche/homage to something else and told really, really well. Gatiss tapped into something special here. Something outside the narrative, and I would guess that the script is his most personal. It definitely oozes the writers sensibilities and affections for classic horror films, old studio based drama's and "Victoriana". Witness the peg dolls and their house, though I doubt how many 8 year old boys would have a dolls house in their bedrooms unless forced to anyway!
Joining Smith, Darvill andGillanthis week were constantly uprising TV and film actor Daniel Mays, as Alex and JamieOram as George. Not only did Smith have wonderful chemistry withOram, as usual where the juvenile guest actors are concerned but his scenes with Mays were equally good. The interplay between those characters as they take on George's particular demons, being both funny and touching. Throwing the tiniest amount of light down the un walked corridor that is The Doctor's former life as a father...and grandfather.
Amy and Rory, once again in a plot development straight out of the DW "tried and tested" lists, are separated from The Doctor early on and miniaturised (...for the 2nd time in as many weeks) This time they don't know they've been miniaturised though, or that the creaking corridors and strangely furnished room are actually inside an old dolls house, in the cupboard. Eventually, of course, Alex and The Doctor follow. Not before there's plenty of the fish out of water charm which Smith has brought much more to the front in his portrayal, than the last few lead actors have. Even if you found this episode a little too traditional say, those moments showing the complex sides to the old man, and his softer nature, will make up for it. The way he listens so intently, to George's list of quirks and phobias, before affirming totally and unequivocally that "monsters are real": just magical. Alex's gradual acceptance, and confronting of those truth(s) of the dilemma, leading to the real meat of the story. One that I know some feel is getting a tad worn in the Moffat era ( A Christmas Carol and Curse Of the Black Spot for example) of a father's bond with his son.
So yes, 609 presents us with another child for The Doctor to befriend. I'd offer this as a running theme ofMoffat'shandle on DW, right since The Empty Child, rather than representative of a drought of ideas. Even if I am sympathetic with those who feel they've seen enough of this, with hindsight. Yes, we know how well both Matt Smith AND the 11thDoctor work with children, and how they respond to this most overtly child like of incarnations. May be wise not to return to this well, to often from now on.
Just as many, probably more viewers, will find this episode a great tonic, even after the 12 week gap, amidst the strong arc present in Series 6. Of which the last episode contained a huge amount of progression and exposure. In comparison, Night Terrors relies on traditional scares, superb acting and a no nonsense, though expertly tailored script to bring us all to mind of the things which kept us awake as children. This is Gatiss as a writer and huge authority on the Horror genre, playing at puppet master of all that "goes bump in the night". Whilst the creaky, blank faced peg dolls themselves are perhaps a little too visually similar to the clockwork men, Weeping Angels and such to do it for me, I know they proved the bane of a few bed times last week.
What really sold me on this episode was the imagery. Not just the moody, clever direction of what were some pretty small, hum drum spaces but the whole production design. Juxtaposing the modern yet hard to nail down, of Alex and Georges' flat with the Victoriana, worked so well. The story could have been set in any decade in the last 40 years, in the UK certainly. It's so filmic too and bringshomejust how this aspect of DW has evolved since Moffat took over as show runner, despite BBC cuts. 609 is the first time the series has visited a block of flats since the days when the Powell Estate was Rose's home. Here though we see it explored and presented in a starkly different way. The concrete stair well and angular, echoing walkways being seriously spooky. Looking particularly in the establishing shots, like a dolls house itself. All compartmentalised and outdated. Another drop of vintage DW came early on, when the old bat was swallowed up by the mound of full bin bags. The kind which are common site, all over the UK, increasingly as fortnightly refuse collections become standard practice.
Surprisingly, givenGatiss'sheavy credentials as a fan, previous scripts have been light on nods to the past and in jokes. With Night Terrors, I think he's made up for this! It's peppered with obscure bits of DW trivia, that won't register and spoil the fun for those not in the know. Most delicious of all was the line where The Doctor responds to the notion that not letting the child watch stuff which may scare him with "...you don't want to do that.....!"A nod and a wink to every parent watching, and certain to make anyone who remembers the days when Mary Whitehouse targeted DW, in the70'sand80's, smile and recount their own youth.
Now whilst I personally don't feel at all embarrassed about announcing Night Terrors as a definite highlight of this series so far, for me there are aspects where I've applied the breaks in declaring it an out and out triumph. It's only partially to do with what's on screen, I have to say. I doubt, whatever the final 4 episodes may bring, any episode would be more solidly written, clear in it's message and be more atmospheric than 609 and I will always maintain that these instalments must always be in the mix (...whether they ultimately deliver, or not!) We know that all will end well, and tidily so and that air of gentle predictability is hard to balance with thrills. 609 pulled it off in most respects, but may have over reached when turning Amy into a peg doll herself. There wasn't the slightest doubt in any viewers minds this was a minor inconvenience, and that diluted the final act for me.
Then there's the, less important fact that conceptually this episode is very similar to the much derided 2006 episode "Fear Her". This one is much more successful as 45 minutes of standalone fantasy. Though the nature of the problem and some of the resolution are similar, the tone of the script, it's presentation and The Doctor's function within it are totally different. 5 years is longer ago than I think some fans realise, and there are a whole load of new viewers who weren't watching back then. Yes it means 609 isn't as unique as it could've been, but that's only important if you're coming at it from a distinct angle.
I know some find the mixing of these traditional stories and the arc, distracting or even frustrating. As if Night Terrors and it's kind are holding up proceedings. DW should always have episodes like this in the mix every single season though. Not only to demonstrate the flexible format to it's fullest and actually FEEL like DW, but deliver a proper variety of stories. Having said this, when you play the arc so heavily up front, like this year, it's not unreasonable that this will work to so well that the Nght Terrors, however good, seem disposable. A tough balancing act and neither the production team nor those viewers are in the wrong. Other TV series have endeavoured to do exactly the same thing, without having DW's format working for them, and it's resulted in messy TV that pleases no one. This is never going to be an issue for DW, as long as certain factors are observed, as they have in this story.
Night Terrors is a timely touching of base with the series heart and soul. I've read it described an "average" episode. The word "quintessential" is surely much more accurate? This and stories like it are the bread and butter of every single series of DW. Be that in the classic or new runs. To reject the worth of that is churlish, and selfish. Mark Gatiss has served us a standalone story, with plenty of "moments" and further proof of the current regular casts totally being in synch with the roles. Matt Smith also, has never been more "The Doctor" than in this episode. -4.5/5
Who was the mysterious Angelo and what is he to Jack Harkness? Gwen must do anything she's asked, to save her family.
Where were we? Oh yes, excitement! Pathos! Emotion and great use of those two-way, futuristic contact lenses as Gwen is held to ransom in the lavatory. She must deliver Captain Jack Harkness to "them"! Who they are, we haven't the faintest idea, seeing as every road leading out of Miracle Day has proven a dead-end. Come to think of that, you'd be forgiven for not being that sure who this Jack Harkness bloke is either! Seeing as the "leader" of TORCHWOOD has been absent, bar a spit and cough, for weeks! Even when he's physically been there, he's been almost unrecognisably dull. The cliffhanger to the middling episode 6 sent a definite surge of electricity through the flagging plot of Miracle Day.
Mercifully, episode 7 makes good on this promise. Crucially ressurecting that which was unique and visceral about TW and redressing the balance. Satisfying those who can't get enough Captain Jack or indeed actor John Barrowman, in their TV diet also. Immortal Sins (407) is by writer Jane Espensen, late of the Joss Whedon stable of shows. Cut pretty free from duty serving bitty pieces of arc which have been increasingly norm, and standing easily as the strongest episode so far. Possibly one of the very best Torchwood episodes ever.
Lets talk about what it doesn't do first: there's no Danes and Kitzinger again. Quite right too. I didn't miss them in 406 and that goes doubly in this. There's also little of PhiCorp, overflow camps all else that has started to clog the wheels. What we get in their place is a proper story, though still under the same premise of " Miracle Day". One with it's own beginning, middle and conclusions (even if they do lead on....) and a proper flowing, character based development. One as touching as it is disturbing and as powerful as it is tender. Leaving the whole saga in a place where it can't simply reset. It's brilliant!
Whilst Gwen, who's pulled every trick from her bag to bind and gag Jack, fast tracks him by car to those pulling her strings, we're treated to our first (..maybe last) TW flashback into the sprawling past life of Jack Harkness. This time, during the late 1920's, and pre-depression New York. Here it chronicles his entire realtionship, to now, with a mysterious man named Angelo. An immigrant of no means, from a tiny town, who's always felt an outsider and yearned to seize his own destiny. To expore his own self, in it's wake. The unfolding sexual, and emotional connection Jack and Angelo share is wriiten with a subtlety TW is hardly known for. Daniele Favilli makes massive impact as Angelo, given some heartfelt dialogue and time to unpeel the layers. The realtionship's offered as echo of the tradition of the parent series, as Jack treats Angelo as an intern and confidant in the way his friend The Doctor does his companions. TW hasn't referenced DWvery often this series, but when it does, its most potent. In this instance, things don't go according to plan and when Angelo is exposed to Jack's immortality, things get very post watershed. Exploring a perspective and possibilty thatDWnever could, which of course reconnects TW to a core ideal of it's earliest days.
The contrast of Jack and Angelo's relationship, to that he shares with Gwen, given most recent developments, makes for great viewing. But it's at the point the latter takes a turn for the better, things in flashback land go somewhat tits up! Just like The Doctor is inclined to hold a fair bit back from his closest friends, Jack has followed. Angelo finds himself in prison, believing Jack shot and killed. Of course he eventually learns Jack doesn't depart that easily and from there things get nasty. The scenes where Jack is delivered to a dingy location and forced to die, over and over again for reasons unknown, in front of a baying mob, haunted me for a couple of days afterwards. It was really rather hard to watch him suffer so. Treated like a demonic animal. Jack's had some pretty intense stuff done to him in his 6 years on screens and this was the hardest to stomach. Great telly though, eh...!? It all makes for a thrilling and affecting watch, and has been the only episode I've rewatched since the opening one.
How frustrating it's been, KNOWING Jack must be tied to the core of the whole Miracle Day premise, and seeing him purposefully underused and actually absent for so long. I honestly started to wonder if I'd imagined the strand about him turned mortal by the miracle, it'd been so ignored. He can't go away again, not with just 3 episodes left.
It's easy to knock Barrowman as a performer. I think I've said before he's hardly the most naturalistic of talents. Like national treasure and former Time Lord, Tom Baker, JB would fid it hard walking through a door as a conventional human being does. That doesn't mean that he's not an excellent actor, with the right material. Jane Espensen's script for 407 was an absolute gift in this respect. Barrowman dominates the whole episode as Jack. Superb in both strands of the story, playing such different aspects in a way which perhaps make Jack feel more real than ever. Especially when exposing that side seldom seen, where he will do and say pretty much anything to get the result he can live with, as he attempts to manipulate Gwen. Barrowman and Myles work beautifully together. They relish these scenes, taking this unconventional partnership down a road never travelled before.
Yes, Rex and Esther were sidelined in this. They're people I know have divided TW fans, as "the new Tosh and Owen". I like them though, and reckon that when they did show up it proved their comradeship with the UK arm of TW. Another nice demonstration of restraint. I was heartened by the subtle link back toDWand the highlighting of Jack's continuing evolution and lessons learnt from his friendship with The Doctor. A nice bit of continuity also meant The Sarah Jane Adventures also gets drawn into the plot, as The Trickster and his brigade play their part.
So TW is off simmer, and heading to a boiling point, right...? Let's hope so. Immortal Sins not only entertained and enriched, over its duration but restored my faith that Series 4 of Torchwood could prove worthy of it's legacy after all. That it is going somewhere and that evolving the series like this, at the loss of the loud, explosive andB-move like earlier version, may have been worth it.- 5/5
TORCHWOOD: Miracle Day concludes this coming Thursday, on BBC1 and BBC1HD. And of course DOCTOR WHO is back, next Saturday for episode 611!is. It's going by so fast already, isn't it...? Despite the rather rocky road that has been the latest series of TW, it's almost like we're being spoilt at present. Enjoy it whilst it lasts, I say. Two mostly homegrown SF shows, in primetime on a major UK network in one week...?I never thought I'd see the day!! :D
Another helping of DW and TORCHWOOD coverage. Feedback always appreciated, via the TNM facebook page!.. :D
What a week for the DW universe!TORCHWOOD finished its 4th and probably final run(certainly for the forseeable future!) on BBC1 and Starz, and whatever you may have thought of the conclusion to "Miracle Day"...well, it certainly was explosive! I'm continuing my catch-up reviews, written not long after broadcast so yeah, you get to read where my theories were way off mark, as well as right :D This topped off 7 days which had also seen the broadcast of the 3rd of the 6 new episodes of the parent show:"The Girl Who Waited". It's made quite an impression, it seems.Read on, for my thoughts....
THIS WEEK - EPISODE 611:
THE GODCOMPLEX
By Toby Whithouse. Director: Nick Hurran
Saturday 17 September, at 7:10pm on BBC1 and BBC1 HD
Saturday 17 September, at 7:10pm on BBC1 and BBC1 HD
It's one hell of an act this episode has to follow though. Time Ladies and Time Gents, my review of lasy weeks DW:
Amy is trapped in a quarantine facility for victims of an alien plague - a plague that would kill the Doctor in a day. The Doctor can use the TARDIS to smash through time and break in, but then Rory is on his own.....
From the comfy distance of Radio Times' preview, "The Girl Who Waited" seemed an archetypal mid-season story. A modest description and title which it's difficult to have an opinion or form a pre-conceived idea about. I'd twigged, as I'm sure had you, it a reference to Amy, as this is exactly how The Doctor referred to her whilst he occupied the Pandorica. Other than that...? Wide open. It's also by a writer who's name was familiar from earlier series. Even if I couldn't recall exactly which episode he'd penned.
That writer is Tom MacCrae, who'd supplied the two part block-buster "Rise Of the Cybermen/The Age Of Steel" back David Tennant's first season. On the surface, you couldn't get a story more dissimilar in the almost minimalist "The Girl Who Waited (610)" but the more I think about it, that contained much reflection as a theme also. Set on an alternate, or even "mirror" Earth (..heads up Trekkers!) which fans have since called "Pete's(Tyler's) Earth". It's the favourite SF concept which allows two versions, aspects to the same individuals, to interact and reflect off one another. That time it was most obvious in Mickey Smith, but applied to others. Here in 610, MacCrae's script turned both a literal and symbolic mirror on The Doctor's latest "BFF", the very red and very, very leggy Amy Pond.
The reception to the episode has been fantastic to hear, read and see! Certainly the most universally enthused of this year's DW's. Probably in some years. I've no doubt if you scour the net for negativity, you'll find some poor soul who didn't like or "get" what the big deal about 610 is. Not here. This episode was wall to wall, fantastic! Brilliantly written and produced. Beautifully performed and embellished by a feature film standard score. A pleasure to watch and just as much again to rewatch and talk about here. Let's indulge ourselves and recount some of the positive avalanche of awesome that was "The Girl Who Waited", shall we...?
Most obviously there was a focussed, clever but clear concept. Time running at different speeds, like standard and long play on an old VCR. Serious, deep and emotive decisions each of the TARDIS crew must face. Rory in particular, will surely never see his wife in the same light again. Not better, or worse...just different! A pure, clinical look alongside some of the best SFX vistas seen in the series up to now. Steven Moffat is spoiling us with many alien planets and snapshots of other cultures, compared to the RTD years. Effective robots which looked seriously cool when we learnt the answer to The Doctor's question as to why they just don't have eyes...! Which brings me to that exceptional dialogue...!! How can you pick out favourite lines, when practically even the tiniest scene has two each....?
Now it would be silly to demand ALL DW be just like this. After all, the series thrives on being eclectic, and versatile. Both in tone and maybe even in quality, to way less variation. It has so many aspects to interchange, and bring in and out of focus. That said, I consider this standard, 45 minute format episode of DW represented an ideal. In the balancing of it's running time and economics with the allocation of story and character. One that's proven more elusive than it should've, over the 6-7 years they've used this format.
The balance of the main cast ( all 4 of them!?!) was so satisfying. I've heard people describing it a Doctor-less episode. Now that's totally inaccurate also, as there's barely two minutes of screen time where The Doctor isn't seen, much less still heard. Let alone spoken of. The fact MacCrae managed to bring Amy(s) and Rory so to the fore to give that impression, whilst still servicing The Doctor, tells of 100% nailing down of this story. Perhaps declaring this Amy's story isn't quite accurate either. Maybe it's Rory's ..or just theirs. As it's the Pond's whole bond , let alone their marriage, in the looking glass. Whoever is speaking or moving.
In the past I've experienced an emotional tug of war in my response to Amy, and indeed the actress playing her. Karen Gillan was the best she's ever been here: excellent in fact. As both Amy's, but the elder one in particular. A reasonably subtle, very sensitive and appropriate performance which will endear her further to many, like myself, who've found my opinion of what she brings to DW, weaving. This represented statement about who she is now, a series and half on from the kiss-a-gram outfit. Her evolved connection to the "raggedy" Doctor, who kept her waiting a couple of times already, way, way back. This time she waits "..a lifetime". The make-up job was just as carefully done, with perhaps the only conspicuous element being the absence of any grey in her trademark hair. The very best material may not have been evenly given, but all got standout lines and moments. Rory's "losing it", finally, with The Doctor after given the excuse that he taking more pre-cautions to avoid *** like this hitting the fan "..that's not how I travel". This aspect to their relationship has ticked over for much of the last two series too. I'm predicting it'll escalate further.
This led on from Amy's Choice, I feel. A modest story from last year, it also changed how the Pond's were perceived, had a small cast and examined the dynamic between all in a stalwart fantasy concept, with sufficient spin. We know them much better now. They know each other better now, and they have their secrets. 610 is a much squarer hit to the heart, and I'd speculate points the way for further changes to come. It all sang with an emotional depth, certainly not anywhere near as present in MacCrae's earlier story, and reminiscent of Russell T Davies (surely the master of this side to DW characters and dilemmas) at his best. The scenes between Rory and older Amy, through the TARDIS doors were amongst the best, most genuine, in the series long history. Then topped off by the waking, younger Amy asking her husband, straight away "...where is she...?" As the NEXT TIME chimes in, the rest of that conversation is left to the imagination.
Last thing I want to mention, is to backtrack a touch. To the scene where The Doctor closes the door on old Amy, with little flicker of guilt. We'd been teased this inevitability and there will have been very few viewers who'd not seen it coming. Who hadn't worked out The Doctor had fobbed Rory off, on the subject of whether the TARDIS could maintain a paradox and carry two versions of Amy, from technically the same point in history. (The two Brigadier's in Mawdryn Undead were from separate places in one time stream! Remember..?) The older, or seasoned of those watching, and certainly those versed in SF lore and DW history already KNOW "time" doesn't like this! If you're 7-9 years old though, perhaps less so...? For many kids of this age, DW isn't just their first fantasy TV series, but it's the first inclusively adult drama they watch. Containing, amongst the heroism and fun, the truth, action and consequence not found in children's TV. Not everything will resolve "happily ever", or comfortably. That there are dark sides to even heroes and The Doctor is as dangerous as enchanting; older than he looks with a more complex moral compass.
Was it derivative at all...? In the way that a significant proportion of the best DW tends to be, only a little. The concept of time-displacement's seen multiple times in Star Trek. 610 reminded me of 90's episodes of Next Generation and DS9. A small cast, sets and almost mythological plots and quests. I've no doubt others reviews may mention Tarantino's Kill Bill. Even the iconic SF female: Alien's Ripley. Just because Amy was all moody, and wielded a Samurai sword so expertly. The kind of shorthand, and playing "dress up" DW should employ. Points of reference to direct to more good stuff. Did I get a whiff of Duncan Jones' stunning 2009 movie "Moon" too...? I think so. Thematically, and in the little things like the robotic substitute Rory, with his drawn on face. For older fans, or new ones with great taste, it brought to mind classic 1968 adventure "The Mind Robber", starring Patrick Troughton's Doctor. That featured white expanses, voices coming out of thin air and white robots with lumbering walks. I doubt this was coincidental.
The sole fly in the ointment is a tiny, but valid one. An issue of increased level of arc story, this year and editorial decision rather than any other factor. Amidst all this emotion, and major exploration of the Ponds, as a couple and individuals. Of mortality, bitterness and regret too, we had no mention of Melody for a 2nd week. Even taking into account that we know her identity and that she will be safe, and The Doctor's reassurances, this is odd. Unlike this latest series of Torchwood, DW is still an episodic adventure series. Episodes billed and series structured mostly as such. It's not actually of consequence within the boundary of this singular episode, so I can't penalise for it. However it is evidence to support the feeling, maybe Moffat HAS pushed the arc, past wisdom after all.
Halfway through the 2ndpart of Series 6 already and It's been an strong, at times explosive run. How can Steven Moffat and company top this jewel...? Two to go until the finale! Whilst it's sad to watch these weeks countdown, when DW is attaining such "top form", Saturdays can't come fast enough. "The Girl Who Waited" will give "The Doctors Wife" a run for it's money, as highlight of 2011, as things stand. It was outstanding TV and a first rate Doctor Who story. :D - 5/5
Captain Jack is taken for a reunion with a man he thought long since dead....
After last weeks drastic raising of the bar for this run of TORCHWOOD, things take a more trad US TV appearance for this 8th episode of the Miracle Day series. That's not particularly bad news, all things into account. There's more intrigue and character in the mix for it to for this episode to play with, after the sterling work done on 407: Immortal Sins. And the good stuff keeps coming, at least for a time, as we learn more and more about the set up, and Jack is led to a now very old, Angelo. Turns out he's been ailing for some time and kipping aloft a "null plate". Isolated from the morphic field covering the Earth and which Jack has long speculated is the key to "The Miracle".
Before things get too deep and serious again, and pretty quickly, Angelo dies. The only human being who can, other than Jack it seems. The fantasy science comes thick and fast from then on. 408 keeps the pace, and makes for good hokum but let's cut to the chase: it's nowhere near as focussed, engaging nor visceral as Immortal Sins, last week. There's plenty of death and destruction, but seeing as it's mostly people we either don't like, or have only know for 5 minutes...it barely registers. Why this series has continually cleaned house like this, I'm not sure. Even the presence of Angelo, doesn't really amount to much after building the character and teasing a big reunion so well in 407. It would appear that Angelo and Jack have been linked biologically. Whatever has been extrapolated from Harkness has kept Angelo alive. His speedy expiration in 408, after a single gentle kiss, would suggest that's happened again now Jack's mortal.
Before things get too deep and serious again, and pretty quickly, Angelo dies. The only human being who can, other than Jack it seems. The fantasy science comes thick and fast from then on. 408 keeps the pace, and makes for good hokum but let's cut to the chase: it's nowhere near as focussed, engaging nor visceral as Immortal Sins, last week. There's plenty of death and destruction, but seeing as it's mostly people we either don't like, or have only know for 5 minutes...it barely registers. Why this series has continually cleaned house like this, I'm not sure. Even the presence of Angelo, doesn't really amount to much after building the character and teasing a big reunion so well in 407. It would appear that Angelo and Jack have been linked biologically. Whatever has been extrapolated from Harkness has kept Angelo alive. His speedy expiration in 408, after a single gentle kiss, would suggest that's happened again now Jack's mortal.I can understand why many have bailed on TW this series. The excitement of early instalments, and the audacity of the concept, gave way to character led, almost poe faced milling around. Problem being much of those characters are thinly sketched. Everything else, the Miracle itself and any notion of what's caused it, just ticking along in the background now. I'm thinking all this looked considerably better on paper, then it does now on screen.
In contrast, as we head to the final hurdles, this feels like the crunching of dramatic gears as the engine gets going again. It's not that there's any more texture, or plot actually present. Much of the time in-between has been spent weaving specific threads outwards, which mostly led nowhere or become redundant (e.g. the camps stayed open after all, PhiCorp know as little as everybody else etc.) As if to maintain an illusion that TW Series 4 is this deeply poignant drama.
"End Of the Road" feels bigger, and John Barrowman's Jack maintains the spotlight to move things along. Someone's back steering the ship! Gwen's as good a foil as ever, particularly when dealing with the presence of the FBI, as personified by SF TV legend John De Lancie, from Star Trek. He's enlivened proceeding's as Shapiro, and all those scenes as Jack and company toy with the null plate, were vintage TW. Very Doctor Who like, even. It's feels perhaps a little shambolic, but amuses. Rex and Esther are reduced to supporting cast members, hanging on Jack's word. A pity, but with so little time to wrap this all up now, and so many players still left, someone's got to be. Rex is becoming more mindful of the fact when all this IS resolved, he may be joining Angelo. We've all seen this coming for week of course, but I'm still hoping he makes it somehow.
Danes and Kitzinger are more a presence this week as their mutually beneficial team up comes to a grubby end. Both characters have been played with gusto, but this whole angle hasn't been played well, and bordered on bad taste as Danes achieved a celebrity of sorts. Clearly it's aligning itself more with the main story, gradually. I just hope that it's not going to offer Danes some huge, crass redemption come the finale. Jilly Kitzinger is quickly recruited by the latest "big players" in the Miracle Day saga: The Families. Story wise it is starting to feel more expansive. Especially the adding of these three families, as masters of PhiCorp and whoever they need to be. Revealed as the organisers of Jack's pain in the 1920's, as he was killed over and over and his blood sampled. At present it's all arch glances and the snuffing out of underlings. Once again though: it will hopefully reap just rewards for patient viewers.
I don't know if I'm being over generous, or just relieved that at least TW is resembling TW again. Despite the shortcomings and workmanlike feel to 408, it was a fun watch and we do know much more than we did at the end of the last one (That is unless the whole thing changes tide again) Let alone three weeks ago. The showing of a new rat in the FBI will guarantee more complications and bumping off, before it plays out. A bit transparent and another 24 like thread. As a viewer, if you're still a passenger on this particular tram journey at this point, they know they have you until the final whistle. I'm thinking that the more "balls in the air", the better the last two will flow by, as episode 8 has, to be fair. - 3/5
TORCHWOOD: Miracle Day may have finished it's run, but I've stil got two episodes to review for you here on DWR :D
Then just when you think the DW universe is shutting up shop, when DW finishes on the 1st October...it's time for the return of the third of the trinity for one last hurrah. Yes, I'll be coveringThe Sarah Jane Adventures, back on October the 3rd,and celebrating the life and huge contribution toDOCTOR WHO, of it's unforgettable star.
Don't be shy! Send in your feedback, even if you have the nerve to disagree with me, via the TNM facebook page!.. :D
The advent calenders ( see right!) and selection boxes are starting to fill the shelves in super-markets...!
It can only mean one thing!! Yep, it's...ermm, the middle of September... :S
At least the cast and crew of DW have good excuse to be feeling seasonal. They're hard at work right now, filming this years Christmas special. Expected to air on Christmas Day, as has been customary since 2005.
Just in case you've not noticed, the guest cast has been announced as containing Claire Skinner, star of the BBC's hit series Outnumbered and comedy guru Bill Bailey. There are also roles for David Tennant's mate Arabella Weir, of cult 90's series The Fast Show, and Alexander Armstrong. Armstrong is an actor and most recently host of a myriad of gameshows on both BBC and Channel 4, but DW fans know him best as the voice of "Mr Smith" in The Sarah Jane Adventures.
Quite a cast, I think you'll agree. Details of the plot can also be found too, but I'll not share that here. This all serves to hammer home just how close we are, not only to the curtain falling on another calender year, but also this unbelievable, 32nd season of Doctor Who...
THIS WEEK - EPISODE 612:
CLOSING TIME
By Gareth Roberts. Director: Steve Hughes
Saturday 24 September, at 7:10pm on BBC1 and BBC1 HD
Plenty of time to book into a distinctly 80's looking hotel, with my review of last weeks new episode of DOCTOR WHO, first...
The TARDIS lands in what looks like an ordinary hotel. But the walls move, corridors twist and rooms vanish. There's a room for every visitor that contains their deepest, darkest fears. Fears that will kill them. What lies in the Doctor's room? And when his turn comes, will he welcome death like all the rest?
The TARDIS is on it's way to a place where there's 600 foot tall people...! How fortunate for licence fee payers, that it's yanked off course in the first of several DW tropes writer Toby Whithouse brings to his latest episode. Instead The Doctor, Amy and Rory are deposited in a distinctly drab, very 1980's hotel. "Crossroads" would've made this place look glam! Naturally, all is not as it appears to be. Rooms each contain at first glance, pretty random oddities like masses of balloons, a sole grumpy clown, a Gorilla....and of course, a couple of The Weeping Angels in a nice piece of reference to these creatures impact on the viewing public. Who though, would go to the trouble of mocking up such a location.....? The guests are told "You're going to die here". The Doctor's response: "Well, they certainly didn't mention that in the brochure". More cracking dialogue present in DW AGAIN this week. As it starts off, The God Complex (611) was good, solid DW! Strange sights, nameless threat and a bunch of unrelated people, banding together, or not, in their wake. The cast of characters Whithouse surrounded the regulars with included a disappointingly stereotypical conspiracy theorist. Joe was nonetheless, nicely played by Daniel Pirrie I should point out. Joining him were gambler Howie (Dimitri Leonidas) a strong, resourceful medic called Rita, and a beautifully Douglas Adams style creation in "Gibbs". The cowardly alien, knowingly played by actor, TV personality and DW enthusiast David Walliams.
The location was most claustrophobic and instantly unsettling, I thought. Without a doubt, reverential to the Kubrick movie The Shining, in the way the corridors and stair ways were shot by director Nick Hurran. The first half also reminded me of early 1980's series, Sapphire & Steel and the whole thing owes a debt to George Orwell's "Room 101" concept, from "1984". Quite a broth! Once the initial mystery was solved and at least the nature of the threat revealed, 611 stepped up a couple of gears for me.
I wasn't the biggest fan of Whithouses' "hum-drum" Vampires Of Venice, from last year. Whilst I'm all for each series containing at least one slice of fairly traditional DW, which much of this also represents, it felt over-stretched and it's alien threat, well worn. Too similar to that in Whithouses' School Reunion (2006). This episode and it's undoubted small scale production values by modern DW standards, represented the best that traditional stories have to offer, whilst balancing out with something less obvious. Such a horrific but seductive, irresistible a idea isn't it...? The rooms entice with contents that don't even disguise the fact you aren't going to like them very much. The idea was tactfully realised too, with revelations that would unsettle rather than terrify the children watching. Not an easy note to strike without losing edge.
There was what will undoubtedly become a much debated scene, where The Doctor opened his designated room (Numer 11..;)), and clocked his own (obviously out of shot) "greatest fear". All the viewer saw was his "....of course, who else...?" aside. Fans will, of course, ponder this for decades. Looking at the arc of this series it's not unreasonable to suppose he would be faced with himself, in one form or another.....? Even the title has a double meaning: The entity controlling the house unearths it's visitors most primal of fears and exploits them. Turning up the heat until their mind can't take anymore and gives in. The faith they rely on to get them thus far, transposed onto this being. "Praise him", their God, recognise him everywhere, in all things. In a nifty way of side-stepping taking too much heat from that it's The Doctor, in context of the whole group in the hotel, who's told he's the one with the "complex".
DW has explored and even satirised religion before, in such as The Daemons (1971) and The Face Of Evil (1977) Despite those more obvious examples, it's The Curse Of Fenric from 1989, with it's manipulation of that faith by all parties including The Doctor, which was strongest in my mind. All three of those stories are worth a look for a new series fan. The not so good story "The Horns Of Nimon" (1979) also got a quick nod. Those Nimon creatures revealed the cousins of the Minotaur in the hotel. Another superb creation by the SFX department. Thinking more of the recent past, 611 definitely had a certain crossover with the concept of Night Terrors (609), which aired just a couple of weeks previously. How people confront, or don't, their fears. This wasn't accidental, of course. Certain dynamics within the crew, in fact directly lead on from both there and those in The Girl Who Waited, which separated them. It was reflected also in the character of Rita, who if Whithouse hadn't killed her off, would've become almost as championed for return, as Sally Sparrow from "Blink" (2007). Just as The Doctor had been picking up on the fact Rory certainly, and therefore possibly Amy too, were detaching themselves from his universe. His way of life. Talking of their travels already, in the past tense.So the resourceful, inquisitive and noble Rita seemed like an ideal "next best friend". Looking back, maybe her death was inevitable. I'll be honest enough to admit I didn't see its coming as an dead-cert , the fact that I desperately wanted her to survive enough to not see her despatch coming, perhaps proof of how deliberate that balance was too.
No, it wasn't the deepest of episodes, plot wise and certainly when you compare it to Girl Who Waited (610) But it joined the dots between that and the final, necessary sequences in a relevant fashion. Also in 610 we'd experienced the deterioration of Amy's relationship with The Doctor. How the right circumstances could lead to the resurgence, and growth of her hatred towards him. Even more overtly in the case of Rory's frustration. I'd been saying since long before this series launched, back in April, that The Doctor's companions would depart later this year. Even I wasn't expecting it to be quite so soon. Don't get me wrong, I doubt whether anyone other than the children watching wouldn't be aware they'll be back for the series finale, but the conclusion of the "Williams" continuing travels with The Doctor was expected and telling. Well played by all, without an overdosing of sentimentality. Always a pleasure to see Caitlin Blackwood back as the younger, Amelia Pond, too. Even when she doesn't have much to actually say. The looks, body language and the way they over-lay her with Karen Gillan's Amy giving enough sense of someone reaching the end of a journey. The one Amelia started the night she watched the raggedy Doctor eat fish custard.
It's a closure of the fairy-tale which Moffat has been so deliberate in crafting, in the 11th Doctor's era up to now. Amy sees him as his really is. Or at least as much as he ever allows anyone to, after he'd manipulated her faith in him to save her from the "hotel". "I'm not a hero. I really am just a mad man with a box" was the highlight of a portion of 611 that had plenty of gems. Gillan and Smith have played this friendship consistently well, even when the scripts haven't perhaps been as helpful as they could've over the last 20+ episodes. The parting exchanges were just touching enough.
That aside, The God Complex will be remembered as a hearty DW story. One which Delivered another dream-like concept the series does from time to time. Underpinned by themes we can all relate to, but in a way which was easy for even the youngest of viewers to grasp. "What would be in YOUR room...?" I can imagine the chats in the playgrounds or round dinner tables. - 4/5
The defeated and powerless Torchwood team must strike a bargain with the devil himself...
So the final fences are insight...! The penultimate episode of Miracle Day came as many were sinking back into apathy that. This is effectively the first half of the final two-part finale. In a series of 5, two-parters, really. As with last week, The Gathering (409) is an entertaining hours worth of TW. Affording reasonable shares of the action to all of those left standing at this point. Or lying in more than one case! Yes, Jack's been shot up! Normally that wouldn't have mattered, but he's mortal ( or had you almost forgotten that too?!) Gwen, the only other link to Torchwood past, has been sent back to the Valley's, by Q from Star Trek (that's CIA man Shapiro in this) and you know what, as much as I love Myles in this character, you could see his point.
409 fast-forwards a two whole months since the last episode. Which has got TW a lot of flack. I've not a problem with this in principle (RTD banged a whole year between episodes 312 and 313 of Doctor Who, to reasonable effect..) Here, in a series much less certain of it's own identity and with a plot that's been all over the shop, it doesn't inspire such awe-struck confidence. I see that. No one could fail to be aware the two months is used to get some pretty hard to swallow pills past our lips...
For example, Rex is back working for the CIA and happy as larry it seems. Jilly is falling into the employ of "The Families" which to me sounds like some folk band from the 60's, and Danes is.....well, he could be anywhere! Jack and Esther have been smuggled to Scotland, though I'm not sure what they're supposed to be doing there and Gwen's under surveillance and living back with Rhys and their child (...what's her name again...?) How come they're not watching close enough to see her raiding painkillers, for her category 1 Dad who's stretched out behind a false wall in the cellar...? Best not to think about that one either. If your capacity for suspending disbelief hasn't been stretched to busting point by now, it will, when Oswald Danes turns up in Gwen's kitchen. He's the most wanted face on the planet, but he's been smuggled into the UK too...!
It's easy to suppose that RTD, Espensen and company are indeed, making up all this as they go along. Some of these redressed status quo's seem seem quite bizarre. Me, I think if anything it was too much the other way. I'll repeat myself and state that this "arc" (a term I use begrudgingly) probably looked a lot better on paper. Just none of it flows or rings that true, when it unfolds dramatically. If you leave your brain in 2nd, and put cynicism at bay, there's actually plenty to enjoy in this episode but I won't hold it against anyone who's past caring.
As daft as some of that set-up is, the cast are as good as ever. Particularly Eve Myles reaction upon finding Bill Pullman's Danes in the kitchen. Mikhi Pfifer is slogging his guts out holding up his end of this increasingly batty SF plot (is he really the only bloke in the CIA capable of thinking to run simple DNA tests?) and as wet as Esther has become, she's still quite, quite adorable. There was genuine tension in the air, as the team forged an unlikely alliance with Danes. Then again, as the net closed on Gwen's father. It reminded me of not only the Doctor Who episode "Turn Left", but the opening sequences of Tarantino's "Inglorious Basterds", which doesn't work in Torchwood's favour.
The concept of "The Blessing" is finally revealed to Jilly, and us watching at home. Realised as a massive open seam beneath Shanghai and running right through the Earth, to Buenos Aires. A secondary core to the planets magnetic one, if you like. The morphic field stuff, starting to make more sense than I think it's going to get credit for, at this point. Unlike the majority it seems, I really like the concept. Huge, vivid and enough linked to real science that most do know about, to bluff it's way past the "techno babble buffer" certainly around my imagination. I'm not kidding myself we'll get a serious scientific underpinning of the Blessing. The fact they're pointed to a few diagrams and it tallies up with both Jack's theories and Angelo's null plate contraption, are enough for me. It's more audacious than anything on screen since week 1.
Finally Miracle Day is showing some chops as a BIG EVENT TV MINI SERIES. Sad that it all feels a little too convoluted and rushed, which is staggering after 9 hours to build the damn thing up..! Why is it, the bigger it gets in scope, the more the restrictions of this production start to show, after the gloss of earlier episodes..? There are certain factors, and even plot turns (I can't call them twists) which has been obvious for almost 2 months worth of episodes. The fate's of Danes (...surely a moment of repentance and self sacrifice ) and our everyman,Rex most obviously. As such, it's still nigh on impossible to get a head of steam up over the impending resolution to it all.
It's often been said that RTD does great "penultimate" episodes, and has habit of dropping the ball for finales. This isn't one I necessarily subscribe to, but I do see what his detractors mean. Both the final episodes of TW Series 3 and the 3rd series of Doctor Who (The Last Of the Time Lords) failed to eclipse the rush of their predecessors. I'm hoping this comparatively modest upping of ante here to be a sign of something memorable to come next time - 3/5
TORCHWOOD: Miracle Day may be gone from our screens, but it's out on DVD later this Autmn.
I'll be looking at the finale, next time :D
Keep watching for trailers announcing the return of the late Elisabeth Sladen, in the final series of The Sarah Jane Adventures. Coming back in less than two weeks time on both BBC1 and CBBC, for it's 5th run.
Don't be a Silent! Send in your feedback, even if you have the nerve to disagree with me, via the TNM facebook page!.. :D
6 months, or 200 years if you're a certain Time Lord, later and we've arrived at the actual, full 2011 season finale of DOCTOR WHO. A longer road than we're used to, and certainly a more "twisty-turny", "timey-wimey" one. A journey which has come as close to dividing dedicated viewer than any other in the life of the NEW series of DW.Whatever you think of Steven Moffat's sensibilities, his decisions about the balance of stories and how they're told, I don't think anyone could fail to note this 48 year old format has evolved, and flexed new muscles again this year. It's continuing to break the mould by giving us a single, standalone and standard 45 minute episode 13, airing this Saturday on BBC1/BBC1 HD. Check out the trailer, here...
Again, the title, "The Wedding Of River Song" would appear to say it all. This particular story, like the teased "The Doctor's Wife" from earlier in the season, has been cause for huge speculation. All throughout the life of River Song in the series, since her 2008 debut. By now, two years into her creators reign as show runner of DW, we know to expect red-herrings, left, right and centre...or is that just what the big fella wants us to think, eh..?!
Just like that previous episode, I doubt things will turn out quite as any of us have speculated, but isn't that one of the major rewards in Moffat's version of DW....? Whatever I personally would wish for, and whatever his episodes rank in my personal favourites of the year, the current show runner ALWAYS surprises me. That's just another indicator, if any were truly needed, that the present of DW is in the right hands. I hope you enjoy this last one of Series 6...! Check out the link to the online exclusive PREQUEL to this new episode, just below. Then stick around for my short review, further on..
Before we get stuck into DW here's a quick reminder the 5th and final series of The Sarah Jane Adventures begins this week, of course starring the irreplaceable Elisabeth Sladen. The first story, entitled "Sky", airs across Monday and Tuesday 3rd and 4th October, at 5:15 premiering exclusively on the CBBC Channel. I'll be looking at these new episodes too, in good time. As well as concluding my look at the latest series of that other spin-off, TORCHWOOD.
There'll be plenty of time for all that, and a dip into the expanded universe of DW away from our screens, in the months to come. Firstly though, we've each got an invite, if not an actual enveloped one, to a certain lake in Utah...
THIS WEEK - EPISODE 613:
THE WEDDING OF RIVER SONG
Saturday 1 October, at 7:05pm on BBC1 and BBC1 HD
Before Steven Moffat brings the EPIC back, for this series finale, I'm catching up with a couple of mates.....
Last week changed the pace rather from what we've been used to of late. Let's ring Craig's bell for a social call, eh..?
In the last few days of his life, the Doctor pays a farewell visit to his old friend Craig, and encounters a mystery. People are going missing, a silver rat scuttles in the shadows of a department store, and somewhere close by the Cybermen are waiting…
Following on from an episode which was maybe a personal highlight for me in last years series, The Lodger, The Doctor calls on Craig and Sophie. They've moved on, of course, in more ways than one. Little Alfie, or "Stormageddon" as The Doctor quickly discovers or decides (you choose..!?) he prefers to be known, has obviously changed their lives. As luck, or fate would have it this visit happens to coincide with Craig being left to cope alone for the very first night. Nods of empathy from parents up and down the country, as James Corden's typically everyman character lets all his insecurities out to his old flat mate. But The Doctor has become fascinated by a pattern of local, electrical fluctuations. He decides to "hang around" and Craig's amazed to find the Time Lord working at a local department store: in the toy department! Where else for the childlike, 11th Doctor. (...cue more of Matt Smith, playing to his strengths again, with the children) In no time at all, a hunt is on and Craig is up to his neck in it..
After a non-stop, at times very intense, "ghost-ride" of a series "Closing Time" (612) arrives like a waft of the freshest of air. It's still scary yes, and not just the appearance of one of the series, biggest, baddest bogey-men. There's also the darker side to The Doctor's mindset by this point, which I'll come to later. But from the ring of the doorbell, 612 sets the stall out as another of the fun, funny "romps" (most obviously The Runaway Bride from 2006) which DW hasn't done as much of lately. When it does, it's almost unfailingly capable of delivering something thrilling and memorable, which whole families can enjoy together.
Coming from the mind of Gareth Roberts, who originated these returning characters, in 2010, this script sings of the influence of former show runner, and Roberts co writer on Planet of the Dead (2009), Russell T Davies. Bursting with big ideas, and vivid, yet real world characters and with his own trademark sense of humour, turned up as close to max as is wise. In fact this feels more like RTD's work, than much of RTD's!!! The mood and specific handle on the series mythology present here also shows Roberts credentials as a total DW authority, in his own right, and was paced to perfection. As much of this 2nd half to the series has, to be fair. Seamlessly blending into the rest of this season, yet standing out too. I loved it's running gags, referring to The Lodger and plenty new in the mix. I love what this relationship brings out in The Doctor and I loved the production values here. Nifty direction getting the most out of an expansive, brightly lit and on the surface quite mundane locations. Likewise the small sets of the nest of returning icons: THE CYBER-MEN.
Matt Smith and James Corden, as you may be aware, have been friends and colleagues for some years. It shows. So convincing and natural is the chemistry they infuse the Doctor/Craig dynamic with again here, that we barely give a passing thought to the so recently, and suddenly (to us, anyway!) departed travelling companions. Of course that's totally imbedded into this script too. That's how it hits us between the eyes as squarely as it does The Doctor, when chickens come home to roost. Or when he just needs someone to show off too, for that matter. My favourite line, of the reams of brilliant ones between The Doctor and his partner: " ...I have nightmares about THAT face....!!"
The pair become embroiled in a "race against time", to halt the re-awakening, re-booting CYBER-MEN, stomping around underneath the department store at the epicentre of these power anomalies, from achieving full power, and acquiring a "controller". They're all but trapped, reaching out and securing resources via their rat-like foot soldiers: yes, it's the return of the CYBER-MATS. Unseen since 1975, and very much a forgotten slice of DW history as far as the general public was concerned, despite many original appearances. Here they've been only slightly reimagined visually. The silver serrated fang like mouth of the 60's versions, is now an actual organic opening, with remnants of teeth. Like a yappy stun gun, which flies!! Sounds ridiculous, but most effective in the scenes where it's discovered by a yelping Craig. Yep, no one does scared, wobbly and gormless quite so winningly as James Corden. Whether you're a fan of this actor or not, you have to give him that.
I'm well aware there's a contingency of fans who consider this 45 minutes to be rather an indignity for the CYBER-MEN (CM). Those "metal morons", as The Doctor delightfully calls them to their blank faces, have been part of DW lore since 1966. They saw off the First Doctor, becoming the biggest returning foes of the rest of that decade. After that their returns weren't so well handled. Eventually the characters degenerated into Cyber-pins at a bowling alley. Even the NEW series reinvention of them. CM 2006 are termed "CYBUS-Men" by fans, in reference to their origins within the "other" universe, and were slightly more generic SF bad guys than makes for unique recurring alien races. I mean within a series with a positive rogues gallery of them at it's disposal. Say what you like about the limited screen time of the CM in 612; their playing 2nd fiddle to their own foot-men and the haste of their defeat, these ARE the CM of the classic series. Built to last, and slightly better disposed for ongoing needs. As much as the rejuvenated Dalek Paradigm (Victory Of the Daleks) represent a return of those creatures to their strongest placing within the DW universe.
So here they may not have been redesigned so radically as the Daleks were, but their depiction: more hunched over, ripped and riveted back together, clunky, desperate and on the blink like the "upgrade that never took". Historically, the failures DW baddies! You wouldn't want to meet one in a dark alley, no, but they're tragic and parasitic creatures. Ghosts of who they used to be, individually and an echo of the race of people, the Mondasians, who pioneered the science behind them. Not the all conquering time-travelling alien force, who've won, lost then won empires again. That's what 612 delivers them back to. In such a manner, for the huge new series audience, which I hope will prove of worth. Yes, the story may have worked as well with a few other old aliens, or something new, but I'm glad CM were used. If only because they brought with them, the Cyber-Mats. These nasty little blighters have lost none of their sting and are set to capture the minds, and make the christmas lists, of kids up and down the country. A gift to the physical comedy that both Smith and Corden do so, so well as much as being able to secrete themselves into spaces. Performing acts their masters couldn't. I reckon this additional return, was a canny move.What of his recently departed companions then...? Well, that simple scene in the store where The Doctor clocks Rory and Amy, now achieving some celebrity as a model, was one of the more understated moments. Re-connecting, with no actual dialogue to speak of, us and our hero with the central storyline of this series. Reminding us of the path he's on now, and why. Why he's been travelling alone. Soon The Doctor will admit to Craig that he's a selfish, dangerous man." Because of me, you and Alfie nearly died..." Smith says so much with each glance. Looking so old sometimes, too. You can feel this truth catching up with him, as words leave his lips. It was the reason he so hastily ushered the Pond's away from life on the TARDIS with him in The God Complex. He demands Craig and "Stormy" leave until the threat is gone at least. The real worth of this episode, as a piece of this latest puzzle from Moffat's DW, is in these moments and those where Craig sraps on the papoose, and follows anyway.
I keep banging on about how Smith's performance is so informed by one given by Patrick Troughton, in the same role, back in the 1960's, but it's never been more obvious than in this episode. Facing the 2nd Doctor's most persistent menace. He even directly quotes him, repeating the line"...you've redecorated. I don't like it...", spoken twice by Troughton in capers past. 612 was littered with, not so much continuity as none of it was strictly relevant to this episode, but the lightest of kisses to DW's long history. Right the way through too, so new series fans get plenty to give them the warm fuzzies, which classic series fans have regular felt since 2005.
Some share of the limelight must fall on guest star Linda Baron. A lady with a place in TV history, for her role in Open All Hours, she made a third contribution to DW here. Baron was just as watchable as when she played Captain Wrack in Enlightenment (1983) and her interplay with the Smith and Corden was a delight. Though it was only a brief return for Daisy Haggard's Sophie, it was a most welcome one too.
Did the resolution, away from the context of the bigger arc, cut it...? Well, it does happen rather fast. Then again, it was always going to. Why draw it out, when it would eat up screen time from the romp!? Note Robert's script has The Doctor mocking the idea that love has saved the day, when Craig exclaims such. A wink to the audience, to playfully pre-emp the gnarls of disatisfaction bound to come from those who've just not made it to this particular party, for whichever reason. Are the CM not ripe for particpation in romps? I don't see why they should be! They, like the Daleks, are recurring characters in their own right and the strength of these, as that of The Doctor, should be stretched. If they're to remain cornerstones of a mythology which has grown much, even in the 3 years since their last, full blown appearance. The CM themselves are never the figures of the fun here. They remain totally in character, so no harm done.
As Craig assures Sophie there's no need for suspicion, Alfie utters his first word:" Doctor..." The giggles don't let up until the very last scenes. Those that set scene for a grand finale to Series 6. Ticket's, Stetsons, envelopes etc. Set to deliver The Doctor to the shores of Lake Silencio, finally. 200 years on from when he travelled with Amy and Rory. We again see River Song, as she now gains her Doctorate, and is kidnapped by Madame Kovarian and her accomplices, The Silence, from episodes 601-2. And look!!: it's adult River Song, rather than little Melody, placed into an astronaut's suit. Then submerged within the lake in wait for The Doctor. So I was half right!...I wondered why folks were jumping to conclusions it would be a child, back at the mid season finale.
Perhaps Closing Time doesn't quite match the purity and absudrity of The Lodger, but it's got a wider remit. It develops both Craig, and The Doctor himself, very clearly. Expanding on that we liked first time, exploiting that familiarity and affection between the viewers and the two leads to deliver a prime cut of DW. I eagerly ask that Gareth Roberts is permitted to bring them, maybe with "Stormageddon" in tow, together again. "Go for a hat-trick my 'san...!"- 4.5/5
Before the Doctor returns to Lake Silencio, we return to Area 52…
There's the clicking of a digital clock, flickering between a single second of time. By video feed we travel down corridors and stairways marked "Area 52". Stopping to note a group of those Cleric/Soldiers again. This time, look closely and you can make out they're ALL wearing those eye-patches/pieces like Madam Kovarian's. So whatever they are and whatever they do, its not a privilege of leadership. Two soldiers check out a couple of specimen tanks. One of over a hundred, which are soon instantly filled with Silents.
Next we see River Song, dressed in black and with her back to us. When she turns, she's been "patched up" too.. Whilst this is going on we hear a child singing more of that rhyme we heard at the close of episode 612: Closing Time (above!):
Tick tock, goes the clock,
Tick tock, goes the clock,
Tick tock, goes the clock...
Doctor, brave? and good.
He turned away from violence.
When he understood
The falling of the Silence.
Hmmmm....now that is very specific wording. The Silence made tremendous impact on viewers in The Impossible Astronaut/Day Of the Moon, back at Easter. The dawn of Series 6, so long ago! Here, in this latest, fifth and final prequel which can only be viewed through the BBC website, some of their nature is finally revealed. Several are in floating tanks, attached to something. Which accounts for the wet look suit and faces like a prune-like-finger tip! Then of course there's newly Doctored and eye patched River Song. At which point is this happening I wonder..? Before, or after she goes into the suit..? Kovarian boasted, in 612, that her mind has been conditioned, maybe memories edited. That wicked smirk she gives before the theme kicks in, suggests she is now the weapon she'd been parted from her parents, to become.
The full episode certainly has a tall order to meet, and threads to at least develop, if not resolve. And in just 45 minutes too...? The prospect is mouth-watering. Join me, back here for my review of "The Wedding Of River Song", very soon. Wishing you a happy series finale, whenever and wherever you watch...!
As The Doctor makes his final journey to the shores of Lake Silencio in Utah, he knows only one thing can keep the universe safe - his own death.But has he reckoned without the love of a good woman?
Anyone doubting a sole 45 minutes could serve something approaching the "epic", with this years finale, should be eating their words. I count myself among them. Steven Moffat's " The Wedding Of River Song" (613) unarguably returned the series to its most grande, but with a twist. Something quietly rumbling. Something "purer" and up-front, compared to twisty-turny arc points up to now. Additionally, 613 teased greater things to come and delivered, there and then, on something often promised in TV/Film. We regularly hear the phrase "game changer" bandied out, "nothing will ever be the same again..." etc. DW has been as guilty as anything else, of late. Previous declarations led to events not conclusively "making good". Here Moffat HAS made a clear distinction and not let viewers down.
Before taking stock, let's take a deep breath. To reflect, laugh and relive what 613 actually contained. By any standards, it was bursting at seam with crucial developments, in both plot and characters. Some of which have been our companions for two whole series. Moffat set himself one hell of a quandary to get the "old man" out of this time. Neither did he expect another writer to resolve all and tie threads come finale. This isn't the easiest episode to recount in anything like chronological order. To be honest, it kind of spoils the fun of a wildly inventive, uncompromising piece, of crucial long term importance. Some developments perhaps did need more time to sink in than time would allow. To be honest, the series has made this a signature now, certainly with the arc, it's not unexpected. A ritual rewatch, maybe even part of the fun! Like The Simpsons, there's always something you didn't take in. Even without any of that, I propose 613 to be one of greatest episodes of DW, ever and a bold, crucial juncture in the lore of the series.
We start in a strange, yet familiar world, where picnics are plagued by Pterodactyl rather than Wasps and "Charlie Boy" Dickens is alive, doing the 21st century publicity circuit. Aside from the all too fleeting cameo for Simon Callow, back as Dickens after 6 years, these scenes were jaw-dropping and lavish. It's only when we catch up with another old face, Winston Churchill (the wonderful Ian McNeice) that The Doctor's place in all this is slowly unearthed. He alone knows that all isn't "right". Hardly a new experience for the Time Lord, but this time it's on a scale undreamt of, and it's partially his fault. Recognising the hand of love interest, and child of the TARDIS Dr River Song in this paradox where "all of time is happening at once".
From here the mystery regarding The Doctor and Rivers bond is dispelled, in great sweeps of story. Moffat's really enjoyed himself here. Not so much letting the cat out of the bag, as firing the cat and the bag itself from a cannon. Immensely unpredictable, yet satisfying after a 3 year gestation which at times was as infuriating as it were tantalising.
Now it doesn't take Morse to figure if there's no Doctor and he's indeed literally dead, then DW is no more. Matt Smith is contracted for another series as The Doctor, so he'd "get out of it" somehow. That moment of Lake Silencio's shores had been labelled a "fixed point" within the series lore, so and unavoidable destination. Moffat let fans play with this for 6 months! Most had surmised a double would be at play, though most speculation centred on Flesh-Doctor from The Also People. Plenty of us will have started to put two and two together though, as the pre-credit "catch up", showed the Tesselecta from 607: Let's Kill Hitler. The other, bigger thing events hinge on is River Song and her psychotic edge being blunted by the awakening of her feelings for The Doctor. She's cheated their fates, fracturing time itself causing the whole "bubble universe". Churchill finally gets curious enough to ask his "soothsayer" to account for it.
I must sound a stuck record, but I can't repeat enough how good Matt Smith is as The Doctor. How developed his character is and how distinct. This depiction of the 11th Doctor, looking like Bob Geldof with straggly hair and student union beard, I see as a clear pinnacle. Surrounded again by a belting supporting cast. I was thrilled to see Simon Fisher-Becker returning as the now bodily challenged Dorium Maldovar, after all. I adore this character! And who could forget Mark Gatiss as the sort of Viking "Greedo": Gantok. Surely given one of the best deaths in recent DW history! (that's assuming he IS dead!?) So chilling.
Through following a line to Dorium, The Doctor discovers much about the enemies he never knew he'd cultivated: The Silence. In case you missed it, the Silence want The Doctor dead to prevent him answering "the question". That's the oldest one in the universe, no less......sometime, some place later.. (...ahhhh, more questions!!,hehe) Or "Silence will fall", we've been told over and over. They're "a religious order of great power and discretion and calling themselves "Sentinels of History". I like that in Moffat's DW the universe is being filled out by beings taking roles they couldn't have, or even contemplated had the Time Lords still been a presence. "Sentinels Of History" sounds not unlike "Lords Of Time". Then there's the Tesselecta itself, and how the crew dish out their justice.
I'd suggested the eye-patches were a device, so to have them revealed as "eye-drives" which allow the wearer to remember and track the Silence, rather than decoration, was a relief. They would prove the Silence's instrument in turning the tables and escaping their prison within the Area 52 base at the Great Pyramids. More magnificent visuals here, forming the backdrop of Amy and her team. This would also be scene the "Wedding of River Song", and yes to The Doctor after all, as hinted back in David Tennant's last season. So River's there at the Pyramid too, but remembers everything just as she has on other such occasions. As The Doctor does. She refuses to put things right, however much he appeals to her morality. She truly loves him, which he doesn't think twice about manipulating to get his way.
A deeply emotional chain of events, leads to a makeshift wedding aloft the Great Pyramid where The Doctor proposes marriage, in the presence of her parents. He then asks, as her husband to help him restart time and stop reality crumbling, though resetting events leading to his death. As it turns out, The Doctor knows after the point where she kills him, all is prepared for. He can't convince her, before the millions of replies to the distress call she's sent on his behalf, show up. My favourite line of the whole thing had to be where he scolds her for doing so, "...you embarrass me."
Despite the enormity of the fact we've just seen The Doctor GET MARRIED, the he focus is rightly on River. Alex Kingston has never been better than now. We're seeing much more depth here, since questions were answered. I so hope there's more to come. Some standard adventuring would be enough! Let's see where The Doctor and River honeymoon! The revelation it was grown up River/Amy in the astronauts suit all along last week, playing out really well. It had been something I'd thought from the start but I've been far from certain over the months.
Amy and Rory do develop, but they don't. These returning Pond-Williams are alternative incarnations. In showing a sideways look at Amy, Moffat gives Karen Gillan further time to shine. I still don't quite buy that THIS Amy recognised The Doctor, yet hadn't Rory at all, but the restatement of Amy's unique nature, after sleeping next to a crack in the time vortex for years, makes sense. Enough to cover a point which takes away nothing but brings needed levity, when The Doctor again match-makes the two. Though she will later wrestle with her actions in "killing" Madame Kovarians, it was payback we'd all wanted for her after losing her infant daughter. A reminder too of the harder, elder Amy in "The Girl Who Waited".
As The Doctor and his new wife kiss, their touching course corrects time. Enabling The Doctor to play his winning hand, and River to a crucial point which resulting in her "imprisonment". The "get out" was annoyingly simple, yet undoubtedly ingenious. The Doctor has piloted a "Wooden Horse" or "Doctor's Suit", into this painstakingly laid trap. A move which will delight as many as it will incense. When you watch a lot of genre TV and movies it's easy to see these devices as "conventional", but try looking at it through the eyes of an 8 year old, I suggest. It's not as if the story itself, the way it was told, was conventional. On one hand, you hear accusation that DW has become over-complicated for the average viewer and kids, yet here we have something big and clever and ridiculously fantastic, yet easy to understand: and folks still grumble. I maintain DW is the hardest working series on TV, just managing to maintain harmony 95% of the time. Listen as Murray Gold "theme" fills your ears, and The Doctor explains how he escaped fate, but still "died": how can you not be won over..?
This finale was the most personal season finale ever, despite the big canvas. It was all about the four regulars, and the nearest thing to closure as "companion" and arcs should ever get to in a series like Doctor Who. A pivotal moment being The Doctor telling River, whilst she's about to shoot him, that she's unconditionally forgiven. Catalyst for the final flushes of her development from living weapon Melody Pond, to Dr. River Song. Later this most unconventional family unit of Mother, Father and daughter are reunited and jubilant, when River confides the audacious escape to her Mother. That's a final joy before we're back to The Doctor, for the epilogue. One last all important exchange with Dorium. The revelation that "the question" is the same one hiding "in plain sight" within the opening credits for 48 years: " Doctor Who....?" was a proper goose-pimple experience. Arch, but hair-raisingly exciting, leaving anyone watching already hungry for the next season. I can't pretend I swallow all of The Doctor's actions and the notion that 200 years passed in between with this hanging over his head, but hey I'm not a 1,000 year old alien...!
I can't let this episode go without drawing attention back a touch to the unprecedented, in continuity tribute to one of the series long-standing legends:"The Brigadier". Moffat's placing a scene where The Doctor hears of his passing away as a poignant and significant turning point in story is a triumph. Nicholas Courtney played the role for 40 years and died earlier this year. He would've been touched. I'm hoping it urges newer viewers to hit the net and look him up. Maybe dive-in and sample one of his team-ups with The Doctor(s). If I were to make a referral I'd be spoilt for choice, but point to a DVD called "The Claws Of Axos", from his heyday.
Phew....all that and I haven't even mentioned the great scene with the lone, dying Dalek...!
Episode 613 is a satisfying end, perhaps to two whole series worth of DW. True: that the episode would've benefitted from an extra 5 or 10 minutes as others had. Not neccessarily for more to be jammed in, so much to allow proceedings more room to breath. To let the rather beautiful symmetry of this, and the earliest episodes of Series 6, even 5, sink in. As viewer, intently taking in so much, in what's visual as well as said, it's easy to "miss a dot or two". Which may mean the finished picture, when you've drawn lines between those you DID get, doesn't look quite right. You retrace your steps finding the information there, just it's a lot to take in at one pass, at such momentum. This aspect AND breack neck quality, must be scaled back now. It's served it's purpose.
Steven Moffat's never been great at telling us the "gods-honest". Like The Doctor, maybe The Show-runner has to lie as matter of course, to some measure. Not least of all to preserve OUR sense of the unexpeceted and enjoyment and DW's status as "event TV". This time, Moffat made good on remarks made about putting the "Who..?" back into "Doctor Who". The Doctor takes his leave of Dorium, into the shadows signalling the biggest thematic shift since the series returned. Possibly the biggest since The Doctor was exiled to Earth, at the end of The War Games (1969). The Doctor's death may be faked, within the ongoing story itself. But the effect within it, on the universe he moves around in, its people and places, will be much the same were it not. This development IS that elusive game-changer people promise and has huge potential for taking the character, and us viewers, down roads untravelled. Or at least not since the classic series, under the classic mode of story-telling.
In underlining the title of the series, within the legend, DW moves into a new phase. I've no doubt it's just a starting point. Where to..? Keep an eye on this page for my theories, soon. For now though, it's time to close the book that is Series 6, the 32nd season of Doctor Who -5/5
The 2nd half of this series of DW has recently been released on DVD and Blu-ray disc. A further box set is due within weeks. This one will include all 13 of this years episodes, together with extras AND exclusive mini-episodes by Steven Moffat that you can't see anywhere else.
That doesn't quite wrap up my coverage of NEW TV Doctor Who though. I'll be back soon with a look at the latest mini-episode (...yeah!! ANOTHER one...!) and that final episode of TORCHWOOD: Miracle Day, amongst other things. So check back regularly for more TARDIS-talk, as well as my looks at movies and TV old and new. Any feedback, or questions, appreciated...!
Find merchandise at TNM COLLECTABLES Doctor Who Store
Doctor Who is copyrightby the British Broadcasting Corporation (BBC). No infringement intended.
DOCTOR IN THE HOUSE..?
For a fourth year running, Children in Need's telethon showing Friday 18 November on BBC1, will preview DW's Christmas Special. That much seems certain, but it's now confirmed, fairly late in the day, that something bigger's planned too. All this weeks Radio Times bills is"an exclusive treat from Doctor Who".
Usually this means a sequence from the beginning of the special, but the BBC has let slip that Steven Moffat has scripted something exclusive for Friday night, and Matt Smith's involved. Camera men and costume were said to be in "locked in meetings", just a couple of days ago. With rumoured filming, back at the series original home of BBC Television Centre, for the first time since 1989. Sure enough, proper publicity photos ( see left ) have now been released.
The show begins at 7:00pm with DW estimated to feature 8:00-8:30pm.
Personally, I never watch preview clips. I'm happy to wait for the whole thing. However the prospect of something completely exclusive for Children In Need, as has been the case before means I'll be watching. It's all great for the younger fans, and important the series and this worthwhile cause remain so linked.
You can donate to Children In Need here: http://www.bbc.co.uk/pudsey/
The Doctor is reunited with his fez, and an old friend, when a Time Travel experiment goes awry. But what's this mysterious "bionic fusion liquid"...? And where has Albert Einstein's toothbrush got to....? CLICK HERE to watch ONLINE!
We've really been rather spoilt for mini-episodes of DW this year! Following the Prom, NTA and Comic Relief specials, was this curiosity. Just in case you missed it, "Death Is the Only Answer" was a special story, shown on BBC THREE within an hour of the final episode of Series 6. As part of the final (certainly regular) episode of DOCTORWHOCONFIDENTIAL, accompanying "The Wedding Of River Song (613)". The long running behind the scenes series and BBC LEARNING joined forces earlier in the year to offer a unique opportunity for 9-11 year old schoolchildren to write their own script for DW. With the proviso it feature the Eleventh Doctor, played as usual by Matt Smith, and "an enemy". The winning entry to be chosen by the three senior members of the production staff, including show runner Steven Moffat, alongside the BBC's Controller of Learning. Children called Adam, Daniel, Katie, and Ben, all Year Six students at Oakley C.E. Junior School in Basingstoke, contributed to the winning script. They're collectively credited as writers of this, and the whole process featured in short bursts within these most recent block of DWC episodes under the title "Script to Screen".
The "mini-sode", as they're now being called, featured Nickolas Grace as Albert Einstein. A great actor, who will forever be Sherriff of Nottingham from Robin Of Sherwood to me. Younger viewers may not be aware Einstein has met The Doctor before, and journeyed in the TARDIS (back in 1987's "Time and The Rani) but never said a word. Nice how this script alludes to additional misadventures for the two! Maybe that's how they met Frank Sinatra and had a picture taken with Ole Blue Eyes ( "A Christmas Carol" 2010) "MONSTER MAN" Paul Kasey appears once again as the ever popular Ood. The fact that both these elements were chosen by the children of Oakley Junior, confirms firstly their classic monster status. Secondly, most tellingly, that this generation of kids, the 2nd primary school crop since the return of DW, have latched onto the mythology. And not just the "big stuff" either. The Fez, The Doctor's "famous friends", etc. This absortion of modern DW lore, down to the smallest parts, clearly keeps imaginations ticking. The fact The Doctor's "Fez", as shot up by River Song, was actually Eintsein's in the first pace is a nice touch.
Here's where I admit that I barely took any of this story in, at the first pass. It's very fast and loose, but loaded with little details and Matt Smith delivers a version of his Doctor, totally hyped up! With the camera moving around the TARDIS console room so much I felt like I'd spent three minutes stuck in a revolving door with two maniacs! That doesn't mean to say I didn't enjoy it, and aren't immensely proud that this series can and does inspire, and occasionally give back, to the most crucial of it's audience. I can only imagine what a thrill it must have been for all the kids at Oakley C.E Junior School, and offer them my congratulations.
...and you can see the wonder of DEATH IS THE ONLY ANSWER, here on You TUBE...!
COMMENTARY on -
DOCTOR WHO CONFIDENTIAL : THE CANCELLATION
A couple of months ago, BBC Three controller Zai Bennett cancelled long running sister series, Doctor Who Confidential, officially as a "cost cutting measure". Staggering fans, and leaving those involved with the series, past and present, baffled. The documentary programme has been part of their schedules since 26 March 2005, the same night DW returned from the TV wilderrness. Episodes are generally shown within 20 minutes of DW itself finishing on BBC1, on the digital channel. It's been a great success since their fledging days, even airing on Christmas Day and for one-off specials too. Now it looks like the confidential files are to close after this years Christmas edition.
DWC has maintained focus on the behind the scenes of DW. Incorporating interviews with cast and crew, alongside exclusive footage covering aspects of the whole production process from read through's to SFX problem solving. Originally each episode dealt with a specific topic and featured interviews and clips with stars of the classic series too. This lessened as the new incarnation of DW itself grew, eventually disappearing altogether, which I believe robbed it of some warmth. To my mind, those elements showed new viewers this 21st century SF adventure and the original run, from 1963-89 were the same legend. DWC began connecting dots and expanding themes.
There've been an impressive run of narrators too. David Tennant voiced the first special, preceding the relaunch. Writer and actor Simon Pegg was succeeded by Mark Gatiss for the first two full runs. Anthony Head took over for the following two. The latest two series have been narrated by Alex Price and Russell Tovey respectively. A special edition of DWC accompanied the DW Prom 2006 and the announcement of Matt Smith as the 11th Doctor was in a New Year 2009 special. Yes, it's true to say that DWC has made it's mark.
Predictably, I'm sad to see "Confidential" go. Though I can also see both sides to this, to be truthful. Less DW in the schedules is BAD news. Still it would be foolish to deny that TV has changed since 2005, and so has BBC THREE! It's identity, whom it caters for and its place in the grander structure of the BBC. If I were controller of a channel whose profile is rapidly asserting itself in the digital age, would I wish an hour of Saturday night given to a "behind the scenes" complementing another channels programme..? Maybe not.
DWC needn't air Saturday's, after DW. That wasn't when I'd watched, but I suspect the bulk of it's audience did? If viewers want DWC as is, maybe compromise could be looked into? I admit I'd suspected the programme was losing an "essential quality",of late. I'd never been convinced it should've increased run time from half hours (Series 1-2) to 45 minutes, sometimes longer than the series it covers!
DWC needn't air Saturday's, after DW. That wasn't when I'd watched, but I suspect the bulk of it's audience did? If viewers want DWC as is, maybe compromise could be looked into? I admit I'd suspected the programme was losing an "essential quality",of late. I'd never been convinced it should've increased run time from half hours (Series 1-2) to 45 minutes, sometimes longer than the series it covers!
The cancellation of DWC met with mild uproar. That "cost cutting" excuse seemed to incense more and inevitable petitions were launched immediately. The news attracted comment from Russell T Davies, Neil Gaiman and other professionals lamenting the loss of a unique series. Fair comment, but as DWC has continued, similar originated content (mostly produced by the same people) has established a presence in the ever expanding arenas of new, and social, media. The BBC has led the industry in these regards, so as one of it's most recognised and lucrative brands, DW has been the front line. Not just of the internetbut the RED BUTTON coming into greater play as regards support content. Then there's Twitter and facebook too. If its time as TV entity has reached an end then I suggest DWCONFIDENTIAL as a umbrella title, officially survives and EVOLVES online.The official BBC DW site has serious stepped up its video and exclusive access content since Steven Moffat has taken over. So maybe this is the natural organic progression..? A branded "DOCTOR WHO CONFIDENTIAL"sister site, updated all year round. Perhaps the odd special airing through the RED BUTTON or on BBC One.
Alternatively, a preferred option could be RELOCATION. Has no one else noticed that DWC would actually be a far better fit for the artsy orientated BBC FOUR, anyway....? That channel even ran a classic DW story, as tribute to Lis Sladen. Surely they'd welcome a rethought (30 minute) version of DWC? No soon had the cancellation been announced, the BBC also declared THREE and FOUR would re-strengthen ties to BBC ONE and TWO, so I wouldn't rule this option totally out. A new run is months away, and a lot can happen in that time.
Since 2005, the DW universe has noticeably changed too. In regards to public perception, both of it's lore and what it means to be a "fan". Was DWC a large part of this...? For a time it undoubtedly contributed. DWC supports the feeling DW is event TV to be excited about, and reflect on. Maybe that's less needed, 7 years on. I just think it better tie-in products don't out stay welcome, and move with the times. Rather than just existing. If BBC Three feel it's holding them back, perhaps they've done DW a favour..? Once DWC proved it's worth, other series followed. From "TORCHWOOD Declassified" to similar series accompanying USA imports. DWC has had a great run, but it's very much "last man standing" from that interim age in TV history when digital channels and freeview were in infancy. Those shows existence, were mutually beneficial. DWC leaves the screens before it's time, but had received flack from some, dismaying at it's decision to take Karen Gillan out snorkelling, or whatever. At it's best, DWC educated, entertained and fed appetites for more DW. Was forum for exploration of associated issues and on occasion showcase for people like Gaiman and David Tennant to share their personal connections, views and experiences of DW.
Any hint of an axe blade, near something DW related gets met with petitions, and anger from a few. Perhaps fandom feelsvulnerable, partially because of lazy journalism declaring falling ratings (which aren't!) reopening older wounds. This really isn't the case, but maybe (...just maybe!) we've had it a little too good, for a tad too long...? For weeks no one at BBC wales commented on the cancellation. Until Steven Moffat mentioned it in his regular column for Doctor Who Magazine.
"....all shows end, but not, in all sanity, while people still watch and love them,"he said. Adding, sensitively and mentioning no names:"...going by the numbers and the outcry, this show was watched and loved everywhere.."
The only side worrying me was that this decision could, if reported in a certain way, add ammunition to those inaccurate reports DW's popularity was waning. Nonsense! The public still adore this programme. Maybe more than ever, and I notice the BBC continue to sing of their pride in this stunning, world class series and legendary brand. Assuming that this is indeed the end of this particularly road, I thank everyone for their hard work bringing Doctor Who Confidential to our screens, and best wishes on future projects. It will not be forgotten.
Before I close this edition of my DW column, here's a reminder that next Wednesday is the 23rd of November, which as I'm sure you know makes it DOCTOR WHO Day. 48 years exactly, since the screening of the very first episode. HAPPY BIRTHDAY DOCTOR...!!
Celebrate with merchandise fromTNM COLLECTABLES Doctor Who Store
Doctor Who is copyrightby the British Broadcasting Corporation (BBC). No infringement intended.
Welcome one and all to my look just a few short days ahead, to the real highlight of Christmas Night (hell, probably even the whole 3 days!,hehe) It can only be the brand new Doctor Who Christmas Special for 2011.....once again this year, written by showrunner Steven Moffat. The 2011 seasonal offering, titled The Doctor, the Widow and the Wardrobe, debuts 7:00pm, on Christmas Day, as always on BBC One. Repeat showings later in the week, on both BBC One and Three and through the iplayer.
Believe it or not, this is the 7th consecutive "BUMPER" Christmas Special since the now legendary 2005 rebirth of this most special of series. Quite a tradition, for 21st century family audiences. One that's already confirmed to continue for at least another year, as a 2012 special is one of the block of episodes scheduled to film from February. Yes it's hard to imagine the Seasonal schedules without Doctor Who now.
Better make sure we savour every last drop of this adventure though, as it's some time until that next series of DW airs. The longest "new series" break between new episodes, in fact. I'll be continuing my DW coverage, here on the live blog feed. So please look in, throughout 2012, for my perspective on ALL things WHO related. For now let's pick out the choice bits from the press release and various interviews, to really prepare our pallets for Episode 614. Further down you'll find my thoughts on the exclusive online PREQUEL to this special, but here' a couple of links for starters...
Information about this Christmas Special began to filter through from the BBC within days of the cameras rolling in late September. From the synopsis, let alone that CS Lewis homage title, it sounds as if episode 614 could top even last years Dickensian flavoured one, for sheer Christmas-iness (not an actual word, as spell-checker keeps reminding me!) With The Doctor finding himself in war-torn England, embarking on a magical, mysterious quest with a young widow Madge, and her two children: Lily and Cyril. It certainly boasts a cast most TV dramas would envy, as is always the case, to be fair.
Joining the unstoppable Matt Smith for his 2nd DW special are Claire Skinner (Outnumbered), Bill Bailey (Black Books) David Tennant's close friend Arabella Weir (The Fast Show) and Alexander Armstrong (..of seemingly a dozen panel shows, but more importantly the voice of Mr Smith on The Sarah Jane Adventures!)
Writer Steven Moffat, unveiled the special:"The Doctor at Christmas - nothing is more fun to write. Maybe because it's so his kind of day - everything's bright and shiny, everybody's having a laugh, and nobody minds if you wear a really stupid hat. Of all the Doctors, Matt Smith's is the one that was born for this time of year - so it's the best news possible that he's heading back down the chimney."
Claire Skinner added:"I am thrilled to be in Doctor Who playing Madge who is a bit of super-mum. It's a magical part." Bill Bailey is almost a national treasure. Much loved comedian and performer. He's also a long-standing DW fan, who's included routines on the series in his one-man shows. So naturally, it appears he's bursting to tell about his appearance, but is sworn to secrecy:"I divulge any of the secrets, but yes just to say I have a cameo in it and great fun it is too. It's fulfilled a lifetime's ambition for me. ...I've watched Doctor Who for as long as I can remember. My earliest memory of watching TV is hiding behind the sofa from the Cybermen..."
Claire Skinner added:"I am thrilled to be in Doctor Who playing Madge who is a bit of super-mum. It's a magical part." Bill Bailey is almost a national treasure. Much loved comedian and performer. He's also a long-standing DW fan, who's included routines on the series in his one-man shows. So naturally, it appears he's bursting to tell about his appearance, but is sworn to secrecy:"I divulge any of the secrets, but yes just to say I have a cameo in it and great fun it is too. It's fulfilled a lifetime's ambition for me. ...I've watched Doctor Who for as long as I can remember. My earliest memory of watching TV is hiding behind the sofa from the Cybermen..."
When Matt Smithspoke to the Radio Times, always so comprehensive and exclusive in their coverage of DW, he reaffirmed this specials' debt to another much-loved British family favourite: "There's a Narnia-esque shape and feel to the telling of this story....there's a slow-burning, ethereal magic to this."
I'll put my hands up and admit that last year, I was slightly non-plussed at the propsect of a further version of A Chritsmas Carol, even from my beloved DW. Only to be blown away by the best Christmas special in years, possibly ever. Taking Moffat's inventive and entertaining spin-off, rather than "on" the classic tale as a possible guide, I'm not going to be foolish enough to expect something literal twelve months on. I'm more up for this special than ever. The production values alone, look jaw-dropping even by DW's constantly rising standards. A look down the cast list in such magazines contains perhaps more information that you may wish to know, before watching, I will warn. If you've resisted up to now, keep resisting is my advice. That's assuming you want maximum surprises and delight from The Doctor, The Widow and the Wardrobe, at 7pm on Christmas Day.
Whilst I'm at it, look out for our Matt Smith when he's a guest on Graham Norton's Christmas Show, Friday night at 10:35. The two have quite a rapport, based on past encounters, so should be a few giggles and mice pies flying about.
The Doctor is alone again, and in rather a pickle.
Can one last frantic call to his best friend stop him being blasted to smithereens...?CLICK HERE to watch ONLINE
By now we know the drill with the not actually prequels, so much as PROLOGUE's to forthcoming episodes of DW. The BBC have treated us to 6 of these, 90 second-ish slices of addtional and canonical drama, this past year. Some have proven more "throwaway" than others, once the actual episode has been revealed. But all have been fun with something, even if it's just a "nice" performance by a guest artist, to justify investing a few minutes in.This time it's just Matt Smith's energetic Doctor, a big red-button and a "phone call". It's as if no matter how much of a panic The Doctor is in, he still thinking of a couple of dozen things in any given moment....and needs to talk about it, to someone he cares for. Or maybe more crucially, who cares for him. Here he's rattling away to Amy, even though she's not actual aboard the TARDIS, even part-time anymore. His appeals for help appear to go unheard, and when we last see him, he's in total "Frank Spencer" mode (we get that a lot in Smith's Doctor, I'd offer!) So much so I expected an "oooooooooo...." as the inevitable happens and the monolithic spacecraft he's aboard, explodes in the final seconds of the prequel.
.....okay, so we're hardly convinced the Old Man has finally shuffled off are we...? Surviving life/death situations, this year even more than most, is a calling card of the character and indeed the series. These superficial cliff-hanger moments have been "bread and butter" since '63. 90 seconds holding a button is long enough to amuse and be quintessentially a DW moment, so it hardly matters that this exclusive is devoid of true tension. What it does declare is that DW is back, even if just for one evening and you'd be CRACKERS (...hehe) to miss it...!! Maybe there is more to this scene, and this particular, apparent demise, than meets the eye......? We find out what happens next, on Christmas Night.
Before I sign off my DW coverage for this year, if your appetite is so whetted for the new special and you need some TARDIS travel right now....? Well, the BBC iplayer is currently carrying DW Christmas specials from the last few years. Specifically worth a CLICK is last years marvellous "A Christmas Carol". An hours worth of DW which gets better with each viewing, and easily the most seasonal of them (...so far, anyway) As such it's not the easiest to rewatch at any other time of year and really FEEL it, you know...? Here's the LINK:
Then make sure you're in front of the box, with your belt loosened and the Jaffa Cakes to hand, for the 2012 Special at 7pm Christmas Day. Which naturally, I'll be reviewing here in good time. Merry Christmas and a Happy New Year, to you and yours, wherever and whenever you are....!!
Celebrate with merchandise at TNM COLLECTABLES DW Store
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