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Tag: Eleven

The Almost Plot

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Review of The Almost People
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.


Source – bbc.co.uk – © 2011 BBC

OK, I’ll be honest:  the specifics of the ending surprised me.  As for the general shape of it, though, I totally called it (see my previous speculation regarding the Creepy Eyepatch Lady). That part wasn’t as heavily telegraphed as the events of either the previous episode or this one, but it’s all there if you go look for it (“breathe, Pond”).

What was just as obvious as in The Rebel Flesh was the “mistaken” identities. I already pointed out last time that there were almost certainly two Ganger Jennifers (poor Rory – finally grew a pair, only to discover he’d been led around by them). The further hints laid out here were again copious (e.g., the machinery won’t recognize her as a valid operator), but hardly more so than the hints that Amy was saving her affection for the “wrong” Doctor. I’m not even sure how we were supposed to get fooled by that, since just about the only time we see the “distinguishing” shoes is the initial close-up on them; all we have to go on is the other characters’ reactions to the supposed DoppelDoctor. The only surprise would have been if they hadn’t mixed them up. After all, what’s more cliché than the Beast really being a Prince (unless it’s the inverse)?

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It’s Just Gunge

Review of The Rebel Flesh
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.


Source – bbc.co.uk – © 2011 BBC

Derivative much?  It’s been a long time since I saw a story so predictable; I knew the major plot points by the time last week’s trailer was over.  Great:  some sort of it-could-be-human-except-it’s-not-alive technology becomes self-aware and gets in a fight for its life with “real” humans.  ~yawn~

Not only does this echo countless science fiction/horror classics from Frankenstein to Blade Runner to Who‘s own Robots of Death (fear of the nearly-us-but-clearly-Other is deep-seated), the story is a ripoff of other, newer Who stories.  There are obvious parallels with stories as recent as The Waters of Mars and The Hungry Earth/Cold Blood, not to mention smatterings of The Doctor’s Daughter, The Impossible Planet/The Satan Pit and just about every Auton or base-under-siege story ever made. And did anyone not see the “cliffhanger” coming from the instant the Doctor first touched the Flesh?  If that had been any more heavily telegraphed, viewers would’ve had to set up little cable offices in their living rooms (or wherever they watch their Who) to take the messages down.So let’s get the boring stuff out of the way first. When our heroes first walk into the monastery, the camera POV from behind the stones is suggestive of someone watching them – like a Ganger already going walkabout. Later, it’s only Jennifer who’s not hooked up. Why? Is she already a stabilized, independent Ganger? Could be. Wouldn’t surprise me if that crops up next time (like the one Operator who keeps sneezing; Chekov’s gun much?). And does Ganger-Jennifer mean anything more than that she plans to disable her Operator-self when she says she’s going to “take care of the spare one running around out there”? Or is there a spare Ganger? Truth be told, I don’t really care. I just feel I need to speculate to stay awake…

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Sexy Is As Sexy Does

Review of The Doctor’s Wife
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.

Oh, me of little faith.


Source – bbc.co.uk – © 2011 BBC

Even knowing Neil Gaiman’s work both by reputation and by example (e.g., the rather dark novel American Gods), I still doubted the likely quality of the episode he had written once I learned some of the details.   Specifically, when the news of Episode 4’s title came out, I groaned inwardly.  OK, sure, I was 99.9999% certain it was a red herring – nothing “new” and “notable” would be learned about the Doctor’s personal history, and there was going to be some tricky way in which there was and yet wasn’t an actual wife (spot on there) – but just the suggestion was enough to turn my stomach, especially since I knew there were going to be fans out there somewhere saying, “I knew it! Here’s where we learn about River!”

And then there was the Ood.  Now don’t get me wrong – the Ood are an interesting enough race, and they certainly have their place (I happen to believe that place is firmly in the RTD era…).  Regardless, the sight of an Ood at the end of last week’s trailer was enough to reduce my appetite for this episode by about an order of magnitude.  Thank goodness all of that was totally irrelevant.

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In the Manner of a Sorbet…

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Review of The Curse of the Black Spot
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.

I have to admit, I like a good pirate story as much as the next Deppophile, and what genre doesn’t get better when you add Doctor Who?  Well, maybe a pirate story…


Source – bbc.co.uk – © 2011 BBC

I’m not saying there was anything wrong with Black Spot, but it was a rather run-of-the-mill, overall unremarkable kind of episode.  It was a classic romp – nice and fluffy – something to cleanse the palate between that meaty season-opener and the much-anticipated Gaiman-penned episode coming up next.  I’ve read that it was originally intended to be aired in the episode 10 slot, and I can see that working; there’s clearly no major story arc here.  There are, of course, a few nods at what has come before (e.g., a flashback to the Doctor’s death) and a few hints at things yet to come, like another appearance of Creepy Eyepatch Lady (CEL).

You have to wonder what the CEL signifies.  I think her lines are our biggest clue.  When we first saw her in Day of the Moon, she said something about someone “just dreaming.”  We can interpret that as we may, meaning The Little Girl, Amy, or someone completely different.  My latest hypothesis, based on her comments in Black Spot (“It’s done. You’re doing fine. Just stay calm.”), is that she’s speaking of (and to) Amy.  Might Amy not be undergoing some medical procedure (e.g., insemination with Time Lord DNA), and her current adventures are her subconscious or other-dimensional experiences during said procedure?  I admit that’s pretty out there, but it could fit the (admittedly sparse) data.

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A Pregnant Silence

Review of Day of the Moon
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.  It also contains profanity.  Proceed at your own risk.

This being the first story of the series, I wasn’t expecting resolution for many of the dangling plot threads in the second half of the two-parter. However, I don’t think I expected as many new ones to be woven in, either. And frankly, I’m not convinced that the threads that seemed to get tied up really are. Oh, what a tangled web Moff weaves…

Starting things off in style with a beautifully wrought mind-fuck allows the production team to squeeze in a few more shots of the good ol’ US of A (I have to say, it’s slightly amusing in Confidential to watch the Brits wax poetic about the American landscape; I suppose it’s a grass-is-always-greener situation, since I find the backdrops here beautiful but almost blasé in their familiarity, while I’d be walking around London and surrounds like a slack-jawed yokel, myself), and puts the viewer off-kilter for a beat.

But soon we’re back to the more familiar, with the Doctor having done something incredibly clever (watch him *snap* the TARDIS open), and River having trusted him with her life yet again. A little bit of exposition later, and it’s on to a truly hide-behind-the-sofa-worthy haunted house. I have to say this is one of the creepiest (darkest, if you will – that seems to be the adjective the production team is using) episodes I’ve ever seen, from any era.

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Something That Matters

Review of The Impossible Astronaut
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.

Wow.  Where do I start?
Maybe it’s best to back up and explain that in the lead-up to Series Six, especially in the last couple of weeks, I’ve been doing my desperate best to avoid seeing any spoilers for the series – I’ve even avoided some of the official BBC news items.  Hopefully this attempt at isolationism will allow me to come to the series with a suitable sense of surprise as new plot points are revealed to the Doctor and his Companions. (If you’ve already read all the spoilers, you’ll probably be able to tell me exactly where I’m going wrong in my analysis and speculations, but please don’t.  I really want to find out in my own time, by watching the episodes.)  I have to say, I found plenty of surprises, but even more tantalizing tidbits that could be either clues or red herrings (with Moffat you never know).
From the moment in the prequel when Nixon assures his caller that “there are no monsters in the Oval Office” (a beautiful political double entendre that you can apply to your administration of choice), it’s clear that we’re in for a doozy.  And the action really is pretty much non-stop from the rapid strides of an irate monarch right through to the moment we hear the sting into the credits.
As I understand it, one of Moffat’s goals was to make the season opener feel more like the finale in scope and drama.  For my money, he’s done it.  Surely there has never yet been a single episode so crammed full of quotable (and quite possibly notable, in terms of story arc) quotes.  Some are just plain hilarious (like the exchange when the Doctor’s asserts that River’s wearing her “‘he’s hot when he’s clever’ face”), some are poignant (“We do what the Doctor’s friends always do:  what we’re told.”), and some set off little alarm bells (“You lot.  Thought I’d never get done saving you…”).
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Confession #3: I Might Like Matt Smith Better Than David Tennant

Blasphemy!  Heresy!  Buuuuuurn heeeeeer!

OK, that’s probably overstating the reaction a bit, but I may well be ostracized at my own get-together after this one.  The Ladies of WhoFest are firm Tennantites, so admitting my Smithian leanings is sure to engender some antagonism, or at the very least disdain. I can’t deny it any more, though.  I think Eleven has surpassed Ten for me in terms of watchability.

Don’t get me wrong – Ten is my Doctor.  I fell in love with him (yeah, I mean it that way – how Mary Sue of me; and yes, I wept like a pregnant lady during The End of Time…), and through him learned to love all the Doctors, each in their own way.  But there’s something a bit off-putting about The Lonely God after a while.  While I loved the Saddest Doctor when he was in a manic phase – oh, that smile… – I got tired of him getting screwed (metaphorically, and – depending on how you interpret a few things – literally) all the time.  The guy couldn’t catch a break.  Given how RTD chose to write his story arc, I have to say it was probably time for Ten to regenerate; I mean, how much lower could he go?

Perhaps it will come as no surprise, then, when I say that what I’ve come to love most about Eleven is the return of his joie de vivre.  Sure, the pain is still lurking there in his eyes when someone forcibly reminds him of it, but for the most part, he can put it out of his mind the way anyone who’s lost a loved one learns to do (or, as Two put it in Tomb of the Cybermen, “I have to really want to – to bring them back in front of my eyes. The rest of the time they… they sleep in my mind, and I forget.”).  But overall, Eleven gives off a kid-in-a-candy-store vibe, like he hardly knows where to begin because it’s all so fabulous – sort of like Ten’s breathy “that’s beautiful!” upon first seeing the werewolf in Tooth and Claw, except all the time. New regeneration, new companion(s), new outlook; in a sense everything that Ten was really did die.  And while part of me misses him, another larger part just doesn’t have the time, because watching Eleven is too damn much fun.

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A Dickens of a Good Time

Review of A Christmas Carol

Try as I might, I cannot find a way to make “Christmassy-wistmassy” sound good in a sentence.  But how else do you accurately describe the action in A Christmas Carol, which is simultaneously about as timey-wimey as we’ve seen and also unrelentingly inspired by the holiday season (and, more specifically, by its namesake)?  After a somewhat shaky start (“Christmas is canceled!”? What kind of rubbish line is that?), the episode turns rollicksome and barely pauses for breath.  Little details made me smile before the story really even began.  I mean, how can you not love Amy & Rory’s discomfiture at being caught with their barely-metaphorical pants down?  And after all that happened last series, it’s brilliant finally to see Arthur Darvill’s name in the credits.

From the title down, the whole episode is deliberately Dickensian – the Doctor himself makes a conscious decision to mimic the story when his answer to Amy’s query changes from “a Christmas carol” to “A Christmas Carol”.  Thus it’s no surprise right off to hear Kazran’s rant (“I call it expecting something for nothing!”) so closely echo Scrooge’s complaint that Christmas is “a poor excuse for picking a man’s pocket every twenty-fifth of December!”  It’s almost like a game to find as many references as you can, though perhaps it would be wise to stop before you started counting every little quasi-Victorian detail on the set.

While I’m on the topic of minutiae, I may as well mention the Doctor’s new jacket; his fabulous entrance; and the way he continues to be as frenetic as ever, delivering viciously funny lines that are all too easy to miss while you’re still laughing at the last one.  (A few of those – like the whole bit about the face spider – feel like something Moffat couldn’t bear to leave on his Wonderfully Scary Ideas clipboard despite the fact they wouldn’t support a stand-alone episode.)

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