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Tag: Nu-Who

London Calling

Review of The Bells of Saint John
Warning: This review contains episode-specific spoilers and wild speculation about future episodes.

I really want to give Clara’s “no, this time we mean it!” introduction story an enthusiastic thumbs-up, but I can’t quite.

Like most Moffat-penned scripts, it zips along at such a fast pace that it’s easy to get caught up in the moment and come out saying, “Wow! That was great!” But Bells (and what the hell sort of irrelevant title was that, anyway, based on an utterly toss-off portion of the story from 1207?) also suffers from the common problems that plague Moffat’s stories.

To begin, we’ve got the usual casual misogyny, like when the young monk asks if the Doctor is speaking with an evil spirit and when he’s told “it’s a woman,” he crosses himself. This one I’m willing to let slide because, OK, it’s 1207 and the dude’s a monk who’s probably not supposed to have any contact with women. But it’s still in rather poor taste.

More irritating to my mind is the way the Doctor insists that Clara repeat The Question to him three times. I never used to think of the Doctor as a pure narcissist – a bit overly proud of his intellect, perhaps, but not full of himself – but that’s how that scene presented him. The Doctor seems to be exhibiting an ever-increasing number of troubling character traits these days (and I’m not just talking about some “fall into darkness” he might be experiencing), and I find myself watching with more trepidation all the time.

Nu-View #13: Setting the Standard

Dalek and The Long Game
(Series One, Eps. 6-7; 2005)

Viewed 12 Mar 2013

Doctor/Companion: Nine, Rose Tyler
Stars: Christopher Eccleston, Billie Piper
Preceding Story: World War Three (Nine, Rose)
Succeeding Story: Father’s Day (Nine, Rose)

I distinctly remember my Original Who Mentor watching my face avidly for my reaction when the trailer for Dalek ran at the end of the previous episode. Not having grown up in the UK, and not having been one of “those people” growing up, I’d never even heard of a Dalek before. He was, needless to say, somewhat disappointed.

It was an entirely different sort of expression I was anticipating on the Ladies’ faces when we watched this the other night. This episode has become one of my all-time favorites, and certainly my favorite of Series One. So I was hoping for some “oh, yeah – I remember this!” looks of pleasant surprise as the details slowly dug their way out of foggy memories.

However, things were even foggier than I’d feared. “I don’t even remember this one,” jO said confusedly as the opening credits rolled. Not that it got in the way of our enjoyment. It’s a bloody brilliant episode, and I’m not sure Eccleston’s ever better in the role. First, when he encounters the Dalek in its “cage,” the consternation and terror are plain to read on his face. Once he realizes the Dalek isn’t, shall we say, fully functional any more, he does a beautiful job going off the deep end. The Doctor really is insane in those moments, and you see it in his eyes. Later, his “I killed her. … She was nineteen years old” speech is one of the best deliveries he gives throughout his tenure. Writer Rob Shearman gave Eccleston plenty to sink his teeth into, and did he ever run with it!

Nu-View #12: New Monsters on the Block

Aliens of London and World War Three
(Series One, Eps. 4-5; 2005)

Viewed 05 Feb 2013

Doctor/Companion: Nine, Rose Tyler
Stars: Christopher Eccleston, Billie Piper
Preceding Story: The Unquiet Dead (Nine, Rose)
Succeeding Story: Dalek (Nine, Rose)

Looking back, it’s amazing I ever became a fan at all. In all honesty, I very nearly didn’t make it past these two episodes.

I watched the first five over a period of a week or two with the friend who introduced me to Who, and then it all kind of fell by the wayside. I don’t think we came back to it again for a year or more. When we did, I was reluctant. The stuff I’d seen was OK – pretty good, even – but with Slitheen as my last impression, I was, shall we say, less than keen on continuing (perhaps understandably).

I was willing to give it another shot, though – and obviously, I’m extremely glad that I did! But as I look back, these are among my least favorite episodes of this series. I think that’s partly because the Slitheen got so overused after this, both in Who and especially in The Sarah Jane Adventures, but just something about these introductory episodes has put me off.

Imagine my surprise when, upon watching them again with the Ladies, they didn’t suck as hard as I’d remembered.

The Doctor returns Rose home, a mere twelve hours after she’d left (yay, time travel!) only to discover it had actually been twelve months (“details,” scoffed jE). All of the mother/daughter stuff between Jackie and Rose is well done here, from the snarking and frustration with each other to the honest concern and regret for having caused it. RTD may have brought families a bit too much into the mix for my taste, but there’s some good storytelling around it in these episodes.

The Winter of Our Cautious Optimism

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

I’m not sure there’s much more I could have asked for. (Oh, of course there is. A puppy is always nice, for example…)

Seriously, though, I think this is the best Christmas Special in a good long while (the best since Christmas Invasion, in my opinion). No episode is ever absolutely perfect, and I’ll get to the parts that irked me later. Frankly, I wouldn’t be much of a blogger if I couldn’t find something both to love and to hate about any given story, but generally speaking, I have to say I quite enjoyed The Snowmen.

I think a great part of that is because it wasn’t terribly Christmassy. That is, it felt like a “regular” episode (with a bit of extra time for plot development) that just happened to be set at Christmas, much like Nine’s story The Unquiet Dead. Nothing except (here it comes – my first, biggest complaint) the über-sappy, saccharine explanation of “a whole family crying on Christmas Eve” relied on the specific time of year in order to make “sense.”

And, to be honest, it just doesn’t. It’s not like no one else in London has ever – or even in that very year – lost a loved one right at Christmas. It happens to people the world over all the time. Why is this family’s pain special? The simple answer is: it’s not. (No more so than the loss of his most recent Companions is particularly special to the Doctor. But I’ll get to that later.) That fact, combined with the overwrought emotional manipulation that plagues Moffat’s episodes, make the denouement of this part of the story unsatisfactory.

Nu-View #11: Back to Our Roots

The End of the World and The Unquiet Dead (Series One, Eps. 2-3; 2005)
Viewed 27 Nov 2012

Doctor/Companion: Nine, Rose Tyler
Stars: Christopher Eccleston, Billie Piper
Preceding Story: Rose (Nine, Rose)
Succeeding Story: Aliens of London (Nine, Rose)

Last month, after we finished watching The Angels Take Manhattan, we Ladies weren’t really ready to call it a night. After all, 45 minutes of Who is hardly enough. So, on a whim, we decided to watch Rose.

Needless to say, it was a huge nostalgia bomb. For three of us, it was the first episode of Doctor Who we’d ever seen. You never forget your first. We all enjoyed getting back to our beginnings with Nine and Rose, and so it was decided that we would continue on with them for a while.

So here we are, back at our beginnings.

For most of the Ladies (everyone but me), it had be a long time since they’d seen Nine in action. Much of our evening was thus spent just watching the action unfold on screen, and laughing at all the jokes. But now and again, a comment would pop out.

“Teach her not to be impressed,” jE declared as Nine finished his “welcome to the end of the world” speech. Then came the opening credits. jA commented on how this version really takes her back, and I can’t help but agree; this was my introduction to the entire Whoniverse, and there’s something incredibly special to me about listening to that first Murray Gold theme. It puts me in a special, treasured mental space.

A Farewell to Aims*

Review of The Angels Take Manhattan
Warning: This review contains episode-specific spoilers and wild speculation about future episodes.

It all makes sense now. Well, I say “all”… Clearly, some of it is still utter nonsense, but at least one of the things that’s been bugging me all series is finally obviously and satisfactorily resolved, at least in my head. But I’ll get to that.

Let me start by talking about how this – this – is finally the kind of episode I’ve been looking for all series. At long last, here’s one I can get behind wholeheartedly because there’s so much right with it, I can ignore just about everything that isn’t.

I really liked the gumshoe detective novel feel to the 1938 portion of the episode (aside from “bouncing off 1938” – wtf?), though I didn’t cotton on till the second time through that Mr. Grayle was deliberately feeding the Angels, nor that it wasn’t necessarily Mr. Garner himself typing up the chapter on “The Dying Detective.”

Even better, though, the Angels have gone back to the basics and once again become the kill-you-by-letting-you-live-to-death monsters we fell in love with in Blink. Somehow, the insidious nature of this particular mechanism makes them creepier and more interesting to me than the sheer monster in the dark we saw back in The Time of Angels. It’s made even more horrific by the way both Garner and Rory are confronted with their future selves (loved the age makeup, too!). It’s good to have the “original” Weeping Angels back.

The Weakness of Plot

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

“Uh-oh. It’s Chibnall again.” Despite my more-optimistic-than-any-previous-episode reaction to the next-time trailer for The Power of Three, I couldn’t help wincing a bit and bracing for the worst when I realized it was another entry by one of my all-time least favorite writers. I’m happy to report, though, that I didn’t hate it.

Granted, after some thought and a subsequent viewing, my initial very positive reaction was somewhat dulled as I realized how many plot holes there were, but somehow I was still mostly able to look beyond the letdown-y bits and have fun with it. Because – let’s face it – I’m a sucker for any reference, however oblique, to the Brigadier.

OK, OK… There were other parts to like, too (Rory in his pants (or “underwear,” for us Americans) was clearly among them). In fact, there was a lot I enjoyed. Especially that first time through, I got swept up in the “romp,” willing until the very end to play along with what I was clearly intended to be getting out of it. There was a silly-fun puzzle with the cubes, another fish-out-of-water interlude with the Doctor trying to take the Slow Path with Amy & Rory, more of Rory’s charming dad Brian, a random reference to an attempted Zygon invasion, and the delightful Kate (Lethbridge-) Stewart.

In other words, all the window-dressing was beautiful.

Respect, If Not Affection

Review of A Town Called Mercy
Warning: This review contains episode-specific spoilers and wild speculation about future episodes.

I don’t know what it is about S7/S33, but I’m just not feeling it. Each episode has been beautifully rendered – good acting, good effects, and in this case a gorgeous location – but I have yet to feel a visceral connection with anything going on in the lives of the Doctor, Amy and Rory. Maybe it’s because we’re not really following their collective lives anymore.

Whatever is going on, I still liked this episode better than the last one. In Dinos, everything from the title on down was designed for the kiddies, with a few incongruous bits of very adult themes thrown in for good measure. Here’s its rather the opposite. We’ve got a cool-looking cyborg, but that’s the backdrop for a huge ethical exploration of what it means to be a war criminal. As Sue of Adventures with the Wife in Space would say: Not. For. Kids.

Maybe that’s why I enjoyed Mercy more than Dinos, though. Westerns aren’t my favorite; I vastly prefer The Seven Samurai to The Magnificent Seven. Despite that, I really felt like this was a story I could sink my teeth into – the spaghetti Western bit was just set dressing (as opposed to the first time the Doctor was coerced into becoming a lawman in America’s Old West). Really, it could have been set anywhere, anywhen – they just happened to decide to put it in the 1870 U.S. frontier.

Some Treasures Among the Coprolites

Review of Dinosaurs on a Spaceship
Warning: This review contains episode-specific spoilers and wild speculation about future episodes.
Further warning: Profanity ahead.

I’m going to be up front about this: I didn’t really care for this episode. To start, I’ve never been much of a Chris Chibnall fan. No disrespect meant, but I’ve just never particularly enjoyed his episodes. Mix that with the fact that I thought the whole dinosaurs-on-a-spaceship concept was less than fabulous (not to mention a ridiculously stupid title – I find the Snakes on a Plane reference juvenile and tawdry), and you have a recipe for … well, for a bit of a letdown.

Before those of you who adored the episode crucify me, let me say I did not hate it unconditionally. There were parts I liked, and I’ll get to those. But having come in with low expectations because of the title and then having my heart sink when I saw Chibnall’s name on the screen, it was bound to be a bumpy ride. And while I could have fun with it from time to time, overall I came away with a distinct lack of enthusiasm.

Let’s start at the beginning. Surely I can’t be the only one who’s noticed with chagrin how strongly it’s implied lately that the Doctor is not only sexually irresistible to every (usually historically famous) woman he comes across, but that he is sexually attracted to them in turn. I mean, I thought the whole thing with Ten and Queen Elizabeth I was bad – Queen Nefertiti in the opening moments here (and Mata Hari last week) is just over the top. Now in the interest of full disclosure, I will admit I totally ship Ten/Rose (that’s effectively canon), but that happened gradually over many many episodes. It started as a friendship, and built from there, rather than coming sheerly from a basal place of horndoggery like this. So I was irritated right off the top.

A Trick with the Memory

Review of Asylum of the Daleks
Warning:  This review contains episode-specific spoilers and wild speculation about future episodes.

Well. It looks like it’s time to revise Confession #23. In truth, though, there’s still much to be seen about where that particular plot twist takes us as we head into the second half of the series. More on that later, though.

My initial reaction was generally positive. Having managed to avoid any spoilers, I was suitably surprised by all the key revelations, and had no qualms allowing myself to be swept up in the narrative as it galumphed rapidly toward its conclusion. (Can galumphing ever be rapid? I’m going with “yes.”) The Doctor’s questions niggled at the back of my mind, too, but I was content to let them percolate until the denouement made it all clear. I might have been able to puzzle it out on my own given time, but of course the script never gives you that luxury.

One thing that the pacing made unpleasant for me was that the mass of Daleks wasn’t… errr… massive enough. I know it’s weird to say I didn’t think there were enough Daleks (especially given my recent Confession about my feelings towards Daleks), but all the pre-show hype about “every Dalek ever” made it seem like it would be more obvious to non-experts like myself. I did love the list of survivors of various wars in the Intensive Care ward of the asylum, though (and even recognized many of them before looking them up): Spiridon, Kembel, Aridius, VulcanExxilon… So there was at least some verbal mention of diversity. I’ll still have to go back to the cover of my Doctor Who Magazine #447 and review the physical differences so I know for whom to look. Even with my eyes peeled, I was barely able to find the Special Weapons Dalek.