Tuesday, February 26, 2013

De Pompadour of Love


It is only with the benefit of hindsight that I see that with The Girl in the Fireplace, Steven Moffat would eventually plagiarize...himself!  Now, before we get to that, I feel it best to state openly that it has been several years since I last saw GIF.  In fact, I hadn't seen it since its premiere (as with most of Season Two), and at the time I thought it good but not as great as other critics proclaimed it to be.  Certainly having The Doctor (David Tennant) be a major part of the life of a historic figure is nothing new, and even the setting of France isn't new (two First Doctor stories, The Reign of Terror and The Massacre of St. Bartholomew's Eve aka The Massacre are also Franco-centric with the former being within the same century as the events in GIF).

I am trying to keep my growing anger at Steven Moffat (who wrote Girl in the Fireplace) from clouding my view of the episode.  I was successful up to a point: while Girl in the Fireplace has some good ideas rattling around it, in a strange variation of timey-wimey spacey-wasey I found myself constantly referring to an episode from the future because I found a surprising number of similarities between GIF and another story (but much more on that later). 

There is an attack at Versailles, with robotic beings running wild.  A beautiful young woman runs to a fireplace and calls for The Doctor.  Meanwhile, The Doctor and his Companions, Rose Tyler (Billie Piper) and her quasi-boyfriend Mickey Smith (Noel Clarke) have arrived on an apparently empty spaceship.   The spaceship appears to be functioning despite a total lack of a crew.  Among the things they find is a chamber which is 18th Century French, which is rather curious.  The Doctor takes a peek and finds it looks straight into a bedchamber, where a little girl named Reinette (Jessica Adkins) is surprised to see a man in her fireplace.  She's more surprised when with a turn of a secret knob he spins into her bedroom, and triply surprised to find there is a monsters in her room.  It make a ticking sound, and the monster looks like a clockwork man in period costume and a mask, but it does not attack her, stating she is not ready.

The Companions, meanwhile, search the ship and find strange things within: a camera that is a literal eye, and a human heart pumping the machinery.  Meanwhile, the Doctor keeps popping in and out of Reinette's time, next seeing her as a young woman (Sophia Myles).  It is now he discovers that she is none other than Madame De Pompadour.  Instantly she realizes her 'imaginery friend' is not that at all, and he appears smitten with our Gallic Gal.  The Clockwork figures still menace both her and Rose & Mickey, at one point capturing them and threatening to make them a literal part of the ship.  The Doctor comes into all this, obviously after having a bit of a bender at Versailles (and having invented the banana daiquiri a few centuries early). 

What do you mean 'people won't take me seriously?'
The mystery as to why the Clockwork Men have been pursuing Madame De Pompadour is still unsolved, but Rose (who again has taken a dislike towards the French royal courtesan) has been sent to warn Madame that in five years her time (a few seconds or minutes their) the Clockwork Men will be ready to take her head.

Now comes the time, and Madame De Pompadour, having been taken prisoner by the Clockwork Men along with His Majesty King Louis XV (Ben Turner) is ready to face her fate.  Just then, The Doctor bursts through a mirror along with Arthur, a horse that has been wandering the spaceship after inadvertently wandering into it from the gardens of Versailles.  He manages to defeat the Clockwork Men but he knows there is no way for him to return to his Companions.

However, a great fortune befalls the Doctor: Reinette had her childhood fireplace brought to Versailles.  Unbeknown to her, she had brought a portal to the spaceship which allows him to return.  He asks Reinette if she'd like to go with him to touch the stars, and she eagerly agrees, rushing off to pack.  When he returns, he finds a despondent Sun King, who is seeing her coffin being ridden out of Versailles.  The Doctor receives a note from her, stating that she has been waiting for him but fears he never will.  The Doctor goes back to the spaceship, never knowing the real reason why the Clockwork Men pursued our Reinette...the now-abandoned ship was the S.S. Madame De Pompadour.

As I've stated, this was the first time I had seen The Girl in the Fireplace since it was first broadcast.  I have found that a good to great story is one loves watching over and over again.  Classic stories like The Aztecs, The Tomb of the Cybermen, and from NuWho The Unquiet Dead are still stories that I enjoy no matter how often I see them.  GIF won't rank there because despite the praise and awards it has earned,   it has too many things from Doctor Who stories past and future that end up playing a bit like a retread or remake-in-the-making.

Certainly Moffat has a great idea there: the idea of monsters of the future 'haunting' a figure from the past.  I, however, can't shake the feeling that the story could have been much better if an outside antagonist had been at the center of the attempts on Madame De Pompadour's life rather than a mere malfunction by the Clockwork Men.  What great fun we could have had with Rose & Mickey being caught up in the intrigue and decadence of the ancient regime. 

However, there were things in GIF that I flat-out didn't care for.  The first was Myles' performance as Madame De Pompadour.  The real Madame was a woman of refinement, great intelligence and elegant charm, one who held great sway over the monarch.  As portrayed by Myles, she was a simpering, rather blank and vapid woman.  This De Pompadour never struck me as being a woman of elegance or powerful intellect.  Instead, she seems to just be waiting around to satisfy the King's passions or the Doctor's fascination. 

The second is something that occurred to me while watching The Girl in the Fireplace.  It came early on whilst I was making my notes.  It was a simple, little thing, at first of no great importance.  However, once it got stuck in my head, I suddenly had an awakening...not of the Kate Chopin variety (I'd be thrilled), but instead of the "Madame Curie has discovered radium" variety (metaphorically speaking of course). 

"Imaginary friend to Reinette (similar to Raggedy Doctor)", the note read.  That was all.  Nothing more.  However, out of that one note came a shocking series of similarities between The Girl in the Fireplace and The Eleventh Hour that I am genuinely shocked no one has commented on them before.  As I kept watching, I began to wonder whether we were going through the same thing.  While it may be possible that the similarities between The Girl in the Fireplace and The Eleventh Hour are mere coincidences, there seem to be an inordinately large number of them to casually dismiss.

  • The Girl in the FireplaceReinette meets the Doctor for the first time as a little girl.
  • The Eleventh HourAmy Pond meets the Doctor for the first time as a little girl.
  • GIF: There is a monster in Reinette's bedroom.
  • EH: There is a monster in Amy Pond's bedroom.
  • GIF: Mickey & Rose are observed with a long expandable eye (the device created by the Clockwork Men).
  • EH: Amy & Rory are observed with a long expandable eye (the Atraxi taking the shape of it).
  • GIF: Reinette grows up thinking the Doctor was her "imaginary friend".
  • EH: Amy Pond grows up thinking the Doctor was her "imaginary friend". 
  • GIF: Reinette was The Girl in the Fireplace.
  • EH: Amy Pond was The Girl Who Waited.
  • GIF: The Doctor asks Madame De Pompadour if she'd like to travel with him, telling her to pack her bags.  She does but when he returns what he thinks is mere moments turns out to be years, and arrives too late (De Pompadour dying right before he finally arrived).
  • EH: The Doctor asks Amy Pond if she'd like to travel with him, telling her to pack her bags.  She does but when he returns what he thinks is mere moments turns out to be years, and arrives too late (she is a grown woman who needed therapy to convince herself "The Raggedy Man" was not real).

The Girl Who Waited...NOT!
Here we have about the only difference in story structure between The Girl in the Fireplace and The Eleventh Hour (starring The Girl Who Waited).  Moffat could not change history: De Pompadour died at 42, so having the Doctor come after her death solved the dilemma of having a well-known historical figure just disappear.  Amy Pond, however, is a different kettle of fish fingers and custard.

One wasn't able to join the TARDIS because of death.  The other wasn't able to join the TARDIS because she grew up, but now we have a wild continuity error that all but damns Steven Moffat.

From The Eleventh Hour onwards, Amy Pond (who after her marriage became...Amy Pond, having apparently married a man who started out as Rory Williams but ended up as Rory Pond) was "the girl who waited", the little girl who grew up angry at her 'raggedy man' for leaving her waiting outside after promising to take her to the stars.  Her anger was a motivation in her time with the Doctor.  As far as we (and she) knew, the Doctor had left her waiting outside her house and she had never really gotten over it. 

HOWEVER, we find that at the end of The Angels Take Manhattan, the Doctor had indeed returned to little Amy Pond that morning.  I'll grant that it's a beautiful moment (little Amy's face lighting up beautifully), but if he DID go back, then why would she have thought of him as A.) the Raggedy Man when Matt Smith's Doctor would have appeared perfectly dressed (rather than in David Tennant's rags), and B.) why would she harbor such resentment against her "Raggedy Man" when she would have known perfectly well that he would return in twelve years. 

It's a storyline that ultimately makes no sense.  It is frustrating to see two seasons virtually wiped with one 'cute' scene. 

End of Digression. 

I should also mention that we had Reinette at one point ask, "Doctor Who?", which appears to be a running gag with Moffat, using it as a source of comedy.  We also have Reinette's request that the Doctor 'dance' with her.  Curiously enough, the second part of the two-part The Empty Child (The Doctor Dances) was written by...Steven Moffat. 


There are certain things to like about The Girl in the Fireplace.  The costumes were pretty.

As I kept watching though, I couldn't imagine Sophia Myles' interpretation of De Pompadour to be that of the clever, witty, brilliant courtesan.  Instead, she seemed to be a bit dim and more infatuated with The Doctor than with the Sun King.  The way out for the Doctor left much to chance.  One wonders what would have happened if Reinette's old home had burned down before she became the official mistress at Versailles, or if the movers had damaged something.  It was all a little too convenient.  Also curious to me was that, despite using human body parts to keep the spaceship going, the Clockwork Men seemed oddly hesitant to actually start tearing Rose and Mickey apart for spare parts. 

Yes, it's a clever idea of having the Doctor pop in and out of a young woman's life (like we'll never see THAT again), but despite the praise I found The Girl in the Fireplace a bit cold and rather fast-moving, with a threat that never quite built up to the level it could have.  I still think it would have been better to have had the Doctor and Companions land straight into Versailles, where a much-amused Madame De Pompadour (and a slightly less-amused Louis XV) entertain the couple and save them from whatever menace is after them.

C'est La Vie...

Je suis désolé.  Je suis tres désolé...



Next Story: Rise of the Cybermen Parts One and Two (Rise of the Cybermen/Age of Steel)

Saturday, February 23, 2013

Smith & Lesson


School Reunion is the first time NuWho has acknowledged it had a long backstory before Rose, and it does so by bringing in the Gold Standard of Classic Who Companions.  It's a curious thing that the first time I saw School Reunion (at its premiere), I was thoroughly enchanted, but after a second viewing, I can't keep up the enthusiasm for it I had when first I saw it.  While School Reunion is a great acknowledgment of the promise and perils of being the Doctor's Companion, and while it also is a great story for kids that tap into all the fears and fantasies they have, in this case perhaps making things a little less obvious might have worked wonders. 

The Doctor (David Tennant) is working undercover as a physics teacher while Rose Tyler (Billie Piper) is a cafeteria lady in a school where strange things are going on.  They were first alerted to this by Rose's bumbling boyfriend, Mickey Smith (Noel Clarke), who figured that UFOs around the school area and new math teachers along with a jump in student's intelligence was suspicious (hacking into the Torchwood Institute files  helps).  The new headmaster, Mr. Finch (Anthony Head) is quickly established as a monster, but exactly what kind is a little bit mysterious.

Still, one can't argue with success.  The school scores have jumped, and the Doctor/Rose/Mickey trifecta have traced it to the chips (or fries to us Americans), that most of the kids eat.  This increase in student scores attracts the attention of the press.  Enter investigative journalist Sarah Jane Smith (Elisabeth Sladen).  The physics teacher known as John Smith barely contains his glee at Miss Smith's appearance, but she isn't interested...until she comes across a big blue police box while entering the school at night.  Instantly she realizes that the Doctor is here, and Sarah Jane and Doctor Number 10 reunite.

Still, no time for gentle moments: there's a mystery to solve.  There is also, as Mickey puts it, "every man's nightmare: the Mrs. and the Ex".  It is immediately clear that Rose dislikes, neigh, detests Sarah Jane, seeing herself as The Doctor's first...The Doctor doesn't seem too involved with Rose's jealous streak, telling her that "I live.  Everyone else dies," explaining why he cannot maintain Companions for long.  He has a lighter moment when he finds K-9, the old robot dog that he gave to Sarah Jane in the only Doctor Who pre-Rose spinoff K-9 & Company.  K-9, once fixed, finds that the oil used in the chips is from the Krillitanes, a species that conquers worlds and takes elements from the various creatures they conquer to their own.

Mickey is displeased to find that he is being relegated to the background ("I'm the tin dog", he finds himself saying when Sarah Jane asks what his involvement is to the Doctor).  Rose is displeased to find herself in a competition for the Doctor's affection (even if it is a competition in her own head), and Sarah Jane is displeased to find herself facing her past.  Throw in Mr. Finch and his fellow Krillitanes, who are displeased to find the Doctor interfering in their plans to take over Earth.  They want to break the Skasas Paradigm: the God-Code (or Theory of Everything) that will allow them to rule over all galaxies and time.   They have been tapping into the children to get their imaginations to help them in this endeavour, with the oil & chips increasing intelligence.

In the end, the only boy who never eats the chips due to health issues, one Kenny (Joe Pickley) helps the Doctor and Companions Past & Present blow up the school, though it causes K-9 to sacrifice himself.  The Doctor does something he has not done with Sarah Jane before...say good-bye.  However, he also says hello to Mickey as a full-fledged Companion.  He asks to travel with the Doctor, and while Sarah Jane encourages the Doctor to take him on (he always needs a Smith around, she tells the Time Lord), Rose sounds less than thrilled.

Finally, the Doctor leaves, but he leaves a surprise: a new K-9, with whom Sarah Jane can travel to new adventures of her own...

There were and are still many things to admire in School Reunion.  First is the most important fact: School Reunion ties NuWho (for better or worse) with Classic Who.  Toby Whithouse's script firmly establishes that the Doctor Sarah Jane worked alongside with (Jon Pertwee's Third and Tom Baker's Fourth...not counting One, Two, and Five from The Five Doctors) has been regenerated into David Tennant's Tenth (Ten for Tennant...whatever are the odds).  He immediately recognizes her, she immediately recognizes the TARDIS, and he comments how he's regenerated a half-dozen times since last they saw each other. 

I also thought Whithouse's script worked well if one thought this Doctor Who story was geared more towards children.  School Reunion taps into all those curious fears kids have about their teachers being monsters.  It also has some wonderful moments of dialogue.  At one point Finch tempts the Doctor (like Satan tempting Jesus after His forty days in the desert) by telling him that by helping him break the Skasas Paradigm he could bring back all those who've died.  Sarah Jane is also vaguely tempted by Finch's suggestion that she can be young forever, never grow old or die, always be with the Doctor.  While the Doctor appears to be softening to this line of reasoning, it is Sarah Jane who sets him straight.

"Pain and loss, they define us as much as happiness or love.  Everything has its time and everything ends," she tells them.  With that, the Doctor immediately destroys the mass computer and begins his final take-down of the Krillitane.

Whithouse also comes close to vulgarity.  As K-9 starts shooting lasers at the Krillitanes, Finch (who opts to remain human), tells them, "Forget the shooty dog thing," which I found shockingly risque for a children's/family show.  Whether this taps into Classic Who fans who are divided over K-9 (I fall in the "Love" side of the "Love/Hate" debate) I cannot say.  I like to think Whithouse was having a bit of fun with K-9's divisive mark on the fanbase.

As a digression, I wonder whether the rivalry between Rose and Sarah Jane was prescient over the fierce feud within the Whovian community as to whether the Classic or NuWho is A.) better and/or B.) connected to the other.  The one-upsmanship between Sarah Jane and Rose as to who was more important was slightly amusing.  I say slightly because while watching this interplay between Piper and Sladen, two thoughts occurred to me.

The first is that Rose's reaction was highly irregular to both her character and to Companions in general.  I note the few times Companions crossed paths: The Five Doctors and The Two Doctors (The Three Doctors featured no Companions from The First or Second Doctors Era).  In both stories the various Companions got on quite well and were cooperative.  Here, Rose's instant jealousy marks a negative turning point to Rose's character.  In short, she is a bitch.  Sarah Jane was perfectly civil, friendly, even generous to the Doctor's newest Companion, while Rose's hostility was apparent immediately.  Further insulting Sarah Jane by stating that "rationing had just ended when she met the Doctor" was also just cheap.  I couldn't believe that someone who up to now had been rather generous to all beings could turn around and become so selfish and cruel.  Rose showed kindness to a DALEK for Heaven's sake!  How could the same person who showed compassion to the monstrous killing machine suddenly turn around and be so dismissive of someone who hadn't shown her any hostility whatsoever? 

Rose in short, came across as a horrid little girl, the jealous girlfriend when up to now she had been just a nice working-class girl.  It also suggests that she has fallen in love with the Doctor (setting up a situation that is sadly being replayed over and over in NuWho, with future Companions Martha Jones, River Song, and Amy Pond all suffering from a Doctor-fixation, with only Donna Noble escaping this "I want to sleep with the Doctor" business).  Her reaction to Mickey joining only seals the deal, and we now wonder whether Rose should continue to rank high among Companions given her growing obsession with having the Doctor all to herself (and incidentally, stringing Mickey along).

The second thought, more insidious, is that Whithouse and director James Hawes are resorting to a rather backward view of women as possessive, jealous, and petty (especially when it comes over a man).  I realize there being a desire to have some sort of tension between characters to build up conflict, but I wonder in retrospect whether it was good to have them basically fight over a man.  The conflict could have come from approaches to solving the issue, but instead it devolved into a The Boy is Mine scenario that was only missing Brandy & Monica singing in the background.  This made both Sarah Jane and Rose look rather foolish and neurotic women (which I would argue is not within either character).

However, there are as I said things to admire.  I found Head's performance excellent: he knows how to project menace without being over-the-top.  It is also wonderful having Sladen come back, and she is clearly stepping right into character as a Companion who doesn't scream every few minutes. 

There are also great themes being tackled: the idea that the Doctor eventually abandons or is abandoned by his Companions, the cost of loss, the reunion of the Doctor and Sarah Jane.  All wonderful things to see.  It's unfortunate, however, that the moments between the Doctor and Sarah Jane are undercut by either Rose or Finch and their actions.  It also is bad to see Mickey again reduced to this imbecile.  He can hack into top secret websites but can't figure out K-9?

Again and again I wondered why the reveal of Sarah Jane was made so obvious.  It would have worked wonders to see Sarah Jane just appear before the Doctor rather than see that she was about to come investigate all the goings-on at the school.  I wondered whether NuWho fans who have no idea about Classic Who would even understand who Sarah Jane or K-9 were.  There was never any attempt to explain her importance to Rose (or NuWho fans by extension) and while I knew what was going on I figured that anyone who started watching Doctor Who from Rose onwards would be confused as to who this woman and the tin dog were.   Her appearance would (and probably did) confuse people who like Rose Tyler, never figured the Doctor travelled with anyone else.  These NuWho fans pay lip service to Doctor Who's long history, but if they were honest they'd tell you they flat-out don't care about anything that happened between An Unearthly Child to Survival (or Doctor Who: The Movie aka The Enemy Within depending on who you ask).  That being the case, Sarah Jane Smith's importance to Doctor Who is only relevant in terms of what she does with David Tennant and future Doctors, not what she did with any Doctor prior to Christopher Eccleston.

That basically means that School Reunion would be touching to Classic Who fans, but NuWho fans would be less impressed to not impressed at all, and thus one loses some points for the reuniting of two icons from this legendary series.    

At first, I was so enchanted by Sarah Jane Smith's return to Doctor Who that I was convinced that School Reunion would rank among the Greatest Who Episodes of All Time.  I still have great fondness for it, and think seeing The Best Companion of All Time is wonderful.  However, after a second viewing I've lost some of that lovin' feeling for School Reunion.  There are good moments, even great ones (what child at some point hasn't fantasized about seeing their school go kablooey), but in this case, School Reunion lost a little the second time round. 

Class Dismissed.

Forever Our Sarah Jane...


Next Story: The Girl in the Fireplace