Saturday, October 1, 2016

Aragon vs. Anderson: Deep Breath


Now that I have a few minutes free, I thought I'd go back to one of my great passions...bashing The Whorist (or as it's generally known, The Nerdist), in particular their Doctor Who reviews by one Kyle Anderson.

Mr. Anderson (now doesn't that sound sinister) in my view, has rarely if ever met a Doctor Who post-Rose story that he hasn't loved. I don't mean liked. I mean L-O-V-E-D, to where that particular episode is the Best Doctor Who Episode of All Time...until the next episode when THAT becomes the Best Doctor Who Episode of All Time. It's gotten to be almost a point of parody to see how Anderson rarely finds fault with a Doctor Who episode. I don't mean just to nitpick on a few things. I mean give a bona-fide negative review. Even I, someone who has been vociferous in my condemnation for many NuWho episodes, do admit when I see a good one (like Flatline or Mummy on the Orient Express). Anderson, however, will almost always find something to wax rhapsodic about, even on something as atrocious as In the Forest of the Night.

I was intrigued by this, so a little research was required. I went as far back as I could regarding Anderson's Doctor Who reviews, and the earliest one I could find was the Series/Season Six opener, The Impossible Astronaut. What I've done is taken Kyle Anderson's review verbatim, and offered my own 'translation' to the text to see what Anderson is, in my view, really saying. I also throw in my own thoughts as to what is being said.

I hope this will be a fun and informative journey into the strange mind of the Functioning Nerd.

I present Part 31 of The Nerdist as Whore: Deep Breath. My 'translations' are in red.



SPOILERS: This review/recap is exactly that. It talks about parts of the Doctor Who premiere episode in depth as well as rehashes some specific scenes. If you haven’t seen the episode yet, we urge you to do so before reading the following analysis.

 
Analysis...analysis...ANALYSIS...
You have been warned.
And we’re back.

…to suffer another year of gross disappointment, misery, bad stories, and nonsensical plots.  In short, it’s Doctor Who Season/Series 8!
Boy, it sure did feel like the time between “The Time of the Doctor” and now was especially lengthy, didn’t it?

Not long enough, Kyle.  Not long enough. No, it felt like it did last season, though in fairness I do have a life outside Doctor Who and don't measure time by the Time Lord.

Especially as we kept getting tantalizing news bites, casting reports, set pictures, and eventually interviews pertaining to Doctor Who Series 8. But, tonight, it all became real again. Peter Capaldi, the Twelfth Doctor,

…but the 14th Form, using Anderson’s own standards,

staggered out of the TARDIS and began what looks to be his manic and slightly dickish tenure as the lead of our favorite show. Not only that, but his companion Clara Oswald, played by Jenna Coleman, had to come to terms with this new man,
...despite having ‘interacted’ with all the Doctor’s previous incarnations per The Name of The Doctor, thus making her amazingly stupid in her inability to comprehend the nature of regeneration despite having seen it again and again and again.  After all, she was the one who told the First Doctor which TARDIS to take (even if in The Doctor's Wife, the TARDIS said she chose him.  Then again, continuity isn't as important as that good old 'timey-wimey').

and it seems it’s going to be an ongoing drama.
and it seems it’s going to be one of the season-long story arcs.

“Deep Breath” had a lot to do, and the fact that it did that, plus added wackiness, cracking dialogue, and tense if not downright terrifying moments just solidified once again why this is my favorite show.

 
My, my, my...isn't YouTube getting stricter?

That, and the fact that he gets paid to promote whatever comes out of Steven Moffat and Mark Gatiss’ asses.  Somewhere, Sherlock, Game of Thrones, Breaking Bad, and The Walking Dead are all weeping now that they’ve discovered you’ve been untrue.  Does this man never SHRINK from shilling?

The episode, written by Steven Moffat and directed by Ben Wheatley, plays less like a feature film, as its length and screening in cinemas would have us believe, and more like a Christmas special, despite nothing having to do with Christmas going on.

Since in Doctor Who-Land, ALL Christmas specials have to actually involve Christmas settings, right down to have a town CALLED Christmas on another planet altogether, damn the logic. I'd like an answer Kyle as to WHY the Doctor Who Christmas Specials always HAVE to involve Christmas itself.  With the exception of The Runaway Bride, I can't think of a Christmas Special that didn't take place on or in one case, IN Christmas.  It is strange that Planet of the Dead didn't have bunnies leaping out of eggs, right?  After all, it was an Easter Special.
 
It’s Victorian London, which probably aids in that,

...because Christmas was first celebrated by Queen Victoria and Prince Albert.

and therefore allows for a few key things to happen: 1) some awesome costumes on both the heroes and antagonists,

Yes, when I think of Doctor Who, the costumes are among the first things I concentrate on.

and 2) it allows the Paternoster Gang to come back.

OH SWEET MOTHER OF MERCY: more same-sex bestiality and idiot Sontarans! The Lizard and Her Lover are back, ready to suck all the attention out from the Doctor, with the 'bonus' of the dimwitted Sontaran who would have been executed by his fellow Sontarans AGES ago!

This is integral to the working of this story.

Because THEY are the stars of Deep Breath, with Clara as supporting character and the Doctor as a guest star.

If the Doctor is going to be all weird and aloof and crisis-y for a good portion of the story, Clara’s going to need someone to talk to, and who better than Vastra, Jenny, and Strax?
A brick wall?  A mirror?  Imaginary friends? Her Granny? The GEICO gecko? Her long-suffering squeeze Danny Pink? 

Victorian London is in a tizzy (which is to say standing around and gasping) over the sudden appearance of a huge Tyrannosaurus Rex-looking thing in the Thames. Nobody knows how it got there,

because we've never seen an Invasion of the Dinosaurs on Doctor Who before.  We haven't even seen Dinosaurs on a Spaceship before!!

though Madam Vastra says she remembers those from when she was a little girl.

OH SNAP!  Not only is Vastra a lizard...she's also a cougar!

Suddenly, the dino coughs and out flies the TARDIS, landing on the ground nearby. The Twelfth Doctor
…but the 14th Form…

emerges ranting about dinosaurs and things and it becomes immensely clear that he doesn’t really remember anything, referring to Vastra, Jenny, and Strax in weird ways and then calls Clara “the not-me one,” and “the asking questions one.”

How nice of The Doctor to point out Clara's raison d'etre on Doctor Who.  Otherwise, we'd never know what a Companion is for.

He also thinks she’s Handles… so stuff’s going on with him. They eventually get him into a bedroom, where he rants about it being a bedroom, and Clara says for the first of many times that she doesn’t know who the Doctor is,




Again, given she's seen all the many forms of The Doctor, down to telling the First Doctor which TARDIS to take (even if that does contradict a previous episode where the TARDIS says 'she' selected The Doctor, but why quibble about continuity on Doctor Who), how can she get all huffy about not knowing who the Doctor is?  Clara doesn't know who the Doctor is...despite having interacted with all the Doctors, down to the hereto unknown "War Doctor", who doesn't count as 'The Doctor' because he didn't call himself "The Doctor" even if John Hurt was billed as "The Doctor".  Ugh... 

which Vastra gets very huffy about and decides they need to do the veil thing again.

What a be-atch!

I wish she'd do the veil thing permanently.  All these people who seriously fantasize about a woman having sex with a lizard...no wonder the world's coming apart.
She forces Clara to “see through the veil,” accusing her of missing the younger-looking Doctor because she liked flirting with him, and says she’d have a better time flirting with a mountain range.

Well, in fairness to Vastra the majority of NuWhovians were more interested in how 'hot' the Doctor was, which is why pretty man David Tennant was followed by pretty boy Matt Smith.  It's not like any of them would ever fantasize about William Hartnell or Patrick Troughton as lovers, let alone Grandpa Capaldi.

This leads to Clara telling her off good and proper, which was my first favorite scene in the episode.

Two things.  First, Vastra IS correct in her assessment of Clara et Doctor. Many fangirls (and I imagine a few fanboys) did enjoy the pseudo-romantic aspects of their relationship. After all, didn't Clara's second debut have her come at the Doctor, lips a-flame in The Snowmen? A lot of NuWhovians were very disappointed when we got a Doctor old enough to be their Grandpa, preferring the hot and young Tennant and Smith types. 

Second, Anderson hit his Broken Clock Moment...this WAS a good moment, and I was cheering Clara on when she was browbeating the cold-blooded bitch.

The Doctor decides to go out and talk to the dinosaur only to see it burst into flames.



The Doctor is horrified and quickly joined by the others who begin asking questions that aren’t the right ones. The Doctor says the right question is “Are there any other murders like this?” Which is a weird question, except there HAVE been.

You mean other dinosaurs have burst into flames in Victorian London?  Maybe it's me, but since when is spontaneous combustion of an extinct creature considered 'murder'?

Some steampunky-robot people

MORE COSPLAY!

are murdering folks, removing pieces of their anatomy, and burning the bodies to hide the evidence of removal.

Unaware that the dead can feel the pain of being burned, but we're getting ahead of ourselves.

People are saying it’s spontaneous combustion.

Burn, Baby, Burn. 

When you spontaneously combust into flames, it kind of is spontaneous combustion.  If ONLY they knew that the dead can literally 'feel the Bern', but that is for another time.
Eventually, Clara and the Doctor reconvene at a restaurant that turns out to be a front for these clockwork people,

A concept which we haven't seen before...

and they take organs from organic life forms to try to upgrade themselves.

Another concept which we haven't seen before. 

The Doctor determines that the only way to fool the dumb repair droids is to not breathe (hence “Deep Breath”).



The Doctor abandons Clara at a certain point and she’s forced to outthink the droid, despite her tremendous fear. The Doctor returns, having disguised himself as a droid,



and talks long enough to allow Vastra, Jenny, and Strax to find their way down underground and help defend, which is easier said than done.

Nonsense.  This is Doctor Who!  ANYTHING can happen (logic be damned). 

The Doctor and the lead droid end up high above the city in a balloon-powered escape vessel,



and the Doctor knows that only the death of the lead droid will stop the others and so either the Doctor throws him out of the pod, or he throws himself out. Which actually happens, we don’t know.

This is supposed to indicate that long-hereto promised 'dark' Doctor, one who might commit murder for the greater good.  Of course, the ambiguity as to what exactly happened will never be answered.  However, in this case, since I really don't care one way or the other, I'll let it slide.

I’ve skipped quite a bit and haven’t yet talked about the denouement,

Really?  You seemed to be more exhaustive than me. Are you paid by the word or by the letter?

but I wanted to address certain things separately. Plus, I’m assuming everyone’s seen the episode, so from here out I’m really going to talk openly. Be prepared.

Title Sequence
Holy crap did I love this.
This sequence actually focuses on time and it swirling around, which I thought was gorgeous, and Murray Gold’s new, slightly whiny version of the theme tune is perfect for the more mysterious and less friendly version of the Doctor. Loved to bits.

I'M SHOCKED!

Murray Gold's new, slightly whiny version of the theme tune goes perfectly with the old, very whiny NuWho fanbase. Tell me, when DON'T you love anything about Doctor Who?  Discernment isn't your strong suit, is it?

Vastra and Jenny
I love these characters, and I love that they’re unabashedly married in the 1800’s in England, despite them both being women and one of them is a lizard.
WHO married these two?  What civil servant would possibly agree to marry two women, let alone one who isn’t even human?  What minister/rabbi/witch doctor went along with this nonsense?  In an era where women were denied the vote and essentially were the property of their husbands or fathers, we really are going to believe that same-sex marriages were being performed?  Then there’s ‘the lizard thing’. EVEN if we could go along with Victorian same-sex weddings (despite the fact that no civilization or society prior to our own would recognize, let alone sanctify, such a union), are fans that vacuous to not possibly be creeped out by bestiality? That just is all kinds of wrong. 

Of course ANDERSON would love them. 

Come to think of it, this is what, the third time in two paragraphs the word 'love' has been used.  Here we go with another long-running series of 'love letters' to rubbish.
I liked Vastra’s point that in public they have to pretend Jenny is just the maid in order to fit in, and how she related that to the Doctor and his recent series of young faces.



Nothing against Christopher Eccleston, but I'd hardly refer to him as a 'young face'.  Further, if we look at it a certain way, Clara could relate only to the Matt Smith Doctor because that's when she came aboard.  IF we go by this idea that she related to all the Doctors (as she has throughout the entirety of the series as Day of the Doctor purports), she has encountered several Doctors who were much older looking.  As such, again, why would she get all huffy about the Doctor regenerating when she's seen so many versions?   

I do worry though that Moffat is slightly running the “they’re married” thing into the ground; not THAT they’re married, but just that they mentioned it a LOT in this episode and made sure they said kind of off-handed randy things to each other just to make sure people get it. “THIS IS A LESBIAN COUPLE EVERYONE!”

A case of 'he doth protest too much?'  Moffat has been accused of sexism, so is this HIS way of showing, 'I'm ALL for women...especially if they have sex with each other'?  What, think he trying to push an agenda?  PERISH THE THOUGHT.

Moffat mentions that a female lizard and a female woman are 'married' because he is using Doctor Who to promote same-sex marriage but is starting to go overboard with it where it's become quite boring.

As if anyone was still unclear. Also, I kinda think Vastra was unduly cruel to Clara at the beginning, but I’m glad Clara got to monologue at her as a rebuttal.

OK, on this Anderson and I are in agreement.  How's that for common ground?

Strax
I had worried Strax was getting TOO silly, but I think in this one he’s just the right amount of silly.




He still just flatly doesn’t understand things, but he at least knows Clara better now. Though I’m not sure why he constantly wanted her to get her clothes off. That was a bit weird.
It’s not that weird.  Anderson constantly wants Jenna Coleman to get her clothes off.  A case of transference?
Funny lines, though.

Oh, yes.  I'm sure Jack Benny is looking on with jealousy.

The Dinosaur
That dinosaur sure didn’t do a whole lot other than be a dinosaur, did it? It just sort of stayed in one place and roared at the Doctor before getting set on fire.




Kind of a waste of an interesting idea if you ask me, but it got the ball rolling in a new and different way.

Yes, the dinosaur was pointless and illogical on so many levels.  Yet, we needed to have SOMETHING to start Deep Yawn with, and this seems as good a thing as we can think of, right?  Do I denote a hint of criticism?  I AM shocked! 
Man, this show is a jerk to dinosaurs; two murdered in as many series.

The Droids
An interesting idea to have them be kind of reverse-Cybermen, constantly getting new organic parts to replace the ones that have gotten old. Also liked that they’re from the sister ship to the Madame du Pompadour from “The Girl in the Fireplace,” but the Doctor can’t remember it.


Post-regenerative confusion, so I figure don't have much to argue about it, apart from having the Clockwork Robots again. I wonder if that will ever play a part in a future episode, or if their search for "The Promised Land" will be tied in logically somehow.  I wonder...I wonder...wonder...
Hold Your Breath
Effing terrifying.


 
Where art thou, Vincent Price? No, let's do it again...



Seems like any old thing will scare Andy, won't it.

Clara
Clara was again amazing, as she has been almost her entire run on the show, certainly for the last three episodes.


Anderson has jerked off so many times to Jenna-Louise Coleman he's turned Doctor Who into his virtual PornHub.  Part of me wonders whether he asks his girlfriend to cosplay as Clara in any sex games for his own pleasure. 

We see a different side of her because she’s obviously much more on edge with this new Doctor and he brings out other parts of her personality, he pushes her buttons a lot more.

Wait, Clara has a personality?

She gets to shine in a few moments: the telling-off of Vastra which I’ve already spoken about,

Broken Clock.

the scene in the restaurant which I’ll talk about in a moment, and the fantastic scene where she is scared but effectively outthinks and out-talks the droid who doesn’t negotiate very well.



That’s Clara’s shining achievement if you ask me,

Apart from being the model for his blow-up doll...

and it’s made even better by the fact that as far as she knows she’s been abandoned entirely by the Doctor but still won’t give up the information.

The Doctor
Now we come to the biggie, a whole new Doctor complete with a whole new set of weird foibles and peccadilloes.


I thought Capaldi came out of the gate guns blazing.
SHOCKED that Kyle Anderson liked the new Doctor! 
 Shocked, I said!

He’s very strange and shouty and, a bit like a know-it-all kid, doesn’t care all that much if he hurts someone’s feelings or effectively leaves his friend to die.


I just cannot think of a previous Doctor that fits that description. (Pauses to think).  Nope...none come to mind.  I just cannot think of any time when we've had a Doctor who was 'very strange and shouty and, a bit like a know-it-all kid'.  It must be something so unique to this version of Doctor Who. 


Maybe the Doctor should try strangling his Companion and see if that jogs the memory.  Then again, I think we all know Anderson strangles something whenever Clara comes into the picture, but we digress. 

He does have really nice moments with Clara, too, though where he talks her up good and proper to the villains. The scene when the Doctor is talking nonsense to the vagrant in the alleyway is great. He does the usual New Face barking (especially his can-opening eyebrows that are independently cross) but this time he says he remembers this face but can’t quite place it and wonders why he’d chosen this face specifically.



Here, we're running into a bit of a quandary on a few fronts which Anderson, in his usual sycophancy, will not address or at most, paper over.  If we go by the dialogue, The Doctor 'chose' this particular face.  That being the case, why can't he choose any other part (that ginger hair he's always wanted)?  Regeneration, up till now, was always random, something beyond his control.  Now, female Time Lords a la Romana could manipulate some aspect of their regeneration (if we go by Destiny of the Daleks).  However, the Doctor himself could never control any aspect of his regeneration, let alone make conscious choices about what he would look like.

Maybe it has to do with the distinct nature of male Time Lords versus female Time Lords, but now, thanks to the transgender nature of Time Lords (or is it bigender? Gender identity has gotten so perplexing) it makes the regenerative process that much more muddled.  However, for the longest time it was understood Time Lords had no control, consciously or not, over their regeneration: what the next one would look like or what kind of personality he or she would have.

Now, all of a sudden, not only can he select a face, but he selects one from his memory, choosing to look like someone he can't quite remember.  Was it a conscious or unconscious decision? 



If unconscious, then why did he also 'unconsciously' select to look like Maxil, the Time Lord guard who 'killed' the Fifth Doctor in Arc of Infinity?  Before he blocked me on Twitter for mocking one of his tweets with a retweet of my own (with comments), I asked him about this, and his 'analytical mind' could not come up with anything apart from gibberish.  In short, Kyle Anderson, self-proclaimed 'analytical critic', could not answer why the Doctor unconsciously selected to regenerate to Maxil when he became the Sixth Doctor.

If however, he made a conscious decision to pick a particular face, we now have more problems.

The concept that the Doctor can 'choose' his face or any other part of his new regeneration flies in complete defiance of everything that has been established both in Classic and Revived Doctor Who.  NOW, in order to accommodate a particular actor and to placate a fanbase that needs EVERYTHING explained to them, we have to upend 50 years of continuity.



I think it is instructive to point out that having an actor play two distinct parts on Doctor Who has happened before, without the accompanying hysteria from fans surrounding that dual casting.  Peter Purves played two characters on Classic Doctor Who: the hick Southern tourist Morton Dill AND Companion Steven Taylor in two separate episodes of the same six-episode story The Chase.  If NuWho had been around back then, fans would have wanted an explanation as to why Dill and Taylor looked exactly alike.  They would have come up with their own wild and outlandish theories around it (Taylor's a TIME TRAVELLER!  Dill is Taylor's ancestor!  It's a Dalek Trap!)  



The most logical explanation (that Purves is an actor hired for one role, then asked to play another role in the same series) would not have entered their minds.  Yet in the 1960s, no one as far as I'm aware of ever even asked why two characters happened to look alike.  Perhaps they didn't even care, or just figured it was not reality.

Oh, Millennials.,,.   

Clearly, they’re going to tie in Capaldi with the person he played in “The Fires of Pompeii,” probably entirely ignoring how Capaldi also played a character in Torchwood, but no matter.

Oh BOY will they tie that in to Fires of Pompeii.  However, riddle me this: the Sixth Doctor looked EXACTLY like Commander Maxil in Arc of Infinity, yet no one ever bothered to ask how such things were possible (or really gave it all that much thought).  I did ask our beloved Functional Nerd, and he was if not dismissive unable to make a coherent argument via Twitter (before he blocked me for gently mocking him).  Yet I digress.

That was Torchwood, a whole other show which Whovians can ignore, but no matter.  As for whether they SHOULD tie in Capaldi's Doctor with Caecillius in The Fires of Pompeii (or whether it is done rationally/successfully) is another matter for another time. 
 


It’s also explained that the Doctor is Scottish now, actually Scottish apparently, and that explains his accent and his general grumpiness. Nice touch, coming from a Scottish actor and Scottish writer.


Yes. That's right, Kyle.  We've never had a Scottish-accented Doctor before.  Never.   No Scottish-type Doctors have ever crossed the Doctor Who threshold.  It's totally uniquely Moffat's idea, just like he created Sherlock Holmes out of his mind.

The Restaurant Scene
I’ll admit, as much as I liked a lot of the elements of the first half of the episode, the scene when Clara and the Doctor meet in the restaurant after both “figuring out” the puzzle in the paper, is where the episode really came to life for me and kept me invested for the rest of the run time. It’s just a brilliant and hilarious bit of writing and acting.




I love this scene to no end. Every line lands perfectly and the two characters have a good ol’ row about Clara’s apparent egomania.



As opposed to Moffat's blatant egomania?

They’re catty to each other in a way that only good friends can be and I let out a belly laugh a couple of times.


If it's anything, I too let out a few belly laughs while watching Deep Yawn myself.

Then it suddenly switches into serious “Oh crap it’s a trap” mode but they don’t lose their verbal edge toward each other.
 


It’s so important that this scene is here and goes on as long as it does.

The scene dragged, but we needed padding on this episode.

It establishes their relationship and gives them a buddy comedy to work through, and both actors really shine with this kind of dialogue.

The End Bits
After being gone awhile, and Clara maybe thinking she’ll be stranded with the Paternoster Gang (though in her heart knowing she won’t), the Doctor comes back and says he needs to make up for the wrongs he’s done.


Oh, how he wanted that damn Paternoster Gang spinoff and won't get it now!

He says he’s not Clara’s boyfriend;

Yep, because you know...Danny Pink...

she says she never thought he was,

Oh, COME ON!  NO ONE BELIEVES THAT! NOT EVEN KYLE ANDERSON COULD BELIEVE THAT!

to which he replies that he didn’t say it was her mistake. This is very weighty, you guys.

There will be no shipping The 14th Form of the Doctor and Clara Oswald, especially since Capaldi is old enough to be Coleman's father, maybe even GRANDFATHER, and while Anderson doesn't object to River Song/Alex Kingston being old enough to be The Eleventh Doctor/Matt Smith's mother, he does find older men/younger women hard to accept...unless it's Kyle Anderson shipped with Jenna Coleman.

The Doctors of the New Series, obviously without every expressing it, always did seem like they considered themselves the beau of their young and pretty companions.

I'm sure the fact that every female Companion (and Captain Jack) save Donna ended up falling in love with the Doctor had nothing to do with that impression whatsoever.

There was a jealousy when other guys were involved, even a bit between the Eleventh Doctor and Rory.

Which is odd given how a.) Amy tried to rape the Doctor, and b.) how often Amy went gaga over her 'son-in-law' and seemed to prefer him over her long-suffering wimp of a husband, Rory "Pond".  That's how wimpy he was: HE took HER surname and didn't object whenever anyone called him "Mr. Pond" despite his father's name being "Williams". 

This tells us that everything is going to change and he’s not going to be that guy anymore.

 

Clara says she can’t stay with the Doctor because she doesn’t recognize him.

A remarkable claim given how she has 'interacted' with all incarnations of The Doctor, even that hereto hidden "War Doctor"...which makes part of that "12th Doctor but 14th Form" logic of Anderson.  It's a contest as to who is dumber: Clara or Kyle.

She gets a phone call which she takes outside and *surprise* it’s the Eleventh Doctor, calling from Trenzalore right before he regenerates.

How...convenient.  How utterly convenient.  In the entirety of Doctor Who, have we EVER had a case where a past Doctor essentially steps on a new Doctor's debut story?  We've had images of past Companions in farewell stories, but past Doctors in their successor's debut story?

He says that Clara should stay with the new man because he’ll need her, then laments his face getting older and his hair going grey.

This cameo by Matt Smith is so many ways wrong.  So. Many. Ways.

This is, I think, as much for the audience’s benefit as for Clara’s.

REALLY? Do tell, Kyle.

The show, especially in America, really picked up momentum with the Eleventh Doctor and they wanted to make sure it was a nice sendoff and handover to Capaldi so people will accept him.

Americans continue to show how totally stupid they are.  Again, it's so sad, so utterly sad, that having had three regenerations already, a concept even NuWhovians should come to understand and accept, NuWhovians are having such a hard time adjusting to a cast change (which is an established part of the show) that they need a cameo from the last Doctor to essentially 'ease' them into accepting someone else.  Yes, Capaldi is the oldest person to take on the role (and comes after Smith, who is the youngest person to take on the role).  However, the whole sequence is illogical and frankly a little insulting to Capaldi.  Here he is, making his formal debut, and because the fanbase really is remarkably idiotic, and surprisingly ageist, we had to have the previous actor barge in to make it acceptable to THEM!

What Egoistical Morons!

Maybe unnecessary but at least handled in a classy way.

That last line doesn't deserve a Vincent Price Laugh.  It deserves a bitch-slap.
Clara finally “sees” the Doctor in Capaldi’s face and gives him a hug, though he’s not much of a hugger anymore. He definitely seems like a younger man in an older man’s body, the exact opposite of Smith. I like it.


SHOCKED that Kyle Anderson liked it!

The Denouement
We get the first look at what I’m guessing will be this series’ throughline: Heaven.




Michelle Gomez, who we saw in production materials was playing a character called “The Gatekeeper to the Nethersphere,” makes her first appearance, claiming to be named Missy, welcoming the half-faced lead droid to his fabled Promised Land. She refers to the Doctor as her boyfriend, also. Intriguing. I’m interested to see where all this goes. Could it be River? Doubt it. Could it be the Rani? Eh, it’s possible. Could it be the Master now a woman? Seems unlikely.


Could it be the Master now a woman? Seems unlikely.


Could it be the Master now a woman? Seems unlikely.


Could it be the Master now a woman? Seems unlikely.


Could it be the Master now a woman? Seems unlikely.



WANNA BET?

The fact that "Missy" refers to The Doctor as her 'boyfriend' makes us wonder exactly, what, in the future, when we do get the ultimate (and not shocking but horribly predictable and infuriating) reveal to Missy's identity, what is up with this particular character's already bonkers mind.
 

Could it be someone else entirely? That’s what I’m guessing.

Guess Again, oh Analytical Critic.  It simply would have been too much to ask of Moffat that he come up with an original villain himself, to create a new character to battle with the Doctor.  Nope, it's better to go for the tried and true, even if this 'twist' that pretty much everyone had at least speculated if not actually called out makes a mockery of what we've already seen.


Kyle Anderson is to Steven Moffat what Sean Hannity is to Donald Trump.  Both pretend to be 'analytical critics' but both are so openly and shamelessly lackeys for their patrons their sycophancy would be embarrassing if it weren't so amusing to watch. 
There are lots other little bits and bobs I enjoyed about this episode,

And boobs too...

but this is already 2,000 words long and who has the time? Just go watch it again. Overall, I think “Deep Breath” worked incredibly well for introducing a new Doctor, reestablishing his relationship with a companion, setting things up for the future, and giving us questions about what kind of a man the Twelfth Doctor

In 14th Form...

really is. The dinosaur was unnecessary, really, but it did look cool, and ultimately the episode picked up when they got to the restaurant. Still, a really fine opening to a series.

SHOCKED that Kyle Anderson liked a
Doctor Who episode!


Away we go!
Next week, an episode entitled “Into the Dalek” written by Moffat and Phil Ford and directed by Wheatley. See you then.

Monday, February 8, 2016

Please Get Me to the Church on Time. Doctor Who Story 182: The Runaway Bride



STORY 182: THE RUNAWAY BRIDE

It has been a long time since I've touched a Tenth Doctor story.  This is especially true with anything post Love & Monsters, as I was so disgusted and horrified by that episode that I essentially quit watching Doctor Who until Tennant left.  Now, I think it is time I return to those 'lost episodes' and complete the Tenth Doctor retrospective.  With that, I go to his first story of Season Three: the Christmas special, The Runaway Bride. 

The Runaway Bride is a curiosity in the Doctor Who Christmas special category in that it actually has little to nothing to do with Christmas.  While technically set on December 24 or 25, the actual celebration of Christmas is irrelevant to the story.  It might just as well have taken place at Easter, or the Queen's Birthday, or Yom Kippur, or Eid al-Fitr, or Super Bowl Sunday, or any other holy day.  There were brief mentions of it, the return of the Killer Clauses from The Christmas Invasion, but really Christmas was not important to The Runaway Bride.  It's as if, for once, NuWho figured out that maybe we could have a Doctor Who Christmas special that was more Doctor Who and less Christmas. 

What a concept!

The Doctor (David Tennant) still in deep mourning for his former Companion Rose Tyler, finds himself stunned to see a woman in a wedding dress suddenly appear in the TARDIS.  Said woman, Donna Noble (Catherine Tate) is equally stunned...and furious!  Shouty and angry, she is outraged that she has been abducted as she was walking down the aisle with Don Gilet (Lance Bennett).  The Doctor manages to land on Earth and she angrily storms off to get back to her wedding.  The Doctor is still puzzled as to how any of this could be going on, but he also sees the Killer Santa Clauses from The Christmas Invasion coming his way.  He rescues Donna (who has been taken by one of the Killer Santa Clauses) and they go up on the roof to allow for the TARDIS to recover.

Soon, the Doctor finds that Donna has massive amounts of huon particles in her system (which is how she found herself aboard the TARDIS, her particles being drawn to the TARDIS').  At the wedding reception (which is taking place despite there being no wedding and no Donna), the latter is more upset and there are literal wedding crashers: the Killer Clauses.  Another escape and with a reluctant Don they go back to HC Clements, the company where both Don and Donna work.

It's only now that I realize that the bride and groom share a name: Don/Donna.  Make of that what you will.

Well, there we encounter the Empress of the Racnoss (Sarah Parish), a combo spider-lobster type creature who is behind all this and, in an uncharacteristic move on Doctor Who, is 'the last of her kind'.  Seriously, we're only about three seasons in and already this 'last of their kind' thing has already become a cliché.

The Empress worked with Don to use Donna as a human 'key', Don slipping huon particles into her coffee as he endured her besotted nature. In truth, he cannot tolerate Donna, her obsession with pop culture particularly grating to him. The Empress now is determined to bring about the return of her 'babies' the eggs laying deep within the Earth.  The fact that the Time Lords wiped her community out will only make her victory over the Doctor all the more sweet.  Well, both Doctor and Donna escape, leaving poor Don as the only substitute for the key from the Head of Human Resources. A quick trip to the formation of the Earth shows that the Racnoss placed themselves in the Earth's core and now the Doctor and Donna are going to take on The Empress.

To show his compassionate side, the Doctor offers the Empress and her children a planet where they can live away from the humans.  She refuses and is determined to conquer Earth.  With that, the Doctor strikes: flooding the secret lair and drowning all the baby Racnosses.  The Empress escapes onto her waiting ship (which looks like a big Christmas star) but on orders of "Mr. Saxon" it is destroyed.  Donna declines the Doctor's offer of being the Companion, and the Doctor sails off.

As I ponder The Runaway Bride, I see the flaws and virtues of the Revived Doctor Who Era all wrapped up in it.  Neither horrifying or brilliant, on the whole it worked well and I cannot fault it for that. 

There were things I didn't like at all.  A big problem was that almost everything felt very rushed and frenetic, down to the music (oh, Murray Gold...will you ever gain my heart).  The music, the pacing, the wild hysterics of Tate and Tennant did make this look like a comedy (or at least what they were aiming for).  Perhaps it was, and I missed the point of this Christmas Special: that it was suppose to be funny.

However, I didn't laugh, and sometimes I found Donna grating in her bossy, shouty demeanor. 

Then again, I go to the scene up on the roof, about the only moment in The Runaway Bride where things were calm and paced.  This was a wonderful moment, precisely because it was all calm and still.  It allowed for character development and exploration, and a chance for these two characters to show a range beyond frenetic (The Doctor) and shouty (Donna).  Here, the Doctor's mourning for Rose doesn't quite appear to be the LOVE story NuWhovians clamor for, but instead a loss of a Companion, a mate, a way to ward off the loneliness.  Donna for her part, does her own version of I Remember It Well when it comes to her own story: not remembering any of the big events that took place in Doctor Who and showing that perhaps what the Doctor needs isn't romance, it's a friend. 

Amidst all the running and leaping about, I find it interesting that the best scene is when you DON'T have any running and leaping about, just two figures, talking, sharing their emotions, fears, hopes, without any craziness about them.  We're even allowed a few moments of gentle comedy when the Doctor presents Donna a ring to protect her, not an engagement ring.

There were also good lines that were amusing and clever.  "Only a madman talks to thin air, and trust me, you don't want to get me mad," The Doctor says.  Another one to note is when the Doctor says, "Director of Human Resources.  This time, it's personnel", a pun I've grown fond of.

In terms of performances I think Tennant did a real good job here.  He got the frenetic, slightly comic part down, but when he is a Menacing Doctor, he is equally effective.  Tate's character was meant to be slightly grating, so she too did an excellent job as the storming Donna. 

If ONLY we didn't get such familiar tropes in The Runaway Bride.  The 'last of their kind' business.  A bizarre monster who wasn't all that interesting (and her saying such things as "Eat you up, all snick and snack" doesn't make me take her any more seriously as a threat).   The 'dumb' boyfriend (though making Don a villain was a nice change...albeit expected, who else could have done it given the shortness of time).

I give Russell T Davies credit in doing what no other Christmas Special would do: not center the episode around Christmas.  In this Christmas, it isn't snowing (except at the end) and they are not celebrating Christmas.  In fact, Donna explains the reason she is marrying on Christmas Day is precisely because she HATES Christmas, so she'd rather celebrate that than the Birth of Christ.

Also, the spaceship looking like a Christmas Star...no go for me.

I think The Runaway Bride was meant to be a nod to the past (Killer Clauses) and a teaser for the upcoming season (dropping the "Mr. Saxon" business was meant to tie this in to the future).  I guess you could say this was a bit of filler between the past and the future.

Not horrible like future Christmas Specials, not wonderful either, The Runaway Bride kind of sits in the middle.  Given how dire the show will become, that's really not a bad place to be.



6/10

Next Episode: Smith & Jones

Sunday, January 24, 2016

The Curious Case of Orson Pink



Author's Note: Nothing is more disappointing and frustrating than working long and hard on something only to have it erased by a button.  I had a much lengthier post about this situation, but somehow it got erased and I could not recover it.  I'm most frustrated because I put a lot of effort into it.  However, I'm not going to be defeatist.  I'm just going to make it shorter and more direct.

WHO BEGAT ORSON PINK?

In Listen, a well-praised Doctor Who episode, we were introduced to Orson Pink, which the episode strongly suggested was the descendant of Danny/Rupert Pink and/or Clara Oswald.

Well, in The Wrath of Missy Parts 1 & 2 (Dark Water/Death in Heaven), Danny was killed off without having children.  Clara, perhaps, might have been pregnant (a curious Post-It reading "Three Months" was seen).  However, SHE was killed off in Face the Raven.  She was not shown to have given birth.

Now, in Listen, Orson Pink had a family heirloom, a toy soldier, ostensibly the same toy soldier Clara had given Rupert/Danny as a child.  He also talks about how his great-grandparents told him stories of time-travel.  Granted, Listen never overtly stated Orson WAS Danny and/or Clara's descendant, but it strongly suggested it.

With both Danny and Clara dead, we are faced with a quandary.



WHO BEGAT ORSON PINK?

Kyle Anderson, carrying water for The Moff, came up with some interesting theories via Twitter (before he blocked me): that time can be rewritten, that Danny wasn't dead, or that Orson wasn't Danny and Clara's descendant.

Moffat himself in Doctor Who Magazine offers that Orson may be descended from another branch of the Pink family (one of Anderson's theories).  Clara went to them and gave them the toy soldier, and from them sprung Orson.

I argue that theory makes no sense.  If it was Rupert/Danny's brother, Stanislav Pink, he himself didn't travel through time and space.  Come to think of it, neither did Danny.  He was always waiting for Clara to come back from one of her many journeys, but as far as I remember never travelled in the TARDIS itself.

Furthermore, Rupert/Danny was in a children's home (read, an orphanage).  Where were these phantom Pinks all the time he was away in this lonely place?  Or was he adopted by a family with the same surname, or adopted and allowed to keep his original last name?



WHO BEGAT ORSON PINK?

For me, this is yet another example of a larger issue: Doctor Who's inability to have any sense of continuity.  I found a few examples to back up my idea.



Series Five's The Eleventh Hour: Amelia Pond is left waiting by the Doctor, and she grows angry and resentful regarding her "raggedy man".
Series Seven's The Angels Take Manhattan: Amelia Pond is visited by the Doctor early the next morning after her encounter, with him correctly dressed.

For the sake of an admittedly cute scene, Steven Moffat, who wrote both episodes, contradicted himself.  He also erased two season's worth of character development. What was Amy's motivation, her emotional arc?  Her anger at The Doctor for leaving her waiting as a child.  With The Angels Take Manhattan, she wasn't left waiting.  The Doctor came to her, late but now by mere hours rather than years.  Therefore, why did she have this anger for years, or say he didn't show up when he clearly did, or go on about a 'raggedy man/Doctor' when he wasn't in regeneration rags when she technically saw him last? 



Series Six's The Doctor's Wife: The TARDIS in human form tells the Doctor she picked him.
Series Seven's The Name of The Doctor: Clara is shown telling the First Doctor which TARDIS to pick.

For the sake of showing how important Clara (and by extension, Steven Moffat) is to Doctor Who, Moffat contradicted The Doctor's Wife, which was written by Neil Gaiman.



Series Seven's Asylum of the Daleks: Oswin (a version of Clara that spread through time and space), is able to say "I'm Human, I am NOT A Dalek" clearly, with the Doctor able to hear her exact words.
Series Nine's The Witch's Familiar: Clara, inside a Dalek, says "I'm human" but it ends up coming out as "I am a Dalek".

For the sake of drama, Steven Moffat, who wrote both episodes, contradicted himself.

Series Eight's Listen: a figure named Orson Pink, who looks like Danny/Rupert Pink, has as a 'family heirloom' a toy soldier that originally belonged to Danny Pink.
Series Eight's Dark Water/Death in Heaven: Danny Pink is killed, turned into a Cyberman (albeit one who cries), with no known children.
Series Nine's Face the Raven: Clara Oswald is killed, with no known children.

It cannot be both.  There can be no Orson Pink if he has no ancestors.  Orson Pink cannot exist. 

Yes, I know Moffat said Orson was descended from another branch of the Pink family, but I cannot accept speculation in Doctor Who Magazine as Canon.  As previously stated, Rupert/Danny had no known family, no known children (legitimate/illegitimate), and with him dead he could not father the child who would become Orson's grandfather (assuming Danny would have been Orson's great-grandfather who told him time-travel stories).

With Clara dead and without her having children, she could not have been related to Orson Pink either (which makes her connection to the Pink family that got her sent to the children's home where Rupert/Danny lived in all the more bizarre given she was using the TARDIS' telepathic link that should have been keyed into HER lifestream, not Danny's).

By killing off BOTH Danny Pink AND Clara Oswald, Steven Moffat, writer of two of the three stories (Listen and The Wrath of Missy Parts 1 & 2, with Face the Raven written by Sarah Dollard with Moffat as the showrunner/producer), Steven Moffat has essentially rendered Listen illogical and impossible. 

If Danny and Clara are both dead and without having had children, Orson (assuming he was indeed meant to be the descendant of either one or both of them) cannot exist.
If Orson cannot exist, he cannot be the first human time-traveler.
If Orson cannot be the first human time-traveler, the events of Listen could not have taken place.
If the events of Listen could not have taken place, Clara could not have gone to Gallifrey to inspire the future Doctor on his course to being the Time Lord he grew to be.



WHO BEGAT ORSON PINK?

I cannot find a way, a logical way, to reconcile the contradictions and discontinuity between the events of Listen and those of both The Wrath of Missy Parts 1 & 2 and Face the Raven.  At least Back to the Future, which faced a similar situation with the future children perhaps not being born due to changes in the past, made things logical.  Doctor Who can't be bothered to do that.  More on that in a bit.

Going on to the other contradictory episodes, one thing is clear.

It cannot be both. 

IF Oswin could say "I'm not a Dalek.  I'm Human" and have it come out as such (despite being in reality a converted Dalek), how is it possible then for Clara, who is merely inside a Dalek, to have the exact same words come out completely differently?

It cannot be both. 

IF the TARDIS chose the Doctor, why would Clara tell him which TARDIS to take?

It cannot be both. 

IF the Doctor failed to return to Amelia until twelve years later, how was it he was shown returning the very next morning to a waiting Amelia?  Why would she maintain all that anger and keep referring to him as "the raggedy man/Doctor" if technically, the last time she saw him, he was perfectly dressed and not in the disheveled clothes from his regeneration?

And those are the ones I could think of off the top of my head.  Therefore, I ask again...



WHO BEGAT ORSON PINK?

No television show gets away with such massive continuity errors as Doctor Who.  Moreover, no television show not only gets away with such massive continuity errors as Doctor Who, but actually gets praised for them as Doctor Who.

It's a curious thing to me that programs of all stripes, even soap operas, strive to maintain continuity, but Doctor Who not only doesn't bother to, but that this lack of continuity is seen as one of its strengths, not weaknesses.  I remember well when after asking about points of logic after The Day of The Doctor theatrical screening, the exasperated NuWhovian replied to me, "It's NOT SUPPOSE to make sense!  It's British!".  I can argue with the fact that it's British being the reason for its lack of logic, but from my vantage point this captures all that is wrong with NuWho and its fans (including professional rimmer Kyle Anderson).

Doctor Who, for them, is not about logic.  It's not about stories tying together as a cohesive whole.

It's about the emotional response.  It's about which Doctor Who episode can make them cry the most, the hardest, the loudest. 

I for the life of me cannot understand why NuWhovians would take the answer about how Orson Pink can be when Danny Pink is no longer with us either seriously or rationally.  I believe plot holes and continuity questions should be answered within the confines of an episode, not a writer's commentary in a magazine. 



Imagine if Sir Arthur Conan Doyle, rather than answer the mystery in a Sherlock Holmes story, opted to give readers tidbits and then take to The Strand to give the answers.  Then again, most Sherlockians hold that ACD wasn't as good a writer of Holmes as Steven Moffat and Mark Gatiss, or even really bother to read Canon (which is thoroughly unimportant to them).

Yes, again and again Doctor Who contradicts itself, sometimes within the same series/season.  And again and again NuWhovians and critics don't seem too bothered with that.  Moffat takes the applause, the praise, the awards, but when it comes down to it he cannot keep things straight (not even his own writing).  However, he didn't have to worry about that then and doesn't have to worry about that now.

I figure we'll never get an answer to my original query, or on how Sherlock Holmes survived The Reichenbach Fall, or how a Dalek can say one thing one day, and NOT say the exact same thing another day, or when exactly the Doctor returned to Amy Pond, or how the "Ponds" could see themselves happily in the future in one episode only to be zapped back in time in another episode, or how Clara could read 'the name of The Doctor' in a book but have this big mystery built around 'the name of The Doctor' when the answer was so easily available (or who actually wrote The History of The Time War and manage to include 'the name of The Doctor' in it).

So long as you cried...

Alas, my question, in a shorter version than my original (but still wordy) essay, remains The Unanswered Question:


 
WHO BEGAT ORSON PINK?