'The Magician's Apprentice' opens the episode and series 9 with an amazingly creepy scene on a desolate battlefield. Hand mines are utterly repulsive for some reason. I think the Capaldi's Doctor here proves just how wonderfully he plays opposite children. Then the boy tells us his name. Davros. Brilliant. Tonally, I think the series starts off very differently from the previous, with more of a hybrid of styles from prior era's. The reappearance of locations such as the Shadow Proclamation and Karn lends some continuity to the universe, which I enjoy. I think the argument that Clara is not consistently characterized is inaccurate. She simply grows as a character through her three series tenure. The fact that she is easily distracted during a class is indicative of her going through the motions as a teacher, waiting for another adventure. Since Danny is gone, Clara is even less tethered to her mundane and normal life. Missy makes another scene-stealing entrance before taking the time to goad Clara. The Confession Dial proves to be an ongoing plot point....Missy and Clara going head to head is good television. So....I actually like Capaldi with sunglasses and a guitar. Sue me but I think it's a nice wrinkle to add to his Doctor. The over the top jokes and Tank are to illustrate the situation. Hugging returns with reason. Colony Sarff the snake man is absolutely grotesque, but honestly he's just a lackey with a gimmick. The more dressed-down Doctor is an interesting departure from his more Pertwee-esque prior look. I think a happy medium suits Capaldi best. The idea of Davros being 'made' the man he is today by the Doctor is the kind of story you can really only tell in this manner. Clara's comment to the Doctor about him knowing the truth about Missy's survival is indicative of their storied relationship. The best scenes of this story are between Missy and Clara and Davros and the Doctor. I love, love, love seeing Davros replay classic-Who scenes. So....Skaro is treated as a big reveal but we already saw it was restored in Series 7. Still, I like seeing classic series style Daleks on a 'The Daleks' style Skaro. Oh, look! It's the Supreme Dalek from Series 4. Then Missy 'dies'. Davros as an old man feels right, somehow. Then Clara 'dies' and the real meat of the story can finally begin. Compassion is wrong. The final scene is quite good with The Doctor apparently 'exterminating' the young Davros. What a cliffhanger! It's a good thing the next time trailer doesn't ruin the next episode too.
'The Witches Familiar' opens with Missy recounting a classic story of the Doctor in peril. Which Missy uses to educate Clara (and the audience) on how she escaped death last series. Clever way to hand-wave a miraculous escape. So....true to history, you should never make the Doctor angry. The Doctor literally taking Davros' place is charming and chilling. Missy using and abusing Clara somehow manages to be thoroughly watchable. A Dalek sewer made of decaying Daleks. When the Doctor demands Clara Oswald be returned alive and unharmed, Capaldi can't help but convey the emotions with such intensity, I was concerned for the Daleks. No small feat. Davros being connected to every Dalek on the planet does help explain why he's lived so damn long. When Davros explains that he was unable to remove mercy from his 'children'.....well, not only is it poetic but it also retroactively explains why Daleks seem to understand mercy lately. The Doctor explaining who he is and why he came to Davros' deathbed gives Capaldi something meaty to play. Clara trapped inside a Dalek is a massive callback. Seeing how the vocabulary and expressions of a Dalek are repressed and channeled through their gun is a nice piece of lore. The truly exceptional scenes between Capaldi and Bleach's Davros drive this episode. There is so much to be said for their heart to heart, particularly as they are such bitter enemies yet share a commonality. Davros even asks if he is a good man. 'How far we have come to go home again'. Seeing the Doctor go to such lengths to help even such an enemy reminds us all over again that the Doctor does what he believes is right, no matter what. The sewers are revolting. Missy trying to goad the Doctor into killing Clara while she is trapped in a Dalek casing is just good writing. Mercy. The Doctor returns to young Davros and saves his life. The Doctor concludes that it doesn't matter if they are friends or enemies so long as there is always mercy. A great two-part opener.
'Under the Lake' is one of those stories that spends a long time building up to the second part. It's good, don't get me wrong. Spooky, eerie and atmospheric. A sort of base-under-siege story which Doctor Who has used liberally through it's long history. Usually the first party is a slow moving drag, but not here. The Doctor talking soothingly to the TARDIS is something we don't see enough of in New-Who. The mystery with the ghosts and the ship is genuinely intriguing. The Doctor's inability to use sign language was a nice touch. The Doctor's disapproving look when Clara tries to celebrate a potential new adventure is oddly disturbing in retrospect. It stands to reason that writer Toby Whithouse would reuse one of his creations, the alien Tivoli and it isn't particularly intrusive to the plot. Just an indicator something is amiss. The Doctor's socially inappropriate reaction to learning ghosts are real was one of those touches I truly appreciate with Capaldi's performance. The bit of comedy with the cards was out of place, though. The Doctor's had a whole season for that. The conversation between the Doctor and Clara wherein he expresses his concerns and emphasizes his duty of care for his companion are actually much needed. The Doctor knows all too well what this life can do to those around him and is genuinely worried. His lack of social skills in this regard fail him but he conveys his emotion perfectly. It's Clara who assures the Doctor she is fine. But I think it's obvious this is not the case. Back to the main plot! The Doctor throws his UNIT credentials around to ensure the 'infestation' doesn't spread, which strands the team in the base. Gathering more information makes for some nice tense chase scenes. Using the Faraday cage to trap the ghosts is a nice development. Does anyone else get an Alien3 vibe? Especially the assembly cut. The reveal that someone is killing people only to hijack their souls to boost a distress call is actually rather horrific, which fits the tone of this tale. I appreciate that given the opportunity to leave, the team elects to remain to solve things. It's not often the supporting cast gets the chance to decide if they want to live or die. Capaldi's Doctor is driven to solve this mystery. He holds the same love for exploration and discovery that he's had since the very first episodes of Doctor Who. It's captivating to watch a true master work. Suddenly the tension ratchets up with the base flooding and the Doctor and Clara separated by time and space. Oh, but then we see a new ghost....The Doctor. God, I love great cliffhangers.
'Before
the Flood' opens with Capaldi breaking the fourth wall yet again to
explain 'the Bootstrap Paradox'. It's a hallmark of the Twelfth Doctor
by this point to break down the barrier between the viewer and world of
Doctor Who. It's also very scholarly, as though the Doctor is educating
us throughout his run. I thoroughly enjoy it. Having a fan essentially
squee after attempting to play it cool by namedropping former companions
and events was a nice if brief moment but it did remind me of Osgood
just a bit too much. The Tivolian gleefully wishing to be oppressed
is.....disturbing in a whole different way. When the Doctor seems to
accept is inevitable death, it's Clara's reaction that really struck me:
'Die on the person after me, but not me'. The conversation that follows
is powerfully effective but more importantly, very telling of Clara's
irrational but understandably grief-stricken emotional state. It's a
continuation of her character arc. The ghost-Doctor's warning is great
method for continuing to ratchet up the tension again now that we've
settled back into the plot. The Fisher King makes for an impressive
visual but it's squandered in this story and under utilized. Bennett's
anger at the Doctor when O'Donnell dies is palpable and the Doctor
doesn't even deny it, adding he isn't trying to change history to save
himself, but Clara makes for an honest if not entirely moral statement.
The Doctor attempting to change the rules of the game by using the
TARDIS is something we never see so seeing it fail here is wonderfully
poetic. The Doctor explains that you can't go back and change the root
of tragedy. Now that's obviously foreshadowing but I don't think I
caught it originally. Clara steps into the Doctors shoes yet again,
encouraging others to endanger their lives, to be brave to save the day.
Having someone question if traveling with the Doctor has changed her
only further accentuates this point. Seeing events play out in two
different zones really helps elevate this episode and ensures the second
half of this story doesn't drag. The scenes with the Doctor confronting
the Fisher King are probably the weakest of the story because the King
does nothing but posture and boast and spends much of his limited time
on screen in the shadows. Oh, sure he throws around a few references to
the Time Lords but it doesn't make him a convincing threat, just a paper
thin villain. Experiencing the ghosts creeping up on Cass from her
perspective, devoid of sound, is an effective and singular method of
storytelling. The Doctor is offended by the Fisher Kings violation of
the rules of Life and Death. The point being, of course, that soon we'll
see him break his own rules and do just that. Was I the only one that
laughed when the Fisher King looked up and saw the dam wall breaking?
Seeing the hologram gimmick used as a callback is a fair plot point
conceit. Clara sharing advice on grieving with Bennett is a small scene
that speaks volumes. Closing out the show by referencing the Bootstrap
Paradox again is a great bit of meta-commentary on the show itself,
which has frequently used similar gimmicks through Moffat's years as
show-runner.
The bonkers opening of 'The Girl Who Died' is loads of fun. The fact that the Doctor's highly advanced technology fails to impress the Vikings pals in comparison to seeing the Sonic Sunglasses snapped in two with barely any effort. Whoops. Fast forward to two days later and the Doctor's comment about premonition being remembering in the wrong direction makes me wonder if it's a part of Time Lord physiology. A genuinely laughed out loud at Capaldi's hilariously bad attempt to hoodwink the Vikings with a yo-yo before been shown up by a far more impressive display in the clouds. Clara steps up as the leader among the captives, a role she is becoming terribly comfortable with. I like the line about Gods never actually showing up as proof that Odin was a deception. I doubt the production team expected to get so much mileage out of the Sanctuary Base space suit back in 2006's 'The Impossible Planet/The Satan Pit' but here we are still using those things. Clara's bluff almost works until Ashildr becomes outraged at what the Mire have done to her people and war is declared. The testosterone-fuelled scene about dying in battle is beautifully shut down by the sounds of a baby crying. Thematically, the Doctor's ideology is at odds with battles and war and dying for honor. Seeing Capaldi translate the babies cries is poetic and frankly moving. The fact that an infant moves the Doctor to stay and help recalls The Day of the Doctor. Capaldi is great with the comedy bits here. Clara coaching the Doctor is fabulous. She knows how he works. They've become very close friends. Ashildr and the Doctor sharing scenes is gripping. 'I tell you that leaving this place would be death itself'. The Doctor often mocks soldiers and warriors but hearing how much they mean to Ashildr makes the point that there is always a reason to fight, so long as you have something to fight for. The plan to trick the Mire is a good bite of fun before it turns tragic. A story to save a town. I do like that. Reputation is everything. But the moment you realize Ashildr has died is made all the worse by the Doctor's expression. Capaldi's acting is superb when he talks about how the painful memories of Clara will one day bring him such grief. The big reveal about why the Doctor chose Capaldi's face is actually rather brilliant. It's not sci-fi, it's a reminder. When the Doctor declares to the heavens that if anyone has a problem with him saving people then to hell with them....well....very soon, Doctor. Very soon. Saving Ashildr is a gift the Doctor gives that sadly becomes a curse, all because he can't bare to lose people. Capaldi's face when he describes immortality is subtle and full of centuries of living. The final slow tracking shot of Ashildr through the centuries is beautiful.
Even though it's not a two-parter, 'The Woman Who Lived' and the previous episode are clearly closely linked by Ashildr aka Me. I have to confess, Maisie Williams is a brilliant young actor and I may be a teeny bit biased. The opening scene and the setting of 1651 actually make me miss the historical stories of old. Sure, throw a monster in there if it helps with ratings, but I do tire of the frequent stories set on present or near-present earth. Ashildr forgetting her own name is a nice touch. Forgetting loved ones and living through endless tragedy. I also enjoy the recounting of Me's many previous lives throughout history. The rows and rows of journals tell a tale not even she can revisit. Peter Capaldi's reading aloud is mesmerizing and it absolutely guts me when we learn Me lost her children. Her decision to never again suffer through that tragedy, leaving the journal entry as a constant reminder. The Doctor's mercy in immortal flesh confronts him with what his empathy has left behind. A far more subtle theme than the 'Hybrid' story arc, but a far more enjoyable and thoroughly watchable one. Seeing the Twelfth Doctor without Clara makes for a nice change in the story dynamic. Me's instance that the Doctor acts as her companion is great comic material, as is the sneaking about while breaking and entering. Me refers to Clara as a weakness who will die on the Doctor. He looks devastated when Me asks how many he's lost. The Doctor hates puns and banter with a passion. Charming. In my opinion the first half of the episode is better than the conclusion. The interactions between the Doctor and Ashildr/Me are the best scenes of the episode and conversely, the scenes with the 'monster of the week,' Leandro and Lady Me are the weakest, feeling shoehorned in to seemingly fill the quota of a Modern-Who episode. Seeing how much Ashildr has changed because of the Doctor is a key point of the series. She's almost the counterpoint to the Doctor, becoming colder and harsher over time while the Doctor continually finds new reasons to go on doing good in the universe. Okay....fine.....I'll admit I love the gallows humour for it's literal usage here. While they laugh, he lives. The Doctor and Sam Swift exchanging jokes is frankly marvelous. The MacGuffin puts the scale of the story far to high compared to the rest of the story. It serves the purpose of reminding Ashildr/Me that she does care but frankly this could have been achieved far better and with greater subtlety. The Doctor having no clue whether Same Swift will become immortal is a nice bit of honesty. People often forget that the Doctor is just somebody who tries his best, he's not reading from a textbook and there is often no precedent for what he does. So, the guitar seems to be sticking around. I don't mind that. Clara and the Doctor are now so very close. They even hug. That should trouble you because it troubles the Doctor.
Until I find a better use for my limited free time than re-watching Doctor Who (as if that were even possible), I remain
frogoat
The bonkers opening of 'The Girl Who Died' is loads of fun. The fact that the Doctor's highly advanced technology fails to impress the Vikings pals in comparison to seeing the Sonic Sunglasses snapped in two with barely any effort. Whoops. Fast forward to two days later and the Doctor's comment about premonition being remembering in the wrong direction makes me wonder if it's a part of Time Lord physiology. A genuinely laughed out loud at Capaldi's hilariously bad attempt to hoodwink the Vikings with a yo-yo before been shown up by a far more impressive display in the clouds. Clara steps up as the leader among the captives, a role she is becoming terribly comfortable with. I like the line about Gods never actually showing up as proof that Odin was a deception. I doubt the production team expected to get so much mileage out of the Sanctuary Base space suit back in 2006's 'The Impossible Planet/The Satan Pit' but here we are still using those things. Clara's bluff almost works until Ashildr becomes outraged at what the Mire have done to her people and war is declared. The testosterone-fuelled scene about dying in battle is beautifully shut down by the sounds of a baby crying. Thematically, the Doctor's ideology is at odds with battles and war and dying for honor. Seeing Capaldi translate the babies cries is poetic and frankly moving. The fact that an infant moves the Doctor to stay and help recalls The Day of the Doctor. Capaldi is great with the comedy bits here. Clara coaching the Doctor is fabulous. She knows how he works. They've become very close friends. Ashildr and the Doctor sharing scenes is gripping. 'I tell you that leaving this place would be death itself'. The Doctor often mocks soldiers and warriors but hearing how much they mean to Ashildr makes the point that there is always a reason to fight, so long as you have something to fight for. The plan to trick the Mire is a good bite of fun before it turns tragic. A story to save a town. I do like that. Reputation is everything. But the moment you realize Ashildr has died is made all the worse by the Doctor's expression. Capaldi's acting is superb when he talks about how the painful memories of Clara will one day bring him such grief. The big reveal about why the Doctor chose Capaldi's face is actually rather brilliant. It's not sci-fi, it's a reminder. When the Doctor declares to the heavens that if anyone has a problem with him saving people then to hell with them....well....very soon, Doctor. Very soon. Saving Ashildr is a gift the Doctor gives that sadly becomes a curse, all because he can't bare to lose people. Capaldi's face when he describes immortality is subtle and full of centuries of living. The final slow tracking shot of Ashildr through the centuries is beautiful.
Even though it's not a two-parter, 'The Woman Who Lived' and the previous episode are clearly closely linked by Ashildr aka Me. I have to confess, Maisie Williams is a brilliant young actor and I may be a teeny bit biased. The opening scene and the setting of 1651 actually make me miss the historical stories of old. Sure, throw a monster in there if it helps with ratings, but I do tire of the frequent stories set on present or near-present earth. Ashildr forgetting her own name is a nice touch. Forgetting loved ones and living through endless tragedy. I also enjoy the recounting of Me's many previous lives throughout history. The rows and rows of journals tell a tale not even she can revisit. Peter Capaldi's reading aloud is mesmerizing and it absolutely guts me when we learn Me lost her children. Her decision to never again suffer through that tragedy, leaving the journal entry as a constant reminder. The Doctor's mercy in immortal flesh confronts him with what his empathy has left behind. A far more subtle theme than the 'Hybrid' story arc, but a far more enjoyable and thoroughly watchable one. Seeing the Twelfth Doctor without Clara makes for a nice change in the story dynamic. Me's instance that the Doctor acts as her companion is great comic material, as is the sneaking about while breaking and entering. Me refers to Clara as a weakness who will die on the Doctor. He looks devastated when Me asks how many he's lost. The Doctor hates puns and banter with a passion. Charming. In my opinion the first half of the episode is better than the conclusion. The interactions between the Doctor and Ashildr/Me are the best scenes of the episode and conversely, the scenes with the 'monster of the week,' Leandro and Lady Me are the weakest, feeling shoehorned in to seemingly fill the quota of a Modern-Who episode. Seeing how much Ashildr has changed because of the Doctor is a key point of the series. She's almost the counterpoint to the Doctor, becoming colder and harsher over time while the Doctor continually finds new reasons to go on doing good in the universe. Okay....fine.....I'll admit I love the gallows humour for it's literal usage here. While they laugh, he lives. The Doctor and Sam Swift exchanging jokes is frankly marvelous. The MacGuffin puts the scale of the story far to high compared to the rest of the story. It serves the purpose of reminding Ashildr/Me that she does care but frankly this could have been achieved far better and with greater subtlety. The Doctor having no clue whether Same Swift will become immortal is a nice bit of honesty. People often forget that the Doctor is just somebody who tries his best, he's not reading from a textbook and there is often no precedent for what he does. So, the guitar seems to be sticking around. I don't mind that. Clara and the Doctor are now so very close. They even hug. That should trouble you because it troubles the Doctor.
Until I find a better use for my limited free time than re-watching Doctor Who (as if that were even possible), I remain
frogoat
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