Last week’s The Pyramid at the End of the World steered DOCTOR WHO S10 into supremely Moffaty territory, with a discussion worthy, introspection provoking installment which more or less appears to act as a parable to how humanity interacts with its various religions. What prices are extracted from us by ‘higher powers’ as a levy for our receiving the nurturing or absolution we may desperately need? And what happens when the price we pay is not justified by what we actually receive back in this transaction? These are lofty explorations for any show, and atypically sweeping thematics for even DOCTOR WHO, which has never shied away from social commentary, or expirations of the human condition in the past. The ‘Monk’ arc of S10 represents an admirable, ambitious effort to be sure, but it is in the landing/payoff of bigger conceits like these that (some feel) the Moffat era has been most challenged. Will S10 break this trend? We’ll come one step closer to finding out this weekend with The Lie of the Land. The Lie of the Land marks the first DOCTOR WHO directorial assignment for Wayne Yip, although he previously brought us two episodes of the WHOverse DW spinoff CLASS. Thus, he’s not entirely unfamiliar with what he's stepping into here. TLotL marks the seventh DW script from Toby Whithouse. His last writing for the show was S9’s Under the Lake and Before the Flood, neither of which did much for me (in an <I>‘I remember that they existed, but could tell you nothing about them…’</I> sorta way. Wasn’t there something about Russians in one of them?) Welcome our The Lie of the Land discussion boards. All are welcome, all are encouraged to participate, always. PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind.
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SPOILERS FOR EXTREMIS (DW S10E06) BELOW! DO NOT READ THIS PIECE IF YOU HAVE NOT VIEWED EXTREMIS! Last week’s Extremis brought forth a number of big reveals, including the identity of who, exactly, is being kept in that vault - and the introduction of a new species which appears to be S10’s predominant dramatic foil. If its not a ‘foil’ - it’s safe to assume this species is an ‘instigator’ - or ‘facilitator of a far larger narrative’ - at the very least. The reveal that Missy/the Master was the individual locked away in the vault…and that the Doctor was fulfilling an oath to watch over him/her for a thousand years…fell flat and felt predictable to many. But Extremis’ overall story arc of invading aliens creating a (MATRIX-like) simulated Earth to rehearse an invasion of our actual reality was potent, unexpected, and opens up a number of possibilities for S10 and beyond. How, or whether, the Missy reveal and the alien agenda intersect has now become a chief mystery of S10. Given how DOCTOR WHO tends to work, it seems likely that these two plot strands will ultimately inform each other in some way, although it’s difficult to see just how… yet. Is the Doctor playing a long-game, utilizing Missy/the Master as a pawn in a grander equation than we’re able to discern at face value? Or is Missy/the Master secretly orchestrating these events towards nefarious ends? Ends which may well result in the Doctor’s regeneration? Trailers for The Pyramid at the End of the World, this week’s episode… ...and official promo images... …indicate we’ll see more of Extremis’ ‘invaders’ this weekend. I strongly suspect said invaders may not be as clear-cut/one-dimensionally ‘bad’ as first impression would suggest. Daniel Nettheim (who brought us Extremis) also helms Pyramid, which is co-scripted by The Mighty Moff and Peter Harness. Harness has previously written S8's Kill the Moon for DOCTOR WHO, as well The Zygon Invasion/The Zygon Inversion. The two Zygon tales were, incidentally, also directed by Nettheim. I found the Harness/Nettheim Zygon collaborations a bit uneven, and many folks didn't enjoy Kill the Moon (which I, personally, didn't mind), so it'll be interesting to see how Pyramid shakes out this week. Come what may, setting aside some story quibbles, Nettheim directed Extremis very nicely, crisply, and smartly. Hopefully such sensibilities will convey into Pyramid on Saturday. The Pyramid at the End of the World discussion board is now built and ready to occupy. The only here rule is the same rule as always... PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. Thanks for joing us! Welcome, and enjoy... This week finds DOCTOR WHO S10 reaching its halfway point in Extremis. BBC’s official description reads thusly: In the Haereticum – the Vatican’s secret library of blasphemy – there is an ancient book known only as The Veritas. Throughout history, anyone who has ever read it has immediately taken their own life. Now a new translation is online, and the danger is spreading. The Vatican appeals to the Doctor. Will he read The Veritas? But can even the Doctor survive the ultimate truth?
The episode is one of four S10 adventures scripted by current WHOmaster Steven Moffat, and will see the return of Michelle Gomez’s ‘Missy'/'Master.’ This appearance, according to a recent interview with Radio Times, will be among her last performances on DOCTOR WHO. In fact, given that we know John Simm’s Tennant era ‘Master’ will also be appearing this Season/Series, it would seem conceivable that Extremis might well mark Gomez’s final bow in the role.
Daniel Nettheim will helm Extremis, marking his first directorial effort on DW since S9’s The Zygon Invasion/The Zygon Inversion. If the team-up of Nettheim and Sir Moffsalot is to best last week’s atmospherically unnerving, allegorically rich Oxygen - an installment giddily evocative of vintage and ‘classic’ DOCTOR WHO - both talents will need to bring their ‘A Game’ to Extremis. The stakes are high but the possibilities are immense. I can’t wait to see what we get here.
Will the Doctor’s eyesight, lost in his exposure to the vacuum of space last week, return this week? Or, will my theory that the impending Capaldi regeneration will be a slow burn, torturous affair be borne out? With his failure to regenerate eyesight being the first stage in a regeneration that will be presented as something of a critical illness...
Will we learn more about who, or what, is in that vault? Or about whatever oath the Doctor took which is (supposedly) keeping shackled to Earth? If so, how will any of this impact Capaldi's remaining tenure as the Doctor? So many questions - so much to mull and imagine! Our Extremis discussion boards are now active! If you're lurking and feeling shy about jumping in and contributing, don't be! Both regular contributors and newcomers are always warmly welcomed here, and there's just one simple rule: PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. Enjoy! I’m struggling to come to terms with the reality that we’re now (almost) halfway through through the 10th Series/Season of DOCTOR WHO. It’s going by so, so quickly. And it's also driving me completely mental. Well, more so than usual. On the whole, I’m enjoying it very, very much - but I’m suspicious that it can’t possibly ‘stick its landing.’ Will the ball be dropped upon the reveal of who, or what, is locked away in that vault? Will the much-ballyhooed ‘regeneration unlike any regeneration before it’ (paraphrasing interviews and press descriptions) truly be amazing and inventive? Or…? After all, in the past, show runner Steven Moffat’s payoffs to big build-ups haven’t always equalled or rewarded the journey to such reveals. On the other hand, S10 appears more self-assured and clearly focused than DOCTOR WHO has felt in a long, long time - so hope shines brightly that it will go down in as one for the ages. Being half-way through S10 also means we’re THATMUCH closer to the (presumed) departure of Peter Capaldi - an incredibly, frustratingly bittersweet affair all around. While his acting has been (expectedly) solid throughout his tenure as the Doctor, many…myself included…have sensed that he never truly found the ‘pulse’ of this character until now, here in S10. Meaning, just as he hits his stride…he’s going to leave? That’s something of a kick in the nuts to those of us who’ve been in his corner all along. Presuming, of course, The Powers That Be aren’t pulling fast one… So, I’m finding S10 to be filled with hugely conflicting emotions - it is, perhaps, the most bittersweet Season/Series of DOCTOR WHO I’ve come across since beginning my journey with the show. So many lingering tendencies and issues seem to have been corrected. So many misgivings addressed and smoothed over. Sure, DOCTOR WHO has, first and foremost, always been about change - but why do such macro changes (new lead, new show runner) have to come about when Moffat and Capaldi appear to have finally found such strong, loud, communal voices? Should we be thankful to have had this apparent turnaround at all? Or frustrated and angry that the need for such adjustment wasn't identified and implemented sooner? Or, both? Arrrrrrgggghhhhhhh!!!!! It’s enough to drive one batty. Which, I suspect, would make The Moff smile diabolically. Which careens us towards Oxygen, this week’s Space Zombies adventure. As described by BBC… The Doctor, Bill and Nardole answer a distress call in deep space, and find themselves trapped on board space station Chasm Forge. All but four of the crew have been murdered – and the dead are still walking! In a future where oxygen is sold by the breath, and space suits are valued more highly than their occupants, the TARDIS crew battle for survival against the darkest evil of all… Oxygen is scripted by Jamie Mathieson, who previously wrote Mummy on the Orient Express for DOCTOR WHO, as well as The Girl Who Died, and…well…Flatline. Helming this installment will be Charles Palmer, who DW fans may recall from the David Tennant era, in which he directed Human Nature/The Family of Blood (which offered one of my most favorite DW endings ever 1:40 -->)
...Smith and Jones, and The Shakespeare Code. So, this time around we have some well established…but admittedly inconsistent…DOCTOR WHO veterans leading the charge. It’ll be interesting to see how how Oxygen plays out, and on on what side of that inconsistency this duo lands. Based on promo images released thus far, I do dig the aesthetic of this episode… Geeklectica’s DOCTOR WHO: Oxygen discussion boards are now available. As always, regulars and newcomers alike are warmly welcomed and hugely appreciated. And, as always, our singular, Golden Rules remains in place: PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. Greetings! And, enjoy!
The tenth Season/Series of 2005+ DOCTOR WHO continued last week with Thin Ice. The hugely enjoyable tale felt a tad less inventive, focused, and consistent than the two episodes which preceded it. When weighed on the whole, however, its strengths outshone its weaknesses, and the adventure emerged as another solid entry in a run of S10 stories which has felt remarkably well-considered and self-assured to date.
Not surprisingly, the powerhouse teaming of Peter Capaldi’s ‘Doctor’ and Pearl Mackie’s ‘Bill’ resulted in Thin Ice’s most memorable moments - scenes which may (arguably) be considered among the more powerful exchanges yet seen in DOCTOR WHO on the whole. In particular, the moment in which Bill calls out the Doctor for his presumed indifference to death is both potently conceived and strongly executed. As I noted in a post on our Thin Ice boards, Capaldi's blend of emotional paralysis and egotistical dismissiveness - while saying so little - somehow manages to be chilling, touching, and inspiring all at once. This exchange alone may well encapsulate, and single-handedly justify, Capaldi’s tenure as the Doctor.
Will the quality streak continue with Knock Knock this weekend?
The official synopsis of the episode describes it thusly… Bill is moving in with some friends and they’ve found the perfect house – so what if it’s strangely cheap to rent, and the landlord is a little creepy? The wind blows, the floorboards creak, and the Doctor thinks something is very wrong. What lurks in the strange tower at the heart of the building – and why can’t they find any way to enter it? Thin Ice helmer Bill Anderson returns to direct this tale as well - which at the very least would appear(?) to be a plus. Knock Knock will represent Mike Bartlett’s first-ever DOCTOR WHO script - I can’t help but wonder how it would feel to be an incoming writer on this particular show. Not only does one have to contend with 50+ years of dense in-universe mythology and history, one must also squeeze themselves into the specific tones and confines of the existing showrunner, while also being hawked over by legions of nitpicking fans and orbiting press. What a tough, fascinating, exhausting, and amazing experience such a juggling act must be... [a gallery of Knock Knock promo images] The awesome David Suchet - whose diverse resume ranges from the exceedingly crappy WING COMMANDER movie to Hercule Poirot - appears as ‘the Landlord’ in this week’s episode... ...looking like a genetic splicing of Derek Jacobi and John Colicos. Geeklecticas’s DOCTOR WHO: Knock Knock discussion boards are ready to go! Click ‘Comments’ and have fun! As always, newcomers are happily welcomed and warmly encouraged to join in the hugely respectful, hopefully insightful discussions which occur herein. There is only one rule: PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. Throughout the run of 2005+ DOCTOR WHO, I’ve traditionally felt the second episodes of each Season/Series - whether they be a standalone tales or the closure of a two-parter - were frustratingly weak when compared to the stories which preceded them. Until last weekend, the only possible exceptions to this trend (to my recollection, at least) would’ve been 2008’s The Fires of Pompeii, and S7’s Dinosaurs on a Spaceship. Yes, I will continue to enjoy defend the gorgeously sleek and conceptually daffy DoaS, even though doing so still feels like an uphill and lonely battle. Smile, however, became the third trend breaker. This said, having now watched it twice, I’m not altogether certain the overall logic of its story is 100% air tight. Pearl Mackie’s Bill once again shined very, very brightly. She has, in an incredibly brief period of time, become one my favorite ‘companions’ to the Doctor - and may be on her way to becoming my most favorite. Part of her genius, by my measure, is in her fundamental conception. When we first met her via this brief introductory video…
….I suggested that her character might well soar if she were to be used as an almost meta reflection on the show itself. Interestingly, this appears to be more or less how the character was actually developed.
To a degree, Bill is the voice of many DOCTOR WHO fans across the ages - pondering the rampant oddness and illogic which frequently characterizes the show, always through a lens of legitimate observation, but with a sense of child-like wonder, and above all…affection. Through her incessant questioning and nit-picky curiosity, Bill is, to me, something of an homage to why we, as fans, love DOCTOR WHO. I see ‘Bill’ as essentially ‘roasting' DOCTOR WHO, the show. A love-fueled poking, prodding, and reflection, but also a circuitous and emotional embrace and ‘goodbye’ from departing show runner Steven Moffat. Will Season 10’s good fortune continue with this week’s Thin Ice?
The episode is described thusly by BBC:
In Regency England, beneath the frozen Thames, something is stirring. The Doctor and Bill arrive at the last of the great frost fairs, and find themselves investigating a string of impossible disappearances – people have been vanishing on the ice! Bill is about to discover that the past is more like her world than she expected, and that not all monsters come from outer space… Thin Ice is scripted by Sarah Dollard, who wrote Face the Raven last Season. I’ve always felt highly conflicted regarding Face the Raven, my chief conundrum being this: how would the episode have played if it were free to be regarded on its own merits? Which didn't really happen. As is, nearly all viewers watching it - myself included - considered its apparent dispatch of Jenna Coleman’s ‘Clara’ through a lens of doubt or incredulity. A lens clouded by a near-certainty that Coleman/Clara would somehow be recovered and returned to the show. This skepticism, essentially, shorted out whatever impact FtR might’ve otherwise had. Such suspicions were, of course, ultimately proven correct - further diminishing the episode's purpose. Would Raven now be regarded as a strong or affecting episode if Coleman hadn’t eventually come back? ’Tis a fascinating alternate history to consider, and an important reaffirmation that storytelling conceits and gags deployed within a show should never become predictable. But, I digress a bit. It’ll be interesting to see how Dollard acquits herself with Thin Ice - when the circumstances and timing of her episode are much more in her favor, and the strength and effectiveness of her work can be viewed more objectively, and with less kerfuffle and distortion than before. A scene...
Thin Ice is, by the way, also the title of an unrelated audio adventure from Big Finish, which itself was repurposed from a story called Ice Time. Ice Time was an unrealized Sylvester McCoy-era adventure television story which would’ve found two factions of Ice Warriors sparring in 1960s London, and seen companion ‘Ace’ (Sophie Aldred) departing from the show.
Here are some promo images from this week's episode...
Geeklectica's discussion boards for DOCTOR WHO: Thin Ice are now open. Simply click ‘comments’…and away you go! There are a number of fine and awesome regulars here - but our doors are always open to newcomers and fresh perspectives.
Don’t be shy! And, above all, ENJOY! PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. Last week brought us the highly auspicious premiere of DOCTOR WHO Season/Series 10, The Pilot. That episode found Peter Capaldi approaching his Doctor role with more clarity… and greater comfort and focus…than ever before, and introduced us to new companion ‘Bill’ (Pearl Mackie).
And Bill was….a revelation. Mackie’s performance was far more introspective, nuanced, and intelligent than BBC’s funky, almost dismissive promos for the new Series/Season had suggested. In fact, one could fairly charge that BBC’s overall introduction of Bill was largely misleading, and in all likelihood damaged audience’s perception of what kind of person she would be, and what kind of dynamic she’d bring to proceedings.
Deliberate misdirect (for whatever reasons?) Or, just another of many cases case in which BBC has evidenced a dysfunctional understanding of the show they’ve been making for so many years? I’m banking on the later. Whichever the case, if one were to judge Bill on promo material alone, one would be doing Mackie, the series, and show runner Steven Moffat’s conception and execution of the character a significant disservice. The character is very interesting, filled with potential, charming, and simply good. Mackie is very, very layered and wise in her performance choices. I’ll be interesting to see where here career heads from here.
On the whole, The Pilot…just worked. Lawrence Gough’s direction was classy, crisp, and spot-on. The episode’s performances and chemistry were consistent, well considered, and refined, including the addition of Nardole (Matt Lucas).
When I first heard Nardole was joining the show in an extended capacity, I struggled to imagine how he would fit in. I was concerned that his presence would convolute the vibe around the Doctor. After all, Capaldi has, to date, often felt as if he is struggling to place his finger on the precise pulse of his iteration of the Doctor. Would adding two new companions, both highly eccentric, pollute the air around him, so to speak?
This was not the case at all. I’ve already exalted Mackie above, but the use of Nardole as a sometimes airy, but innately wise and always well-intentioned butler/assistant is both inspired and well-executed. His insertion brings the show a much-needed re-shaping of interpersonal dynamic, and does so with surprising effortlessness. ‘Effortlessness’ may be the most essential adjective when describing The Pilot. In nearly every regard, it felt like the most self-assured DOCTOR WHO we’ve gotten in quite a while. Clear in intent and destination. Invigorated. Impassioned. Immediately personal, but also epic in basic concept. It’s a joy. Will this energy carry over to Smile, the second episode of Series/Season 10? On the plus side, Pilot director Gough returns to helm Smile - which feels like a potential win. On the flip side, however, is the notion that Smile is scripted by Frank Cottrell-Boyce - who brought us In the Forest of the Night back in S8.
Many people abhor that episode (personally, I don’t, but I acknowledge the oft-stated issues with it), so Smile may be seen by many as Cottrell-Boyce’s chance for redemption.
Come what may, footage from the episode… …and promo images like these… …suggest an adventure which is visually striking and strong on aesthetic, if nothing else. Welcome to Geeklectica’s discussion board for DOCTOR WHO: Smile. Join in by clicking 'Comment,' and have fun! We've a lovely cast of regulars here, but please be assured that new contributors are always welcome, and warmly greeted, so there's no need to be shy. There’s only one rule… PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. This weekend brings us the premiere of DOCTOR WHO’s 10th Season/Series (when measured from the show’s 2005 resurrection), and the beginning of the end of Peter Capaldi’s reign as the mighty Doctor.
Personally, while I’d agree that Capaldi and Moffat took a surprisingly long time to find and finesse this iteration of the character, I think both ultimately did so very well. I suspect there’s still more than enough milage available through Capaldi’s exploration of the role to justify his not moving on when incoming show runner Chris Chibnall takes the helm.
Alas, this is not to be. Capaldi’s impulse to depart DOCTOR WHO is wholly understandable; playing the Doctor is a tough gig no matter how much one loves doing so. It’s a gig which is time consuming, physically demanding, and unquestionably distracts from other projects an actor would like to pursue.
Scripted by Steven Moffat and directed by Lawrence Gough, S10’s first adventure, The Pilot, incorporates Matt Lucas’ previously introduced ‘Nardole’ into the mix in what is purported to be a reasonably regular ‘companion’ function.
Pearl Mackie joins the cast as ‘Bill,’ also a companion, and I’d imagine the size of her role - and its ultimate consequence - will quickly eclipse Nardole. In fact, early word indicates The Pilot very much focuses on her character. Pilot director Gough also brought us this brief introduction to Bill, issued online nearly one year ago(?!?!?) To where does Season 10 lead? I tend not to address online speculation, as it tends to be riddled with rampant illogic or often desperate fan service. But I recently stumbled across this theory which...actually kinda works...makes sense at face value...and feels agreeably Moffaty. If this conjecture is, somehow, in the ballpark of where S10 ends up, such intent could make tremendous sense given the storytelling proclivities of the Capaldi era on the whole, and sertve as both a touching love letter to the franchise, and fitting, send-off for Capaldi. As one comment on this video notes: it'll be interesting to see how Moffat & Co. fold in CapaldiDoc's presumably mandatory appearance in the Day of the Doctor timeline. They could, conceivably, sidestep it entirely and assert that the given moment we saw represented in DotD is the crux of that adventure, and is, consequently, unworthy of follow-up. Or, perhaps more Name of the Doctor shenanigans could be afoot? Here are a few promo images from the S10 premiere episode. Uninspired as usual, but...what can one do?
Geeklectica's The Pilot discussion board is now online and ready to welcome you! As always, a new discussion will be posted roughly mid-week, every week, for the run of the Season/Series. Smaller posts are possible in-between episodes as news or circumstances warrant.
Simply click 'Comments' above or below, and off you go! Welcome! Enjoy! But always remember our simple, indelible, Golden Rule...
PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind.
This Sunday brings us The Return of Doctor Mysterio, 2016's official 'Christmas Special' and first new episode of DOCTOR WHO in exactly one year. That it has been so long is inconceivable, unconscionable, and unacceptable...yet here we are. Helluva way for The Powers That Be run, and disrespect, a show. Yet, to anyone who knows anything about the history of DW, this is not at all surprising. The Return of Doctor Mysterio will see Matt Lucas reprise the Nardole role he originated in last Christmas' The Husbands of River Song (the last proper episode of DOCTOR WHO, by the way). It's sounding like Lucas/Nardole will be a key player on the show's upcoming 10th Season/Series, apparently in something of a compantion capacity, per reports like this one. This year's special is scripted by Steven Moffat, helmed by Ed Bazalgette (who previously brought us Season/Series 9's The Girl Who Died and The Woman Who Lived), and is shot by Ashley Rowe. Rowe previously lensed S8's Mummy on the Orient Express and Kill the Moon, both of which were visually amazing. So, it's a safe bet Mysterio will at least look good!?
On an inconsequential side note: I truly don't want to be a great big poopy pants, but this particular piece of promo art...
...is among the worst I've come across in quite some time. For this show, or any other... Awww, well...it's exciting and amazing to have CapaldiDoc back on screen, and I'm looking forward to seeing what Team Moff has come up with after such a long absence/gestation. With this, Geeklectica's Return of Doctor Mysterio reader discussion-super-cool talky-thing-jamboree is now "Go!" As always, our traditional very high standards of interaction and discourse remain in effect: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind.
Wishing the happiest of Holidays for you and those you love...
The War Doctor Volume 02: Infernal Devices Written By: John Dorney, Phil Mulryne, Matt Fitton Directed By: Nicholas Briggs Cast John Hurt (The War Doctor), Jacqueline Pearce (Cardinal Ollistra), David Warner (Shadovar), Jamie Newall (Co-ordinator Jarad), Zoë Tapper (Collis), Robert Hands (Captain Solex), Oliver Dimsdale (Commander Trelon), Laura Harding (Navigator Valis), Barnaby Kay (Commander Thrakken), Jaye Griffiths (Daylin), Tim Bentinck (General Kallix), Tracy Wiles (Commander Barnac), and Nicholas Briggs as the Daleks. Other parts played by the cast. Producer David Richardson Script Editor Matt Fitton Executive Producers Jason Haigh-Ellery and Nicholas Briggs Once again, it is difficult to give a proper review of the set without giving too much away. Do I review individual stories or as the box set as a whole? Here, I will try the latter, so as to give much less of the individual stories themselves. That is not to say there will be no indication of what is in the stories, but I am going to try to be vague when I can, and deal with my general impressions of the set as a whole. Those impressions, moreover, come from a few things: the general idea of the “infernal devices” which is used to connect the stories together, the characterization of the Doctor and those he is with, and the way the set actually works as a kind of insight into a part of the “Time-War” itself. First, I will begin with my general impression: this set is superior to the first set. While I liked the first set, it did not give what I was expecting and looking for, and I feel others probably felt the same. I wanted something which made the Hurt Doctor, the War Doctor, so striking and different, that it was obvious as to why he himself questioned his own identity. As I explained before, I really did not get that with the first set. With that “shock” somewhat out of the way, I came in expecting less with the second set, and that probably helped, but more than that, I think the diversity of authors here helped give more than with Briggs’ one-man writing team for the first set, because it allowed for some slight variations in the theme and style, allowing for the War Doctor to have a bit more character show up as a result. This is not to say the second set gives the kind of variety I would have liked. It does, in a way, but it does not, because the Doctor still feels tamer than I would like. The set has a particular theme which runs across all the disks, the kinds of “infernal devices” which the Times Lords are willing to use in the Time War, devices which will have disastrous effects on the universe if the Doctor does not find a way to stop them, and this theme helps really bring the story around and feel like it is a part of a war more than the first set. And yet… it often feels like we are at the outskirts of the war, and what is happening elsewhere would be interesting to know here, to make the connections between the events here and the rest of the Time War more evident. Now, in this set, the Doctor finds himself forced to work more directly for the Time Lords, first by himself, but then with Cardinal Ollistra. It is clear that Ollistra has a lot of respect for the Doctor, even if she also is extremely annoyed by him. She trusts, in the bigger picture, he is on her side, though his ways and hers differ. She thinks he had the insight from his own travel to do things which no one else can, but yet she also thinks he lacks the bigger vision and needs guidance from her to help keep his actions helpful for the overall success of the Time Lords. She doesn’t want him running loose in the universe, handling the Time War in his own fashion, because she believes it will end up hurting the Time Lords and their success, that he would be a wild card that could ruin everything, but if kept under control, he could be the ace up her sleeve (so to speak). The Doctor remains quite similar to what he was in the first set. For most of the story it is hard to see what differentiates him from what we have seen before, why he isn’t “the Doctor” anymore. A lot of this, it would seem, is a matter of perspective. The Doctor is more pragmatic than usual, and more willing to do things which will have far-ranging impact, but it still feels like the Seventh Doctor would be very similar to the War Doctor in that account. And yet – there is something new, I would say, at the very end, in the way he finally finds a way to overcome Cardinal Ollistra’s control on him. What the control is, and how he works with it to undermine her power over him – is one of the better parts of his characterization here, and as such, the less said to spoil it the better. The only thing I would say is that it almost shows a cruel streak lying underneath the Hurt Doctor, and if that is the case, I would like to see that played out more in future stories (and maybe even be told of something he did in the past where it came out full force, which is why he seemingly hates himself and his way new way of life). The actual “infernal devices,” and there are a few of them, are interesting and generally well thought out, although I would say, there remains a bit of a question of the value some would have, if one considers the Time War as capable of rewriting time as it is waged. But that is a minor point. There is a lot of experimentation going on with them, from the perspective of the Time Lords, and as such, it is easy to believe that, not used to a Time War themselves, they would try and use anything, even things which give them a minor advantage, with the belief that the ends justify the means. The first story involves a “foreign power” helping the Time Lords create a potential weapon the Time Lords think can be used to create an unending supply of warriors; however, what the Time Lords do not know is that the power of the device is fueled by a cultic organization with insidious plans of their own. I really thought that the cult would turn out to involve the Nimon, and was disappointed this was not the case (for if it did, it could in many ways connect with and engage an Eighth Doctor Story, Seasons of Fear, and show how the Time War spilled out and affected the Doctor before it “begun” ). Despite that, I enjoyed the story and it helped get me in the mood for the rest of the set. The second and third connect more together, with Cardinal Ollista taking control of the Doctor and his TARDIS. Here, we see she takes the Doctor to the aftermath of an experiment, where a new weapon has been used, and she wants the Doctor’s help to gauge its results. The Doctor, on the other hand, finds his concern is more with the risks and dangers the weapon has on the rest of the universe, and he wants to find a way to have its use stopped and never considered again. The trouble for him is that he has to decide what to do with those who are caught in its first use, if he can find a way to save them, and if not, if he can justify what happens to them when he sets about overturning its use. There are some “surprises’ in this story, though when listening to the story advance they are sort of hinted at so not as shocking when they are revealed and yet, to keep the spoilers to a minimum, the most I will say is that the Doctor accidently finds himself with some interesting allies in this one. I am really enjoying these stories, if for no other reason than John Hurt and his Doctor is, though a bit “one-note” at times, played greatly and enjoyable. And here, he has a wonderful counterbalance with Jacqueline Pearce’s Cardinal Ollistra. She feels like a Time Lord version of Servalan, and that is the kind of character this Doctor needs as a foil, to keep him going on, fighting in the Time War – but always fighting for the sake of peace, to help not the Daleks or the Time Lords, but those caught in their crosshairs. We can feel the impact this has on the Doctor later, such as when we see the ninth Doctor telling the Autons he tried to save them and their planets (it would be great if, in a future set, there is a story with the Autons and their homeworld where we see this happen, to really connect to the first story of New Who, but it is not necessary). The Doctor is still the Doctor, but he really has come to hate himself and his mission. He sees the impact of the war around him, all the harm his people and the Daleks have caused. It’s why he ends with what we saw in Day of the Doctor – he is the Doctor, but only once does he allow himself to acknowledge it. Here, everyone else sees he is still himself but the Doctor always fights them when they tell him so.. I would give this 8/10 – a solid, non-questionable 8. While I like what is going on in these, I do wish we saw something earlier first, to see the Doctor do something disastrous, explaining even more what has made him so cynical. -- HornOrSilk PLEASE NOTE: We warmly invite and encourage an open discourse and free exchange of ideas, but will enforce a strict zero tolerance policy regarding trolling, disrespect, or hate speak of any kind. |
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October 2022
AuthorGlen |