Where there's tears, there's hope." One of the most significant reasons why I like Steven Moffat as a writer is that he concentrates on the small scale. He doesn't blow stories into epic proportions for a climactic end, he condenses them into one important message that should be heeded without refusal. The Doctor Falls is a fine example of how Moffat deftly writes a conclusion. I'm not blaming Russell T. Davies for writing with too much flare and flamboyancy, it's just a different way of writing. Sometimes the small is bigger than the big, as can be used to describe the TARDIS, and Moffat has the skill to write it.
The Doctor Falls is all about its characters. This season introduced Bill Potts, and following last week's traumatic denouement, she's currently fighting her own mind, quite literally. Moffat tricks us into believing that the Doctor may actually have reverted her conversion, but in fact we were just seeing what she believed we should see - normal Bill, still alive and healthy. But, as with the darker elements of this story, she comes to realise that she's actually a Cyberman, as instigated by the Master. Nevertheless, her resilient mind lives on, combating her new and alien brainwaves, desperately trying to survive whilst in the Doctor's presence. Her emotional journey here is very emotional, and her loyalty to the Doctor is the only thing that keeps her going, even in questioning the meaning of her own life now that it's been changed forever. Her final moments may be the weaker parts of the episode, but they have a strong message in their execution. Bringing back Heather was a surprising decision by Moffat and one that actually made sure that Bill's story was completed. It's a great way of reminding the audience that hope is a powerful urge of the Human race - this parallels nicely with Clara's ending last season as she started her travels throughout the Universe with Ashildr. In truth, saving Bill was typical of this showrunner's storylines, but it reminds us of the Doctor's morality and why doom and gloom should never always be inevitable in Doctor Who. Happy endings are exactly that...happy. Nardole had a lovely role in this year's finale - not only helping to protect a small society of Humans on Floor 507, but finding someone to love in Hazran. Always the comedian, Matt Lucas has been quite honestly the comic relief of the series, but he's always been a strong friend of the Doctor's, and the pain in his ass whenever it came to Missy and his oath. He will surely be missed by a lot of people, but as with many of the Doctor's companions, he will be left behind in the knowledge that he has helped an angel save lives, even if it's only temporary. It was great to see his technological side reach its peak though, as he blew up Cybermen with glee. The Master is possibly one of the most complexly written characters in the history of Doctor Who, apart from the eponymous man himself. In this case, Steven Moffat has a chance to emulate the renegade Time Lords' egotistical personality twofold - by using both the Master and Missy as sounding boards for each other. John Simm and Michele Gomez are wonderfully compatible together and equally mad. Simm reminds us how sever his incarnation could be especially in the presence of Cyber-converted Bill. But it's the final moments together that really hammers things home. Here are two facets of a character who is so in love with their own person, that they equally have to thwart themselves. Whether Missy had truly turned to the 'good side' is by the by - she never truly got the chance to show her remorse as both incarnations have killed each other. In the shared laughter they realise that this was their destination - Simm's Master into Missy and Missy to...well, death I suppose. But we can never be too sure with this tricksy Time Lord. The man of the hour though, above everyone else, is the Doctor. Peter Capaldi has poured so much life into his incarnation of this wonderful being, that he is effortless in his portrayal in the finale. Filled with wisdom and emotion, he's the real reason why many audience members are crying around the world after seeing this finale. It may only be the beginning of the swan song, but Moffat has given his all into writing the Doctor as someone who does things for the sake of saving innocent lives. Hence why the scene where he confronts both incarnations of the Master is so pivotal. This is his last chance to impart his kindness onto them and hopefully change their thinking-process. Despite everything that he did regarding Missy this season, he still feels as though he's failed. On top of that, he has already discovered that he's at the stage of his death - his regeneration is near. The beautiful shots of him running through the forest and causing explosions shows the Doctor at the end of his tether - credit to the immensely talented Rachel Talalay for the nuanced imagery. This is all about the final moments though, after Bill's exit from the TARDIS with her new perpetual friend, Heather. A wounded Doctor awakens from unconsciousness after experiencing flashbacks of his previous companions - a nice tribute to Russell T. Davies from Moffat there. I adore the continuity references to previous moments of regeneration - Capaldi imitates them all well. But it's the Twelfth Doctor we're concentrating on, and as Moffat has promised recently, his regeneration will have a different edge. In the final scene, the Doctor attempts to halt the regeneration, before being approached by a figure in the snowy mist. For a massive Who fan like me, this is a defining moment in the show's history as its first incarnation reappears for one final adventure. This will be the best gift for unwrapping at Christmas. Low-key, but undeniably significant in the perspective of any Whovian, the Doctor Falls is brimming with references, love and care by a writer who has devoted the last eight years of his life to one of Britain's greatest entertainment treasures. In my opinion, he has almost never let it down. With one more story to tell, can he uphold that immense standard and give Peter Capaldi the extraordinary ending he deserves? 9.5/10 Season 10 - 8.5/10
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Every star in the sky, we were going to see them all. But he was too busy burning them." It's amazing that for an entire season, Steven Moffat has been building up an entire relationship between the Doctor and his very old friend, the Master. With the piano in Knock Knock, the game of hot and cold in The Lie of the Land and playing the music in The Eaters of Light, Missy has slowly accumulated a mountain of empathy in which the Doctor hopes she will become more like him - caring and thoughtful. World Enough and Time is essentially the final test, in which he puts her in a situation he often finds himself to monitor her method and oversee her change. Unfortunately, this is sidelined by what turns out to be one of the most life-changing experiences for Bill.
In general, the episode is steadfast in a dark and intense scenario. After Jorj shoots Bill right through her body, she is taken by a group of masked men to the lower levels of the ship, further away from the black hole. There, she spends most of her life with an odd friend, living out her life while watching the Doctor painfully slowly reach a conclusion on the top floor and finally decide to take the lift down the ship. Meanwhile, she's surrounded by a society of people who are gradually dying in the fumes of the ship's engine. This opens a gateway to one of the darkest moments possibly in Doctor Who history - a masked patient persistently pressing a "Pain" button, followed by another pressing a "Kill. Me" button. From what we know of the Cyberman as avid Who fans, this is a element of the Cybermen that has not been explored so rigorously. Emotions have been discussed before, but never with this much depth - Steven Moffat has reminded us how horrific the conversion process is and how distressing it is for the converted. Michelle Gomez is excellent in this episode, first-off giving us some wonderful antics on the top floor as she attempts to impose herself with the same air as the Doctor. The constant mentioning of "Doctor Who?" and the in-jokes are brilliant, reminding us that this season has been about questioning the show and revisiting its earlier elements. But, as the episode goes on, whilst Missy continues to show her more relaxed and Mary-Poppins-mad-type self, she is slowly discovering a revelation. This revelation comes from the odd man who has only just tricked Bill into the conversion room where she is tragically transformed. This man turns out to be the previous incarnation of the Master - not so much an unpredictable reveal, but a satisfying one, but it raises the question of how Missy can't remember that she's been here before. The Doctor and Nardole take a backseat in this story as the highlight is on Bill and Missy, but that doesn't necessarily mean that they're not important. Nardole may ironically be lumbered with being the comic relief, but his shock at seeing the Cybermen in the final moments and the old Master is defining moment for him as he's effectively been the Doctor's right-hand man in the entire unfolding events. The Doctor, however, has been quietly leading. Obviously, on one hand he's attempting to change Missy' penchant for violence, but at the same time, he wants to keep his friends safe. That's what makes Bill's role so tragic - here's another companion who has believed in the Doctor and seen him as all-knowing and invincible, but has fallen prey to the environment around him. On top of the fact that the opening sequences promises this to be the Twelfth Doctor's end incoming, we can't help feel that Peter Capaldi will be terribly missed. He truly is one of the Doctors, and one who has demonstrated great skill in portraying a darker, more subdued version of that wonderful Time Lord. Even with all the 'wham-bam' elements of this stunning episode, there's still some hidden gems in between. The Doctor's conversation with Bill on the bench above the university is lovely, and gives us a tender moment of nostalgia for the Doctor as he recalls his time with the Master in the Academy. We also get a chance to learn a bit about physics as the Doctor explains how gravity affects different points in space around a black hole. It's a fascinating concept, and as a physicist myself, I can say that it is one of the more beautiful phenomena the Universe has to offer. Doctor Who may have dumbed it down for entertainment purposes, but the idea is still the same - it really is a matter of time, and it will play with you with the utmost disregard. Also another strong element of the episode was the music. Murray Gold took the chance not only to recreate some melodies from the past (including the tune from The Last of the Time Lords), but to create something new and frightening for that scary hospital. My only gripe is that the BBC decided to reveal everything before the episode aired. We knew about the Cybermen returning, we knew about John Simm's master returning and we knew about the Black hole and the ship. The only proper revelation was Bill Potts conversion, which was shocking enough in itself. But I won't dock marks for that, because Steven Moffat has carefully and methodically crafted a tense episode that slowly but surely unfolds before your eyes as an episode with a great stature in Doctor Who history. Thankfully, next week, it doesn't seem like anything has been revealed, and hopefully we'll get to see it with a clean slate and great expectations. I can honestly say, this is Doctor Who at its very best and television at its very best. This is one of the best episodes of 2017 so far. 10/10 Let me tell you about the Romans. They are the robbers of this world. When they've thieved everything on land, they'll rob the sea. If their enemies are rich, they'll take all they have. If their enemies are poor, they'll make slaves of them. Their work is robbery, slaughter, plunder. They do this work and they call it empire. They make deserts and they call it peace." A very light and low-key episode with a simple message and a neat, if dumbed-down, story. The Doctor and Bill argue over the fate of the Ninth Roman Legion, and decide to use their handy time machine to end it. Little do they know that they've stumbled on a alien race that has the capability of eating light, and has destroyed pretty much all the Roman army that entered Scotland. The most awe-inspiring thing about this episode is the capabilities of these monsters - the fact that as a species they could devour entire stars just for their lunch.
The story itself is tidy - I liked the opening and final sequences involving the two kids who visited the cairn in present day. It provided great closure for the story and the characters involved. However, the plot itself was simple and unoriginal. The Doctor, as usual, saves the day be managing to force two armies to cooperate to fight a greater threat. Also as usual, the Doctor is prepared to sacrifice himself for the sake of the Romans and Picts, but this is quickly rectified, when the supporting characters (especially the Romans) discover they have a backbone. It's just a shame that we didn't get a chance to see more of the creatures, as CGI-wise they were very well done, and their general concept was fascinating. Pearl Mackie played a very strong Bill this week, she has really shown her mettle, especially since the Monk trilogy. Apart from another quip about her sexual orientation, her character finds it easy to take charge and make decisions. Though the people she worked with, less so. The Romans were pretty unconvincing Romans, despite them portraying cowards who deserted the crux of the Ninth Legion. The acting was fine, it was just the actual writing for the Romans nullified their reputation as a war machine that conquered Europe. Nardole was brilliant this week, adding a layer of comedy that suited his demeanour. He certainly rocked the dressing gown and exclaimed his ability to make spag bol. One of my favourite scenes was possibly his interaction with a crow, and realising that it was sometimes saying "Doctor" and other times "Master" - a hint to the denouement of the episode. Elsewhere, the episode suffers from being too light - it could have benefitted from more chases through the dark forest and a lot more of the monsters to up the scare factor. My feeling towards the conclusion of the cairn lacked the emotional punch and relied too much on the audience caring about the two separate tribes. The highlight therefore, unfortunately, overshadowed the rest of the episode - Missy in the TARDIS, again. As the overall arc continues, Missy's appears to be more and more genial towards the people around her, despite Bill and Nardole's outrageous towards the Doctor for allowing her to be out of the Vault. But, there's a wonderful scene between the Doctor and Missy at the end that is astoundingly emotional, and proves how powerful a dynamic Peter Capaldi and Michele Gomez are. It also promises some incredible things to come in the two-part finale. If the trailer is anything to go by, it's going to be a rollercoaster ride of epic proportions, involving a massive spaceship falling into a black hole. 7/10 Fight for a future, not a dead past." A real classic romp, this one, with a real geeky cameo last seen in The Monster of Peladon back in 1974. The Doctor, Bill and Nardole find themselves amidst a battalion of British soldiers who have found themselves on Mars finding after travelling with a lone Ice Warrior from Earth. The premise involving a message seen on Mars by NASA leads to a causal loop that is actually quite neat and tidy, but there are some quibbles I have regarding some character choices and plot points.
To begin with, however, there's nostalgia for me as this feels like a classic Doctor negotiating peace scenario where there are two misunderstood races meeting for the first time. This sets up a rather interesting confrontation in which he meets a female Ice Warrior, Iraaxa, for the first time. As is customary for the Ice Warrior species, the females are the leaders and hierarchy as they are the wisest - a plot point destined for the modern age of equality. Nevertheless, she is a formidable opponent who is protective of her planet and the survival of her race, as anyone would be. But it takes a close ally of hers - an Ice Warrior, no less - to persuade her otherwise. That was a nice touch to the story, allowing us to consider our prejudice and the Doctor's. The visuals were great, and CGI shots of Mars' surface were nicely done, but the new method of killing by the Ice Warriors - less so. It is far more comical than terrifying, and does take away some of the scare factor associated with these 'upright crocodiles'. Nevertheless, I liked the fact that the monsters look the same as they did fifty years ago. On top of that, credit goes to the acting of Adele Lynch and Anthony Calf; the former was dramatic and reminded me of the Racnoss, the latter provided a confident performance that gave us an admirable character. The character choices were less meaningful, and unfortunately the episode fell into the trap of relying too much on the past, and giving us a situation that involves a series of deaths that leads to a discovery and then a fierce battle that is ended swiftly by either the Doctor os his companion's intervention. Catchlove's character was especially dislikable, mainly because he embodies the same trope of an arrogant man with little sense. In addition, I felt the Doctor and Bill were rather underused, despite their role in the conclusion - it was far more reliant on its supporting characters. To conclude though, I was very pleased with Gatiss' numerous cameos from the past, not least the Ice Warriors' return. But alongside the painting of Queen Victoria from Tooth and Claw, we had the cameo from Alpha Centauri, possibly the most ostentatious individual characters in Doctor Who's history, with her distinctive high-pitched voice. Having the actress return as well was just brilliant, and rounded off the rather uneven episode well - even leading us into the stories that spawned into The Curse and Monster of Peladon. I always love a good continuity reference. Finally, I'm intrigued by the storyline involving Missy. Nardole has possibly made his biggest faux pas yet by freeing Missy from the Vault so that she might help pilot the TARDIS back to the Doctor and Bill on Mars. It's the Doctor's reaction that's most interesting though, as he's still unsure where her loyalties lie, despite her claims that she's turning good. The finale beckons with some possible fascinating developments. 7.5/10 I had to stop you, or at least not stand in the way of someone who wanted to, because the guns were getting bigger, the stakes were getting higher, and any minute now it was going to be goodnight, Vienna." Toby Whithouse has been a frequent contributor for Doctor Who - a writer who has brought a lot of imagination and colour to the Whoniverse. His plots aren't always sound, but from evidence such as his first contribution, School Reunion, and his two-parter two years ago, Under the Lake/Before the Flood - he has genuine style and flare. With The Lie of the Land, he has conjured a dark and bleak image of an alternative Earth where the Monks have taken over the free will of the Human race, and indoctrinated them by means of brainwaves. This may seem vague and candid, but the way it is portrayed is gruelling - even more so when you realise the Doctor's working for the Monks.
Or not. In one of the biggest tricks in the book, the Doctor deceives the Monks into believing that he has been shot and killed by Bill. Now, at first, this all seems incredibly shocking, seeing as Bill was the one who shot the Doctor, something that some younger viewers might find distressing. But, the Doctor adding a regeneration effect and a full-bloated performance into the mix, makes it all quite comical. This trickery may not work on all frames of reference, but for me it felt like a symbolic foreshadowing of the Doctor's fragility and his impending death very soon. I really enjoyed the opening sequence too. It has become a staple in Capaldi's era that there be some sort of monologue or voiceover exposition at the beginning of an episode to provide the audience with a notion of what is to come. This one works really well, as it shows the full scale effect the Monks have had on the history of Earth and the Human race. Even seeing the Daleks, Cybermen and Weeping Angels brought back some wonderful connections to past seasons. Bill and Nardole also worked well together, continuing their flourishing chemistry from Oxygen and Extremis. Pearl Mackie has adapted really well to her role, with arguably her greatest performance in this episode, when Bill attempts to reason with the Doctor after he confesses that he's working with the Monks. Even better, we got another snippet of Missy, a favourite character of mine, who appears to have vital information on the Monks. Michelle Gomez plays her character far more subdued this time, but she never stops being mad. Some of the lines Whithouse wrote for her were bloody brilliant. It's great to see the development of the series as well, as the Vault was first revealed, it was hinted at who was inside, Missy was revealed, and now it has finally been opened. The big question now is, after that final scene, has Missy truly started to turn good. Considering some setbacks in the story, I'm going to have to point out some negative factors. Whilst the resolution of the Monks was lovely, in every sense of the word, having Bill use her imaginary connections of her mother as the method of defeating the Monks was a tad ridiculous. Love is a powerful thing, yes, but seeing as how the Monks have a dear connection with love themselves, surely these thought-processes wouldn't harm them in any way, shape or form. Regardless of that, I'm also inclined to point out that the Monks have had little to say, despite featuring in three episodes. Extremis introduced them well, and the Pyramid at the End of the World, gave them a motive, but this episode hasn't properly ended their plan. Indeed, they wanted to take over the Earth, but what was their destination - their end goal? Cons aside, I feel like this was a winning episode, giving the Doctor and Bill a chance to reassert their relationship as tutor and student, but also as close friends who enjoy challenging each other with question and hypotheses. Having Missy in the episode was a positive decision, and Whithouse writers her character very well in my opinion, almost as good as the maestro himself. But, in the end, it concludes in lacklustre style, save for that beautiful final scene between the Doctor and Missy. 8/10 Fear is temporary. Love is slavery." The title of this episode promises a grand display. Indeed, the end of the world is at hand, but not as we'd expect it. Following last week's mind-bending work from Steven Moffat, this time he joins forces with Peter Harness to write a far more straightforward storyline, but also something intriguing. Here, we have a traditional alien invasion for Doctor Who, but one that is instigated far differently from the usual attack and defend. Here, we have the interesting race, known simply as the Monks, who wish to have consent to take over the planet. It's an original idea, and one that plays out with a nice simplicity.
Here, the running joke with Bill's girlfriend, Penny, continues thanks to some wonderful comedy involving the abrupt arrival of the UN Secretary General. This is a stunning start to the story as it shows how widespread the threat is, promising to have far-reaching consequences. Returning to Turmezistan is also a great idea, allowing the viewers to revisit this neutral country once again, since the last time when it used during the Zygon Invasion. Thanks to some beautiful visual effects, and great work from director Daniel Nettheim, the aesthetic of the shots are mesmerising to behold, especially that landscape view of the pyramid, standing tall in the centre of the desert. We even have some accompanying music that resembles Bond to settle the right atmosphere. I've criticised Harness' work in the past for being too scientifically-innacurate to be taken seriously, but in this episode he's toned things right down, and even made a slight quip against his previous work thanks to a line by the Doctor - "as dead as the moon". The writers have clearly thought a lot about the origin of this Doomsday Clock and how two separate events, linked to two combined characters causes that clock to move forwards. As Erica accidentally breaks her glasses and Douglas has a heavy night out, both factors are the building blocks for a near-pandemic scenario in which a contagious bacteria is grown inside a research laboratory, and thereby notifying the monks of Earth's impending demise. As for the resolution, the science of sterilisation may be simple, but the idea around it is sound, and it even increases the threat levels to maximum in an episode that goes from being slow and calculating to fast and furious. Jokes aside, the political aspect of the episode is less complex, is unfortunately let down by stereotypical roles for three military leader representing the US, China and Russia. But, despite their naive decision that countermand the Doctor's, the idea of the monks and their power to take over the world and the lives of Humans simply by receiving consent is an intriguing one, and I'm excited to find out exactly what the process is of taking over the world. It's a type of invasion that we haven't really seen before (and for Doctor who that's saying something). This lack of interesting characters also meant that we had to rely on our three heroes, but with the Doctor, Bill and Nardole that's not very difficult. Each shared the spotlight this time around, with Pearl Mackie giving us her best performance yet, as Bill makes a fateful decision to hand over the Earth to the monks to save the Doctor. This is a massive twist that I was not expecting, and it does mean that (looking ahead to next week), that there are severe consequences. Time will tell what these are, but the episode tells an enlightening story that gives us another taste of the Monks and their unrivalled power. Apart from some political missteps, I'd call this a successful Who story that neatly balances the old and new style of the series. That cliffhanger is also a corker, and I'm intrigued to see how Nardole will survive his encounter with the bacteria and how Earth will survive dominion under the Monks. 8/10 In darkness, we are revealed." I have great respect for Steven Moffat. He has a child's imagination and an adult's proficiency to write some of the most nuanced stories anyone can think of. In Extremis, despite having written countless other top-notch episodeS that each have their own slice of genius storytelling, Moffat has once again found a treasure trove of plot twists that continue to enrich the Doctor Who lore and confuse its fans. Confusion may sound like a criticism, but in this capacity, where Extremis is merely the introduction to a three-part story, it is definitely justified as a positive point. Here, the showrunner has laid down the seeds for an incredibly fascinating tale that will surely define the end of Capaldi's era as complete and utter triumph.
Honestly, I thought Missy was too obvious to be the one in the Vault, but I must confess that I got it wrong. The Master plays an incredibly important role in this story, and I imagine she will in the coming episodes too. Ever since they were children, members of the Prydonian Chapter, and walking the Mountains of Perdition, these two Time Lords have been the best of friends. In later years, their friendship may have turned sour as their moralities are in perpetual conflict, but in this episode, the Doctor's true feelings towards his longtime friend are revealed. In truth, he can't let go of his friend, and for better or worse, he has now promised to watch over her 'body' for a thousand years. As revelations go, it may have been an obvious identity, but the purpose of her being in the Vault definitely has more meaning that imprisonment. And here, Moffat swiftly integrates her into the story as the Doctor decides that she could be the key factor in stopping these mysterious monks. Speaking of monks, the new Who monsters are truly terrifying, the make-up and effort gone into their appearance is astonishing and it will surely put kids behind the sofa once again, after last week's zombie-filled adventure in space. Understandably, their intentions on Earth are unclear at this point, but they are clearly determined to conquer - they've precisely simulated the entire Earth to plan their invasion, something even the Doctor couldn't foresee (sorry, Doctor). But, it seems the monks have found a fault in their simulation. Humans are beginning to question their existence after reading 'the Veritas', an ancient book that tells a terrible truth, one that will inevitably lead to their death (or in this case, deletion). The simplicity, yet complexity (pardon the oxymoron), of this plot is why I consider Moffat so imaginative. He has thrown his audience into a simulation themselves, and gradually pulled away the cover to reveal the act inside. To many, this may seem like 'filler' (a description I have never liked), but in writing this episode, not only has Moffat shown the full extent of power that these new creatures possess, but he has shown that even in a simulation, and one where it has been so meticulously crafted that it is almost impossible to deduce, the Doctor has a way of thwarting them - by using their own technology against them. Now that the real Doctor is informed of the hostile invasion incoming, who knows what battle could ensue. It's also nice to know that Bill and Nardole are fine after their wonderful two-man team as they travelled through the portals between the simulation. They really are a fantastic TARDIS team. After five seriously toned-down, yet convincing episodes of Doctor Who, this one reasserts the series as an intelligent drama that challenges the audience, and demands that they take heed of every word that is spoken. It took me a while to fully grasp the timelines and the order of the scenes, but once it all comes together, it is one cohesive and incredible tale. References to River Song are also welcome as her diary shows up, promptly delivered by Nardole after he left Mendorax Dellora and after the Doctor left River for the last time on Darillium. As this is a time-travelling show, it would be sacrilege not to include some sort of time-bending chronology, but Moffat does it so subtly that it can sometimes be hard to find. As performances go, it's great to see Michelle Gomez return to reset the bar, owing to some wonderfully hilarious quips towards her so-called executioners. Pearly Mackie equally raised the bar this week, showing how comfortable she now is in the role, and how competent she can be alongside veterans of the art. And a veteran we have in Peter Capaldi, who is at this point in time completely and utterly sold as the Doctor - he is constantly breath-taking in the role, and that scene in the Oval Office is just another example of his unprecedented talent. Although I hate comparing actors, he can stand next to Tom Baker and David Tennant on my list any day. Nevertheless, Doctor Who is on top form, almost rivalling my love for Series 9, and I can't wait to see what Peter Harness can contribute next week alongside the Grand Moff himself. 9.5/10 You only really see the true face of the Universe when it's asking you for help." Oxygen presents Doctor Who as a darker, bolder and all round mature series. The claustrophobia and threat of this episode is heightened by the fact that the Doctor and his companions are in a situation that is far more dangerous than they've experienced before. For one thing, the TARDIS and sonic screwdriver are put out of action very early on in the story, resulting in the Doctor having to improvise and work things out simply by using his enormous brain. Initially, this seems normal, until all their lives are on the line, leading to the most satisfying denouement of Series 10 so far. Instead of going for the over-complicated, Jamie Mathieson has opted for simplistic.
The political angle is something that Doctor Who has been doing for years, but it feels fresh and inspired in this episode. Capitalism is actually the monster in this story, something that is not often considered dangerous, but is actually an invisible force that endangers everyone for one simple reason - money. It's the clever way in which the Doctor threatens the capitalist suits with expenses that saves their lives. The zombies, however, are less inspired, and despite their appearance adding to the scare-factor, it doesn't provide any sub-context to the storyline, just a way to put the kids behind the sofa. The story itself is well written by Jamie Mathieson. It's the atypical Doctor Who adventure, but this time, Nardole joins in. Whilst the subplot of the Vault is still very fresh in his mind, his character does get a chance to show off his knowledge of the Universe alongside the Doctor, even going as far as to discuss his love life with an AI called Velma. The comedy is integrated well into the fast-paced chase-fest that ensues in most of the episode, but it is overwhelmingly swamped by the grief we feel as not only does the Doctor lost his eyesight when saving Bill from suffocation, but also Bill is converted anyway. The supporting characters didn't provide much in the way of context, except for a quip against racism. But it's great to see the writers expanding our knowledge of what the future of the Human race looks like in the Whoniverse, perhaps somehow connected to the Great and Bountiful Human Empire that has been mentioned since Series 1. Performance wise, Capaldi has peaked so much that it's just an endless display of unprecedented talent. This time required to act blind, it doesn't seem a challenge at all to him - he embodies the Twelfth Doctor every episode without fault. Pearl Mackie is better than ever, this time required to portray Bill in a more threatening position than ever before, allowing us to grieve for the emotion she feels in her relationship with the Doctor. Also, the reference to her Mum was heartbreaking. I particularly enjoyed the opening sequence to the episode, with a combination of Capaldi's monologue and that beautifully shot scene in space being a highlight of a pretty strong episode. With that cliffhanger though and the next time trailer, this series has suddenly expanded beyond proportions. Not only have we got the Vault to ponder, but the Doctor's blind and and now there's a book known as the Veritas that apparently kills people after they've read it. The string of five episode that we've had so far have been the most consistent of any of the new series in my opinion - Series 10 has had not one dud. This is probably Mathieson's best in my opinion, and I hope he returns when Chibnall takes over. 8.5/10 If you could save the one who brought you into this world wouldn't you [protect them]? (pause) Your silence is confirmation." Even in its tenth series (thirty-sixth season overall), Doctor Who is still on fine form. Knock Knock is a traditionally spooky episode, encapsulating all the Scooby-Doo-type horror that many Doctor Who stories have had in the past (Hide, Tooth and Claw, Ghost Light, Horror of Fang Rock, etc.) As the youngest writing contributor ever, Mike Bartlett has written a rather neat episode. Whilst it may seem repetitive to have the monster-of-the-week be misinterpreted every time, this week's had a more meaningful revelation.
Now that Bill has had a couple of adventures with the Doctor, she's almost a pro, and the fact that she's naturally watchable shows how suited she is to the role and she's comfortably a part of the Whovian Universe. In this episode, she's searching for a house to live with her new friends - this is very difficult, as many students around the UK know, due to the housing crisis. So, inevitably, when a Landlord comes along offering a massive house at an incredibly low price, they jump at the chance. Unbeknownst to them, however, living in this rather creaky building will cost their lives. All the characters are great to watch, Mandeep Dhillon and Colin Ryan were brilliant in their roles and incredibly believable as students. But it is David Suchet who, in professional form, steals the show. In every scene, he suggests an evil aura with his expression-filled smiles and is candid tone - it was enough to really terrify the audience. The reveal toward the end may have undermined his evil character, but the emotion that Suchet brings with the revelation is stunning. It's such an engaging performance that even if this was a terrible story, he and Capaldi could carry it all by themselves. With regards to the creatures in the story, Bartlett has created some rather effective monsters in the woodlice or "Dryads" as the Doctor calls them. The idea that they manipulate the wood to consume unsuspecting victims is a wonderful, albeit, unsettling idea that merits mention in the pantheon of Doctor Who monsters. Also, I would like to note the effectiveness of the make-up for Eliza, who is possibly the most interesting monstrous creation in a while. How she came to develop this appearance is explained well and the back story behind the Landlord's relationship with her is very mature and tearful, something that Doctor Who has always been good at. I've praised this story to the roof so far, but it is not without its faults. The ending, unfortunately, is once again plagued by an unsatisfactory conclusion. Bringing back all the characters who had been consumed by the house undid the terror and brutality of the story that preceded it, and was also a little lazy on the writer's part. Considering this deus ex machina-style conclusion has been a common occurrence in the last two episodes as well is jarring. The writers should always have a clear and authentic end to their story if it's going to round up the plot tidily. Finally, I have to mention it - the Vault. We are now another step closer to finding out, and according to news last week from Doctor Who Magazine, Steven Moffat will be revealing who or what is inside it in the sixth episode - Extremis. So only two episodes to go! But the hint in Knock Knock makes me think that they may have already revealed. Or it could be Moffat's way of chucking in a few cruel hints to distract us from the truth. We can only wait and see. 8/10 Human progress isn't measured by industry...it's measured by the value you place on life. An unimportant life. A life without privilege. The boy who died on the river, that boy's value is your value. That's what defines an age. That's...what defines a species." Sarah Dollard is without a doubt a talented writer - her script for Thin Ice is nuanced, focused and powerful. The dialogue she provides for the two leads is energetic and thoughtful - and with someone like Peter Capaldi at the helm, it's hard for the execution to falter. Unfortunately, the episode is let down by some story issues, and a stereotypical and forgettable villain. Lord Sutcliffe, played well by Nicholas Burns, is just like all the power-craving, megalomaniac, rich idiots who came before him in so many New and Classic Who alike. But this doesn't deter from the bubbling chemistry between the Doctor and Bill as they together investigate a fun mystery of lights under the ice on the River Thames in 1814.
With a larger cast than the last two episodes, Thin Ice feels a bit more meaty in terms of the visual aspect. Not only are there some wonderful costumes and set designs, but the brief images of the giant worm in the Thames bring an awe to the screen. Doctor Who has never been blessed with the best effects, but its charm rests in its ability to dazzle using merely words. The story of the street urchins is typical of Doctor Who and brings an uplifting side to what is a bleak depiction of life. The fact that we see one of the kids swallowed up by the river helps us feel empathy towards the group. I wasn't expecting Doctor Who to be quite so hard-hitting. Despite there being so little time to show a lot of the interactions, scenes with the Doctor reading them a story and etching the name of Peregrine into a deed were two nice touches. For the main characters, this is another episode to help broaden their chemistry. The Doctor and Bill have already shown their compatibility, but in this episode we see a more cautious Bill, who questions the Doctor's inability to save the boy on the river. Pearl Mackie continues to shine as the new companion, this time giving us a blend of sadness and anger in her performance, which is pretty convincing. It's Peter Capaldi who excels though, and his dynamic with Bill is better suited in the tutor-student relationship. Whatever comes next in their relationship, there's no doubt that this flare and energy between them will remain. All in all, the story is simplistic and is clearly influenced by some classic stories with the old capture and escape scenario playing out towards the end. It's unfortunately plagued by uneven editing that lacks cohesion. Because the episode is so busy and energetic, the scene changes appear choppy and it even goes into overdrive towards the end as the Doctor executes his plan underwater with no explanation whatsoever how he moved those barrels of explosive so quickly. Once again, the resolution seems to have a lack of thought, but the sincerity is there, and to see the innocent creature underwater be free is a nice touch, and is reminiscent of the Star Whale in The Beast Below. What intrigues me most about the episode, however, is the ending, where we get another hint about this ever-present and equally ominous Vault under the university. We are given a wonderful scene with Matt Lucas, as Nardole faces a complication in that something inside the Vault has started knocking. One knock short of a Master, if you ask me. It's cruel for the audience, as it just means we get barely a hint of what it might contain, but at least we get the feeling that it's something threatening. This could even be the cause of the Twelfth Doctor's regeneration - who knows? Packed with nice dialogues and possibly the kindest speech the Twelfth Doctor's given, Thin Ice is a quaint story that faces up against racism and involuntary incarceration in a brutal way, but it ultimately fails to sort out its eventual plotting problems. I would definitely ask Dollard back to write again though. Other than that, next week looks to be one of the scariest Doctor Who episodes ever conceived, and including David Suchet, no less. Looking forward to it already. 7.5/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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