His name is Susan and he wants you to respect his life choices.
I've felt a little bit of a Western pull today. I've actually got The Gunfighters in my DVD queue but alas, I have not seen that one yet. So let's go with A Town Called Mercy.
This episode in generally regarded as the best one of Series 7A and I hear a lot of "I'm not a fan of Westerns, but I liked this." I actually grew up with Westerns and have a general appreciation for them. I loved The Lone Ranger growing up (the animated series specifically) and I absorbed a lot of Western appreciation from my dad who loved both John Wayne and Clint Eastwood Westerns. So I should be in a position where this was right up my alley.
And yet, this episode didn't really do it for me. The premise is pretty straight forward. The Doctor and his companions arrive in an Old West town that is under siege from an alien cyborg hunting his creator, Kahler Jex. That creator is being protected by the town Marshall because of the great help he has provided the town. The cyborg seeks revenge not only for what was done to him but also what his cyborg conversion forced him to do, for which he blames Jex. When the Marshall is accidentally killed, the Doctor takes over to protect the town. He arranges for a distraction that allows Jex to escape, but Jex then kills himself to avoid bringing other innocents into harm's way. The cyborg realizes the emptiness of his revenge and aims to destroy himself but the Doctor instead gives him new purpose in defending the town.
I greatly enjoyed the moral ambiguity of the story as that was perhaps the most Western thing about it. But it also led to the thing that bothered me the most about the story: the cop out at the end. An argument could easily be made that no amount of good deeds could atone for the crimes that Jex committed in his planet's war. Likewise, the other side is that although Jex did evil, it was for the greater good of ending the war and he has continued to atone for that evil in the acts of working to preserve life in Mercy. The fact that the Doctor takes both sides at different points in the story is also a credit to the difficulty of which is the best path.
But then it all gets thrown away at the end. The whole time, Jex has lived in fear, terrified of the punishment he will receive in the afterlife. It drives his will to live, despite the danger to the innocents around him. The Doctor even provides a method of escape towards the end (in a nod to The Three Amigos) which shows that the Doctor is opting to side with the Marshall and the idea that Jex has atoned. But despite all that, Jex does a sudden about face and opts to kill himself so that no innocents will be harmed when the cyborg follows him. It removes the decision from the Doctor and makes it feel as though the previous thirty minutes were an exercise in futility. If Jex genuinely felt that way, why go through the escape? Why not stand at the gate of the town and apologize to his creation and note that he will not permit any more bloodshed. It would have still removed the Doctor from the decision but it would have given Jex more of a sense of nobility as he sacrificed himself for the greater good (the greater good) as well as for his ultimate atonement.
I cannot call this episode bad as the set up is good and the acting is absolutely superb. The setting, make-up, and costuming also all contribute to giving you that full Western feel. Even having Rory and Amy each favoring both solutions is an excellent set up as the Doctor cannot even rely on consensus to force him to choose. But even the best set ups fizzle based on a bad plot turn. I will have to go back to this one again to see if my mind changes, but it still gets a downgrade because it wouldn't own up to it's own set up.
Overall personal rating: 3 out of 5
Friday, October 30, 2015
Edge of Destruction
Susan, give me the scissors please.
As is typical for British television, the original order for Doctor Who was thirteen episodes. The popularity of the The Daleks gave an immediate renewal to the series and Season 1 of the classic series went on for five more stories (30 additional episodes or 43 episodes total). But until that order came down, Edge of Destruction was the two episode bookend to the season and potentially the series.
In some ways you can sort of tell that in episode two with the Doctor's big speech about time and space and his apology to Barbara. I would imagine that if the show had ended, instead of large footprints in the snow, the last shot may have been it looking like they had landed back in the junkyard, but that's just speculation on my part.
But before you get to the wrap up in the second half of episode two, you have to get through episode one. Someone remarked once that this was a good example of Sixties experimental theater and they are not far off. After the initial blast that we see at the end of The Daleks the episode goes like a drug trip. Not one that we grew so familiar with in Seventies television with flashes of light, color and creatures from The Wall; but instead that hyper-paranoia and malevolence that grows out of fear.
In some ways, episode one feels like a bit of a sop to Barbara and Susan. They had got shunted aside in most of the previous episodes (and future episodes) due to Sixties sexism, but here they are front and center while Ian and the Doctor are out of commission. Barbara is the protagonist as the only one who seems to have been both not injured and with her full wits about her. Susan on the other hand is the antagonist as someone who is acting completely out of her mind. Her use of the scissors not only as a threatening weapon but then as an actual vent of rage and frustration in front of Barbara on the bed would probably never fly on a show intended for minor viewers today.
Episode one is bizarre but I wish it had either stayed bizarre or kept to the sanity of episode two. That's where the story goes off the rails for me. Episode one is paranoia and trippiness while episode two whips back realism and then the understanding that there was an undetectable fault in the TARDIS control mechanism. Such a huge change in tone and style just creates the feeling that one story was planned and then aborted in favor of a quick and dirty fix. It sells what you feel they were trying to do in episode one short.
About the only way to reconcile the differences is to play with your own "head cannon". My own version says that the accident pushed a portion of the TARDIS consciousness out on to Susan and that her attempt to communicate overrode Susan's own mind into a fit of schizophrenia. The Doctor too was affected both by the TARDIS and the concussion he sustained in the accident. As the team became more and more aware of the fault, the TARDIS pulled back and rationality began to be restored to everyone's mind. It's a bit of a stretch, but it does provide something of a bridge between the two episodes. Idris' lack of coherence and behavior in The Doctor's Wife does give something of a basis for this rationale.
This is definitely not a story one shows to a novice Doctor Who fan. I probably wouldn't show it unless they were already somewhat comfortable with the classic series. It is a genuine character study with almost no action at all. That being said, there is a charm about it. Maybe it's just me and my appreciate for surrealism, but I didn't dislike it. In fact, if it had either been better bridged or stayed completely with it's surrealistic nature, I probably would have liked it even more. It's just not something I feel any particular need to go back and watch again.
Overall personal score: 2 out of 5
As is typical for British television, the original order for Doctor Who was thirteen episodes. The popularity of the The Daleks gave an immediate renewal to the series and Season 1 of the classic series went on for five more stories (30 additional episodes or 43 episodes total). But until that order came down, Edge of Destruction was the two episode bookend to the season and potentially the series.
In some ways you can sort of tell that in episode two with the Doctor's big speech about time and space and his apology to Barbara. I would imagine that if the show had ended, instead of large footprints in the snow, the last shot may have been it looking like they had landed back in the junkyard, but that's just speculation on my part.
But before you get to the wrap up in the second half of episode two, you have to get through episode one. Someone remarked once that this was a good example of Sixties experimental theater and they are not far off. After the initial blast that we see at the end of The Daleks the episode goes like a drug trip. Not one that we grew so familiar with in Seventies television with flashes of light, color and creatures from The Wall; but instead that hyper-paranoia and malevolence that grows out of fear.
In some ways, episode one feels like a bit of a sop to Barbara and Susan. They had got shunted aside in most of the previous episodes (and future episodes) due to Sixties sexism, but here they are front and center while Ian and the Doctor are out of commission. Barbara is the protagonist as the only one who seems to have been both not injured and with her full wits about her. Susan on the other hand is the antagonist as someone who is acting completely out of her mind. Her use of the scissors not only as a threatening weapon but then as an actual vent of rage and frustration in front of Barbara on the bed would probably never fly on a show intended for minor viewers today.
Episode one is bizarre but I wish it had either stayed bizarre or kept to the sanity of episode two. That's where the story goes off the rails for me. Episode one is paranoia and trippiness while episode two whips back realism and then the understanding that there was an undetectable fault in the TARDIS control mechanism. Such a huge change in tone and style just creates the feeling that one story was planned and then aborted in favor of a quick and dirty fix. It sells what you feel they were trying to do in episode one short.
About the only way to reconcile the differences is to play with your own "head cannon". My own version says that the accident pushed a portion of the TARDIS consciousness out on to Susan and that her attempt to communicate overrode Susan's own mind into a fit of schizophrenia. The Doctor too was affected both by the TARDIS and the concussion he sustained in the accident. As the team became more and more aware of the fault, the TARDIS pulled back and rationality began to be restored to everyone's mind. It's a bit of a stretch, but it does provide something of a bridge between the two episodes. Idris' lack of coherence and behavior in The Doctor's Wife does give something of a basis for this rationale.
This is definitely not a story one shows to a novice Doctor Who fan. I probably wouldn't show it unless they were already somewhat comfortable with the classic series. It is a genuine character study with almost no action at all. That being said, there is a charm about it. Maybe it's just me and my appreciate for surrealism, but I didn't dislike it. In fact, if it had either been better bridged or stayed completely with it's surrealistic nature, I probably would have liked it even more. It's just not something I feel any particular need to go back and watch again.
Overall personal score: 2 out of 5
Thursday, October 29, 2015
Mummy on the Orient Express
Hello, I will be your victim this evening. Are you my mummy?
In Series 8 of the New Series, nearly everyone picked one of three episodes as their favorite of the series: Listen, Flatline or Mummy on the Orient Express. Mummy was my personal favorite and I'm sorry to say that I think the majority of that was because it was the companion-lite episode.
I like Clara a great deal and I enjoyed the tension between her and the Doctor this series. However, the tension often took front and center while the depths of Clara and the Doctor's characters faded into the background. In Mummy, with Clara sidelined into taking care of Maisie, it finally gave the Twelfth Doctor a chance to breathe on his own. The step-in companion, Perkins, was excellent as he was witty, but stepped into the background to allow the Doctor to have the full stage at the height of the tension.
A lot of the background elements worked exceptionally as well. The train in space gave it a luxurious Agatha Christie feel but also helped to bring in the claustrophobia and up the tension when they actually studied the mummy (very much like Midnight). All the other actors were enjoyable as well. There was seriousness as befitting the situation, but there were also slight moments of comedy as well, such as when Captain Quell acknowledges the Doctor's earlier question of how many people must die before he believes him (three).
The sly call backs are a nice touch as well. The Doctor carrying a cigarette case of jelly babies is highly amusing, as is his use of the line, "Are you my Mummy?" (calling back to both Series 1 and Series 4). What actually amazed me was that there was no reference (that I could tell) to Pyramids of Mars, which actually had robotic mummies walking around.
As I mentioned earlier, this episode is my favorite of Series 8, which was a very good series overall. I'd have no problem sitting down watching this one a second time around.
Overall personal score: 5 out of 5
In Series 8 of the New Series, nearly everyone picked one of three episodes as their favorite of the series: Listen, Flatline or Mummy on the Orient Express. Mummy was my personal favorite and I'm sorry to say that I think the majority of that was because it was the companion-lite episode.
I like Clara a great deal and I enjoyed the tension between her and the Doctor this series. However, the tension often took front and center while the depths of Clara and the Doctor's characters faded into the background. In Mummy, with Clara sidelined into taking care of Maisie, it finally gave the Twelfth Doctor a chance to breathe on his own. The step-in companion, Perkins, was excellent as he was witty, but stepped into the background to allow the Doctor to have the full stage at the height of the tension.
A lot of the background elements worked exceptionally as well. The train in space gave it a luxurious Agatha Christie feel but also helped to bring in the claustrophobia and up the tension when they actually studied the mummy (very much like Midnight). All the other actors were enjoyable as well. There was seriousness as befitting the situation, but there were also slight moments of comedy as well, such as when Captain Quell acknowledges the Doctor's earlier question of how many people must die before he believes him (three).
The sly call backs are a nice touch as well. The Doctor carrying a cigarette case of jelly babies is highly amusing, as is his use of the line, "Are you my Mummy?" (calling back to both Series 1 and Series 4). What actually amazed me was that there was no reference (that I could tell) to Pyramids of Mars, which actually had robotic mummies walking around.
As I mentioned earlier, this episode is my favorite of Series 8, which was a very good series overall. I'd have no problem sitting down watching this one a second time around.
Overall personal score: 5 out of 5
The Krotons
Oh my giddy aunt!
If you had to pick one story that was representative of the Second Doctor era, and to a lesser degree Doctor Who as a whole, The Krotons would be a pretty good pick for that.
The story is fairly straight forward. The Doctor and his companions land on a new planet (represented by a quarry) and go to meet the natives. They are captured by the natives (Gonds) and learn that they are being oppressed by an outside force (The Krotons). The Doctor is drawn in to help the natives against the oppressors. He or his companions are captured but spared due to either a need (more brain power) or a previously unknown weakness (only two Krotons and low power) that can be exploited. The Doctor escapes and crafts a solution based on this weakness (sulfuric acid). Hijinx ensue where the Doctor and/or his companions are captured and he uses the weakness to destroy or drive away the oppressors (melt them with the acid). He then leaves shortly afterwards, avoiding the local politics that are implied to step in.
You would think that in following such a basic formula, the story would be boring. If it had been stretched beyond four episodes, it probably would have. But it kept the story tight and Robert Holmes kept the script peppered with fairly interesting dialogue. We are even treated to the Doctor saying "Oh, my giddy aunt" in episode 3. This story also introduced the actor Philip Madoc, who appeared in several more Doctor Who stories, probably best known as the War Lord in The War Games.
So, while this story is fairly paint by the numbers, it is still entertaining. Not one that I would feel a strong urge to go back and watch again, but still enjoyable.
Overall personal score: 3 out of 5
If you had to pick one story that was representative of the Second Doctor era, and to a lesser degree Doctor Who as a whole, The Krotons would be a pretty good pick for that.
The story is fairly straight forward. The Doctor and his companions land on a new planet (represented by a quarry) and go to meet the natives. They are captured by the natives (Gonds) and learn that they are being oppressed by an outside force (The Krotons). The Doctor is drawn in to help the natives against the oppressors. He or his companions are captured but spared due to either a need (more brain power) or a previously unknown weakness (only two Krotons and low power) that can be exploited. The Doctor escapes and crafts a solution based on this weakness (sulfuric acid). Hijinx ensue where the Doctor and/or his companions are captured and he uses the weakness to destroy or drive away the oppressors (melt them with the acid). He then leaves shortly afterwards, avoiding the local politics that are implied to step in.
You would think that in following such a basic formula, the story would be boring. If it had been stretched beyond four episodes, it probably would have. But it kept the story tight and Robert Holmes kept the script peppered with fairly interesting dialogue. We are even treated to the Doctor saying "Oh, my giddy aunt" in episode 3. This story also introduced the actor Philip Madoc, who appeared in several more Doctor Who stories, probably best known as the War Lord in The War Games.
So, while this story is fairly paint by the numbers, it is still entertaining. Not one that I would feel a strong urge to go back and watch again, but still enjoyable.
Overall personal score: 3 out of 5
Tuesday, October 27, 2015
The Girl in the Fireplace
I've just kissed Madame de Pompadour.
The Girl in the Fireplace is Steven Moffat's second story (taking his two-parter in Series 1 as a single story) in the revived Doctor Who. It has the interesting distinction of being a story on which there is very little middle ground. Most people either love the story with undying passion or they loathe the story with the fury of a thousand suns.
The story is generally acknowledged to borrow somewhat liberally from The Time Traveler's Wife and it is the romance angle between the Doctor and Reinette that usually divides fans so much. Asexual Doctor advocates tend to fall hard in the hate camp while the Tennant fan-girls fall hard in the love camp.
I must admit that this story caught me a bit flat-footed. I enjoy history greatly and am probably a bit more learned than other casual American fans, but I had no idea who Madame de Pompadour was when I first watched this. In fact, I think when the Doctor goes crowing about how he just kissed Madame de Pompadour, I actually paused the episode so I could look up who this person was. So the historical aspect of this was a bit lost on me, although I thought the costuming and set work looked great.
As far as it's entertainment value, the story is pretty good although it holds up less well over time. The weaving of time with River Song and other characters have left the linear nature of this story with less charm that it had when it originally went out. That's not the story's fault, but going back to watch it after others leaves it a bit stale.
There is also the romance angle. I personally have no problem with the Doctor being a romantic person and frankly I like him better with Reinette than I do with Rose. Rose always rubbed me the wrong way but I thought she meshed well with the Ninth Doctor given his own prickly personality. That did not transfer that well (in my opinion) to the more open and personable Tenth Doctor. Putting the Doctor/Rose romance on the back burner by both the addition of Mickey and the Doctor's embrace of Reinette was a net positive for me.
That being said, the romance angle was a bit forced. Reinette was well established as the mistress of Louis XV and meddling with a historical figure seems rather dangerous. It also seems a bit creepy that the Doctor first established a relationship with this woman while she was a little girl and that he developed feelings for her in the course of a few hours. That the Doctor would become this mysterious champion for her is understandable since she would go years without seeing him and then he pops up to rescue her. Very romantic from that angle. But the compression doesn't work as well on the other end.
The clockwork droids were an interesting if simplistic villain. But a more complicated villain would have pulled the central focus towards it rather than letting the relationship between the Doctor and Reinette drive the story.
I also enjoyed the fact that it ended on more of a tragic note with the Doctor not coming back at the end until after her death. That seemed a more fitting conclusion to the whole affair and also a nice way of avoiding some nasty time tricks that might have come from pulling her out of history. However, it is also a bit contrived. The Doctor should have been well aware by that point that time was moving faster on her side than on his and that it was going to be longer than the couple of minutes that it was for him. Knowing that, he should have hopped in the TARDIS and met her without using the fireplace.
But, I hear you say, why not do that after he learns he is too late? Because she left him a letter noting that he had never come back for her. If he came for her in the TARDIS at that point, it would be thwarting the established time loop (much like Rory and Amy's final transport to 1930's Manhattan which established the date of their deaths). The Doctor had not gone so far as to embrace the full arrogance of the Time Lord Victorious than manifested in The Waters of Mars, although this story does give a hint that the seeds of that personality were there. So, the Doctor is beaten by a convenient slip of the mind.
Overall, I'd rate it a good story, but not the great one it has been trumpeted as. I'm in positive territory but shifted a bit more to the middle than many of the other reviews out there.
Overall personal score: 4 out of 5
The Girl in the Fireplace is Steven Moffat's second story (taking his two-parter in Series 1 as a single story) in the revived Doctor Who. It has the interesting distinction of being a story on which there is very little middle ground. Most people either love the story with undying passion or they loathe the story with the fury of a thousand suns.
The story is generally acknowledged to borrow somewhat liberally from The Time Traveler's Wife and it is the romance angle between the Doctor and Reinette that usually divides fans so much. Asexual Doctor advocates tend to fall hard in the hate camp while the Tennant fan-girls fall hard in the love camp.
I must admit that this story caught me a bit flat-footed. I enjoy history greatly and am probably a bit more learned than other casual American fans, but I had no idea who Madame de Pompadour was when I first watched this. In fact, I think when the Doctor goes crowing about how he just kissed Madame de Pompadour, I actually paused the episode so I could look up who this person was. So the historical aspect of this was a bit lost on me, although I thought the costuming and set work looked great.
As far as it's entertainment value, the story is pretty good although it holds up less well over time. The weaving of time with River Song and other characters have left the linear nature of this story with less charm that it had when it originally went out. That's not the story's fault, but going back to watch it after others leaves it a bit stale.
There is also the romance angle. I personally have no problem with the Doctor being a romantic person and frankly I like him better with Reinette than I do with Rose. Rose always rubbed me the wrong way but I thought she meshed well with the Ninth Doctor given his own prickly personality. That did not transfer that well (in my opinion) to the more open and personable Tenth Doctor. Putting the Doctor/Rose romance on the back burner by both the addition of Mickey and the Doctor's embrace of Reinette was a net positive for me.
That being said, the romance angle was a bit forced. Reinette was well established as the mistress of Louis XV and meddling with a historical figure seems rather dangerous. It also seems a bit creepy that the Doctor first established a relationship with this woman while she was a little girl and that he developed feelings for her in the course of a few hours. That the Doctor would become this mysterious champion for her is understandable since she would go years without seeing him and then he pops up to rescue her. Very romantic from that angle. But the compression doesn't work as well on the other end.
The clockwork droids were an interesting if simplistic villain. But a more complicated villain would have pulled the central focus towards it rather than letting the relationship between the Doctor and Reinette drive the story.
I also enjoyed the fact that it ended on more of a tragic note with the Doctor not coming back at the end until after her death. That seemed a more fitting conclusion to the whole affair and also a nice way of avoiding some nasty time tricks that might have come from pulling her out of history. However, it is also a bit contrived. The Doctor should have been well aware by that point that time was moving faster on her side than on his and that it was going to be longer than the couple of minutes that it was for him. Knowing that, he should have hopped in the TARDIS and met her without using the fireplace.
But, I hear you say, why not do that after he learns he is too late? Because she left him a letter noting that he had never come back for her. If he came for her in the TARDIS at that point, it would be thwarting the established time loop (much like Rory and Amy's final transport to 1930's Manhattan which established the date of their deaths). The Doctor had not gone so far as to embrace the full arrogance of the Time Lord Victorious than manifested in The Waters of Mars, although this story does give a hint that the seeds of that personality were there. So, the Doctor is beaten by a convenient slip of the mind.
Overall, I'd rate it a good story, but not the great one it has been trumpeted as. I'm in positive territory but shifted a bit more to the middle than many of the other reviews out there.
Overall personal score: 4 out of 5
Monday, October 26, 2015
The Visitation
We're about 300 years too early.
The Fifth Doctor era is a rather odd one. Many of the reviews I read and listen to are by people around my own age so their memories of this era are bathed in childhood nostalgia. This usually results in comments along the lines of how the stories are thin or the companions are annoying, or the special effects look bad, but they still love the episode.
I do not have that nostalgia. The Visitation was my first foray into the Fifth Doctor era and it has a strong feel for both the best and worst of this era.
First, the good. It is very difficult not to like the Fifth Doctor. He is charming, caring, and still retains a majority of the wit of the Fourth Doctor. He is also has a charming arrogance that is less bracing than when it was displayed in previous doctors.
The guest cast on this episode was also very good. Despite the limitations of the costume (i.e. a rubber mask), the villain Terileptal had a convincing sense of menace as well as a bit of sympathy. But the real scene stealer is the pseudo-companion Richard Mace. He has good comedic timing and his sense of stage presence blew most of the others out of the water.
Unfortunately, this leads in to the not-so-good. Richard Mace showed what a good actor and a good Doctor-companion relationship could do. But this made the three regular companions look worse by comparison. Adric wasn't bad but the story had no idea of what to do with him. He gets "injured" and spends most of his time captured or moping about the TARDIS. Nyssa also gets relegated to the TARDIS, which is good because there were boards in the barn and house that we less stiff that she was. It was an unfortunately excellent example of poor acting. Tegan was a little better but her easy hysterics were off-putting and she also did very little to move the plot along other than be the "damsel in distress".
There is also the matter of the special effects and make-up. Some can't be helped as it was the 80's and bad hair and make-up were just the thing then. But the Terileptals and the androids were not the best. As long as things remained in shadow, it was easier to overlook their flaws and it helped with the atmosphere. But when the lighting was brought up to full, it brought the limitations of the time and budget to the fore. Not ideal and something that easily took you more out of the story.
It's hard to say how I would fully grade it. I liked the framework of the story, even if it's execution wasn't the best. I can forgive a lot with regard to make-up, sets, etc. if the story is engaging and the acting is done well (see Keys of Marinus). But, aside from the Doctor and Richard Mace, the acting wasn't quite up to snuff. Some positives, but I'd say the negatives outweighed the positives on this one.
Overall personal score: 2 out of 5.
The Fifth Doctor era is a rather odd one. Many of the reviews I read and listen to are by people around my own age so their memories of this era are bathed in childhood nostalgia. This usually results in comments along the lines of how the stories are thin or the companions are annoying, or the special effects look bad, but they still love the episode.
I do not have that nostalgia. The Visitation was my first foray into the Fifth Doctor era and it has a strong feel for both the best and worst of this era.
First, the good. It is very difficult not to like the Fifth Doctor. He is charming, caring, and still retains a majority of the wit of the Fourth Doctor. He is also has a charming arrogance that is less bracing than when it was displayed in previous doctors.
The guest cast on this episode was also very good. Despite the limitations of the costume (i.e. a rubber mask), the villain Terileptal had a convincing sense of menace as well as a bit of sympathy. But the real scene stealer is the pseudo-companion Richard Mace. He has good comedic timing and his sense of stage presence blew most of the others out of the water.
Unfortunately, this leads in to the not-so-good. Richard Mace showed what a good actor and a good Doctor-companion relationship could do. But this made the three regular companions look worse by comparison. Adric wasn't bad but the story had no idea of what to do with him. He gets "injured" and spends most of his time captured or moping about the TARDIS. Nyssa also gets relegated to the TARDIS, which is good because there were boards in the barn and house that we less stiff that she was. It was an unfortunately excellent example of poor acting. Tegan was a little better but her easy hysterics were off-putting and she also did very little to move the plot along other than be the "damsel in distress".
There is also the matter of the special effects and make-up. Some can't be helped as it was the 80's and bad hair and make-up were just the thing then. But the Terileptals and the androids were not the best. As long as things remained in shadow, it was easier to overlook their flaws and it helped with the atmosphere. But when the lighting was brought up to full, it brought the limitations of the time and budget to the fore. Not ideal and something that easily took you more out of the story.
It's hard to say how I would fully grade it. I liked the framework of the story, even if it's execution wasn't the best. I can forgive a lot with regard to make-up, sets, etc. if the story is engaging and the acting is done well (see Keys of Marinus). But, aside from the Doctor and Richard Mace, the acting wasn't quite up to snuff. Some positives, but I'd say the negatives outweighed the positives on this one.
Overall personal score: 2 out of 5.
Friday, October 23, 2015
The Time of Angels/Flesh and Stone
Anything that contains the image of an Angel, can become an Angel.
Steven Moffat cited the contrast with Alien and Aliens when asked about The Time of Angels and Flesh and Stone in comparison to the introduction of the Weeping Angels in Blink and his comparison is quite apt. One is the slow, tense creeper and the other is a scary, action fest; and like the aforementioned movies, I enjoy the Angels two-parter immensely.
I will admit that I was middling on these two when I first saw them, especially Flesh and Stone and there is still one part of it that I don't like. But upon watching it a second time, I find that it is a lot better and if you let the creepiness wash over you it becomes even better. Of the two I like The Time of Angels a bit better, mostly due to the fact that the Angels remain the primary antagonist and it turns from a seek and destroy mission to a run for your life mission. Flesh and Stone, while still good, brings in the crack as a secondary danger that takes away from the Angels a bit. They must still get away from the Angels but the Angels themselves are now distracted by the crack and a little bit less of the urgent threat they were. The crack itself is now also offering a source of danger (previously not seen) that dilutes the danger from the Angels.
And that brings me to the part of Flesh and Stone that just bugged me. After her protectors have been swallowed by the crack, Amy must walk through the woods amidst the Angels with her eyes closed, but still making the Angels think she is watching them. This is a very tense set up and it should be a near high point of the episode. But the director couldn't help himself and after Amy stumbles, we actually see the Angels move. They then advance slowly on Amy until she is transported away by River right before the Angels get her.
On the surface, that would seems like a brilliant shot full of tension. But it plays exactly opposite of everything we have seen and been told. The Angels never move naturally that we see. They move so fast that it's a series of frame jumps between one position and the next. The the firefight in the corridor at the beginning of the episode, the Angels appear to advance in a strobe light effect that leaves the viewer on the edge of their seat. But in the forest, the Angels revert to a more human speed. They look around and observe like a normal person would. They also creep up on Amy like a conventional monster. If this had been a conventional monster, this scene would have been fine and I wouldn't have had a problem with it. But it's the Angels and when they act in a manner that is seemingly opposite of what we've had before to both create artificial tension and yet ensure the main character is spared, it just feels wrong.
Despite this bit, Flesh and Stone is still very good. It just happens to contain a flaw that is all the more noticeable when compared to the near perfection that is The Time of Angels.
One last bit before my final score. There is one little bit that always bugged me about the story in relation to the relationship between River and the Doctor. In Silence in the Library, River asks the Tenth Doctor if he remembers the crash of the Byzantium, which is the story contained in this two-parter. Yet, shouldn't she have been able to know that he hadn't done it yet because the Doctor's face was different? I know Steven Moffat wasn't projecting that far when he wrote Silence in the Library but it's just something that bugs me, knowing that Moffat could have created a new adventure that River did not mention. But, given the quality of episode we got, this is why he writes the episodes and I just watch them.
Overall personal score: The Time of Angels - 5 out of 5; Flesh and Stone - 4.5 out of 5
Steven Moffat cited the contrast with Alien and Aliens when asked about The Time of Angels and Flesh and Stone in comparison to the introduction of the Weeping Angels in Blink and his comparison is quite apt. One is the slow, tense creeper and the other is a scary, action fest; and like the aforementioned movies, I enjoy the Angels two-parter immensely.
I will admit that I was middling on these two when I first saw them, especially Flesh and Stone and there is still one part of it that I don't like. But upon watching it a second time, I find that it is a lot better and if you let the creepiness wash over you it becomes even better. Of the two I like The Time of Angels a bit better, mostly due to the fact that the Angels remain the primary antagonist and it turns from a seek and destroy mission to a run for your life mission. Flesh and Stone, while still good, brings in the crack as a secondary danger that takes away from the Angels a bit. They must still get away from the Angels but the Angels themselves are now distracted by the crack and a little bit less of the urgent threat they were. The crack itself is now also offering a source of danger (previously not seen) that dilutes the danger from the Angels.
And that brings me to the part of Flesh and Stone that just bugged me. After her protectors have been swallowed by the crack, Amy must walk through the woods amidst the Angels with her eyes closed, but still making the Angels think she is watching them. This is a very tense set up and it should be a near high point of the episode. But the director couldn't help himself and after Amy stumbles, we actually see the Angels move. They then advance slowly on Amy until she is transported away by River right before the Angels get her.
On the surface, that would seems like a brilliant shot full of tension. But it plays exactly opposite of everything we have seen and been told. The Angels never move naturally that we see. They move so fast that it's a series of frame jumps between one position and the next. The the firefight in the corridor at the beginning of the episode, the Angels appear to advance in a strobe light effect that leaves the viewer on the edge of their seat. But in the forest, the Angels revert to a more human speed. They look around and observe like a normal person would. They also creep up on Amy like a conventional monster. If this had been a conventional monster, this scene would have been fine and I wouldn't have had a problem with it. But it's the Angels and when they act in a manner that is seemingly opposite of what we've had before to both create artificial tension and yet ensure the main character is spared, it just feels wrong.
Despite this bit, Flesh and Stone is still very good. It just happens to contain a flaw that is all the more noticeable when compared to the near perfection that is The Time of Angels.
One last bit before my final score. There is one little bit that always bugged me about the story in relation to the relationship between River and the Doctor. In Silence in the Library, River asks the Tenth Doctor if he remembers the crash of the Byzantium, which is the story contained in this two-parter. Yet, shouldn't she have been able to know that he hadn't done it yet because the Doctor's face was different? I know Steven Moffat wasn't projecting that far when he wrote Silence in the Library but it's just something that bugs me, knowing that Moffat could have created a new adventure that River did not mention. But, given the quality of episode we got, this is why he writes the episodes and I just watch them.
Overall personal score: The Time of Angels - 5 out of 5; Flesh and Stone - 4.5 out of 5
The Invasion
Packer!
I don't think it's possible to watch this episode and not try to talk like Vaughn at least once.
Anyway, the episode. I like this one. But I'm finding that A, I like many of the Second Doctor stories and B, I have a certain affinity for ideas derived from Kit Pedler. That probably causes me to overlook a few flaws that might be jarring in other stories.
Attempting to look at this one objectively, I can see three specific flaws with it. The first is more of a preference is that I don't care for the character of Isobel Watkins. I'm sure she was intended to be something of a hip girl of the time, but she comes across as vacuous to me and see contributes almost nothing of substance to the overall story. It's just a portrayal that rubs me the wrong way.
The second nit to pick is the cyber control that Vaughn interacts with. Maybe it's just my ears, but I had a very hard time understanding it. I could get the gist, but given that some of the principle plot points hung around those conversations, it was a bit aggravating to not fully understand it. Subtitles would have helped, but it's a point against the story in my book to have a crutch needed in the first place.
The third flaw is one that most folks will readily admit to in that the story is too long. Apparently the story was submitted as a six-part story and that would have probably been a better length. Part of the problem with the length was that Wendy Padbury went on vacation in episode three (Zoe spends the episode in a transport pod on a train) and Frazer Hines got episode eight off (he recovers in the hospital after being shot). Still, the bloat is a little less noticeable than when the Doctor has been written out for an episode (such as Web of Fear). It's not a major problem, but it does create a drag in the middle.
Still, compared to other stories, these flaws are pretty small. This story also gives us some rather iconic images of the show. Everyone knows about the Cybermen marching from St. Paul's, but we also get some of the most used sample shots of Cybermen on the attack. We also get the memorable and highly amusing scene of the Doctor running away from a Cyberman while the gun shoots around him. It makes for a rather stunning contrast to the First Doctor staring down the war machines at the end of episode three of that story, but no less enjoyable or character defining.
This story also sets up some of the show's best assets in bringing back newly promoted Brigadier Lethbridge-Stewart and introducing UNIT. In fact, the framework established in this episode would be used multiple times in the Third Doctor era. It also gives us Vaughn and Packer also make up one of the best villain/henchman combos in the show; second probably only to Harrison Chase and Scorby in Seeds of Doom.
This is probably not a story for a simple or casual watch, but it has great charm and is a major building block for the show as a whole.
Overall personal score: 3.5 out of 5
I don't think it's possible to watch this episode and not try to talk like Vaughn at least once.
Anyway, the episode. I like this one. But I'm finding that A, I like many of the Second Doctor stories and B, I have a certain affinity for ideas derived from Kit Pedler. That probably causes me to overlook a few flaws that might be jarring in other stories.
Attempting to look at this one objectively, I can see three specific flaws with it. The first is more of a preference is that I don't care for the character of Isobel Watkins. I'm sure she was intended to be something of a hip girl of the time, but she comes across as vacuous to me and see contributes almost nothing of substance to the overall story. It's just a portrayal that rubs me the wrong way.
The second nit to pick is the cyber control that Vaughn interacts with. Maybe it's just my ears, but I had a very hard time understanding it. I could get the gist, but given that some of the principle plot points hung around those conversations, it was a bit aggravating to not fully understand it. Subtitles would have helped, but it's a point against the story in my book to have a crutch needed in the first place.
The third flaw is one that most folks will readily admit to in that the story is too long. Apparently the story was submitted as a six-part story and that would have probably been a better length. Part of the problem with the length was that Wendy Padbury went on vacation in episode three (Zoe spends the episode in a transport pod on a train) and Frazer Hines got episode eight off (he recovers in the hospital after being shot). Still, the bloat is a little less noticeable than when the Doctor has been written out for an episode (such as Web of Fear). It's not a major problem, but it does create a drag in the middle.
Still, compared to other stories, these flaws are pretty small. This story also gives us some rather iconic images of the show. Everyone knows about the Cybermen marching from St. Paul's, but we also get some of the most used sample shots of Cybermen on the attack. We also get the memorable and highly amusing scene of the Doctor running away from a Cyberman while the gun shoots around him. It makes for a rather stunning contrast to the First Doctor staring down the war machines at the end of episode three of that story, but no less enjoyable or character defining.
This story also sets up some of the show's best assets in bringing back newly promoted Brigadier Lethbridge-Stewart and introducing UNIT. In fact, the framework established in this episode would be used multiple times in the Third Doctor era. It also gives us Vaughn and Packer also make up one of the best villain/henchman combos in the show; second probably only to Harrison Chase and Scorby in Seeds of Doom.
This is probably not a story for a simple or casual watch, but it has great charm and is a major building block for the show as a whole.
Overall personal score: 3.5 out of 5
Thursday, October 22, 2015
The Shakespeare Code
Expelliamus
This is another episode where I believe I'm acting against the majority. In my reading, it seems that most people have at least a somewhat positive view of this story. I, on the other hand, don't like it at all. It's actually a bit of a shame because I love Shakespeare and watch and/or perform in them whenever I've been given the opportunity. But this episode takes Shakespeare and just ruins it.
I actually don't mind the portrayal of Shakespeare as a bit of a celebrity who openly laughs at nicking lines the Doctor says. It was done in Shakespeare in Love and a continuation of that idea isn't bad, although the joke gets a bit old the third or fourth time they use it.
The episode as whole was okay up until the final conclusion. Up until that point one could argue that the use of aliens acting as Macbeth witches was an interesting idea if not well executed. At worst, the episode was a bit dull but there are worse things than than. But then the final confrontation came.
You can use techno-babel as much as you want, but the full realization of alien witches using words to open a portal is a magic concept, not a scientific one. That never flies well in Doctor Who (see the resurrection of the Master in End of Time). The concept is then doubled down as the Doctor and Martha assist Shakespeare in creating new words that close the portal again. Even worse is the blatant Harry Potter pandering that Martha throws in at the end. There is also a third insult thrown in that as Shakespeare is spouting words to close the portal, the Carrionites just fly around and don't engage him to stop him. If words are power, why not act in a way to stop the words before they are spoken. It just rubbed me the wrong way all around.
I don't have much more to say about this. It's been a while since I've seen it and it is possible that I might like it better if I saw it again. But I doubt it.
Overall personal rating: 1 out of 5
This is another episode where I believe I'm acting against the majority. In my reading, it seems that most people have at least a somewhat positive view of this story. I, on the other hand, don't like it at all. It's actually a bit of a shame because I love Shakespeare and watch and/or perform in them whenever I've been given the opportunity. But this episode takes Shakespeare and just ruins it.
I actually don't mind the portrayal of Shakespeare as a bit of a celebrity who openly laughs at nicking lines the Doctor says. It was done in Shakespeare in Love and a continuation of that idea isn't bad, although the joke gets a bit old the third or fourth time they use it.
The episode as whole was okay up until the final conclusion. Up until that point one could argue that the use of aliens acting as Macbeth witches was an interesting idea if not well executed. At worst, the episode was a bit dull but there are worse things than than. But then the final confrontation came.
You can use techno-babel as much as you want, but the full realization of alien witches using words to open a portal is a magic concept, not a scientific one. That never flies well in Doctor Who (see the resurrection of the Master in End of Time). The concept is then doubled down as the Doctor and Martha assist Shakespeare in creating new words that close the portal again. Even worse is the blatant Harry Potter pandering that Martha throws in at the end. There is also a third insult thrown in that as Shakespeare is spouting words to close the portal, the Carrionites just fly around and don't engage him to stop him. If words are power, why not act in a way to stop the words before they are spoken. It just rubbed me the wrong way all around.
I don't have much more to say about this. It's been a while since I've seen it and it is possible that I might like it better if I saw it again. But I doubt it.
Overall personal rating: 1 out of 5
The Keys of Marinus
20,000 Quatloos!
The Keys of Marinus is one of those stories that people neither like nor despise. The story itself is ambitious but falls short in a few ways. Having just finished watching it, my own opinion is probably a bit higher than the average viewer but I'll admit to being a softy when it comes to shortcomings due to production values.
In my opinion, there are three distinct problems with the story. Two of these were something that couldn't be helped and I'm willing to forgive the story mostly for them. The third thing though is something that could have been addressed and I mark it down for that.
First is William Hartnell's vacation. Having already taken off in episode 3 of Marco Polo, Hartnell takes another leave of absence in episodes 3 and 4 of this story. Ian is as always the man of action, but the absence of the Doctor in the quest for two of the four missing keys seems very odd. It creates a bit of a hole that maybe one doesn't realize would be there until it actually shows up.
The second issue is the production values. The show tries hard, but with the need for several new sets every week the strain on time and budget start to show. Now, the show is saved a bit by being in black and white. This buys level of camouflage that was lacking when the show moved into the lean years of the 1980's. But there are many instances where there is a little reminder that yes, we are on a studio set.
The first two issues were probably unavoidable given the constraints of the time, but the third issue was something that could have been dealt with. As I was watching this, I kept being taken out of the story by the abruptness of the resolution to each episodic adventure. It felt very rushed and I found myself wondering if this was one of the few instances where a story needed to be expanded to more episodes. I decided that the problem was not the story's length, but just how it was packaged.
Episode 1 is fine as far as set up goes and it draws the viewer in nicely. There is also an excellent set up in episode 2 with the brains taking control of everyone but Barbara. But here is where things start to go south. Barbara's defeat of the brains is too hurried and it would have served the story better to have a cliffhanger while still under threat from the brains. The defeat of the brains and the move to the next quest would have taken up the first half of episode 3.
I would have then omitted The Screaming Jungle entirely. Leave it at four keys rather than five. The jungle adventure only involves Ian and Barbara and it's so haphazard that it does very little for the overall story. It was definitely the weakest episode and could have been dropped. This would have then put the second half of episode 3 in the mountains and I would have had the cliffhanger be with the trapper threatening Barbara.
Episode four would then have spent the majority of it's time in getting the key from the mountain cave and the escape from the Ice Knights. But it would have left a little time to show Ian and company getting their bearings and splitting up to search for the next key. This would have then led into the scene as it was with Ian finding the key but getting attacked and framed for murder as was shown. Episodes five and six would have then proceeded as shown since they had a nice flow with the overall narrative.
If you do eliminate The Screaming Jungle you would have to create a new fake key. But that is fairly easily resolved as a fake key would have fit in nicely in the episode 5 plot. A fake key could have been made as part of the stealing the key plot (plant fake key so no one knows you stole the real key) and then have the fake key be planted on Ian after he was knocked out. Later, Sabetha could realize that it is a fake key and that sets the plotters even more on edge than they already are. Fits nicely.
One other nit to pick was the acting of Altos and Sabetha. The vacation of William Hartnell probably ended up elevating their roles more than intended but even in small roles, they had the feel of amateurs compared to Ian, Barbara and the Doctor. Susan goes over the top often enough that their woodenness is actually a welcome contrast to her. I've seen worse acting on this show, but I've also seen much better and poor acting is something that I have trouble with in any show.
With all that I've said above, one might think that I'd be inclined to give it a terrible rating, but there are still a number of things to like about this one. It is fast paced with some interesting ideas. There is a great deal of adventure and no quest point is entirely like the previous one. This gives different characters and their various attributes a chance to shine. It would have been nice to see Susan be the strong one for once, but the others come off fairly well when called forward. It's not a great one but it's not a stinker either.
Overall personal rating: 2.5 out of 5
The Keys of Marinus is one of those stories that people neither like nor despise. The story itself is ambitious but falls short in a few ways. Having just finished watching it, my own opinion is probably a bit higher than the average viewer but I'll admit to being a softy when it comes to shortcomings due to production values.
In my opinion, there are three distinct problems with the story. Two of these were something that couldn't be helped and I'm willing to forgive the story mostly for them. The third thing though is something that could have been addressed and I mark it down for that.
First is William Hartnell's vacation. Having already taken off in episode 3 of Marco Polo, Hartnell takes another leave of absence in episodes 3 and 4 of this story. Ian is as always the man of action, but the absence of the Doctor in the quest for two of the four missing keys seems very odd. It creates a bit of a hole that maybe one doesn't realize would be there until it actually shows up.
The second issue is the production values. The show tries hard, but with the need for several new sets every week the strain on time and budget start to show. Now, the show is saved a bit by being in black and white. This buys level of camouflage that was lacking when the show moved into the lean years of the 1980's. But there are many instances where there is a little reminder that yes, we are on a studio set.
The first two issues were probably unavoidable given the constraints of the time, but the third issue was something that could have been dealt with. As I was watching this, I kept being taken out of the story by the abruptness of the resolution to each episodic adventure. It felt very rushed and I found myself wondering if this was one of the few instances where a story needed to be expanded to more episodes. I decided that the problem was not the story's length, but just how it was packaged.
Episode 1 is fine as far as set up goes and it draws the viewer in nicely. There is also an excellent set up in episode 2 with the brains taking control of everyone but Barbara. But here is where things start to go south. Barbara's defeat of the brains is too hurried and it would have served the story better to have a cliffhanger while still under threat from the brains. The defeat of the brains and the move to the next quest would have taken up the first half of episode 3.
I would have then omitted The Screaming Jungle entirely. Leave it at four keys rather than five. The jungle adventure only involves Ian and Barbara and it's so haphazard that it does very little for the overall story. It was definitely the weakest episode and could have been dropped. This would have then put the second half of episode 3 in the mountains and I would have had the cliffhanger be with the trapper threatening Barbara.
Episode four would then have spent the majority of it's time in getting the key from the mountain cave and the escape from the Ice Knights. But it would have left a little time to show Ian and company getting their bearings and splitting up to search for the next key. This would have then led into the scene as it was with Ian finding the key but getting attacked and framed for murder as was shown. Episodes five and six would have then proceeded as shown since they had a nice flow with the overall narrative.
If you do eliminate The Screaming Jungle you would have to create a new fake key. But that is fairly easily resolved as a fake key would have fit in nicely in the episode 5 plot. A fake key could have been made as part of the stealing the key plot (plant fake key so no one knows you stole the real key) and then have the fake key be planted on Ian after he was knocked out. Later, Sabetha could realize that it is a fake key and that sets the plotters even more on edge than they already are. Fits nicely.
One other nit to pick was the acting of Altos and Sabetha. The vacation of William Hartnell probably ended up elevating their roles more than intended but even in small roles, they had the feel of amateurs compared to Ian, Barbara and the Doctor. Susan goes over the top often enough that their woodenness is actually a welcome contrast to her. I've seen worse acting on this show, but I've also seen much better and poor acting is something that I have trouble with in any show.
With all that I've said above, one might think that I'd be inclined to give it a terrible rating, but there are still a number of things to like about this one. It is fast paced with some interesting ideas. There is a great deal of adventure and no quest point is entirely like the previous one. This gives different characters and their various attributes a chance to shine. It would have been nice to see Susan be the strong one for once, but the others come off fairly well when called forward. It's not a great one but it's not a stinker either.
Overall personal rating: 2.5 out of 5
Wednesday, October 21, 2015
The Unicorn and the Wasp
-Oh, Harvey Wallbanger?
-HARVEY WALLBANGER?!
The Unicorn and the Wasp is a story where I diverge from fandom. Nearly every opinion I've heard or read concerning the story is negative while mine is positive. The principle problem seems to be that the story is not quite full comedy and not quite full drama.
The story itself is fairly straightforward as they are mimicking an Agatha Christie murder mystery with Christie herself being caught up in the events. Then, because it's Doctor Who, they throw in a little alien twist as well. It also incorporates a real incident with Ms. Christie where she disappeared for several days and then later turned claiming to have no memory of what happened. Of course this is a perfect opportunity for a hop in the TARDIS and a little twist on reality.
So, why do people not like it and I do? The main thrust of complaints against it seem to be that if it's a comedy, it should go more into comedy and not bother with elements of drama. If it's supposed to be a drama, it should not be so light-hearted about other things. I can see those arguments. I did watch it again recently and found that it was not as funny as I remembered it the first time I watched and if the jokes didn't land, it became a bit of a dud moment.
Still, I did still enjoy it the second time around. For me, this is a very obvious send up not of just Agatha Christie's novels, but of the film adaptations as well. I think the strongest vibe I got was of Evil Under the Sun but I could also see a touch of And Then There Were None (1945 version). In both cases, the novels are fairly serious, straight forward mysteries. Their film versions add a strong dash of farcical comedy for levity. The Unicorn and the Wasp follows this trend which will either work for you or not. For me it works.
The other complaint is usually leveled at Christie herself. She is played well, but becomes depressed and mopey whenever hit by a small setback. I can understand how that would be annoying, but it is also important to remember that this is a woman who is overcoming a nasty shock and scandal involving her husband. It would be out of character for her to remain upbeat the whole time. Of course, reality can get in the way of a good story so I'm willing to understand those who would find Christie's mood swings an annoying diversion.
But for me, having grown up watching murder mysteries with my mother and Agatha Christie mysteries especially (Mom loves the David Suchet Poirot), this one is still fun for me. I admit that I also greatly enjoy the over-the-top banter between the Doctor and Donna. The poisoning scene is very farcical but it just strikes me as funny given their relationship.
So, overall, not the best, but I like it more than the average fan.
Overall personal score: 3 out of 5.
-HARVEY WALLBANGER?!
The Unicorn and the Wasp is a story where I diverge from fandom. Nearly every opinion I've heard or read concerning the story is negative while mine is positive. The principle problem seems to be that the story is not quite full comedy and not quite full drama.
The story itself is fairly straightforward as they are mimicking an Agatha Christie murder mystery with Christie herself being caught up in the events. Then, because it's Doctor Who, they throw in a little alien twist as well. It also incorporates a real incident with Ms. Christie where she disappeared for several days and then later turned claiming to have no memory of what happened. Of course this is a perfect opportunity for a hop in the TARDIS and a little twist on reality.
So, why do people not like it and I do? The main thrust of complaints against it seem to be that if it's a comedy, it should go more into comedy and not bother with elements of drama. If it's supposed to be a drama, it should not be so light-hearted about other things. I can see those arguments. I did watch it again recently and found that it was not as funny as I remembered it the first time I watched and if the jokes didn't land, it became a bit of a dud moment.
Still, I did still enjoy it the second time around. For me, this is a very obvious send up not of just Agatha Christie's novels, but of the film adaptations as well. I think the strongest vibe I got was of Evil Under the Sun but I could also see a touch of And Then There Were None (1945 version). In both cases, the novels are fairly serious, straight forward mysteries. Their film versions add a strong dash of farcical comedy for levity. The Unicorn and the Wasp follows this trend which will either work for you or not. For me it works.
The other complaint is usually leveled at Christie herself. She is played well, but becomes depressed and mopey whenever hit by a small setback. I can understand how that would be annoying, but it is also important to remember that this is a woman who is overcoming a nasty shock and scandal involving her husband. It would be out of character for her to remain upbeat the whole time. Of course, reality can get in the way of a good story so I'm willing to understand those who would find Christie's mood swings an annoying diversion.
But for me, having grown up watching murder mysteries with my mother and Agatha Christie mysteries especially (Mom loves the David Suchet Poirot), this one is still fun for me. I admit that I also greatly enjoy the over-the-top banter between the Doctor and Donna. The poisoning scene is very farcical but it just strikes me as funny given their relationship.
So, overall, not the best, but I like it more than the average fan.
Overall personal score: 3 out of 5.
Monday, October 19, 2015
The Enemy of the World
Sometimes we do what we have to do, not what we want to do.
One of the advantages of being a bit of a late-comer to Doctor Who is that I get to enjoy newly found episodes without having to have dealt with the recons. Enemy of the World is a prime example of that. The majority of this story was lost and then it was found along with most of The Web of Fear (hooray!). I hadn't got around to it while it was still lost so only the found footage for me.
This story hinges greatly on your appreciation of Patrick Troughton as an actor. As I enjoy Mr. Troughton's work and consider the Second Doctor to be my favorite of the classic era, this story was a big plus in my column. The premise is pretty straight forward. The Doctor, Jamie and Victoria land in the future where the Doctor is mistaken for a man who is pushing to become dictator of the world. He is captured by a group of rebels and persuaded to act as an impersonator while they move against him. Of course, there are a few little twists here and there and the Doctor is shown to once again be a master manipulator of events to his own advantage.
There is not a lot bad to say about this story. For a sixties era story, the production values look sold with very few shoddy moments. There are a few bits, especially with the underground workers, that seem a little off but that is to be expected with a story that takes a couple left turns through it's six episodes. When viewed as a whole, there are likely enough places that things could have been cut to make a five-part story, but I don't recall feeling any significant bloat with this story. I still might not recommend sitting down and watching all six episodes in one go, but I wouldn't call it filled either.
The acting is also quite good with Patrick Troughton doing double duty. His accent as Salamander is a little off at points, but trying to evoke a Mexican accent without sounding like Speedy Gonzales was probably a tall order. He is supported by a reasonably strong cast that is clearly working to keep the tone of the story up. Even Victoria is given a few things to do and doesn't completely devolve into the whimpering uselessness that she does in other stories.
Definitely one to go back and watch again.
Overall personal score: 5 out of 5
One of the advantages of being a bit of a late-comer to Doctor Who is that I get to enjoy newly found episodes without having to have dealt with the recons. Enemy of the World is a prime example of that. The majority of this story was lost and then it was found along with most of The Web of Fear (hooray!). I hadn't got around to it while it was still lost so only the found footage for me.
This story hinges greatly on your appreciation of Patrick Troughton as an actor. As I enjoy Mr. Troughton's work and consider the Second Doctor to be my favorite of the classic era, this story was a big plus in my column. The premise is pretty straight forward. The Doctor, Jamie and Victoria land in the future where the Doctor is mistaken for a man who is pushing to become dictator of the world. He is captured by a group of rebels and persuaded to act as an impersonator while they move against him. Of course, there are a few little twists here and there and the Doctor is shown to once again be a master manipulator of events to his own advantage.
There is not a lot bad to say about this story. For a sixties era story, the production values look sold with very few shoddy moments. There are a few bits, especially with the underground workers, that seem a little off but that is to be expected with a story that takes a couple left turns through it's six episodes. When viewed as a whole, there are likely enough places that things could have been cut to make a five-part story, but I don't recall feeling any significant bloat with this story. I still might not recommend sitting down and watching all six episodes in one go, but I wouldn't call it filled either.
The acting is also quite good with Patrick Troughton doing double duty. His accent as Salamander is a little off at points, but trying to evoke a Mexican accent without sounding like Speedy Gonzales was probably a tall order. He is supported by a reasonably strong cast that is clearly working to keep the tone of the story up. Even Victoria is given a few things to do and doesn't completely devolve into the whimpering uselessness that she does in other stories.
Definitely one to go back and watch again.
Overall personal score: 5 out of 5
Rose
Nice to meet you Rose. Run for your life.
I'm going to open this one with the free admission that I am indifferent at best about the character of Rose. Nothing against Billie Piper who seems to be a good actress, but I just didn't care for the character as a whole. There were moments in there where she was enjoyable but there were a lot of other moments where she was whiny and entitled (I'm letting my old man persona leak out).
That being said, I like Rose more than fandom in general I think. I recently rewatched this episode so it's still a bit fresh in my mind. It's actually rather amazing when you contrast the cinematography used in the early seasons of New-Who and that of the Matt Smith/Peter Capaldi eras.
Rose is probably best for what it's job was. It had the dual problem of needing to be a stand alone adventure series while at the same time appealing to the nostalgia of the classic series. In that, it succeeded in my opinion. The Doctor is reintroduced in a quick way and there is never any bother about his background until later. He moves with action, setting up the quicker pace of the new series, while at the same time getting off quips that flash back to previous Doctors. There are slow periods where the characters are developed, the concept of time travel is first broached in a back-handed way and the story comes to a fun (if a little corny) action-y conclusion. Even the threat is a bit of a subtle callback as the Autons and the Nestene Consciousness were the invasion that had to be turned back in the Third Doctor's first story.
Now, there are a few poor moments as well. Some of the acting is poor and there is a strong sense of the actors trying to get a feel for their characters. The CGI is pretty close to terrible by today's standards and I don't think it was top shelf even back in 2006. The fact that the Nestene Consciousness didn't look that far removed from the CGI used by The X-Files in Ice (1993) should tell you a lot. There are also a couple of suspension of disbelief moments, especially with Rose not being able to tell that Mickey has been replaced. Many jokes have been made with regard to the shiny that was Mickey's forehead.
All things considered though, Rose stands up well. It did enough to get a person invested in the characters and the concept. It also had enough of a smell of the classic series that older fans would be willing to follow the trail an episode or two longer. As a stand alone episode itself it has a feel of a Doctor-lite story, but not in a bad way. It's enticing and reasonably engaging.
Overall personal score: 3.5 out of 5
I'm going to open this one with the free admission that I am indifferent at best about the character of Rose. Nothing against Billie Piper who seems to be a good actress, but I just didn't care for the character as a whole. There were moments in there where she was enjoyable but there were a lot of other moments where she was whiny and entitled (I'm letting my old man persona leak out).
That being said, I like Rose more than fandom in general I think. I recently rewatched this episode so it's still a bit fresh in my mind. It's actually rather amazing when you contrast the cinematography used in the early seasons of New-Who and that of the Matt Smith/Peter Capaldi eras.
Rose is probably best for what it's job was. It had the dual problem of needing to be a stand alone adventure series while at the same time appealing to the nostalgia of the classic series. In that, it succeeded in my opinion. The Doctor is reintroduced in a quick way and there is never any bother about his background until later. He moves with action, setting up the quicker pace of the new series, while at the same time getting off quips that flash back to previous Doctors. There are slow periods where the characters are developed, the concept of time travel is first broached in a back-handed way and the story comes to a fun (if a little corny) action-y conclusion. Even the threat is a bit of a subtle callback as the Autons and the Nestene Consciousness were the invasion that had to be turned back in the Third Doctor's first story.
Now, there are a few poor moments as well. Some of the acting is poor and there is a strong sense of the actors trying to get a feel for their characters. The CGI is pretty close to terrible by today's standards and I don't think it was top shelf even back in 2006. The fact that the Nestene Consciousness didn't look that far removed from the CGI used by The X-Files in Ice (1993) should tell you a lot. There are also a couple of suspension of disbelief moments, especially with Rose not being able to tell that Mickey has been replaced. Many jokes have been made with regard to the shiny that was Mickey's forehead.
All things considered though, Rose stands up well. It did enough to get a person invested in the characters and the concept. It also had enough of a smell of the classic series that older fans would be willing to follow the trail an episode or two longer. As a stand alone episode itself it has a feel of a Doctor-lite story, but not in a bad way. It's enticing and reasonably engaging.
Overall personal score: 3.5 out of 5
The Masque of Mandragora
You can't count, Count!
This review will probably be the oddest one of the bunch. For every other story in Doctor Who, I watched it with no real attachment or nostalgia. It was simply a source of entertainment. That is not the case with Masque of Mandragora. I've already mentioned how the little episode four recap formed my impression not only of the episode, but of the whole of Doctor Who for years to come. So I come into this one with a bit of a rose tint.
First, removing the tint as much as I can, this is a very enjoyable story. It is well-acted (for the most part), it is shot in part on location (at Portmeirion) to give it that extra sense of style and it is generally well paced. This story also prompted my enjoyment of the use of film in a television show. This was further enhanced by the Beauty and the Beast episode of Faerie Tale Theater, but it started with Masque.
Now, that is not to say that this episode is not without it's flaws. There are bits where the acting can go over the top and become a bit hammy, especially with Count Frederico; the special effects, while very good for 1976 (and to my eyes in 1984) are less than stellar by today's standards; there is also a little too much back and forth with the capturing, escaping, recapturing, and reescaping so that it gives it the padded feel that many Doctor Who stories have. Conversely, episode four feels a bit too packed. There is a bit too much attempt at both explaination and final confrontation between the Doctor and his allies and Hieronymous and his followers. If a little bit of that could have been pushed back into the two previous episodes, it might have perfected the overall balance.
Despite that, I still greatly enjoy this one and wouldn't complain if someone suggested that we sit down and watch it. It might be a bit heavy as a story to draw someone into Doctor Who, but I doubt it would drive anyone away from the show either.
Overall personal score: 4.5 out of 5
This review will probably be the oddest one of the bunch. For every other story in Doctor Who, I watched it with no real attachment or nostalgia. It was simply a source of entertainment. That is not the case with Masque of Mandragora. I've already mentioned how the little episode four recap formed my impression not only of the episode, but of the whole of Doctor Who for years to come. So I come into this one with a bit of a rose tint.
First, removing the tint as much as I can, this is a very enjoyable story. It is well-acted (for the most part), it is shot in part on location (at Portmeirion) to give it that extra sense of style and it is generally well paced. This story also prompted my enjoyment of the use of film in a television show. This was further enhanced by the Beauty and the Beast episode of Faerie Tale Theater, but it started with Masque.
Now, that is not to say that this episode is not without it's flaws. There are bits where the acting can go over the top and become a bit hammy, especially with Count Frederico; the special effects, while very good for 1976 (and to my eyes in 1984) are less than stellar by today's standards; there is also a little too much back and forth with the capturing, escaping, recapturing, and reescaping so that it gives it the padded feel that many Doctor Who stories have. Conversely, episode four feels a bit too packed. There is a bit too much attempt at both explaination and final confrontation between the Doctor and his allies and Hieronymous and his followers. If a little bit of that could have been pushed back into the two previous episodes, it might have perfected the overall balance.
Despite that, I still greatly enjoy this one and wouldn't complain if someone suggested that we sit down and watch it. It might be a bit heavy as a story to draw someone into Doctor Who, but I doubt it would drive anyone away from the show either.
Overall personal score: 4.5 out of 5
Introduction
My first exposure to Doctor Who came when I was six. My father was in the Navy and we were living on a military base in Japan at the time. Since it was the 1980's, the Armed Forces Network aired a two hour block of cartoons on Saturday which my sister and I would religiously watch. After that it varied. For a while it was movies (both animated and live action) but in our second year there it was reruns of the Tom Baker era of Doctor Who. I was not interested at first since the Tom Baker era titles are a bit sinister when first viewed. The music is creepy and Tom's lack of smile (unlike his portrayal in most episodes) makes him look rather uninviting. But curiosity got the better of me and I opted to finally see what this show was and if it was any good.
As it turns out, the episode that I opted to keep the TV on for was part four of Masque of Mandragora. I didn't make it past the recap. Unlike most episodes of Doctor Who where the recap is a replay of the last 30 seconds to a minute of the previous episode, Masque of Madragora has a full synopsis of the story so far. So the credits dive in to a shot of a sparkling ball igniting a man with his mutilated corpse shown just after that, some sword play, a few rather grim faced men, and another man being converted into a being of energy and then using that energy to electrocute someone. All of this while under a very dark and sinister, almost Satanic, atmosphere. As soon as the recap finished, I turned it off and decided that this was not a show for me. You must also remember I was six at the time so it didn't take much to scare me.
Aside from about 30 seconds of episode six of Invasion of Time that I happen to flip past when changing channels once, I never watched Doctor Who until a few years ago. By this point, Doctor Who was in the Matt Smith era and had become mainstream. I didn't have much interest in checking out the new show yet but I was curious to find out more about the bit from my childhood. The interesting thing is, I never forgot Masque of Mandragora. That little clip I saw stuck with me, enough that I was able to do a little research and figure out what story it was from and then rent it through Netflix. As an adult, I found that I quite enjoyed it but could also see why I found it so scary as a kid. I let that settle and then went on with my life.
It was probably around a year after that that I decided to give the new series a try. It was a bit slow at first, but I got into it and once I had cycled through the new series episodes that were available, I went back and began watching random classic stories that I could. I also started paying some attention to fan outlets which helped fill in the back story of how the show progressed over time, the highs and lows, the wilderness years and then the resurrection. In doing so, I started finding that my opinions of the show seemed to be somewhat different that conventional fan wisdom. Now this is not surprising as all people are different and will react differently due to what makes them tick. But as someone who both enjoyed The Unicorn ad the Wasp and didn't think that Caves of Androzani was the greatest classic story ever told, I find myself a bit more off the beaten path that I might expect.
As such, now that I've seen a reasonable percentage of both classic and new series stories, I thought I would jot down my impressions of them, just to show that opinions can differ and the show can be enjoyed by all sorts of folks. Now, I'm nowhere near done of all my watching. In fact, I'm in the middle of Keys of Marinus right now. So I will be adding stories in a somewhat haphazard manner. I'll try to put a tag for each doctor so there can be some level of organization, but I'll be jumping around quite a bit. I'm also going to try and alternate between a classic story and a new series story just to keep the mind fresh and so we don't stagnate on any one particular doctor at a time.
And with that, let the impressions commence.
As it turns out, the episode that I opted to keep the TV on for was part four of Masque of Mandragora. I didn't make it past the recap. Unlike most episodes of Doctor Who where the recap is a replay of the last 30 seconds to a minute of the previous episode, Masque of Madragora has a full synopsis of the story so far. So the credits dive in to a shot of a sparkling ball igniting a man with his mutilated corpse shown just after that, some sword play, a few rather grim faced men, and another man being converted into a being of energy and then using that energy to electrocute someone. All of this while under a very dark and sinister, almost Satanic, atmosphere. As soon as the recap finished, I turned it off and decided that this was not a show for me. You must also remember I was six at the time so it didn't take much to scare me.
Aside from about 30 seconds of episode six of Invasion of Time that I happen to flip past when changing channels once, I never watched Doctor Who until a few years ago. By this point, Doctor Who was in the Matt Smith era and had become mainstream. I didn't have much interest in checking out the new show yet but I was curious to find out more about the bit from my childhood. The interesting thing is, I never forgot Masque of Mandragora. That little clip I saw stuck with me, enough that I was able to do a little research and figure out what story it was from and then rent it through Netflix. As an adult, I found that I quite enjoyed it but could also see why I found it so scary as a kid. I let that settle and then went on with my life.
It was probably around a year after that that I decided to give the new series a try. It was a bit slow at first, but I got into it and once I had cycled through the new series episodes that were available, I went back and began watching random classic stories that I could. I also started paying some attention to fan outlets which helped fill in the back story of how the show progressed over time, the highs and lows, the wilderness years and then the resurrection. In doing so, I started finding that my opinions of the show seemed to be somewhat different that conventional fan wisdom. Now this is not surprising as all people are different and will react differently due to what makes them tick. But as someone who both enjoyed The Unicorn ad the Wasp and didn't think that Caves of Androzani was the greatest classic story ever told, I find myself a bit more off the beaten path that I might expect.
As such, now that I've seen a reasonable percentage of both classic and new series stories, I thought I would jot down my impressions of them, just to show that opinions can differ and the show can be enjoyed by all sorts of folks. Now, I'm nowhere near done of all my watching. In fact, I'm in the middle of Keys of Marinus right now. So I will be adding stories in a somewhat haphazard manner. I'll try to put a tag for each doctor so there can be some level of organization, but I'll be jumping around quite a bit. I'm also going to try and alternate between a classic story and a new series story just to keep the mind fresh and so we don't stagnate on any one particular doctor at a time.
And with that, let the impressions commence.
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