3 Days, 3 Quotes – Day 1

Yo, thanks to Blanca (finally learned your name lol) for tagging me for the 3 Days, 3 Quotes tag! I’ve always wanted to do this tag 😊

  1. Thank the person who nominated you
  2. Post a quote for 3 consecutive days (1 quote for each day)
  3. Nominate three new bloggers each day

Spoken, of course, by the inimitable Albus Dumbledore.

As for nominees, uugghh I think I’m running out of people to nominate because I think I’ve nominated every blogger I’ve ever talked to several times and I don’t want to be annoying lol. Is it a cop-out if I just say I nominate anyone who wants to do the award? Can I be that guy? If anyone tags themselves from me, please hit me up and I’ll come onto your blog and read it! 😉

P.J. out.

New companion: first impressions

…And it’s Pearl Mackie! She plays Bill, who seems to have an ’80s vibe going on with that wicked style (and hair) of hers. We’ve had a brief glimpse of Bill and Twelve working together in a short trailer the BBC released introducing the new companion, allowing us to form our first impressions of Pearl Mackie as Bill.

I have to admit, I didn’t take to Bill immediately. My initial reaction when I saw the trailer was: “annoying”. Maybe it was just the poorly-written dialogue, but Bill comes off as someone who will prove to annoy me over her time on the show. That she doesn’t take the threat of the Daleks seriously, but rather makes glib jokes when her life is in danger doesn’t bode well on that front, to be honest. Nor was I very inspired by the chemistry between Bill and Twelve. Perhaps it’s still just strange and uncomfortable seeing Twelve with someone other than Clara, but this partnership feels a bit jarring.

Moreover, she comes across to me as another iteration of the standard Moffat strong-female-companion archetype, i.e. she’s a bubbly, feisty, perky, self-confident, quick-witted young woman who’s unrealistically fearless in the face of danger, just like Amy, Clara and River. I love Amy, Clara and River for those qualities, but the trope has run its course, and to make Bill another iteration of this archetype is going to feel repetitive and unsatisfying: Bill is simply not going to out-Amy Amy or out-Clara Clara, because she’s not Amy or Clara and she’s going to look inadequate in comparison if she tries (talking about Bill here, or rather Moffat-writing-Bill, not Pearl, who, I’ve no doubt, will do her valiant best with the hand she’s dealt).

I’m hoping there’s more to this character than it seems so far. I’d be more prepared to accept another standard Moffat-style companion if she were to undergo some significant and meaningful character development over her time with the Doctor that clearly distinguishes her character and makes her into someone unique and interesting and more relatable. I’m not going to be happy if the character we saw in the trailer is the character Bill will remain for the rest of her time on the show.

I guess I’d just like to see something different. A companion who represents a stark change from what’s come before. An introverted companion, for once, an intellectual, an actual realistic, relatable person, or someone with loads of space for genuine, positive character development. Moffat has a type, and it’s getting old. From what we’ve seen, Bill is just more of the same.

All that said, though, I don’t want it to seem like I’m not going to give Bill a chance. Of course I’m going to give her a chance, and of course I want to go into Series 10 as open-minded as possible about the new companion. I don’t want to make rash judgments from a two-minute trailer (he says, after making rash judgments from a two minute trailer…), and I’d prepared (albeit sceptical, based on Moffat’s record), to have my first impressions of Bill proven wrong. It occurs to me just now that I thought precisely the same things about Clara when she became the new companion in 2013, and, although it took me a while, I ended up loving Clara. So it may well be that I’m proven wrong once again.

A brief musical intermission

Yes, I’ve been absent lately. That’s due to a mixture of laziness and being somewhat busy with another creative project that’s been taking up a lot of my spare time recently. I want to get back to posting regularly here as soon as possible. In fact, I’m planning to do a post on my ideas for whom the new Doctor Who companion could be, which I hope to start work on tomorrow.

For now, though, enjoy this musical intermission. This song, I Know What I Am by Band of Skulls, has been stuck in my head for over two months now. I know — I’ve checked. Someone please send help.

Thoughts on: Sleep No More

Warning: spoilers.

I’ve watched Mark Gatiss’s latest effort, Sleep No More, three times, and have had more time than usual (due to preoccupation with exams) to think about it and mull over my impressions. I think that’s for the better in this case, because my impressions of the episode now have shifted quite considerably since my first viewing. If I’d reviewed this episode on the day of broadcast, this review would probably have read quite differently. While I won’t presume to tell others to watch it again and reconsider their opinions, I think this is definitely one that needs to be watched at least twice to be properly appreciated. Needless to say, this has also been one of the most divisive episodes of Doctor Who I’ve seen—the most divisive, at least, since Kill the Moon, and even that one received a broadly positive reception. This one has divided opinion more violently than almost any I’ve seen.

Divided opinion is to be expected from a script as experimental as this. Whenever the show, Doctor Who seemingly more than any other, does something differently and left-of-field, there are inevitably going to be fans who love it and fans who hate it. It’s not just the found footage style that’s different about this episode, although, to say something about that, I found it effective. For the most part, I didn’t notice the difference from a regular episode, but, at its best, it allowed for the amplification of the intrigue and atmosphere and thrill of the episode. It provided for some wonderful moments, including the numerous moments Peter Capaldi spoke directly to the camera.

sandmen

They were sand… and they were men… like… a hybrid?

But it’s also the way the story, and its overarching conceit, played out that’s bound to frustrate some. If you’re like me, you probably came out of the episode upon first viewing more than a bit confused about what had just happened and feeling rather unsatisfied. After two subsequent viewings, I’ve managed to wrap my head around the slightly convoluted conceit the script was weaving—that all the events of the episode were orchestrated by the dust to tell a story to keep the viewers hooked, to infect them with the Morpheus signal—and I appreciate the “action” of the episode a lot more with that in mind. Although the episode plays out like a stock-standard base-under-siege with some gimmicky camerawork, it’s really quite a concept-heavy piece. Again, I think you need to watch it a few times to fully appreciate that. Its narrative appeal is primarily on the meta level, and if that isn’t to your taste, then this episode is probably not going to work for you, especially if, like me upon my first viewing, you found the action a bit boring and the plot overly complex.

That said, there’s a lot that could’ve been improved upon. The Sandmen, notwithstanding their intriguing concept, in practice were fairly unoriginal creations. They were snarling, groping monster-men practically indistinguishable from the zombies in Journey to the Centre of the TARDIS. In the Sandmen there’s a reticence on Gatiss’s part to take the brilliant ideas he’s put into this script as far as they could have been taken. Why not show a person’s transformation into a Sandman? (Deep-Ando’s death was a perfect opportunity) Why not illustrate exactly how these creatures are sentient sleep dust, rather than just showing them stomping around like generic zombies and having the Doctor tell us “they’re sleep dust”. Moreover, the other problem I had with this episode is that, even given that the action was all engineered to tell a riveting story, there wasn’t enough plot to tease out to fill the whole 45 minutes. We watch the Doctor, Clara and the crew getting into scrapes and near-misses for most of the episode—yes, it was all manufactured by the dust, but after a while it all became a bit tedious. The first plot development of any significance came 30 minutes in, when the Doctor realised the dust had been recording them. By then you’d be forgiven if you’d lost interest.

But yet… I rather enjoyed it. I enjoyed it more upon each subsequent viewing, perhaps because, wrapping my head around the confusing plot points and meta-narrative, I was in a better position to appreciate the script for the clever and engaging piece of writing it was. I was in a better position to appreciate that this wasn’t just a typical monster runaround with a clever twist tacked on at the end, but that Mark Gatiss really has, for all its faults, crafted an exquisite script. And, I mean, it wasn’t that boring. Perhaps I overstated my impatience with the episode above—I was certainly unsatisfied the first time round, but, like I said, it improved for me once I grasped what the point of it all was. Contrary to others’ impressions, I found the characters all fairly well-written, especially the unsettling Rassmussen, and I loved the amusing Chopra-474 double-act. And I have no hesitation in affirming that I’d watch this episode again just for that ending. I think the last minute of the episode is the one thing everyone agrees was superb. I don’t think I’m going out on a limb by suggesting it was one of the creepiest, freakiest, most chilling moments in a  Doctor Who episode ever. I’m sure if I were 10 years old, I’d have been petrified about going to bed after watching that. It just reeked of Mark Gatiss’s dark, morbid sense of humour. I love that.

Is it Mark Gatiss’s best script yet? Although that isn’t really saying much, I’d be tempted to say “yes” if it weren’t for the exceptional Robot of Sherwood in Series 8. Even if we accept, though, that Sleep No More is the weakest episode of Series 9 so far (it’s vying for that honour with Before the Flood and The Woman Who Lived, to my mind), that is undoubtedly to the credit of Series 9, because this is by no means a bad script, and I have no hesitation in saying that every series since 2005 has had episodes much weaker than this, even the stellar Series 4 and 5 had Partners in Crime and Victory of the Daleks, respectively. And, I mean, there’s a tendency to overstate the poorness of the quality of Doctor Who scripts. The average quality of Doctor Who compared to most everything else on television is emphatically higher, and even Doctor Who’s weakest scripts generally make for good television. Because we devotees of this wonderful show are used to an unusually high standard of writing and storytelling in our show, this episode might not necessarily have made for great Doctor Who, but it certainly made for stunningly good television. Admit it, you’d much rather be watching this than anything else that was on at the time.

Rating: 8/10.


Quote of the week:

“No, you don’t get to name things. I’m the Doctor. I do the naming.”

A brief musical intermission…

Apologies to my faithful and kind readers for the dearth of posting over the last week. I’ve just come out of four months of writing almost daily Doctor Who reviews, so I fancied a little break from blogging. I’m planning to write up my review of The Magician’s Apprentice/The Witch’s Familiar tomorrow, but, for now, enjoy this little musical intermission. It’s Camille Saint-Saëns’ Danse Macabre, which the student orchestra I play in is currently rehearsing. You might recognise it as the theme from Jonathan Creek

Picturing Charley

How do you picture Charley Pollard, or any non-televised Big Finish companion, for that matter? The above picture is pertinent, because, with apologies to the lovely India Fisher, when I listen to Eighth Doctor and Charley stories, I generally don’t picture Charley in my mind as her voice actor. For one thing, Fisher is older than the character she plays. Charley is supposed to be about eighteen when she sets out with the Doctor, so I imagine a young slip of a girl. Charley’s voice also sounds quite girlish, so I naturally imagine a young girl. I also imagine Charley as, in appearance, conforming to her home time period (1930), if not the Edwardian Period (given she wants to be an “Edwardian adventuress”), so I picture her in knickerbockers and perhaps a bob cut. That I so readily picture Charley as a young girl from 1930 is testament to Fisher’s superlative voice acting, of course. I always imagine Charley to be blonde, though, so that’s one thing in which I defer to India Fisher (I didn’t draw the above picture).

Other Big Finish only companions I’ve heard are Evelyn Smythe, Erimem and Frobisher. It’s hard not to imagine Evelyn Smythe as Maggie Stables (are they not one and the same?), nor Frobisher as your standard tuxedo-wearing penguin. Obviously I can’t imagine Erimem as Caroline Morris since Erimem is an ancient Egyptian princess and Morris is a modern white Briton, although it’s easy to forget Erimem is not a modern white Briton because of that accent!