Doctor Who Review: Extremis

doctor who review extremis steven moffat series 10 twelfth doctor peter capaldi nardole bill potts pearl mackie

You don’t have to be real to be the Doctor.

I used to have this rule about not reading any reviews of an episode until I’d finished my own.

The idea was, basically, that it might when I did get to writing my reviews (in the good old days where they’d be finished on Sundays, or Monday at the latest!) it’d be ‘pure’ in a sense – my own opinion, essentially unaffected by any outside factors or influences.

But as it began to get to this point, where it’d routinely take me a week to get around to writing about the episodes, I’ve started to read reviews again. You wouldn’t expect me to not read about and discuss it’d routinely take me a week to get around to writing about the episodes, I’ve started to read reviews again. You wouldn’t expect me to not read about and discuss Doctor Who for a whole week, would you? That’s a bit extreme. Indeed, I think it’s started to help with the reviews themselves, in that I’ve contextualised each episode better, and considered different interpretations – and, of course, I can steal other people’s clever ideas. (On my website, I only ever use the best original ideas – just not necessarily my own!)

All of which is to say that, actually, when I finished watching Extremis I didn’t quite get it. Not in a conceptual way, but moreso that I didn’t connect with it – watching it felt more like a process of saying “yes, there is Doctor Who in front of me right now, that is a thing that is happening” rather than one in which I engaged with the episode particularly. I suspect that part of that is a result of what I spoke about with Human Nature yesterday; for an episode that hinges around its central twist, I wasn’t giving it room to surprise me. Weeks of reading about Moffat’s last experimental episode where he pushed the show as far as he could for the last time had left me excited about this in a really specific way – the weight of my expectations were working against me once more.

Across the week, though, as I was beginning to read different reviews and internet comments and so on, I started to get it a little bit more; I started to gain a deeper appreciation of what the episode was doing, and how it worked, and why that was worthwhile. (I should probably do it more often, really; I suppose that’s what I do with my Ten Years of the Tenth Doctor posts, because those all come with a decade’s worth of thought attached to them.)

I’m glad I did, really; certainly, when rewatching it for this review, I got a lot more out of it than I did previously. In fact, I rather loved it.

doctor who extremis review twelfth doctor peter capaldi sonic sunglasses monks steven moffat series 10 you don't have to be real to be the doctor

Certainly, it’s a clever premise – the idea that the world isn’t real. It’s surely something that everyone has considered before, at some point or another. Am I real? Is this all in my head? Does what I believe in actually exist? It’s a classic staple of science fiction, religion, and teen angst. (Or is that just me?) The episode does a good job with these ideas. Not a perfect one, no; often the emotional reaction to this news is quite muted, so the despair doesn’t quite land – but at the same time, the explanation is held off long enough to maintain the right balance of discomfort and intrigue for the broad strokes of the subject to work.

Of course, for those long-term readers of my work (there’s probably at least two of you, right?) it’s going to be obvious which bit of this episode I came to love most. Likely it’ll even be obvious to the particularly short-term readers, given that I used it at the start of this review.

“You don’t have to be real to be the Doctor.”

Within the episode itself, it’s a real moment of triumph. Tricking the monsters into their own trap and beating them at their own game, even if you’re part of the game itself. But on a broader scale, it’s actually doing more than that – embracing the fiction of Doctor Who, but refuting the idea that it can’t matter. (Indeed, for a moment or two, I thought the simulation referred only to the programme itself – the real world was ours, rather than there being another ‘real world’ of the programme.)

Naturally, I’m going to love that. I’ve been banging on about this show for years, and why it matters; to firmly take the stance that it can, does, and will continue to effect material change in the real world is brilliant. Especially the week after an episode that so resoundingly denounced capitalism, and indeed in a wider, post-Brexit post-Trump world.

Again, it’s the wider resonance that’s why I clicked so much with the episode (you know, after a little bit of thought and consideration). In the end, it’s about why fiction matters – why stories matter. How they can impact the real world, and how we respond to them. Of course I was going to love that. I’ve basically built my life around that idea!

doctor who extremis review bill potts pearl mackie monk trilogy steven moffat simulation computer

Admittedly, it still wasn’t perfect. Not everything worked for me as well as that wonderful line and the themes it evoked.

Certainly, the Missy storyline felt a little superfluous. There’s a bit of a link through the dialogue, and it’s clear how it’s meant to tie in… but I’m not entirely convinced it worked. Lots of little niggles associated with that one, actually. I know the inconsistency with The Return of Doctor Mysterio will bother me, and I’m not wholly clear on why exactly the Doctor would still guard Missy’s body if he’s not going to kill her – why is the Oath binding? Who’s he protecting her from? There’s likely not a huge chance they’re going to go into these things much. I’ll try not to let it bother me. That’s a sign of maturity, I suppose.

More seriously though, the episode’s use of suicide… bothered me somewhat. In a sense, it reminded me a little of the problems people have been having with Thirteen Reasons Why – suicide isn’t just being presented as a way out, but essentially the correct and only response to existential angst and shock on a huge scale. That’s not great. It was more nuanced than that, yes, and there’s room to argue about the motivations (it’s the only way they knew to fight back against the machine and save the real world from the coming demon), but no matter how you look at it, that’s an episode that has a lot of references to suicide in it. It’s an episode that’s actively asking to be adorned with trigger warnings – necessary ones at that. After all, you can’t spend an episode making the case that fiction matters, and that fiction impacts the real world, without also considering what the negative impact of an aspect of your episode could be. The ball was dropped there, unquestionably.

How much does it harm the episode? Well. Having just written it down now, it’s bothering me more than it previously did, before I articulated it. It’s not great, however you look at it.

But… well, personally speaking, while still acknowledging that failing, the episode managed to be entertaining, do something entirely new within the framework of Doctor Who, and emphatically state that fiction matters. There’s a lot to like there.

8/10

Related:

Doctor Who Series 10 Reviews

Ten Years of the Tenth Doctor Reviews

Facebook | Twitter | Blog Index | Doctor Who Reviews Index

Doctor Who Review: Oxygen

doctor who oxygen review jamie mathieson charles palmer steven moffat peter capaldi matt lucas pearl mackie

Like every worker everywhere, we’re fighting the suits!

This episode, much like Thin Ice before it, feels very keenly relevant to 2017. Admittedly that’s perhaps more of a reflection of myself and my own perspective; the themes inherent to this episode are largely universal. But by the same token, an overtly political Doctor Who episode feels at home in 2017 – indeed, required in 2017 – in a way it wouldn’t necessarily have in the years prior. And, certainly, it’s something I’m more able to appreciate now than I would have previously.

Admittedly, there’s a part of me that almost has trouble calling Oxygen “overtly political”. Surely, it’s not, is it? It’s a well written and engaging thriller that also just so happens to make the point that capitalism is bad. There’s some nice incisive lines and so on, but it’s not exactly arguing a point. Right?

Except, actually, that’s why in the end I do feel right calling Oxygen “overtly political”. It’s not moralistic, it’s not a screed – it’s not even really an angry polemic, though it certainly had the potential to veer into one. It is, however, a story with a very specific ideological bent, one that informs every aspect of the episode that grows out from it.  The monsters are a metaphor for the dehumanisation of workers, and the lack of autonomy afforded to them by a capitalist system. The faceless, bureaucratic enemies are motivated by their bottom line. The dialogue has that fantastic, angry awareness of everything that’s fundamentally wrong with the system.

Oxygen feels like a masterclass in how to handle a Doctor Who story like this; it’s built out of an awareness. It’s not a very special episode, but one that reflects its themes across every aspect of the text. Of course, I say all of that; I could be wrong. It might just be that Oxygen demonstrates one very good way of going about this, rather than the best or only way to do it successfully. I’d probably quite enjoy an angry polemic – particularly if it’s one that advances that same (correct) general position as my own.

doctor who oxygen review jamie mathieson peter capaldi we're fighting the suits twelfth doctor blind spacesuit charles palmer steven moffat

There’s a worthwhile comparison to make with 42, Chris Chibnall’s episode from the 2007 series of Doctor Who. It’s on my mind a little bit, given that it was the most recent episode that I looked at as part of my Ten Years of the Tenth Doctor series. Broadly speaking, you can see a lot of similarities between Oxygen and 42 – they’re both high-octane thrillers, set in space, with something of a political bent. (In that the ‘villain’ of 42 is eventually revealed to be the victim of a capitalist mining process, though I don’t think anyone would be inclined to argue this is a particularly successful aspect of 42 in comparison to Oxygen.)

One of the big failings of that episode, highlighted in my review, was the relative anonymity of its supporting cast. Few of them made any particular impact, relegated largely to a series of stock characters to be picked off one by one, and occasionally filling in the plot mechanics to keep the story moving. Oxygen, for obvious reasons, faced similar issues – and, arguably, falls into the same pitfalls to an extent. (An issue with Oxygen was the fact that the two men playing Tasker and Ivan did look a little alike, meaning it was easy to confuse the two of them – losing some of the impact when one of them died and the other had an emotional moment towards the end.)

However, Oxygen does manage its supporting cast of characters far more adeptly than 42 ever did. Part of that is in having a smaller and more manageable cast – but another part of that is the fact that each of them got a moment of focus and some time to shine. Dahh-Ren had a great comedy moment, Abby fills the role of critical antagonist well, and Ivan’s emotional moment is actually very well constructed. His final meeting with Ellie is a great payoff to the pre-titles sequence, and gives the episode a really nice grace note at the end.

More than that, though, this is a very good episode in terms of characterisation in general. Bill is excellent, as is the Doctor; there are some absolutely fantastic interactions between the two of them. That the Doctor’s rendered blind trying to save Bill is really effective, and the way it impacts their dynamic across the episode is great to see. It’ll be interesting to see where that goes across the rest of the series, for however long that might last. I’d like to particularly highlight Nardole, though. I was hesitant about his inclusion when it was first announced, but it’s fast becoming clear that there wasn’t a particular need to – there’s a real steel to Matt Lucas’ performance, and the inclusion of Nardole genuinely does enhance the episode. I can’t wait to see where the character goes from here.

doctor who oxygen review jamie mathieson bill potts pearl mackie spacesuit zombie breath charles palmer dead

It’s not just on this political angle where the episode succeeds, though. It’s a taut and well put together thriller that’s genuinely very tense in certain places.

Part of the reason for this success is the opening sequence with the Doctor’s lecture – it’s an expert piece of exposition, and right out of the gate it establishes exactly what the episode is setting out to do. “Make space scary again.” It’s an opening that pays dividends across the rest of the episode, because we’ve got a very immediate frame of reference as to what’s going to happen to Bill – helped, of course, by Charles Palmer’s long and lingering direction, that really lets the danger sink in. The risk posed to each of our characters is always at the forefront of the episode; the audience is never allowed to forget about that. There’s no moment space seems like anything less than a threat – the final frontier is trying to kill you. It’s a villain in and of itself; the very setting of the episode, out to get them.

In a sense, there’s a contrast that forms against Knock Knock the week before; even though that was the episode self-consciously styled as scary, Oxygen is far more successful at actually being scary. A lot of that is down to the fact that Jamie Mathieson is a very talented writer, with a great eye for what makes a successful monster. The suits have a fantastic visual design, and tie into the rest of the episode particularly effectively. We’ve not really had any outright zombies on Doctor Who before – they’re usually couched within some other twist to the premise – but Oxygen takes us quite close to that, and does so brilliantly.

Ultimately, then, Oxygen is a really strong episode. It’s another great instalment from Jamie Mathieson – and, while he’s clearly positioning himself as a possible replacement for Chris Chibnall one day, it’s an episode that really excites me to see where he might take the show in the future.

9/10

Related:

Doctor Who Series 10 Reviews

Ten Years of the Tenth Doctor Reviews

Facebook | Twitter | Blog Index | Doctor Who Reviews Index

Doctor Who Review: The Pilot

doctor who the pilot review steven moffat lawrence gough series 10 twelfth doctor bill potts nardole heather

Promise you won’t go?

In one of the admittedly less memorable jokes of the episode – and this is only because of how high the standard everything else is – Bill brings up a sci-fi show that she watched on Netflix. It has lizards, in people’s brains. The Doctor responds that he’s going to have to “up my game”. In a world of Netflix and a new golden age of television, he’s not wrong – Doctor Who does have to up its game, consistently.

And with The Pilot, Doctor Who absolutely did up its game.

So much of this comes down to Bill. It’s almost become a cliché to say that Bill is a breath of fresh air, but then, she absolutely is. I loved Clara, and I’ve loved a lot of the Capaldi era, but there’s still something so invigorating and exciting about having a new companion – and Bill has made a great first impression.

Much of this episode is structured to allow her to, of course. We absolutely revel in Bill’s presence, luxuriating in those long scenes, where the joy of the episode is simply to spend time with such a fantastic new character. Every other aspect just falls away in her presence, as Pearl Mackie anchors the episode around her performance. On paper, this is something that might have looked like a risk – taking your relatively untested new character and hanging every aspect of the episode on the strength of the new actor. But then, of course it works in practice – because Pearl Mackie is excellent. This wasn’t a risk but the most sensible choice; you almost find yourself wishing the episode could be longer, to be able to spend more time hanging around with Bill. The wait until next week was a long one, and it’ll be a massive shame if we don’t see Bill continue on with the Natalie Dormer Doctor next year in the Chibnall era.

Why is Bill so excellent? Well, like I said – a huge part of it is Pearl Mackie’s performance. There’s a real charm to the character; Bill has such a boundless enthusiasm and sense of wonder that its difficult not to feel the same way. That early description of her – “When other people don’t understand something, they frown. You smile.” – is not only the perfect starting point for a new companion, it’s the best way to breathe that new life into the show. As Bill is introduced to the world of Doctor Who, we’re able to see it all anew, through her eyes.

And isn’t it wonderful?

doctor who the pilot review bill potts pearl mackie heather stephanie hyam mirror reflection water lawrence gough steven moffat peter capaldi

This episode also marks the first of Peter Capaldi’s final series – the first episode of his victory lap. And what a lap it’s set to be.

As ever, Capaldi’s performance is pitch perfect; he’s clearly relishing the chance to depict a new take on the Doctor/companion relationship, and working with Pearl Mackie is clearly pushing him to new places too. The pair of them have an excellent rapport together – wouldn’t it be wonderful to see these two together for another few years? If only we were so lucky.

But then we should still count ourselves lucky to have this episode.; The Pilot is a wonderful piece for Capaldi’s Doctor. There’s a whole host of lovely moments for the Doctor here; obviously, grounding him in academia is wonderful, and there’s something about the Doctor playing professor that just feels right. Indeed, letting this professorial role form the basis of his relationship with Bill is great, and matches her enthusiasm wonderfully – he’s showing her the universe and fulfilling that curiosity. That’s not the only great moment to come from the Doctor in academia, of course – everyone loved the “Time and Relative Dimension in Space” lecture, didn’t they?

However, those aren’t the only great moments for the Doctor here; often, many of the highlights of this episode are far subtler than that. There’s a real progression of the Doctor’s character here; he’s matured since we last saw him, become more considerate. In many ways, it’s a fulfilment of the arc we saw him start upon in series 8; he doesn’t need someone to care for him anymore. The little moments where the Doctor asks Bill if she’s alright, or takes pictures of her mother, or reassures her that she’s “safe here, and always will be” – that’s when the character sings.

Further, though, it’s that scene. The confrontation between the Doctor and Bill where he nearly takes her memory, and all the raw emotion it entails. It’s not just a standout moment for Peter Capaldi, but Pearl Mackie too – and, indeed, in terms of both the writing and direction of the scene. What an excellent place to start for these characters – and what an excellent way for the Doctor to shake off academia and get back out there into the universe.

After all, that’s the moment we were all waiting for, wasn’t it? Much as it was lovely to see him in the university, we know where we really want the Doctor to be. All of time and space. Anything that ever happened, or ever will.

Where do you want to start?

doctor who the pilot review peter capaldi twelfth doctor it means life tardis backlit steven moffat lawrence gough hd screenshot wallpaper

This episode has something of a thin plot, yes. But then, it’s not the plot that matters – rather, it’s the story.

I’ve already highlighted, of course, how much of this episode is dedicated to fleshing out Bill. It makes sense then to have a relatively simple plot; just a jaunt through the universe, laying out the basic concepts of Doctor Who, and letting the characters carry our attention. (It’s still worth noting, of course, just how well this is all done; one of the problems of having left this review so long is that everyone else has already pointed out just how fantastic the TARDIS reveal is. But then, it is, and it’s worth pointing that out – as well as noting just how good Lawrence Gough’s direction was.)

However, despite the simple plot, there’s actually quite an involved story here. In a sense, it’s all about promises: the promise Heather made to Bill, the implicit promise the Doctor made to Clara, and the Doctor’s promise to someone to guard the vault.

Of course, the episode began with another promise – The Pilot, and its promise of a new start. It is, I think, a promise that’s realised; everything comes together here to create an episode that really does show how much Doctor Who can do, and how much it can be. In that sense, there’s so much to comment on, and so little time – Lawrence Gough’s direction, Stephanie Hyam’s performance, the lovely dialogue flourishes. It’s enough to make you wish you could just go on forever about how good the episode is, but at that point you’re better off just showing people the episode again and letting them enjoy it for themselves. You’d love it – I promise.

But then, The Pilot is also about a different kind of promise. The promise of what’s to come. The promise – the allure – of the universe. All the days of your life, laid out like a city. The day you were born; the day you died. The day you fell in love and the day love ended.

Time and Relative Dimension in Space.

It’s a promise.

The promise of everything.

8/10

Related:

Doctor Who Series 10 Reviews

Ten Years of the Tenth Doctor Reviews

Facebook | Twitter | Blog Index | Doctor Who Reviews Index