Doctor Who Review: Fugitive of the Judoon

doctor who review fugitive of the judoon jo martin ruth doctor chris chibnall vinay patel nida manzoor

Doesn’t time fly when you don’t have all the answers?

I am, I think, finally starting to understand Chris Chibnall’s take on Doctor Who.

That’s been a point of contention for a little while now, something I’ve spoken about in my review of each part of Spyfall; there’s been, to my mind, a frustrating almost-anonymity to Chibnall’s Doctor Who work, leaving a lot of it feeling like a weak, Davies-era tribute act. I’ve never entirely understood what exactly drives Chibnall, what he thinks Doctor Who is for, what he loves about it. “Chris Chibnall’s Doctor Who” has never felt as coherent a concept as “Steven Moffat’s Doctor Who” – much as the latter is often misunderstood, there’s an obvious set of easy to appreciate personal idiosyncrasies that the former very much lacks.

But! I recently read quite an interesting interview with Chibnall (in a magazine, otherwise I’d link it) which I think sheds some light on it all. He described series 12, in contrast to series 11, as “a journey deeper into Doctor Who” – where series 11 was about setting the stage, this is Chibnall finally getting towards doing what he actually wants to do with the series.

Which, actually, makes a lot of sense. Granted, I’m inclined to question just how well series 11 functions as an introduction to how good Doctor Who can be – given that it, uh, was rarely as good as Doctor Who could be – and I’m more than a little suspicious of how in tune his populist instincts actually are, but it makes sense. Series 11, in that sense, almost starts to look like Chibnall’s version of series 10 – not quite treading water, exactly, but a prologue inspired by a popular predecessor in the same way that was an epilogue. Series 12 is what Chibnall thinks Doctor Who should be – as he put it in the interview, “all the treats of the Doctor Who universe and then some”. That, immediately, is much more interesting to me than the (deliberately) simpler, less overtly authored series 11.

Granted, I still don’t know exactly how I feel about this vision – it’s perhaps a little too rooted in established canon and continuity call-backs, even for me – and, more to the point, I’m still not entirely sure where it’s going. Jo Martin’s Doctor is fascinating, though, and introducing her character feels like the most ambitious the show has been since… well, I suppose since casting Jodie Whittaker. For the first time in a long time, to me at least, the series feels genuinely quite compelling – and that’s a pretty nice feeling, actually.

doctor who review fugitive of the judoon jo martin jodie whittaker jack harkness john barrowman vinay patel nida manzoor chris chibnall

Which isn’t to say, though, that it’s necessarily actually any good. Honestly, there’s a case to be made that Fugitive of the Judoon is scarcely an episode at all – just an hour of set-up, moving the pieces around the chess board so that they’re ready for (presumably) the finale.

So, it’s probably worth discussing Jack for a moment. On a production level, it’s more or less inevitable that the character would end up returning – he’s the most easily revisited Davies-era character, for one thing, and certainly one of the most popular (like, I’d love to see Martha back – the only other character you could bring back without having to tie yourself in knots to explain how they’ve returned – but I can’t imagine many people are really clamouring for that). Even setting aside the Davies-era nostalgia, though, Jack was always going to return because John Barrowman is something of a household name. In 2005, he was a theatre actor, with a couple of small film roles; now, he’s been on I’m a Celebrity, he’s a judge on Dancing on Ice, he’s hosted game shows and talent contests and he’s a talk show regular. John Barrowman is, if you like, Bradley Walsh after the watershed – of course he was going to return in Chibnall’s Doctor Who. And, you know, John Barrowman aside, I do basically like Captain Jack, as indeed I like, well, everything from Doctor Who when I was 10. Yes, it’s pretty much entirely nostalgia, but it just about worked for me (even if, structurally, it was a bit of a mess).

What was interesting, though, is how much his sheer force of personality – for better or for worse – nearly entirely overshadowed the other companions. There’s something fundamentally really, really strange about Yaz sharing screentime with Jack – the difference between caricature and character writ large in a Bristol Cathedral dressed as a spaceship. Yaz, of course, was already poorly served by this episode, which was already especially egregious given it was the alien space police episode, but Jack’s return threw it into even sharper relief.

Granted, I don’t actually think Jack was especially well-served by Chibnall’s writing either – often feeling more like a memory of the character’s quirks, and too reliant on technobabble that was never Barrowman’s strong suit anyway – and structurally, his involvement in the episode was a mess. (You couldn’t have given the three companions something to do within this – helping Jack somehow, rather than just watching?) But it highlights, I think, the limits to Chibnall’s skill, even now, as we’re starting to get a better understanding of just where he wants to direct that skill.

doctor who review fugitive of the judoon jodie whittaker jo martin doctor ruth gloucester

On the plus side, though, Jodie Whittaker had one of her best weeks yet. So that was nice.

As I noted last week, Whittaker has always done best in the role when she’s had to play against a strong guest actor; the reason, I think, is that it draws out her otherwise fairly passive take on the character. Pushed to the margins, she’s forced to try and reassert herself over the narrative – so in that sense, pairing her with another Doctor is sublime. Here, the challenge to her place as lead is, by necessity, much stronger that it ever is with Tesla or King James – because Jo Martin, and Jo Martin’s Doctor, offer a very different vision of what the programme could be. It’s not a huge surprise that there were people left sort of wishing the series stayed with Martin at the end – that means it’s working!

(Although, of course, I suspect the two Doctors will eventually find themselves a little more closely aligned by the end. It’s surely not a coincidence, after all, that the Ruth Doctor evokes Grace – who was very consciously, explicitly paralleled with the Doctor in The Woman Who Fell to Earth.)

In places, yes, I do still wish Jodie Whittaker was being given more to do. She’s plainly capable of so much, and the show is often so close to giving her things to do – that confrontation with the companions at end, where she brushes them off and insists they don’t know her, has a bitterness and an edge to it that’s almost entirely unlike anything she’s got to do so far. That’s brilliant! I’d love to see more of that! But it was resolved, so, so quickly, it didn’t really go anyway. A shame.

At the end of my review of Nikola Tesla’s Night of Terror – an episode that, I think, is actually probably better than Fugitive of the Judoon – I commented that it’s perhaps not a good thing that it was the best Doctor Who could do. This week, though, I welcome the ambition on display – even if it doesn’t always add up to much, it feels like Doctor Who has regained a certain sense of momentum. I’m really, really glad of that.

Related:

Doctor Who series 12 reviews

Doctor Who series 11 overview

Facebook | Twitter | Blog Index | Doctor Who Reviews Index

Doctor Who Review: Demons of the Punjab

doctor who demons of the punjab review vinay patel chris chibnall jamie childs jodie whittaker shane zaza mandip gill tosin cole bradley walsh

This is us. Forever. Our moment in time.

Airing this episode on Remembrance Sunday was, as many people have already pointed out, something of a stroke of genius.

In isolation, Demons of the Punjab was already a mature and thoughtful episode; there’s something quite affecting about its quiet consideration of personal history, in contrast to the broad sweep of celebrity historicals we’ve seen before. It harkens back to Father’s Day in some ways, with a poignant and intimate story about Yaz’s family – much like the earlier episode, it’s quiet and sensitive and deeply concerned with its characters. Even if Demons of the Punjab had aired three weeks later as episode nine, as I understand had been originally planned, it’d still be able to make an easy claim to being the best of series 11. There’s simply a degree of confidence and understanding to this episode that marks it as something special more or less immediately.

But contextualised in terms of Remembrance Sunday it became something altogether more resonant.

Much of the story is about remembrance – that, in effect, is what the Thijarians do when they bear witness, when they mourn for the forgotten dead. The forgotten dead, in this case, of partition, and of the victims of British colonialism and its consequences. It’s quite a story to tell as part of Doctor Who’s first substantive engagement with non-Western history. And airing the episode on Remembrance Sunday, when (despite everything) so many of these forgotten dead stay forgotten lends Demons of the Punjab an even greater degree of significance. In that sense, it’s one of the first episodes this series that really manages to be about something, to have substantive ideas worth real and genuine engagement – not just because of the quirk of its airing, of course, because all those ideas were still in the episode regardless. But it’s difficult not to notice the way this accentuates and emphasises so many of the ideas that Demons of the Punjab was already invoking.

There’s a vision of history to Demons of the Punjab that feels vital, that feels like something Doctor Who should commit to much more wholeheartedly, especially now as it begins to pivot back towards a more educational programme – a vision of history that includes the forgotten dead, that looks beyond the traditional narratives.

doctor who demons of the punjab review shane zaza vinay patel thijarians chris chibnall jamie childs jodie whittaker

Hence, then, why it’s so interesting to see the episode parallel the Doctor and the Thijarians.

It’s not a straightforward, one-to-one match – they aren’t, after all, identical. But there’s a link drawn between them, and it’s reinforced repeatedly across the episode in myriad ways. A lot of these connections are small, subtle ones. Consider the fact that the Thijarians are travellers who’ve lost their home, not entirely unlike the Doctor; Jamie Childs, offering much stronger direction this week than in The Woman Who Fell to Earth, reinforces that idea through a scene transition from the Thijarian ship to the TARDIS. It’s not so much that they’re identical, exactly, but there are echoes – echoes that resonate in the face of the fact that, in the end, the Doctor and the Thijarians do the same thing. They remember forgotten history.

It also, perhaps, speaks to what’s still one of the wider problems of the series – something that isn’t quite a problem in Demons of the Punjab, though it’d still be worth commenting on, but is certainly part of a frustrating trend. Once again, there’s an episode that ultimately relies on the Doctor’s passivity and non-interference – she gets involved, yes, but ultimately very little. At the end, she simply walks away.

Like I said – on its own, this wouldn’t necessarily be a problem. Indeed, in the context of Demons of the Punjab, it almost makes a degree of sense, though admittedly I’d have preferred if the Doctor, Yaz, Graham and Ryan had stayed to bear witness to Prem alongside the Thijarians.

But taken as part of the series as a whole, it’s a little troubling – it’s strange and unsettling that a character who’s always been defined by the way she interferes and the way that she’s active rather than passive is now being depicted as quite the opposite. At this stage, it feels clear enough that it’s a conscious choice – as of Arachnids in the UK, it felt a little more akin to a recurring scriptwriting weakness, but now I’m starting to feel like there’s something a little more deliberate going on. Perhaps we are building up to a broader point about how difficult it really is to interfere in the face of such broad, structural problems like historical racism or the effects of imperialism.

Perhaps the point of contrasting the Doctor and the Thijarians is to say that the real radical act of interference – the sort of thing we can genuinely do in real life, especially today, on Remembrance Day – is to carve out a space for the forgotten dead and remember them.

doctor who review demons of the punjab jodie whittaker shane zaza chris chibnall jamie childs vinay patel mandip gill

Outside of that, I think there’s little to find fault with in the episode – and, even then, that’s not so much a fault with Demons of the Punjab as it is a fault with the stories around it. The same could be said of other flaws I’d be inclined to highlight – there are still some struggles with balancing the cast, but to be honest this episode does a much better job of any other so far, so it’s difficult to criticise too much. (I suspect part of the reason Demons of the Punjab does so well balancing the cast is the fact that Vinay Patel paired Yaz with Graham for a while – and in turn she got caught in his narrative gravity for a while, and finally got given something to do. It’s still not ideal, especially in what’s meant to be Yaz’s second focal episode, but again, I don’t think it’s worth criticising Demons for the faults of series 11 as a whole.)

Indeed, I’m generally really pleased with Demons of the Punjab. It is, as I’ve already said, my favourite episode of the series so far – but it’s also been my favourite one to write about so far. In a few of these recent reviews, I’ve been despairing a bit (and it’s shown) over how little I’ve been able to find to say – or, maybe more accurately, how little I’ve been able to say that goes beyond a more superficial bullet point list of sloppy aspects and technical mistakes. I’m glad I’ve been able to do more than that here with this one; if nothing else, Demons of the Punjab is certainly the first episode so far where I feel like I’ve still got lots of positive things to say, rather than negatives I’m holding back on.

(Like, how amazing was Shane Zaza as Prem? In a just world, he’d be getting all sorts of awards for this episode, and would certainly be remembered as one of the stand out guest performances in Doctor Who over the past decade. If ever they’re looking for a man to play the Doctor again…)

So, yes. Demons of the Punjab has left me feeling really quite reassured about series 11 – it’s perhaps overly optimistic to make this judgement, but maybe it’s simply the case that all the more interesting episodes in series 11 have been positioned closer to the end. That’s the hope, anyway; I suppose we’ll find out in a few hours in Dr Who vs Jeff Bezos.

9/10

Related:

Doctor Who Series 11 reviews

Facebook | Twitter | Blog Index | Doctor Who Reviews Index