Shortly, I shall be the most powerful man in the realm. King in all but name, for Nottingham is not enough.
It isn’t?
After this, Derby.
Right.
Then Lincoln. And after Lincoln…
Worksop?
The world!
– the Sheriff outlines his plot to Clara
Robot of Sherwood is a functional piece of television, with a wonderful closing scene capping a very light forty-five minutes. Mark Gatiss is a writer who tends to trade on nostalgia, and who clearly holds a great deal of affection for the past. As such, Robot of Sherwood provides a fairly effective and straightforward counterpoint to the heavy moral questions of Deep Breath and Into the Dalek. Is the Doctor a hero? It doesn’t matter, because his story is that of a hero.
There is a sense that perhaps Gatiss is being a little bit too glib here, to the point where Robot of Sherwood almost plays defensively – a justification of the writer’s tendency to rose-tinted nostalgia and a rejection of critical approaches towards history or story. Nevertheless, Robot of Sherwood does pretty much what it sets out to do. It provides Peter Capaldi with a suitably light script and a chance to flex his comedic muscles, while providing a suitably fairy-tale-ish pseudo-historical.
Legendary outlaw…
This season is introducing a new lead actor, a risky proposition for any show. As a result, the first half of the season tends to play it rather safe. Robot of Sherwood is the only episode in the first half of the season not to credit Steven Moffat as writer or co-writer; however, it is still written by an established Doctor Who veteran. After all, Mark Gatiss wrote The Unquiet Dead, the first episode of the relaunched series not written by Russell T. Davies. He also wrote Victory of the Daleks, the first story of the Moffat era not written by Moffat himself.
Indeed, the season returns to the classic “home”/“future”/“historical” opening triptych structure that defined the Davies era; it is the first time that this structure has been seen since Matt Smith’s opening season. (For Davies, “home” was twenty-first century London; for Moffat, it is the Paternoster Gang.) Robot of Sherwood is the show’s first proper “celebrity historical” since Vincent and the Doctor in that same opening season. “Safe” is very much the name of the game for this stretch of the season. Robot of Sherwood is very safe.
“You’ll ruin the paint work!”
Continue reading →
Filed under: Television | Tagged: criticism, deconstruction, doctor who, fairy tales, Mark Gatiss, myths, nostalgia, peter capaldi, review, robin hood, steven moffat | 4 Comments »
the m0vie blog 