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Doctor Who: Army of Ghosts (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Army of Ghosts originally aired in 2006.

How long are you going to stay with me?

Forever.

– the Doctor and Rose tempt fate

It’s only logical that anybody diving head-first into a fifty-year-old television show is going to have an opinion that radically diverges from the fandom consensus on a couple of stories. So, for example, I’ll concede that I like The Talons of Weng-Chiang, but less than most. However, the biggest divide – and the point on which I feel furthest from consensus – comes with Army of Ghosts and Doomsday, Russell T. Davies’ massive farewell to Rose Tyler, the companion he introduced all the way back in Rose. It’s generally acknowledged as one of the high points of Davies’ tenure and one of the truly great Tenth Doctor stories.

I am far from convinced.

The cracks are starting to show...

The cracks are starting to show…

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Doctor Who: Warriors of the Deep (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Warriors of the Deep originally aired in 1984.

“Release the Myrka.”

– three words to create dread in even the toughest Doctor Who fan

I’ve always been somewhat less fond of Johnny Byrne’s Doctor Who than most fans. I can never, for example, understand the high esteem generally reserved for The Keeper of Traken (although it is a better story than Logopolis), and I really disliked Arc of Infinity. So I suspect some of the problems with Warriors of the Deepwere quite fundamental. However, there’s also a sense that those flaws were only exaggerated by a combination of other factors, including a low budget, a tight schedule and a script editor who believed an adventure’s pathos could be measured by its bodycount.

Everybody's dead, Davison...

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The Sopranos – Nobody Knows Anything (Review)

Nobody Knows Anything represents the beginning of the end of the first season of The Sopranos. It is, despite my reservations about Boca and even A Hit is a Hit, a remarkably strong season of television. Part of the thrill of Nobody Knows Anything – particularly after two relatively stand-alone episodes – is watching the series gracefully and fluidly start knocking down the dominoes it has been lining up since the start of the season.

It’s text-book set-up and pay-off, executed with considerable skill. Rewatching the first season of The Sopranos, it’s easy to understand why so many viewers were frustrated by the non-resolution of Made in America. The Sopranos has constantly riffed on The Godfather, right down to Paulie’s car horn here, and it feels like the show is making a conscious effort to emulate the efficiency with which Coppola structured that gangster classic’s final act.

Diving on in there...

Diving on in there…

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Doctor Who: The Sea Devils (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Sea Devils originally aired in 1973.

If Horatio Nelson had been in charge of this operation, I hardly think that he would have waited for official instructions.

Yes, a pretty impulsive fellow, if one can believe the history books.

History books? Captain Hart, Horatio Nelson was a personal friend of mine. Come on, Jo.

– Namedropping? The Doctor? Never!

When it comes to Doctor Who, “sequel” stories get a bit of a hard time from fandom. It seems to be easy to dismiss Snakedance in favour of Kinda, and to praise Spearhead from Space at the expense of Terrors of the Autons and even elevate The Daleks above The Dalek Invasion of Earth. It seems that time, and conventional wisdom, tend to favour the original serials. Of course, there are undoubtedly examples where follow-up scripts have disappointed (the ridiculously padded The Monster of Peladon following The Curse of Peladon). Still, for my money, The Sea Devils represents a tighter, complimentary and ambitious sequel to Doctor Who and the Silurians, easily one of the most highly regarded adventures of the seventies. It’s a fairly impressive accomplishment, but The Sea Devils is more than up to it.

Everybody out of the water!

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Doctor Who: And the Silurians (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

And the Silurians originally aired in 1970.

Doctor Who and the Silurians always struck me as a very strange episode title. I know that some of the spin-off media, like the books, have a habit of titles like “Doctor Who and the [title]”, but it really feels strange to have an episode title like that. Perhaps it’s because it seems to suggest the character’s name is actually “Doctor Who”, or perhaps it’s my internal OCD flying out of whack, finding it very strange that there’s only one televised episode to use that particular naming convention. Still, all of this debate about naming conventions aside, there’s no denying that The Siluriansstands as one of the highlights of Pertwee’s era, a fitting instalment in a superb first season that proved there was more to science-fiction than strange monsters each and every week.

The Doctor attempts to take the matter in hand...

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The Sopranos: A Hit is a Hit (Review)

A Hit is a Hit works a lot better than Boca, despite the fact that it’s structurally quite similar. It introduces a bunch of new characters and concepts to the series which don’t really extend beyond the episode in question. Massive G never appears again, and the pending lawsuit he threatens is never discussed in any later episode. It’s a light stand-alone tale coming towards the end of a season which has dedicated so much time and effort to building a full-formed world.

However, A Hit is a Hit doesn’t feel completely disposable. Part of that is down to the wonderful B-plot in which Tony finds himself struggling for acceptance among more the more reputable members of his neighbourhood, but it’s also down to the fact that the main plot feels like develops the themes of The Sopranos a lot better than Boca did, and that Christopher’s character arc feels like a logical progression rather than simply “an issue of the week.”

Ain't that a shot in the head?

Ain’t that a shot in the head?

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Doctor Who: Cold Blood (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Cold Blood originally aired in 2010.

It is the story of our past and must never be forgotten.

– Eldane attempts to justify the “traditional monster” two-parters the revived show is so fond of

The Hungry Earth wasn’t too bad. It wasn’t great. There was nothing too exciting or novel about it, but it wasn’t a complete failure. It was an interesting and affectionate throwback to an older style of Doctor Who. It wasn’t exceptional, but it was -broadly speaking – functional. Chris Chibnell’s script had some rough edges, mostly around characterisation, but there was nothing too unworkable about the premise, which basically consisted of a selection of classic Doctor Who tropes thrown in a blender and served up to the audience.

However, Cold Blood is much less satisfying. Part of that is because it’s part of a story that can’t be sustained by nostalgia or affectionate references to tales long past. There’s also the fact that it hinges on an emotional climax that asks us to invest in an especially two-dimensional supporting cast. And that’s saying nothing about how the last few minutes of the episode aren’t even devoted to tying up its own threads so much as playing into the much more interesting season-long arc.

Cold Blood leaves me… well, cold.

Doesn't scan...

Doesn’t scan…

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Doctor Who: The Hungry Earth (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Hungry Earth originally aired in 2010.

Oh look! Big mining thing! Oh, I love a big mining thing. See, way better than Rio. Rio doesn’t have a big mining thing.

– the Doctor looks on the bright side of arriving in not!Rio

The Hungry Earth represents the biggest structural shift of Steven Moffat’s first season of Doctor Who. The writer would indulge in a number of radical structural changes over his time running the show, but his first season as showrunner conforms to the pattern of Russell T. Davies’ four full seasons. There’s the introductory present/past/future trilogy, the two mid-season two-parters and the gigantic two-part season finalé. The content of Moffat’s season might have been markedly different (actual romantic snog! a season building an arc that isn’t just references and easter eggs!), but the format was carried over faithfully.

Moffat’s following two seasons would get more experimental. For one thing, both seasons would be split in half. This allowed Moffat to offer the first genuine cliffhanger in the revival’s history to last more than a week, with a gap of several months between A Good Man Goes to War and Let’s Kill Hitler. His second season would feature the first two-part season opener (and first one-part season finalé) of the revived television show. His third season would feature no two-part episodes, spread across two calendar years.

However, sitting at the tail end of his first season, The Hungry Earth feels like the strangest structural element of Moffat’s first year in charge of Doctor Who. It’s what would traditionally be the first two-parter of the season, pushed back towards the end of the year.

Balancing the scales...

Balancing the scales…

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The Sopranos: Boca (Review)

Boca pretty much interrupts a hot streak of first season Sopranos episodes. It serves as a reminder that the show might have brought the medium into the twenty-first century, serving as a massive influence on televisual storytelling over the past decade, but the first season was still a product of nineties television. Boca feels strangely like a stand-alone episode, a strange artefact from some parallel universe where David Chase and his team decided that The Sopranos might work just as well as a piece of episodic television, rather than as serialised narrative.

Boca feels like one of those “ripped from the headlines” issue-conscious pieces of television drama, as if we’re watching The Sopranos by way of Law & Order. Of course, the script still has the show’s wit, and the episode plays into the series’ themes, but Boca feels a little strange. It’s not a bad piece of television, but it’s the first episode of The Sopranos that feels like it could have been repurposed from something else.

Old love...

Old love…

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Doctor Who: Dragonfire (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Dragonfire originally aired in 1987.

You’re going to go looking for the dragon?

Absolutely.

Oh, cool. Can I come too?

– Ace introduces herself to the Doctor smoothly

Dragonfire is better than Delta and the Bannermen, which is certainly damning with faint praise. Like the rest of Sylvester McCoy’s first season, Dragonfire suffers because of a gap between concept and execution. There is a wealth of good ideas here, but Dragonfire can’t seem to develop any of them to the point where they stand out. Of this troubled first season, it’s perhaps the serial where the conflict between the show’s old-fashioned production and more modern writing are thrown into sharpest contrast. Dragonfire looks like it wants to be a classic Doctor Who episode, even though it’s written like anything but.

"I'm melting!"

“I’m melting!”

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