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The Doctor Is In? Is Doctor Who “Too British” For American Audiences?

Well, it’s been about a week since the news broke that David Yates would be directing the new Doctor Who movie, being produced by the BBC, aimed at American audiences. Perhaps Steven Moffat’s rumoured commentary was perfectly apt: it seems that neither the director nor the studio have any idea what exactly they are planning, and the announcement might have been more than a little preemptive. There’s a lot of chatter out there about what this means for the television show, which is rumoured to be running severely over-budget and under pressure from the BBC executives. Because, you know, it’s not like the show makes enough to justify its costs.

I don’t know if this means potential cancellation or a reboot after the fiftieth anniversary, or even if the show and the movie will run alongside in two distinct continuities (and people said Moffat’s “timey-wimey” plots were too complicated!). Being entirely honest, I’m not sure if Yates knows either. However, something does fascinate me about this. Bringing Yates on-board represents a vote of confidence, suggesting that Doctor Who could be somewhere in the region of “Harry Potter” success stateside.

I can’t help but wonder if Doctor Who is simply “too British” for mainstream American audiences, and if launching a movie franchise to appeal to the demographics will be able to keep the core of the character and the show, while courting North American movie-goers.

States of play?

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Doctor Who: The God Complex (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 God Complex originally aired in 2011.

It’s time we saw each other as we really are.

– The Doctor

It really is like the McCoy era all over again, isn’t it? The Impossible Astronaut gave us a scheming and manipulative Doctor. Night Terrors felt like it was drawn from the same cloth as Survival, with the faintest trace of Paradise Towers. Here, we get to revisit the ideas at the heart of The Curse of Fenric. Moffat’s second season has really been about the writer defining his own way of making Doctor Who, following a debut season that followed the same structure as the four years overseen by Russell T. Davies.

Here, Moffat is deconstructing the myth of the Doctor, in a way that draws on and contrasts with Davies’ “the Lonely God”, without going to the excess of “the Time Lord Victorious.” Indeed, with the whole dynamic between the Doctor and Amy drawing on one careless miscalculation the character made, changing a young girl’s life forever, one can’t help but wonder if there was more than a hint of truth in what the Doctor confessed to Amy to break her faith in him. “I took you with me because I was vain,” he tells her, “because I wanted to be adored.”

More than ever, it seems there’s a bit of truth in the Doctor’s admission that, “I’m not a hero.” Russell T. Davies has the Doctor follow a similar trajectory, albeit on a larger scale – episodes like Midnight and The Waters of Mars represented massive failings on the part of the Doctor. Moffat draws on the same sort of idea, but renders the Doctor’s failures much more intimate. It isn’t so much that the Eleventh Doctor fails to save the world or defeat the monster, it’s that he fails the people close to him so frequently and thoroughly.

You can check out any time you like, but you may never leave…

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Non-Review Review: The White Buffalo

I’m sure there must have been a good movie in there somewhere. The story of Wild Bill Hickok hunting down the wild white buffalo from his nightmares through the Old West could have been a compelling one, even if it’s hard to imagine it ever being a classic. Instead, the movie is hackneyed cheese-fest that seems uncertain what to do with itself. It doesn’t help that Charles Bronson, sleepwalking his way through the production, gives the best performance of the film. If that’s not a bad omen, I don’t know what is.

What a load of bull...

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Doctor Who: A Good Man Goes to War (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.

A Good Man Goes to War originally aired in 2011.

Demons run when a good man goes to war.

Night will fall and drown the sun, when a good man goes to war.

Friendship dies and true love lies,

Night will fall and the dark will rise,

When a good man goes to war.

Demons run but count the cost.

The battle’s won, but the child is lost.

A Good Man Goes to War is pretty much the epitome of Moffat’s “let’s cram as much as possible into forty-five minutes” approach to Doctor Who. This is the episode directly following Matt Smith’s last proper two-part adventure, and it firmly sets the status quo for the rest of the Eleventh Doctor’s tenure. Moffat doesn’t opt for two-parters after this point, and you can see the roots of the “blockbuster” approach he adopted for the show’s fiftieth season.

A Good Man Goes to War has enough crammed into it to sustain a bombastic Russell T. Davies season finalé. There’s character arcs, betrayal, redemption, heroism, continuity, twists and radical game-changers – all bursting at the seams of this episode. There’s a staggering amount of ambition powering A Good Man Goes to War, and even attempting to do all this in the course of a single episode earns Moffat a significant amount of respect.

What’s even more impressive is that A Good Man Goes to War manages to carry it all off.

The Doctor goes with the flow…

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Doctor Who: The Almost People (Review)

“How can you both be real?”

“Because we are.”

– Amy & the Doctor

Hm. That was a vast improvement on last week. And I say that as someone who enjoyed last week’s episode a lot more than most. It’s very formulaic Doctor Who, with the team running around gothic corridors (“a maze,” as the Doctor describes it) and bright lights fleshing, while continuing the series’ key theme: as a race, humans can be absolutely horrible… but sometimes, just sometimes, absolutely brilliant. Throw in a fairly substantial cliffhanger and larger elements from the season-long mythos, and you end up with an episode that feels like it’s filled to the top. Not everything’s golden, and not everything gels, but it works consistently enough to make for entertaining tea-time telly.

Doppel!Doctor!

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Doctor Who: The Rebel Flesh (Review)

I love Matthew Graham. After all, the writer who gave us Life on Mars is surely something of a British national treasure. however, his track record on Doctor Who seems just a little bit spottier, with his previous contribution being the somewhat… poorly received Fear Her way back at the end of the second season. So, perhaps giving Graham a two-parter, especially the two-parter directly before the cliffhanger before the break in the season might have seemed like a bit of a gambit. Fortunately, The Rebel Flesh is a much stronger entry than Fear Her, even if it’s not quite as spectacular as last week’s episode.

Flesh and bone?

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Doctor Who: The Doctor’s Wife (Review)

“Are all people like this?”

“Like what?”

“So much bigger on the inside.”

– TARDIS and the Doctor

That was awesome. Neil Gaiman’s Doctor Who episode, The Doctor’s Wife, was perhaps the strongest stand-alone episode the series has had in quite some time – packed to the brim with wonderful and cheeky and clever concepts, executed in wonderful style. It had just about everything, from small fanboy-ish references (“the old control room”) through to clever explorations of the ideas the show takes for granted, managing to fit perfectly with what had come before and suggest some new takes on classic concepts at the same time.

The Smith-en young couple...

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Doctor Who: The Curse of the Black Spot (Review)

Arriving just in time for the latest Pirates of the Caribbean movie (On Stranger Tides), Doctor Who has decided to go all pirate on us – even adopting the episode title The Curse of the Black Spot, to mirror The Curse of the Black Pearl. What we get feels genuinely like “Old School” Doctor Who, with the action confined to a very tight remote location, some corny (but effective) special effects and advanced technology masquerading as superstition. I suppose it was inevitable that a “monster of the week” episode would feel like a bit of a letdown after the superb Day of the Moon, but – while fun – The Curse of the Black Spot never really feels essential.

Not quite a wash-out...

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Doctor Who: Day of the Moon (Review)

“No, it’s not Apollo 11. That would be silly. It’s Neil Armstrong’s foot.”

– The Doctor discusses his secret weapon

Well, that was fun. Reportedly, Steven Moffat stated that he wanted the season-opening two-parter to feel like a big season finale, with epic scale, huge stakes and genuine consequences, and – to be frank – I think he accomplished it. Perhaps Day of the Moon leaves just a little bit too much hanging for my own personal taste, but it’s still an exciting and fun conclusion to this story arc.

Spaced out...

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Doctor Who: The Impossible Astronaut (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 Impossible Astronaut originally aired in 2011.

Rory, would you mind going with her?

Yeah, a bit.

Then I appreciate it all the more.

– The Doctor and Rory

While Steven Moffat’s first season as showrunner followed the same basic format as the seasons run by Russell T. Davies, his second up-ends that. Viewers had become so conditioned to that structure that The Impossible Astronaut proves quite a shock. Far from an accessible and enjoyable romp in the style of Rose or New Earth or Smith & Jones or Partners in Crime or The Eleventh Hour, The Impossible Astronaut jumps right into the middle of things.

Taking advantage of the fact that this is the first time since New Earth (and only the second time in the revival) that a season premiere hasn’t been burdened with the weight of introducing a new Doctor or companion, Moffat is able to really mess up the structure of the season. Indeed, you might go so far as to suggest that he’s reversed it. Moffat’s second season ends with a one-part adventure that introduces us to a new era and new mission statement, but opens with a bombastic two-part climax.

It’s certainly ambitious.

Cowboys and aliens…

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