“He’s moving at thirty-seven klicks an hour.”
“That doesn’t sound like my Benni.”
Like It Takes You Away in the previous season, Orphan 55 provides a something close to a workable model for the Chibnall era as a whole. Unfortunately, Orphan 55 doesn’t quite get there.
One of the strange paradoxes of the Chibnall era is that it often seems like the guest writers have a stronger grasp on its core themes than the showrunner. After all, Demons of the Punjab was perhaps the best single argument for Chibnall’s passive and observational characterisation of the Thirteenth Doctor, a far stronger argument than that articulated in Rosa or Arachnids in the U.K. or any of the episodes with Chibnall’s name on the credits.
“Game over, Doc.”
Orphan 55 draws from an impressive array of influences across the history of Doctor Who, providing a fascinating intersection between “holiday camp gone wrong” episodes like The Macra Terror and Delta and the Bannermen and “future of Earth” episodes like The Ark in Space or The End of the World. Indeed, the positioning of Orphan 55 as the first standalone episode after the premiere is quite canny; it fills what would be the “New Earth” slot on a Russell T. Davies season. However, it offers a much grimmer prognosis. This is appropriate for a much grimmer age.
Like so much of the Chibnall era, Orphan 55 is built around the general impotence of the Doctor. The Doctor is a fictional character, and so cannot save the world. The Moffat era dealt with this question in a more abstract and metaphorical sense in episodes like Extremis, demonstrating the importance of Doctor Who as a story and the Doctor as an idea. The Chibnall era tends to respond to this challenge with dull literalism. The Thirteenth Doctor spends an inordinate amount of her run confronting systemic or societal problems with which she refuses to engage.
A green message.
The Thirteenth Doctor’s passiveness when confronted with monstrosity is one of the more horrifying aspects of the Chibnall era as a whole. In The Ghost Monument, the Doctor refused to hold Ilan to account for the horrors he inflicted on the participants in his race. In Arachnids in the U.K., Jack Robertson just walked away from liability for mass murder in his hotel. In Rosa, the Doctor stage managed the oppression of Rosa Parks, even forcing her companion to be actively complicit in systemic racism.
While the Chibnall era is clearly trying to make a larger point about how the Doctor cannot save the world because she doesn’t exist, this often becomes a bleak and depressing study of how the public imagination can no longer conjure better worlds into being. Demons of the Punjab managed to make the best argument for this approach through careful construction, tying its historical injustices to Yaz’s personal history. Orphan 55 pulls off something similar, primarily by setting the action long after the world has failed to be saved.
Shattering expectations.
Filed under: Television | Tagged: bothsidesism, doctor who, dregs, Earth, ed himes, environmentalism, jodie whittaker, monsters, orphan 55, politics, production, the planet | 8 Comments »
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