There are countless opinions on the difference between classic Doctor Who and new Doctor Who, but once you get past all the technical aspects, the period specific stuff, and the differences in the society it was created for, it seems to me that the main difference is that old Who was about people in crisis, with the Doctor acting as a catalyst to change the situation, where as new Who, specifically Moffat Who, is all about the Doctor.
I think it's fair to say that a lot of the time in the original series there was too little Doctor, with virtually no background given to the character until the series had been running for ten seasons, and the TARDIS, that wonderful place, often serving no function other than transporting the characters from story to story. But in Moffat Who it seems like everything is about the Doctor. The tedious season-long story arcs are all focussed on the Doctor, seemingly intent on probing mysteries to which nobody really wants to know the answer. There was even an episode that consisted of little more than characters wandering around the TARDIS, which, apart from a few nice moments, served to make it less interesting than it had been when it was all a mystery.
New Who has now reached the opposite extreme from the early days of old Who, when what would work so much better is a lot closer to the mid-point between the two. Neither a complete absence of Doctor stuff, nor a total fetishistic obsession with the character. I only hope that the next person who is put in charge of the show has some understanding of this.
Showing posts with label Dr Who. Show all posts
Showing posts with label Dr Who. Show all posts
Tuesday, August 20, 2013
Sunday, September 30, 2012
Spoiler resistant Dr Who Review: Angels Take Manhattan
Two seasons ago the Daleks took Manhattan, but they must have given it back because now the Weeping Angels have taken it.[1]
Steven Moffat's Who seems more continental than previous versions, if your idea of continental is New York and a couple of other places in the USA. I get that this is for the American audience, but surely part of Who's appeal to Americans is the fact that it isn't set in all the familiar places, like New York.[2] How about going to some truly exotic locales and setting an episode in Japan or Finland for a change?
This episode has some good bits and some astonishingly stupid bits. The stupid bits include the plot, and the idea that the Statue of Liberty is a Weeping Angel.[3] For the sake of a sight gag, our suspension of disbelief is required to accommodate the idea that a 151 foot tall statue can stroll through one of the busiest cities on the planet and nobody would bother to look at it. I mean I know New Yorkers are famously blasé, but you'd think a few might give it a second glance.[4]
Not as deadly dull as their previous appearance, but this episode does confirm my original view that the Weeping Angels were a fantastic one-off, but are terrible as ongoing characters. Ultimately we learn almost nothing more about them than we already knew, and the little that is added is stupid. They are still scary things that jump out at you in the dark, but that's all they are, and putting them in different settings so they can go boo somewhere else is not character development.
I'd add something about clunky plot devices and the way that once again the rules of time only appear to be unbreakable when it suits the story, but then it would be spoilerish.
Ultimately, it seems like Moffat is trying hard to wedge the Weeping Angels into the Who villain pantheon. But it's not going to work because they have no depth. I predict that they will disappear as soon as someone else takes over as showrunner and will not be seen again for at least ten years, when they will be viewed with nostalgia and reappear for one episode, and unless they are then reimagined with greater depth, everyone will realise why they only worked for the one episode and they'll be dropped again.
Notes
1. Seriously, you couldn't do better than reuse a title from two years ago?
2. Plus British actors doing American accents are often as laughable as American actors doing British accents.
3. Not really a spoiler. We find out before the title sequence.
4. Also how is the Statue of Liberty a Weeping Angel? Are they now able to animate ordinary statues? This is a major departure from the characters as previously seen, so it would have been an idea if someone had mentioned it in the story.
Steven Moffat's Who seems more continental than previous versions, if your idea of continental is New York and a couple of other places in the USA. I get that this is for the American audience, but surely part of Who's appeal to Americans is the fact that it isn't set in all the familiar places, like New York.[2] How about going to some truly exotic locales and setting an episode in Japan or Finland for a change?
This episode has some good bits and some astonishingly stupid bits. The stupid bits include the plot, and the idea that the Statue of Liberty is a Weeping Angel.[3] For the sake of a sight gag, our suspension of disbelief is required to accommodate the idea that a 151 foot tall statue can stroll through one of the busiest cities on the planet and nobody would bother to look at it. I mean I know New Yorkers are famously blasé, but you'd think a few might give it a second glance.[4]
Not as deadly dull as their previous appearance, but this episode does confirm my original view that the Weeping Angels were a fantastic one-off, but are terrible as ongoing characters. Ultimately we learn almost nothing more about them than we already knew, and the little that is added is stupid. They are still scary things that jump out at you in the dark, but that's all they are, and putting them in different settings so they can go boo somewhere else is not character development.
I'd add something about clunky plot devices and the way that once again the rules of time only appear to be unbreakable when it suits the story, but then it would be spoilerish.
Ultimately, it seems like Moffat is trying hard to wedge the Weeping Angels into the Who villain pantheon. But it's not going to work because they have no depth. I predict that they will disappear as soon as someone else takes over as showrunner and will not be seen again for at least ten years, when they will be viewed with nostalgia and reappear for one episode, and unless they are then reimagined with greater depth, everyone will realise why they only worked for the one episode and they'll be dropped again.
Notes
1. Seriously, you couldn't do better than reuse a title from two years ago?
2. Plus British actors doing American accents are often as laughable as American actors doing British accents.
3. Not really a spoiler. We find out before the title sequence.
4. Also how is the Statue of Liberty a Weeping Angel? Are they now able to animate ordinary statues? This is a major departure from the characters as previously seen, so it would have been an idea if someone had mentioned it in the story.
Saturday, September 01, 2012
Spoiler resistant Dr Who review: Asylum of the Daleks
So, Asylum of the Daleks.
Not bad. Hugely self-indulgent, obviously. Given that, I was a bit disappointed that they didn't spend a bit more time on Daleks through the ages, which seemed to be the whole point of the exercise. And how exactly were the mad Daleks different from the regular kind, apart from being all old and worn out?
As for the big twist, I guessed it might be something like that in the first ten minutes, so not a huge surprise.
Still better than most of last season, though.
Not bad. Hugely self-indulgent, obviously. Given that, I was a bit disappointed that they didn't spend a bit more time on Daleks through the ages, which seemed to be the whole point of the exercise. And how exactly were the mad Daleks different from the regular kind, apart from being all old and worn out?
As for the big twist, I guessed it might be something like that in the first ten minutes, so not a huge surprise.
Still better than most of last season, though.
Wednesday, August 31, 2011
The Moffat Regeneration
Spoilers for Doctor Who, particularly the episode Let's Kill Hitler.
Steven Moffat wrote some of the best New Who, and personal favourites like The Empty child/The Doctor Dances and Blink[1] and yet my enjoyment of the series as a whole has been in a downward spiral since he was put in charge.
The only explanation that makes any sense to me is that around the time Moffat took control of Doctor Who, he regenerated into Jeph Loeb. The hallmarks are all there; the focus on superficial spectacle over solid story, guest stars shoehorned in at every opportunity, regardless of whether it screws with established continuity[2] or is remotely appropriate to the plot. Convoluted stories that don't work if you think about them at all...
The kicker for me was in the latest episode Let's Kill Hitler, which apart from bringing in one of history's biggest guest stars only to lock him in a closet after five minutes and forget about him, contains one of the classic Loebisms from Hush: introducing a major character's life-long best friend who has never previously been mentioned in the story while having them be central to overall continuity.[3]
At first I thought it was some clever time-travel thing and the Doctor would notice that Amy and Rory's past had been changed, or that their memories had been tampered with, but no. Apparently it's merely the same kind of bad writing that gives us time-travelling Autons making a plastic robot copy of Rory [4] for their Roman army at Stonehenge, even though they'd never met him.[5]
And that's not even addressing the throwaway concept of previously unmentioned time-travellers going around assassinating history's greatest criminals, but who are so crap that instead of surgical strikes to a time and place where the person won't be missed, they are entirely years off the mark, and when they screw up they leave extremely advanced technology lying around in Hitler's own office for him to reverse-engineer into a super weapon. But the Doctor doesn't seem bothered about this kind of tampering with time,[6] so let us not mention it again.
1) Though he managed to destroy any interest I had in the scary stone angels by bringing them back and overexposing them.
2) Daleks teaming up with Cybermen? Did Moffat miss Doomsday, where the Cybermen outnumbered the Daleks thirteen million to four and when they propose an alliance the Daleks sneer at them and kick their shiny metal asses?
3) And even underlining how poorly this is being shoehorned into the plot by handwaving why she didn't appear at both her best friends' wedding, but not why nobody noticed at the time.
4) Who was dead at the time.
5) Did the plot of The Pandorica Opens/The Big Bang make sense on any level at all? I'm sure there are devoted websites out there taking it apart and bodging it back together with ingenuity and convoluted assumption to somehow force it to make sense, but personally I think that's the job of the guy who was paid to write it. And possibly the script editor, who was also paid to check it made sense.
6) It's not like there's ever been previous stories about the Doctor dealing with a Time Meddler...
Steven Moffat wrote some of the best New Who, and personal favourites like The Empty child/The Doctor Dances and Blink[1] and yet my enjoyment of the series as a whole has been in a downward spiral since he was put in charge.
The only explanation that makes any sense to me is that around the time Moffat took control of Doctor Who, he regenerated into Jeph Loeb. The hallmarks are all there; the focus on superficial spectacle over solid story, guest stars shoehorned in at every opportunity, regardless of whether it screws with established continuity[2] or is remotely appropriate to the plot. Convoluted stories that don't work if you think about them at all...
The kicker for me was in the latest episode Let's Kill Hitler, which apart from bringing in one of history's biggest guest stars only to lock him in a closet after five minutes and forget about him, contains one of the classic Loebisms from Hush: introducing a major character's life-long best friend who has never previously been mentioned in the story while having them be central to overall continuity.[3]
At first I thought it was some clever time-travel thing and the Doctor would notice that Amy and Rory's past had been changed, or that their memories had been tampered with, but no. Apparently it's merely the same kind of bad writing that gives us time-travelling Autons making a plastic robot copy of Rory [4] for their Roman army at Stonehenge, even though they'd never met him.[5]
And that's not even addressing the throwaway concept of previously unmentioned time-travellers going around assassinating history's greatest criminals, but who are so crap that instead of surgical strikes to a time and place where the person won't be missed, they are entirely years off the mark, and when they screw up they leave extremely advanced technology lying around in Hitler's own office for him to reverse-engineer into a super weapon. But the Doctor doesn't seem bothered about this kind of tampering with time,[6] so let us not mention it again.
1) Though he managed to destroy any interest I had in the scary stone angels by bringing them back and overexposing them.
2) Daleks teaming up with Cybermen? Did Moffat miss Doomsday, where the Cybermen outnumbered the Daleks thirteen million to four and when they propose an alliance the Daleks sneer at them and kick their shiny metal asses?
3) And even underlining how poorly this is being shoehorned into the plot by handwaving why she didn't appear at both her best friends' wedding, but not why nobody noticed at the time.
4) Who was dead at the time.
5) Did the plot of The Pandorica Opens/The Big Bang make sense on any level at all? I'm sure there are devoted websites out there taking it apart and bodging it back together with ingenuity and convoluted assumption to somehow force it to make sense, but personally I think that's the job of the guy who was paid to write it. And possibly the script editor, who was also paid to check it made sense.
6) It's not like there's ever been previous stories about the Doctor dealing with a Time Meddler...
Wednesday, November 12, 2008
Who even gives a
Doctor Who: The Dark Husband
Big Finish audio adventures
I'm sure that the vast majority of people watching Doctor Who now have little interest in the previous incarnation of the show and are blissfully unaware that it is carrying on in the form of audio dramas produced by Big Finish featuring original cast from Doctors 5 to 8.
Don't be fooled by the professional look and the official BBC license; this is definitely a fan production. I've listened to a few and, although having their own continuity, are not generally obsessed by it (1) They are for the most part okay, with rare bouts of originality (2), but for the most part don't exactly push the envelope.
Which brings me to one I've been listening to today. It's called The Dark Husband, and features the 7th Doctor (3), Ace (4) and some other guy they seem to have picked up along the way. I should probably wait until I've finished it before commenting, but I'm not sure that's ever going to happen.
The first episode is so arch you could mistake it for the Colosseum. So many lampshades are hung about every Who cliché they are enacting that they must be the best lit studio on the planet. And yet the plot, such as it is, involves two factions of the same race who are in an eons long conflict for no very good reason, and have no distinguishing features other than one side is very hairy and have unsophisticated tastes while the other side is hairless and highly sophisticated. And then the Doctor and co. show up and each side assumes on the basis of no information at all that they are spies for the other and attempts to kill them without even a gesture toward interrogation before we reach the actual plot and we can get out of generic land before I fall asleep.
Honestly, it's so painfully Who by the numbers. After all the self-awareness in the opening scenes' dialogue you'd think the writer might be attempting to subvert the form, but I haven't spotted any sign of it so far. The conflict that the Doctor is here to resolve barely qualifies as two-dimensional. And the Doctor himself is so smug you want to kick his arse. He's deliberately and meanly dropped Ace into yet another adventure after promising her a vacation. And the conflict has been going on for centuries, with millions dead on each side, which leaves you wondering why the Doctor didn't turn up a bit sooner if he really wanted to help.
And then the Doctor appears to know more or less about what's going on depending on the needs of the plot. On the one hand, it transpires that he has deliberately arrived at this time and place (5), and appears to know more than what is going on than just about anybody, including the inhabitants, who are doing the old "We no longer remember the reason for our war or the details of the rituals you have just invoked", and at other times is claiming that he's just working from some information that he picked up off a war memorial after they arrived (6), and has no idea where it's leading.
Halfway into episode two I'm wishing that the writer would make up their mind whether the Doctor knows more about what's happening than anyone else or that he's making it up as he goes along, and stop trying to do both. I don't really care about the aliens as they are so stupid that they've been killing each other for centuries without knowing why, and without any noticeable success, and have no culture other than is required for the plot anyway. Really, the only thing of interest is the business about how a marriage could stop such a conflict, and who the bride is. And that's only interesting because it's been made into such a mystery by having nobody present have any idea about what's going on.
Other than this hideously contrived mystery, it's so generic and yet at the same time so heavy on the meta-commentary that I may never get to the end of it. How it can be so smug about cliches it's perpetuating without doing anything original with them is so annoying that I may be forced to destroy the discs in a very creative way. But if I can keep the irritation down I might just keep going to the end in case they actually do throw an original twist into the story.
And if they don't, at least I get to go "see? I knew it."
Notes
1. except for the sequence involving the 8th Doctor starting with episode 50, but that seems to have been handily resolved now. I have no clue how.
2. like the one story that's on two CDs that can be listened to in any order.
3. sylvester Mc Coy
4. who has been stuck as a teenager for the last twenty years.
5. so much so that he deceived his companions into wanting to go there.
6. somehow, the inhabitants have entirely failed to notice this, despite it being on a mural on the side of the only landmark on the planet.
Big Finish audio adventures
I'm sure that the vast majority of people watching Doctor Who now have little interest in the previous incarnation of the show and are blissfully unaware that it is carrying on in the form of audio dramas produced by Big Finish featuring original cast from Doctors 5 to 8.
Don't be fooled by the professional look and the official BBC license; this is definitely a fan production. I've listened to a few and, although having their own continuity, are not generally obsessed by it (1) They are for the most part okay, with rare bouts of originality (2), but for the most part don't exactly push the envelope.
Which brings me to one I've been listening to today. It's called The Dark Husband, and features the 7th Doctor (3), Ace (4) and some other guy they seem to have picked up along the way. I should probably wait until I've finished it before commenting, but I'm not sure that's ever going to happen.
The first episode is so arch you could mistake it for the Colosseum. So many lampshades are hung about every Who cliché they are enacting that they must be the best lit studio on the planet. And yet the plot, such as it is, involves two factions of the same race who are in an eons long conflict for no very good reason, and have no distinguishing features other than one side is very hairy and have unsophisticated tastes while the other side is hairless and highly sophisticated. And then the Doctor and co. show up and each side assumes on the basis of no information at all that they are spies for the other and attempts to kill them without even a gesture toward interrogation before we reach the actual plot and we can get out of generic land before I fall asleep.
Honestly, it's so painfully Who by the numbers. After all the self-awareness in the opening scenes' dialogue you'd think the writer might be attempting to subvert the form, but I haven't spotted any sign of it so far. The conflict that the Doctor is here to resolve barely qualifies as two-dimensional. And the Doctor himself is so smug you want to kick his arse. He's deliberately and meanly dropped Ace into yet another adventure after promising her a vacation. And the conflict has been going on for centuries, with millions dead on each side, which leaves you wondering why the Doctor didn't turn up a bit sooner if he really wanted to help.
And then the Doctor appears to know more or less about what's going on depending on the needs of the plot. On the one hand, it transpires that he has deliberately arrived at this time and place (5), and appears to know more than what is going on than just about anybody, including the inhabitants, who are doing the old "We no longer remember the reason for our war or the details of the rituals you have just invoked", and at other times is claiming that he's just working from some information that he picked up off a war memorial after they arrived (6), and has no idea where it's leading.
Halfway into episode two I'm wishing that the writer would make up their mind whether the Doctor knows more about what's happening than anyone else or that he's making it up as he goes along, and stop trying to do both. I don't really care about the aliens as they are so stupid that they've been killing each other for centuries without knowing why, and without any noticeable success, and have no culture other than is required for the plot anyway. Really, the only thing of interest is the business about how a marriage could stop such a conflict, and who the bride is. And that's only interesting because it's been made into such a mystery by having nobody present have any idea about what's going on.
Other than this hideously contrived mystery, it's so generic and yet at the same time so heavy on the meta-commentary that I may never get to the end of it. How it can be so smug about cliches it's perpetuating without doing anything original with them is so annoying that I may be forced to destroy the discs in a very creative way. But if I can keep the irritation down I might just keep going to the end in case they actually do throw an original twist into the story.
And if they don't, at least I get to go "see? I knew it."
Notes
1. except for the sequence involving the 8th Doctor starting with episode 50, but that seems to have been handily resolved now. I have no clue how.
2. like the one story that's on two CDs that can be listened to in any order.
3. sylvester Mc Coy
4. who has been stuck as a teenager for the last twenty years.
5. so much so that he deceived his companions into wanting to go there.
6. somehow, the inhabitants have entirely failed to notice this, despite it being on a mural on the side of the only landmark on the planet.
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