“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“I’ve seen many things, my friend. But you’re right. Nothing’s quite as wonderful as the things you see”
So as David Tennant’s Ten regenerates into Matt Smith’s Eleven, Doctor Who also changed showrunner/lead writer/executive producer/oddjob man as Steven Moffat took over the reins from Russell T Davies. The pressure was on both to deliver – the relatively unknown Smith had low expectations, Moffat had sky-high ones due to his much-garlanded writing – and I don’t think you can argue that they didn’t. Smith revealed an impossibly ancient soul to his youthful frame with a Doctor unafraid to be as angrily dark as hyper-actively quirky. And Moffat constructed a complex series, introducing the depths of new companion Amy Pond slowly, and building to a multi-stranded timey-wimey finale that makes the head hurt just to think about it.
Elsewhere, the overused Daleks returned in multicoloured format, the Weeping Angels were much more successfully reprised in a stonking double-header, the Silurians also came back, and Arthur Darvill’s Rory grew in stature to become an effective second companion as opposed to a third wheel. Oh, and Helen McCrory stole the show, but then you knew I’d say that didn’t you 😉 Continue reading “Countdown to new Who: Doctor Who Series 5”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
The Big Short
Bridge of Spies
Mad Max: Fury Road
Star Wars: The Force Awakens
Todd Haynes – Carol
Alejandro G. Iñárritu – The Revenant
Tom McCarthy – Spotlight
George Miller – Mad Max: Fury Road
Ridley Scott – The Martian
Steven Spielberg – Bridge of Spies Continue reading “21st Critics’ Choice Awards nominees”
“They don’t photograph just anyone you know”
You will of course be aware that it was Helen McCrory Weekend the weekend before last and in recognition of thereof, up popped two related treats: the announcement of her appearing in The Last of the Haussmans with Julie Walters and Rory Kinnear at the National Theatre and a new TV film she was in, We’ll Take Manhattan. I duly caught up with the show on iPlayer this weekend and though she gave an epic performance, I can’t say I cared that much for it.
The show followed the story of David Bailey, Aneurin Barnard in leather jacket, as he emerged as a photographic force to be reckoned with in the early 1960s, shaking up the whole fashion industry with an iconic photo shoot in New York starring his muse Jean Shrimpton, Karen Gillan marking out her possible post-Doctor Who options. McCrory starred as Lady Clare Rendlesham, fashion editor at Vogue and the representative of the old guard that Bailey so detested and wanted to be rid of. Continue reading “TV Review: We’ll Take Manhattan”
“Asking a working writer what he feels about critics is like asking a lamppost what it feels about dogs”
Inadmissible Evidence focuses in almost exclusively on Bill Maitland, a lawyer whose life is falling apart. Everyone important to him seems to be abandoning him, work colleagues, the numerous secretaries he’s sleeping with, his angsty daughter, and he exists in a bubble of self-obsessed torture and suffering – nicely realised in Soutra Gilmour’s office set that highlights his isolation – and presumably on the way to some sort of nervous breakdown. Douglas Hodge is thus never off the stage in a marathon of a performance that rarely lets up: he’s desperate to be the life of the party yet prey to numerous neuroses; unable to really connect with anyone yet constantly talking and raging at them; in this world it is all about him and so the play becomes all about him too.
Such focus on Maitland means that the rest of the ensemble have to work extremely hard to make any sort of meaningful impact in the production, Osborne’s writing not helping them a great deal. Daniel Ryan fares best as colleague Hudson, Serena Evans triples up effectively as a series of clients and Al Weaver makes a quietly moving study of his married man arrested for cottaging. But Esther Hall is completely wasted as final mistress Liz, given the merest opportunity to shine as she does extremely well here and Karen Gillan did not seem quite equal to the task as the secretary who has just had enough, coming across as flat and unresponsive, especially up against Hodge. Continue reading “Review: Inadmissible Evidence, Donmar Warehouse”