Ten Things About Who: The Angels Take Manhattan

This post has been edited, tidied up and expanded to form part of my new ebook, TEN THINGS ABOUT WHO, available on Kindle. Buy it now for £1.99More details

And so it’s the end, but the moment has been prepared for. Oh, no, wait, that was another Doctor Who moment. Anyway, here are my weekly ten points about the last of this current batch of Doctor Who episodes.

1. Blink twice

Conceptually, this episode felt far more of a sequel to Blink than The Time of Angels/Flesh and Stone did. It’s the third in a trilogy that, in essence, returns to the roots of the first: scary statues that send their victims back in time, rather than snapping their necks and speaking through them (cf. “Bob” in Time of Angels).

Which reminded me of this speech from Scream 3:

Because true trilogies are all about going back to the beginning and discovering something that wasn’t true from the get go. Godfather, Jedi, all revealed something that we thought was true that wasn’t true.

So if it is a trilogy you are dealing with, here are some super trilogy rules: 1. You got a killer who’s going to be super human. Stabbing him won’t work. Shooting him won’t work. Basically in the third one you gotta cryogenically freeze his head, decapitate him, or blow him up. 2. Anyone including the main character can die. This means you Syd. I’m sorry. It’s the final chapter. It could be fucking ‘Reservoir Dogs’ by the time this thing is through. Number 3. The past will come back to bite you in the ass. Whatever you think you know about the past, forget it.

2. Again, with the opening narration

Of the five episodes in this run, four have featured a voiceover either before or just after the opening credits (Dinosaurs on a Spaceship being an exception). It’s almost like it was planned. I suspect it’s more because it’s a convenient way to get some exposition out of the way – something that these “epic” stories just don’t have time for when crammed into a 45-minute running time.

I don’t mind it too much here, as it’s both a pastiche of the detective movie genre, and also a sign that the Doctor is reading aloud.

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Ten things about Who: Dinosaurs on a Spaceship

This post has been edited, tidied up and expanded to form part of my new ebook, TEN THINGS ABOUT WHO, available on Kindle. Buy it now for £1.99More details

As with last week’s Asylum of the Daleks, rather than doing a straightforward review I’m listing ten points of note about this week’s Doctor Who episode, Dinosaurs on a Spaceship.

1. “Run‽”

One of the reasons the eleventh Doctor is so unpredictable is that, even in the scenes where you know what he’s going to say, Matt Smith often chooses a line reading that throws a conventional line – like the oft-heard “Run!”, such at the end of this episode’s pre-credits sequence – into new areas.

Part question, part panic, part “off you go, while I stay here and find out what’s going on, even though I almost certainly know whatever it is could well kill me”, Smith’s delivery is one that needs not so much an interrobang at the end of it, as a whole panoply of punctuation marks.

2. Big game hunter

At first glance, Riddell doesn’t seem like the sort of man the Doctor would hang out with – dalliances with dancers and liquorice notwithstanding. The sort of man who lives on the plains of Africa killing wild animals, though – why would the Doctor befriend him?

The best answer is that he is another of the Doctor’s little projects, and is not necessarily a cold-blooded killer (any more). During the episode, his initial instinct to kill the encroaching dinosaurs comes from a sense of self-defence, and when fending off the raptors at the control room he goes for stun guns rather than applying lethal force.

I’d say that, while Riddell might present himself as a big game hunter, if anything it’s a bit of a front: he’s more likely to end up in Alan Quatermain-style scrapes, occasionally with a bow tie-clad lunatic at his side.

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