It's been a budding practice since the series' revival in 2005 that Doctor Who has had a slower, less CG-heavy money-saver episode twice every season. Of course, these are known as "bottle episodes", where an episode is written with a small cast and set in very few locations to save money. However, this even goes back as far as the classic era, with a bottle episode being added to the beginning of the story "The Mind Robber", Well, it looks like we have already reached that four episodes into the eighth series, and not only does this practice usually allow for more tension, but it in this episode's case, it's allowed for a very complex plot. And strangely enough, it's the best episode in the season so far. Here, Moffat has gone back to his more psychological roots that showed in episodes under Russell T. Davies' running such as "The Girl in the Fireplace" and "Blink", and that's why the episode is so great- Moffat knows what can creep us out and he uses very little do do so, achieving a great amount of creepy tension.
The Doctor suffers a tiny mental breakdown in the TARDIS from spending so much time alone, and begins questioning what happens when he's alone, and if he's really alone at all, period. Admit it, you sometimes feel that way too. After a bad date with Danny Pink, Clara finds herself in The TARDIS once again, with The Doctor asking her about dreams she's had and if she's ever faced a threat under the bed. They end up at Danny Pink's childhood home in Gloucester, an orphaned children's home, and all three end up facing a fear of Danny Pink's: an unwelcome ghostly presence. But there's more to it than this: The Doctor is still afraid of something that has been troubling him- being alone in the dark. Which ends up in them at the end of the universe, facing a threat that scares The Doctor to no end. Alright, given how complex and easy to spoil the plot is, that's what I can say about the plot without outright giving the whole damned thing away. The episode really must be seen to be described. The episode perfectly mixes creepy suspense and disturbing tension with laughs and even emotional value too.
As I mentioned earlier, the episode is a lot slower, and more psychologically-based, which is something we haven't seen from Steven Moffat in a long time. A common criticism of how he's written while show-running was being a bit more bombastic, and while I've liked nearly all of what he's done, it's nice to see him write a story based on childhood fears again- I mean, the guy once made us afraid of friggin' statues. And so seeing him handle the topic of being alone was a joy, and he brought his usual charm to the episode. In fact, he also made me cry, even, with the final scene. Of course, you know what it is, if you've seen it, but it's a very powerful and emotionally compelling scene, and even gives a shout- out to a previous incarnation of The Doctor. It's hard to describe without giving it away outright. And it's sold by a brilliant performance from Jenna Coleman. Speaking of performances, Peter Capaldi really has come into his own as The Doctor, and in this episode, especially shows us The Doctor's more emotional and raw side. And yes, Samuel Anderson is in this episode again as Danny Pink- this time I didn't find him so annoying like I did in "Into the Dalek". How often have you heard a Whovian say that?
In short, this is definitely a welcome return to form for Moffat, and also a welcome return to a slower and more thoughtful "Doctor Who", in addition to being the best episode in no while. It's haunting and very emotional. If the series continues its consistent streak it's been on lately, then we are definitely in for the best series in a while. Of course, next week is a more adventure-based episode, and seeing as this show has gotten away with being anything from action to horror to a post-modernist black romantic comedy, as long as it's good is what really counts.
The Doctor suffers a tiny mental breakdown in the TARDIS from spending so much time alone, and begins questioning what happens when he's alone, and if he's really alone at all, period. Admit it, you sometimes feel that way too. After a bad date with Danny Pink, Clara finds herself in The TARDIS once again, with The Doctor asking her about dreams she's had and if she's ever faced a threat under the bed. They end up at Danny Pink's childhood home in Gloucester, an orphaned children's home, and all three end up facing a fear of Danny Pink's: an unwelcome ghostly presence. But there's more to it than this: The Doctor is still afraid of something that has been troubling him- being alone in the dark. Which ends up in them at the end of the universe, facing a threat that scares The Doctor to no end. Alright, given how complex and easy to spoil the plot is, that's what I can say about the plot without outright giving the whole damned thing away. The episode really must be seen to be described. The episode perfectly mixes creepy suspense and disturbing tension with laughs and even emotional value too.
As I mentioned earlier, the episode is a lot slower, and more psychologically-based, which is something we haven't seen from Steven Moffat in a long time. A common criticism of how he's written while show-running was being a bit more bombastic, and while I've liked nearly all of what he's done, it's nice to see him write a story based on childhood fears again- I mean, the guy once made us afraid of friggin' statues. And so seeing him handle the topic of being alone was a joy, and he brought his usual charm to the episode. In fact, he also made me cry, even, with the final scene. Of course, you know what it is, if you've seen it, but it's a very powerful and emotionally compelling scene, and even gives a shout- out to a previous incarnation of The Doctor. It's hard to describe without giving it away outright. And it's sold by a brilliant performance from Jenna Coleman. Speaking of performances, Peter Capaldi really has come into his own as The Doctor, and in this episode, especially shows us The Doctor's more emotional and raw side. And yes, Samuel Anderson is in this episode again as Danny Pink- this time I didn't find him so annoying like I did in "Into the Dalek". How often have you heard a Whovian say that?
In short, this is definitely a welcome return to form for Moffat, and also a welcome return to a slower and more thoughtful "Doctor Who", in addition to being the best episode in no while. It's haunting and very emotional. If the series continues its consistent streak it's been on lately, then we are definitely in for the best series in a while. Of course, next week is a more adventure-based episode, and seeing as this show has gotten away with being anything from action to horror to a post-modernist black romantic comedy, as long as it's good is what really counts.