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Doctor Who: Rosa (2018)
One of the Bravest People in History
I applaud Malorie Blackman and Chris Chibnall for deciding to write an historical episode based on the Montgomery Bus Boycotts - more importantly on Rosa Parks, one of the leading figures in the Civil Rights Movement. An uncomfortable subject, but one that everyone in the world should be acquainted with, simply to gain emotional intelligence on the reasons behind fighting for one's equal rights. The tone of this particular episodes harkens back to the Hartnell years, in which the Doctor takes the TARDIS crew on an an educational rendezvous with either historical figures or historical events that have shaped the evolution of Humanity. Marco Polo, the Aztecs and The Time Meddler especially spring to mind. In fact, one motif in particular reminds me of the Meddling Monk's endeavours to try and change history by influencing decisions.
The episode is beautifully conceived - the setting feels unmistakably American, and the supporting characters all feel real, even if they're not always fleshed out. The opening premise in particular is very well done, giving us a taste of the period we're experiencing and the uncomfortable environment that black people used to live in. Vinette Robinson is wonderfully understated in her performance as Rosa, and despite not having enough screen time, gives the character poignance and determination. Regarding Yaz and Ryan's situation - it's difficult to watch at times, but the episode doesn't shy away from demonstrating the darkness of history and how times have (mostly) changed. It's nice to see them discussing the revolutionary changes in history and how standing up for righteousness can have a powerful affect on the world. Hopefully kids watching the show can feel inspired to be equally as consequential.
Whilst I felt the tribute to Rosa Parks at the end was meaningful, her presence in the episode is definitely lacking. We get to see Rosa's protest, but nothing is mentioned or inferred about the internal struggle that Rosa has within her, and I think that's a big mistake. I think Blackman and Chibnall concentrated too much on the events of the day of her protest rather than the days leading up to it, and the dominant connection Rosa had with efforts for civil rights. I didn't feel much of a logical connection to her cause, it was simply the Doctor and her friends preparing the events of the day. I would've preferred more historical analysis rather than ridiculous attempts to swap bus drivers and encourage passengers onto a bus. In truth, I found the intentions to be sloppy, even if I found Graham's final role profoundly moving.
My main qualm for the episode - and what takes away from Rosa's important role - is Krasko, the supposed white supremacist from the future. References to Stormcage (where River Song was temporarily incarcerated for killing the Doctor), vortex manipulators and artron energy don't help to constitute a great threat for the Doctor and his friends. My favourite historical Who is the Time Meddler, the reason being that the Monk is portrayed with sinister and genuine intentions. Comparatively, Krasko has no bearing whatsoever on the story, and Ryan dispatches him without development or consequence. The lunacy of the TARDIS crew and Krasko trying to one-up each other ruins the ambience and pacing of the episode as a whole.
Honestly, this was close to being a seriously groundbreaking episode, but if it had spent more time with Rosa, and explained the events preceeding the Bus Boycotts, it would have had a more lasting effect. As it is, the episode serves to being a child-friendly educational documentary on an incredibly brilliant person, who made a brave decision one day in 1955. Giving her a universal status is what Doctor Who is good at achieving. We should honour her bravery.
Solo: A Star Wars Story (2018)
True to Star Wars, but lacks justification for its own existence
Apart from the animated Star Wars: The Clone Wars, this is possibly my least favourite Star Wars film. That being said, it's still a rollicking ride with a checklist of events that happened in Solo's life that are visually envisioned. Most notorious among them is the Kessel Run. But this isn't just a film about Solo, it actually covers the basis and background for many of its other characters, including Chewbacca, Lando and both newcomers Qi'ra and Tobias.
In reality, Solo does everything it set out to do with precision and without mistake, it's just that most of the fans already know what's going to happen, and that's a big problem with the film - the anticipation has already dissipated before it's even begun. However, seeing the characters in a different light helps eleviate that disappointment, and there are some really exciting moments that have no right to be. This is supported by hundreds of references to the Star Wars lore - including Kashyyk, Pykes, Tatooine, the Empire, Dathomir. There's one particular reference I won't include, strictly because it is the one thing adds new fuel to the canonical story of Star Wars, and is a pretty cool moment for devoted fans of the franchise.
Performance-wise, the standouts are Donald Glover and Woody Harrelson. Donald Glover in particular for giving us the best alternative Lando we could ever have had after Billy Dee Williams. He has so much charm and sarcasm throughout the film, and his story fulfills itself nicely in preperation for his appearance in Empire Strikes Back. His fellow droid, however, I'm not so sure about.
In truth, there's not much new energy this film can give to the franchise, but it's a nice pit-stop for fans to recahrge their knowledge and get a breath of fresh, comedic air. There's no doubt, the youngsters will love this one for its fast-paced, hearty approach, but for the adults, it's a little too slapstick and unrestrained. It will hopefully give you a smile though as it did for me.
Annihilation (2018)
An Experiment in Science-Fiction
This is one mind-boggling film. Experimentative in nature and sentimental in emotion, Annihilation is not meant to be a cohesive film, moreover it is an abstract tip-toe into the art of science-fiction. As a sci-fi enthusiast, this incredibly ambitious story is more than my cup of tea. As a physicist, this challenges science by proposing a radical theory about a type of being that refracts everything (even DNA) into something else. I emphasise radical, because this is fiction after all, but with the range of imagination that we have as a species, why shouldn't we reach hypothetically for the impossible.
Alex Garland has produced something rather extraordinary in this tale, based on the highly-acclaimed novel by Jeff VanderMeer. Transferring to film has provided the visual aspect that this story needed, and Garland has not held back. In short, the film is beautifully brought to life with barely a shot wasted on colour and detail. Some of the scenery is breathtaking, and the final thirty minutes are something to behold in terms of not just imagery, but sound too. It rivals both Arrival and 2001: A Space Odyssey in terms of labyrinthine storytelling - not that it's complicated, but it will challenge your mindset. There are a number of dark revelations that will stick with you for days after the film.
The cast are infallible - Natalie Portman, Jennifer Jason Leigh and Tessa Thompson are all superb in their roles, helping to build the bizzarely tense plot. Oscar Isaac is a great supporting cast member, effectively playing two contrasting versions of the same person - one that's loving and playful; the other emotionless and eerie. I do hope Portman and Leigh are recognised for awards, they both channel their emotion in different ways.
Ultimately though, the medal of success should go to Garland who's direction is the main event of the film. The switching between current and past events helps to show the surreality of the explorers' situations. The clash of beauty and darkness is strikingly clear, especially when it comes to the emaciated bear that stalks them. This was possibly the most tense scene of the film. In conclusion, the amalgamation of experimental storytelling, visual extravaganza, strong performances and fresh direction makes Annihilation the next best sci-fi film to see. Don't understimate it at the beginning, its final moments will give you chills.
Star Wars: Episode VIII - The Last Jedi (2017)
A New Perspective, But An Unexpected One
The Last Jedi is a fine example of Rian Johnson's skill for subverting expectations. For the last two years, Star Wars fans have been theorising endlessly about the possible origins of certain characters, their true allegiances and their ultimate identity. Meanwhile, Johnson has been forging an entirely different perspective of the franchise we all love - one where his methods as a filmmaker help to elaborate on the lore of Star Wars and the feelings of its characters.
I've seen The Last Jedi three times now, and each time has opened a new window into Johnson's thematically-rich instalment. Needless to say, cinematography and choice of aspect for this film are astonishing enough, but the hidden genres and themes concerning the characters and their respective beliefs and followings have their own analysis. And it's incredibly in-depth at that. This movie is less about the overall conflict and grand scheme of things and more about the individual characters and the consequences of their actions. It is not the movie we expected, but it is the one we needed. Truly, Johnson has a talent for subliminal symbolism and the connotations of certain imagery - he's chosen everything with particular care.
I want to list a few individual pointers on why The Last Jedi successfully continues the franchise on a new, exciting journey, whilst simultaneously acknowledging the distant past, either through nostalgia or less-obvious trickery.
1. Space Battles. Without space battles, Star Wars is devoid of its heart - without the notable pew-pew of the laser cannons, Star Wars loses its identity and original concept. Here, Johnson honours that legacy with quite a few space extravaganzas - most prominently, the opening scene. Reinvigorating the concept though, Johnson adds a lot of tension by constantly adding and taking from the heroes. Poe Dameron's initially successful mission is weighed down by the losses he makes regarding his fighters. Johnson has time to pick-out individual people and give their sacrifices more meaning and emotion. Seeing Paige Tico's ship go down into the flames of the bombs she's only just dropped is a fine portrayal of the sacrifice the Rebellion makes and the price they pay for liberation.
The other, perhaps more significant, example of this is Vice Admiral Holdo's sacrifice. In possibly the most powerful display of imagery from the film I can think of, Vice Admiral Holdo, whom the audience has been debating whether or not to trust or not throughout the runtime, jumps to light speed in what remains of the Rebel cruiser, vastly decimating Supreme Leader Snoke's destroyer. This damming depiction of war breaks new ground on the Star Wars spectrum.
2. The Force. The Last Jedi, quite noticeably, flirts with the idea of the Force. Repeating words from Yoda's first appearance in The Empire Strikes Back, Luke's analysis if followed quickly be a more down-to-Earth, if you'll pardon the phrase, representation of its true nature. The montage of images that cross through Rey's mind as she "reaches out" to the Force is a great way to reinforce our knowledge of the Force and hopefully describes it to newcomers.
Equally, Rey and Kylo Ren's force connection regularly throughout the film tells us that the Force can be manipulated and controlled. As much as Snoke has the power to bind two people together across the Galaxy, Luke eventually harnesses this power for his own trickery in the exciting climax. This film gives the Force more of a tangible embodiment - whereas before it has sometimes been brushed off as the natural order of things, Johnson goes one further and gives it an identity.
3. Good and Bad. One of the reasons I liked DJ (or "Don't Join" as he refers to himself) as a character, is his back-handed reference about there being no different between good and bad people. He makes a point about the owner of the stolen ship from Canto Bight who prospered into riches by selling vehicles to both the First Order and the Rebellion. There's no discrimination, simply one big business - war. This may seem like an obvious point, but Johnson takes time to embellish that concept by showing us that no one is different to anyone else. I have a feeling a lot of viewers were unhappy with the Canto Bight sequences because it distracted from the main events of the film, but in my opinion it is one of the most important parts of the film. Not only does it depict how the rich, by being separated from the qualms of war, are benefitting profitably from its continuation, but how the Rebellion has a strong influence on the concealed individuals amongst them. The children working in the fathier stables are prime examples of people who are heavily influenced and inspired by the good deeds of both Rose Tico and Finn as they rampaged through the casino town, leaving havoc in their wake.
4. Island of Ahch-To. Johnson spends a lot of time using incredible symbolism to help tell a hidden story of the island. If spliced together, there's a pattern in the lighting of the island as the camera takes a long shot. As the movie progresses, the shots slowly, but surely, block out the Sun, indirectly pre-emanating Luke's demise. After exhausting himself by using the Force to project his image across the Galaxy, the final shot of Luke's billowing cloak is followed closely by a shot of the island silhouette, now indicating its emptiness. Along with the burning of the Jedi tree, this means that the island barely holds any memory of the Jedi order. This can be attributed to the words of Yoda as he describes Rey as the new spark of hope in the prolonging of the Jedi religion. Regardless of whether they were useful or not, the Jedi texts are now in her possession.
5. Mirroring Return of the Jedi. Johnson carefully chose a shot for shot remake of the Return of the Jedi scene as Darth Vader escorts Luke to the Emperor's chamber. The words that Rey and Kylo exchange match Luke's and Darth Vader's almost perfectly. This is a sweet trick Johnson plays to help the audience anticipate what follows. Whilst a lot of people are anticipating the revelation of Snoke's identity, Johnson is only concerned with the development of Kylo and Rey, and that's done with great precision here. Johnson doesn't play it safe, he immediately subverts our expectations to bring about the development of the new balance in the Force. For some this is possibly the most disappointing moment in the film - for me it is the turning point and it shows Johnson's bold appetite for grabbing attention. It is possibly one of the cleverest scenes from the film.
6. Chain of Command. The Last Jedi makes a pretty hefty point about following orders. Poe Dameron continually disobeys his superiors throughout the film, much to the audience's happiness as we believe he is going above his station in order to protect the Rebellion. But, in truth, he is endangering it. General Leia Organa and Vice Admiral Holdo are under no obligation to reveal their plans to Dameron, mainly because they are trying to protect them from enemy eyes and ears. It may be quite a shocking moment to see Leia stunning Poe at the climax of their escape from the First Order forces, but the statement being made her is that no matter your feelings towards a decision, following orders is a number one priority. Poe should trust those who have more experience than him.
7. Color Palette. Finally, the last point I'd like to make is regarding Johnson's choice of colour palette for that last, unprecedented battle for survival on Crait. This is more than simply a demonstration of the minerals on this planet, this is an indirect statement by the director to show how the tides of the force are turning, and also a way to give away Luke's ghostly presence. The albeit brief lightsaber battle between Kylo Ren and Luke Skywalker is the punchline of the entire film, and its hidden message is written in the salt, as Johnson consistently hints at Kylo Ren's true emotions as Snoke's successor and Rey's dark equal.
I want to finish by stating that my favourite scene from the movie was Luke's reunion with Yoda - not only for being terribly nostalgic, but also highlighting how much Luke has changed yet not changed at all. It is Yoda's final words of wisdom that sit with me - "The greatest teacher, failure is. The greatest burden of a Jedi Master - we are what they grow beyond."
Call Me by Your Name (2017)
A Beautiful Life Lesson
The old-fashioned love story may appear to be lost in antiquity, but that's only because so many movies and TV series have attempted to rehash it over and over again without anything new and profound to say. What makes Call Me By Your Name an exception is its perspective of a passionate love affair that may externally be labelled as taboo, but is actually an opportunity for a young person to express their emotions explicitly and without shame. This movie captures an important life lesson about respecting time, before it disappears. This human construct imprisons a lot of people in a stupor of routine and depression, because they keep looking back and trying to relive past memories. Whilst remembering is important, and brings out the nostalgia in all of us, this movie tells us to continue living beyond that.
The general story of the movie is simple. Not many words are spoken, but the actions speak louder, and what unfolds is a complex relationship between a 17 year-old boy and an American visitor with whom he becomes infatuated. This is a gradual process, but Luca Guadagnino makes it so subtle that it can be a matter of looking for the signs. There's a lot of references to the possessions of people, the bikes, the books, the shirts and the necklaces. Symbolism plays a key part in how we see Elio's sexual development. As his parents appreciate, he is new to the world of intimacy, but his naivety also brings forth a chance for him to learn about his feelings. That is one of the key themes to take from the film - his seesaw journey through the definition of his sexuality is a common factor in most people's lives, but this film addresses that as something natural and something normal.
My favourite scene is towards the end, after Elio has been struggling to deal with his lover's absence by suffering in silence. His father consoles him, knowing full well what his time with Oliver has meant. The fact that his father accepts Elio's relationship and feelings to begin with is a great moment, giving Elio the freedom he needs to ask for his father's support. Secondly, it's his father's words that mean the most in the movie; about making the most of these short, yet ecstatic escapades before the chances wither and fade away.
Finally, I'd like to commend rising star Timothee Chalamet for his unprecedented and tender performance of Elio. Throughout, you are captured by his innocent nature, and empathise with his internal struggle. The final shot of Elio relentlessly giving in to his emotions is guaranteed to move you at the end of cinema, so much so that you will be struggling to hold in your own tears as you exit the theatre. Needless to say, 2017 has been triumphant in its host of emotional movies, what with Dunkirk, The Circle and Wind River, but Call Me By Your Name stands above them all, with its simple, yet honest, interpretation of love and the emotional consequences that inevitably follow.
Game of Thrones: Beyond the Wall (2017)
Why I think Beyond the Wall is a brilliant episode of GoT...
There's been a lot of criticism for this latest episode of Game of Thrones, and I must say I was bit surprised. When I first watched it, it was just like any other fantastic episode of Game of Thrones, filled with tension, high-octane action, character development and game-changing moments. I consider it to be one of the best episodes of Game of Thrones so far. I still consider The Rains of Castamere, Battle of the Bastards and The Children to be better, but this is bloody close. Simply because it is a defining moment in the history of Game of Thrones and this event has long been in the making.
I'm going to try and show my perspective on events, but I don't expect everyone to agree with me, because that's not the point. This is just my opinion and how and why I believe events transpired.
Now the Night King has been perceived as an incredibly powerful and all-knowing being. Since it was first revealed that he could see Bran while he was transporting himself mentally across the world, it has led me to believe that the Night King perhaps has a type of greensight power himself that allows him to inspect and analyse the rest of the world's goings on and plan accordingly. As it was also revealed, Benjen mentioned that there are ancient spells on the Wall that physically stop White Walkers and their creations from passing through. Hence why for seven seasons, the White Walkers have been amassing an army instead of marching directly on the Wall. Picking off Wildlings to begin with and anybody that would stupidly decide to head North including animals alike. Now, in his efforts to analyse the world, he has realised that there is one way to get past the Wall, without looking for the so-called Horn of Winter (which I don't think has been canonised in the TV show anyway). He knows that there's a white-haired Queen out there with three useful dragons.
Fortunately for him, a group of brave, but stupid mortals have decided to capture a wight for the sake of convincing a southern Queen to cease resistance and accept his oncoming slaughter. Clever as he is, the Night King has decided to trap the group of men on a lake and allows his wight army to keep them trapped while one of their members races south to relay a message to the Dragon Queen. In affect, the Night King is using Jon and his brave allies to lure the dragons to him. Of course, the opportunity is so tempting that he's going to try and kill all three, but he only has time to down one of them before the other two escape along with the brave men.
Some people questioned where the chains came from and how they were attached to the dragon underwater. As it was revealed in the first episode of Season Seven, the White Walkers had brought Giants back to life as well. Whilst it was not fully shown, it could be possible that the chains were stolen from the Wildling camps nearby in the North, and a giant attached the chains to the dragon before it was hauled out by the wight army.
The 'time question' as I'm calling it is just a matter of opinion, I suppose. The Night King wasn't going to attack Jon and his allies unless he was absolutely sure Daenerys would arrive with the dragons to save them. Eight or nine men (I wasn't sure how many) could easily survive two days in the cold as long as they remained huddled together in the middle of the lake. For those complaining about the fast pace of the season must recall the very first episode of Game of Thrones when Jaime and Cersei traveled all the way from King's Landing to Winterfell in less than half an episode.
When it comes to Benjen, just like the White Walkers and wights, he is unable to pass the Wall, so he feels obligated to watch over the White Walker army and ensure that they are restricted by any means necessary. He was probably watching from afar during the dragon attack, and came to the rescue at the last minute specifically for Jon. It may seem like a deus ex machina, but as we already know the Lord of Light has definitely got plans for Jon and his heroics won't be the death of him yet.
As I said, this is only my opinion, and it shouldn't dissuade anyone from criticising this show, but these are just a few examples of how I perceived the episode as it unfolded, especially after watching it a second time. Sometimes not everything needs to be explained for it to be possible. Indeed, Daenerys and Benjen both arriving in the nick of time may seem like deus ex machinas, but it doesn't, in my view, put aside the consistent tension and excitement that builds in watching the episode, even the second time. As I hadn't been spoiled, the deaths of Thoros and Vision, plus the bear attack and the arrival of Benjen were all very unpredictable moments and made it feel new and exciting and downright emotional. Character may make stupid decisions, and Tormund even says himself that you need to be stupid to go North, but as we all know in reality, people make stupid decisions all the time.
To sum up, I thought it was an incredible extravaganza - well-written, well-directed, sometimes funny, sometimes scary, sometimes heartbreaking, sometimes frustrating and it continues to push the show into the final endgame. That final scene with the Night King awakening his new, deadly weapon foreshadows trouble ahead and it couldn't get more enthralling. Game of Thrones continues to remain in the top three of my favourite TV shows, and if the finale pays off, it could very well take the trophy.
Star Wars Rebels: Twin Suns (2017)
Stunning Episode to Join the Prequels and Originals
From the moment Maul spoke at the beginning of the episode, you could tell this was going to be an unconventional episode of Rebels, reinforced by the fact that the opening theme was quiet and unobtrusive. Since the first moment we saw Darth Maul appear on screen in the Phantom Menace, he was an instant favourite, and with his painful and symbolic resurrection, he has had a grudge against Kenobi like no other. But neither have been victorious, especially now that Maul was completely neutral in the Galaxy (he's neither for the Rebels or the Empire).
So, this one-on-one confrontation has been in the air for a while, but it seems the writers have finally decided to choose an ending - and it's more than fitting. Whilst Maul has been venting anger for most of his life, Obi-Wan is complacent with the fact that the Force guides him to wisdom. He has learnt so many thing during his lifetime, that he has the courage to stand up against Maul personally to protect the one mission he has remaining - which is protect Luke.
Combining all these elements together, you have an overarching story with tremendous depth in the Star Wars Universe. Even to the point, where after Obi-Wan has easily dealt with Maul, the ex- Sith concedes that Luke will hopefully avenge him for the Sith's betrayal. Despite the fact Ezra took centre-stage for most of the episode, it was all about Obi-Wan and his transition from Jedi Master to protector of the "New Hope".
Aside from this cleverly fleshed-out continuity, the rest of the episode was filled with gorgeous imagery, melancholy music and a nostalgic ending that has an emotional resonance unlike anything seen on this show before. It's almost as if, along with Rogue One last year, that Star Wars is tightening the loops around its countless stories and showing the audience how deeply nuanced it is.
In completion, Star Wars is enjoying a golden age of story-telling, wherein passionate writers are filling in the gaps of an almost perfect saga. Well done!
A Monster Calls (2016)
Nuanced Beauty
This is a film dominated by two elements - the imagination of a child, and the visceral reality of the world. As someone who's only recently left childhood and is living adulthood, I can relate to both elements. The story is a symbolic one, told through both elements in very different ways. The real life scenarios are by definition real life, it's a hard truth that will coax tears like no other film - hence why this is such a powerful story. At the same time, we're experiencing the mind of a child who, afraid of the events that happen in real life, turns to his imagination for solace and security.
It is a very enlightening experience, as the viewer is shown why the truth is both important and hard to accept. But it can always be endured - even for a child like Connor. That message is told with clarity throughout the film, and the characters grow because of it. The narrative element to the film is also explicitly well told, each individual artistic representation having its own message and theme. This culminates in one definitive coming-of-age story in which Connor learns about life the hard way.
Well-acted, and triumphant in portrayal, A Monster Calls is the first gem of 2017 in my eyes. Lewis MacDougall is a star-in-the-making, and with Felicity Jones, Sigourney Weaver and Liam Neeson all contributing, you can be assured that there's no lack of empathy. J. A. Bayona also provides enrapturing imagery, that is both poetic and symbolic of the mind of a child - one of eccentricity and originality. It's only deterrent, I suppose, is how bloody sad it is. By the end, you can guarantee you will be short of tissues, but also by the end, the story has made its mark on our perception. There's no harm in speaking the truth, because that is the reality.
Sherlock: The Six Thatchers (2017)
Doyle homages buried in an emotional premiere.
I think a lot of people criticise BBC's best moneymaker for being too clever for its own good. In my opinion, they're half right. It is an incredibly clever series, but not for its own good. Steven Moffat and Mark Gatiss are, in essence, two very big fans. If it's not Doctor Who, it's Arthur Conan Doyle's detective work. They cherish their work, and above all, enjoy every moment of writing it. With that, their entire work is embedded with homages to everything they've enjoyed in life. I appreciate that, because unlike all the other shows out there, there's a unique flavour to the style in which this show has been created.
I won't go too far into the details of this episode, but in truth it was entirely different to the usual Sherlock episode, mostly because there's a new angle to discover. On the wake of finding out that Moriarty may be posthumously scheming to tease Sherlock, the unique sleuth attempts to return to the natural work life of solving simple mysteries. This quickly develops into something larger as we go into the old-fashioned, inexplicable crime. It's exciting, tantalising and it's the good-old Sherlock Holmes story. This spirals into something larger though, as Sherlock is attracted to a missing bust of Margaret Thatcher.
Simply put, it's a multi-layered story of great ramifications among the primary Sherlock characters, which is well-constructed by Gatiss. The cinematography is even more sumptuous this time round, with a sincere emphasis on the symbolism of the events and the question of morality in the end result. From a jovial and witty beginning, the episode quickly delves into a darker tone and eventually reaches an emotionally challenging end. Mary may have only been with us for a season and a bit, but her departure has left a massive hole in the lives of the characters she leaves behind.
Simple, yet powerful - that is the strength that this TV series has. It gives you a sense of uneasiness about the events that transpire within its many plot lines. And true to form - taking into account the writing, acting, directing, passion and promise - this is top quality entertainment.
Doctor Who: The Unquiet Dead (2005)
"We don't want your pity! We want this world and all its flesh!"
Reminiscent of the Doctor's previous jaunts through the history of Earth, this time the Ninth Doctor accidentally takes Rose to Cardiff, 1869. It's amazing the writers haven't had the Doctor meet Charles Dickens or Shakespeare yet (something that comes later - he is also mentioned cheekily in the episode), but here it is, that auspicious meeting after all. There's also a bit of mystery and scares to enjoy as well.
Apart from The Crimson Horror, this is probably Mark Gatiss' best contribution to Doctor Who alongside his previous stories for audio and novels. It's a concise tale of ghosts attempting to inhabit the dead in order to survive, but as this is Doctor Who, there's a little more exposition to uncover first.
One of Gatiss' greatest strengths is his character profiles. From the portrayal of Charles Dickens to Gwyneth, there's a depth that is both empathetic to the audience and interesting enough to keep us hanging on their every word. Dickens' dilemma with understanding how the Gelth work is wonderful and it gives Gatiss a chance to explore the great author's possible reaction to this phenomenon. Not to mention his stressful interactions with the Doctor. Mr. Sneed may be a one-dimensional character, but his presence gives something for the Doctor to bounce off, and a little comedy. But it's Gwyneth who has the best exposition, with that wonderful scene between her and Rose as their contrasting perspectives on the world give them something to talk about. The information behind Gwyneth's childhood may be vague, but it is assumed that she is the true link to the Gelth.
Due to the typical cliché of horror stories, I though the seance was a throwaway scene and the Gelth lost a bit of their "alien" presence. Nevertheless, as previously in the season, we learn the Gelth have lost their home planet because of the Time War and require bodies to survive. It all seems harmless, until the final moments where the Doctor realises he's made a terrible mistake to trust them. The final scenes in the morgue are wonderfully terrifying, with Dickens arguing with himself about the nature of the Gelth and the reality of his situation. The fact that it's Dickens himself who saves the Doctor and Rose from their fate is a nice touch, but it doesn't help Gwyneth who's ending is incredibly heartbreaking.
For a purely historic story, it is superbly done, with the atmosphere and feel of old Britian seeping out of the production, but even with the bittersweet ending that's so wonderfully done by the writer and actors alike, the whole thing feels a little too neat, despite Gwyneth's heroic sacrifice. It's no doubt a great episode all the same, with some great performances from Eve Myles and Simon Callow.
Favourite Quotes:
"Now, don't antagonize her. I love a happy medium!" - The Doctor
"I saw the Fall of Troy! World War Five! I pushed boxes at the Boston Tea Party! Now I'm gonna die in a dungeon... in Cardiff!" - The Doctor
"Stop it. Can it be that I have the world entirely wrong?" "Not wrong. There's just more to learn." - Charles Dickens and the Doctor
"You're from London. I've seen London in drawings, but never like that. All those people rushing about half naked, for shame. And the noise, and the metal boxes racing past, and the birds in the sky, no, they're metal as well. Metal birds with people in them. People are flying. And you, you've flown so far. Further than anyone. The things you've seen. The darkness, the big bad wolf. I'm sorry. I'm sorry, miss." - Gwyneth
Doctor Who: The End of the World (2005)
"...welcome to the end of the world."
One of the greatest genres of Classic Doctor Who was most definitely, in my opinion, the science-fiction. In truth, this is because the Doctor is himself an alien, and where would Doctor Who be without its Daleks, Cybermen and Ice Warriors from planets far and wide. Also, Genesis of the Daleks was and remains my favourite Classic Who story purely because it successfully depicts the ambiance and harshness of a planet ragged with war and poisoned by deception. Not to mention the inception of Davros' creations, the Daleks - genetically mutated monsters in short.
The End of the World may not be hardcore science-fiction, but the setting and special effects are two of the main qualities of the episode. It feels absolutely alien, as it does to Rose (our eyes and ears throughout), with a party of multi-planetary aliens gathering to watch the Earth burn in the heat of the Sun. Unfortunately, the technology and scientific-tone is bogged down and, more than anything, isolated by a murder mystery plot. Russell T. Davies went for a simplistic story that above all else attempts to deepen the Doctor and Rose's relationship.
In that case, the episode is successful, with their relationship going from being traveling strangers, to a shaky confrontation and finally to a strengthened friendship as the Doctor learns to appreciate Rose's human side, and Rose learns to understand the Doctor's eccentricity and accept that it will never change. Also included is another teasing hint at the Doctor's recent past involving something quite terrible, according to Jabe. That emotional moment is enough to convince us that whatever it was was quite traumatic. A war that grabbed the notice of the entire Universe it seems and affected species such as the Nestene Consciousness and the Forest of Cheem. And to end we get that all famous line, "I'm the last of the Time Lords".
Despite her comical side, Cassandra O'Brien dot delta seventeen turns out to be quite a twisted, melodramatic and evil enemy with a frightening plan to destroy an entire space station full of dignitaries. Whilst the reveal is surprising, the format of this murder mystery is predictable and repetitive. Thus the originality isn't all there, and it feels a little stunted because of it - perhaps a mix of Black Orchid and Four to Doomsday. Nevertheless, it has great visuals, and great performances from both Christopher Eccleston and Billie Piper, who are both naturally still finding their feet in their roles.
Only two episodes, there's definitely promise of greatness from this series, but nothing special has resulted yet. It does rear its head at some point during the season, but the amount of time it takes shows how hard writer Russell T. Davies found it to map out his characters and breath life into them.
Favourite Quotes:
"Is that a technical term, jiggery pokery?" "Yeah, I came first in jiggery pokery. What about you?" "No, I failed hullabaloo." - Rose and the Doctor
"No, I mean it. I would rather die. It's better to die than live like you, a bitchy trampoline." "Oh, well. What do you know." "I was born on that planet, and so was my mum, and so was my dad, and that makes me officially the last human being in this room, 'cos you're not human. You've had it all nipped and tucked and flattened till there's nothing left. Anything human got chucked in the bin. You're just skin, Cassandra. Lipstick and skin. Nice talking." - Rose and Cassandra
"You think it'll last forever, people and cars and concrete, but it won't. One day it's all gone. Even the sky. My planet's gone. It's dead. It burned like the Earth. It's just rocks and dust before it's time." - The Doctor
Doctor Who: Rose (2005)
"I can feel it...the turn of the Earth..."
When Doctor Who started back in 1963, I don't think many believed it would last until 1989 before the BBC decided to put it out of its misery. Neither would they have believed that a movie in 1996 would lead to its immortality in the Big Finish audio stories. Even more astonishing is its revival in 2005, after a much-needed hiatus that reinvigorated its ideas and rekindled its magic. It's an amazing achievement that Doctor Who will be 53 years old in November this year, and as a fan since 2006, I believe it's fitting that I should start reviewing the entirety of New Who and explain what an impact it has had on me as one of my favourite shows of all time; starting with Rose...
In all honesty, Rose has to act as a premiere in itself, despite continuing a long and rich history of stories in the past. It must introduce a new Doctor, a new companion, a new look and a new generation of youngsters to something that has been one of Britain's greatest achievements. In that respect, it does reasonably well. It incorporates the new personality of the Doctor while also paralleling a back story involving an alien invasion that has been so definite in any Doctor Who story. The Autons are perhaps not the best monsters to choose for a return to the screen, but their link to the setting of the story is understandable.
As for Christopher Eccleston and Billie Piper, there's no doubting their connection, despite their contrasting characters. Eccleston plays it cool and calm in a role that has the wit of the Sixth Doctor, the hilarity of the Second Doctor and seriousness of the Third. His outfit befits him as a contemporary character, and also advertises the mystery of his new face. Piper plays a companion that has little relation to previous companions, who is brought into the Doctor's adventures through sheer luck and then stubbornness. She is perfect for Eccleston's Doctor, simply because she's spirited in a way that demands answers and wants flare in her life. Both actors are commendable for that.
Concerning the story and script itself, this is where I struggle. The mystery around the Doctor, and the slight hints of what has perhaps happened to make him this new man are done well, but the general storyline around the invasion and discovering the lair of the enemy, the eventual attack and a saviour comes along to save the day. It's a little repetitive and whilst harking back to Classic Who, it also amplifies it to a new level of cheesiness. The ending is also not heavy enough to make an impression on anyone to watch the next episode.
Regarding the characters themselves, Russell T. Davies has everyone well pinned, with supporting characters like Jackie and Mickey providing great comedy and gags for both kids and adults to enjoy. Nevertheless, the predictable formula feels hollow for an episode that is so energetic.
For clear reasons, I really do like the episode, the production values have sky-rocketed since 1989, the cast are dependable if the script doesn't seem up for the task, and the whole new blend of darker tones and wittier characters gives a new lease of life for Doctor Who, and that's what mattered in the premiere if anything else. It set up nicely for a season that brought the show to a new level of appreciation. That's reward enough.
Favourite Quotes:
"I'm in my dressing gown." "Yes, you are." "There's a strange man in my bedroom." "Yes, there is." "Well, anything could happen." "No." - Jackie and the Doctor meet for the first time.
"Do you know like we were saying about the Earth revolving? It's like when you were a kid. The first time they tell you the world's turning and you just can't quite believe it because everything looks like it's standing still. I can feel it. The turn of the Earth. The ground beneath our feet is spinning at a thousand miles an hour, and the entire planet is hurtling round the sun at sixty seven thousand miles an hour, and I can feel it. We're falling through space, you and me, clinging to the skin of this tiny little world, and if we let go. That's who I am. Now, forget me, Rose Tyler. Go home." - The Doctor
"The Doctor is a legend woven throughout history. When disaster comes, he's there. He brings the storm in his wake and he has one constant companion." - Clive
"The assembled hoards of Genghis Khan couldn't get through that door, and believe me, they've tried." - The Doctor
Penny Dreadful: The Day Tennyson Died (2016)
Penny Dreadful is a work of art
Continuing the trend of the previous two seasons, John Logan provides a backdrop of historic depth to a horror story brimming with death and intrigue. So much has happened so far, and yet this single episode shows there's far more to come. In an episode where we finally believe Vanessa is safe, albeit mentally wounded, a new evil has arisen from the darkness.
With characters split apart in all directions, it's fascinating to see how this show links together now. The tone changes in each location, and yet there's still an emotional connection across all the different stories. For instance, Ethan Chandler's journey to New Mexico is conjoined quite rapidly with Sir Malcolm's as a new face persuades him to rejoin the fray of demons. In both cases, it's great to see the characters in their new settings, what with Chandler returning home, and Sir Malcolm sitting in a place that he once loved, but had been decimated by foreign slavery.
Not much from "Mr. Clare" in the premiere, but enough to understand his journey this season. He's in a mental state where the world doesn't quite fit perfectly with him, and the people around him can't quite take to his unusual behaviour. Dr. Frankenstein's story, however, gets a reintroduction, with new and exciting character, Dr. Jekyll, coming into the picture, with information about the Frankenstein we don't know. Interestingly, despite the last resort being to destroy Lily, Jekyll has managed to persuade the once lovesick Frankenstein to try his own chemical methods first to seduce his creation first. This could be quite a difficult task, considering Lily is now in cohorts with none other than Dorian Gray.
Most importantly, however, comes Vanessa's story, who's been in serious isolation for a while. Clearly, she's unhappy, considering everyone who's left her (Sir Malcolm, Ethan & Mr. Clare), and this sadness, with a little persuasion from Ferdinand Lyle (played exquisitely by Simon Russell Beale), leads her to Dr Seward, someone who will no doubt thoroughly attempt to support Vanessa, but in an entirely new perspective. It was her visit to the national museum, however, that attracted me, and the introduction of quite a simple relationship with Dr. Sweet, that adds a little light to the dark episode.
And, of course, I can't leave without mentioning that stunning final scene, as we are given a short meeting between the timid Renfield and a new, terrifying foe, Dracula. The show is obviously tantalising us with his appearance, but I know it will be quite a spectacular moment, when they finally reveal his true face. Renfield's reaction was quite enough for now though.
With a heavy emphasis on the artistic qualities of this series, Penny Dreadful remains to be a stunning show with a diverse cast and storyline, a superb selection of performances, and cinematography to die for. For those horror, fantasy and historical fans, this truly is a must watch!
Game of Thrones: Book of the Stranger (2016)
The Gift of the Stranger
A superb episode that benefits from having extra time to map out its storytelling, Book of the Stranger is a maelstrom of death, deceit and reunion. Unlike other seasons, Season 6 has gone straight for the kill with its plot developments and they're hitting the mark so far. A quiet premiere, led to a tumultuous second episode, and an intriguing third episode, led to this exciting story for episode four. So much is happening, it's sometimes hard to keep track of each character, but I'll try.
Firstly, we have the incredibly touching reunion of Jon and Sansa, so touching in fact, that it didn't need words to explain. Along with Ramsey's threatening letter, which conveniently brings Tormund to Jon's side, the North looks to be in quite a precarious position, and even Melisandre is falling in line with Jon. The only thing is, I feel Edd may perhaps try to steer Jon around to the realistic situation, involving White Walkers. As an aside, it's great to see Littlefinger and the Vale again, with a tantalising development that Baelish has persuaded Lord Rob to fight for Sansa's freedom. In Winterfell, it's a scene that I was dreading to happen, but I knew it would, where Osha is killed by Ramsey, who gives us another reason (adding to a long list here) to despise his existence.
Briefly, in Pyke, we have another reunion, but one that's not so touching. It seems Yara, understandably, has lost a lot of her affection for Theon since she attempted to rescue all that time ago, and she's still bitter about it. But she eats her words when she hears that her brother is willing to support her claim in the Kingsmoot.
In King's Landing, tensions are most definitely boiling as Margaery sees through the High Sparrow's symbolic words and warns her brother not to succumb to their torture and temptation. Meanwhile, Lady Olenna and Queen Mother Cersei have miraculously agreed on something, if for entirely different reasons. If the Tyrell army comes to King's Landing, who knows what exciting things could happen in the Capitol very soon.
Things are moving quickly in Meereen, with Tyrion meeting rather convivially with the masters of three cities in Slaver's Bay, Yunkai, Astapor and Volantis. His diplomacy quickly pays off, but I wonder whether his offer is enough to persuade them to change their ways. I sympathise with Missandei and Grey Worm, however, that his plan is closer to helping the masters stay rich rather than freeing the slaves.
But finally, the biggest developments of all, in Vaes Dothrak Jorah and Daario have arrived to rescue their Queen. Despite Jorah's confident plan, it soon backfires to the point where they're forced to commit a terrible sin in the Dothraki city. They do locate Daenerys, however, and she has a plan of her own. The final scene of the episode is a great call-back to the first season as we are reminded of the true reason why Targaryens have a dragon as their sigil. Daenerys succeeds in burning more Khals than you can count and gains the support, albeit surprised support, of the entire Khalasar outside. It's great to see Daario's reaction as well, as he realises how powerful she truly is. The only thing is missing is Drogon.
A high-stakes episode with enough politics to balance the action. Season 6 is quickly on its way to becoming my favourite season so far, which sort of makes me feel sorry for George R. R. Martin, to see his work, albeit a transformed version of his work, being continued without him. Let's just hope that his final books match the series or even better, top them, and everyone will be happy.
Better Call Saul: Klick (2016)
Chilling and Constantly Intense!
Television has never been this tight. It's like the writers have painstakingly mapped out each character's emotions and meticulously chosen how they'll progress and in what situation they'll be. So much so, that Chuck has been fleshed out as an extremely egregious and selfish individual, who's sole goal in life, neglecting his career entirely, is to destroy Jimmy's. Regardless of what his brother has done in the past, Kim was right, it's Chuck himself who's pushed Jimmy to the edge of the law and beyond.
Distracting us completely from the scenario, the writers decide to place Chuck in a vulnerable position in the hospital and slowly break down his character, having Jimmy be by his side the whole way - always the honorable brother. And it all comes down to Chuck's final manipulation. He saps Jimmy's sympathy so much that his brother confesses to the entire felony. Recording this confession, just shows that Chuck is willing to go to great lengths, even jeapordising his own illness to catch his brother - and this makes the cliffhanger all the more shocking.
On the other hand, however, we find Jimmy's business quickly growing, with numerous customers answering his new advertisement, which Jimmy is relieved to hear Kim appreciates. It's satisfying to see his plan working, but at the same time, you can help wondering how Chuck's megalomaniac movements are going to affect his career - after all, this could be catastrophic.
Moving away from the main story finally, comes Mike's solitary story. His intentions this season have been to both protect his granddaughter and attempt to keep his actions pacifistic as best he can, but you can tell he's reached his final tether. Banks is superb at displaying the distress of his character, and the frustration at not being able to get a clear shot of his target. To the point where he's diverted away from the whole scene as someone warns him not to fulfill his mission. The reason I docked a star is mainly because Mike's story has diverged so far from McGill's story, that it's almost two separate shows, which is sometimes pleasing, but others off-putting.
Ultimately, a stellar episode with masterful direction once again. You can really feel the pain and remorse of the hospital scene and how Chuck's perspective is so frightening. Plus, the cliffhanger gives us great hopes for Season 3 where I imagine the writers will step up a gear and start formulating the next steps towards the story of Breaking Bad, and to where Walter White comes in.
Daredevil: Penny and Dime (2016)
One Fully Absorbing Hour
So far, this is the best Daredevil I've watched, simply because it explores the deeper emotions of its characters. I don't often enjoy exploring romantic relationships with characters, but in this case, there's a bond between Matt and Karen that has been building for a while now, and at the end of this one dark day, it's fitting that they take strength from each other.
And what a dark day it was. The Irish gang decided to up the ante by taking on the Punisher personally, with Tony Curran stepping into the scene with a wondrous performance. Seeing him in Doctor Who before has shown me that he is a talented actor, and in Daredevil there's no exception with his menacing portrayal of Irish boss. Most of these scenes are incredibly violent, gory and relentless, but it goes a long way to showing the brutality of the characters' personae, not to mention demonstrating the sheer power of the Punisher.
Speaking of the Punisher, Jon Bernthal's performance in this episode is exceptional, displaying a full range of emotions that help to elaborate his character's background. The story of his reunion with is daughter is heartfelt, and wonderfully played. I admire the fact that the writers remained true to his emotions and ended it there. He ultimately decides that he's finished his job, but did it Daredevil's way. Which, in all fairness, he confesses is the best way.
Taking a look at the episode in its entirety, it stands out from other episodes due to its mature conception, and how a simple storybook integrates within. It's great to see how Karen interprets this as she searches through Frank's house. And in a surreal way, the ending ends up being extremely positive, with Matt Murdock, after heeding the priest's words about guilt, feeling satisfied.
To top it all off, there's a nice teaser at the end for what is to come, when a new and exciting character comes into play.
Over the Garden Wall (2014)
A Masterclass of Animation and an Honest Depiction of Youth
I entered the world of Over the Garden Wall after I finished catching up with Rick and Morty, a superb animated TV series that prides itself on the feelings of its characters and the darkness of its story lines. This was recommended as a "child-friendly" subsidiary and so I decided to give it a go. Initially, I was dubious about the need to rely on the efforts of two young boys and a bird companion, but this show is deceptively unique and thoughtful. What may seem like an innocent adventure turns out to be a dip into the troubled thoughts of youth and how those feelings affect the circumstances, and it all boils down to the relationship Wirt and Gregory have with each other.
Split into ten short chapters, each episode has its own self-contained theme and situation (with the exception of chapter 10, which is a mature correlation of everything), but they connected somehow through a clever continuity referencer character. I struggled slightly with Episode 3 and 8, mainly because they delved a little too far into childish maelstrom, but on the other hand, it's required in this story to show the innocence of these children and to make us care about them.
What really stands out in this episode is how the animation accentuates the dark tone, by using significantly dark imagery, such as a horned beast (synonymous with Hannibal's stag). It also depicts dark parallels with the real world and successfully shows how terrifying and uncomfortable these situations are. Chapter 2 and 7 are great examples of this, showing how the unknown can makes us feel unprepared and forced to make snap decisions. The show constantly reminds us of this throughout the chapters, and it allows us to consider the reality in the fantasy.
It's the contrast between Wirt and Gregory that's so striking though, possibly because of the age gap, but it's fascinating to see how these two brothers can have such different perspectives. Initially, it's unclear where they stand in terms of each other, but later on it becomes quite clear and you notice how quickly the characters gain depth in development.
An experiment in animation and storytelling, most likely, but it's undeniably a successful one. It's funny, scary, adventurous, dark, romantic, beautiful and painful. I can highly recommend this masterclass of animation, but I can't be certain you won't feel changed after you watch it - it has a depth that barely any kids TV series have these days (unfortunately), and to pack an entire series of characters, quests and scenarios in 1 hour and 50 minutes is a crowning achievement.
Rick and Morty: Close Rick-Counters of the Rick Kind (2014)
Clever, Witty and Darker than a Black Hole!
When I first delved into the land of Rick and Morty, I was dubious whether it was for me, but the sophisticated concepts of crossing dimensions and Rick's ingenious, yet worrying plans have hooked me permanently - and this episode was the icing on this delicious cake. It starts with a bang, remains consistently hilarious and mad, and then ends with quite a dark twist.
The most fascinating thing about this series is how much improvisation occurs amongst the actors. The script seems generally quite natural, which makes the jokes even more believable. What this episode introduces us to is a world (or dimension) where all Ricks and Mortys are cooperating and cohabiting. Its initially light-hearted and riddled with clever quips, but you soon realise the seriousness behind this concept of how each Rick has a Morty and each Morty has a Rick, and it is the basis for the entire episode.
Also included is Jerry's new relationship with "the Odd Rick out", which helps to reinforce how quick we are to assume Rick's personality, because he's so straightforward and hard-hitting in everything that he does and everything that he says. This is also a diversion to the final reveal, which I don't think many people will expect.
All in all, this is the highlight of a very original first season of Rick and Morty, one where our judgmental and discriminatory minds are put to the test. Watch and learn as they say.
The Walking Dead: Now (2015)
Lack of Emotional Empathy
Aware of the fact that we're currently dealing with characters that have only been present in the Walking Dead Universe for less than a season, it's hard to develop emotional depth for the Alexandria group as much as we have for our heroes. This is mainly due to the fact that the emotions the writers are dealing with are quite stale, unoriginal and boring now. The previous episode was a demonstration of how they can continue to rekindle the anxiety and tension of this post-apocalyptic series and also introduce nuanced characters with fascinating backgrounds.
This episode dawdles around a lot, concentrating on Maggie dealing with the potential loss of the father of her child, Rick once again informing the Alexandrian group that "fight" is the only survival and then Deana attempting to find sanity in this new world, where zombies exist and people die like flies. It suffers greatly from having to prolong rather uninteresting story lines and pass on the torch to more significant developments in the series.
I'm unsure whether this is a symptom of the series losing its touch - showing that there's nothing more for them to tell, or whether it's just a blip, but unless the writers can conjure more engaging stories, such as Morgan's, it would become far more entertaining and gripping. Also, stretching out the truth about Glenn's status is a cheap trick that only makes viewers feel cheated.
Otherwise, this is a regular Walking Dead episode with an obvious threat, and significant dialogue and visuals. There is, however, a worrying theme of characters who at first appear sure- headed, but then make stupid decisions, that ultimately bring their end.
Sherlock: The Abominable Bride (2016)
Inception-esque Murder Mystery with a Few Twists!
We were promised something entirely different, and that's what filled our television screens tonight. A fast-paced, highly complex thread of events that all culminate to one simple conclusion - Moriarty is most certainly dead, but he will strike again. This episode has Moffat's fingerprints all over it.
Firstly, the setup is great, paralleling itself with modern Sherlock to great lengths, almost playing out as a recap for us all to catch up on the story and reinforce our knowledge. But this soon changes into an entirely new case where the main feature is bride who's returned from the dead. Some parts of this are genuinely scary, especially scenes in the mansion where everything seems to make a sharp turn into the unimaginable. The final conclusion is that these murders were orchestrated by a group of women hell bent on making a stand for their rights. It's never clear whether this is the absolute finality of the case, despite solving all the possible alternatives for a ghostly bride - but it's great to see many of the familiar faces in their ranks.
This entire storyline, however, is concocted by none other than Sherlock himself, in his mind palace, soon after his phone call with Mycroft on the plane. Cleverly, the writers have decided to metaphorically allow Sherlock to determine whether or not Moriarty's death was elementary or not, concluding that an alternative is most definitely impossible. But, as shown, Moriarty will always live on in Sherlock's mind, constantly challenging him to verbal duels. Such as the one on side of the Reichenbach Fall - a nostalgic nod to Arthur Conan Doyle's original depiction.
What's most pleasurable about the episode is its concentration on character development and how Watson is perceived in Sherlock's mind. He understands the doctor's distress at times, and even goes to the point of confessing (albeit privately) that he believes John knows things that he does not. Nevertheless, it's also amusing to see him envision his brother in such a deplorable manner - having seen him in a previous episode trying to combat his weight on a running machine.
The only downfall of the episode, similar to Moffat's Last Christmas for Doctor Who, is that all we gain in progressive storytelling is the knowledge that Moriarty is dead, and that's pretty much the whole of it. But, I'm inclined to like this for its complex way of telling us so, by accessing Sherlock's mind palace and giving us a whole new (old-fashioned) adventure - even it is all considered null and void.
The final question is, however, what is real and what is not? Could Series 3 in its entirety have been a long game played inside Sherlock's mind. If so, Moffat has a lot to answer for.
Fargo (2014)
The King of Crime Thriller
I have just recently watched the eighth episode of Season 2 of Fargo and have decided to finally write a review of the entire series, because I think it deserves all the praise under the sun. It is truly gripping drama, and despite to different character's between seasons, the show has stood fast and actually matured in the genre with more grueling scenarios and intense exchanges.
Noah Hawley's first adaption from the film in Season 1 was spectacular, exhibiting confident persona for its many characters and pushing them to the very edge of their emotions until they become genuine human beings. To envision that, you had Billy Bob Thornton, Martin Freeman and Alison Tolman acting their socks off with superb conviction, so much so that they fell into their characters like naturals, each with their own defining personality. Whilst depicting these striking events and how it effects the town of Bemidji, sails to highs above many other television series, not just in its genre, but further afield too. It's witty, it's dark and above all triumphant for not being afraid of pushing the boundaries.
Now, in Season 2, I've reached the point where I haven't got enough energy to praise the entire spectacle that is Fargo. The cast is outstanding, ranging from downright hilarious to bloody terrifying (I'm referring to Nick Offerman and Zahn MzClarnon, who aren't even the main characters by the way). The direction is unique and experimental (my favourite kind), with the new method of splitting the screen to allow different perspectives for all the characters. Lastly, the writing is genius, with witty one-liners and unpredictable developments. One minute we're laughing at the best joke in the world, and then crying at the loss of our favourite character (even if he is the bad guy).
If there's any TV show that deserves an Emmy this year, it's Fargo (and I don't just mean one). Absolutely stunning to watch - and I've still got two more episodes to watch.
Doctor Who: Heaven Sent (2015)
Incredibly thoughtful character study of the Doctor!
Steven Moffat has his flaws just like every other writer, but his success comes from the fact that he loves to take risks sometimes and write an episode that is utterly unique in both concept and execution. Heaven Sent didn't just succeed, but proves that television can become quite a surreal moment in your life where you think: "Wow, that was bloody good!"
From the symbolism of the Doctor's many skulls and his desperate climb to the teleportation chamber before he dies, to the concept of a bird constantly pecking away at a seemingly impenetrable wall, but over time, breaking through. What seriously underlines this episode is how it transcends the Doctor as a character who has a powerful mind, who can overcome impossible situations just by inserting himself into a familiar environment (the TARDIS) and analysing it in thorough detail.
Not only does it show the vulnerability of the Doctor - hence his constant referring to Clara at every stage - but his genuine character - outlining truthfully that he can be scared, more than that, scared of dying. And it all boils down in the conclusion that he was trapped in his own confession, facing a monster that he himself dreamt in his nightmares.
It's not possible to say enough about Capaldi, because he is beyond phenomenal in this episode, and solidifies his role as an instant classic. On top of that, Moffat displays his rare talent of storytelling in the most fascinating way, and incorporating a concept that is game-changing in the field of storytelling. I can't forget to mention Rachel Talalay, who's directing contribution is now twofold, and what a superbly crafted episode this was - both rich in visuals and texture, especially considering those water scenes.
The cliffhanger just adds more to the feast, as the Doctor reveals himself to be this 'Hybrid' that has been mentioned so many times this series. What consequences this might have is left to be answered in a week's time - and what a long week it will be.
Fargo: Rhinoceros (2015)
Unprecedented Television
Sometimes the greatest performances come from the subtlest of moments. Recently Peter Capaldi had a riveting monologue that cemented perhaps his greatest moment in Doctor Who. Similarly, but perhaps more prominently, Nick Offerman cemented his so-far inconclusive role into something far outreaching that of television in general. By simply underlining the consequences of what Bear Gerhardt's infiltration of a police station could do to his son's situation, he succeeds in turning them away - and what a stunning performance he has, even inebriated. A defining moment in a series that has had so many already.
Fargo's success comes from its quietest exchanges - building character personae and making the audience judge the characters for themselves so that when it comes to a moment that puts that character in a compromising position, we have enough information to understand how that person's feeling in that situation.
Other stars of the show include Patrick Wilson, Jean Smart, Kirsten Dunst and Ted Danson. What's emphasised in both this episode and the previous one is that desperate people are more dangerous than anyone else - and that's the only reason Ed and Peggy have survived their encounters. And it's why naive Dodd was outwitted by Peggy because he believes he can defeat anyone, making him the most vulnerable person currently on this show.
What brings this show to supremacy is its consistent capability to surprise the viewer by allowing its characters to make decisions off-screen, merely giving us hints as to what they're thinking. Most significant is Mike Milligan's ultimate decision to decimate the Gerhardt house entirely and ignoring Simone's request to be rid of her father.
Brimming with tension and unpredictable conflicts, the writers are eager to keep us guessing about what might happen next, and despite the fact that there were only three casualties this week, the pacing of this episode was what solidified its impression. And it was one of genius story-crafting and expert editing - most notably the split-screen effect that allows the show to balance its good and evil. Truly ground-breaking television.
Doctor Who: The Magician's Apprentice (2015)
An epic start to Series 9!
***MAJOR SPOILERS*** Apart from the major twists involved with the Doctor's past, this premiere is very similar to Moffat's previous roller-coaster ride, The Impossible Astronaut.It's fast-paced, suitably scary in parts and sometimes quite ridiculous. Doctor Who returns in what I can only describe as an attempt by Steven Moffat to catch the attention of some Classic Who fans. I think it may have worked.
From Colony Sarff's quest to find the Doctor, to Missy's catastrophic mode in contacting Clara to help find the Doctor, to the man himself's stage performance in Medieval England to the Doctor's final meeting with Davros, it's an extravagant adventure. To top it all off, we even had extracts from previous Doctors, including the Seventh Doctor's mention of "Rice Pudding"!
There's a real sense of an epic journey happening here, but i suppose the main problem is for the new fans of Doctor Who, whether they'll have any inkling of the events that are unfolding. It's a lot to take in, with Ood, Judoon and the Shadow Architect, Ohila and the Sisterhood of Karn, not to mention Skaro and Davros himself. It's a lot to take in, but for a geeky fan like myself, it's almost heavenly to see all these things once again.
The rest is pure genius in my opinion, partnering quite a dark theme of killing a child with the comedic style of the Master. So many things happened, it was sometimes hard to find the time to say "squeee", which I was absolutely desperate to do. More scenes such as Colony Sarff's journey through time and space is what Doctor Who's all about, and pin-pointing that real sci-fi feeling, the real reason why I like A Good Man Goes to War so much. It's also great to see that the Daleks have revealed their threatening side, exterminating both Missy and Clara in one go, and the sole reason for the Doctor's anger.
This season is looking very promising, following what was a sometimes lackluster Series 8.
P.S. The Doctor playing guitar was Ace!
Arrow: The Odyssey (2013)
Best Arrow Thus Far
In Arrow's greatest episode yet, tables turned in a big way, with the writers deciding to look more towards Oliver's past instead of what's happening in the present. His relationship with Slade Wilson is an edgy one with a great contrast in character between them. We also got a bit more back story to Slade's origins and his connection to the evil setup that have arrived on the island.
Seeing Oliver make a mess up of a number of things is frustrating, but by the end of the episode, we see a change in his abilities and a new wisdom that Slade seems quite pleased about.. To be honest, I'm a little unclear on the front of why Oliver himself would offer Yao Fei his help, despite being strangled near to death only recently. That fight sequence was very intense though, and to see Slade vs. Billy was a great match-up and with Billy dead, Oliver's torture session has been avenged.
In the present, I thought the opening scene was rather lackluster with Oliver being shot by his own mother, something I can't actually comprehend, considering Oliver's immense skill - why didn't he dodge? On the same front, however, Felicity Smoak was finally shown the truth and could be an integral part of the Arrow's team, especially in her scientific field. What the episode is good at is hinting about suspicions towards Oliver's mother, who has been a primary mystery from the start.
Well-directed throughout and full of intense moments, the best probably was the mine scene as Slade imposes his knowledge of battle, making his believe that he is a strong ally, despite being tough on Oliver. Whilst we might be getting closer, there still isn't assurance when Oliver gets these impressive skills that we now see in the present. If Arrow can continue this standard until the end of the first season, and perhaps even improve, I'll be very satisfied to continue.
8.4/10