Starring: Peter Capaldi, Jenna Coleman,
WITH Jaye Griffiths, Cleopatra Dickens, Sasha Dickens, Rebecca Front, Jill Winternitz, Gretchen Egoif, Todd Kramer, Karen Mann, Aidan Cook, and Tom Wilton
Written by Peter Harness,
Executive Producers: Steven Moffat and Brian Minchin
"The Zygons are a peaceful race. Their shape-shifting abilities should not be considered a weapon". Osgood speaking on a video recording.
At long last, after a brief stopover in episode one of this present Series, we return to Earth in the 'present' and get to see UNIT in proper action. They however have a real situation on their hands, as some of the Zygons who were supposed to have reached a truce have become a dangerous and unpredictable splinter group. Abductions and terrorist plots are coming to the fore, and the group of aliens with both sucker pads and digits used in combination to manipulate objects and pizza-like control panels are showing they are truly something to contend with.
From the 45 odd minutes of evidence we get this week, the decision to bring back the Zygons after a lone TV outing in the Tom Baker era Terror of the Zygons was a great decision by the higher-ups that work so hard on making new Doctor Who in the 21st century. A secondary role in The Day of The Doctor was welcome, but these alien creatures deserve to be the focus once again. There are a lot of storytelling avenues that can be explored by having a race that can replicate another species to perfection, and which can use the trust and connection of memories and sentiment against those it wishes to conquer or overthrow.
There has been some good action at times in Series 9, with episode five perhaps being the most frenetic. However the talky and character focused episodes need some more pacey and bloodthirsty fare alongside them. Doctor Who is all about variety as much as the window dressing of time zone and location as the actual manner of storytelling.
Everything here feels big. The episode title promises an invasion, and the audience is left under no illusions that that is what could well happen if the TARDIS crew and their UNIT allies do not come up with something smart and realistic. Opening with one of the surviving Osgood twins mourning 'her twin sister' at her gravestone, this episode still does brings a commendable amount of emotional weight to balance out some of the more full-on and intense action set pieces.
This is not an episode that casual viewers may be able to fully appreciate at times, even with an opening recap that tries to get the key status quo about the Zygons on Earth across. But this does not become a chronic issue, and soon the story takes on an identity and life of its own as it introduces a scenario and premise that will be of real interest to kids and grown-ups alike. The Zygons who want to co-exist peacefully on this small blue-green world of ours are under just as much threat from their kin who cannot accept the same pacifist point of view. And Osgood has been kidnapped and may now have been replaced with a malicious doppelganger that is leading the Doctor and his complement of soldiers into a trap...
The Zygons are brilliantly designed creatures, and have a memorable super-power of replication and substitution. But this story looks into that more deeply than Terror of the Zygons ever really did. The way that the surviving Osgood has now become far more than either just a normal human or an alien posing as a human, and the manner in which she avoids confirming the Doctor's speculations about a 'hybrid' is a great idea and acted to perfection by fan favourite Ingrid Oliver. And on a side note, this is a case of showrunner Moffat not lying when he said Osgood was 'dead' in an interview.
Newly introduced characters are all more than serviceable. The American cop - the lone survivor that Kate encounters - is portrayed such that we believe her distress and outrage at the Zygons. And yet, we are fully aware that just the one survivor may be a ploy by the splinter group who can very convincingly replicate someone. Her apparent fear and disbelief over the slaughter of her team is still moving.. Even a replicated emotion can hit hard.
UNIT Soldier Hitchley and his 'mother' are both well acted and make a tense scene touching at the same. The audiences' head is going "This is a trap!", but the heart is saying 'He should make sure she is safe!". Such believable portrayals are the vital ingredient of realising a great concept properly once again in a modern contemporary time setting.
Even the child actors are pretty good on this week's instalment. We have a couple of twin school-children (Cleopatra and Sasha Dickens) that we assume are threatening Zygons, but instead they get kidnapped in drastic style. Consequently the new terms of this latest story become clear: there are markedly separate Zygons with very different intentions for the Earth and its dominant indigenous species.
Particularly engaging is UNIT scientist Jac; a woman with good intentions and loyalty. She sadly is lead down the wrong path by the fake Clara and dies in the worst fashion begging for her life. Even with a complement of well-armed UNIT soldiers she knows her pleas are meaningless when caught in the fortress of a ruthless cast-iron rebel faction. Sometimes low cunning can trump intellect, sophistication and good intentions, and this is one such instance. As a result we are made to really hate this imposter Clara, and the conventions of the show dictate she gets a comeuppance that is truly fitting in the following week's conclusion.
But does Jac's ignominious fate befall Kate Stewart? We hear that UNIT is neutralised once a call back has been made to the wrong Clara, but however we are not too sure which we can believe. As much as it would appear that Kate made a fatal error trusting the 'lone survivor' she encounters in the field, she has proven resilient and resourceful before. Perhaps in this story she will show more initiative to save herself and indeed those she was charged to protect, than was the case in last year's finale.
Due to that wonderfully well-done (and in a way that it is not too blatantly telegraphed) twist with Clara at the end, we get for the second episode in a row a very limited amount for the Doctor's stalwart companion. But that is not an issue when Jenna Coleman really gets to flex her acting muscles and show just what a great villainess she can be. In the original 1975 Zygons TV story we had a finely done 'evil Harry Sullivan' by the late great Ian Marter. This particular Zygon in sheep's clothing would appear to have both the malice and menace, and a cold calculating manner where it cannot be wrongfooted so easily into its oblivion. With a potentially confusing array of friends and foes, it was vital we had Clara substituted and acting in a truly monstrous manner despite looking and sounding like a normal effeminate woman. Peter Capaldi is as good as ever too, but perhaps this episode is less a showcase for him than episodes two, four and six of this 2015 series. Episode Eight may well give him truly something special once again, however.
Production values are as competent and professional as we have come to rightfully expect during the last few years of Moffat overseeing this long-running, reborn show. The Zygons look great, especially in the gloominess of the underground settings or the semi-lit council flat, and are able to complement UNIT's military precision and serious mannerisms. The transmogrification effect is also well-done, if perhaps only marginally better than the one that the far less well-funded crew were able to conjure up in Terror. However the effect used for the Zygons reducing enemies to a puddle of radioactive waste is truly inspired and will make its ways into many a youthful viewers' less welcome dreams.
Direction, cinematography and editing are all in the top tier of Doctor Who and help make a confident script inspire confidence in the viewer that this 4th straight multi-parter is worth investing in on all fronts. And another solid score from Murray Gold accentuates all the hard-hitting scenes that this thriller of a story has to offer. There is a good ratio of action, suspense and expository dialogue, and the music never tries to do more than it should.
Compared to earlier episodes there is perhaps less character development, and what there is is less efficient. However this story has a set of goals, and one of them is creeping out unsuspecting youngsters. Were it to focus too long on making really deep characters and not having shock twists, and changes of scenery that bring the global catastrophe stakes to the fore, than it would certainly not work quite as well as it does. The 'scariness factor', something Doctor Who has so long been notorious for, is in good abundance here and played out without ever going too far over the top. It really is fitting that we have this story originally transmitted in the UK on Halloween.
Ending on probably one of the finest cliff-hangers one could have hoped for, with the Doctor's presidential plane once again looking in bad shape (thanks to an anti-aircraft rocket), this story is great fun and has some commendable depth to it as well.
Filters: SERIES 9/35 Twelfth Doctor Television
WITH Nicholas Asbury, Aidan Cook, Tom Wilton, and Jack Parker
Written by: Peter Harness and Steven Moffat,
Executive Producers: Steven Moffat and Brian Minchin
This Review Contains Plot Spoilers
"You are not superior to people cruel to you... The only way anyone could live in peace is if they are prepared to forgive."
The Doctor confronting the 'wrong' Clara.
The Doctor and Osgood are once again in big trouble on the Presidential plane. Where before the threat came from a Missy/Cybermen takeover plot, this time round there is another race of alien beings that closely resemble one another - except when using their baffling duplication abilities.
Somewhat uncomfortably at the time of transmission we have had a recent airline tragedy with some alleged links to terror. This story does partly cover some of the same general issues and themes. It is more likely to resonate with parents and other relatives of the target children audience, and this should not distract the BBC from making any major changes to what is ultimately a thrilling and thought-provoking escapist form of TV entertainment.
Firstly I must firmly point out how brilliantly capable Peter Capaldi is in this new episode. His performance has been rarely better - if ever - than here. His onscreen alter-ego did have the somewhat tired routine of letting UNIT prop him up as his own private fighting force, but still did well last week. Now the Doctor emerges from the metaphorical shadows and is decidedly more proactive, causing a potentially explosive situation to resolve itself in the best possible manner.
This time he still has to work with UNIT, but shows his anger at their methods. The daughter of his late friend Alistair is the prime recipient. He wants the pacifist route but Kate Stewart quite firmly wants to veto that, due to the 'peace failing already'. Because the Doctor must now finally resolve the mess that his previous selves were partly responsible for, and show some wit and resourcefulness, we really get behind the main man with real verve. His final solution to the crisis is as gripping as any. (even if I find the method a touch labored, as I will discuss further on). It also manages very well to show his haunted state concerning the Time War still looms large. This also works on a subtle level as another good tie-in to the Twelfth Doctor's first (fleeting) onscreen appearance, when he appeared from his then-future lifecycle to help the other Doctors save Gallifrey.
Yet I was always expecting the acting chops from our lead performer, and now that the higher-ups have ironed out the wrinkles that seemed to alienate some viewers, he is really firing on all cylinders. Hopefully Capaldi has at least two further full series within him. He really appears to stutter and has unstable body language when trying to convince the two clashing forces to stand down, making this an utterly authentic portrayal. We see an alien being who has taken on many 'normal human' mannerisms and idiosyncrasies such is his attachment to this world. The use of a game show host imitation, complete with a Southern American accent, is wonderful to witness.
Jenna Coleman's acting is barely inferior to her co-star. There is a good stretch where the real Clara is forced to try and stop her evil imposter from causing devastation, as she sees through the Zygon's eyes on a 'TV set in her flat'. Later on there is a pretty good translation of the script's attempt to find some eventual redemption for the Zygon imposter. We had an evil companion before on modern Doctor Who with a specially bred Martha clone courtesy of the marauding Sontarans, but the evil Bonnie is a cut above; with no disrespect to Freema Agyeman's efforts.
Coleman is really a strong and engaging actor, and will be much missed by me. The present series is doing very well to tease the manner of her exit, and it is best to leave fans wanting more, even if she really gels very well with Capaldi. But what about this story's other assistant for the Doctor?
With UNIT boffin Osgood rescued and helping the doctor throughout the concluding part, this is another instance of the pseudo-companion dynamic. They have a wonderful rapport, and the more annoying fan-girl side of Osgood is firmly placed to one side, allowing for a very sincere and well-characterized participant to the pacey storyline. It also is a welcome device despite dating back almost to the very beginning of the classic series, when used in (the mostly missing) Troughton story The Faceless Ones.
What helps make this latest use of a stand-in assistant quite strong is the 'dual Osgood effect', with them often chiming in at the same time when they speak. The recorded video message and how it is presented in a frame in present action is also commendable and gives Ingrid Oliver a great platform to expand on the rather more two-dimensional character she began with in 2013. The mystery over whether this sweet bespectacled lady is really a Zygon replacement or not is a nice touch in these episodes. First it seems there really is a hybrid process, so only half the original perished in Death in Heaven. But then more dialogue seems to suggest that Missy did indeed kill the original human after all. It is tempting to assume that a Zygon would somehow be more stoic knowing it was in a lethal situation. Regardless, this episode's co-writer Steven Moffat wants to spin this out in his usual fashion: open-ended character paths being a typical feature in his vision of the show.
The new direction for the plot with humans being threatened with being turned into Zygons and losing their sanity and sense of identity is promising. However I feel it could really have been explored a bit more and to greater effect. We do get a very moving scene where the Doctor tries his utmost to prevent the newly created Zygon from destroying himself, but has to live with his powers of persuasion not being enough this time round. But ultimately this new wrinkle to the plot does not really tie in well with the main objective of the splinter group to secure the Osgood box and so opt for an effective genocide of the humans that they so resent.
The climactic section where it is potentially left to humanity to cause genocidal disaster as much as the rebel Zygons is the ultimate lynchpin of this two-part story. Whilst some quarters will no doubt rave about this extended finale to the story, I am a little less sure. It certainly feels quite dramatic, but once we sense there may well be no actual weapon there, and the boxes were actually empty and so only stand for symbolic threat, it all just feels like a bit of a cheat. The Doctor did not have to worry unduly when leaving this pair of objects behind, whereas he did have to manage the potential threats of the Hand of Omega and the Nemesis statue when previously sporting a strong Scottish burr. It is also kind of predictable and seems to be revealed as a new twist in terms of how everyone reacts, whereas viewers may not be quite so dumbfounded,
Later on we have a pretty good coda to the story. Having Osgood forego a proper stint as companion on the TARDIS so that she can help UNIT protect the Earth, and keep the peace that seems to have been forged here is more than acceptable. Also the Torchwood spin-off series established the wealth of threats that the Doctor simply cannot (and in some circumstance should not) deal with. Yet having the line about the boxes as safeguards continuing to need a guardian somehow feels like a ret-con justification for such a phony plot 'MacGuffin'.
And as stated last week, the splinter group leader who so casually steals the form of our beloved Clara really did some terrible things. She may be forgiven by the Doctor, but is it his place to be so obliging on behalf of all the victims and their loved ones? The way he was prepared to give in to Clara last year over Danny's macabre fate at the hands of Missy established a seeming precedent, but maybe the Doctor is more of a hypocrite than we have come to expect. If it is not someone he directly knows who suffers, than it is not quite the same situation apparently.
The justification the writers give is that Clara gets inside her head. But Bonnie's core personality still was responsible for murder and causing terror, and that is just brushed aside in the final minutes by her conveniently taking on warmer empathic and sympathetic qualities. Even if I did find the smooth survival of this enemy acceptable, then her eventual assumption of the 'missing' Osgood twin is still pretty forced, and seems like an excuse to prolong a visual gimmick. No dispute can be made that the original concept of the twin Osgoods dearly loving one another was a fine way to hook different audiences into the early sections of Invasion, but did Inversion need to prolong this still further?
I do like the 'credit to both species' line, but it would have worked better if there was a different Zygon involved who was firmly on the side of Earth, or had become a turn cloak. Given all the promise with The Day of the Doctor setting up a suitably complex scenario - which this new story is taking its roots from - I do feel just a touch deflated at how things materialise ultimately.
More positively this story has given fan favourite Kate a better role. She is clearly having to make difficult decisions and realise that the Doctor is not always the one who can ultimately affect both the Earth's and humanity's future. The UNIT chief shows some good impersonation of what was assumed to be yet another Zygon clone, and we are wrong footed in an enjoyable fashion. (One nit-pick remains in that the rebel Zygons would know that someone is still just human rather than replicated). I also have sometimes felt there was not quite enough on paper to justify Kate's continued presence on the show, but this story has changed that stance in welcome fashion. We get a nice nostalgia quote in "Five Rounds Rapid", which echoes her father from the celebrated Pertwee story The Daemons. That line though is not played for any humour and shows her defiance against the softer approach her Time Lord ally prefers. And it is understandable given her learning of the brutal slaughter of the UNIT team, as so emotionally described to her by the fake Colonel Walsh.
Also, having less new characters involved in the action is perhaps not a bad thing as we get more focus on the regulars and pre-established recurring characters. As documented elsewhere, writer Peter Harness was at pains to provide good strong roles for female characters. Clara, Kate, Osgood and the apparently deceased Jac all have made this a story to inspire young girls to lofty heights in adult life. On the other hand, there may have been potential for some interesting scenes that could take place around the world, and which was one of the reasons I personally liked The End of Time. So it is a possible missed opportunity not to have some memorable cameo roles that show the far-reaching peril that can be unleashed.
This episode bears a co-writer credit for showrunner Steven Moffat. As we know, he so often produces the most outstanding episodes, but he can also yield some more unremarkable efforts. Such is the change in quantity since his last script for the Tenth Doctor era, there is a corresponding change in consistency that reminds me of Russell T Davies' efforts. That brings me to another echo from the past. I am not quite sure how welcome is the whole conceit of Clara being trapped in 'her flat', as it clearly feels a bit like a recycling of the abstract concept seen in Forest of the Dead. Yes, it has some direct impact on the action but in a way which feels perhaps more interesting than believable: we witness the effect of a misfiring anti-aircraft weapon, and Bonnie sending a text explaining her human counterpart is still there to the Doctor/Osgood duo. In immediate dramatic terms though it remains watchable and well-presented, and it is better to have some balancing of the two Claras screen-time which was unavoidable given last week's important twist. Also it is necessary to provide strong material for Coleman this late on in the series, as virtually all reports are saying she will never return as an active companion after 2015.
Production values again are as good as fans and casual viewers have any right to expect, even if the actual plot is seemingly a lot smaller-scale this episode. The world's safety may be at stake, but the focus on events in England makes the overall story feel a touch less engrossing than in the set-up. But much of the direction by Daniel Nettheim is again strong. The scene where the Doctor talks to Bonnie having just survived her deadly attack on him could have been dull, but mixes in video phone call zooms, reverse zooms of people walking, and alternating perspectives. The gripping moments as Etoine suffers his 'infection' are also very well-helmed. However not much really could be done with the overly long confrontation scene with Kate Stewart and the fake Clara as they listen to the Doctor's grand speech. It is a darkly-lit chamber with few noticeable features, and even the design of the boxes fails to offer much scope for visual flair with the cameras.
Music is less remarkable in this one, with perhaps rather more subtle themes for the trapped 'real Clara' sections. The dearth of perilous action in comparison to Part One results in perhaps the blandest score from Gold so far this year, even if I found his The Girl Who Died effort to be weaker. But this latest story has many other hooks both in spirit and in visuals to make an impact, and be a competent component of a run that is more consistent than (the still very enjoyable) Series Eight.
Overall this two parter is pretty solid. A lot was promised in Invasion, and this conclusion manages to work reasonably well. I would put the story in current third place after the excellent opening two stories, and clearly ahead of the (loosely linked) Maisie Williams multi-episode affair. It deserves to be remembered fondly, and to hook in new young fans via repeat showings, and commercial releases (possibly in the form of presents). And the Doctor may have had his goofy moments in the opening section that was Episode Seven but comes good and then some this time round.
But when push comes to shove, I think I will continue to re-watch and enjoy the Tom Baker tale that started the whole Zygon mythos in the first place; Terror of the Zygons was always going to be a tough act to follow. Notwithstanding my own tastes, Series Nine continues to showcase just how confident is the Peter Capaldi cycle of the enduring twin-hearted Doctor.
Filters: SERIES 9/35 TWELFTH DOCTOR Television