Here we are, more or less mid-season, and as someone who’s recapping this block of episodes week in and out, as well as someone who’s been deconstructing this series for years now, I’m frankly a bit flummoxed by Steven Moffat’s inaugural year. It’s starting to feel as if the season is only going to make total sense once it’s over and done with. Some time ago, long before the season began, Moffat was saying that he wanted the season to be referred to as Season One, rather than Season Five, and that’s starting to make a whole lot more sense. Aside from the occasional references to the past, everything about this year feels as if some kind of reset button has been hit, and yet it remains difficult to watch without bringing the baggage of the last five years into the equation, even though I’m fairly certain Moffat would prefer that we didn’t. I mean, it’s hard to picture a character like Mickey Smith, for instance, fitting into any part of this narrative in any kind of believable manner, and yet you almost want somebody like him to turn up in a scene just to remind you that you’re still watching the same show.
I continue to want to compare this material to stuff from seasons’ past, and yet this nagging feeling keeps telling me that’s just an unfair thing to do. I wonder if Moffat’s even got some kind of grand master plan that extends beyond this block of 13 episodes? None of this means I’m not enjoying the season, just that it’s a much different kind of enjoyment than what I’ve become accustomed to during the Davies years, which began feeling predictable about three years in. Say what you will about this season, but, at least at this stage, it is most certainly not predictable. In some ways watching this season is as disorienting as the predicament in which our heroes find themselves in this week’s episode. As viewers, we’re experiencing a new reality of the series, while we keep thinking back on what we came to know prior to this season’s start. Which is the real “Doctor Who?” The Davies or the Moffat era? Both, or maybe neither? I’ll likely elaborate on all of this further during the final recap of the season.
Continue reading »
I was sold on “The Vampires of Venice” (not “Vampires in Venice,” which is what I mistakenly called it at the close of last week’s recap) by its beginning – well, its second beginning, since there are two. In the first, we are in Venice of 1580 and Guido (Lucian Msamati) has brought his daughter Isabella (Alisha Bailey) before Signora Rosanna Calvierri (Helen McCrory). He wants for her to be a part of Calvierri’s school, so that she can have a better life. Since we’ve all seen plenty of “Doctor Who” at this point, we know this isn’t going to end well for Isabella, and since we’ve seen the previews we also know that Calvierri, as well as her son, Francesco (Alex Price), are vampires (or are they?). So there’s precious little that’s surprising or of interest about Beginning #1, although the sequence ends with a lovely little smash cut from Isabella screaming to Rory (Arthur Darvill) screaming at his stag party, which is Beginning #2, and the point at which I was won over. The two beginnings are also the jumping off points for what end up being the episode’s A and B plots, but more on that later.
Ah, the stag party! Drunken friends, cardboard cakes and the clichéd sound of “The Stripper” wafting through the proceedings. The Doctor may rescue the human race from all manner of grotesque alien creatures and life threatening situations, but this is the first time he’s rescued a human from this occasion that’s grotesque in an entirely different manner. From the moment Matt Smith pops out of the cake, he’s bloody brilliant, simply because he chooses to play it straight, in what’s a thoroughly absurd setup. Many actors would’ve mugged and tried to add to the already ridiculous situation, but Smith (or perhaps freshman “Who” director Jonny Campbell?) allows the scenario to happen around him, and in the process the joke becomes about five times funnier than it has any right to be. I’ve been trying to figure out for weeks now how to explain precisely what it is about this actor in this iconic role that I find so very appealing, and this scene offers up the best example yet of why this guy is the perfect Doctor for his time. Smith’s very much the anti-Tennant, which isn’t to bag on Tennant, but the series really needed this kind of change coming off Tennant’s tenure, and it’s a decision that’s shaping up to be the best one Steven Moffat made for his inaugural season.
Continue reading »