“Dirk Gently Episode 3″ Review

880841_8a005585.jpg A sort of cross between Fox Mulder and Arthur Daley. That’s how I see the character of Dirk Gently. Unfortunately, this show seems determined to place him as somewhere between a low-voltage Sherlock Holmes and a watered down Clouseau. The Clouseau stuff is new: a bit of physical comedy when he tries to bring himself down to eye height to flirt with the client he’s stalking (reminiscent of kind of awkwardness of Sellers or Steve Martin, rather than the fluid brilliance of a Cleese or a Keaton); and instead of Kato’s ambushes, it’s the cleaner leaving booby traps.

And yes, I’m grumpy because there’s no Baxendale in it again. It’s not just because it offends my Baxendale-worshipping sensibilities, it’s also because Susan Harmison is a far better foil for Dirk than this version of MacDuff. Dirk needs someone who is sceptical – event a bit cynical – to puncture his reckless optimism, and also his ego  (just as Kate Schechter did in the second novel). Boyd’s puppy dog MacDuff is just faithfully seeking approval, which would be tiresome enough even if Cumberbatch and Freeman hadn’t already done this far better in Sherlock.

The plot was a bit thin, too, almost a subplot masquerading as a storyline – once again, nothing supernatural, and therefore nothing that needed Dirk to solve. Jason Watkins is entertaining enough as Gilks, but even I’m starting to wonder why he tolerates Gently (in The Long Dark Tea-Time of the Soul he lets Gently take some of the victim’s cash in exchange for a plausible explanation why an impossible murder could be suicide). It would have been acceptable as a mid-series episode, but since there are only three, this was in effect the series finale, and felt like a bit of a let down.

All of this complaining, of course, is by way of saying: PLEASE, BBC, PLEASE make some more Dirk Gently. The pilot was sublime, and one of the three episodes this series was nearly totally wonderful. This is a show with a huge amount of potential, and I don’t want this to be the last of it.

And please have more Helen Baxendale in it, too.

Photograph: Mediaeval tower below the Guildhall, Bristol © Copyright Tom Jolliffe and licensed for reuse under this Creative Commons Licence.

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“Dirk Gently Episode 2″ Review

So I got lots of Baxendale in this one, and I’m a bit happier. Well, quite a lot happier actually – lots of lovely Bristol too, especially Wills Hall where I once went to a party (or maybe several parties – I lived next door for a year, but don’t remember it well).

Last week I was concerned at the “possibleness” of the plot. This week, things started out even worse – following the format of a low grade ITV whodunnit (perhaps that’s the true pedigree showing through, it is made by ITV after all). In the books there was very little mystery around the identity of the murderer (so these are only minor spoilers): Gordon Way was killed by an electric monk, Geoff Ansty by a seven-foot green monster with a scythe. It’s how the former links with MacDuff’s sofa becoming stuck on his stairs (and the impending end of all history) and how the latter connects with Janice Pearce being turned into a vending machine by the god Thor that is important. The Fundamental Interconnectedness of All Things, in fact. Sometimes there’s a clue to this (“the question is not so much what he did, but how it relates to everything else”) but the story travels along more pedestrian lines. Dirk Gently may be a charlatan but he’s shouldn’t be a second rate Sherlock Holmes. Sadly lines like ”if there was a God – which we as men of science cannot accept” seem to be hinting at a rather constraining rationalism. Where’s the Dirk who rejects the impossible?

While I’m complaining about the failure to pin down the Dirk of the novels, this version certainly appears to have less charm or wit as is evident in his exchanges with Susan (“what the hell is she doing here?”) Fortunately, there seems to be a bit of a revival with the emergence of Dirk-in-love later in the episode. By this time I’m enjoying the story a great deal more. Initially I had been concerned that the resolution would be the AI building we’ve seen so often before. But every scene with Mangan and Lydia Wilson is electric, and the chips in the library exchange scene is a magnificent masterpiece. Dirk’s reaction, when he discovers the truth about Max, is wonderful. And Lydia Wilson stilted, limping delivery is perfectly pitched.

“I was going far away. But then I discovered salt. And vinegar. And chips. And then I met you. I very much enjoyed our kiss. And so, I stayed.”

So although it’s by no means perfect, it does get better and better. By the scene where Dirk sees Jane onto the bus (incidentally in front of Bristol cathedral) it had fully redeemed itself. Much better than last week, and maybe even as good as the pilot. Let’s hope the next one, the last in the series, can match up.

Image: Bristol University, Wills Hall, main quad © Copyright David Cumberland and licensed for reuse under this Creative Commons Licence.

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“Dirk Gently Episode 1″ Review

20120311-135235.jpgBefore watching the new series of Dirk Gently I rewatched the pilot, which looks even more flawless on revisiting: it’s intricate, funny, moving, and captures the whimsy of Adams’ character and ideas without slavishly adhering to (entirely unfilmable) plot. It only puts a foot wrong once, and that’s with Dirk’s account of Schrödinger’s cat getting bored of being poisoned and escaping from the box, an idea lifted more or less directly from the book, but in this case with Richard apparently ignorant of quantum theory and crucially therefore unable to call out Dirk’s apparent appropriation of the thought experiment as an anecdote

My most immediate issue with Episode 1 of the series was the lack of lovely Baxendale. I had expected Baxendale. I had counted on there being Baxendale. Even though I was sure I’d read she’d been involved in the filming, now I began to doubt that she would even be in it again. There was no reassurance until the “next time” trailer and to some degree that marred my enjoyment.

But perhaps the real issue I had (after the lack of Baxendale) was the… possibleness of the plot. Dirk disregarded Holmes’ methodology (“When you have eliminated the impossible, whatever remains, however improbable, must be the truth”) preferring not to discount the impossible. But there was nothing impossible here: no time machines, ghosts, electric monks or gods walking the Earth. Instead we got conspiracy theories. Boring.

I’m also not too sure about the Gently/MacDuff relationship yet. Much was made of the one-upmanship in this episode (eg. the chair) but this was unsubtle compared to Dirk duelling with his cleaner over his fridge in the book. Given his status as her employer, he was the one being played by her. In the books, Dirk is rarely an agent of action, more a passenger (albeit with a unique insight into interconnectedness). That’s the whole point of Zen driving.

Having said all that, I’m still enjoying the show hugely. I had hoped and expected Howard Overman would write the series, but this will be his only episode for this series. I suppose with more Misfits and Vexed in the works, something has to give (there were even a couple of episodes in the last series of Misfits he didn’t write). Most of all, though, I’m hugely enjoying Stephen Mangan’s Dirk. It’s an inspired piece of casting, and as long as he’s in the role, I hope they keep making more and more.

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“The Doctor, The Widow & The Wardrobe” Podcast

There are few traditions I cling on to as we go through the annual festive routine. One is brandy butter. another, of course, is Doctor Who.

Since 2005 (with an exception during the year off) the Christmas episode has been the festival movie version of the show, part James Bond, part Frank Capra. This Narnish addition delivers the requisite holiday cheer, and the misjudged “comic” cameos and wooden techno-babble fail to spoil that. I chatted to @lone_locust about it for the @fusionpatrol podcast:




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Doctor In Distress

Starting from scratch, and brand confidence: two reasons why Doctor Who fans… well, this Doctor Who fan at any rate… might be perturbed by this evening’s announcement concerning the development of a new big screen adaptation to be directed by the excellent David Yates.

I love the fact that Doctor Who is one big story that has run for 48 years, regenerating through genres, eras and styles with an unearthly youthfulness. It’s a shame that David Yates, who directed Paul Abbott’s superb political thriller State of Play and did wonderful things with the latter half of the Harry Potter franchise, feels that “Russell T. Davies and then Steven Moffat have done their own transformations, which were fantastic, but we have to put that aside and start from scratch.” This isn’t the first time this has happened: when the show found its first success it was just 2 years before a cinema version was released rebooting the TV continuity by making the Doctor human and recasting companions Ian, Barbara and Susan. Following the 2005 revival it’s taken 6 years to announce a movie, and it’ll apparently be a further 2 to 3 years in the planning. The first movie was successful enough to spawn a single sequel, presumably BBC Worldwide are banking on this one doing better than that. But even though this isn’t the first time a “fresh start” has been made with the Doctor Who concept, I find it difficult to get invested in. Compare this, to, say, the 1996 made for TV movie which despite being essentially a pilot for Fox in the US was so dedicated to the continuation of the original show it began with the regeneration of Sylvester McCoy (very probably to its detriment in terms of attracting new audiences). Despite the poor regard it seems to be held in, I still enjoy that far more than the Peter Cushing movies of the ’60s. I’d watch anything David Yates directed, but now the Doctor is back on TV there’s no additional appeal in it being a Doctor Who movie (perhaps the opposite, even). There’s something about the continuity of the show that means it will be judged on more than just how good a film it is.

Wow...I can't believe how negative fandom is being already. #drwhomovie
@crdb1976
Chris Bryant

The other reason to be fearful is what it says about the BBC’s confidence in Doctor Who that they’re willing to dilute the brand in this way. Since the early summer, Private Eye have been running stories filled with innuendo about the BBC’s slicing away at its commitment to the show, with the next 14 episodes commissioned to be spread far more thinly beyond 2012. Eminent Doctor-Who-ologist Matt Hills fears it might even mean suspending the TV series.

@ Now *that* I might get excited about. Though I'm with those speculating that a film & TV series couldn't run concurrently.
@mat_hills
Matt Hills

The concern is rooted in the fact that a large part of Doctor Who‘s current success is in its revenue raising merchandising and branded spin-offs, and to have two different versions of the show trying to cash in on the same market would be very… weird. So whether or not the TV series continues, to be contemplating a movie suggests that the BBC are willing to risk the TV series and everything it earns for them to take a punt on trying to break into blockbuster cinema. It seems an awfully long-shot to me, and I can’t escape the conclusion that the BBC no longer value the Doctor Who brand as highly as they did a couple of years ago.

I sincerely hope I’m wrong. We don’t want another charity single.

Photo: Doctor Who and a Dalek with the TARDIS by Camera Wences CC BY-NC-ND 2.0

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“Holy Flying Circus” Review

To have something you hold dear taken lightly, to hear familiar and cherished words crudely imitated for the purposes of entertainment; that’s something Holy Flying Circus has helped me to understand. Like Life of Brian it was incredibly clever and well executed, and the jokes were very very funny, but it made me feel queasy to have the motives of the Pythons and by extension the righteousness of their conduct even questioned. Yes, I realise the irony in all this. It’s made me into Mel Smith in the Not the Nine O’Clock News Sketch, which I’ll now have to post again:

I suppose the major criticism I have, if I try to be objective for a moment, was that the recreation of the Friday Night, Saturday Morning show added nothing to the original. The additional context and the distracting cutaways were superfluous. Watching Palin get so upset in person is far more affecting than seeing it re-enacted. The authenticity is more important than anything else.

Still, you cannot fault it for its respectful treatment of The Nicest Man in the World. To criticise Palin? That would have been blasphemy.

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The Life of Monty Python

I’m looking forward to seeing Holy Flying Circus which is broadcast on BBC4 later this evening. There’s been quite a bit of publicity about it, the fact the Pythons have made some po-faced comments about the accuracy of it, and the Pythonesque pepperpot doubling (Rufus Jones plays Mrs Palin as well as Terry J).

I realised I’d never seen the whole of the Friday Night, Saturday Morning programme that this drama is about (the chat show on which Palin and Cleese confronted Malcolm Muggeridge and Mervyn Stockwood the then Bishop of Southwark about the perceived offence cause by Life of Brian). I’ve seen the clips that are always shown in Python docos or included as DVD extras, what about the rest of it? A search surfaced an incomplete recording: there’s an interesting preamble from a very relaxed Palin and Cleese, a warm up rant from Stockwood, and then the same familiar old clips. Here it is.

Is there a more complete version available anywhere?

In the meantime, at least the complete version of The Life of Christ sketch from Not the Nine O’Clock News is available.

I’m not sure what to make of Holy Flying Circus from the clips I’ve seen. Like any of these biopics the portrayals can at moments absolutely capture their subject (like right at the end of the following) – my Mum didn’t notice that this clip wasn’t Palin and Cleese and didn’t understand why anyone had filmed it – but the comic signature of their targets, the timing and intonation, are unique and unrepeatable.

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“The Wedding of River Song” Review

Three thousand years in the future, a time traveller meets someone. A woman. A woman he’s never met before, and yet who knows his name.

“There’s only one reason I would ever tell anyone my name. There’s only one time I could…”

Back in 22nd April 2011 the time traveller meets her again, for what should be the last time. It’s the end for The Doctor. Because she’s going to kill him.

Steven Moffatt is clearly not a writer who believes in giving himself an easy time. This is the only time a series of Doctor Who has ended with a single story, though in many ways it’s not a single story in the traditional sense, because this year the inevitable story arc has been woven strongly throughout all of the episodes he is written. In some ways it is the final episode of a five part serial, and an ambitious serial at that. It has to tell the story of the Doctor’s death: because we’ve seen him die, we know it is a fixed point in time. “Maybe he’s a clone or a duplicate or something?” No, that most certainly is The Doctor and he most certain is dead. Instead it provides a wonderful conclusion to the Silence in the Library story (rating 11/10) and cheats miserably when in resolving the Doctor’s death (rating 0/10).

As an entry in story focusing on the events of 22nd April 2011 it began well. We already know that there was the younger Doctor, last seen in A Christmas Carol and an older Doctor following from Closing Time each approaching the day from a different perspective. Stepping out of time, the alternate timeline Soothsayer Doctor proved an effective way of taking a slower, sidelong look at the potential consequences of the Doctor and River’s decisions in the fateful moment. The Doctor’s helplessness and desperation, River’s neediness, the hand fasting, the kiss; it all came together in a perfect point of inflection in the Melody/River continuity. I loved it.

After a series of Amy & Rory and then the Doctor fretting about his demise, turning the tables to make the Doctor’s goal in this story – his triumph – the bringing about of his own death was a superb device. Everything came together in a single moment on top of a a pyramid. Unfortunately, in the last five minutes, a switch was pulled that undermined not only the audacious opening two-parter but the climax of this episode itself: the teselector. Of course when the teselector shows up at the beginning of the episode I dismissed it. That would be cheating. “Maybe he’s a clone or a duplicate or something?” asks Amy, over the Doctor’s body, in The Impossible Astronaut. “Let me save you some time” says CEDIII. “That most certainly is The Doctor and he most certain is dead.” That’s the writer’s voice. That’s his promise: not a duplicate. Yet that is exactly what this is, regardless of whether there’s a miniature Doctor inside it. I rewatched the scene on top of the pyramid. Does it have the same emotional impact if you know that the Doctor didn’t really whisper his name; that it was the teselector that River kissed? Does it even make sense than they as opposite poles they short out the alternative timeline if River’s not really even touching the Doctor?

No, no, no.

It’s a cheat. And it’s cheap. The same goes for River’s apparent admission that she was acting not recognising the suit she wore as a little girl in The Impossible Astronaut. Alex Kingston is the actress, and there’s something fraudulent about claiming that River was engaged in such an undetectable deception.

Despite all that I do still like this episode. Having hugely enjoyed this series – the best series of Doctor Who ever, in my book – I’d wanted this episode to be the best story in the arc (hoping it would be the best in the series would be too ambitious following the heights scaled inThe Girl Who Waited). And it did have its moments. Indeed, purely for the line “she’d like to go out with you for…. texting and scones” it deserves classic status, and the tribute to Nicholas Courtney’s character is deeply touching and effective. I’m not sure how much the disappointment of the last five minutes bothers me, yet. I love Matt Smith’s performance throughout – yet again he is so unexpected, so old, so alien. And as in A Good Man Goes to War Karen Gillen shows us a chillingly tough side to Amy Pond.

So on to some minor niggles…

  • Eye-drives: isn’t offloading all your memories far too complicated? I had assumed they would just have a tiny little screen in them that shows a Silence to those who work for them, since when you’re looking at them you remember them.
  • When everything is resolved, who can remember the alternative reality? It made sense that the Doctor and River do, but I was surprised that Amy appears to – so who else does? And when do those memories occur? I had assumed they would occur on 22 April 2011 – but that would change the version of events we’ve seen – and I think we see those that for Amy, the alternate reality events occur post-God Complex. If that’s correct, I cannot see the reason, and whether it is or not, I think this is an area where the writing could have afforded a little more clarity.
  • What changed time when River saved the Doctor by draining her weapons systems? What did we see in The Impossible Astronaut and what could have changed it? The Doctor’s foreknowledge might have, but if River was going to do that she’d have done that originally and we’d have seen the Doctor not die. My interpretation is that the original course of events included River trying to do this and undoing it following the alternate reality timeline, but I’m not certain this makes absolute sense. I’m also surprised by how much River’s demeanour changes from her sorrow before killing the Doctor and her flippancy after avoiding it. Could there be other timer-wimey trickery here that is yet to be revealed? Will it link up with how River was at Amy and Rory’s wedding (and Mels wasn’t)?
Once again, River’s role as the ultimate weapon against the Doctor seems to be rather trivial since she appears to have no control over the suit. As in Let’s Kill Hitler when she seemed to be a rather ordinary assassin, Kovarian and the Silence appear to have invested a lot in her for little return. I realise I also missed the question “How does River time travel?” from my list of questions, something that needs answering since River took Amy and Rory home at the end of A Good Man Goes to War. Perhaps it is this that Kovarian and the Silence needed?

Indeed very few of the questions were answered. We did not find out who is Kavorian’s boss (other than the Silence, but who do they work for). We still don’t know, for example, who could beam the signal that controlled Amy’s flesh avatar into the TARDIS. So is this story over? I don’t think so. We have Trenzalor to look forward to, Kovarian is still alive. And there’s no longer any reason why the Doctor and River might not meet again. After all, she’s yet to learn his name.

I hope they do.

 

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Pre-Finale Questions

Doctor Who reaches the season finale with The Wedding of River Song on Saturday. There are a lot of questions still needing an answer. If we don’t get all the answers in this episode, that’s fine with me, but I hope any we do get are good ones. And I hope we get some good new questions, too!
  • How does River know the Doctor’s name?
  • Who blew up the TARDIS?
  • Why does the (older) Doctor invite the Pond family (and himself) to Lake Silencio?
  • Why does River not remember being the little girl in the astronaut’s suit?
  • Who is Madame Kovarian’s boss?
  • If that was the Doctor’s cot, why did he have it in the TARDIS?
  • Who were Mels’ parents or guardians in Leadworth? (great question from @lone_locust)
  • How did Mels get to Leadworth in the 1990s?
  • Why wasn’t Mels at Rory and Amy’s wedding?
  • How was River at Rory and Amy’s wedding?
  • Did the Doctor revisit Rory and Amy’s wedding after River kissed him with her toxic lipstick, and before she saved him with her spare regenerations? (And if not, why the top hat and tails?)
  • What did the Doctor whisper to River when he was dying?
  • Doctor Who?
  • What do Time Lords pray to?
Some other questions have answers that have been heavily hinted at… but are these assumptions true?
  • Who is the little girl who regenerated? (River)
  • Who kills the Doctor? (River)
  • What is the question hidden in plain sight? (Doctor Who?)
  • Who did the Doctor see in room 11? (The Doctor)

Have I missed any?

Update 22:55 I missed some.

@ How come Amy & Rory seem to be living in a house in impossible astro. Is it the same one from God Complex?
@lone_locust
Eugene Glover

Also

  • When was Amy swapped with her ganger?
  • Who could project the signal to control the flesh through time and space into the TARDIS? (may be same answer as fifth question above)

Have I missed any more?

Update 1/10 12:20

Another thought: what actually kills the Doctor? What is that green flash? A weapon or a phenomenon, eg. the energy discharge from the shorting out of some time differential?

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“The Coming of the Terraphiles” Review

I don’t normally take my Doctor Who in text form but I was intrigued by Glyn’s tweet.

Finished Michael Moorcock's Dr Who novel last night. Odd, quirky but fun
@egrommet
Glyn Mottershead

For about the first third, I was convinced Moorcock was purely pastiching Wodehouse. There’s a henpecked husband (Uncle Tom, James Schoonmaker, etc), a plot to steal something an object by its owner (cf. Aunt Dahlia’s fake pearls) a character called Bingo, young lovers forbidden to marry and prone to squabbling over misunderstandings, and an Aunt Agatha type (the splendidly named Enola Banning Cannon). And why not? I enjoyed The Unicorn and the Wasp doing Agatha Christie and surely the joy of Doctor Who is that it can regenerate into almost any genre, from one episode to the next, with no warning…

Then, abruptly, the Wodehouse plot is suspended as the large cast of players of Quidditch – no, sorry, the Renaissance Tournament – embark on a perilous journey on a series of space skiffs. The narrative includes increasingly frequent lectures (not always delivered by the Doctor, but in the voice of the author) concerning the nature of the multiverse, and the fact that space is a relative dimension of time.

Reading this must be a very different experience for a Moorcock fan. This is the first of his works I’ve read, and I got the strong impression that he was conscious of introducing readers like me into a Universe he has long established and is already familiar with. Indeed, Wikipedia informs me that Captain Cornelius, a pirate with a ship very reminiscent of Enlightenment is a recurring character. By the time I reached the final chapters of the book I was beginning to enjoy the awesomeness of the multiverse (as Miggea shifts between universes).

Despite the strange mixture of styles, my regret at the premature abandonment of the Wodehouse pastiche, weariness at throwaway jokes being laboured through the full length of the book, and the awkwardness of the cut-and-shut melding of a somewhat incompatible multiverse with the Whoniverse, I found this far more readable than other original Doctor Who novels I’ve persevered with in the past; indeed I found it hard to put down at times.

So I’d endorse “odd, quirky, but fun”.

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