Doctor Who - "The Almost People"

WHOSCALE: 5 out of 10

Considering that in my opinion, the bulk of the story was covered in the first half of the previous episode, it should be no surprise that the second half of this two part story scored lower on the Whoscale. 

Before I go into detail on what costs this episode so many points, I should note that the pacing for this story was a huge issue. I found it frequently difficult to understand what was going on because the dialogue from so many characters was gibberish. For some reason, Moffat seems to think that characters that talk extremely rapidly is "quirky." While this may be true, it should be a trait reserved only for the Doctor, not every character. When you get a room full of characters all conversing and their sentences are garbled because they're speaking so fast, it no longer becomes an appealing quirk, it becomes an irritating annoyance, because I cannot understand them. 

Besides the almost non stop music throughout this entire episode, that is perhaps my biggest complaint. As I stated in my previous review, the initial plot and story was not a bad idea for an episode of Doctor Who. The fact that it was a two parter of course, always yields a few points. However, in spite of the story's two part format -  and having watched this episode several times now since it aired - I still have trouble "keeping up" so to speak with the development of the story.

I think what I'm trying to say is that the episode does not have a very good structured narrative. For me, much of this episode felt like a mess, particularly when pointless elements start getting introduced into the story. For example, the doppleganger of The Doctor had no purpose whatsoever other than to confuse both Amy and the audience. Then we're forced to deal with yet another problem - as if we don't have enough of them already - Amy initially rejects the notion of "two identical Doctors," claiming that she can tell the difference between the two. This is later proven false due to The Doctor switching shoes with his ganger. What's even more ridiculous is that The Doctor claims that the reason he swapped shoes with his ganger was to determine whether or not Amy could truly tell a difference. Who the fudge cares?! 

The more I reflect on what I've just watched, the more I find it difficult to even summarize the story in my head. There was too much already going on by the time the Doctor ganger was introduced. Already we had a missing Rory, a missing Jennifer, a missing ganger Jennifer, three or four other gangers running amok and plotting a revolution against the humans. This was more than enough to resolve within the confines of this episode - and that's if you don't count the final ten minutes, which had nothing to do with this story whatsoever. 

Anytime a science fiction story deals with copies, there is always going to be that brief moment of confusion from the audience where they cannot tell which one is the original. Such an example would be the campfire scene in the snow in Star Trek: The Undiscovered Country, where a shape shifter takes on the form of Kirk, and a fight ensues. A few rolls in the snow later, we're confused on who the real Kirk is. However, the scene soon resolves this with the elimination of the shape shifter. My point is, it's confusing enough to drag out a story with two of every character over two episodes, it's practically mundane when you introduce a copy of a copy, as this episode did with Jennifer. We soon learn that Jennifer has in fact been dead for some time, at that BOTH the Jennifers that were walking around with Rory are gangers. Yet again, what purpose was served by having this element in the story? It served only to confuse the audience even further. 

Since Moffat teased the audience with the death of The Doctor in the season opener "The Impossible Astronaut," it was clear that throughout the remainder of this season, Moffat was leading us on with suggestions at how the incident at the lake could be avoided or circumvented. With "The Curse of the Black Spot," were introduced to a life support system that could sustain a dying person indefinitely. With "The Rebel Flesh/The Almost People," we're introduced to a copy of The Doctor. Naturally, my first thought when seeing this originally was that perhaps The Doctor at the lake was this ganger. However, the ganger dies of course near the end of the episode. 

The resolution of the story in my opinion was a joke. Cleaves' ganger - who for two whole episodes has sworn to wage war against the humans - suddenly decides that there is no point in the war and surrenders. Meanwhile, Jennifer, who is nothing more than a ganger, suddenly possesses the ability to morph into a horrific CGI monster similar to the one in "The Lazarus Experiment." That monster, in turn, was defeated by The Doctor's ganger simply pointing his sonic screwdriver at it, which reveals that it can break down the molecular patterns of the flesh, thus returning the ganger to a puddle of goo. So why not have just done this to the walkabout gangers from onset?!

The problem of having a double for each of the mining crew is quickly resolved by a few convenient acid-related deaths. The scene between the two Jimmys is practically scene for scene ripped from "Star Wars: The Phantom Menace," where a young Obi-Wan cradles a dying Qui-Gon. The fact that I'm actually finding similarities between a television series about time and space travel and a major motion picture franchise like Star Trek or Star Wars, shows that some, if not all of these modern Doctor Who episodes are well over done. 

Yet one other problem that the entire story touched on, was the fact that the gangers were in limbo between "real human" and "ganger" (hence the title of the episode). This issue is magically resolved after the gangers enter the TARDIS. Apparently, the TARDIS energy stabilized their molecular structure, so they were suddenly human. How convenient. 

It irritates me to my core when a writer is given the breathing room of two episodes, and yet the whole thing gets resolved in the final 10 minutes. It makes you wonder, "what the hell did we just spend the last hour doing?!"

The final sequence in the episode takes place in the TARDIS, and reveals the nature of the Eye Patch Lady that has been visiting Amy as a hallucination. Amy is revealed to be a ganger, which raises my next question. The ganger technology was unique to this time period, so assuming that Amy was copied during the time she was missing in "The Impossible Astronaut/Day of the Moon," (which was in 1969) how did the Silents become aware of this technology? It was a clever twist, but some of these little convenient resolutions feel like they were dreamed up at the last minute - to the point of just seeming ridiculous. To me, the whole "Amy is actually a ganger- a element that we just conveniently introduced" felt more like "this here, for lack of a better idea." 

I wanted to score this episode high, because it had the core of a good Doctor Who story, but like so many others in the new series, it was presented in a fashion that simply does not work for  a show like this.

Doctor Who - "The Rebel Flesh"

WHOSCALE: 7 out of 10

Following the masterpiece by Neil Gaiman, Matthew Graham was up next with a two part story. This would be the second story contributed to the series by Graham - his previous being "Fear Her."

It's not far fetched to say that "The Rebel Flesh" wasn't as brilliant as the previous episode by Gaiman, but it nevertheless was certainly more in line with what Doctor Who traditionally was than the opening two part story. The setting for the episode roughly follows what we would have seen in the original series - a isolated island, and old medieval castle, a group of scientist that aren't dressed in modern day tank tops and cargo khakis. The setting and format, as well as the storyline are really what carried this one though on the Whoscale. However, there were quite a number of things that I frequently noted while watching it.

The biggest drawback for me in this episode was the fact that the initial problem - the solar storm causing the gangers to go walkabout - was rushed through within the first fifteen minutes of the episode. It was actually so rushed that I recall having difficulty understanding what was going on the first time I watched it. Rushing the openig struck me as strange, considering that the story had the breathing room of two episodes. Normally, a two part story can unfold fluently and relatively slow, such as the case of "The Empty Child"/"The Doctor Dances." Once it was established that the gangers were now teeter-tottering between "almost people" and exact duplicates of their originals, the remainder of the episode focused solely on how the originals refuted the existence of self-aware gangers. At the same time, the gangers themselves struggled to accept their new humanity, and were met with rejection from their originals, as well as Amy. 

That brings me to yet another disappointing element in this episode: The TARDIS crew are essentially divided into three camps on the doppleganger issue; The Doctor taking on a neutral role, as well as a peaceful coalition approach, while Amy sides with the originals and Rory defends Jennifer's ganger. 

By this time, I was absolutely fed up with suggestive themes regarding the stability of Amy and Rory's marriage. This issue is completely irrelevant to the series, or any science fiction series for that matter. In Star Wars, Han Solo and Leia slowly began to fall in love with each the other, and Lucas loosely alluded to this over the course of The Empire Strikes Back and Return of the Jedi, but it was never so much that the central narrative of Star Wars had to be pushed aside for the sake of the audience finding out whether or not "it would work out." Simply because, that wasn't the issue, and it wasn't important. Not when you've got a platoon of Stormtroopers knocking at your doorstep.

With that said, I question why this continues to be a running theme in Doctor Who, even after it has been established (and then later undermined) numerous times that Amy's love for Rory and Rory's love for Amy is indisputable. The fact that I'm even having to gripe about "relationships" in a review of a science fiction series like Doctor Who is proof that somewhere, the show has gotten side tracked. This is something that shouldn't even be in a review like this.

The original series demonstrated for twenty-six years that you can have both male and female companions in the TARDIS simultaneously without having to incorporate a romantic theme. Jamie was the Second Doctor's companion for his entire run, save for the opening story for the Second Doctor, "The Power of the Daleks." Over the course of those three seasons, numerous female companions came and went, but never was a romantic plotline introduced, and the series did just fine. Some of the greatest stories in the history of the series were during Troughton's run.

The point is, science fiction needs to stick to being just that - science fiction. Any other genre that is introduced into such a series as a recurring sub-plot can serve no other purpose than to dilute the fundamental aim of the series - to appeal to the science fiction community. 

I've ranted about that enough. Yet another minus for this episode was the overuse of incidental music. This is something that I'm very picky about, and it's often one of the revived series' shortcomings. In the world of film, music is a method of invoking an emotional response from the audience by communicating a particular mood, or it can serve to accompany action sequences to amp up the drama. However, it can also serve as a distraction, particularly during dialogue scenes. If the writing is poor, or the actors aren't great, incidental music can be used to as a smokescreen for these things. The actors all looked great, and the story was fair, but it seems that Murray Gold often uses incidental music as a means of keeping the episode from dropping into a "too slow of a pace for the iGens." Many fans who were introduced to Doctor Who in 2005 and have since watched some of the original series have complained that it was "too slow paced" or "boring" to them. Granted, they are partially correct when noting it's slower pace, but the writing was brilliant and so were the actors, so it didn't need a smokescreen. You had to pay close attention to know what was going on, and music during a critical dialogue scene would only disrupt the viewer's concentration.

To summarize, the solar storm causing otherwise lifeless gangers to become self aware was the basis for the STORY. However, rather than spread that over the two episodes, Graham rushed through that to focus on what would be the basis of DRAMA - how the two sides would cope with each other. In the midst of this drama fest would be a torn Rory looking after the safety of a female ganger, all the while making a jealous Amy furious. The basic recipe for a modern day science fiction program. 

Already this story had disappointed on so many levels, and there was still half of it to go. For me, the story was covered in the opening fifteen minutes. What could there possibly be left to tell that would take an additional episode?

Doctor Who - "The Curse of the Black Spot"

WHOSCALE: 5 out of 10

Following the season's opening two part story written by Steven Moffat, show newcomer Stephen Thompson is up to bat. 

Let me get something off my chest first: From this point on, the show will no longer be consider "Doctor Who," but instead called "The Fantasy Adventures of Amy and Rory."

It truly hurts to give this episode such a low score, because having kept up with production the year before, I was aware that much of the filming of this story would be set on a pirate ship. Although it was obvious that BBC did this to coincide with the release of the new "Pirates of the Caribbean" film, this episodes fundamental plot had tremendous potential to be a great episode of Doctor Who, in much the way the Fifth Doctor story "Enlightenment" was. However, much of that potential was flushed down the proverbial toilet in favor of senseless, mind-numbing drama amperage. When I say drama, I mean drama that isn't a natural result of the story, but is instead "forced" by scenes, music, sound effects, dialogue, etc. that in no form or fashion make their existence in the episode plausible. 

Russell T Davies was notorious for this kind of page-filling gimmick, but I think this episode has to give him a run for his money, in both meaningless drama and plot holes. I'll start with the absolutely pointless scenes that did nothing more than serve as a drama injection:

1) The Dancer (Chris Jarman), is marked by the Siren  the same time Rory does, and both are intoxicated by the Siren's song - which I'll get to in a moment. Both are marked, both intoxicated. Just to show audiences what happens when the Siren contacts a marked individual (since it was deliberately omitted in the pre-title sequence to add mystery), Jarman's character is allowed by all others standing right next to him - even his own shipmates - to just waltz up to the Siren. BAM! Jarman's character vanishes, and now everybody has a look of fright on their face. This sequence was entirely unnecessary, and is not even remotely plausible. It was written to reveal what we didn't see in the pre title sequence, as if that matters. I don't care WHAT the Siren does, what matters is that each time some is marked, they disappear without a trace!

2) The second time this happens, Toby accidentally drops the crown onto the deck. Everyone in the scene knows that the reflections are the method of entrance/exit by the Siren, and yet they all just stand and watch as the crown rolls across the deck and comes to a rest. No one panics until AFTER the Siren appears. What the fudgecake???????!!! That is so mind numbingly stupid that it makes me want to skip to the next episode. What's worse was the whole sequence was done in slow motion, to really pump up the drama factor. To quote Falco Lombardi, "Geez Loweez!"

3) The third pointless scene immediately follows number two. Toby has been marked since he was introduced. After the Siren appears, Toby is allowed to walk to her, his father watching the entire time and The Doctor. Again, no one goes in to "Oh noo!!!!" mode until AFTER Toby has been taken by the Siren. How is this scene believable???!! Captain Avery, who previously showed deep concern for his son, just lets him walk into the Siren's hands? (Literally.)

4) Why was Toby even in this story? His character had absolutely, positively, without any doubt NO PURPOSE. The only reasonable explanation I can come up with is that he was there purely for the sake of heightening drama (more). Perhaps the producers think a kid in the episode helps the younger audience relate? Listen noobs, if you need a kid in a show of adults so that you can relate, you don't need to be watching. I grew up with Captain Kirk, Captain Picard, Roj Blake, Kerr Avon and Commander Sinclair. I didn't need a kid in Star Trek to relate with Spock's preference for logic. I didn't need a kid in Blake's 7 to relate with Avon's lack of trust towards others. 

Now on to the plot holes. Oh, brother. This will take a minute. 

1) After it was established that the Siren could only enter through a stable reflection, the remaining crew decide to hole up in the ship's magazine until a storm comes and disrupts the ocean's surface, thus making a stable reflection impossible. There's violent wind and rain, and Rory get's thrown overboard. Unable to swim, apparently. The Doctor elects to release the Siren so that she will save a drowning Rory. To accomplish this, The Doctor opens a barrel of water on deck. So how did the wind, rain, and tossing of the ship not disrupt that reflection as well?

2) Probably the biggest plot hole of the entire episode was when The Doctor, Avery and Amy agree to prick their fingers to lure the Siren out. Still in the storm, the barrel is closed, yet seconds after pricking their fingers, the Siren appears without needing a stable reflection. 

3) Rory was saved by the Siren and placed on life support. While on the system, Rory is conscious, breathing normally and is talking to Amy. In order to breath normally, your lungs must be devoid of any kinds of fluids, particularly ocean water. When the life support is turned off, suddenly Rory jerks into a spasm because all of his breath is gone and he can't breathe. Let's assume the first part is plausible, and the Siren has removed the water from his lungs in order to sustain his life. Why would Rory die when taken off the life support? Now let's assume the latter is correct -  Rory is still on the verge of drowning. How is he breathing normally? How you GET your oxygen can be changed - technology can bypass your nose and mouth to get oxygen to your lungs, but once your lungs are incapacitated, the body has no way to filter the oxygen into the blood stream. Both cannot be true.

4) The same problem as three goes a step further at the close of the episode, where all of Avery's crew are shown to be off life support now, without gasping for air. Granted, most of them had minor cuts, but Toby was described as being deathly ill.

Now that I've got the most notable drawbacks out of the way, I'll touch on a few other things that really brought this episode down. 

The idea of the Siren was great, and I can see why it was necessary to cast a real-life model (Lily Cole) as the part, but her singing was a little to much like what we had just recently sat through in "A Christmas Carol." Once again, the singing is directly tied to the plot, this time as anesthesia. What really made me cringe was just after The Dance is taken, the Siren's singing changes notes to sync with the background music. 

On the subject of music, there was a little too much "Jack Sparrow" towards the end. The opening scene was scored well, but as the episode progressed to a climax, the music became more and more overpowering. 

Another thing that bothered me was how Captain Avery relatively took the place as the companion for this story. 

For those of you keeping up with how many times Rory has died, this episode makes his fourth death since his introduction as a TARDIS member in "The Vampires of Venice:"

Amy's Choice

Cold Blood

Day of the Moon (although he didn't actually get killed)

The final scene where Amy revives Rory was perhaps the hardest for me to watch. Gone With the Wind music, tear-filled eyes, hugs, kisses, lovey dovey Amy and Rory with The Doctor taking a place in the background of the scene. At this point, it was clear to me that once again we were dealing with a season that would chiefly revolve around the companions, and not The Doctor. Just to recap since 2005:

Series 1/Season 27 revolved around Rose, her connection to Bad Wolf, and her ultimately saving the universe from the Daleks.

Series 2/Season 28 further revolved chiefly around Rose and her growing feelings for the now regenerated- into-heart-throb David Tennant Tenth Doctor, as well as her making a decision to leave Mickey completely.

Series 3/Season 29 was probably the best in this department, focusing mainly on the words of The Face of Boe and the return of The Master. However, in the three part finale, the companion yet again is the one to saved the day.

Series 4/Season 30 introduced a more likeable companion for Whovians in the form of Donna Noble, but again disappoints at the close of the season by having it roughly revolve around Donna's inability to avoid The Doctor, and once more has the companion save the day from the Daleks. When was the last time The Doctor beat the Daleks? Remembrance of the Daleks?

Series 5/Season 31 introduced the Pandorica as the story arc element, but once again much of the season was aimed at exploring the personal relationship between Amy and Rory, Rory's jealousy towards The Doctor, and Amy's inability to choose between the two. In short, a rehash of Series 2/Season 28.

I apologize for this review being so lengthly, but I had a lot to cover. In closing, this episode had the potential to be something equal or greater than "Enlightenment," which is saying a lot, but was lost in the producers continuing effort to make a science fiction television program appeal to EVERYONE. I will never get through saying how foolish this approach is. You're either sci-fi or you're not. You can't be both, and if you try, you're only going to end up gaining half an audience from each genre. Doctor Who was, has, and should always be pure science fiction. If you eliminate the soapy drama, yes - fan girlies and Jersey Shore fans are going to put down the remote and walk away, but in their place will come the Harry Potter fans, the Tron fans, the Trekkies and so on. 

Doctor Who has the capacity to go anywhere, anytime. It should not be restricted by the wants and desires of an audience that get their kicks off two people being in a troubled relationship, love triangles, scandal and sexuality.

Doctor Who - "Amy's Choice"

WHOSCALE: 5 out of 10

This episode was penned by Simon Nye, and was his first contribution to the series. This was perhaps the darkest story since Moffat took over, and the premise was no doubt a good one, but since the episode - as the title implies - revolves chiefly around Amy, it didn't fare so well on the Whoscale.

Once again, we find ourselves in the same hole we were in during the Davies era - a companion-driven story, with the antagonist(s) set as a subplot. That is the number one reason this episode did not score higher. What is the deal with Doctor Who revolving around the companions? Is it so hard to write an entire season where the trio, as a TEAM, discover, encounter, and overcome a situation?

This is something that has and always will bother me about the revived series, and for the life of me I cannot see what could possibly be so appealing about it that such a good writer such as Moffat would chose to continue those trends during his reign. No one can argue that by "The End Of The World" during the Davies era, we had already surmised that the series was largely going to focus on Rose, and when "Father's Day" came along, it was practically an international public announcement.

I can honestly say I had trouble scoring this episode. There were so many elements that would have worked fantastic in terms of classic Doctor Who, but once the episode shifted to more or less having Amy decide between The Doctor or Rory, it just killed it.

Yet another thing that just baffles me about the revived series. Why in God's name does every companion have to be emotionally involved with The Doctor???!! Why is the love triangle a necessity in a science fiction series?! To even entertain the notion of a relationship between The Doctor and one of his companions is to invite elements into the story that can serve no purpose other than to distract the focus of the episode from the main plot line.

The episode's intent to focus on Amy caused a tremendous plot error later in the episode; The Dream Lord was a figment out of THE DOCTOR'S imagination, so why was he so hell bent on singling out Amy?! What does that mean? That the Doctor secretly returns Amy's affection for him, and secretly wants her to choose between himself or Rory?

As my readers already know, I'm extremely anti-shaky cam, and this episode is full of it. I'm almost positive that the shaky cam was explicitly used here to further enhance the feeling of being in a "dream," but as I've said before - it's makes the shot look like it was filmed in a hurry, like the cameraman was in hurry to finish so he could take a piss, or because they were five minutes past lunch time, etc. At the very least, it probably makes some viewers with weaker stomachs sea sick....errr...Tee sick. TEE as in "T" - Television!

The setting was ideal for classic Who - the rural village of upper Leadworth, and the initial plot was good - the idea of a darker side of The Doctor forcing the trio to shift back and forth between to realities, each with inherent dangers, and having them choose one. Normally, a respectable Doctor Who writer would have The Doctor work out a solution to the problem, but to fill the absence of originality is the usual substitute - just have the companion save the day instead.

Rory's death causes Amy to make the choice for all of them, saving the day. Why would The Doctor go along with such reckless behavior? What if she was wrong? There was no LOGICAL reason behind the unnecessary risk they take in the van. I say LOGICAL reason - there IS a reason, it's just not logical. The reason being Amy proving her love for Rory to the viewers. What the f**k?! I don't care if they love each other or not! The TARDIS is freezing over, we're being terrorized by Eknodine-infested pensioners, and we still don't have any safe, logical way of determining which is the dream and which is reality! Eh, logic and safety be damned. Let's throw our own lives out the window as well and HOPE we guessed right. That way we can quickly wrap this episode up. Rory is dead now, so there's no love triangle anymore, so no engine to ooze drama, and no real reason to continue further with this story.

Speaking of Rory's death, get out your chalkboard and ckalkstick, because this episode is the first of numerous future episodes where Rory seems to "die," and is later resurrected.

Yet another "quick fix" to an otherwise grim situation was when The Doctor had got cornered in a freezer at a butcher shop. With angry Eknodines on the other side of the door, how can a Time Lord get out of this rut? Easy. Just set your all-purpose sonic screwdriver to the "cause Eknodines to let you pass by them without even a tap on the wrist by simply shooting out a light bulb above them" setting and you're home free! Just point and click!

I've watched this episode several times since it aired, and I've always liked it, but never really realized how distant it was from original Doctor Who until I sat down earlier tonight and watched it with my review goggles on.

It was a well conceived story, but the companion driven plots were getting beyond old, and the companion saving the day was just plum ridiculous. What makes both of these things such episode killers for me is that NEITHER of them should be in an episode of Doctor Who, if you're going by the rulebook written by Newman, Letts, Holmes, Hinchcliffe, Turner and the rest of the original series production crew. Bottom line is, true Doctor Who fans HATE these kinds of episodes, Mr. Moffat, and they aren't going to start liking them, no matter how cleverly you twist them into a plot. The stories should be antagonist-driven, and should be concluded by the lead role. In this case, it's THE DOCTOR. No matter how you slice it, unless you're going to rename the show, he has, is and forever always will be THE LEAD ROLE. You can't shift another character to the front and still brand it "Doctor Who."