It’s December 3^rd, 2016. Clean Bandit remain at number one. Weeknd and Daft Punk get a seond song in the top ten, while Neiked, Maroon 5 ft. Kendrick Lamar, and Bruno Mars also chart. In news, a plane crash kills the bulk of Brazillian football team Chapecoense. Donald Trump sparks a touch of  international incident when he calls the President of Taiwan, while a fire in an Oakland art space known as the Ghost Ship kills 36. A man opens fire inside a Washington pizza restaurant because, basically, Mike Cernovich said there were pedophiles there. 

While on television, the season and de facto series finale of Class, “The Lost.” “The Lost” hangs over the rest of Class. Without it you have seven well-meaning episodes of various levels of success—a show that could frequently have stood to be a little braver, but that always meant well and wanted to be good. With it, however, the picture gains an ugly, cynical tinge. “The Lost” is not Class’s first bad episode. It is its worst episode, which is never a good thing to have happen with your finale. But more damning than its general crapness is the particular flavor of badness that it offers. There are, after all, many ways to suck. “The Lost,” however, picks one of the laziest approaches possible—one that it is difficult to feel anything other than contempt for.

God, where do we begin? The beginning, I suppose. This is an episode of television that attempts to deliver the line “do you ever feel like it’s so dark that it’ll never be light again” as an entirely sincere and meaningful piece of dialogue that sets out the basic terms for the episode. I mean, what do you even say to that? I cannot actually imagine how someone would sit at a computer, type that line, and think, “yes, good, I am writing serious and insightful drama about the lives of teenagers.” It’s shockingly crap in a way that suggests a complete failure to care.

From there we have the cheap slaughter of POC to raise stakes, a return of a villain we defeated two episodes ago with no explanation beyond “I had guile,” a plot resolution in which Tanya becomes the second biggest badass in the show after a quick training session, Ram’s complete lack of any involvement in anything, the absolutely appalling “Black is the Color” musical cue over April’s non-death… I mean, there’s a lot here that’s egregiously, painfully inept. This is the rare piece of media that actually does call for an “everything wrong with” video that points out all the massive plot holes and gobsmackingly lazy bits of writing it employs.

But the larger problem is just how dull the episode’s basic ideas are. The crap big bad comes back again, fridges some tertiary characters, and is then defeated by the MacGuffin that’s been pointedly hanging around all season. It’s utterly bog standard season finale stuff, made worse by the way in which the episode has one eye on setting up its season two plot, a frankly humiliating moment of hubris in light of how badly Class flopped.…

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It’s November 26th, 2016. Clean Bandit are at number one with “Rockabye,” with James Arthur, Bruno Mars, and Neiked also charting. Indeed, the overall top ten are the same as last week in a very slightly different order. In news, the government of Colombia reaches a peace agreement to end the fifty-year long fight against FARC revolutionaries. 300 people are injured when police attack a protest against the Dakota Access Pipeline on the Standing Rock reservation. And Philip Hammond makes his Autumn Statement to Parliament.

On television, meanwhile, Class tries something different. “The Metaphysical Engine, or What Quill Did” focuses almost entirely on Quill, telling the story of her efforts to get the MacGuffin removed from her head so she is no longer enslaved to Charlie. This is already unusual, in that it gives us a YA show that has temporarily dropped all of its YA characters to focus on… well, exactly who and what Quill is as a character will come up later, so let’s save it and move on. Adding to the strangeness is the eponymous concept—a device that allows people to travel into the afterlifes and higher planes of any species that has imagined one. This means that the episode takes an unusual picaresque structure that is unlike anything else in Class.

What’s going on with the Metaphysical Engine itself should be obvious, especially if you look to any of the shots of its interior in which it the camera stares down at its hexagonal metal floor. It’s the TARDIS. Which means “The Metaphysical Engine, or What Quill Did” can basically be summarized as “Class does Doctor Who.” So immediately there’s a lot to unpack.

There’s a line of thought regarding Class—one pushed most notably over at the excellent blog Downtime—that reads it as a critique of Doctor Who. Actually, I suppose it’s pushed most notably by Patrick Ness, who has explicitly said that the show is about ordinary people when the Doctor isn’t there. In this reading, the show is about the bad consequences of the Doctor’s decision in “For Tonight We Might Die”—a critique of his tendency to swan off into the next adventure instead of staying and grappling with the consequences of his actions. This is of course a common critique of the character, typically within the show itself. But as a central thesis of Class there’s something less satisfying. Part of it is that, contrary to Ness’s protestations, Class is not about ordinary people but rather about television characters. As a result, the show never quite manages to be about what happens to ordinary people in the Doctor’s absence, instead ending up just being about what happens to characters from another TV show.

More complexly, Class’s protestations on this front end up sounding uncomfortably like that Edgar Allen Poe quote dragging bad mystery writers as trying to look clever for figuring out solutions to problems they invented. The show endeavors to construct a Doctor-shaped hole at the heart of its narrative and then to present this hole as a substantive subject of critique as opposed to as something that’s been deliberately excavated.…

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