It’s January 1^st, 2019. Ava Max is at number one with “Sweet But Psycho,” with Wham, Mariah Carey, the Pogues featuring Kirsty Maccoll, Band Aid, Michael Buble, Leona Lewis, Elton John, and Shakin’ Stevens all also charting, literally none of them with songs released this decade. (Ariana Grande’s “Thank U Next” is the only other actually contemporary song in the top ten.) In news, Gatwick Airport spent three days closed due to either drone activity or hilarious panic over nothing. The Donald J. Trump Foundation was shut down for, basically, being a massive scam, Defense Secretary Jim Mattis resigned in ineffectual protest, and Theresa May survived a no confidence vote. 

On television, meanwhile, Doctor Who is back with its only episode of 2019, Resolution, which features the mostly unannounced return of the Daleks. The key scene—or at least what should be the key scene—comes with the sequence of Lin assembling the scrap metal Dalek, with its obviously deliberate parallels to the Doctor assembling her sonic screwdriver back in The Woman Who Fell to Earth. Doctor/Dalek parallels are nothing new, of course, but this isn’t historically how they play out. Usually this is something about monstrosity—the Doctor making a good Dalek, as Rob Shearman put it in a formulation that has really only ever been iterated upon in the subsequent twenty years. But that’s not what’s going on here. No, in this instance the Dalek is being compared to the Doctor. After all, it’s Whittaker who has already been established as “the one who makes stuff out of spare parts in Sheffield.” The Dalek is, very literally, imitating her here.

Which, neat. That’s a cool idea. But let’s ask: where is this going? We’ve got a neat visual parallel going, it’s all very compelling, but what exactly is it saying? Because as played out as Shearman’s trick has been (and as “gently nicked from The Killing Joke” as it was), it at least had something to say about the complicated relationship between heroism and monstrosity. It had implications. It contributed towards a larger understanding of the narrative. But what exactly does it mean that the Dalek, like the Doctor, rebuilt itself out of Sheffield steel?

It’s not that there aren’t options here. There’s undoubtedly a story to be told about the Doctor as a scrap metal identity, rebuilt and repurposed. That’s an entirely workable regeneration metaphor, and you could then readily extend it to a new and reworked Daleks by way of playing with the absolute and unchanging nature of the Daleks. There’s something there. There’s also probably something a bit more China Miéville to be done about salvaged identities. And those are, like, just what I can come up with off the top of my head. Fundamentally, it’s a pretty open-ended idea with which you can legitimately do a fair amount.

The problem is just… well, it’s exactly what you’d expect it to be, isn’t it? Chibnall doesn’t do any of these things. I mean, the entire Sheffield Steel angle on the Doctor has been even more fallow than Ryan’s dyspraxia over the preceding nine episodes.…

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It’s December 9th, 2018. “Thank U Next” hasn’t gone anywhere. Mark Ronson ft. Miley Cyrus, James Arthur & Anne Marie, Dalton Harris ft. James Arthur, and Mariah Carey also all chart, the latter with “All I Want For Christmas is You” clocking its 89th week on the charts. In news, Brexit continues to shamble along, with Teresa May’s deal visibly collapsing at the last minute and seeing its Parliamentary vote delayed. That’s about it, actually. Nothing else happens. 

Which also describes television, where we have The Battle of Randall O’Connor. Since this is emphatically drawing on The Woman Who Fell to Earth, let’s follow suit, and check in with that sense of optimism that pervaded it. Obviously the Chibnall era was not an immediate success, and my coverage of the previous nine episodes has made that clear. But that was all with the benefit of hindsight. Let’s return to the 2018 that existed. Then, if you were the sort of person naive enough to engage in redemptive readings, you could still just about make it through to the end of It Takes You Away with an intact sense of optimism to the effect of “maybe this will be about as good as Torchwood.” Sure, Chibnall’s four episodes had all been quite weak, but none had been abysmal trainwrecks. Rosa was broadly competent if unsettling, Demons of the Punjab actually good, the rest various flavors of inoffensive adequacy or Kerblam! Chibnall was clearly going to be a comedown from the previous two eras, but maybe he could muster up the occasional gems of brilliance, the odd Caves of Androzani or City of Death over a few years. There was hope, at least, right?

And then comes The Battle of Rebused Obamas, and all hope ran into the threshing blades of oblivion. It is difficult to express the way in which The Battle of Raymour and Flanigan constitutes an existential horror within Doctor Who. There are relatively few comparisons, really—episodes that suck  in ways that do not merely implicate themselves, but that expose in their ineptness fundamental and bedrock inadequacies capable of yielding up the program’s handful of truly tainted eras.  The Twin Dilemma, obviously. The TV Movie, not that its threat was ever acted on. The Invisible Enemy and The Celestial Toymaker both marked a similar sort of lurching drop in quality, but the resultant eras still produced multiple highlights. I guess there’s Cyberwoman.

What is so galling about this, in the end, is that it’s the season finale. Sure, many bad episodes of Doctor Who have, over the years, been season finales, from the modern flops of Last of the Time Lords and The Wedding of River Song to the old school damp squibs of The Invasion of Time or The Time Monster. But in the well-honed shape of modern Doctor Who, the finale has something of a place of honor. Even the bad ones are busted masterpieces, with ambitions gone amiss. That is not what we have here.…

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It’s December 2nd, 2018. Ariana Grande continues her dominion over the charts. The rest of the top ten simply shuffles, save for the entrance of Ava Max to the top ten. All is sameness. Nothing ever changes. In news, the Yellow Vest movement erupts in France. Trump’s former lawyer Michael Cohen pleads guilty of lying to Congress as part of his general turn against his former employer. Brexit continues to be a complete fucking shambles. Like I said, nothing changes. 

While on television, It Takes You Away. Lance Parkin, when espousing his distaste for the Chibnall era on Facebook, likes to point to this episode, and specifically the beat at the end in which Ryan informs Graham, “Yaz said you saw Nan in there.” And fair enough, this is the sort of line that an even vaguely competent editor would circle and, if they’re being polite, leave a note to the effect of “I think this emotional beat needs more,” instead of what they are actually thinking here, which is “how the fuck did you fail to give Ryan a single reaction scene to the return of his dead grandmother?” It’s immensely hackish, mediocre, and lazy writing, in the same way that shaky-cam and some blue lit foam rubber rocks is immensely hackish, mediocre, and lazy representation of a collapsing antizone. And that’s before you get to minor but revealing questions like “I wonder exactly at what point during preproduction anyone at the BBC thought to call the effects team and double check that they can do a convincing frog, and why, after an answer that must have just been five minutes of laughing down the phone, they put it in the script anyway,” which, although in practice it just led to a kind of charming giant rat moment, does not exactly speak well of the basic ability of this creative team to make television.

On the other hand, although its ineptitudes are particularly jarring, there’s a competence here that the era usually lacks. There are emotional throughlines that get where they’re going, if not always with especial grace. On the whole, this is an easy episode to like. There’s a genuine weirdness to it—a conventional light horror opening gives way to the weird children’s dark fantasy of the antizone, as for essentially the first time ever we get Doctor Who’s version of Labyrinth. And then this in turn gives way to a conclusion about a lonely cosmic force that wants to be a frog and have a friend. It’s bonkers, but in the best possible ways, a “mad as in exiting” buzz of ideas that freely revels in the basic joy of Doctor Who’s flexibility. This is the sort of thing that, broadly speaking, I eat up in Doctor Who, and would be fundamentally pretty delightful even in an era where this was a bit below par, as it should be, instead of a highlight.

So once again we find ourselves with the basic issue that’s underlaid this run of four posts covering the non-Chibnall portions of Series 11.…

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It’s November 25^th, 2018. Ariana Grande continues to be on top of a top ten chart that is basically unaltered from last week save for a couple minor shufflings of position—Lady Gaga/Bradley Cooper, Rita Ora, and Dave ft Fredo fall, Jess Glynne and Little Mix ft. Nicki Minaj rise. It is again the definition of a slow news week, dominated by the slow fallout of Jamal Khashoggi’s assassination nearly two months earlier and the release of yet another one of those scientific reports that tries very hard to stress that we are all going to die unless we do something about climate change, followed, inevitably, by a lack of doing anything. Past that, it’s so tedious that The New York Times runs a front-page story on the forced retirement of drug-sniffing dogs in the wake of cannabis legalization, at least until the day this airs, when the European Union finally signs off on a Brexit agreement. Spoilers: it’s going to remain a fucking clown show.

On television, meanwhile, The Witchfinders. Let’s start at the core of this episode. A celebrity historical with a prominent and acclaimed guest actor is a particularly good vehicle for the tradition whereby, early in a new Doctor’s run, they are given a scene with a skilled veteran actor to see what happens. Eccleston got it with Simon Callow, Tennant with Pauline Collins and Anthony Head, Smith with Ian McNeice and Iain Glen, and Coleman with Peter Capaldi. With Rosa being about the weighty weight of its weighty political issues instead of the actors, it takes Whittaker until her second celebrity historical to get to do this, and she ends up drawing Alan Cumming, making his first appearance in Doctor Who since 1993 as King James I. There’s a standard issue Doctor Who episode going on at the fringes of this, but the point of the episode—the reason it exists and wants you to tune into it—is because of the scene where King James interrogates the Doctor.

Up to this point, Cumming has been turning in a carefully mannered comedy performance. This is an interesting quirk of the script, which sets King James up as, essentially, a comedy interruptor, showing up and ensuring that the Doctor can’t straightforwardly take charge of the situation. Cumming’s performance is high grade camp, deftly moderated so as not to devour the rural horror tale around it. It’s an interesting performance, because its relative restraint serves to give Whittaker a lot to work with, but it still sets up an interesting problem—an unusual sort of character to interface with.

So what do we get when it’s finally time for the two of them to face off? Hm. Well, Alan Cumming is great, a font of tiny reactions and subtly shifting emotions. But Whittaker… OK, sure she’s not helped by a script that demands she deliver lines like “true knowledge has to be earned.” And perhaps this can all be laid at the feet of Chibnall’s Davison revivalism. But when Peter Davison played a weirdly passive Doctor he still imbued the part with the basic level of mercury it demands—his Doctor seemed to be doing things.…

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