an icepick through the keyhole

I know, I promised that I'd comment about it, but it's been a few days and I haven't gotten the time and energy to really sit down and do a decent review. Also, I've been feeling a bit irritable in recent days so I may wind up being harsher on it than I intend. Bottom line really is that it was entertaining, a crowd pleaser, had a few good bits, but it irked me on several levels... and ye gods, the ending.

Is anyone still interested in a more detailed take on it even after all this time?

And here we are at the 11th episode of this season, Turn Left, which is the equivalent of Utopia from Series 3: that middling to so-so story that only picks up speed in the last five minutes or so, or in this case the last ten seconds or so. This is a prologue to the mega-crossover Infinite Secret Crisis War that will be the two-part season finale.

Unlike Utopia, however, the end of this was more of a teaser and a mystery than the pure awesome exuded by Derek Jacobi and John Simms. On the other hand, as befits a Davies-penned episode, the human element was very present in his portrayal of a standard SF trope: the inevitable alternate universe episode, seen at least once in nearly every science fiction series that's run long enough to make it this far. And sometimes not even then: Stargate SG-1 did it in its first season. Catherine Tate shows more of her acting chops, and while she's convinced me that Donna's a good companion and does the shrill thing a bit better than Tegan (who always came off as whiny, not strong), I think the contingent of people who hate her will never be convinced in any case.

But here's the problem. Here's two problems. The first one, that the episode is filler and we've seen it all before, isn't as big. As filler goes, it's actually more substantial than Utopia was, and the whole supporting cast - not just Tate - do admirably without Tennant around. You can complain about unoriginality about the trope, but on one hand, eventually every damn long-running series gets around to doing it anyway. On the other hand, the original idea for this episode, with the Doctor MIA and the companions Sarah, Rose, Martha and/or Donna having to save the universe without him, might have been a lot more interesting. But this is minor. My bigger problem with the episode is this: it isn't science fiction. It's fantasy.

Oh, you might argue that Doctor Who's science is dodgy anyway, but that's not what I'm talking about. Plot holes aside, there's always been a sense of consistency, of story logic behind Doctor Who, and one based if not on real science, on some degree of technobabble that assures the audience that there is some kind of cause-effect going on underneath it all, even if it boils down to "timey-wimey". In this episode, the plot holes are gaping, and Davies all but abandons any pretense of wanting to explain it away, and concentrates on just doing what he wants.

( But more on Turn Left, after the cut. )

I should really have liked this more than I did. It's not that it's not entertaining, mind, but the second part hasn't really changed my opinion about the first. It's Moffat by the numbers. Oh, there are clever touches, but it all seems a bit hollow compared to his earlier efforts.

( Into The Forest of the Dead )

One of the better fanvids I've seen for Doctor Who, similar to the mashup of clips Doctor Who Confidential did to Fall Down Boy's "Thanks Fr Th Mmrs" — this time, it's to My Chemical Romance's "Welcome to the Black Parade". And with very well chosen and timed clips that synch with the lyrics.

"He is impulsive, idealistic, ready to risk his life for a worthy cause. He hates tyranny and oppression, and anything that is anti-life. He never gives in, and he never gives up, however overwhelming the odds against him. The Doctor believes in good and fights evil. Though often caught up in violent situations, he is a man of peace. He is never cruel or cowardly. In fact, to put it simply, the Doctor is a hero. These days, there aren't so many of them..."

-- unrecorded bonus track on "Doctor Who: Seasons of Fear".

Loath as I am to judge a two-parter solely on the merits of the first part, I thought I might just put a few thoughts down. This is, of course, the new Doctor Who's most anticipated annual event: the Steven Moffat story. After whacking us around the head with The Empty Child/The Doctor Dances, causing controversy with The Girl in the Fireplace, earning two Hugos in the bargain and probably again this year for Blink, Moffat has gotten so much hype and such high expectations that you can't help but fear that this is the year he'll slip up. Especially so since this comes on the heels of the announcement that he'll be taking over as the series showrunner. If you want to wade into the fearsome jungle of fandom seasoned with the anonymity of the Internet that is Outpost Gallifrey (sorry, it's the Doctor Who Forum, now), you'll see that the backlash has already begun, even before he's started. Oh, fandom, I really want to kick you in the genitals sometimes.

But enough pleasant imagery. What do we have here, in Silence in the Library? In brief: mad and entertaining enough, with a couple of good old chills, but it's all starting to look a bit familiar.

( Spoilers now: )

As the new icon indicates, I'm watching Ashes to Ashes' first series at the moment. Halfway through, it's not as immediately gripping as Life on Mars was, but it's starting to grow into itself and hopefully will continue to do so (brilliant soundtrack, in any case). But this post is about Doctor Who's latest offering, where the Doctor and Donna team up with Agatha Christie to solve a murder most strange in a 1926 English mansion.

In brief and without spoilers: Lots of fun, and works for a Saturday night's family entertainment, but nothing exceptional to write home about.

( Spoilers now: )

New acquisitions for my neo-Victorian time traveller look.

Cravat Jabot Pin Brooch - Brilliant Amber Rhinestone

Victorian Cravat Ascot - Red lit Blue Dupioni SILK 52"

Regency Victorian Costume Vest Waistcoat Emerald Green

Congratulations are in order for Steven Moffat, who won the British Academy Television Award (BAFTA) for Best Writer, for the Doctor Who series 3 episode, "Blink", beating out such luminaries as Jimmy McGovern (for The Street), Tony Marchant (for The Mark of Cain) and Heidi Thomas (for Cranford). "Blink" had already won a BAFTA Cymru (the Welsh BAFTAs) for Moffat earlier.

Newest toy — the Master's laser screwdriver: