No essay from me this week, but negatives first. There aren't many of them, and are largely personal in that there's always an awkwardness to me in the Doctor revelling in pop culture or being a rock musician, and yet here I can see it was the right choice. I'm not sure where the Doctor's audience in 1138 went either...
Otherwise, superlatives. Steven Moffat and company projected their most coherent vision of the Doctor Who
universe so far; though I did find myself wondering if the Shadow Architect's hairdresser (probably a Judoon, come to think of it) had been killed in action since The Stolen Earth
. The Maldovarium is a sorrier place for the loss of Dorium. Clara's confidence as schoolteacher and UNIT's contact radiated and Jenna Coleman's authority in the part was more than a match for Michelle Gomez's calculating tricksiness. The traps within traps were sprung and the Daleks depicted as more detached from human or Gallifreyan values while justifying their fond parent's description of them as children. Barry Norman's comparison of fifty years ago, that they are devices through which children imagine killing grown-ups, was made plain here; as was the realisation most fans have had at some time, that the Daleks are tanks (and I'll link to John Wilson's article on the subject as soon as I've identified the relevant issue of Tides of Time
it's issue 23, but I can't manage the link at present - search for "Tides 23" at tidesoftime.wordpress.com
for the pdf]). Taking up the convincingly-performed but sidestepped 'Do I have the right?' speech from Genesis of the Daleks
is a dangerous exercise and we'll only find how well it works next week. Otherwise, a sense of the programme trying something new and Peter Capaldi's most moving and enthralling performance in the role.Also posted at The Event Library