|
BBC Dark Water |
|
| Story No. | 273 | 
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| Production Code | Series 8, Episode 11 | |
| Dates | November 1, 2014 |
|
With Peter Capaldi,
Jenna Coleman
Written by Steven Moffat Directed by Rachel Talalay Executive Producers: Steven Moffat, Brian Minchin. |
|
|
BBC Dark Water |
|
| Story No. | 273 |
|
| Production Code | Series 8, Episode 11 | |
| Dates | November 1, 2014 |
|
With Peter Capaldi,
Jenna Coleman
Written by Steven Moffat Directed by Rachel Talalay Executive Producers: Steven Moffat, Brian Minchin. |
| Synopsis: Clara forces the Doctor to take the TARDIS to the Nethersphere. |
"How may I assist you with your death?" by Donna Bratley 1/5/18
There's often a difference in quality between the halves of two-parters which makes them easier to review separately but anything that followed Dark Water would struggle.
This is Doctor Who at its finest. It's a sensational set-up piece: provocative, disturbing, with great dialogue, wicked humour and a slew of shocks along the way.
The first kicks in before the opening credits. I've never been convinced by Clara's great love affair - never felt she was either - yet its end is still shocking. Kudos to Steven Moffat for weaving an everyday human tragedy into the Doctor's fantastical world and giving it the impact being zapped by a Cyberman might lack.
Given how unconvincing Clara and Danny were as long-term lovers, her near-derangement at his loss doesn't sit well. Perhaps there's an element of guilt over her former conduct in her obsessive determination to be with him again no matter what, but the implied threat of suicide doesn't feel like Clara, no matter how hard Jenna Coleman sells it. At the same time, the idea of a woman who's survived all the terrors of the universe finding his death unbearable for being so mundane - so "boring" - fits completely.
Coleman is possibly the finest actress to date in the regular companion's role, and that's just as well when she has to hold her own against an actor of Peter Capaldi's charisma. Their first scenes together as Clara apparently resorts to the most desperate act of blackmail are absolutely sensational, and if it seems odd that Clara forgets the snap-of-the-fingers trick to negate the loss of the TARDIS keys - well, I didn't think of that on first viewing. Her desperation and his defiance are brilliantly portrayed - irresistible force running slap-bang into immovable object. Follow it up with her emotional collapse alongside his brusque kindness, and it's a masterclass on both sides.
As for that apparent oversight on the writer's part - looking back, wasn't it a clue that things were not entirely as they seemed?
Snapped back to reality, Clara takes the Doctor's quiet "Go to hell" exactly as she knows she deserves. Perhaps it was harsh to let her play out her scenario to the end, but, given this incarnation's ferocious, forensic curiosity, it's understandable. As it leads to the most perfect definition of the Doctor's devotion to his friends, it's eminently forgivable too.
It's clear though how cruelly Clara still misjudges him. If she'd had the sense to simply ask for his help, would he have denied it? Obviously - no.
Intercutting Danny's experiences (it's a pity Chris Addison doesn't get to bring Seb into contact with the Twelfth Doctor - I love The Thick Of It) of the Nethersphere with his rescue committee's visit to 3W keeps the tension high, and Samuel Anderson is allowed his strongest showing, from struggling to accept the fact of his death to a desperate last "I love you" to save Clara from herself. Given the hints back at the start, the flashbacks to his army experience aren't particularly surprising, but they retain the power to shock. For one of our heroes to kill a child, even in error, is strong stuff.
As is the secret behind the three words. In an age where cremation is the norm, I understand why the BBC chose to caution before broadcast - and why Doctor Chang repeats the warning in dialogue. Contrasted with humour - the Doctor's complete obliviousness over dark water's potential in swimming pools and Clara's words of warning when he dares to speak for her - it's classic Doctor Who with a particularly macabre twist. The Doctor's quick to dismiss the whole thing as a repulsive scam, but, even so, the concept is unnerving. I can understand anyone with a recent loss on their minds being upset by it.
No less alarming is the demonic Mary Poppins herself. I hoped all along that the obvious answer wouldn't be the correct one - the feminine version of Master was staring us in the face - but, in spite of myself, I can't help loving Michelle Gomez's character. The odd snippet as the series progressed didn't give her much to work with, but here she's positively demented, in a very good way. Amoral as much as evil - killing her own assistant gives her neither pause nor apparent pleasure - and utterly hilarious with her maladjusted intimacy settings (the look of pure horror on the Doctor's face combined with Clara's stunned expression sells it brilliantly), she's right, of course. The Doctor knows he's dealing with a fellow Time Lord: he just doesn't want to contemplate what that might mean. Why else would he stand there gawping, hand still raised, if he hadn't identified the two hearts?
The whole gender-switch still feels like a gimmick: a decision made to cause a stir rather than for any specific narrative benefit. However, I'd always want the best person to play any role, and Michelle Gomez belts it out of the park from the off. Her rapport with Capaldi is superb (honestly, is there anyone who doesn't look good alongside him?); she's bonkers, deadly, and she doesn't care who knows it. Despite my reservations, the reveal was a good old-fashioned goosebump moment, with her glee and the Doctor's utter disbelieving terror perfectly sold. Add in Cybermen marching down the steps of St Pauls... what more can anybody want?
I'm not a fan of the modern Cybermen: they're too clunky and robotic, lacking the body-horror of the originals. If we have to have them though, this is the way to use them: the slow reveal as the tanks drain, then the appearance in an iconic location. It's unfortunate their presence had to be in the public domain in advance but in the age of smartphone and social media, any attempt at concealment would have backfired and made the BBC look ridiculous.
They're also a great note to end the first part on. With the Doctor confronted by a dual threat, Clara trapped in Cyber-central, Danny's finger hovering over a button marked "Delete" and Missy's plan becoming clearer, Steven Moffat has - not for the first time - produced a stunning set-up for his series finale and a fantastic 45 minutes of television in its own right.