Written by Steven Moffat, directed by Richard Senior, 2011
Well – I seem to increasingly be saying this about Steven
Moffat’s stories, but that was a queer fish. There’s lots of fun to be had
here, and some lovely moments, but once again we get a rather self-involved
tangle of wrapping-up and foreshadowing played out among the four main
characters, in a situation which might as well have taken place anywhere. Like
most people, I’m somewhat relieved quite how much the Hitler situation turned
out to be ratings-baiting misdirection, but equally, I’d quite like Moffat to
actually deliver an honest-to-goodness plot that occupies definite location,
and features more than a handful of very minor characters in addition to the
regulars. (Certainly, none of his event episodes have delivered as well as his
first finale, which somehow managed to balance scale with a tangible sense of
plot development.)
It’s a concession I’m slightly loathe to make, not least
because it was a dynamic I’ve always been so disapproving of in the Davies era,
but I suppose this story’s reliance on twists, set-pieces and the laying of
future groundwork is acceptable in a season premiere (well, kind of). It goes
without saying that the series’ ability to support a story featuring “a
time-travelling, shape-shifting robot operated by tiny angry people”, a Hitler
cameo, and an evil early Melody and the regeneration into the River we know –
and more – is a prime example of Doctor Who’s deliciousness. But, equally –
and, I suppose we can again lay this at the door of the ‘event episode’ defence
– the series seems to be sliding in a somewhat lighter direction than Moffat’s
avowed ‘dark fairytale’ mentality might initially have suggested. However, I
say that with no foreknowledge of the remainder of this half-season, so who
knows – it just concerns me somewhat that the Doctor is almost entirely a comic
figure by this point.
As for River, in a way I sort of preferred her as a
mysterious-but-glam archaeologist, though it’s undeniably good fun to see her
psychopathic programming in action. Mels takes the piss a bit though: she’s
like a refugee from some alternative-universe Hollyoaks-demographic version of
the series. Mainly though, the sudden advent of a character in this way both
reinforces the sense of Moffat’s on-the-hoof manipulation of at least the
details of his own masterplan, whilst coming across as a contrivance too far.
It’d be almost an unforgivable cheat, perhaps only justifiable because it
involves River, and she can get away with anything.
Case in point: River giving up her regenerative ability to
save the Doctor is pretty neat, and
doesn’t feel like a pat reversal of his death-by-lipstick, but then, River’s
Time Lord powers seem a bit too neat to me anyway. (Though the Doctor’s
description of her as the ‘child of the TARDIS’ goes some way to suggesting a
semi-conscious helping hand on the part of the old girl which sits slightly
better with me that the idea that anyone shagging on board will produce a brand
new Time Lord.)
What else? There are lots of pleasing nods – Rose, Martha
and Donna’s images seemed a bit unnecessary, but the reappearance, even
briefly, of young Amelia, and the glimpses of Amy and Rory’s pre-Doctor
Leadworth lives are appreciated.
However, overall, there’s something quite shonky about this
story – an uneven, slightly clunky tone, as well as the plot. It feels
slightly, at the moment, like the River/Silence saga might keep on unfolding,
forever, in ever more tortuous ways, but I guess when this arc is resolved it
may be easier to accept Let’s Kill Hitler as the balls-to-the-wall romp that
Moffat no doubt intender. And, fair enough.
Also: like the Doctor’s new coat. It’s good. Also, I found
the Tesser-whatsit’s antibodies hearteningly crap.
NB: I enjoy the tortuousness of Moffat’s arc; but, I have to
say, I kind of hope, next year – are we getting new companions?! – stripping
things back wouldn’t be entirely unwelcome and might be quite refreshing. The
unravelling of River’s identity, her killing of the Doctor, blah blah: as a
dedicated follower, though it can get a tad overwrought, it’s satisfying to
watch it all unravel, but, really, what did a casual viewer think of this?! I
feel like the aforementioned Big Bang, say, wrapped itself up quite neatly, but
in ways self-contained enough to not be entirely baffling.., whereas, this…
