Simon Fernandes

Doctor Who: Series 8, Episode 7–Kill the Moon

“An innocent life versus the future of mankind. We have forty five minutes to decide.”

(SPOILER WARNING!)

It was another moral dilemma for the Doctor this week – he seems to be getting a lot of them of late. In the past, this was the show’s way of presenting the philosophy of its hero; perhaps the most notable example being the Fourth Doctor’s agonising decision over whether to save the universe from the Daleks by committing genocide against them before they were even created. As a moral dilemma, it’s hard to see a ‘right’ or ‘wrong’ answer to that one clearly, and in fact the script for Genesis of the Daleks cheats by having the choice almost immediately taken out of the Doctor’s hands.

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Doctor Who: Series 8, Episode 6–The Caretaker

“You can’t do this. You cannot pretend to be an actual person among real people.”

(SPOILER WARNING!)

When an episodic TV series has been running (on and off) for fifty years, it’s hardly surprising that some episodes instil a feeling of déjà vu. Terry Nation, notoriously, wrote the first Dalek story again several times, changing a few names and locations but keeping the same basic plot. That same feeling of déjà vu was very much present in The Caretaker. The concept of the Doctor trying (and comically failing) to fit in with everyday life on contemporary Earth has become a bit of a trope in recent years, most notably in the work of Gareth Roberts, who set the template with The Lodger and revisited it with Closing Time.

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Cars I have owned – 1970 Bond Bug 700ES

A return to a theme I haven’t explored since I wrote about my beloved Ford Popular 100E – another tale of… cars I have owned!

Many and varied were the jokes made (mainly in the 1980s) about quirky British car manufacturer Reliant. For those unfamiliar with this now sadly deceased marque, their stock in trade was twofold – they made a plush grand tourer called the Scimitar, endorsed by no less a personage than Princess Anne; and they made small three-wheeled cars that were the reason for all the jokes. Continue reading “Cars I have owned – 1970 Bond Bug 700ES”

Doctor Who: Series 8, Episode 5 – Time Heist

“Today is a good day to be a bank robber.”

(SPOILER WARNING!)

One of the things I’ve been noticing about this season of Doctor Who is that there’s been very little unanimous like or dislike of any of the episodes. None have achieved the near-universal acclaim of Blink, or the near-universal derision of Fear Her. Even last week’s Listen, which was pretty widely acclaimed, has a number of fierce critics among my friends, either for its ambiguity or its deliberate slow pace.

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Doctor Who: Series 8, Episode 4–Listen

“Question – why do we talk out loud when we know we’re alone? Conjecture – because we know we’re not.”

(SPOILER WARNING!)

After last week’s love-it-or-loathe-it comedy episode, this week saw Doctor Who back on more familiar ground with an outright horror story. The show’s always traded on an ability to scare small children, and in the post-2005 run, arguably nobody’s been better at that than Steven Moffat. Before he became showrunner (and subject to vitriolic brickbats from those who disliked his style), his episodes for Russell T Davies traded on being ‘the scary ones’ – The Empty Child, Blink, even Girl in the Fireplace, with its organ-harvesting clockwork droids that hid under children’s beds.

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Doctor Who: Series 8, Episode 3–Robot of Sherwood

“Old-fashioned heroes are only found in old-fashioned storybooks, Clara.”

(SPOILER WARNING!)

After a season opener freighted with the need to establish a new Doctor, and last week’s dark morality tale, this week saw Doctor Who return refreshingly to an old-fashioned, undemanding romp with the groan-makingly entitled Robot of Sherwood. Very close in style to some of the classic show’s tongue-in-cheek stories, especially season 17, this saw the Doctor grudgingly agreeing to take Clara to 12the century Sherwood Forest to meet her hero – Robin Hood. Only to find the time-travelling pair caught up in a somewhat contrived plot involving the wicked Sheriff of Nottingham purloining gold from the locals in order to help some robots from the future relaunch their crippled spaceship.

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Doctor Who–Season 8, Episode 2–Into the Dalek

“Clara, be a pal and tell me – am I a good man?”

(SPOILER WARNING!)

After last week’s flawed but mostly satisfying season opener, this week Doctor Who followed up with the return of the show’s arch villains in a story that was flawed but, for me, less satisfying. If you’ve read my reviews before, you know that if I don’t enjoy a story, I usually break down the reasons why. The trouble is that this time, I can’t quite put my finger on exactly why I felt that way.

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Doctor Who: Series 8, Episode 1–Deep Breath

“He is lost in the ruins of himself. We have to bring him home.”

(SPOILER WARNING!)

The arrival of a new Doctor has always been a hotly anticipated event for us fans, but until recently the rest of humanity tended to just roll their eyes indulgently at the excitement of the nerds. Since the show’s resurrection in 2005 however, it’s been getting more and more popular; to the extent that last night, Peter Capaldi’s debut as the Twelfth Doctor was simultaneously broadcast in countries all over the world, while back here in Blighty, you could go and watch it on the big screen at one of 450 cinemas across the country. Those cinemagoers were also treated to a live Q&A session with Capaldi, Jenna Coleman and Steven Moffat, broadcast by satellite from the stage of the Odeon Leicester Square.

This isn’t just a cult TV show any more – it’s a cultural phenomenon. And so, there was a lot riding on this episode, which had to introduce a Doctor who, for the post-2005 audience, would seem radically different – because he was (gasp) old.

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How sexist is Doctor Who?–50 years of sexism in statistics

Over the last couple of months, I’ve been going through every Doctor Who story from 1963 to now, and assessing their gender balance by applying the Bechdel Test to each of them.

For a reminder of the rules, check the Intro here. Then, going by Doctor:

A quick reminder of the Test:

It has to have two named female characters
Who talk to each other
About something besides a man.

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How sexist is Doctor Who?–Part Ten

Welcome to Part Ten of my attempt to analyse the sexism in every Doctor Who story ever, using the Bechdel Test – and my wits. For a reminder of the rules, check the Intro here. Then, going by Doctor:

A quick reminder of the Test:

It has to have two named female characters
Who talk to each other
About something besides a man.

As Russell T Davies departs with a pretty good record of gender balance, in comes new and hotly divisive showrunner Steven Moffat. At the time, fans seemed very optimistic about this development – after all, he had a strong record of writing inventive, scary and acclaimed stories. However, his very distinctive style, while popular in small doses, proved less universally welcomed as a constant of the show. That’s fine, of course; every showrunner has their critics, and RTD was certainly not beyond criticism. But for those who do dislike Moffat’s style, the level of vitriol was several notches higher than it had been for RTD. And one of the criticisms most frequently aimed at Moffat was that his writing was actively sexist and misogynist.

I’ve always thought that a bit unfair. I don’t think Moffat is a faultless writer (far from it), but one of his trademarks is writing strong, capable women who usually outshine the hapless men around them. Though I do acknowledge that his palette there is somewhat limited; after a while, all these flirtatious, impossibly witty heroines do start to feel a bit… samey.

Also incoming with Moffat was a new Doctor – the seemingly far too young Matt Smith. At 26, Matt was the youngest ever Doctor, leading to fears that the next one would have to be in his (or her) teens. Thankfully, Matt turned out to be a superb Doctor, actually more popular than many of the stories he appeared in. The fact that his quirky, often quite dark performance went down so well with viewers was quite an achievement after the near-universal popularity of David Tennant.

While I very much doubt that Matt Smith himself is in any way sexist or misogynist, he doesn’t write his own dialogue (well, not much anyway). So let’s delve into this new era, and find out how it compares to older ones…

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