Doctor Who (2005) s04e02 – The Fires of Pompeii

It’s a big episode of “Doctor Who,” at least in terms of getting some of the show’s time travel “rules.” At least in the current series; I’m not sure about the original (though David Tennant implies there may be different rules between now and then).

When Tennant and Catherine Tate find themselves in Pompeii, the day before the volcano, before—per “Doctor Who” history, which the wife did advise probably shouldn’t be taken as fact—the residents don’t even have a word for volcano. They’ve never seen such a thing; there’s just the mountain.

Unfortunately that bit comes back into play later, for James Moran’s teleplay’s last bit of Romanophilia (but a very British actors playing Romans Romanophilia), which ought to send the episode out on a low point but there manages to be an even more quizzical epilogue. Despite featuring these philosophical arguments between Tennant and Tate, Pompeii really is about the Roman “My So-Called Life” Moran really wants to be writing.

See, after they land and realize it’s almost volcano day, Tennant wants to get out of town… only someone’s sold the TARDIS out of its parking spot. I swear the Doctor didn’t lose the TARDIS every third episode in the first season just so they’d have some inherent drama.

Anyway.

Peter Capaldi is a successful stone merchant who buys the TARDIS because it’s modern art. Tracey Childs is his wife, Francesca Fowler is the teenage daughter who’s in the soothsayer academy, François Pandolfo is the listless son. They have antics and arguments throughout the episode, with everyone apparently thinking Capaldi and Childs are just parental enough for the scenes to work without much writing.

It’s sort of right? More right about Capaldi and Childs being able to carry the scene than the scenes working without the writing. A lot of it is based on the actors’ likability more than anything else.

And it takes them a while to get likable because there’s a whole weird showdown between Tennant, Fowler, and Pompeii’s leading soothsayer, Phil Davis. The scene plays very weird.

But so long as it gets to Tate challenging Tennant, it’s fine. Tate is paying off. Though two good episodes for a companion isn’t a streak or anything yet.

Rather good production values—albeit not the best lighting or effects—on the Pompeii stuff. It feels big enough.

Doctor Who (2005) s03e13 – Last of the Time Lords

So, when I started watching “Doctor Who,” I didn’t have any idea the title is a joke. Or can be a joke. Even though I’ve known about the show most of my life… didn’t realize it.

Now, is the “Time Lord” thing… is the “Lord” part really important? I don’t think I’ve ever seen heavy Christ symbolism in a British production before—Life of Brian aside—and it’s really weird to see. It’s also bad because it invalidates the very idea of Freema Agyeman getting anything to do with the show.

Given John Simm at one point mocks her for not being Billie Piper to her face… you’d think she’d get to something more than just blow smoke up David Tennant’s derrière. But no, it turns out smoke blowing is Agyeman’s whole job. What’s the point of having a stronger character and a better performance if the show’s going to shaft you even more than it shafted your predecessor. But with an added, frequently iffy racial element.

Tennant does end up having a good moment in the episode, as he gets yet another showdown with Simm—I don’t even remember if it’s the final showdown—the episode’s got a lot of action and a lot of running and a lot of walking and a lot of showdowns.

And farewells. And surprises. It’s never anywhere near as cute as it ought to be. Tennant, despite that one good moment—and not counting when he’s only doing a voice performance—doesn’t really get much to do in the big season finale. Agyeman gets less, but she got more throughout the season. Sometimes. Even with her part so decimated, when the episode ends with Tennant in the same spot as last season… they should’ve just had him waking up and taking a shower. At least show what the TARDIS living quarters look like.

And Agyeman’s send-off is awkwarder than it ought to be. Especially considering how strong she started. It all feels like a defeat.

Doctor Who (2005) s03e12 – The Sound of Drums

It’s still got Russell T. Davies but there’s a director change since last episode. Now it’s Colin Teague, which turns out fine because Teague’s the best director they’ve had all season except maybe Hettie Macdonald. But as far as doing straightforward “Doctor Who” successfully—especially since it’s a modern day episode—Teague excels.

Though not even Teague can handle the rough opening, which has David Tennant, Freema Agyeman, and John Barrowman getting out of last episode’s big deal cliffhanger with absolutely no difficulty because sonic screwdriver.

And then we get a really fast information dump catching the viewer up on what the characters are quickly realizing—all season has been just four days in Agyeman’s regular timeline, culminating in an election of a new prime minister (John Simm), who has quite the history and bone to pick with Tennant. More, everything conspiring against Tennant and Agyeman has been for this Simm related plot. It even gives a way to redeem Agyeman’s duplicitous mom, Adjoa Andoh, while again using sister Gugu Mbatha-Raw as a damsel in distress. Only this time she doesn’t get to be second sidekick, she’s just… damsel in distress.

Because there’s a real danger—Simm—who’s got everyone in his reach and has no qualms about getting rid of his enemies. He even gets back up from his wife, Alexandra Moen, who seems reservedly horrified at his behavior. But Simm’s got all the power.

Moen’s good. It’s a weird, quiet part, but she’s good.

And Simm’s great. Especially once his master plan—getting to do a first contact meeting with some aliens, bringing new glory to the United Kingdom—is in full motion. Because there’s something off about those aliens, which are little flying globes—Tennant’s never even heard of them, which is impossible.

Colin Stinton plays the U.S. president, who doesn’t want the British getting all the history glory. Stinton’s not a good stunt cast. It’s a miss.

But everything else is a hit. Until the last act when it seems like a kids’ TV show as Simm rules from on high in his SHIELD helicarrier, which is a particularly silly turn but whatever.

The last act gets silly, but the character drama for Agyeman in particular… it’s good.