Lost in Space (2018) s01e04 – The Robinsons Were Here

So Ignacio Serricchio is playing Don West, a character from the original show (Matt LeBlanc in the movie). If they mentioned his name before, I missed it. However, given Serricchio refers to himself multiple times in the third person this episode, maybe I wasn’t the only one confused.

Last episode ended with the heroes finding out the colony spaceship survived; this episode begins with Molly Parker and Toby Stephens heading over to another escape ship to confab with their fellow survivors. Cary-Hiroyuki Tagawa plays the dad on the other ship (apparently, they’re all families and all cishet). It’s good to see Tagawa in something, but he’s gone after a second once the episode reveals Serricchio made it (along with Sibongile Mlambo). Posey abandoned them to a killer storm a couple episodes ago, and so now Posey’s in additional danger of being found out. She was already worried about the colony ship, knowing she’s an imposter; now everyone on the planet’s going to find out she’s an attempted manslaughterer.

The other significant development is Mlambo telling Taylor Russell about the killer robot attacking them. She immediately goes to tell her parents, who’ve already left on an adventure with Serricchio. So Russell goes home to confront Maxwell Jenkins about the robot, and since he already knew, he’s going to run away and hide it in a cave so she can’t rat him out to dad Stephens. Or something. It’s unclear why Jenkins is hiding the robot once everyone finds out it’s a killer robot. Because Russell goes with Jenkins to hide the robot, then Mina Sundwall tags along too, so it’s an outing.

It’s a good outing too. The character development between the kids is solid stuff, even if the excursion seems ginned up (though by an eleven-year-old, Jenkins, so a little better given that context). Posey’s following them because she wants to get the killer robot on her side. It’s a kids’ quest trope; it works.

The other plotline is Parker, Stephens, and Serricchio going to a crashed portion of the colony spaceship for supplies. There they make a few discoveries like they’re in more trouble than they thought, but also, Serricchio’s a smuggler who talks about himself in the third person. It’s funny how much different Serricchio’s character plays in this episode than in the one where he and Posey were trying to survive immediately post-crash. He was likable in that episode.

He’s a jackass in this one.

We also get a big reveal in the backstory with Stephens and Parker—what he did to wrong his family—and it’s underwhelming. No wonder it’s hard to write the character relationship when they’ve got such a slight conflict.

There’s a really funny Ferris Bueller’s Day Off reference, some more great Christopher Lennertz riffing on John Williams music (Jurassic Park this time), and generally better timing with the cast. Finally, we’re getting to the actors working off each other, which is nice, especially for Parker and Stephens. Even if their backstory is jank.

It’s the best episode so far. Really good direction from Alice Troughton, and hopefully, the characterizations in the script (credited to Katherine Collins) hold.

Doctor Who (2005) s04e10 – Midnight

Midnight is kind of great.

Also kind of not.

It’s a strange episode for a couple obvious reasons. First, the Doctor (David Tennant) doesn’t have a companion with him when he needs one. He and Catherine Tate are on a pleasure planet resort and she wants to sunbathe not go on a tourist outing. It’s a diamond planet (literally made out of diamonds, diamond mountains, and so on) and the sunlight is lethal to humans so they’re in protective glass all the time. And shielding. Shielding is important.

So presumably it saves some budget only having a handful of establishing shots.

Off topic a moment because the episode reminds so much of “Star Trek”—but when it comes to lousy CGI establishing shots, which is often a “Who” standard, can’t you just get a matte painter? Bad CGI establishing shots are nowhere near as effective as a good matte; especially not for a TV show.

Anyway.

So it’s a strange episode because Tennant is alone. More alone than any other episode he’s been on or anything the season he wasn’t on yet.

Second reason it’s strange is because it’s an obvious Lifeboat setup. All the action takes place in a future travel bus vehicle, which finds a new route across the planet and complications ensure, causing the assortment of characters to panic in all the familiar ways. They eventually turn against Tennant, who’s all of a sudden oddly powerless without his capital A authority.

It’s particularly striking because it’s a bunch of humans who turn against him and the Doctor loves the humans. Hopefully writer Russell T. Davies will come up with a satisfactory explanation for it all.

He does. With a “Star Trek: The Next Generation” device.

So it’s like a mix of “TOS” and “TNG,” but “Doctor Who.” Not just one “Who” either, but two—former Doctor David Troughton guest stars as a… racist, misogynist professor who treats his protege (Ayesha Antoine) like complete shit.

It was weird when I thought Troughton was director Alice Troughton’s dad. It’s weirder when you find out he used to be a Doctor.

Good acting from Tennant, Antoine, and sometimes Lesley Sharp. Okay acting from Colin Morgan, Troughton, and sometimes Rakie Ayola. Daniel Ryan and Lindsey Coulson are bad, which hurts in a Lifeboat.

Is it weird I’m more curious what Catherine Tate did with her non-shooting time? She’s Margot Kidder in Superman III in this episode.

Doctor Who (2005) s04e06 – The Doctor’s Daughter

It’s the most successful “Doctor Who” in a dozen episodes (ish) and succeeds by giving Freema Agyeman her own arc, Catherine Tate pure supporting to David Tennant, and another potential for Tennant. So apparently the show needs four leads. If they could keep up this level of success.

And The Doctor’s Daughter is a great success. Though “Daughter” is a bit of a misnomer.

Writer Stephen Greenhorn contributed what ended up being one of last season’s best episodes—and one of the better Earth ones—and Daughter is similarly strong. Though there’s also director Alice Troughton, who gets just the right performance out of every scene, which is important.

Not having seen the original series, I don’t know if there’s similar earlier “Doctor Who” to this episode, but it plays like a “Star Trek: The Original Series” episode. Two of them, actually.

The “Star Trek” version has Kirk (David Tennant), Spock (Catherine Tate), and Bones (Freema Agyeman) beaming to a planet. They find themselves held at gun point by some paramilitaries who then make Tennant put his hand in a Theranos machine. Turns out it’s not just DNA coding him, it’s using that DNA to make an offspring; Doctor DNA with some preloaded warfare programs because they’re cloned to adulthood. So not really Daughter, though Tate rejoices in joshing Tennant about fatherhood—okay, so maybe Tennant’s Spock and Tate’s Kirk—anyway, there’s an info dump about Tennant being a dad in the old series or something and I’m once again almost ready to go read about this stuff but I keep refusing to do the work.

And also—very late mention—Georgia Moffett is the name of the actor playing the daughter. She goes from not talking to being awesome very quickly. Greenhorn writes the heck out of the scenes where Tate and Moffett bond—oh, yeah, Tate’s definitely Kirk in this one.

Meanwhile, Bones (Agyeman) is off with one of the enemy who she got stuck with when she stood too close to some red shirts and then got trapped when an enemy who she helped.

The enemies are these fish guys. They look like Muppets. Agyeman would do great with Muppets. She’d also do great with a “Martha” spin-off where she gets to run the show because she’s amazing in her subplot. It’s like they included it as an apology for last season.

It’s a lovely adventure for her character, who’s been stuck in a support role for way too long.

And then there’s a perfect finish.

There’s a little too much melodrama but the cast handles it but even before the end just gets magnificent it’s still pretty great so you can forgive it. This episode’s really good.

It’s so good Nigel Terry’s rather bad human villain can’t even bring it down. But acting showcase-wise it’s all about Agyeman and Moffett. For this episode, it’s their show.