Lake and Flood

Well, I’m not quite sure that Toby Whithouse quite managed to make the second episode as good as the first, but I’m loving the new series of Doctor Who.

The Beethoven bit at the start was unnecessary: a rare example of the modern show not expecting the viewer to keep up, but assuming they’ll need an explanation — a pre-explanation in this case, but still. (Also breaking the fourth wall; most unusual.)

On the other hand, maybe some people would have been a bit lost at the end without it. Maybe all of us would have missed the point and weeks later we’d have gone “Wait, but he only did that because he –” Which has its own pleasure too, of course.

My main concern was that The Doctor let O’Donnell die, without any apparent remorse. I have a feeling that might come back to haunt him.

Also: loving the two-parters. Proper cliffhangers and all. How about a traditional four-parter next season?

1 comment / Add your comment below

  1. Some quick thoughts on the “The Girl Who Died”/”The Woman Who LIved” Doctor Who diptych.
    It’s unusual and intriguing to see what was effectively a two-part story with different writing credits for each part. Yet there was no real need for these two episodes to be shown back-to-back, and indeed I partly got the sense that they might have been stronger if they had been separated by a few other stories.
    On the other hand I’m fairly sure that the second part had to happen now becase they’re gearing up to something. Maisie Williams’s Ashildr or “Me” character is, I feel sure, fundamental to this season’s overall story, if it has one.
    After the first part I had the idea that Ashildr was going to become “The Minister of War”, the mysterious figure that was referred to by O’Donnell in “Under the Lake” as being something that 1980 was before — along with the moon blowing up and Harold Saxon.
    Such an ominous-sounding figure is surely going to be an enemy of The Doctor, and at the end of “The Girl Who Died” he had created a near immortal who might not be at all happy with him about the situation, and who might use her longevity to gain power.
    As indeed was the case, as we saw in “The Woman Who Lived”. However by the end of the second part I was less sure that Ashildr’s future role will be that one. It seems fairly likely that she’s going to have one, though, with her promise to pick up the pieces after The Doctor runs away, the giant foreshadowing of Clara’s departure, and of course her appearance in the bckground of Clara’s pupil’s photo.
    However I get the feeling that her intentions will be more benign.
    All just wild speculation, of course.
    This pair of episodes were probably the weakest of the series so far, but they were still very good. Effective lightening of the mood with the comedy elements, while still not shying away from the darkness.
    One last thought: in the pub scene at the end there were two people at a table in the foreground. I haven’t checked yet, but I’m fairly sure that the shot was a visual allusion to the Sandman episode whose title escapes me,1 but in which Death agrees with her brother that she won’t take this one guy, and Morpheus meets him in taverns every hundred years. Which would tie in with the immortality theme, of course.
    Oh, and: on Jason Snell’s Incomparable Flashcast about the second part (which episode Mr Snell wasn’t on, but never mind), the alien was likened to an “angy Cowardly Lion”. Now I’m sure there was also a mention by The Doctor of Ashildr’s heart “rusting” or “needing lubrication”, or some such — which was surely a reference to the Tin Woodsman. Which makes The Doctor The Scarecrow?
    And Clara is Toto, of course, since Missy already likened her to a small dog.
    I’m sure it’ll all make sense eventually.

    It’s in The Doll’s House, issue # 13, “Men of Good Fortune”. Hob Gadling; he’s got his own Wikipedia entry []

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