sf
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To be fair, spending a lot of time reading on the web, plus some reading comics, etc: these also need to be considered. ↩︎
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Which is a great film that you should see at once if you haven’t already. ↩︎
- Since The Doctor mentioned regeneration, and we know he’s going to regenerate this season, it’s something to with that. Like a future version of himself, for reasons to be explained.
- As I said before, it’s The Master, or Missy, since we saw both the latter and the John Simm version of the former in the season trailer. That would be plausible but weird.
- Or, and this occurred to me just tonight: what if it’s Susan? His granddaughter from right back at the beginning? Her photograph was on his desk in the first episode… but that’s just fanciful, and why would he have her in a vault?
OA Going Away
I just discovered via a conversation on Micro.blog, that Netflix have cancelled The OA.
This is very disappointing. The OA was an incredible, confusing, glorious piece of work, and Brit Marling, its co-creator, has assured us that it all has a plan and an ending.
Now (or back in August, anyway) she’s had to write its obituary. I suppose some other company might pick it up, but since it’s mostly Netflix who do that these days, it seems unlikely.
Presumably the two completed seasons, 16 episodes in total, will remain on Netflix. I‘d still recommend watching them. Just remember that you’ll be left somewhere strange.
Watchmen on TV
I succumbed. As I suggested I might.
It felt a little grubby, going to the NowTV site and setting up an account. As you know, Sky TV and I have a history. Or maybe an anti-history, insofar as I am anti everything that their former owner stands for. But the key word is “former.” With Comcast now owning it, I can feel a little better about giving them my time and possibly some money.
Still, though: grubby.
But what’s worse, as a viewing experience, is that their app is the worst video-playback app I’ve ever used. It’s fine at all the basics; it even has a ten-second jump back and forward feature, which is good. But! It completely fails at subtitles.
Now, in this era — this platinum age of television — subtitles are often an essential part of viewing. And that isn’t true just due to my age, because my kids, who are young adults, are at least as likely as us olds to want them on. Mumblecore actors are to blame. Or maybe bad sound on our TV. Or a combination. Doesn’t matter. We watch with subtitles on a lot of the time, and I wanted them on for Watchmen.
But NowTV — in its Mac app, at least — just can’t handle them properly. They either freeze, so you get the same sentence stuck on the screen for five minutes; or they just get out of sync. Sometimes they rush through minutes of text at a time, as if trying to catch up. In the end I turned them off.
But I watched one episode on my iPad, and the subtitles were fine there. So I guess it is the actual Mac app. The Mac plugged into the telly is an old one. A nine-year-old MacBook Pro, in fact. I’m impressed that it’s still working, though I did upgrade it at one point.
Anyway, that can’t be the reason it’s bad, because I’ve also tried it on my 2017 MBP, with exactly the same results.
But what about the programme?
It’s a sequel to the comic, set around thirty years later. I found the first episode kind of annoying, though I’m not quite sure why. Too much of it set in the past, maybe? But as we’ve got to know the characters and things have moved along, it’s definitely interesting. I’ve watched the first five episodes so far. Up to which point it’s kind of a cop show with an unusual background. Cops go masked so that criminals can’t identify them. Criminals go masked too, of course, specifically in Rorscach-style black and white masks.
And there’s a mysterious old guy who puts on plays reenacting the origin of Doctor Manhattan. You’ll have guesses about who he is, if you know the source material. Well, one guess.
I like the way they’ve built on the comic, and are weaving the backstory in. Though I think it must be extremely confusing for anyone who hasn’t read the novel, or at least seen the movie.
My main question (apart from the obvious ones, like what’s going on with Veidt?) is: why is Laurie using her father’s surname? It doesn’t make sense to me that she’d call herself Blake, instead of Juspeczyck.
Oh, and whatever happened to Dan Dreiberg? I want to see some Nite owl action. Something that looked a lot like the Owlship appeared in the first episode, so maybe he’ll turn up. As, I imagine, will Doctor Manhattan.
His Dark Materials on TV
Minor spoilers ahead.
I am loving what they’re doing with HDM1 in the BBC/HBO adaptation. It has just enough variation from the books to keep it interesting (especially since I re-read them recently). Yet it manages not to distort the story in the way that so upset my then-ten-year-old son in the film version of (part of) the first book.
Bringing in the scenes of Lord Boreal crossing to “our” Oxford, and finding out about who Grumman is, is inspired. It will have the effect of making more sense of the inciting incident for Will, when he turns up. In the book it was never entirely clear who the people who searched his house were sent by, and why the authorities were interested in him. This way, it will.
I’m looking forward to next week’s arrival of Lin-Manuel Miranda as Lee Scoresby.2 And we’ll get Iorek Byrnison, too. That’ll be a big test of the CGI.
Which leads me to the only thing that slightly lets it down: Pantalaimon’s default form as an ermine. It looks a little too fake and plasticky to me. Most of the other daemons look fine, so I don’t know why the lead one should be so poor. Maybe it’s because he’s the only one that gets much screen time where he talks.
On that note, two points about Mrs Coulter’s daemon, one which struck me on my recent reread, and the other just tonight. We never learn its name. Nearly every other daemon that gets a mention, gets a name. And it never speaks. Certainly not so far in the TV version, and I’m fairly sure it never does in the books, either.
Which no doubt tells us something about the character of the woman.
Watchmen by Alan Moore & Dave Gibbons (Books 2019, 21)
I like to reread this from time to time, and right now I’m considering watching the TV version that’s currently on. It’s HBO, which means Sky over here, which would traditionally have ruled it out on ethical grounds. But times and corporate ownerships have changed. The Murdochs no longer own Sky TV, so I can let myself watch it.
But then we have the other ethical question, about Watchmen in particular. Which is to say, since Alan Moore feels that he was cheated by DC over the ownership of the creative work, and repudiates all derivative works, shouldn’t we avoid them too? I saw the movie version, but I didn’t get the Before Watchmen spin-offs.
Well, it’s been a long time; Moore and Gibbons must have known what they were signing up for, even if things didn’t go quite as they expected. I recall seeing Moore at a convention in Glasgow in 1985 or 86, where he said, “DC are utter vermin.” Yet he went on to work with them often after that.
Plus, I’m already reading Doomsday Clock, which brings the Watchmen universe into the DC multiverse, so personally, that ship has sailed.
How does the story stand up today? It’s still excellent, I would say. With the obvious weakness of the ending. Though thinking about that, what’s weak is how preposterous Veidt’s plan is. Accepting that, that part of the story is well executed.
It’s still one of my favourite comics.
Rosewater by Tade Thompson (Books 2019, 9)
Nigeria, 2066 (and various years before that). Our hero, Kaaro, is a sensitive. An alien entity sits in a dome at the heart of the city of Rosewater, and many strange things happen.
The start of a trilogy, and I'll be getting the sequels, you can be sure. Top stuff.
Who's Who?
Right, let’s get 2019 off to a start by talking about my favourite TV programme. I haven’t said anything about the recent season of Doctor Who here since my appreciative post at the end of the first episode. Not for any reason other than not getting round to it.
I absolutely love this iteration of the series. Jodie Whittaker is fantastic as The Doctor, and the supporting cast is brilliant as well. I like the crowded Tardis feel. It does have the limitation that some of the characters don’t get as much time or as many lines as others. That’s been notably true of Yaz — except in the “Demons of the Punjab” episode, of course.
But there’s plenty of time for her to be developed further, assuming they’re all sticking around. And the focus being more on Ryan and Graham was entirely correct, since if there was an overarching theme to the season, it was grief.
It’s not perfect. There have been several occasions when I’ve thought that the writing team don’t really understand what a galaxy is, or the scale of it. Lines like “half the people in the galaxy are unemployed,” or “they’ve crossed four galaxies to get here,” just don’t really make a lot of sense. And there have been several episodes where things maybe weren’t as tidily resolved as we’re used to.
Tonight’s New Year special episode, “Resolution,” was a classic example of the kind of story where the ideas are good, but the whole thing could have been improved if they’d taken the time to come up with slightly better ways to make things happen. Some way of defeating the enemy that didn’t involve the microwave oven, for example. And the whole vacuum/supernova bit at the end was kind of farcical.
But no matter. This season was all about the character dynamics, and those were great. It’s a strong start for Chris Chibnall as showrunner, and an incredibly strong start for Jodie Whittaker.
Only Forward by Michael Marshall Smith (Books 2018, 28)
I think I’ve read this twice before, but as ever, my memories of it are not strong enough to support that thought. Doesn’t really matter. I read it years back and loved it. When I started it this time, at first I wasn’t so sure. It felt like it wasn’t living up to my memories. Maybe I was reading it for the wrong reasons.
But there can be no wrong reason to read a book. Just sometimes you’ve got to be in the right mood for a particular one; or it needs to be the right book for you at that time.
Luckily reading changes us. So we might be in the wrong mood at first, but the book brings us around. That’s what happened this time.
I wish MMS would go back to writing SF. I suppose his crime/horror fiction as Michael Marshall (the second-most transparent pseudonym in literary history) is more lucrative — and to be fair, maybe he enjoys it more, or just as much. But god, it feels like a loss to SF.
Anyway, this was a mighty debut, but thinking about it now, it’s actually more like magical realism than SF. There’s no attempt to explain Jeamland or how the narrator and others get to it.
“I can send you a postcard, but you can’t come to stay.”
“Everything you’ve done, everything you’ve seen, everything you’ve become, remains. You never can go back, only forward, and if you don’t bring the whole of yourself with you, you’ll never see the sun again.”
The nation hods its breath: five minutes till the new series of Doctor Who starts.
Against A Dark Background by Iain M Banks (Books 2018, 13)
Back to the great reread. Some thoughts here. This book is 25 years old. Twenty-five! I think I’ve read it twice before, but (and you won’t be surprised here if you’ve been following along) I don’t remember much about it.
I didn’t recall, for example, that Sharrow, the protagonist, was a noble; or that it’s set as we approach the decamillenium on and around what I at first assumed to be an Earth colony, although one that is long detached from Earth. And it’s in a similar state to the last one I read, Feersum Endjinn, in that we’re in a decadent stage, where technology was more advanced in the past, but things have been lost or forgotten.
The most notable example of that, of course, is the Lazy Gun, the big maguffin at the heart of the story. I had thought it was semi-mystical, or at least alien in origin. But now I think maybe not, it’s just from the more advanced past.
Turns out it’s not anything to do with Earth, of course. Golter is a planet round an extra-galactic star. The million-light-year distance to any other star seems to be the “dark background” of the title. Though I still don’t really get why it’s called that.
Anyway, I still loved it. And strangely the ending felt less bleak than I had remembered. Though it’s still pretty dark. And it turns out he published an epilogue online. Which doesn’t change anything, but it was nice to read.
Looped
It’s six years old, but I finally got round to watching Looper. Interesting. Not sure about it. Some of the time-travel stuff didn’t make sense — or was confusing, at least. The loopers do their killing and body-disposal in the past, but by the time Bruce Willis comes into it, everyone involved is in the same time, 2044, the past of the movie.
Also I thought I had heard that it wasn’t well thought of, but Rotten Tomatoes has it at 82% from audiences and 93% from critics. That’s pretty good, isn’t it?
This review at The Mary Sue is good on the weak points. Some interesting discussion in the comments, too.
The future was unconvincing — people still driving petrol-burning cars in 2044 and 2074? And the status of women was terrible. You can be a sex worker or a farming mom in future America. I mean, OK, we didn’t see the rest of society, but it’s not great. And a major Bechdel fail. Oh yes, and: the currency is silver? Actual, metallic silver? Time travel has really messed things up.
I enjoyed it on the whole, though, and the ending is great. We could have done without the voiceover, but maybe Rian Johnson, the director, has plans to release a cut without it in one possible future. Now where have I come across that idea before?
The science-fiction community is dispossessed tonight. Ursula K Le Guin RIP.
Star Doctors
It was drawn to my attention a couple of weeks ago that I have not yet expressed (publicly) an opinion on either Star Wars: The Last Jedi or the Doctor Who Christmas special. That is both true, and very remiss of me. Trouble is it’s now been quite a while since I saw them both.
Still, I should be able to gather together a few memory cells.
The Last Jedi
I went on opening night, as I microblogged. It was great. There are some points that could have been done differently, or left out, or speeded up; and it had the weird effect towards the end of there being a series of times when I thought it was finished, and it still wasn’t. But all in all a fine work. Not as good as The Force Awakens, maybe. But that’s partly because that one raised our expectations so high.
‘Twice Upon A Time’
Peter Capaldi’s last episode. It was damn fine, loads of fun. Great to see Bill back, even if not exactly. Unnecessary Daleks, but quite a good use of them — or ‘it,’ I should say.
And the introduction of ‘Testimony,’ scooping up people’s memories and saving them, is great. Though how many computer-simulated afterlives can one series have?
And what a dramatic start Jodie Whittaker’s Doctor is going to have.
There you go, only a month or so after the events.
Jerusalem by Alan Moore (Books 2017, 5)
Yes, it’s halfway through the second-last month of the year and I’ve just finished my fifth book. Five in a year. That’s very poor. But this book was a large part of the reason for that.1
At over 1000 pages of very small text — close to a million words, I’ve heard — this is a mammoth work. It’s also really, really good.
As befits such a large work, it is a whole made of many parts. It’s split into three main sections, with each of those having eleven chapters; along with a “Prelude” and an “Afterlude.” The first is a series of short stories or vignettes, most of which are not obviously connected. They are all set in and around an area of Northampton called the Boroughs, at various times in the past and present.
In the second we find out what happened to Mick Warren, the closest thing we have to a protagonist, after he died aged three, before he came back to life again. The third brings it all together, after a fashion. Moore has always had trouble with endings — just consider the mighty Watchmen, whose ending was actually improved by the movie.
Did Alma Warren’s pictures save everything, and stop the destructor? Of course not: it always happened that way and always will. That’s the central thesis of the novel, the idea of eternalism, that time is static, and we only experience change because we happen to be moving along that axis at one second per second. This is of course similar to the viewpoint of Dr Manhattan in the aforementioned Watchmen, so we could suppose it’s a worldview that Moore has had for some time, though in his acknowledgements he suggests that he came to believe it during the years he was writing Jerusalem.
There is a chapter in book three that is written in the style of Joyce in his Finnegan’s wake days. It’s hard work to get through, but well worth it (though with hindsight if you were to skip that chapter I don’t think you’d miss much of the plot). Anyway, it’s a monster work, and well worth the time it takes to read.
On Blade Runner 2049
Spoilers ahead, obviously. Although I don’t go into much detail.
We saw it in the Rio in Dalston, because all the Hackney Picturehouse showings were full (or at least just had a couple of separated seats left). Which makes me surprised to read these stories about it not doing very well on opening weekend. And weirdly, from the balcony. I don’t know when I was last in a cinema with a balcony. I mean, the Rio, obviously, though probably not since Harry Potter 8; but I hadn’t been in the balcony before, and I don’t think I even realised that it had one.
But to the film of the moment. I tried to lower my expectations, I really did. But I’d read that Guardian review, which was so unbelievably glowing. I listened to Mitch Benn hoping they wouldn’t fuck it up and believed that they hadn’t.
But…
OK, they haven’t fucked it up. But I’m going to have to break ranks with all the legions of newspaper reviewers who love it to death & back (honestly, I can hardly find a bad, or even a mixed, review), and nearly everyone else.
Because I didn’t enjoy it all that much. I spent a lot of the time (of which there is a lot) saying, “What the fuck is going on here? Why did they do that?” The former is fine, as long as it becomes clear over time, which it generally did. The latter less so: understanding characters’ motivations is fundamental to understanding and enjoying a work of fiction.
But much worse than those: I spent some of the time bored.
The main reason for that is that it’s paced like an 80s movie. Which is to say, much more slowly than we are used to today.
I should have expected that, I suppose. The original Blade Runner moves slowly even by 80s standards. That’s part of its visual and storytelling style. So it’s reasonable that a sequel, even one thirty years later, should follow suit. But they could have picked the pace up a bit.
The reviews all describe it as “thought-provoking” or similar, and it’s true that the questions of what it means to be human or to be artificial are in there. But to my mind there’s not enough of that. Which in a way is linked to another problem: world-building.
As before the world is very visually striking. What we have is the world of Blade Runner with thirty years of technological advancements. Like the film, the pace of advancement has been slow, but I suppose that’s not surprising, given how damaged the world is.
But slowly or quickly, technology advances in parallel with a conversation about that technology. What’s missing here is any in-world debate about the legal and ethical status of replicants. Certainly there’s a nod to the idea that the casual use of “skin-job” is insulting and shouldn’t be used. But it never seemed that insulting anyway — indeed I think it’s only the voiceover version of the original that tells us it is an insult. Deckard likens it to the n-word. (He does so using that word, which, rightly, would not happen today.)
In a more realistic world there would be a debate about replicants. There would be rights groups campaigning against using them as slaves, and even for them to be given full citizenship status. And from others there would be discrimination against them, abuse of them. That could all be going on in the background of this society — and the debate is not what the film is about — but I think a small acknowledgement that the debate existed would at least hint at a richer society.
That all applies to the original too, of course, but now it’s much more common for the replicants to be living among humans on Earth, so the conversation would be that much more active.
And speaking of that commonality of the replicants on Earth, one question you might ask is, are there any humans actually left on Earth? Because only two characters appear to be unambiguously human.
One is K’s boss in the LAPD, Lt Joshi, who could unknowingly be a replicant, though nothing suggests that. The other, Ana Stelline, who creates the memories that are implanted in replicants. She lives in isolation because of sensitivity to the environment, and the implication is that only a human can provide the memories. But since not all of the memories are actually hers, all that needs is gift for imaginative imagery. And, now that we know that replicants are fully-biological beings who can reproduce (whether only with each other or also with humans is unknown), then anything is possible.
The situation appears to be that anyone with the money and without any disqualifying problem has left Earth. “A new life awaits you in the offworld colonies,” after all. I always suspected that the colonies would consist of grinding hardship based on subsistence farming, but I suppose the idea is you have replicant slaves to do the work.
The Earth that we see is incredibly empty. The original’s LA streets were packed with people, but now it seems sparsely populated at best. Empty highways — because of course nobody’s driving cars anymore. But the air is empty too. Mostly there’s only ever one car flying at a time. All those giant buildings might be filled with people, but you don’t get any sense of them being there.
San Diego is a literal dump, and Las Vegas a nuclear wasteland. Apart from the still-standing casino hotel, of course. A million bottles of whisky and you choose Johnnie Walker Black Label? Come on. (That brand is owned by Diageo, though, which is the first of the big neon advertising signs you see.)
I don’t know, I wonder if it was just my expectation of something more striking, more startling. Don’t get me wrong: I didn’t hate it, or even dislike it. I was just disappointed by it. Yet I think I want to see it again.
I loved the music, by the way, though it was perhaps a bit overwhelming in places.
And as a last thought: I still see people talking about the replicants being ‘robots’ or ‘androids.’ If it wasn’t clear from the first film, where they bled what seemed to be blood, it is powerfully obvious now: there are no robots in these films. The replicants are fully biological. They are probably more like clones, genetically engineered for enhanced strength and stamina.
The original book had androids (the clue was in the title); but not these films.
Star Trek: Discovery, episode 3, ‘Context is for Kings,’ keeps up the good work, in case you were expecting otherwise. And I forgot to say the other day that, although the IMDB people were negative, there is a very positive review on Tor.com. Much positivity in the comments there. too.
Trekking
Past
I can remember when I first saw Star Trek.
That’s not so unusual, but if my memory is right — and I’ve just more or less confirmed that it is — then when I first saw it was the absolute first time anyone could see it, in this country, at least.
Here’s the memory (and it’s tied up, as many good things are, with Doctor Who).
It’s 1969. It’s the summer holidays, and we’re in a holiday home with a TV. That in itself makes me doubt the memory, because back then holiday houses just didn’t have TVs. A lot of houses in general didn’t. But this memory has always told me that we were on a family holiday. And it’s Saturday, late afternoon. I’m settling down at the TV, and somebody says — I think it’s my sister — ‘Martin, Doctor Who finished, remember?’ Because it was Doctor Who time.
And I said, ‘But this is like Doctor Who!’
And as the new programme started someone else — my Dad, I think — said, with a tone of surprise, ‘He knows all about it!’ And then the Enterprise swooshed towards me out of the screen.
I’ve long wondered how true this memory was. It was 1969; I’d have been five. But I just checked:
Initially, the BBC was the first-run broadcaster of Star Trek (12 July 1969-15 December 1971).
…
The series was shown in four seasons, the first on Saturday evenings at 5:15 pm (in the time slot usually taken by Doctor Who).
Which exactly matches my memory: summer, Saturday, Doctor Who slot. And the calendar confirms that the 12th of July 1969 was a Saturday.
I wouldn’t be five for another month plus. Not a bad bit of early-memory retention. I wouldn’t have remembered it at all, if it wasn’t for one thing: trauma caused by fear that my parents would turn the TV off just as this exciting new programme was starting burned it into my brain.
My Dad always liked Star Trek too, so I guess I was partly responsible for that.
Present
Yesterday I watched the first two episodes of Star Trek: Discovery, which are on Netflix (in the UK and Europe, at least; in the US they’re on CBS’s own new streaming service). And I really enjoyed it. I wouldn’t say it felt like being that nearly-five-year-old again, but it did feel like they’re trying something new and potentially very exciting.
Today I was looking at its entry on IMDB. It turns out there are user-written reviews there, which I don’t think I’d been aware of before.
Sadly they are almost universally negative. ‘It’s not Star Trek,’ is a common theme. But there’s a strong whiff of racism and misogyny coming through. Two non-white women as leads means ‘social justice warriors’ are running the show, it seems. Well from what I’ve read of Gene Roddenbery, I think he’d have been happy to be called a social justice warrior. Star Trek was always about diversity and tolerance.
Future
I don’t know how many episodes of this new series they have lined up, but I know I’m looking forward to watching them. So is my inner five-year-old. So would my Dad have been. And so would Gene.
Jodie Whittaker was amazing in Broadchurch. I’m extremely happy to see her as the new Doctor.
Extreme Pyramid Scheme
I didn’t intend to discuss these two episodes of Doctor Who together, but watching the first was delayed because I was in Scotland when the first one was on. And I didn’t realise they were a two-parter.
Except (spoilers) — oh, they’re not. They’re the first two of an n-parter, where n equals… who knows? At least three, and I’m sort of guessing from the titles and directors that it might be four.
Anyway, in them we have one really good episode, one not so good.
Episode 6, “Extremis,” was really very good indeed. Right up there with the best of this series so far. And good to get the mystery of the vault revealed early on, rather than letting it drag on to the end of the season and be an anticlimax.
Episode 7, “The Pyramid at the End of the World,” despite the great title, was weaker, largely because of scientific irrationality and foolish plotting. To say nothing of incredibly lax biosecurity.
That said, I did enjoy it while watching it. It’s one of those ones where a little bit more care, a few easily-insertable words, and it would all have held together much better. The problem with bad science or plotting based on foolish mistakes is that they can dump you out of the story. Critical faculties should be engaged after you’ve watched a show, not unceremoniously force-invoked by something happening onscreen.
Never mind, though: the next one looks very interesting.
Space Suits You
Back to form, then, with Doctor Who season 10 episode 4, “Oxygen.” Jamie Mathieson has written some good episodes before, and he keeps up the standard here. A tale of capitalism red in tooth and claw, it reminds us at times of “Silence in the Library,” and also of Duncan Jones’s Moon.1
It’s a “monster of the week” episode, but the monster is capitalism. This season so far has been surprisingly political. Well, maybe not surprisingly. These are politically-charged times, and science fiction is nothing if not of its time.
There are no particularly egregious pieces of nonsense here, either. Why the suit’s force-field helmets are OK inside the station but not enough outside isn’t really explained, but the real reason is so the actors don’t have to wear helmets for the whole episode, so that’s all right.
Oh, one thing: they’re on a space station: what are they mining? I mean, for copper, but in what? We have to assume it’s asteroids, but they could just have said.
The really interesting stuff is what we might call the “arc” material (if we are harking back to our Babylon 5 days). The shades are back, but only because The Doctor is blind now. Can he fix it by regenerating, maybe? Or by doing a partial regeneration, like Ten? And more about the vault and The Doctor’s oath. Nardole fears what would happen “if that door opens.” But we saw it open last week, so things are not quite as Nardole thinks, at least.
And the very last scene in the “Next Time…” Yes!
Wood and Puzzles
Well, I suppose they couldn’t sustain the excellence forever. I mean, there’s bound to be the odd weaker episode, right? “Knock Knock”, Doctor Who season 10 episode 3 is certainly that. I have to say it’s the weakest episode we’ve seen so far this season.
This is largely because it doesn’t make much sense. Alien bugs turning people to wood? And back again? Well, I guess it’s no more preposterous than many things we’ve seen, but you need to have some semblance of a rationale, and this had none.
Plus it had less of what has really been making this season great: the Doctor/Bill interaction.
Still, it had an interesting season-arc-related ending, with the Doctor taking Mexican food into the Mysterious Vault to share with whoever is in there. And we now it is a “who:” they were playing the piano. And they eat, presumably.
I think there are two possibilities: