Check In For THE FLIGHT ATTENDANT

 Article first published as TV Review: THE FLIGHT ATTENDANT at Seat42F.

HBO Max began a new miniseries this week entitled THE FLIGHT ATTENDANT. It’s about a – you guessed it! – flight attendant, who works on international flights. On layover in Bangkok (pun intended), the titular airline employee hooks up with an attractive passenger. The next morning, she wakes up to find him clearly murdered in the bed beside her. She panics, cleans up the room, flees, and soon finds herself in a spiraling bad situation as the FBI, among others, closes in on her, even as she can’t remember all the events of the fateful night.

Kaley Cuoco (The Big Bang Theory) produces and stars as Cassie Bowden, the attendant in question. I wasn’t sure what to expect from an actress I’ve only seen in sitcoms. And while I’m not sure she’s doing more than she did in her previous work, this role is very well suited to her, and she plays it beautifully. Cuoco has the right amount of charm and magnetism to pull off making a character who, on paper, isn’t completely likeable and making you root for her. She is a natural and fitting lead here.

I like very much that THE FLIGHT ATTENDANT isn’t just about a person in the wrong circumstance. That’s part of the equation, sure, but Cassie’s continued poor judgment and destructive coping mechanisms (with a backstory slowly teasing out why she is this way) continue to make the situation worse as the episodes play out. Unlike in some similar works, the agents following her are far from incompetent, and suspect her pretty much right away, her bad behavior not going unnoticed. It’s the specifics of the situation that draw out the plot and keep things murky, not people who don’t know how to do their jobs, or a protagonist that is preternaturally smart.

The plot moves very quickly, with twists coming fast, but not too fast. THE FLIGHT ATTENDANT takes plenty of time to dwell on Cassie’s misfortune. A lot of moving parts and layers to the story keep the pacing moving, though, in a good way.

There are quite a few subplots and supporting players in THE FLIGHT ATTENDANT. Cassie’s best friend, lawyer Annie (Zosia Mamet, Girls), has a non-boyfriend who appears conveniently in the third hour. Her brother, Davey (T.R. Knight, Grey’s Anatomy), provides a bit of a ticking clock with an impending visit and his concern about her alcoholism around his children. Needy co-worker Megan (Rosie Perez, Rise) is involved in illegal activities of her own, which will surely come into play at some point. Federal agents Van (Nolan Gerard Funk, Glee) and Kim (Merle Dandridge, Greenleaf) have an interesting chemistry that seems effective. The dead passenger, Alex (Michiel Huisman, The Haunting of Hill House), haunts Cassie from beyond the grave, while his business partner, Miranda (Michelle Gomez, Doctor Who), closes in on her in reality.

All of this should be more than enough to sustain the eight-episode miniseries, even as it rushes along, and I’m intrigued by each piece of the puzzle. Solid direction, great acting, an eye-catching, globe-hopping setting, and more keep THE FLIGHT ATTENDANT entertaining and mysterious.

My only complaint about the show is its misuse of music, the dark, heavy themes distracting from the action itself, hurting rather than helping the story along. I also would have preferred to be able to binge the whole thing at once; as soon as I began the first of three initially-released installments, I couldn't stop.

Those gripes are relatively minor, though, and I look forward to finishing the series over the next three weeks. This one is a lot of fun, so make sure you catch it, too. THE FLIGHT ATTENDANT episodes one through three are available now on HBO Max.

Not Your Average Teenage Witch

Article first published as TV Review: CHILLING ADVENTURES OF SABRINA on Seat42F.

Netflix released the first season of the highly anticipated CHILLING ADVENTURES OF SABRINA last week. Based on the recent Archie comic series of the same name, the titular character is a half mortal, half witch teenager who has come of age and is asked to sign her soul over to the Dark Lord. But Sabrina has doubts, especially when she is lied to about free will and told she must give up her human friends and boyfriend. Does she really have a choice, and why is Sabrina so important to the witch world?

This is not your (parents’?) Sabrina the Teenage Witch. Although fans of the 90s sitcom will recognize character names and broad-stroke personalities from CHILLING ADVENTURES OF SABRINA, that is pretty much where the similarities end. This is a dark, creepy, macabre version of the tale. Followers of the Dark Lord call themselves a church, but they’re closer to a cult. Actual teen witches might kill mortals for fun. Blood is used in rituals. And Satan is involved. So don’t expect to sit down with your family to watch this.

CHILLING ADVENTURES OF SABRINA looks almost flawless. Its design and setting are very artistically done, visually stunning. Special effects are top-notch. This all contributes to the purposely dreary tone. There is also a sense of fun, whimsy, and magic injected in, lest you think it’s just a dark drama. Costumes, props, the Spellman house… it is all excellently done.

My complaint here is that the picture far too often goes blurry on the edges. This is a great effect when used sparingly, but SABRINA uses it constantly. It becomes distracting and confusing. The show would play much better of 95% of this was taken out.

For tone, I recommend looking to the CW’s Riverdale, which may or may not be set in the same universe. (There is no crossover in season one, although Riverdale is mentioned as a place.) Both share a sense of sexiness and danger. Though SABRINA is louder and more extreme, with the magical element kicking things up a notch.

Most of the characters are equally good. Miranda Otto (24: Legancy) and Lucy Davis (the original The Office) are fantastic as aunties Zelda and Hilda, respectively, updating the stern and goofy bases into complex and surprising characters. Ross Lynch (Austin & Ally) plays perfect puppy dog Harvey Kinkle. Chance Perdomo (Shakespeare & Hathaway: Private Investigators) is very interesting as Sabrina’s ‘cousin’ Ambrose, confined to house arrest. Tati Gabrielle (The 100) is perfect as Prudence, leader of the Weird Sisters. Michelle Gomez, memorable in her run on Doctor Who, brings a similar performance to the teacher who inadvertently gets involved. Richard Coyle (Coupling) is awesome as high priest Father Faustus Blackwood.

Less satisfying is Kiernan Shipka (Mad Men) as Sabrina. Shipka is a talented young actress, as proven by past work, but I’m not certain her performance matches the rest of the show. At times, she feels like the strong young woman she is, standing up to authority, even her aunts, protecting her friends, and making her own way. This put-together sixteen-year-old is where Shikpa shines. But she seems less comfortable with the strange and weird. And this may be mainly a writing issue, but it’s completely strange that Sabrina doesn’t notice massive changes in her favorite teacher. I do think Shipka can grow into this role, or some adjusted direction may help. But at least initially, she’s unfortunately not as good as the show itself, not something you want from the lead.

Which is not to say that I don’t recommend CHILLING ADVENTURES OF SABRINA. It’s a compelling, creative story that is mostly well executed. I had planned to watch just one episode for this review, but felt like I had to go straight into the second. Once I submit this article, I do plan to watch the rest. There are just a few things to work on for season two for the program to make full use of its potential.

The CHILLING ADVENTURES OF SABRINA is available now on Netflix.

DOCTOR WHO Not So "Familiar," But Great

Article originally published as TV Review: 'Doctor Who' - 'The Witch's Familiar' on Blogcritics.

BBC’s Doctor Who concluded its two-part season opener this weekend with “The Witch’s Familiar.” The Doctor (Peter Capaldi) is trapped in the heart of the Dalek home world, alone and without hope, especially after a hilarious failed escape attempt. Luckily, his friends aren’t as dead as he believes and are on their way to rescue him. He does need rescue, too, since his heart-to-heart with an old enemy doesn’t have the result it seems to.

The best part of “The Witch’s Familiar” is the interchange between The Doctor and Davros (Julian Bleach). Very old enemies who have fought war and seen genocide together, it seems their connection isn’t all negative in Davros’ final moments of life. They have shared something deep, and there are bound to be mixed emotions in that moment. Davros calls for The Doctor from his death bed and The Doctor, despite millennia of animosity, comes. That means something.

This scene becomes a teary goodbye in which Davros echoes The Doctor’s own question that he struggles with last season, “Am I a good man?” The Doctor can’t exactly say Davros is, nor does he, because Davros created a deadly race that exterminates people; he’s Hitler times a billion. But The Doctor gives him a sympathetic ear and proclaims “We’re on the same side now.” This illustrates The Doctor’s huge capacity for mercy and his dedication to all life, something he passes on in a small way to the Daleks, and he’s not able to kill his enemy when he has the chance.

Of course, Davros is just as evil as everyone thinks he is. There is no last minute turn of the heart, as it appears. This is a trap in which he steals some of The Doctor’s regeneration powers and renews his own life. When this twist comes about, it does feel surprising because Doctor Who has done such a good job in making Davros seem repentant. But it’s surprising that it surprises because the Daleks have always been The Doctor’s most clever and deadly enemy, so as soon as the initial shock wears off, this elicits an “Of course, it’s a trick!” Really, the whole thing is superior storytelling, playing on both emotions and expectations, and making use of a long history in order for a fantastic pay off.

In the meantime, Missy (Michelle Gomez) is able to explain to Clara (Jenna-Louise Coleman) how they’ve escaped what appears to be certain death (and the TARDIS is fine, too), negating the punch of the triple-homicide near the close of the previous episode. Missy then leads Clara through the sewers, where we learn something new about the Daleks, then traps The Doctor’s companion in a Dalek machine so they can break in. It’s a plan that works, but at what expense?

The way Missy continually plays Clara in “The Witch’s Familiar” is different from the way Davros manipulates The Doctor because Missy doesn’t commit to the her new leaf fully. Sure, she calls Clara clever, but she never ceases to taunt Clara or treat her as a lesser. Clara isn’t able to avoid Missy’s trap, but Missy is a lot, lot older and smarter than Clara, and really, being tricked by a Time Lord is nothing to be ashamed of. Missy’s actions just reinforce the fact that she can never be trusted.

The Doctor is furious with Missy when he sees what’s been done to Clara, and tells her to run. The Doctor’s relationship with Missy, like his with Davros, is mostly one of rivalry, but it’s interesting how The Doctor relates to his foes in these two installments. Missy is a more complex character, being one of The Doctor’s own people and not actively committing genocide, even if she cares little or none for others. The Doctor doesn’t feel the need to battle her unless she’s actively working to do harm. In this case, Missy messes with the wrong girl, but The Doctor allows her to leave and will probably cool down over time.

The Doctor manages to get Clara out of the Dalek, but this is a huge disappointment. I’m ready to be done with Clara, anyway, and this seems like such a perfect way to be rid of her. When Clara first meets The Doctor, before we even know her name, she does so from inside a Dalek. Now, with the way the timey-wimey nature of the show works, this might not be how Clara ends up, but it would be perfect symmetry if it is. Though, it occurs to me that perhaps Clara is still inside the Dalek, since Clara isn’t actually shown getting out, and whatever we witness at the end of “The Witch’s Familiar” with her running alongside The Doctor is a trick. One can only hope that will be a reveal in a future episode, the sooner the better.

I am super impressed and confused that The Doctor has traded in a sonic screwdriver for sonic sunglasses. The look Capaldi’s Doctor is sporting this year, the t-shirt with the stripped pants, makes him look like an aging rock star (an apt metaphor for the character at this point), and the sunglasses add nicely to that persona. They don’t seem as convenient as the screwdriver, such as when he puts them on in Davros’ dark chamber, but they’re usually less obvious to use. It’s something completely new for Doctor Who, and after fifty years, such big changes are few and far between, and very welcome.

My only complaint about “The Witch’s Familiar” is that the sound mixing seems very off. It is incredibly hard to understand Davros, and Missy and Clara’s conversations in the sewer get drowned out a lot, too. I don’t know if it is just BBC America’s broadcast of the episode or what, but it is difficult to follow the story in places. I don’t recall this happening before, and hopefully this will not continue in other episodes.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

DOCTOR WHO No "Apprentice" to Greatness

Article originally published as TV Review: 'Doctor Who' - 'The Magician's Apprentice' at Blogcritics.

O. M. G. That is my reaction to Doctor Who‘s ninth series premiere (of the modern run), “The Magician’s Apprentice,” which aired last night on BBC America. A fan of the franchise, old and new, I’ve had my share of complaints about the series this past year and a half, as regular readers of this column may know. Those complaints are nowhere to be found in this premiere, though, which is excellent! It ties the old Who into the new, answers a very old question, and provides for plenty of surprises, all while posing the most massive moral dilemma that The Doctor has ever faced – and that’s saying something!

First, a quick recap of events. The Doctor (Peter Capaldi) sees a boy trapped by hand mines (which are literally what they sound like). Back to the present, all the airplanes freeze in the sky over Earth. Kate Lethbridge-Stewart (Jemma Redgrave) and UNIT can’t find The Doctor, and so call Clara (Jenna-Louise Coleman) for help. Clara has no answers, but proposes they solve things on their own, which proves a bit complicated when the problem turns out to be Missy (Michelle Gomez). Nope, The Doctor’s Time Lord foe is not dead, but no time for that now; The Doctor believes he is about to die. Missy and Clara rush to his rescue, and all three fall into a trap laid by Davros (Julian Bleach, last appearing in 2008), the creator of the Daleks. The Daleks execute Missy, Clara, AND the Tardis, and now The Doctor is back with the child, who it turns out is Davros. Can The Doctor murder him and restore everyone he cares about?

That’s a lot, and there’s plenty to dissect. Let’s get started.

First, it is awesome to see Kate again, and I love the idea that UNIT is going to face a crisis on their own. Obviously, they probably do this all the time, but to see them bravely go up against Missy is thrilling. It’s heart-wrenching when they watch her kill two of their men and can’t kill her in return, but it makes sense, she being the key to finding The Doctor, who will likely be needed to save the entire world again in the future. Basically, this whole showdown gives me major thrills, and is moving as it compelling. I want more of UNIT please.

Second, Clara has dropped all pretense of her secret Earth identity. When the planes freeze in the sky, she recruits her class to help investigate. Then, Kate calls her at work, and Clara has no problem telling her boss she needs time off and rushing away, offering no excuses. It has been said in the press that this season finds Clara losing her connection to her planet and identity, and in “The Magician’s Apprentice,” she’s starting already pretty isolated.

Third, I love the idea that Missy, often known as The Master, is The Doctor’s best friend. Companions come and go over the years, but she is constant. They may try to kill one another, but in Missy’s twisted brain, that doesn’t take away from their deep connection. I do want to get back to why Missy is alive and still in this form, but I can wait for a future episode to find out. The current stakes are high enough to ask the audience to wait for an explanation, and witnessing Missy and The Doctor’s interchange is justification enough to bring her back.

Then, we lose Missy, Clara, and the Tardis. I’m not going to lie, I wouldn’t miss Clara if she died here. I’ve made no secret that I don’t like the character, and while it’s not entirely because of her, Doctor Who has been weaker ever since she became the companion (not counting her first appearance and initial Christmas episode). But issues with Clara aside, to make The Doctor bear witness to all this very personal loss is gut-wrenching. Davros could not strike a worse blow against his foe and he knows it. It’s his final offensive before his own death, and it’s super effective.

Getting the bit with the boy, whom The Doctor could rescue but abandons instead, rewrites all of Doctor Who history, in a good way. The Daleks show up extremely early in the original show, and have plagued The Doctor for years. They are the ones that destroy his people (well, with help from The Doctor himself), and they have always been a bit obsessed with The Doctor. Now we know why and it all makes sense. It feels really good to learn something that forces a change in perspective for fifty-plus years of television, and it’s brilliant to bring it up now. Plus, the glimpses of past doctors and a poignant line from Tom Baker’s version make this exchange extremely memorable.

But will The Doctor kill the boy, and what would that mean? The Doctor has been able to bring himself to murder an entire race before, so we know he has the dark capacity to kill. But having to stare a little boy in the face and pull the trigger could be another matter completely, no matter what’s at stake. It’s like asking someone to assassinate Hitler as a youth, great in theory, but hard to carry out in the moment for most of us. The boy hasn’t done anything yet. Can The Doctor really condemn him to death?

And what if The Doctor does kill him? That is the only logical way to bring Missy, Clara, and the Tardis back, the latter of which cannot possibly be left dead. But by slaying young Davros, what will that do to The Doctor’s history? What will it change? There’s no telling ahead of time because of the timey-wimey nature of time travel and this series. It could provider great story fodder for years to come.

“The Magician’s Apprentice” is awesome for all of these things and more. It makes one think, it provides a beautiful character moment for our lead, and it pays tribute to rich history. Doctor Who is an intricate series, with the twelve Doctors all interwoven, and never more so than right now. By beginning the season with such an important, seminal story that means so much, the series has proven it is worth watching again and deserving of its popularity. Waiting a week to see the resolution of this cliffhanger will be challenging, indeed.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

DOCTOR WHO Finale Good, Not Great

Article first published as TV Review: 'Doctor Who' - Series Eight Finale on Blogcritics.

The BBC’s Doctor Who has been building to a big finale all season, as per usual. That ending is finally here in the two-part episode “Dark Water” and “Death in Heaven.” As expected, this adventure pays off much of the story from not just season eight, but ties itself into past mythology as well, and it almost makes up for the overall-mediocre year. Almost.

In “Dark Water,” The Doctor (Peter Capaldi) takes a devastated Clara (Jenna Coleman) to find her recently deceased boyfriend, Danny Pink (Samuel Anderson). What they stumble into is Missy’s (Michelle Gomez) plot, which involves turning all of the deceased of Earth into Cyberman which she can then use to conquer the planet, or multiple planets. Or just give them to The Doctor, as she does in “Death in Heaven,” to try to repair their friendship, as she’s actually old frenemy The Master reincarnated as a woman.

“Dark Water” and “Death in Heaven” are good episodes because they hit a lot of excellent notes. Any chance to see UNIT is delightful. Clara’s grief over losing Danny is palpable. Danny’s love overcoming the Cyberman programming is very moving. The Doctor finally giving a salute to old friend Brigadier Alistair Gordon Lethbridge-Stewart (played for many years by Nicholas Courtney, but seen here only as a Cyberman) is nothing short of amazing, giving long-time fans a much-deserved reward.

The goodbye between The Doctor and Clara is equally good. Neither gets what they want, and they each lie to the other to make it seem like things turned out OK. That’s a hanging thread begging to be explored, and it will be in the upcoming Christmas special. But for now, the scene in which Clara quits her travels, never really saying what she means to say to The Doctor, is terrific enough.

An unresolved mystery, that of where Galifrey is and how The Master found it, or if he/she really did, remains, tantalizing, sure to be picked up in season nine. We know The Master is a liar, of course, but since Galifrey is out there, somewhere, The Doctor needs to find it.

This finale explores the question posed earlier this year as to if The Doctor is a good man. He decides he’s not, but he’s not a bad man either. In doing so, he’s able to let go of some of his hangups and trust Danny Pink, a solider, something The Doctor detests. This is a beautiful, solid conclusion to the subplot, though The Doctor is far from done in his evolution as an individual, nor has he addressed why he now looks the way he does, surely connected to his internal turmoil.

Lastly, it’s no small thing that The Doctor is made President of Earth in “Death in Heaven.” He may not stay in the position full-time, but it means something, and since Kate Stewart (Jemma Redgrave) survived, it will have to be dealt with again. It’s a post The Doctor doesn’t want, but it might be useful to him at some point. How much will he invest in the power and is his term finite?

Now, there are still quite a few holes, though, and that’s why “Dark Water” and “Death in Heaven” continue the trends of this season, rather than making up for them and fixing the series entirely. For one, Missy’s ability to capture the souls of deceased people and then transform their corpses into Cybermen is never adequately explained, nor is how she can control Cybermen in the first place dealt with. I do not understand her plot to win back The Doctor, either. She’s crazy, sure, but there has to be some reason she thinks her plan will work. We don’t know why she puts Clara and The Doctor together, not really. I doubt we’ve seen the last of The Master / Mistress, as Time Lords regenerate, and hopefully future glimpses will explain these things, but this two-parter doesn’t do a good job making itself cohesive here.

I also feel like Osgood’s (Ingrid Oliver) death is quick and cheap. Her presence is a memorable one, and I love how she references older versions of The Doctor in her wardrobe. Killing her should have affected someone and meant something, and instead, it’s just a throw-away moment, scary, but not worth it.

Doctor Who‘s season eight is, overall, the weakest since the show’s reincarnation in 2005. Yet, the season finale has enough wonderful tidbits to prove the magic is not dead, even if it skips over them too quickly instead of giving them the exploration they deserve. A refocus is in order, hopefully without Clara, playing on the strengths still running through the show and minimizing the inconsistencies and stand-alone tales that just don’t work. I’m cautiously optimistic season nine and a new companion can get the show back on track.

Doctor Who will next see a Christmas special on that holiday, and then (reportedly) return to the BBC and BBC America sometime in 2015 for season nine.

"Night" Is Near For DOCTOR WHO Season 8

Article first published as TV Review: 'Doctor Who' - 'In the Forest of the Night' on Blogcritics.

In the latest episode of the BBC’s Doctor Who, “In the Forest of the Night,” trees suddenly sprout all over the Earth, clogging major cities and seemingly taking over everything. Is this an alien invasion? The environment fighting back against human intrusion? An attempt to create chaos? Or something else entirely? The Doctor (Peter Capaldi), assisted by Clara (Jenna Coleman), Danny Pink (Samuel Anderson), and a group of schoolchildren, intends to find out.

The core mystery at the center of “In the Forest of the Night” is interesting. Like the Weeping Angels and the creatures that live under the bed, the trees are an ever-present, real thing made creepy. When The Doctor theorizes that fairytales paint the woods as haunted because the trees have long been a threat to mankind, it makes sense. Not only that, but the motivation for attacking us, who harm them, is sound. But when that idea is turned on its head, that the trees actually protect us, not hurt us, it’s a twist on a structure used often in Doctor Who, making it seem somewhat fresh.

It is also interesting that no one wants to be saved by The Doctor if their families will die. The kids need their parents, Danny needs to stay and stand his ground, and Clara doesn’t to be the last remaining human. There’s a theme of loneliness explored a bit, forcing a perspective that many compassionate humans can agree with and get behind.

The Doctor doesn’t understand this. The 12th Doctor, more than previous incarnations, is self-involved and doesn’t worry about others unless they’re among the few individuals he cares about. At one point, The Doctor considers leaving the Earth to its fate, everyone doomed to die, and I kind of wish the series had gone through with this. Not only would it irrevocably shift the dynamic between Clara and The Doctor, it would force the writers to deal with a callous part of The Doctor that has been festering all season. Instead, it’s hinted at and then dropped, disappointingly, as The Doctor reverts to form and figures out the puzzle.

Clara is in the opposite position from The Doctor, learning to care a lot about those around her. A year ago, while she would have continued to urge The Doctor to fight on, she might not have been so willing to die with everyone else. Now, she has Danny, understanding Danny who will forgive her lies about cutting off ties with The Doctor if she can figure out how to be true to herself. He gives his very good explanation of what he wants out of life, and it appeals to her. I think Danny will help Clara be who she should be, giving up her adventures and escapism to finally start living the life she’s meant to have.

It’s actually pretty ridiculous how the children fold into this story. Doctor Who has involved civilians in the past, but rarely on this magnitude. All of Clara and Danny’s charges (none among the recognizable ones from previous weeks) are in on the secret, present for the important parts. What’s more, it phases none of them to learn The Doctor’s secrets, which is tongue-in-cheekily dealt with, but certainly not in a satisfactory manner.

As has been usual this fall, “In the Forest of the Night” is mostly a stand-alone episode. There is barely a glimpse of Missy (Michelle Gomez), and character arcs are only touched upon, not explored. Doctor Who‘s large stories would lose nothing by leaving this episode out of the run, and that’s never a good sign. Where has the series, which used to be complex and convoluted, gone so wrong that most hours these days are forgettable?

So, as has happened a lot lately, “In the Forest of the Night” leaves one with an empty feeling. Good ideas are not realized as fully as they should, and the story does not sufficiently tie into the bigger picture. Where once there is a mythology-heavy must-see program, in the eighth season, those in charge have made the show more “normal,” more pedestrian, and far less appealing to discerning fans. I don’t know if this is meant to help the show continue to grow in its appeal to the masses, but it’s having the opposite effect on the fans, with viewing numbers shrinking greatly this year. This episode is not the way to fix that.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

DOCTOR WHO Barely Avoids "Flatline" This Season

Article first published as TV Review: 'Doctor Who' - 'The 48' on Blogcritics.

In last night’s episode of Doctor Who (BBC America), “Flatline,” the TARDIS begins shrinking and draining of power. Clara (Jenna Coleman) gets out to investigate, but The Doctor (Peter Capaldi) stays in, soon becoming trapped in a box that fits in Clara’s purse. This means, though The Doctor offers a bit of help, Clara must take on his normal role in the crisis at hand, involving the invasion of two-dimensional beings that are killing human beings, whether intentionally or not.

“Flatline” does not feel out of character for Clara because she steps up on a regular basis. While the crutch of The Doctor may be sort of gone here, she is on her own enough in other episodes that this isn’t all that novel a concept to see again. I like the idea presented, that Clara must become like The Doctor, but because of who she is, the execution is not all that impressive, as it doesn’t change her much, if any.

At least, that is, until the end of the hour. Saving the day, Clara takes a moment to gloat that she’s a good Doctor. The Doctor says she is an excellent Doctor, but not necessarily a good one. This echoes the debate playing out throughout this season as to whether The Doctor is good or not. It’s hard to know exactly the meaning of the dialogue in this scene, but there are many things to consider. Does The Doctor not see himself as good? Is he afraid that by forcing Clara to act like him this week, he’s making her take on the worst parts of him? Is his judgment of her related to the way she’s been lying to Danny (Samuel Anderson) about quitting her adventures, something The Doctor clearly does not approve of?

Strange, too, how we see Missy (Michelle Gomez) crowing over ‘picking’ Clara. Did she arrange for Clara to meet The Doctor in the first place? If so, there are a lot of implications to explore, given Clara’s importance, more so than any Companion in memory, to Doctor Who. She saves every incarnation of The Doctor and the entire universe itself. Why is Missy shown to be proud here, at a comparably small moment, rather than during the bigger ones? Does this scene mean something else entirely that just isn’t obvious in the presentation of this episode?

The Doctor himself is a bit uneven in “Flatline.” For most of the episode, he’s the same as he’s been in previous weeks of Doctor Who, a bit too callous and uncaring. Then, at the climax, he steps out triumphantly to expel the aliens and declares Earth under his protection, making a heroic speech. At first glance, this is an inspiring moment for him, but upon further reflection, it feels unearned. What has he done, really, besides the obvious and necessary? He’s still not The Doctor fans love, and has not been since the latest incarnation takes over; still a broken man who needs mending.

I know I’m complaining a bit about character inconsistencies, but “Flatline” is certainly a better episode than last week’s, and highly enjoyable. The guest cast may be a bit weak and flat, 3-D beings more so than the literally flat monsters, but the pacing is solid and the story builds suspense appropriately. There is a mystery that unfolds quite naturally, and the writing makes us think about who the aliens are and what their motivations could be. It’s an examination of a new species with a different framework from our own, and paired with some intense running and clever problem solving, it’s a pretty good hour. Plus, the sacrifice of a noble headband is quite moving.

The special effects are also mostly amazing. There are some weird things when the TARDIS first goes small (not to mention, why doesn’t it keep shrinking at a regular rate?), but the tiny TARDIS is cool and the creatures are really well designed. It’s easy to imagine what we’re seeing is exactly how a 2-D life form might manifest in three dimensions, not yet understanding the concept enough. The folding in of the art and graffiti is neat, and the design of “Flatline” leaves much to be revisited and appreciated.

With only one week left before the big, two-part finale, I’m still not confident this will all come together as well as it has in the past, but I’m getting excited to be done with the mundane cases and see what this season has been about. Will it make year eight worth it, or will the conclusion be as disappointing as certain weeks have been recently? And will River Song finally make a long-overdue appearance?

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

DOCTOR WHO Pretends To Be "The Caretaker"

Article first published as TV Review: 'Doctor Who' - 'The Caretaker' on Blogcritics.


The latest installment of the BBC’s Doctor Who is a pretty typical episode. There are actually several types of “typical” episodes in the long-running franchise, and this week’s entry, “The Caretaker,” is the one in which The Doctor (Peter Capaldi) inserts himself into his companion’s life to find out something about her or push her to do something, while also defeating a malevolent alien that coincidentally happens to be in the area. This happens approximately once per companion, so the story in “The Caretaker,” while feeling very familiar, probably won’t be repeated again for awhile.

The benefit of an episode in this mold is two-fold. One, we get to learn a bit more about the current companion, who is much more often seen flitting around the universe or through time with The Doctor, away from the main component of their life. And two, it puts The Doctor secondary in a situation, the rare instance where he is less familiar and comfortable with what’s going on around him than the companion is. Thus, “The Caretaker” and its ilk feel different from other Doctor Who episodes, even if this standard has been repeated many times.

Looking at “The Caretaker” specifically, The Doctor infiltrates Clara’s (Jenna Coleman) school by posing as the substitute caretaker (or custodian, for you American viewers). His stated intention is to stop a killer robot that may have already claimed at least one life, but he also wants to learn who Clara is dating and feel out the guy to see if he’s good enough for her. As one might expect, neither goes quite according to plan, but at the end of the day, all is pretty much right with the world.

We know The Doctor doesn’t approve of soldiers, and since Clara’s beau, Danny Pink (Samuel Anderson), was formerly a solider, he’s not someone The Doctor wants to see Clara with, or even expects her to go for. The Doctor can be somewhat forgiven, then, for assuming a bookish boy who loves literature is Clara’s dating partner, while dismissing Danny as a physical education ape, going by first impressions and prejudices. These impressions are mistaken, but there they are, and at least’s they’re humorous.

What’s interesting in “The Caretaker” is that The Doctor’s judgments on Clara’s man are as much about himself as they are about Danny. The Doctor sees himself as a studious observer of life primarily, not a fighter or defender at his core, though he may be called upon to do those things. He sees himself as that bookish type, identifying with the other teacher, and thinking Clara will go for someone like him. The truth is, Clara is attracted to many qualities of The Doctor, but she sees through him to the hardened soldier he is, not just the surface persona he tries to project. The Doctor despises this part of himself, hoping Clara won’t notice it, and so rejects Danny as he rejects the parts of his own personality he doesn’t approve of.

Danny sees this right away, more quickly than either Clara or The Doctor. He recognizes a kindred spirit in The Doctor, and also the loathing The Doctor has for himself. Danny doesn’t like the way The Doctor handles himself, but is willing to put up with The Doctor because Danny truly does care for Clara, and he feels she needs protecting in the Doctor’s presence. Danny may just be right.

The Doctor doesn’t intentionally harm others (Dalek War, aside), but his actions do sometimes have dire consequences. Just ask some of his past companions who didn’t make it home. Or those departed souls that are now with Missy (Michelle Gomez), whom we glimpse again in this episode, still without a clue as to her purpose. The Doctor has grown especially cold and callous as of late, and while he places more value on Clara than he does on most people, he could do something stupid, such as luring a dangerous robot into her school, that could end in pain and suffering. His presence also risks her job, distracting her and making trouble that she must deal with, which he doesn’t seem to care about. The Doctor isn’t cruel, but he can be careless.

Contrary to The Doctor’s wishes, this adventure actually brings Clara and Danny closer together. They can finally be honest with each other, and start to build a real relationship based on truth and trust. It is worrying that Danny sees Clara’s secret-keeping as selfish (she’s not the first companion to be so), and he may have a point; he’s turning out to be quite the perceptive individual. But they end up on the couch together, and things certainly look cozy between them for now. Plus, there’s that descendant we meet in an earlier episode that certainly implies Clara and Danny will have offspring together.

Besides Danny, another recurring character is introduced to The Doctor this week. He takes one of Clara’s students, mouthy Courtney Woods (Ellis George), up into space. Again, this shows The Doctor’s lack of consideration, as revealing himself to a student and allowing her to leave Earth, presumably without parental permission, isn’t a good thing. What if something happened to her? I do hope Courtney gets a quick memory wipe, though, and her subplot ends here, not because I don’t like her, but because I feel like her presence on the TARDIS could seriously complicate things for Clara and/or Danny, who are supposed to be responsible for her well-being, at least during part of the day. She makes a good comic relief bit part; I don’t see her as a traveling companion.

I enjoyed “The Caretaker” because it has some very interesting character revelations, even if the story isn’t particularly original. It serves as a season-filler better than most recent installments, and while it continues the trend of Doctor Who not quite meeting expectations this season, it isn’t half bad.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

DOCTOR WHO's Introspective Trip "Into the Dalek"

Article first published as 'Doctor Who' Review - 'Into the Dalek' on Blogcritics.

Episode two of Doctor Who‘s eighth season is markedly better than the first. Now that The Doctor (Peter Capaldi) has settled into his new body, he can start to figure out who he is. This week, in “Into the Dalek,” The Doctor struggles with the question of whether he is a good man, after he encounters his most hated foe (a Dalek of course), who seems to be nice. Shrinking himself, he heads into the Dalek’s body to figure out the malfunction, and in the course of the story, there’s as much self-examination as external investigation.

It makes sense that The Doctor has chosen now to ponder whether he is good or not. He’s recently faced his greatest challenge, his various incarnations teaming up to commit genocide and possibly save trillions of lives. He’s also in a new form, head flooding with memories from the previous versions, some good, some bad. The Doctor is trying to process all of this to determine his way forward.

In the season premiere of Doctor Who, Clara (Jenna Coleman) wonders if something has gone wrong when the new Doctor appears old and wrinkled. Combined with the reflection in “Into the Dalek,” it seems he agrees with her. This Doctor regrets some of what he has done and wants to make up for it. He is just having trouble finding the way to do so. This turmoil is illustrated in his appearance.

It’s a good thing he has Clara, then, his ‘carer,’ as he calls her, so he doesn’t have to care. The Doctor can be quite cold, especially when traveling by himself, which we’ve seen in past personalities. The Twelfth Doctor spends only a few weeks alone before picking up Clara in “Into the Dalek,” but his emotional level is low in this installment, especially where the Daleks and human soldiers are concerned, having much trouble finding empathy, even for death. It takes Clara to make him think of others and do the right thing, thereby proving her importance.
 
Unfortunately, there is a setback when the Dalek looks into The Doctor’s soul and sees hate. No matter how much The Doctor tries to do good, which Clara says is the point, he can’t overcome his baser instincts. The result is that The Doctor unleashes a Dalek back among their race that will systematically kill his own people. This may be good news for the Daleks’ would-be victims, but it also is another thing for The Doctor to feel bad about.

He also refuses to take Journey Blue (Zaw Ashton, Fresh Meat) with him, away from the fighting, although she’s probably a good person, because she is a soldier. The Doctor is letting his petty hangups get in the way of someone else’s happiness. For every step forward, there’s another one back. But, oh, what a compelling journey!

The episode also explores the character of Clara. We see her as a teacher both in the classroom and out, helping The Doctor reach his own conclusions, rather than giving him the answers. This part of her personality is one that has not previously been played up to a huge extent, but now we see exactly the type of person she must be in her normal life, and it’s one that The Doctor needs right now. I still may not like Clara, but she is well used here, and the right woman for the moment.

We get glimpses of her flirting with a new teacher, Danny Pink (Samuel Anderson, Emmerdale, The History Boys). He is a soldier, which means The Doctor wouldn’t approve of him, but he is similar to The Doctor in that he regrets the violence he has done, making him worthy, perhaps even more so because he is in touch with his feelings. He’s sort of a simpler version of the title character in a younger, more attractive body, which makes him pretty much perfect for Clara, likely still missing her ‘hunky’ Eleventh.

I’m intrigued by the brief scene featuring Missy (Michelle Gomez) in “Into the Dalek.” Why did she only rescue one of the soldiers that died? What is her plan? How is she saving these people? ‘Heaven’ has to be code for something, but I can’t imagine what. I look forward to how Doctor Who unravels her mystery.

There are a few problems with “Into the Dalek.” I can’t believe Colonel Blue (Michael Smiley, Luther) would let The Doctor go get Clara before going into the Dalek when he is so concerned about security just moments before. The body itself is a bit cheesy, like in other movies that have a similar premise. But overall, there is so much great character stuff that I really enjoyed it. I love the way the Daleks are brought back, fresh yet again, and the peek at Clara’s ‘real’ life.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

Going Deeper Into "Deep Breath"

Article first published as 'Doctor Who' Review - Season Premiere: 'Deep Breath' on Blogcritics.

Finally! The long-anticipated eighth season of Doctor Who is upon us with “Deep Breath.”  Ever since watching the 11th Doctor’s (Matt Smith) touching goodbye in last year’s Christmas special, fans eagerly (and somewhat impatiently) have awaited the arrival of the 12th Doctor (Peter Capaldi, The Thick Of It, World War Z). Up till now, we’ve 0nly glimpsed him in the holiday special, and, even more briefly, last fall’s 50th anniversary tribute. Now, we get to meet him in all his glory as he takes over the legendary role.

The opening of “Deep Breath,” is terrific. Whether it makes sense or not, a dinosaur walking about Victorian London makes for a cool visual, and so much more. The beast and its relationship with The Doctor, and its eventual tragic death (which tugs at the heartstrings) plays well, and in unexpected ways. We can always count on Doctor Who to deliver both wonderment and pathos, and this opening does that. But, I would like to know how the TARDIS ended up inside the dinosaur’s throat!

In his first appearance as The Doctor, Capaldi gets an A. We still don’t know exactly what kind of Doctor he will make, acting crazy for most of the installment, but he plays the eccentricities so well, it’s clear his more settled version will be good, too. Capaldi’s antics in “Deep Breath” echo past Doctors, in particular Matt Smith and Tom Baker, letting us know the character audiences have been watching for half a century is still in there. His comments about needing more “round things” in his TARDIS will surely please those who are fans of the original series runs. Capaldi is a fan himself from way back, and apparently has internalized those past Doctors, which resonates in his performance.

There are hints of what we might expect of this new Doctor, especially when he is calm enough to stand still for a second. This new version intrigues me, but also makes me wish for Smith’s return. Every time there is a new Doctor, there’s a certain adjustment period for fans, and it’s not easy to jump right back in with someone else. That’s why the first episode of the new series frequently takes time for the character to ‘adjust,’ and “Deep Breath” does that even more so than past versions. It’s very transitional, and that can be unsettling, but as I trust Steven Moffat, the show runner, because of his past track record with Doctor Who, I’m confident in saying this one will likely be good, too.

Because The Doctor is crazy, “Deep Breath” has to rely more on his companion, Clara (Jenna-Louise Coleman), to drive the episode. Other companions, even brand new ones, have done a good job of this (Rose Tyler, Amy Pond), but Clara, who had already appeared in several episodes with the previous Doctor, doesn’t. I find her annoying and grating, assuming many of the worst things about her that Madame Vastra (Neve McIntosh) does this week. Unlike the lizard lady, though, I am not sold by the end. I’m not sure what it is about Clara that bugs me, but there’s something there that doesn’t feel as nice and sweet as the other main characters of the past, and I look forward to her departure.

That being said, The Doctor clearly does value her. The surprise scene near the end of “Deep Breath,” in which The Doctor (Smith’s version) calls her as he is dying to ask her to help out with the new guy is touching. We see the bond between Clara and the 11th Doctor, what they mean to each other. Only the 11th could convince her to stay with the 12th. The way the 12th Doctor plays this scene, also helps carry that relationship into the new series, as we see Smith and Capaldi as the same person here. In an hour-plus where The Doctor is so unrecognizable, it’s good Moffat chose to ultimately smooth the transition.

Despite my objections to Clara, I don’t accuse her of everything Vastra does, specifically that she is upset by the new Doctor’s appearance because he’s older and less attractive to her. I believe Clara when she is genuinely worried the grey hair is a sign of something deeper being wrong inside, and I think she’s onto something. The Doctor also asks why this face has been chosen, and it remains a mystery. I hope it’s tied into one of Capaldi’s past Who-verse characters, perhaps his part in the Torchwood: Children of Earth, since it was such a notable role. Even if it doesn’t, I do think we’ll find out in time why The Doctor looks old now. There is definitely something to this.

I mentioned Vastra before, and she isn’t the only returning favorite to Doctor Who. Often, when a new Doctor begins his tenure,  past connections and relationships are forgotten. None of the 10th’s old companions play into the 11th Docotor’s run (except in the 50th anniversary special). However, Vastra, Jenny (Catrin Stewart), and Strax (Dan Starkey), like UNIT before them, don’t really ‘belong’ to one Doctor. They are their own group, The Paternoster Gang, one that deserves a spin-off, or, at the very least, repeat appearances for years to come, no matter who is in the title role.

Strax is my favorite of this trio, hilarious as ever. Whether hitting Clara in the face or trying to take her clothes (since she’s not wearing a coat), his naivety is a major selling point. When he slips and says something about pouring acid on The Doctor, it isn’t malicious. And when he fails to enter a room as gracefully as his companions, well, at least he tries. He’s a cartoonish personality, but one with a sweetness and authenticity to him that just makes him grab attention every time he’s on screen.

Vastra and Jenny are good, too, though, and “Deep Breath” takes their development a step further. Their relationship has been firmly established in the past, but every time we spend some time with them, we see another facet. The scene in which Vastra is working and Jenny is posing, wrongly thinking Vastra is painting her, is excellent. Even better, when it seems Vastra and Clara are flirting and Clara gets in a good dig, Jenny whoops triumphantly. Their partnership does not always seem to be one of equals, Jenny posing as Vastra’s maid in private as well as public, and when Jenny gets a leg up and feels superior for even a second, it makes them seem more realistic as a couple. The dynamic works for them, and it’s one rich enough to play around with.

Now, Doctor Who is sort of a procedural, even though it has strong serial elements, and “Deep Breath” is no exception to that. There is a case-of-the-week in the clockwork robots, similar enough that they are probably the same breed as the ones in the fan-favorite episode “The Girl in the Fireplace,” which are harvesting people’s organs. I don’t particularly care for these guys because they’re not malicious and they have nothing against The Doctor personally. Even if they discovered he knew of their schemes, I’m not sure they’d go after him. Instead, they are machines doing what they are programmed to do, which to me is less scary than other foes.

There is one frightening moment in “Deep Breath.” The Doctor and Clara are down in their lair, and The Doctor abandons Clara, saying there’s no sense in both of them dying. As much as I want to be rid of Clara, having The Doctor complicit in her death wouldn’t work because of the effect it would have on him when he comes to his senses. I didn’t really think The Doctor would abandon her, but since he isn’t himself here, one never quite knows. The terror comes in the potential cost for The Doctor, not in any death itself.

Much better than this one-shot is the mystery at the end of “Deep Breath.” We are introduced to Missy (Michelle Gomez, Bad Education), who claims to run the promised land, as she escorts the main clockwork guy (Peter Ferdinando, Snow White and the Hunstman), last seen impaled and dead, into her garden. She’s creepy, refers to The Doctor as her ‘boyfriend,’ and is definitely demented. Why does she want Clara and The Doctor together if she loves The Doctor? Why does she send them both into danger? Who is she and what does she mean for this eighth season?

Popular theories popping up online have her as the TARDIS, which has called The Doctor its boyfriend in the past, or a regeneration of River Song or The Master, both of whom have been crazy and bent on killing The Doctor at one time or another. I love River Song dearly, though, and Alex Kingston, who plays her. I can’t imagine the show would ruin her, and besides, her quest of murder has already been done. The Master seems the most likely of these three theories based on the personality Missy exhibits alone, but I predict she’s something else entirely, quite likely someone we’ve never seen before.

There are a couple of clues that could point to an answer, or may just be red herrings. There is character named Missy in the Cybermen-fueled episode of season seven, “Nightmare in Silver,” who is seemingly killed by them. Moffat has started the season eight is building to a huge two-part Cybermen showdown. Coincidence? Missy also calls her home ‘heaven’ and The Doctor has just died. Might she be trying to escort him into the ‘afterlife’?

Overall, “Deep Breath,” while somewhat dragged down by being too Clara-heavy and containing a mediocre monster, has enough gems hidden within to entice one to tune in for the rest of the series. I doubt it will rank among my favorite episodes, which is a shame, but it doesn’t totally fail, either. I’m almost as anxious as I was a week ago to find out what kind of Doctor Capaldi will be, and I guess that compulsion to watch again is the goal of any television series.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

First Impression: DOCTOR WHO - "Deep Breath"

Article first published as DOCTOR WHO Review Season 8 Episode 1 Deep Breath Review on Seat42F.

Last night saw the return of the BBC’s DOCTOR WHO in spectacular fashion. Beginning with a dinosaur in Victorian London, the beast spits up a blue box that contains Clara (Jenna-Louise Coleman) and The Doctor (Peter Capaldi, The Thick of It, World War Z), the latter bearing a new face. As the mad doctor runs off into the night, Clara relies on some old friends to not only help her figure out how to handle the Time Lord, but also investigate the murders plaguing the city.

This episode, entitled “Deep Breath,” feels a little off to me as compared to other installments. I suspect the main issue is the increased role of Clara, a character I find annoying and will be happy when she departs. With The Doctor dealing with swirling memories while trying to settle into his new form, Clara has the monumental task of driving events, meaning much of the running time is spent focused on her with less of the maniacal energy of The Doctor, which usually distracts from her. I hope future episodes get better.

That being said, there is a lot to get excited about in “Deep Breath.” I always love The Paternoster Gang, and am pleased to see them carry over to a new doctor’s tenure. Strax (Dan Starkey), frequently hilarious, is in rare form in the season premiere. He gets in some terrific one-liners in his seemingly-naïve way. Jenny (Catrin Stewart) and Madame Vastra’s (Neve McIntosh) romance continues to develop, showing us both their strengths and their weaknesses. When Vastra and Clara’s interactions begin to be charged, Jenny gets a rare moment of rising above Vastra, triumphant and fun. When will the trio get their own spin-off already?

I also really like Capaldi’s Twelfth Doctor, even though we haven’t really seen who he is yet except in brief glimpses. These moments of clarity, a peek at what’s going on inside the man, are among the best moments of the episode. But the rest of it, where he is off his rocker, is equally well-played. Capaldi manages to capture not only the spirit of the long-lived character, but tie it into the past, providing references to many former versions to the very alert viewer. Shades of Baker and Smith, chiefly, pass through at certain parts of the episode, and this provides cohesion to the series.

Which brings us to the surprise appearance of Smith in his final moments, calling Clara to ask her to help out the new guy. This is sweet because it connects the dots more firmly, showing the bond between the Eleventh Doctor and Clara and the Eleventh Doctor and the Twelfth Doctor. In an hour (plus) where The Doctor doesn’t really feel like The Doctor because of what he’s going through, it’s nice that this is included to help ground things and remind us of what is really happening.

The case of the week was ‘eh’ for me. A lot of people liked it because it ties back into a previous fan-favorite, early Tenth Doctor episode, “The Girl in the Fireplace,” with the return of the clockwork aliens. Personally, I didn’t get into it that much the first time around, and so am equally disappointed at their return. It’s not that they are poorly executed or anything; it’s just that they are so simple-minded, and aren’t even plotting specifically against The Doctor, whereas other foes who do generate a higher level of intensity and danger. The clockwork robots seem much easier to avoid than other bad guys; just stay away from their lair. But that’s just my opinion.

At the end of “Deep Breath,” DOCTOR WHO reveals its next big arc, introducing us to the character of Missy (Michelle Gomez, Bad Education). Is she the TARDIS? A regeneration of River Song, demented again? A regeneration of The Master? Or something else entirely? You’ll have to wait to find out.

DOCTOR WHO airs Saturdays at 9 p.m. ET on BBC America.