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Almost there. With only a Christmas "special" still to dread, the 2014 slog that was Doctor Who's 8th revived series has, mercifully, nearly come to a close (if not to a merciful close).
An an honest critic must give Steven Moffat his due. From Danny Pink's classroom tears in his introductory episode, to a payoff for television's Least Convincing Romance Ever, to the Doctor's query, "Am I a good man?", with which the series opened, at least this year, Moffat didn't drop any of the major plot points he raised during the series. (Well. Maybe one. Time will tell.) The answers were neither clever nor convincing, but at least they were provided.
Yes, that's faint praise; and probably too generous. For along with the answers, "Death in Heaven" slaps us with un-foreshadowed plot twists out of sketch-comedy satire, blatant emotional manipulation, a debate on moral philosophy whose sophistication would shame a class of 12 year-olds, and an entirely unwelcome appearance by a Magical Negro.
But tell us what you really think! I hear you cry. Of plots and themes and lies and agonies. Spoilers and cussing as usual. I think most of you know the drill by now.
"Dark Water," the 11th entry in a 12 episode series, trundles along with a certain amount of professional competence, but is very far from being good drama.
The episode bears almost all the flaws we have come to expect from Steven Moffat's latter oeuvre. A story with the density of rotten sea-ice that groans along at a glacial pace and tedious swaths of explanations that don't, actually, explain much at all.
The upside includes excellent performances by Peter Capaldi and Jenna Coleman and, especially, from Michelle Gomez as the mysterious Missy.
Want more? Throwing out the Doctor with the dark water includes spoilers as per usual, including a couple of Big Reveals; click at your own risk if you haven't seen it yet.
Here we go again: interrupted for a couple of weeks by an influx of competence, Steven Moffat's Doctor Who is once more circling the black hole of creative bankruptcy. Moffat's name isn't on "In the Forest of the Night" — the official blame goes to one Frank Cottrell-Boyce — but his fingerprints are all over it.
Child in peril? Yup. Magic child in peril? Yes and yes.
Lots of expository dialogue? Oh, yes.
Completely implausible reactions to extraordinary events? You know it.
Magic Reverso-Babble TM to ensure story has no lasting consequences? Why not? We're in Moffat-land!
Truth is, there is so much wrong with "In the Forest of the Night" it's hard to know where to start — or where to stop. I made every effort to be parsimonious in my critique, to prune away the dying limbs the better to reach the rotten heart of the tale, but did I succeed?
You can judge for yourself by reading In the Forest of the Blight. Snark, spoilers and baffled vitriol behind the link, as usual.
I did it again. Made the mistake of watching a recent episode of Doctor Who a second time.
I really enjoyed "Flatline" the first time around. I barked delighted laughter and might even have gasped in surprise a time or two. I found Rigsy charming and Clara on her own a small revelation.
But when I queued up the story for a second go-through, things were not so good. Not terrible, but too obvious by half and derivative without improving on the inspiration.
My full review, as always, includes spoilers along with my keen analysis (or so I like to believe) and charming nervous exhaustion. This time, there's also a poll! Click here for the full story.