Re: Tango's comment #3 above, I don't think it does destroy Platt's mythology of The Other.

Ďull,muddled plotting,mediocre charactefisation and an eponymous lead who after 2 seasons still hasn't managed to convince me she's found her take on the role.I will never not watch an episode of Doctor Who but Im certainly not revisiting any episodes of the past 2 years. Nina Metivier, Nida Manzoor, Nikola Tesla’s Night of Terror. Those inclined to argue Chibnall is privately quite conservative, only writing Doctor Who as superficially progressive because he thinks that’s in vogue at the moment, will have picked up a few new talking points this year. Thinking about it, actually, Chris Chibnall might have a point there. The Nimon Be Praised! Granted, at this point it begins to get into questions of children’s TV, and what exactly is appropriate where; my sense, personally anyway, is that a line like “grades have gone a bit wonky, parents don’t get what’s up” is going to come across as patronising rather than striking a chord. What’s frustrating is that when the episode does offer something compelling, it largely languishes in the margins, never given the chance to graduate beyond the peripheral. The sooner Whitaker, Chibnall, the whole bunch of useless companions she has are gone, the better. Chris Chibnall still makes Woke storytelling look terrible. At this point, that’s more of a victory than it should be – imagine “finally, David Tennant has something to do” after Gridlock, his seventeenth episode – but this is after two weeks in a row of Jodie Whittaker being the weakest part of an episode, so we’ll take what we can get. Ultimately, despite its flaws – which I spent longer on than I’d perhaps intended at first – I really, really liked Can You Hear Me? ', 'Are you alright now or are you still feeling a bit of a cock? Which, actually, makes a lot of sense. It’s moving around musically, but also there is a series sound to it.

(Although again, the episode is curiously disinterested in the actual content of these words – I’ve since learned that Percy Shelley wasn’t just a poet, but was also an early proponent of nonviolent resistance, whose work inspired Gandhi amongst others. What happened? Ha ha ha!! But look at what’s actually on screen: each of these female, non-white incarnations were tortured to death (because all female characters, the Doctor now included, get a backstory of abuse) before another eight white guys were newly canonised, and this information leads to a white woman telling a South Asian man she’s genetically more than him. I think she’s brilliant, for what it’s worth, and I feel the need to stress that first and foremost: Whittaker is an excellent actress, and in many ways was a really clever casting choice for the Doctor. Wow, the exploding rat encapsulates everything that is wrong with this episode.

One of my favourite moments was the end of the Mary shelley story where she reveals it's not always an equal team.

Yaz has always been a bit of a problem companion – not particularly connected to Grace’s death, the catalyst for Series 11’s emotional arc, nor the big name actor everyone’s keen to write for (or, alternatively, who has a contractually obliged number of lines per episode) – and Mandip Gill, unlike Tosin Cole, isn’t a strong enough actor to make an impression despite being underserved by the material. It’s this, as I said at the time, that I suspect prompted such an outburst over the Doctor’s response to Graham’s cancer; there’s a version of Whittaker’s Doctor, from episodes like Arachnids in the UK or Orphan 55, who is socially awkward.

Chibnall's first major piece of television was 2002's Born and Bred, a rural medical dramedy for which he was co-creator, prolific writer, consulting producer and executive producer. And he’s great here!

Ok, she threw a chisel and broke the ship. “ What the BBC was after was risk and boldness.

I would kill to see a series with Jo Martin as the Doctor. In practice it doesn't come off because it means we are new boy/girl as well and are as alienated by the rest the team as Gwen is at first. It was the moment where I truly saw her as the doctor. Where Hell Bent was an exercise in narrative substitution, promising a spaghetti Western by way of Gallifreyan epic but delivering instead an intimate character drama, The Timeless Children has a rather different set of priorities. What about Tom Baker?

Not so, thankfully, but it says a lot that, for a moment at least, that felt like the natural reading of that scene. Embarrassingly, actually (though you be the judge as to whether I should be embarrassed, or Chibnall et al) when Yaz displayed a hitherto unseen personality this week, I assumed it was a function of the plot – like, the computer panel was exerting some alien influence on her, and we were supposed to notice her sudden flash of independence and see it as cause for concern. Not a clue, but it’s been an ongoing idle thought over the years.) In Praxeus, she’s on autopilot; in Can You Hear Me?, she’s caught between two interpretations of the character, the socially awkward Doctor or the emotionally aware Doctor, neither quite cohering. Of course the Cybermen would use drones with that particular shape! Perhaps my only qualm, though, is the way the episode tries to position Tesla as a great man forgotten by history. That’s not to say, for what it’s worth, that I’m suggesting Doctor Who’s first Muslim companion should’ve been driven to suicidal thoughts because of racist abuse – just that, in telling this story, they’re still perhaps a step or two away from anything resembling character specificity. I get what it’s going for, but it’s plot over character, and it doesn’t particularly work. Doctor Who: Twice Upon a Time will air on BBC One on Christmas Day at 5.30pm. Never say never. ', 'What are we doing having Chinese while a girl fights for her life? Roll up! “What the BBC was after was risk and boldness. Oh dear. I didn’t know who to say it to, so I thought I’d say it to you. Sure, The Current War didn’t make much of an impact, and I suppose The Prestige – where Tesla was played by David Bowie! Still, though, it’s hard not to look at The Timeless Children and be genuinely baffled by the lack of restraint on display, an episode that’s about as far from a popular reinvention of Doctor Who aimed at the general public as is possible. Chibnall's successor as Writer in Residence was Matthew Bro…

It doesn’t open up new avenues; it imposes a shape onto ones that were already there. Still, though, this feels like a less-than-interesting follow up to an already less-than-interesting tease: Fugitive of the Judoonconjured an image of a beguiling, persuasive Cyberman, maybe even a sympathetic one, and the Doctor being tricked into some Faustian pact. Nikola Tesla’s Night of Terror is, immediately, one of the best five episodes of the Chibnall era – which perhaps says altogether more about Doctor Who of late in general than it does about this episode in particular. What I found interesting about it though is that there’s certainly a version of Whittaker’s Doctor that is socially awkward, that would say something like that, and it could still read as touching. I recently read quite an interesting interview with Chibnall (in a magazine, otherwise I’d link it) which I think sheds some light on it all. The show was brilliant in the 60s and 70s. The best person on this programme is Bradley Walsch excuse spelling. Initial visibility: currently defaults to autocollapse To set this template's initial visibility, the |state= parameter may be used: |state=collapsed: {{Chris Chibnall|state=collapsed}} to show the template collapsed, i.e., hidden apart from its title bar |state=expanded: {{Chris Chibnall|state=expanded}} to show the template expanded, i.e., fully visible It makes every viewer feel that childlike wonder and like you’re eight years old.”. The future of the Two Kingdoms of Egypt is shrouded in uncert... [CONTAINS SPOILERS FOR TO THE DEATH...] What’s it about: Roll up! Increasingly, I’m convinced that whoever replaces Chris Chibnall shouldn’t be – needs to not be, in fact – a fan of the same generation as Davies, Moffat and Chibnall.

I’m really, really glad of that. ', 'You want to tell his family he died screwing an alien? Segun Akinola on scoring Doctor Who, composing music during lockdown, and more, the scores out of ten that I gave to each on Rotten Tomatoes, William Shaw on The Rings of Akhaten, the surprising similarities between Neil Cross & Chris Chibnall, and more (Part Two), Probably my favourite thing about Chibnall’s, Doctor Who Review: Ascension of the Cybermen, I’ve criticised Chibnall a few times this year for lifting directly from Russell T Davies’ work, Doctor Who Review: The Haunting of Villa Diodati, As something of an established cyber-sceptic, Doctor Who Review: Fugitive of the Judoon, Doctor Who Review: Nikola Tesla’s Night of Terror. It’s the 17th January 1976. A little surprisingly, the ending to Can You Hear Me? To rubbish everything that has gone before isn't the mark of a real fan - it's the knife in the back to every true long-term fan..

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