Doctor Who, Eleven For Eleven: Let’s Kill Hitler

“More guilt! Come on, there must be someone left in the universe I haven’t screwed up yet!”

Interesting, mostly fun, a little bit disappointing but a lot surprising: that’s how I’d describe “Let’s Kill Hitler,” the mid-season premiere of DOCTOR WHO’s thirty-second proper season-slash-series. After a cute opening that introduces an obnoxious new character who seems strangely familiar, the TARDIS crew winds up going along with the plan outlined in the title, only to get things a bit wrong and get sidetracked by some very classic-WHO-on-a-good-budget sci-fi stuff that’s wandering around World War II-era Berlin, as well as the resolution of some of the lingering business from the spring. That’s one thing I didn’t really expect: some closure. As always, spoilers follow. Continue reading

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Doctor Who, Eleven For Eleven: A Good Man Goes To War

“You make them so afraid. When you began all those years ago, sailing off to see the universe, did you ever think you’d become this, the man who can turn an army around at the mention of his name? Doctor: the word for healer and wise man throughout the universe. We get that word from you, you know. But if you carry on the way you are, what might that word come to mean?”


So it all, up to this point, comes to this: a kidnapped Amelia Pond, trapped on an asteroid occupied by a mysterious military force. The Doctor, being the Doctor, has a plan to rescue her, and it involves unleashing some serious wrath on the cosmos. Continue reading

Doctor Who, Eleven For Eleven: Day of the Moon

“… all I really want to do is accept your total surrender and I’ll let you go in peace. Yes, you’ve been interfering in human history for thousands of years. Yes, people have suffered and died. But what’s the point in two hearts if you can’t be a bit forgiving now and then?”

And we’re off! The second half of Steven Moffat’s opening two-parter isn’t as strong as the first, even with a clever pre-credit sequence — maybe a little too clever by half — but it’s filled with tantalizing tidbits teased and ends with a mind-boggling shocker in two parts. I have to say I was a little surprised that the title proved to be right on the nose as regards the story and its climax. As a stand-alone story it’s a clever and scary run-around with a few well-placed emotional beats; as an opener laying out the shape of the season, though, it’s a corker. Be warned, while I was a bit coy with spoilers last week, this time I’m laying it all out, all the good business and all the stuff I’m genuinely curious about. Continue reading

Doctor Who, Eleven For Eleven: The Impossible Astronaut

“I’ve been running faster than I’ve ever run, and I’ve been running my whole life. Now it’s time for me to stop.”

If there’s one thing modern-day Doctor Who has generally stuck the landing on, it’s entrances. Oh, sure, series 2’s “New Earth” was a bit underwhelming and introduced us to Insufferable Ten And Rose, but series premiere “Rose” was a careful yet confident reintroduction to the title character and his time-traveling blue box, “Smith and Jones” had the audacious sight of rhino policemen on the moon hunting a space vampire, “Partners in Crime” had the wonderfully farcical criss-crossing of the Doctor and Donna as they investigated the same mystery, and “The Eleventh Hour” was just out-and-out brilliant, magical, and a joy from start to finish. “The Impossible Astronaut” follows in that tradition and takes the clever, time-hopping, mind-bending style showrunner Steven Moffat and company adopted for their first season and kicks everything up a notch, starting things off with a bang and a mystery. Continue reading