Living as we do
in the iPlayer age of television on demand, Sky Plus and
media centres, more and more series seem to be shifting their stall
towards the long game. The success of series such as 24, Lost and,
for a while, Heroes has proven that audiences love nothing more
than to hole up for a long weekend with a box set and immerse themselves
in addictive season-long (or sometimes even series-long)
storylines. And since Doctor Who returned to our television screens
in 2005, it has gradually become more and more arc-heavy, culminating in
this latest season which, while still comprised of discrete adventures, is
the closest that we’ve come to a mammoth year-long story since The
Trial of a Time Lord in 1986. Thankfully though, Series 6 is a damned
sight better.
A Good Man Goes to War
is Doctor Who’s first mid-season finale. In recent years more and
more American dramas have effectively divided their seasons into two, with
the first half of the season usually culminating in a either an agonising
cliffhanger or some game-changing reveal, but this is the first time
I’ve noticed a BBC programme doing the same. It’s both a refreshing and welcome
change, as it rations out what usually amounts to just fourteen
substantive episodes over a year fairly evenly, instead of spoiling us for
three months and then leaving us hanging until Christmas. It also lends
itself nicely to the continuing story format, particularly when that
continuing story
has been structured so very tantalisingly.
“Demons
run when a good man goes to war...”
Perhaps the biggest boon though is the fact that we now get two finales
for the price of one. In terms of scope and grandeur, A Good Man Goes
to War is on the same level as The Sound of Drums, The
Stolen Earth or even The Pandorica Opens – if anything, it
feels a little grander. This is probably because, River Song and Baby Pond
trappings aside, it’s such a strong Doctor story. There are hundreds of
Doctor Who stories out there now, but so few of them cut straight to
the hearts of the man, and even fewer do so as incisively as these fifty
minutes do.
When the series began in 1963, it was very humbly, and the same was
reflected in how the Doctor was portrayed. He was a mysterious, old
runaway; just as prone to selfishness as he was philanthropy. Almost fifty
years on, and the Doctor is just as much of a legend as Doctor Who.
Such are his deeds that his name – well, his handle – has inveigled
its way into most languages as meaning “wise man” or “healer”; English
amongst them. But the older the Doctor gets and the more of a legend he
becomes, the darker the shadow that trails him. The many novels that
bridged the gap between the series’ cancellation in 1989 and its return in
2005, whilst their minutiae was often contrary, recognised this and pushed
the character into darker waters still, making him a destroyer of worlds;
even the killer of his own kind. Russell T Davies then seized upon the
popular conceit, making his Doctor both a pragmatic time warrior and an
anti-violence crusader who demonstrably forges his friends into weapons.
Herein lies the crux of Steven Moffat’s story: the Doctor is the titular
good man gone to war. But some might say that a good man can’t.
“I can produce magnificent quantities of lactic fluid!”
Interestingly, this episode did put me in mind of many of the Virgin
Doctor
Who novels published in the 1990s as, instead of telling a “Cyberman
story” or a “Sontaran story” abounding with cipherish monsters, it cherry
picks one or two unique alien individuals and showcases them. In a
beautiful reflection of The Big Bang, this story sees the Doctor
turn to many of the species that tried to lock him away for good to help
him storm Demon’s Run and rescue Amy and her newborn child - but these
species aren’t the rampant, faceless monsters that some might expect. We
have
Madame Vastra,
a female Earth Reptile living in the 19th century, shacked up with a
sprightly human girl with whom she fights crime (and no doubt, more
besides). We have a Sontaran who, as atonement for some past misdemeanour,
must now serve his many enemies as a nurse.
Commander Strax
is the single greatest Sontaran character that we’ve seen outside an Alan
Barnes audio drama; he’s by turns grossly hideous and sympathetic, not to
mentioned damned hilarious.
“I can produce magnificent quantities of lactic fluid!”, he boasts.
Just like the missus.
But with such unlikely allies onside, who is the Doctor fighting?
Answering that question, at least, is easy – the militant Clerics that we
first met in The Time of Angels, led by the eye-patch sporting
Madame Kovarian and the imposing Colonel Manton.
Their Headless Monk allies are, perhaps, a little extraneous, but it’s
hard to grumble when they’re so damned unsettling. With their drawn cowls
and bloodshine lightsabres, at first the Monks could be mistaken for an
ancient Sith army. However, the revelation that their “Headless”
soubriquet has been paid for in full is so horrifying a moment that I
half-expected Mary Whitehouse to exhume herself to protest about it. What
I find so grotesque is the practicality; these Monks don’t just have empty
spaces where their heads should be - they have terminalised neck stumps.
Never mind the children watching, that’s an image that’s going to be hard
to force out of my mind.
“My friend, you have never risen higher.”
The difficult question though is why are they fighting the Doctor?
Why kidnap Pond, steal her child, and try to use that child to destroy the
Doctor? What makes him so great a threat to them? What will the Doctor
become in his future that will cause the people of the Gamma Forests to
take the word ‘Doctor’ and as their word for ‘warrior’? “Intrigue” doesn’t
even begin to sum it up, and that’s before we get to what makes
Baby Pond so very special.
A Good Man Goes to War
is leant further weight through the inclusion of what the Doctor claims
was once his cot. It would be such a throwaway thing in any other show,
but as the Doctor’s origins have, and hopefully always will, be shrouded
in mystery, to offer viewers something as momentous as his cot in itself
feels illicit. Some will of course grumble that suggesting that the Doctor
was once a baby is a little lazy, and certainly far less intriguing than
the ‘looming’ theory championed by acclaimed author Marc Platt, but this
is effectively compensated for by the antique appeal of the stunning,
time-beaten prop and the sublime role that it plays in the episode’s
climactic revelation.
“The only water in the forest is the River.”
Nevertheless, A Good Man Goes to War was ultimately sold on the
promise that, at long last, the Doctor would find out who River Song is, and on
that front too it delivers. The Pond-lookalike Cleric, Lorna Bucket,
serves as an almost-convincing red herring throughout, but in the end the
clues are too numerous and too strong. If most viewers hadn’t worked it
out when River first laid eyes on Rory, they had by the time that Baby
Pond was ripping the piss out of the Doctor’s bow tie. So Melody Pond
grows up to be River Song, but is she the weapon that the Clerics want her
to be? Did River murder the Doctor in The Impossible Astronaut
(presuming, of course, that he was the ‘proper’ Doctor)? Did River
regenerate? Like all the best bombshells, the revelation wasn’t so
much of a shocker in itself, but the ramifications of it throw up a
plethora of questions and controversies that will keep the net ablaze
for a long time yet.
Yet for all its tension, weight and grandeur, A Good Man Goes to War
retains the warmth that has, in many ways, defined the show since Davies
resurrected it. The Doctor is a man of matchless history and magnitude,
yet he’s so bamboozled by human reproduction that he wonders why Rory and
Amy don’t put a balloon out when they’re making love. Rory is a man whose
pregnant wife has been violently torn away from him, yet he can still don
a centurion’s outfit and hurl a mordant quip at a room full of Cybermen.
No matter how dark this show gets, it remains as light as air, and I hope
that it always will.
“Don’t give me those blank looks.”
In summary, then, A Good Man Goes to War is uncompromisingly
enjoyable, edge of the seat television. Matt Smith is mercurial, Alex
Kingston alight, and together Karen Gillan and Arthur Darvill set new
standards for intra-TARDIS soap opera. Steven Moffat’s script does what it
promised to do and far more besides, offering us fleeting glimpses into
the Doctor’s inviolate past and overcast future, whilst never taking its
eye off the drama of the moment. This episode showcases the very best of
Doctor Who the show; Doctor Who the headline; even “Doctor
Who” the man, and if the series can continue to mould itself to the times,
yet remain indelibly Who, then the long history of the Doctor is
soon going to become far too torturous for anyone to navigate, let alone
chronicle.
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