2nd Opinion: The Pilot
Connor Johnston & Gustaff Behr give their verdicts on the Series 10 opener.
Connor’s Verdict
In my mind, the longevity of Doctor Who’s success always has been its ability to reinvent itself by consistently taking risks and remaining both unpredictable and innovative. More specifically, Steven Moffat’s success as a writer is his ability to establish and implore upon certain parallels between the premises of his episodes and the personal journey his characters are undertaking.
We saw this in episodes such as “The Beast Below” where the Doctor’s involvement in time and space was not dictated by a list of endless rules, but akin to the Star whale, an overwhelming duty to protect and defend innocence. We saw this in “Deep Breath” when a newly regenerated Twelfth Doctor fought against the Clockwork Droids, who, with each harvest, became less and less like themselves and embodied the identity crisis he was currently undergoing. And in ‘The Pilot’; an episode where Moffat is presented with the task of introducing the character of Bill Potts and igniting a relationship between herself and the Doctor, we are given an episode with both its premise and resolution built on the concepts of escapism, loneliness and most fittingly: Companionship.
Simply put, this is Pearl Mackie’s episode. At the risk of underestimating the abilities of the casting directors, the rush of relief that washed over me after Bill’s establishing monologue about ‘fatting’ one of her peers is impossible to articulate. It’s my firm belief that the role of the Doctor’s companion has always been drafted to be exactly what the Doctor needs at each particular moment in time. The dynamic between Capaldi’s Doctor and Bill has already delivered its fair share of memorable moments. Bill is not just there as a point of support or interaction for the Doctor; she’s there to challenge him, she’s there to learn from him – but more than anything she’s there to cause him to re-evaluate the way he sees the universe.
While the episode’s slight lack of ambition holds it back from being regarded as one of the greatest and most inventive Moffat scripts of his era, it is so reassuring to reflect on how considered and polished each aspect of episode’s creation is. It is a testament to the working relationship between Moffat and Director Lawrence Gough to channel the script’s motifs into the episode’s visual landscape. From the truth of the puddle, the picture stills used to illustrate the depths of time and even the reveal of the TARDIS interior – the theme of there being something more beneath the surface is used remarkably well in the episode’s imagery.
Discounting Bill’s introduction to the series – the strengths of ‘The Pilot’ seem to correlate to the strengths of the series as a whole; with both a premise and a resolution embedded in humanity – specifically the concept of loneliness, love and companionship. The episode also dictates a welcome direction for Capaldi’s final season in exploring the universe anew and recapturing the wonder and awe to be found in the unfamiliar becoming known once more through the eyes of a new companion.
‘The Pilot’ may not be the show’s most ambitious or impressive series opener, nor is it a perfect episode – however it doesn’t necessarily need to be. It succeeds immeasurably in providing an episode that is utterly approachable and accessible for new and casual viewers as well as full of rewards for the most dedicated of fans. Doctor Who is back on our screens with a brand new TARDIS team, exciting new adventures and most tantalisingly an inescapable expiry date to run towards– and ‘The Pilot’ should give us nothing but utter faith in the work of Capaldi, Moffat, Mackie and Lucas to deliver something truly impressive.
Gustaff’s Verdict
I’m going to come right out and say that one year ago when the clip of the Doctor and Bill becoming Deadpool-self aware of everything Doctor Who and dismantling it in the face of imminent death instantly put me off her. I will admit that I hate Hell Bent, the Hybrid Arc, Clara’s presence has ruined the last couple of seasons for me, River just barely redeemed the 2015 Christmas Special and the last Doctor Who episode was the epitome of ‘meh’. I will admit that I have not enjoyed Doctor Who the way I used to in recent years and truth be told I was not really all that excited for Series 10 up until the John Simm announcement.
…then I watched The Pilot.
If this story is any indication of what we can expect in Series 10, then I expect my faith in the show to be mostly restored by the finale. There is so much to praise about this episode that I think I’ll start with the obvious: Bill.
I really like her. I really properly do. I find her relatable, her habit of asking strange questions hasn’t diminished, but their ‘proper time and place’ aspect has certainly been accounted for. I see flaws in her. Character flaws! Things that make her human! Things that make me sympathize with her. Her life isn’t perfect. In fact, her life is pretty much what most of ours are like. In the real world you lose more than you win. You get half the glory for twice the work and people don’t just fall in love with you because the plot demands they do. These are aspects that were missing in the Clara era. Bill accomplishes in one episode something that the Impossible Girl failed to do in three years.
The Doctor, in recent years has also been guilty of some up and down characterization, at times coming across more Eleventh Doctorish. But not only was Peter Capaldi fantastic in this episode, it also felt like his characterization was the perfect blend of dark and brooding (for the adults in Series 8) and humour (for the kiddies in Series 9). Or as I like to call it: “Heaven Sent, Audience Blessed.”
In the same way that I’m not going to mention Nardole all that much, The Pilot could very easily have not featured Nardole at all since he adds nothing to the narrative. It is very clear that this script was written well before Matt Lucas was approached to join the cast as his scenes feel tacked on at the last minute, reducing the character to being a mouthpiece for some not-so-witty one-liners.
In many ways, The Pilot is very reminiscent of traditional companion introduction stories in that the plot isn’t terribly intricate. Uniquely for Steven Moffat, there is no timey-wimey aspect here; instead the storyline bounces between being basic and run of the mill. Not that this is a criticism of the story though. The Pilot’s strength lies in this simplicity and the fact that it manages to squeeze in so many emotional threads, at the same time weaving that Doctor/Companion, Audience/Companion relationship, be it the Doctor’s interactions with Bill throughout the episode or even just the acknowledgement of Susan and River Song.
And while I really do appreciate the simplicity of The Pilot, I can’t help but mention the lack of originality. This episode does a lot of things right, but it’s also plainly obvious that Steven Moffat is recycling ideas yet again. You have the shop girl trope (Rose, Partners in Crime), mimicy (Midnight), constantly pouring water (The Waters of Mars), the Doctor going undercover at a place of learning (The Caretaker), the TARDIS crew being chased across space and time (The Chase), the Doctor investigating a mysterious locked object/room (The Pandorica Opens) and spaceships trying to find suitable pilots (The Lodger). Even the beautiful speech the Doctor gives at the beginning counts as one. It’s the plot for The Girl in the Fireplace.
Excluding this misstep, The Pilot is a well-told story with few flaws, lots of character moments and even finds time to feature a Dalek cameo. This year is Steven Moffat’s final outing. Some fans are crying, some are rejoicing, but no matter whether you’re the one blowing your nose or passing the tissue, we all want Series 10 to be a successful outing for both camps.
