A Divided Opinion: Deep Breath (Part 2)
Guest contributor Lewis Royce concludes his look back on Capaldi’s first episode.
The Pater-NO-ster Gang
One of the key criticisms I do have with ‘Deep Breath’ and one of the reasons that I can’t seem to decide on whether I thought the opener was good or bad seems to stem from the return of the Paternoster Gang.
While I can understand Steven Moffat’s thought process when he brought these character back, I am still frustrated with their return. While their story wasn’t really wrapped up correctly during the events of ‘The Name of the Doctor’, I feel like they should have been primarily contained within Matt Smith’s era. Yes, other fans like them and yes, by bringing them back, Moffat allowed for some consistency between the Doctor’s and so as not to alienate fans completely, but perhaps that was what was needed. If this darker Doctor, a shift from what we have seen in the last two incarnations, and this darker tone are strolling onto our scenes to change the show unexpectedly, perhaps we should have moved on completely into a new, isolated area of the universe.
The Gang’s antics, Strax’s in particular, seemed to me to drag the episode on somewhat, and they in fact didn’t seem to be needed at all, regarding the plot, other than to admonish Clara for not believing in the Doctor, a plot thread which was beautifully sorted out by a simple phone call from Eleven, one of the most subtle and emotional moments I have seen so far on the show. This resolution of Clara’s faith issues seemed to me to make the Gang irrelevant and simply there to bridge the gap for fans, or to provide some humour in places that really didn’t need the humour and which grated on my nerves.
Strax’s ‘examination’ of Clara to me felt simply like filler, and was there to show off more of this funny character to the audience, while also introducing audiences to his sonic device, designed in a competition in the previous year. And while I love the designs that other fans created for these characters, I do feel like they could have been demonstrated effectively without creating rather pointless scenes that felt more awkward than anything else.
I read an article on this very website that Strax has apparently ruined the threatening Sontarans and while I agree that he has become rather tiresome, having exhausted the “murderous butler” gag, I feel that perhaps a story where he is forced to choose between his mighty, often talked about empire, and his new friends, would be a suitable ending to his story and show both new sides to his own character and introduce threatening Sontarans again.
Vastra, however, was used in a brilliant piece of both writing and directing during the ‘veil’ scene, as her cold treatment of Clara seemed to eerily mirror Clara’s own actions to the Doctor, acting uncaring and speaking harshly, acting in as much judgement of Clara as she had been judging the Doctor for his change. This may in fact be both my favourite Vastra scene, as well as one of Clara’s highlights, as Jenna Coleman managed to display raw anger, horror, indignation, denial and panic all within the same few minutes, an admirable feat that demonstrated once again why she has been selected as the companion. In fact, this was the only scene, other than the memorable “melt him with acid!” moment that I particularly enjoyed the Paternoster Gang. When they appeared beneath the restaurant to engage the Clockwork Droids, I was disappointed, as a scene packed with tension and a strong sense of very real threat to our heroes was suddenly ruined by needless comedy, likely to appeal to younger viewers.
And while I love Steven Moffat’s choice of direction regarding Vastra and Jenny, demonstrating to anyone questioning their own sexuality that anything you choose is ultimately your choice and that you should not be afraid, a key issue in present times today, they mentioned that they were married no less than five separate times within their screentime. It seemed rather excessive, even by Moffat’s standards, and somewhat cheapened their ‘oxygen sharing’ scene, which was brilliantly shot and was, I believe, the first lesbian kiss in Doctor Who history. This moment was rather sadly undercut by those countless previous mentions of their marriage. It reminded me of how often Amy and Rory informed us of their marriage, even two seasons after we had witnessed the event. Incidentally, has anyone noticed at Downtown Disney in Florida, at the glass-making shop, there is glass with the words “Congratulations Amy and Rory, June 26th, 2010”?
Tone Deaf?
One of the most inconsistent parts of ‘Deep Breath’ is the tone set within the episodes. Certainly, Capaldi’s Doctor is a darker character, not certain quite who he really is, except that he intends to fix his mistakes, while being ready to “do whatever it takes to protect” both the people around him and the rest of the universe. His relationship will Clara seems to be much less romantic now, as her ‘boyfriend’ has gone; he seems to take on the role of teacher, a more similar appearance to the earlier Doctor’s, as they toured the Universe with their companions, showing them the wonders out there, as opposed to taking them on more romantic trips, which the recent show appears to have fallen slightly victim to.
The first thirty minutes of the episode seemed oddly childish. Don’t get me wrong, there were certainly some dark moments, such as the acceptance of the Half-Faced Man’s “gift” and the hauntingly tragic scene where the Doctor translates a scared dinosaur’s cries, with a message that applies just as much to him, being lost and so far from home. However, the first third seemed rushed and aimed for the much younger audience with the Paternoster Gang’s antics. Maybe if the Doctor and Clara had been somewhere other than Victorian London, which seems to have become the Modern London of the Eccleston and Tennant series, the darker tone of the later fifty minutes would have been weaved throughout the episode consistently.
However, then came that scene. The restaurant scene, which was a turning point in the episode. Not only did it brilliantly establish the relationship between this newest Doctor and his companion, there was a very eerie sense of threat after the excellently directed moment of realisation that neither character placed the advertisement in the newspaper. And from there, the episode went from strength to strength. The similarities to ‘The Girl in the Fireplace’ were sublime, and Twelve’s struggle to remember was both subtle and entertaining, sniffing some roses as he tries to think was a nice touch, I wonder if that was added in after the set was created?
The Doctor’s abandonment of Clara was a real wake-up call for both our stricken companion and us as an audience. By leaving a character we can relate with and therefore always assume is safe at the mercy of the Half-Face Man was one of the most shocking moments I can ever recall seeing on Doctor Who, while Clara’s ingenuity by holding her breath and then countering her mechanical foe’s cold logic with fast thinking and complex emotional responses made for a scene that really made me hold my breath.
During the first third, I was constantly aware of how awkward I felt watching with my family; however, I’d forgotten the earlier issues by the time we’d arrived at the restaurant, being kept on my seat until the end of the ride. While perhaps shaky at the start, these darker tones and ideas within a previously rather young show made for a jarring, welcome shake-up.
Two Sides of the Same Plate?
Ah, Clockwork Droids, what an excellent return to our screens you have made. Not a monster I ever expected to see again, but certainly one that was used to great effect within this episode, allowing eerie similarities to be drawn between the villains and the hero, between the Doctor and his foes and to perhaps foreshadow a darker road for the Doctor as he travels “into darkness”.
Using the Clockwork Droids for a second time allowed several different things to happen. At first, the realisation that these are indeed the same monsters from “The Girl in the Fireplace,” confused me, until a throwaway line about the “SS Marie Antoinette” clarified the issue. The throwaway nature of this line seemed odd at first, but now perfectly highlights this new Doctor’s personality. These Droids remind him of something from his past, but there are more important matters then where they came from, what mattered to him in that moment was stopping them permanently.
The Half-Face Man in particular reminded me of the Doctor himself. Both slowly abandoned the cold logic from their origins and attempted to become more human, despite never being able to become fully human. Furthermore, the Doctor himself admits to his nemesis that he too seeks some sort of Promised Land, though he never expects to get there, meaning he could be referencing either things that he has done in the past or dark acts he could commit in the future, such as murder. When the Doctor makes his “broom replacement” speech to the Droid before him, his words not only reflect upon the villain, but also upon himself. He has changed himself so many times, that can he even be called the Doctor anymore? Is he really the same man he once was? Could he be hinting at a darker future for himself?
When he holds up that plate, referencing how the Droid can no longer remember the origins of his face, the symbolism is plain, as the Doctor’s own face is reflected back at him as well. Both characters are unable to ascertain where exactly they obtained their faces, or even who they truly are anymore. This uncanny similarity could arguably swing the “Murder or Suicide” debate either way, while showing that the Doctor walks much darker lines then at first appears.
Endings and Beginnings
For all the doubters of Capaldi by the end of the episode, there was one more person Steven Moffat could turn to in order to convince them that he was indeed the Doctor. It didn’t take much, just a simple goodbye from our previous Doctor, Matt Smith. And what a goodbye it really was. The low music was almost completely drowned out by Matt’s familiar tones as he begged Clara to accept the man she was now standing beside, mere moments after she had claimed to not know. This not only served as a request to accept Capaldi as the Doctor to Clara, but through her acting as a viewpoint and focus for the audience, it served as a request for them. This felt like less of a message from the Doctor, but more of a message from Matt Smith himself, begging us to stay with Peter Capaldi and to move on. And now we know why he focused more on Amy during his regeneration scene than Clara: he had already said goodbye to her. There were no fancy effects, no big speeches, just a tender goodbye through a phone, which perhaps is the best method of all.
Then came the final scene of the episode. That fascinating scene between the previously thought dead Half-Face Man and ‘Missy’, who has a ‘boyfriend’ with a new Scottish accent. My interest was piqued, and I was relieved at Moffat’s intentions to tie up the outstanding plot thread of the Woman in the Shop.
And finally, there was the new intro sequence for the series. Well, it’s certainly a step-up from 2013’s introduction, featuring only flashing lights and pretty spinning colours. This time, the sequence featured fancy gears and spinning clock faces and all I could say was “I’ve seen this before!” Yes, it’s always wonderful to see members of the community picked up on their talent, such as these new sonic devices for the Paternoster Gang, which is why this new title sequence is so pleasant to watch. I enjoy the changes made myself, as it reflects both the intricate nature of the Doctor’s character while fully immersing us in the ‘time’ aspect of time travel. The music was excellently done as well, a pleasant call back to the classic days of Doctor Who, though the absence of the memorable ‘middle eight’ in the credits sequence worries me. Hopefully it’s just because we haven’t heard the whole soundtrack yet, and not because Murray Gold has removed such a signature piece of Doctor Who music.
Overall
After looking back through the episode and examining both the positive and negative aspects, upon reflection I actually look back upon ‘Deep Breath’ with fonder memories then I was expecting to. Yes, the first third can be described as childish and yes, there is unnecessary humour and yes, maybe they should have been in a different time-zone, but it’s still visibly Doctor Who.
In my own opinion, while this is neither the best series opener nor the best Doctor introduction, it is certainly a decent story that is held up magnificently by both the intricate details and by the stunning acting from its cast and its new Doctor. I certainly wouldn’t recommend watching this episode first for anyone new to the series, as it unnecessarily ties in with Matt Smith’s era as opposed to being a condensed, stand-alone series. However, I would certainly give this a positive review to that same person with the advice to go in and enjoy the new Doctor, hopefully leading us into what looks to be a darker, more exhilarating series.
