Mark Gatiss Episodes In Retrospect (Part Two)
Connor Johnston concludes his look back on Mark Gatiss’ past episodes in anticipation for “Sleep No More.”
Cold War (Series 7 – 2013)
“Cold War”
Skaldak is imposing, ruthless and associated with a strong sense of danger in everything from his design to his attitude. Sparing little in his terror, the deep sea submarine setting works incredibly well to create an enhancing atmosphere for the monster – responsible for some incredibly imagery and substantial narrative progression. In my opinion, “Cold War” relaunched the Ice Warriors in one of the strongest reintroductions of a classic monster the revived series has ever had – making the Martian race one I can only hope will make a return incredibly soon.
Matt Smith is immaculate in his characterisation of the Doctor, with the episode allowing a showcase of a number of the character’s mindsets and emotions, ranging from a witty traveller to a war-hardened strategist. Like most of Gatiss’ stories, the historical setting of the episode, within the heat of the cold war, is reflected in the themes of the narrative and not just used as a plot convenience. Its grasp on the concept of “Mutually Assured Destruction”, such a relevant idea of the early 1980s, is channelled effectively through the actions of Skaldak towards the climax of the episode. Perhaps what makes Clara’s role in the episode so impactful now is the context in which I’ve viewed it – with the character set to depart in such a short amount of time. Reflecting on how far Clara has come in both her confidence and self-assurance since the episode is really quite moving, as in a similar vein to “The Unquiet Dead” Mark Gatiss perfectly captures the naivety, wonder and nervousness to be found in one of a companion’s early adventures with the Doctor.
“I was doing okay. I mean, I went in there and I did the scary stuff, didn’t I? I went in there with the Ice Warrior and it went okay. Actually, it went just about as badly as it could have done but that wasn’t my fault. So I’m happy about that….. Chuffed… but seeing those bodies back there. It’s all got very… real. “
“Saved the world then? That’s what we do.”
Yes, the episode is not without its niggles – mainly the unanimously British accents on board a SOVIET SUBMARINE – but that’s a problem that most definitely isn’t unique to this episode and can easily be overlooked due to such a strong portrayal and characterisation of the guest cast. It’s a script that rife with energy and consequence and without a doubt remains one of the strongest examples of the benefits of a rewatch.
The Crimson Horror (Series 7 – 2013)
“The Crimson Horror” is easily one of the best Mark Gatiss stories, balancing a collection of wit and suspense in a way that truly plays to his strengths. Acting almost as a trail-run at a Paternoster Gang spinoff (WHICH STILL HASN’T FLIPPIN’ HAPPENED!), the episode borders on being a Doctor and Companion light adventure for at least a solid half of the episode. This of course has little to no effect on the quality of the episode, with the three Victorian protagonists being so charismatic and entertaining to watch in their natural element. Specifically Jenny’s character is offered substantial purpose for the first (but thankfully not last) time since her introduction a series earlier, no doubt earning her worth as a reoccurring character.
Mrs Gillyflower and Mr Sweet will never be regarded as the most deadly or innovative villains, but in not taking themselves seriously the audience quickly learn not to either and enjoy their presence for what they are: absolutely insane, shallow and unpredictable threats with a glimmer of wickedness to antagonise them further. The character of Ada and her relationship with her mother is yet another example of Gatiss exploring inter-family conflict with a bittersweet conclusion that is complementary to their bond throughout the episode.
Shrouded in mystery, the setting of Sweetville enhances the sense of artificial and domestic creepiness Gatiss achieves so well. The Doctor and Clara have reached the point in their travels where they’ve become more comfortable and confident around each other, and while their role in the story is not as comprehensive as in other serials it’s no less significant or underplayed. The resolution to the episode is admittedly quite simple, but tasteful, and leads to some standout character moments as the episode reaches its natural conclusion. “The Crimson Horror” is an unapologetically fun episode of Doctor Who, which unlike some more explicit romps of the series isn’t deprived of the drama and solid narrative structure that one has come to expect both from the show and most of Gatiss’ episodes.
Robot of Sherwood (Series 8 – 2014)
Mark Gatiss’ Series 8 contribution is one I’ve found specifically difficult to score. On one hand it’s a story that is one of the easiest episodes to enjoy without any baggage or prior investment, but on the other it’s an episode that structurally and narratively lacks substance. Despite an imposing and powerful design, the ‘monsters’ of the episode, the robot knights, achieve next to nothing to progress the story. Bar one or two active attack scenes their place in the episode seems incredibly shoehorned to give some illusion of a threat, and the resolution to their presence on earth really is reduced to a laughable, rushed and unbelievably convenient plot development. Bar some examples who I’ll discuss in a moment, the grasp the episode has on its minor characters is essentially non-existent with neither the merry men nor Marian given the narrative attention they deserved.
On the flip side however, both the Sheriff and Robin’s characterisation is much stronger, the latter specifically offering an original and comically pleasing interpretation of such a classic and loved historic personality. Similarly Clara’s role in the episode is also quite impressive, with the script offering her one of the earliest opportunities to prove her competencies separated from the Doctor. Occurring remarkably early following his regeneration, “Robot of Sherwood” was most definitely a personality defining piece for Capaldi’s Doctor, posing him a chance to introduce his grumpier sense of humour. The true beauty of the episode is far more thematic, hinted in the episode through Clara’s affection of the Doctor, poignantly cultivating in the final scene between the Doctor and Robin discussing the value of legends and impossible heroes.
“Clara told me your stories. Well, once the story started, she could hardly stop herself. You are her hero, I think….. Well, neither am I. But if we both keep pretending to be. Ha-ha! Perhaps others will be heroes in our name. Perhaps we will both be stories. And may those stories never end.”
So yes, “Robot of Sherwood’ is a fun and easy episode to enjoy loosely – sure to pump up your spirits when in need of an amusing romp. It’s a script that is decorated with some truly moving pieces of dialogue and is essentially a thematic masterpiece. Ultimately though, it’s never going to be remembered or valued as a classic or flawless episode because, however enjoyable or moving it is, it really does miss the mark structurally in to many areas to be completely forgiven.
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So there we have it! It’s no secret that both my expectations and belief in Gatiss to please with his Series 9 contribution have been significantly improved by this retrospective piece – and quietly I think he may do just that. He remains a writer whom I feel now, more than ever, has been incredibly underrated – whose reliability and consistency to produce a solid and enjoyable episode is often ignored.
Are you expecting big things from “Sleep No More?” Let us know in the comments below.