Doctor Who

“Every once in a very long while, every day in a million days, when the wind stands fair and the Doctor comes to call... everybody lives.”
—River Song

As promised, here is the abbreviated blog for this episode. For this week only I'll vary for my normal posting format.

OK, right off the bat, wow! Another episode that makes up for some of those earlier misses this season. Although it seemed like the majority of the episode was set up to get us to that wonderful red herring of an ending (the Doctor leaving the diary & screwdriver behind with River lamenting via voiceover), oh WHAT AN ENDING (voiced like David Tennant's outbursts)! So many ideas, themes and philosophical concepts have been packed into this episode (with ideas carried over from part one), that I literally have no idea where to begin. Hmmm. OK, we might as well hit the main one that stood out to me then expand from there.

Existentialism

As the young girl watches her television in the beginning, she mentions to her father that The Library is an actual channel on the TV. He chides her because he has told her multiple times that The Library is only in her mind. She flips through the various channels (all Library related with the appropriate frantic music in the background —nice touch) until she comes across Donna being removed from the back of an ambulance. Dr. Moon, the same therapist that is caring for the girl in her 'world,' visits Donna in her room. Donna has no idea who he is until he reminds her. They proceed to go for a walk outside and Donna is taken aback because she doesn't realize how they ended up out there (the audience is made to initially think is a normal editorial cut rather than the way Donna experiences it). These jumps become commonplace as Donna life continues on. After seven years, a marriage with children, Donna begins to question her own reality when, for an instant, an image of the Doctor accidentally breaking through. Later, we see the girl flipping the stations from The Library/Doctor to the Donna channel. Even later, Donna encounters Miss Evangelista, she she knew (briefly) in the 'real' world who tells her that her existence is only virtual.

I could continue but then that would be a boring recap of Donna's time in the Library's hard drive and I think ya'll get the point. If ya'll don't, then let's continue...

I enjoy the very concept of 'reality,' the sometimes absurdity of it as well as one's personal perception of reality. For example, my reality is completely different from every other person I meet. How I perceive others probably differs from how they perceive themselves and vise versa. So my reality is my own, individual from others. I create impressions of others in my mind after interacting (directly or indirectly) with them in any number of ways (I meet them personally, I read about them, etc etc). Until I have those impressions... until they are on my radar, even for the briefest of time, they do not exist to me. They are not 'real.' Basically, it's the ol' 'tree falls in a forest' question. To put it another way, consider yourself... your head... like a vast open field of vision. Better put, think of yerself as not having a head at all. Your perception of the world around you is done via your senses (eyes, smell, touch, etc). You create things within that perception to become a reality (people walking by, a newspaper on the table, etc). Those same things could interact with you causing you to change your perception and so on. As Marvin the Paranoid Android would say, “Here I am, brain the size of a planet...” I am, I exist, the world is me... or something like that.

Whew, now with that out of the way (ha), lemme explain how I feel this concept fits into this episode.

This episode of Doctor Who goes to extreme measures to have the audience think for themselves, to have them question the reality of each of the characters' situations and to decide for themselves, which reality is actually 'real.' To break it down via some of the characters:

Vashta Nerada: the books are their forest and the people there are the intruders. Besides being in their nature, they see nothing wrong with killing other lifeforms that enter The Library.

Donna: after she is 'saved' and after some gentle guiding by Dr. Moon, she experience what she desires the most. She ends up with a husband (who barely talks back) and children that she loves dearly. This world is hers. When Miss Evangelista shares the 'truth' with her, Donna's universe is shattered, literally. Does Donna really want to go back to her old life when her life inside the hard drive seems so much better? It's an almost Matrix-like experience for her.

Dr. Moon: he is literally a world in himself since he IS the moon. He stabilizes the environment within the hard drive to match his programming (or world view).

Miss Evangelista: very interesting, this one. In the 'real' world, she is considered beautiful but ditzy. According to her, there was some corruption when she was transferred to the hard drive and now has a disfigured face, but is highly intelligent. Maybe this was not an error but rather, what she always desired.

CAL: I will say that CAL is the basic existential archetype: her world is her house and she literally experiences others via changing the channel. So Donna's, the Doctor's and everyone else involved reality, is controlled by this young girl. The Doctor/Donna are watchers —they travel through time to experience other time periods -they watch. But (to quote a ST:TNG episode title), who watches the watchers?

Doctor/River: Sorry, I won't even begin to tackle these two. Mainly because this is supposed to be an abbreviated blog and if I did, I would be here for many days writing about them (and this blog would never be posted). Help a fella out and please post your views about these characters in the comments section.

One other point I'd like to make concerning this idea is that it's not just the characters in the episode that are affected. We, as the audience, experience the episodes differently. I'm sure I'll be called to task on my views above (or for not posting about the Doctor/River) and I know that one does not need all that info above to enjoy this episode. That's the beauty of this episode: it works on many different levels and no matter what one believes, no matter how one experiences it, the end result is completely unique to that viewer. Much like CAL settles on various channels that please her, we can effectively change the channel on her.

Within the final minutes of the episode, the Doctor/Donna stand within the TARDIS, the interior of which is bigger on the inside than out. They stand there, staring out the entrance, staring into the camera (at us), the Doctor snaps his fingers and the doors to the ship close. The door, this reality of an episode, will soon be over for us. Cut to: River, in the computer, closing her TARDIS shaped diary, like the doors that the Doctor just closed. She kisses her children as they fall asleep in their beds (possibly after reading to them from her diary of her experiences). She leaves their room, but before she does, she gazes at them, then directly into the camera... at the audience...at us... smiles and says “sweet dreams, everyone” then she turns out the lights. The existence is over...

Thus ends my rantings on this theme. Since I went on a bit too long with a boring perception of mine (heh) and since I am running out of time (If I only had more time! Wait a minute! I got all the time I want! I got a time machine!), I'll post some poorly unedited notes (more unedited than my normal blogs —tee hee) that I took during my viewing of the episode. These were points I did wish to make or cover just didn't have time. Maybe these will be of interest (or not, heh). Enjoy my reality... err I mean my notes!

When River essentially blasts open a hole in the wall to escape, did anyone else think to themselves: “Into the garbage chute, flyboy”?

In regards to River's sonic screwdriver and the Doctor's questioning, River states: “I didn't pluck it from your cold dead hands if that's what you are worried about.” Hmmmm...

I complained before and will do so again (it's what I do in my reality matrix): but come on Doctor! You've had to encountered someone from your future in your present before! Wake up! Well, I guess he finally did after River whispers his 'real' name into his ear (reality? Existence?). Humorous how he is able to completely push that to the side immediately afterwards and starts his rant about the sonic screwdriver.

Before River whispers into Doctor's ear she says, “And I am sorry. I'm really very sorry,” which is a slightly re-worded version of the revival series Doctor's tag line.

First shot of Donna in the hospital, is of a reflection of her in her PJ's, sitting on a bed. Perception? When Donna and her husband read over the mysterious note, the camera is set looking through the window in their house, with a reflection of the robed figure walking past outside. Reminds me of Stanley Kubrick's Eyes Wide Shut (besides robed figure, was also about watching/watchers/audience).

Looking up through the opening in the ceiling/roof and Moon (Dr Moon) and sky —perception/existence.

Trees still used for paper production in the 51st century?

Enjoyed the twist at the end... setting the audience up to think that was over by leaving the diary and sonic screwdriver there, but like in the episodes “The Empty Child” and “The Doctor Dances,” nobody dies... although, is a digital existence inside a computer's hard drive what the people who were eaten by the creatures the existence that they longed for?

Who is real and who is not? Or rather, what is real or not? Donna's children question their own existence, even though they are computer generated. How terrifying it must had been for her and for them. Reminds me of those ST:TNG episodes with the holodeck characters becoming sentient.

For a slightly different take on this from CAL (young girl's) POV (especially when she freaks at Miss Evangelista sharing the truth with Donna):
Urashima Taro

Miss Evangelista's name? Any reference to Neon Genesis Evangelion?

Wait... someone had a chicken leg on his person, in his environmental suit's pocket? Wrapped in tin foil? Besides wondering why in 51st century, people are still using tin foil to wrap their food, let alone a chicken leg (they did have them in the previous episode as well), isn't this kind of absurd? Hmmm. See the link above about Existentialism.

Funny quote:
Donna: “This isn't the real me? This isn't my real body? But I've been dieting!”

Crazy notes, huh? Please feel free to expand upon, shoot down and/or offer new insights into this episode via your comments! I'd really like to read your views and opinions on this episode. One thing I forgot to mention above, is that if DW wasn't using a season long story arc, this episode, especially this ending, would be the perfect season finale for this season. OK, until next time, take care!

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“If you want to live, count the shadows.”
—Courtesy node 710/A

The episode opens with a little girl describing an experience she is having in her mind to her therapist and her father. She is floating through a great, seemingly world-wide library that is devoid of people. As she floats down through an exterior opening into a room, there is a great banging on the large wooden doors that lead into the room. Suddenly, the Doctor and Donna burst in, slam the doors shut behind them and approach the little girl.

Although we do not realize it at the time, after the credits we flashback to the moment when the TARDIS lands at The Library in the 51st Century. The facility is actually a great library on a planetary scale. As the Doctor/Donna explore the stacks, they come to realize that other than themselves, no one is there. In fact, according to the internal sensors, they are the only two humanoid lifeforms in The Library. Another scan reveals one million million other lifeforms. A courtesy node (basically, an informational kiosk with an actual, donated, human face) shares the eerie final message from the head librarian as well as a separate warning for anyone who arrives there to “count the shadows.” The Doctor tells Donna that it wasn't random happenstance that they traveled to this destination as he had received a plea for help on the good old psychic paper. Just then, the lights start going out in the stacks they are standing in. Donna kicks in a sealed wooden door to an adjacent room, which they re-seal behind them. Staring at them is a floating security camera, which apparently the young girl from the beginning uses to “see.” It falls to the floor as the girl is shocked by their appearance in The Library. An extra shadow appears on the floor and the two release that they are in great danger.

An archeology expedition enters the room, much to the surprise of Doctor/Donna. The team is lead by Professor River Song and funded by Mr. Lux, the ancestor (and rights holder) of designers of The Library. They mean to explore the facility, which had been sealed for a hundred years. The Doctor tries to warn them of the danger but they just stare at him. Eventually, the team sort of comes around to his way of thinking, with the help of River Song, who seems strangle familiar to the Doctor, but not to him in return. One of the archaeologists accidentally trips a security protocol in The Library system which causes a phone to ring in the young girls house. Her father and her therapist apparently cannot hear the ringing. After more fiddling, the Doctor enables a two-way conference to the girl's house via her television. She recognizes the Doctor as the man in her library but the transmission fails. A short time later, River shares another piece of the mystery of the facility with Doctor/Donna: the final transmission from the facility was “4022 saved. No survivors.” Mr Lux's assistant, Miss Evangelista, wanders off through a newly opened doorway and is quickly eaten, her flesh stripped to the bone. The Vashta Nerada are responsible They camouflage themselves as shadows, then devour them. Donna experiences one of the terrible side effects of 51st Century technology as she hears and interacts with the dead woman's though a data ghost of thought patterns in her communicator

Another surprise added to the mix: Doctor Moon tells the little girl that her dreams and nightmares are indeed real (whereas what the “real world” is made-up).and that she needs to help the people in the library – she needs to save them.

Back in the Library, as if the skeleton of Miss Evangelista isn't enough, they see visible proof of the existence of the shadow creatures when the Doctor tosses food into the shadows and it's stripped to the bone. Sadly, for one of the archaeologists, Dave, a second “shadow” attaches itself to him. The Doctor orders everyone with a helmet to wear them while River uses her own... sonic screwdriver... to adjust the individual suits density. In order to protect Donna, he uses a nearby teleport to send Donna to the TARDIS (he can only send her b/c his ship would not recognize the others). As she starts to materialize within the ship, she screams and vanishes. When the Doctor returns to the group, Dave is elated because the second 'shadow' is gone. Alas, poor Dave has some unfriendly companions within his suit —in fact, a swarm of them. This visor goes dark and he is eaten. However, the Doctor and all are unsure of what exactly is going on as he is still speaking to them. This turns out to be another data ghost, with Dave's version eventually only repeating, “Hey, who turned out the lights?” The suit attacks the Doctor and starts to slowly chase the group. After they have put some distance between them and the walking skeleton s well as activating some lights, the Doctor questions River about who she is after again seeing her sonic screwdriver. It dawns on him that he hasn't received a signal from the TARDIS about Donna's teleportation. He asks a courtesy node about Donna and is shocked to see Donna's face on the kiosk, which responds to his query by repeating, “Donna Noble has left The Library. Donna Noble has been saved.” The lights slowly go out in the stacks as the skeleton draws near.

Commentary:

Oh my, oh my! The too intense for children (tie scary) episodes have returned! Every season since the revival started in 2005 has had them and now, including this, we will have three in-a-row. Not that I find them THAT scary, but still, on the BBC website's “Fear Forecast,” the children rated it 4 out of 5 or 'chilling.' (note: if you wish to avoid spoilers, stay away from the BBC's official site until after the US season is over). Think about that for a second and think about the Doctor Who of old. When I watched those as a child, I do not recall ever being scared by them (just a little confused). I think that either I would had been immediately turned off the show or watched it religiously if it was as intense as this episode. Even though the episode/series is till considered a family-type show in the UK, I am impressed that the show runners still aim to please the adult audiences when they can (not forgetting Torchwood, but then, thats cheating because they can do anything, so there is no challenge there).

For example: is this a double entendre or what??
River: “You gave it to me.”
Doctor: “ I don't give my screwdriver to anyone.”
River: “I'm not anyone.”

Like I said above, I didn't find this episode as scary as say, season three's “Blink,” but when I place myself in the mindset of a child (like the young girl and the security camera, heh), the episode is very frightening. What sick and twisted mind (I mean that as a compliment) came up with the idea of a swarm of creatures that strips the flesh from your bones almost instantly, then added the eerie data ghosting, plus had the swarm, controlling a skeleton in a sealed environment suit as it walks towards it's next victim/s speaking the last words of the dead person within the suit??? Deliciously, evil and brilliant! Just brilliant. If only a few US television shows that attempt horror would take a cue from this episode (sans blood as well, mind you), then maybe there'd be more quality genre shows out there (or lots of people too scared to turn on their televisions).

I absolutely love David Tennant's performance and this episode is a prime example of the little nuances that he gives to his Doctor that make me like him more and more. (I might have said this in a previous blog) The way he literally screams certain lines makes me think that the Doctor is in an eternal state of awe of everything around him. And come to think about it it, why wouldn't he be? He travels the universe through space and time and has seen it all, so when a thought comes upon him, something that might be new and original (at least to his way of thinking) or just something that he has never encountered before, he essentially bellows, “Eureka!” for the discovery. Check out the beginning of the episode when he shouts, “Biographies!” (side note: I don't know if it was intentional or not, but check out Catherine Tate/Donna being startled by the Doctor's shout. It's not the first time she's reacted this way, so she should be used to it by now, right? Tee hee). I love this Doctor!

So, opinions? Does Donna have a thing for the Doctor? Notice her watching the Doctor and River intensely. Is it because she jealous of a potential... future rival or just wants the gossip? Interesting what River (aww, my mind drifts out into the Black to Serenity.... stop that, Bob!) had to say to Donna wasn't it? I wonder if it has anything to do with the end of this season... At this time, I am not sure I like the character of River Song. Then again, I could be like Donna in that I don't like River messing with him. Wait a second. I am not implying that I love the Doctor am I! I never said that! You are putting words in my mouth! Oh my goodness! I never said that! Nope. Never...

Speaking of Donna, Catherine Tate still surprises me. Her emotional scene with the data ghost of Miss Evangelista really drove the point home of how an average person might be able to deal with (or not) all the craziness of the future and past.

It's always enjoyable the way the Doctor tries to shield her from things he knows might be upsetting to her (or how she tries to fit in), but in this case, he fails (through no fault of his own) and it even comes back to haunt him... no... it comes back and stares him right in the face. He knew that she would be freaked out by the thought of the courtesy nodes' human faces, to have her face be planted on one because the computer thought that it's a face that he would find pleasing... well, just refer back to what I said in the first two paragraphs in the commentary. Brilliant.

No mention are the 'bees disappearing” this episode, although the creatures stalking them travel in 'swarms.' Side note: I sat through the film, The Happening, the other day and the only redeeming part of the entire film is in the beginning when there is mention of the “bees disappearing” as I was reminded of Doctor Who (too bad the rest of the film could not remind me of DW). Side note 2: Saw the new X-Files movie trailer before the film and I was reminded of Doctor Who (because of the bees in the first film).

Anyone else catch that The Library's decency filtered edited the final message from the head librarian. I'll assume those words at the end of the message could had been aired on Torchwood.

Another episode where the musical score is not obnoxious. To the contrary, I think it was greatly effective in conveying the exact moods needed for this episode. Eerie and quiet to 'run for your lives” dramatic, I loved it. Of note: the scenes of Miss Evangelista wandering off, getting eaten then Donna's interaction with the data ghost.

So this is the second time this season (if one counts the “Voyage of the Damned” as part of this season) that the Doctor has had to deal with data-type ghosts.


Nitpicking:

I could go off about all the various shadows that they cross in the episode, but I'll let those go. Instead, I'll use the Doctor own words against him in regards to the data ghosts: “Sometimes it can hold the impression of a living consciousness for a short time after death.” Sometimes? Short time? Try every time and long time.

I didn't like how the creatures could could get out of Dave's suit. Then again, I guess the suits did not offer any real protection, and it was an innovative, but slow, way for them hunt down their new prey at the end.

Argh, Doctor! Everyone gets it, no why don't you? She is from your future. Donna gets it. The audience gets it and why don't you? Maybe the writer thought that he had to drill the point home, but still it's wasted screen time that could be used for something else.

Notice how the majority of the episode happens in that sealed off room that the Doctor/Donna enters at the beginning? Upon multiple viewings, I get the impression that half the episode is spent with the archaeological team having their thumbs up where the sun doesn't shine (this was edited for content by The Library's decency filter)

The sonic screwdriver 'doesn't do wood?” I spied a metal locking mechanism did I not?


Quotes:

I'm sorry, I'm so sorry for the amount of quotes this time. This episode was filled with so many great quotes but I needed to cut some as one might start confusing it for the shooting script.

Doctor: “I love biographies”
Donna: “Yeah, very you. Always a death at the end.”
Doctor: “You need a good death. Without death it'd only be comedies.”

Donna: “Isn't traveling with you one big 'spoiler?'”
Doctor: “I try to keep you away from major plot developments.”

Doctor: “This is the biggest library in the universe... so where is everybody?”

Donna: “A cry for help... with a kiss.”

Donna: “What? It doesn't do wood!?!”

Doctor: “Nice door skills, Donna.”
Donna: “Yeah well you know boyfriends, sometimes you need the element of surprise.”

Donna: “It chose me a dead face it thought I'd like? That statue's got a real dead person's face on it!”

Donna: “Hands!”

River: “Hello, sweetie.”

Doctor: “If you understand me, look very, very scared.”

Doctor: “Almost every species in the universe has an irrational fear of the dark. But they're wrong because it's not irrational, it's Vashta Nerada.”

Doctor: “Pretty?”
Donna: “Meh.”

Doctor: “What 's in that book?”
River: “Spoilers.”

Doctor: “Not everyone comes back out of the dark.”

Donna: “But Doctor, we haven't got any helmets.”
Doctor: “Yeah, but we're safe anyway.”
Donna: “How are we safe?”
Doctor: “We're not. That was a clever line to shut you up.”


That's it from me until next week's conclusion. Please share your thoughts about this episode in the comments section. Did the episode scare you (in context)? Likes/dislikes? And more importantly, what are your opinions about River Song? Take care!

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“Doctor! You are impossible! Who are you?”
—Agatha Christie

In 1926, the Doctor and Donna, via the TARDIS, arrive at the estate of Lady Edison and her husband, Colonel Hugh, who are hosting a dinner party. Besides the Doctor/Donna using the psychic paper to get themselves invited, the guests attending are well known in the social scene, including one, Agatha Christie. After spying a current newspaper, the Doctor recalls that today's date was the day in which Agatha disappears for a few days after discovering her husband's affair. Suddenly, the party goers attention turns to Miss Chandrakala, who runs from the house screaming as she had just discovered the lifeless body of Professor Peach in the library. The party guests are sequestered to a room for future questioning by the Doctor and Agatha while Donna searches for clues (with her plucky magnifying glass). After sharing it's history, the butler opens a locked room for Donna, who is attacked by a giant wasp that breaks in through a window. She manages to hurt it via her plucky magnifying glass and sunlight shining through the broken window. Donna escapes into the hallway and shuts the door behind her. The Doctor and Agatha rush to her aid and find the wasp, sans stinger stuck in the door, is gone. Shortly thereafter, Miss Chandrakala is crushed by a falling stone ornament outside and the trio chase the wasp indoors but it reverts to human form, leaving the remaining party-goers as suspects once again. A thief's kit is found outside by Agatha and Donna, who then bring sit to the Doctor's attention. As the three deduce that it must belong to the Unicorn, a jewel thief rumored to be in the area, the Doctor is startled to realize that he has been poisoned with cyanide. After using a 'big shock' (as well as some other ingredients) administered by Donna, the Doctor is able to rid himself of the poison. That evening, the guests are gathered for dinner and the Doctor adds pepper to their food, thus poisoning the wasp/human. Wind blow the windows open and the lights go out causing a commotion during which the wasp's buzzing is heard. When things return to normal, Lady Edison's necklace is missing and her son, Roger, is dead with a knife sticking out his back. The Doctor inspires Agatha to use her great mind to help solve the murders. She questions the guests and it's revealed that one of the guests, Robina, is the Unicorn thief and that Colonel Hugh can walk. Lady Edison has her secret exposed: while in India, she fell in love and had a child with a man who turned out to be from a wasp-like alien race called,Vespiform (he had also left her the necklace that the Unicorn had tried to steal). After he died, she put their child up for adoption. The Doctor takes a stab at the next stage of the questioning and all eyes land on Reverend Golightly, who had apprehended some thieves in his Church a week ago. For the first time in his life, Golightly experienced true anger which broke the genetic lock between his human and Vespiform. At the same time, Lady Edison, wearing her necklace, was reading an Agatha Christie novel. The necklace, or Firestone, turns out to be the essence of Golightly's wasp form and as such, the works of Agatha Christie were transferred to him, causing a murder scenario to occur like in one of Christine's novels. To the horror of the guests, the creature reveals it's true form and intentions. To make amends for what she thinks her books have done, Agatha takes the necklace and attempts to lure the wasp away from the guests. She jumps into a car and takes off into the night with the Doctor/Donna following as well as the alien. Agathe stops at a nearby lake as does the Doctor/Donna and wasp. Her intention is to drown herself in the lake with the wasp possibly dying with her. Donna grabs the necklace and tosses it into the lake. The wasp flies in after it and drowns; however the process causes Agatha to have amnesia and thus, completing (and repeating) history with the unexplained disappearance of Agatha Christie (for a few days and with the Doctor/Donna's help).


Commentary:

My goodness but I thought this was a wonderful episode. Forgetting the silliness of giant wasp aliens, it seemed like a refreshing change from all the dreariness of the previous episodes. Oh and talking about the silliness, the episode was humorous throughout, which is something they really needed to do, finally, considering that Catherine Tate is part of the cast now. Mucho enjoyable through and through and what follows are some random thoughts as to why it is so.

Although death and murder are obviously not funny, there was humor laced, much like the Doctor's drink, everywhere in the episode, most of which made me laugh out loud literally or at least brought a smile to my face. One of the best scenes had to be the Doctor attempting to spur his enzymes to reject the poison. Seriously, charades? Ha! Harvey Wallbanger? It's a song! Mammy! Camptown Races? Towering Inferno? (side note: speaking of Irwin Allen, I've been watching online episodes of Land of the Giants. Yuck!) and of course, the near climax of the scene: Big Shock! My goodness, I haven't laughed that hard from a television show in a while. The Clue board game references made me do a virtual double take (i.e. rewind) the first time I heard them. Let's not forget to mention the initial question scenes as well. I love how the Colonel's ends up being a weird and perverted flashback within a flashback. Where the heck did that come from? And Lady Edison's recollection includes her meeting the Doctor/Donna for the first time. If the Doctor hadn't stopped her, would she have recited the lingo that Donna used? Heh! Oh... the Doctor's flashback to a forest in Belgium and Charlemagne...? Where the heck did that come from, part 2! Too frakking funny! So funny because the episode was not afraid to mock itself of the Agatha Christie convention/standard. In regards to Miss Christie: it's classically funny and yet totally in character for Donna to reference and later attempt to take credit for Agatha's book titles, “Copyright, Donna Noble.”

Oh my! As you know, I just go gah-gah over the continuity and references to previous episodes. The Doctor again uses the “Smith” alias; Donna referencing Charles Dickens surrounded by ghosts in real life, and of course, the wasp itself. Does this have anything to do with the bees disappearing or not? This season (as well as Torchwood) has had reference to them, now a wasp. Donna's concerns over this had better be explained! (hmmm, I seemed to have gone off topic within the paragraph itself. I blame the disappearing bees!)

Maybe one of the reasons why the episode seemed a bit more cheery (forgetting the multiple murders taking place) is the cinematography. Yes, the majority of the episode occurs on the grounds of the Edison Estate, but it was so nice and bright and green in the beginning that it felt more full of life than when compared to the harsh cities (and space cities and alien planets and...) we've encountered the past few episodes. From a technical aspect, I believe it's the first time (at least for the revival series) to use devices like spinning newspapers to convey the story (although we have had the modern equivalent of televised newscasts used to the same effect). How cool was that night car chase scene? Though short, I thought it was shot and lit brilliantly —especially when one considers that this is “just” a television show. Although I have complained about other aspects of previous episodes, the so-called plain ol' camera work (not special effects) is usually spot on! Kudos!

Speaking of special effects... I had no issues with the wasp itself. My guess is that the BBC's sfx crew really only had a handful of effects to work on, so they all turned out better than expected. I even enjoyed the (possibly) motion controlled or well choreographed instances of the wasp interacting with the scenery. For example: picture frames being knocked around as it crashes through the hallway. Small, quick scenes that help add to the level of disbelief.

Music: finally, finally, finally, a score that is not obnoxious like in most of the previous episodes this season! The score returns to it's rightful place within the episode: in the background, not too obvious, but just enough to help convey mood and relevant themes. Loved the period sounding pieces; some of which seem to emulate various 'who done it' film scores. Take a gander... err... close your eyes and listen to the score during the lake scene and continuing all the way up to the end of the episode.

The Doctor and Donna: as already stated, they are hilarious in this episode and the actors play off each other very well. The (now) old “we are not a couple” actually gave me a small chuckle when Agatha deduces that they are not. However, even though I complain and complain, I must admit that they finally do seem like an old married couple and it's easy to see why people, other than Agatha Christie, would get them confused. From their exchanges when Donna dresses in her period outfit to the Doctor's aside to her when she again attempts to spout the lingo of the era (“ No, no. no. no, no. Don't do that. Don't.”), it makes me smile and think to myself that the two of them are comfortable with each other. I'm not sure they would make a good romantic couple (barring other instances of 'big shocks'), but they are good friends and this episode proves it.

Oh my! I absolutely loved the way the episode ended! As I mentioned in the recap for the episode, “the Planet of the Ood,” I believe that many of the Doctor/Donna's adventures off-screen end like this. The two of them solve some mystery, save some people or just have a wonderful adventure, then they look towards the next adventure and fly off. Granted, if every filmed episode ended in this manner, it'd get boring rather quickly; however, the looks in their respective eyes at the end of the episode lead me to believe that although it might get old for the audience, the pair are in a total sense of awe and wonderment at the universe around them. For example: this episode ends with them discussing Agatha Christie's works and how they are still read even in the year, five billion.
Doctor: “All we can do is hope for the best. Maybe that's what kept her writing. Same thing keeps me traveling. Onwards?”
Donna: “Onwards”
The two gaze up at the TARDIS' center console as it starts to activate. The next adventure lies ahead or behind but always towards... the second star to the right and straight on till morning. Man, I loved this ending!


Nitpicks:

Other than the silliness of alien, giant wasps, I really don't have any for this episode. Is this a first? Well we can't have that now can we? OK, if I were going to nitpick something... anything... it would be the lake reflection on Donna, the Doctor and Agatha's faces during the lake scene. Why? Because it's only on their faces and looks a lil goofy as it reminds me of stylized film noir like lighting on just an actor's eyes, cept this time, its shiny water reflections. Meh. (side note: If you ever wanna try that basic lighting effect for your home videos, shine a bright movie/stage light either through a glass/clear plastic bowl of water at your subject or scenery. You could also use a mirror and the same bowl of water, with the mirror either under or next to the bowl, angling the reflection via the light source and mirror. See, I try to be entertaining as well as informative... and fail miserably! F minus! BAM!)

Oh, I just thought of a minor one! Yay! It would be nice to see more parts of the TARDIS other than the main console room. I was reminded of this when the Doctor searches under a deck plate for that “C” suitcase. It didn't have to be in this episode, just some future episode as I believe some of the newer members of the audience may not realize exactly how big the TARDIS is. If memory serves, we've only had a brief exposure to another part of the ship during “The Christmas Invasion” episode when the newly regenerated Tenth Doctor visits his wardrobe.

OK, OK, that wasn't really nitpicking as well... hmmm... how's about this: I didn't think the episode title was appropriate? “The Unicorn' was so secondary to the story that I don't think it (she) deserved to be part of the title.


Quotes:

Donna: “What do you think? Flapper or slapper?

Donna: “Oh, I like the cut of your gib, Chin, chin.”

Doctor: “I love your stuff! You fool me every time! Well, almost every time. Well, once or twice. Well, once... but it was a good once.”

Doctor: “Chief Inspector Smith from Scotland yard. Also known as the 'Doctor.' Miss Noble is the plucky young girl who helps me out.”

Donna: “There is a giant wasp!”
Doctor: “What do you mean 'a giant wasp?'”
Donna: “I mean, a wasp that's giant!”
Agatha: “It's only a silly little insect.”
Donna: “When I say 'giant,' I don't mean 'big.” I mean 'flipping enormous!'”

Agatha: “I think I understood some of those words. Enough to know that you are completely potty!”

Doctor: “How is 'Harvey Wallbanger,' one word!?!?!”

Doctor: “Plenty people write detective stories but yours are the best. Why? Why are you so good, Agatha Christie? Because you understand. You've lived. You've fought. You've had your heart broken. You know about people. Their passions, their hope and despair and anger... all of those. Tiny huge things that can turn the most ordinary person into a killer. Just think, Agatha. If anyone can solve this, it's you.”

Agatha: “Death comes as the end and justice is served.”

Well, that's it from me until next week! Please share with the Doctor Who community what you thought of this episode. Do you agree that it was a welcome change of pace or did it seem out of place (did that rhyme?) with the rest of the episodes this season? Comment away! Oh and... Copyright, Robert Ivins.

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“Kids, they never listen.”
—Donna Noble

The runaway TARDIS transports the Doctor, Donna and Martha to the planet Messaline. Upon exiting he time machine, human soldiers apprehend them and create a woman almost instantaneously by using the Doctors DNA -the Doctor's Daughter, eventually named Jenny. The reason for this instant creation is to help resupply troops for a war between the humans and the Hath, fish-type beings. During an initial Hath attack, Martha is separated from her companions and captured by the Hath. The separated group each discover that the was has waged for generations over something called “The Source” or the 'breath of life' as described by General Cobb, the leader of the human forces. The Doctor and Martha each inadvertently uncover hidden passageways that lead to The Source's location. Cobb imprisons Doctor/Donna and Jenny when the Doctor/Donna protest Cobb's plans (dreams) of killing all the Hath once the power of The Source is harnessed. At first cold, with Donna's help, the Doctor starts accepting Jenny as more than just 'an echo.' With her help, all three are able to break out of the prison cell and attempt to reach The Source first. After they reach The Source, Donna is able to deduce that only seven days have passed since the war had started -to the warring factions it seemed like countless years because of the multiple generations of manufactured beings. Martha catches up with them and smells flowers, so the entire group 'follow their noses' to the actual source: a third generation terraforming device. The two warring factions also make their way to there with their weapons drawn. The Doctor reveals what the device is, then breaks it, releasing the gas within that starts the planet-wide terraforming. Soldiers on both sides drop their weapons —all except Cobb who aims his pistol at the Doctor. Jenny sees this and jumps in the path of the bullet and dies. Cobb is taken prisoner, Jenny's body is left behind for a proper funeral on the new world and the TARDIS returns Martha to Earth. Martha and the Doctor/Donna say their goodbyes as Martha turns away and thinks about the future —her future. Back on Messaline, the terraforming gases help revive Jenny. As she takes off in a shuttle, she ponders her future as well.

Commentary

The episode was a substantial improvement over the two parter that proceeded it; however. it felt a bit rushed and it did have some issues with logic

Initially. I disliked the character of Jenny, only to start liking her up and until she was shot. Didn't like her at the end when she took off in the shuttle. Again, Doona proves her worth by defending Jenny to the Doctor (loved the stethoscope bit). Felt the change over from uneasiness to real fatherly affection and love was never more evident than this simple thing the Doctor mentions to Jenny:“Careful, there might be traps!” Did you see the look of admiration on Jenny's face during the Doctor' speech at the end? How freakin obvious was it that she would die? Saw that one a mile away. Wasn't really expecting her to return to life, but was instead wondering why we are having a cutting back to them prepping the body. In the future, I could easily see Jenny retuning to team-up with the Doctor.

Anybody else think to themselves: “What the heck is John Houston doing in Doctor Who?”

Note to new friends who decide to tag along with Martha: don't. I love Freema and I do miss the character of Miss, now Doctor, Martha Jones; however, was it really necessary to have her be a guest star in this episode as well? I'm sure Donna could had taken her place with the Hath and maybe have the Doctor/Donna communicate via cell phones through out the episode. Check our Freema's goody expressions when the Hath start patting her when she first enters their main base!

The running gag of whether Doctor/Donna are a couple or not is brought up, again. This seriously has to be addressed by the end of the season! I wonder if Donna's statement to Martha at the end of the episode will come back and haunt her: “I'm going to travel with that man forever.” (note: she didn't say 'alien')

Music was a wee bit overused throughout the episode, although I did like the score during the exchange between the Doctor and Jenny in the prison cell. I also thought the composer was back on his game towards the end of the episode (when the TARDIS leaves the planet and drops off Martha). Is that the last time we will ever hear the Martha Jones theme?

What the heck? I don't recall the Doctor having miracles Mary Cherry-type abilities with his jacket pockets! (Popular reference ya'll)

Liked the Hath design -especially the weird water breathing apparatis on their faces. Sort of reminded me, very very loosely, of the weapon/gauntlets or the video game, “Haze.”

Wow! 'Chinese whispers?” Was this term the Doctor uses in the US version? Wow.

Upon return to Earth to drop off Martha, the TARDIS is literally parked in the street between two cars! ha!

Nitpicking

If “everyone gets processed,' why didn't Donna or Martha get 'processed' in the very beginning too? Before anyone responds that there wasn't any time, jenny's replication process took seconds.

If twenty generations can be produced in a day, with the majority of them killed, and only seven days have passed, would not the entire complex be filled with human and Hath bodies?

As the Doctor directs a gun at Cobb's head, then lowers it and states that, “I never would,” in reference to shooting/killing via a weapon. Did he not kill during the Time War? Then again, he is trying to make a point to both sides.

As Jenny is prepping to leave the planet, Cline mentions to his new Hath friend, “The shuttle.” How would he/they know what a 'shuttle' is or rather, that the sounds heard are from a shuttle? Finally, how did she know how to pilot the shuttle in the first place? I know they were bred with solidering knowledge, however, why was shuttle piloting included in the learning matrix?

Quotes

Donna: “You are completely impossible.”
Doctor: “Not 'impossible; just a bit unlikely.”

Martha: “Now then, I'm Doctor Martha Jones, who the hell are you?”

Jenny: “I'm not a monkey... or a child!”

Doctor: “Then you need to get yourself a better dictionary. When you do, look up 'genocide,' you will see a little picture of me there. And the caption will read: 'over my dead body.'”

Donna: “So The Source could be a weapon and we just given directions to Captain Nut Job.”

Donna: “I have picked up a few womanly whiles over the years.”
Doctor: “Lets save your whiles for later... in case of an emergency.”

Doctor: “Listen to me. Killing... after a while it infects you. Once it does, you're never rid of it.”
Jenny: “We don't have a choice.”
Doctor: “We always have a choice.”

Donna: “But what is it then? Having Jenny in the TARDIS is that it? What is she going to 'cramp your style?' Like you got a sports car and she's gonna turn it into a 'people carrier.'”

Donna: “You talk all the time but you don't say anything.”

Martha: “All those things you been ready to die for. I thought for a moment here you finally found something worth living for.”
Doctor: “Oh, there is always something worth living for, Martha.”

Goodbye, Doctor Martha Jones! Until we meet again, adieu!

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Picking up from the cliffhanger, ATMOS systems would-wide are out of control and spewing forth the Sontaran poison gas. Donna's grandfather is rescued by Sylvia via an ax to the windshield. Back at UNIT, the clone of Martha has been busy helping the Sontarans with the gas attack. The Doctor asks Donna to head back to the TARDIS for refuge and she receives her very own key to the time machine. Unfortunately for Donna, the Martha clone has the TARDIS teleported onto the Sontaran spaceship with Donna inside! During a communication with General Staal, the Doctor secretly signals Donna about the TARDIS's phone. Luke Rattigan's students decide to abandon ship —apparently, they'd rather be with their families than starting a new civilization with Rattigan. Against the Doctor's wishes, UNIT orders a world-wide nuclear strike against the Sontaran vessel; however, again, the Martha clone secretly intervenes and shuts down the launch via her hacked PDA and repeats the process every time the nukes come back online. Sontaran troops arrive in the factory and massacre every UNIT troop in sight. Rattigan reports back about his failure to General Staal only to have the Sontaran reveal that they were only using Rattigan for the ATMOS implementation. Rattigan escapes via teleport at the last second. The Doctor finally uses his secret weapon, Donna, by asking her to re-activate the teleports on the Sontaran ship. On the ground, Colonel Mace comes up with a plan to strike back at the Sontarans in the factory: bullets that are not rendered inactive by the aliens and the flying carrier, Valiant's engines are used to clear away the gas in the area. With this new firepower, UNIT is able to take back control of the factory. The Doctor finds and recovers the real Martha, which ends up mortally wounding the clone. They discover that the ATMOS gas is not poison but rather food for future Sontaran clones. Donna enables the teleports just as two guards find her. The Doctor teleports her and the TARDIS back to Earth then all three port over to the Rattigan Academy. Using the devices at the Academy, the Doctor is able to ignite and burn up the gas that blankets the planet. He then teleports up with the equipment to the Sontaran vessel with the intention of offering them a choice: leave or be destroyed. Of course, this means it would be a one way trip for him if they refuse. Rattigan fiddles with the teleport and exchanges places with the Doctor, then he activates the device, destroying the spaceship and saving Earth. Later, Donna says her goodbyes to her family, actually, just her grandfather as her mother would be upset. When she gets back to the TARDIS, Martha is there, saying her goodbyes as well. Suddenily, the TARDIS activates itself to cries of the familiar, “What? What?” from the Doctor.

Commentary:

Hmmm. Meh. I dunno. Yuck. Why? Ha! OoooK. Hmmmm. Yep, I really don't have much to say about this episode (other than what I mumbled to myself while watching it). There were small little moments that were classic; but the some of the whole just didn't cut it. I don't want to really harp on this anymore as it will turn out to be a rant like the previous blog. I will say this though: the main storyline could had been more thought out. Nothing more to really say... moving on.

I am beginning to think that Donna does have a crush on the Doctor. Granted, she considers him a friend... a space alien friend, but I think when she gets emotional (like being saved via the teleport or when Rattigan switches places with the Doctor), her true feelings emerge. I think the Donna this entire season might end up being an alternative Martha/season three. She can't get close to him (or cannot admit to herself that she wants to). A perfect example of this is when after she hits the Doctor because he tried to sacrifice himself at the end, she holds his arm but at a distance. Martha on the other hand is squatting right next to him in the teleport pod. Is Donna pining but she just doesn't know it?

Anyone else surprised at how violent the episode gets once the UNIT troops start a counteroffensive on the factory? I personally do not mind; however, it is shocking (in this series) to see Sontarans mowed down or shot repeatedly on-screen (I think the Doctor's complaints about guns is a way for the producers of saying, 'See? We didn't really want to use those weapons in the episode). On the other hand, I really did like that one special effect shot of the Sontaran laser weapons traveling down the hallway, striking the UNIT troops (the scene during which Ross is killed). Also, the special effects of the world-wide fireball and the Sontaran ship exploding were top notch. Hmmm. Apparently, I like visual effect violence rather than (fake) but realistic depictions of violence. Tee hee!

Ha! Pakistan and North Korea are part of the worldwide UNIT/NATO alliance as they participate in the nuclear strike. Interesting...

I did say I wouldn't complain anymore but.... ugh! It continues! I cannot stand the cheesy music in this episode! Case in point: listen up when Rattigan pulls a gun on his students (this section is from the previous episode as well as repeats at least twice in this episode). Make it stop! Please!

OMIGOD MOMENTS: The hilarious reference by the Doctor to the episodes, “The Empty Child” and “The Doctor Dances';” they mention of the frakkin Brigadier (was half expecting him to pop up at the end of the episode); and of course... ROSE! The Doctor's third hand makes an appearance but my reaction was, “Oh, that's what became of it.”

Nitpicking:

I must preface this by saying that I know this is a science fiction television program that has wonky science to begin with. That's fine and I accept that, after all, I don't want a science lesson from the show; however, this should never be an excuse for sloppy writing and storytelling. My nitpicking is over the poison gas cloud that blankets the Earth. The Sontarans did not want any missiles to be launched at them in space because there was the possibly of the missiles igniting the gas cloud. Well, could not any type of vehicle on the ground... no wait... those were converted to ATMOS... could not any aircraft engines (or a flying warship like the Valiant) cause the gas to ignite? What about someone smoking? A forest fire? If those are all too small, they what about a lightning storm? It's a pretty big planet, so there are multiple storms raging at any one time -some high up in the atmosphere Even forgetting that, would not a world-wide fireball (as depicted via the special effects) burn up all the oxygen in the atmosphere?

I admit they might be very debatable nitpicks. Some could even claim I was just looking to to nitpick since I disliked the episode. OK, I'll give those folks that much. But... I do not believe that anyone will be able to disagree with me on this final one: since the gas cloud was depicted throughout the entire episode as being at ground level, would not everyone on the ground be burned up as well? Examples: we see the streets covered with the cloud; the Noble family has gas all throughout the interior of their house, all of London was blanketed with the gas. How did all those people survive? Billions should had died since the entire world was covered in it, right? Even if you still do not agree with me, then I must ask you why igniting a similar atmosphere within the Sontaran space ship caused it to explode? I rest my case.


Quotes:

Doctor: “So tell me, General Staal, since when did you lot become cowards?”

General Staal: “Doctor, you impugn my honor.”
Doctor: “I'm really glad you did not say 'belittle' then I'd have a field day.”

General Staal: “The bravery of idiots is bravery none-the-less.”

The Doctor: “Are you my mommy?”

Martha: “'Never do tomorrow what you can do today' my mom always says because...”
Martha clone: “...you never know how long you got.”

Donna (happily): “Did I ever tell you how much I hate you?”

Doctor: “Here we go! The old team back together... well, the new team.”

Wilfred Mott: “Now you go with him, that wonderful Doctor, you go and see the stars.”

Until next time! Sontar-ha!

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Martha Jones, now working for UNIT, calls the Doctor (via her cell phone last seen in the season three finale, "The Last of the Time Lords") to help investigate an ATMOS factory. ATMOS (Atmospheric Omission System) is a device that has been installed and integrated on half of the world's vehicles. Besides acting as a GPS, ATMOS also reduces carbon dioxide emissions. What brings it to UNIT's attention is that 50-plus deaths have occurred in cars with ATMOS installed. Martha believes they were poisoned; however the toxin leaves the system immediately after death. As a result, UNIT believes the technology is alien in origin. The Doctor goes off to investigate the boy genius creator of the device, Luke Rattigan, who runs a private school. After a brief talk with Martha, Donna decides to visit her family instead of going with the Doctor to the academy. Donna reveals her secret to her grandfather but not initially to her mother. In the meantime, Martha is lured away from her duties by two UNIT soldiers who have been brainwashed by the warlike, Sontarans. She is cloned but kept alive to provide memories for her doppelganger. At the Rattigan Academy, the Doctor happens upon a "thing" which turns out to be a teleport. It takes him to the Sontaran spaceship and he quickly uses the device to return to Earth. The Sontaran leader, General Staal, follows just as the Doctor disables the teleport. After a brief exchange, the Doctor stuns Staal by bouncing a ball into the Sontaran weak point. The Sontarans use the ATMOS device in the Doctor's jeep to kill him and his guard. The plan fails but the Sontarans think the Doctor has perished. He meets up with Donna and her grandfather, who recognizes the Doctor from the previous Christmas' encounter (see episode "Voyage of the Damned"). Donna's mother pops up and she no-so-fondly remembers the Doctor from two Christmas' ago (see episode “Runaway Bride”). Needing a car, the Doctor starts fiddling with the ATMOS device in Donna's car, which secretly signals the Sontarans. General Staal knows it's the Doctor so he orders their plan to be stepped up to the next level. Donna's grandfather gets himself trapped inside the care as all ATMOS cars worldwide start spewing a toxic gas.

Commentary

Yay! Freema's name appears in the opening credits! Not that I missed her or anything. Oh phooey! Who am I kidding? I missed her. Nice reference to Tom Milligan (Martha's now fiancé from the season three finale, "The Last of the Time Lords."). Also nice play on words in regards to Tom (see Quotes section). The Doctor seems slightly surprised that she is now a "proper doctor" having forgotten how he helped with the pushing of paperwork (mentioned in Torchwood —although this could be to bring non-TW viewers up to speed). I wish the Doctor and Martha had more alone time to catch up. Glad your back (until the next episode), Freema!

Seeing the Doctor officially interact with UNIT brought a big smile to my face. I chuckled at the Doctor's uncomfortable reaction to the salute Colonel Mace gives to him as well as the revelation that, technically, the Doctor is "still on staff." His response to Donna's query about him working for UNIT is also smile inducing.

It's been a while, but I cannot remember the previous incarnations of the Doctor attitudes towards weapons, specifically guns. Continuity-wise, the Tenth Doctor has not been fond of them and it continues to be so here -especially when one considers the events of the season three finale (man, I like referencing that episode) as well as his scolding of Captain Jack over his sidearm. He chews out Martha for working with UNIT (even though he helped get her the job) but her reasoning is sound and he comes around —a more mature Martha to be sure! Later, Colonel Mace notes that the Doctor does have weapons (in the TARDIS) and that he likes to give orders, which produces the cute "cheeky" aside from the Doctor.

Donna seems very grim in this episode as she witnesses, firsthand, the UNIT raid on the ATMOS plant. Although I had an issue with this (see Nitpicking section), Donna is able to show UNIT that they need not rush in with guns ready as simple paper work is all that's needed sometimes.

Kinda shocked that Martha has that attitude towards the Doctor (see Quotes section). She even states that it was not the Doctor's fault. The warning to Donna is understandable but, Martha has to understand that without the sacrifices her, her family, Captain Jack and the Doctor made in the previous season, the Earth would not now exist. Maybe it was mean to scare Donna into reacting right away, but it did seem a little harsh coming from her.

With the addition of Catherine Tate, I fully expected the humor quotient to be raised and every episode seems to have a wee bit more comedy than previous seasons. The scene in this episode that comes to mind is when the Doctor gives (yet another) heartfelt, goodbye speech to a departing companion only to realize that Donna is just leaving to visit her parents. We didn't get the old "we're not married" line but they certainly acted like an old married couple here. I really appreciate how the show can parody itself! One wonders what they will do if/when Catherine Tate leaves the show.

Did anyone like the performance of the actor playing Rattigan? I found him overly annoying but that could be what the actor/director were trying to achieve.

Sontarans! Yes! Another old enemy has returned. Ironic how the Staal calls the Doctor a 'face changer' and yet employs one of sorts with the clone of Martha. Also, he mentions the time war between the Time Lords and the Dalek. I'm confused as to how the Sontarans would know about that war (do they have time traveling capabilities?) as none of the details have been released. Like I said in a previous blog, I believe a BBC TV movie or mini-series of this Time War featuring the Ninth Doctor is in order here!

Music: Yes! Martha's theme! No more debate! There it is! Sadly, there are only a few interesting selections in this episode as I was disappointed by the majority of the score (please refer to my nitpicking rant for the rest). Of note:
—(of course) the Doctor and Martha's first meeting (which turns into the obnoxious music that's heard when UNIT takes over the factory)
—the horror-like piece that's heard when the two UNIT soldiers discover the clone. It's intriguing because the music is mixed with the factory machinery sound effects (which one of the soldiers even comments on) to produce an eerily sounding score.
—The Doctor's goodbye speech to Donna. Humorously melodramatic which, after a pause, turns into a playful laugh at the Doctor's expense.

Camera/editing: I was impressed by this scene/series of shots after the TARDIS initially lands:
1 - Camera booms down to Martha with an empty alleyway behind her. TARDIS lands behind her. She turns to face it.
2 - Close up of Martha smiling.
3 - Closer shot of the TARDIS in the alley (Martha's point of view). TARDIS door opens.
4 - Reverse angle of the alley. TARDIS in foreground with Martha at the end of the alley. The Doctor exits, looks down the opposite way then the other and sees Martha.
5 - Medium shot on the Doctor facing the open TARDIS door. The Doctor exits the TARDIS. Behind him, inside the TARDIS, we can see Donna with a blank look on her face, slowly walking towards the entrance of the ship.
6 - The scene continues with dolly/tracking shots of the two old friends greeting each other, then Donna exits the ship (didn't want to bore ya'll with any more than this -heh).

Why this is relevant is that the shot selection the director choose for this small scene could represent the way the Doctor or better yet Donna feel about the current companion sitch. If it's the Doctor, then he seems to have briefly forgotten that Donna was there. If it's meant to represent Donna POV, then she feels left behind or pushed aside in the face of meeting the Doctor's old companion. In either case, could this small sequence represent some underlying motivation or emotion for either character? I noticed this because of shot #5 as there was no real reason to go to the expense of shooting a special effect shot (Donna inside the TARDIS), so why is it there? Notice in shot #4 how the Doctor looks the other way and sees no one there, then turns to see Martha, where possibly 'no one' = Donna. When Donna exits the TARDIS (shots 6 and on), the Doctor seemed, for a moment, slightly surprised that Donna is there. Does this foreshadow the future? Will Donna be forgotten if/when... Rose... returns? Could this be a fear of Donna's (not of Rose, but in general)? Is she afraid of being abandoned by him? See how much fun it is to analyze this show (or any show that puts thought behind it's production)? Of course, the director could had just thought shot #5 "looked cool" and nothing more. Even then, the show/storyline could take a life of it's own. Once this season is complete, it could be an unintentional foreshadowing. Or... I could just be talking out my frakking butt... On the other hand, with all of the Doctor's knowledge and experience, he fails to notice Martha's engagement ring!?! Poor thing probably still thought that Martha had a crush on him. It took Donna to ground him... again.

Visual effects: very cool (heh) CGI when the camera pulled all the way back from Rattigan and Staal on the Sontaran ship.

Nitpicking

It's debatable how a person can remain spoiler free with the power of the Internet and the mighty water cooler at their disposal (note: at my department at TV Guide, there is no water cooler). I try my best to keep my friends and co-workers spoiler-free as much as possible and even go so far as to not share anything, even if they ask, as there could be a remote chance that they will see the content in question (or course, they are always free to ask or search elsewhere, but at least the spoiler did not come from me). Why do I bring this up? I felt bad that Martha Jones' return was highly publicized (press, Internet, trailers) so much so that it might not had been a surprise when she popped up on-screen. There was almost no way to avoid not knowing Freema would return. Fine. However, the producers/writer did have one way to avoid another spoiler: the frakking episode title itself! Why even hide the Sontarans from appearing when we already know they are the villains? They did such an amazing job keeping Rose's appearance in the first episode a secret that I was disappointed by this spoiler. Now, new Doctor Who fans would not know who the Sontarans are so I guess it wouldn't affect them too much. Still... I hate spoilers /rant off

TORCHWOOD SPOILERS: Not entirely happy with the way Martha Jones was handled in TW and now in this episode. That three episode stint of Martha on Torchwood was adequate because I felt she was out of her environment. She ended up being underused after the first episode. She placed in peril in both of her first appearances in TW and Doctor Who? Hey everybody! Look! It's the great Martha Jones! The same one who organized the world resistance against the Master (although time was changed in that episode). She's so great that she gets captured and has weird things done to her body in both of her series returns (insect egg and now cloned). Grrr! They should had waited until episode 2 of her arc before using her as an incubator. Instead, her remaining two episodes on TW dealt with the Owen's death and resurrection storyline, which I also disliked. Her interaction with Captain Jack was good, but seeing how the producers had her skirt around the more adult themes in TW bothered me. For some reason, I kept waiting for her to drop the F-bomb (which she did not... I think). As you can see, ya'll probably would not want me to write that blog - heh. END SPOILER

Not sure I cotton to the idea that current, real world events be brought into this show. I might have complained about this before: references like this sometimes bring me out of the fiction that I am experiencing. I am not saying it cannot be addressed in some fashion; however, when some real life event is referenced in DW, I begin to wonder why the Doctor does not intervene. But this could be explained away as the timeline for those events are not in-flux etc. However, I'm sure the people affected by the real world situation would be glad to know that they are the subject or reference in a fictional work? See? Told ya it brings me out of the fantasy. I will say that at least the humor at the end of Donna's rant does help bring us (or just me) back into the show.

Martha: "We got massive funding from the United Nations and in the name of homeworld security.”
Col: "A modern UNIT for the modern world."
Donna: "And that means arresting ordinary factory workers, in the streets, in broad daylight? It's like more like Guantanamo Bay out there! Donna, by the way, Donna Noble, since you didn't ask. I'll have a salute."

Although I am not taking any political sides here (I'll stay away from all political discussion, thank you very much), the point the show's producers might be attempting to make fails as UNIT was correct in it's assumption about the ATMOS plant.

Music: I don't know what happened, but it seems like this episode's composer was on holiday half the time. I don't expect Mozart here. What I do expect is something better than this mess. Examples that made me, on occasion, cringe: UNIT raiding the ATMOS factory (not that bad, but not good); the horrible dun-dun-dah nonsense that is heard when Martha's clone pops up -yuck! (variation is played when the clone preps to 'go to work'); although the scene was humorous, the silly sounding score that is heard over the Doctor and Ross' escape from the ATMOS controlled jeep; the scene when the Donna calls Martha after the Doctor arrives at her mom's house (clone's theme?); the piece that starts once Donna's grandfather is trapped in the car and continues to the end of the episode. Seriously, what the heck happened here? Booo!

For the love of all that is good, Doctor! Just break the frakking window! Stop standing around like you are in shock and use the sonic screwdriver to shatter the glass. Ugh! Totally uncharacteristic way to depict the Doctor and a terrible cliffhanger to boot!

Quotes:

Martha: "And yes, I know. I got a doctor who disappears off to distant places."

Donna: "Is that what you do to them? Turn her into a soldier?"

Donna: "What you used to work for them?"
Doctor: "Yeah. Long time ago. Back in the 70's or was it the 80's. But it was a little but more homespun back then."

Martha: "You need to be careful because you know the Doctor. He's wonderful! He's brilliant. But he's like fire. Stand too close and people get burnt."

Doctor: "You're just popping home for a visit. That's what you mean."
Donna: "You dumbo!"
Doctor: "Then you're coming back..."
Donna: "Know what you are? A great big, outer-space, dunce."

Doctor: "People don't questions things. They just say, nerrrr, it's a thing."

Ross: "He's like a potato. A baked potato. A talking, baked potato."

Rattigan: "That's just so cool."
Staal: "is the temperature significant?"


Although I was excited at the return of another enemy from the Doctor's past, I had love/hate issues with this episode. Hopefully, part two will help redeem this story arc in my mind's eye.

Until next time, be seeing you!
(needed to quote Lost/The Prisoner after dealing with this episode!)

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"Every song must end."
—Ood Sigma

The Doctor and Donna randomly visit the planet where the subservient race, Ood (last seen in the season two episodes, "The Impossible Planet" and "The Satan Pit”), are processed and sold. Things have not been going so well lately at Ood Operations. Business is down and a select few of their "product" are experiencing "red eye," which, besides its namesake, has caused those affected Ood to turn on and kill their owners.

After landing, they encounter an Ood (responsible for the initial killing) that exhibits the "red eye" symptoms and soon dies. The Doctor ponders whether it's the actual Devil controlling the Ood again (see previously two mentioned episodes). They follow a spaceship to the Ood Operations center on the planet and join an investor tour group. The Doctor is able to deduce that it's the year, 4126 or as he puts it, "The Second Great and Bountiful Human Empire," to an awestruck Donna. Though 'bountiful,' Donna cannot seem to come to grips with the fact that humans of this era use Ood as a labor force. They break away from the tour group to do some exploring of the complex and happen upon some cruelty brought upon an Ood by the security. Donna correctly surmises that the Ood are really slaves. Mr. Halpen, the CEO of Ood Operations, is aware that the 'Nobles' were not part of the original tour group and sends his security force to hunt them down.

D&D (using this for the Doctor and Donna from this point on) break into a warehouse with wall-to-wall shipping containers filled with Ood. After question them about their plight and the last words of the first Ood they encountered (the circle muse be complete), alarm klaxons sound and D&D run. Donna, being Donna, immediately gets caught. The Doctor is chased around by a remote controlled crane/claw and eventually is captured as well. As they a e reunited, the 'red eye' Ood, in the container Donna was initially held in, break out and start attacking the troops. D&D and Solana flee from the melee.

Being a good little corporate toadie, Solana rats out D&D to the guards; however D&D are able to escape. They come across a group of unprocessed Ood, huddled together in a cage. The Doctor allows Donna to hear the sad song that he has heard since arriving on the planet -the lament that the Ood are singing to themselves. Donna is overcome with emotion from the song. A shock to all: the Ood are born with a secondary brain outside their bodies, which the very nice corporation conveniently removes and replaces with a translator orb; thusly lobotomizing the poor Ood. Halpen and his security force end up capturing D&D.

D&D are interrogated as Halpen believes them to be activists. During their debate about the nature of the Ood (with a good point brought up by Donna), Halpen issues the order to gas all the Ood (kill the livestock as he states). Many processed Ood turn "red eye" and start attacking the humans in the complex. Halpen decides to 'sterilize' the entire complex, leaving behind D&D to be killed by the Ood. As the rabid Ood approach D&D, their "Doctor, Donna, friends" and "the circle must be broken" shouts are heard by the controlling, unprocessed Ood. D&D are set free!

Halpen and Dr. Ryder head to Warehouse 15, where the third and secret part of the Ood equation is being kept. Halpen decides to blow up the inhabitant of the warehouse, which would kill all the Ood as well. D&D with the help of Ood Sigma find Warehouse 15 and discover the secret within: a large, hive brain which links all the Ood. Pylons surround the brain, preventing it from telepathically linking with the Ood (the circle must be broken). Halpen, gun in hand, speculates about what new business opportunities await him. As it turns out, Dr. Ryder is actually part of the "Friends of the Ood" organization who has been slowly lowering the dampening field to allow the brain to communicate with the Ood. To repay him for his service, Halpen knocks him over the edge, into the Ood brain. As Halpen is about to shoot D&D, his Ood servant reveals that the hair tonic he has been giving to Halpen was not hair tonic; rather a biological agent designed to change Halpen into an Ood. Halpen changes, Donna is shocked, The Doctor is bemused. He disables the bombs, deactivates the circle and allows the Ood brain to sing freely to all the Ood. The fighting outside stops as the Ood raise their hands to the sky in one common, joyous song. Later, the Ood thank D&D telling them that they will be remembered forever by the Ood.

Commentary

An interesting episode to be sure that falls flat in a few places. I did like it overall so let's start first with the good elements shall we?

I don't feel that I bestow enough praise onto David Tennant. No matter what is going on, he is able to runs with it. From the comedic opening of this episode, to the horror of the mutilation of the Ood, back to the the glee is being able to allow the brain and the Ood to sing to each other once again —he really shines as the Doctor. Great, campy, bad episodes, he is still the Doctor.

I particularly enjoyed this little exchange with Donna:

Doctor: "The last time I met the Ood I never thought or asked.
Donna: "That's not like you."
Doctor: "I was busy. So busy that I couldn't save them. I had to let the Ood die. I reckon I owe them one."

I always felt like the Doctor should had been able to find a way to save the Ood in the previous episodes as well as explain why they are just servants. I believe it was a very good idea to re-address this race of beings and why they are the way they are. Oh, if Donna only knew why the Doctor was “busy” in those episodes, she'd probably demand to be taken home! Of course, when we are first shown Warehouse 15, who did not think that it was Satan that was imprisoned there? Red lighting too boot (not to mention the 'red eye' of the Ood). Halpen telling Ood Sigma “Say hello to daddy” continued the ruse! If I was thinking correctly, I would had realized that mere humans could not control a force like that.

I'm still unsure of the overall fan reaction to Catherine Tate (with this being her fourth episode overall). I feel that she does compliment the Doctor and has sort of been like the common person's companion. I don't mean that as an insult to her or anyone. To clarify I mean that she isn't like the starry-eyed, love-lorn companions we have had (although she was a little obsessed with the Doctor, hence how she found him in the first episode of this season). She is like our representative on the TARDIS (OK maybe not “ours” since we are fans). She likes to be critical of the Doctor, is awestruck and horrified by the things she is witness too and likes to point out the absurdity around her. She is very too the point and I think the Doctor needs that right now (especially with all this possible Rose business). For example: the way she emotes some of her lines like, "History is one thing but ALIEN PLANET!" I fully believe her character feels that way. Later, after the truth of the sitch is known, she tells the Doctor: "I spent all that time looking for you Doctor because I thought it was so wonderful out here. I want to go home." Events out in the universe aren't always what we'd like them to be. Donna is beginning to realize this and hopefully the audience is as not every companion can (or should be) in love with the Doctor (although it would be interesting to see if Miss Donna does fall for him later on). Basically, I think of her like Krusty the Clown: she tells it like it is.

Bees disappearing? I believe (and please correct me if I am wrong) this is the second time Donna has brought up "bees disappearing." Could this be (heh) a hint at what's to come or just a bit of randomness from the producers?

The CGI crew continue to impress and disappoint me! Loved all the exterior, panoramic shots of the planetscape: the long shots of the TARDIS, the shot of D&D walking across that rock bridge and the retro looking spaceship that Donna likes. Sadly, the big reveal of the brain wasn't as good as it could had been. Perspectives were slightly off in one or two shots and the pulsating tubes were hella bad. Also, I didn't particularly like the crane attack, but that could be because of a biasness towards a character (see nitpicking section).

Odd that the brain ate (?) Dr. Ryder since he was helping the Ood. I can't name specific characters or episodes, but I am sure this is a pattern in this revival series. Someone with good intentions is in some way harmed by that which they are trying to work for or save. Guess I need to watch the entire revival series again! Will do so after the end of this season! Heh!

Music and the problems of storytelling: this isn't a complaint but I think it needs to be said. I had no issues with the music in this episode and did like the Ood songs as performed. However, when character state that X song is very sad or that better yet, state that a song expresses the sadness of an entire race of beings... well... I want the song to be as described and it never is. Obviously, its not real life so why am I complaining? I'd just wish they'd (not just Doctor Who) would not use this as a plot point as no matter what piece of music they use, it never has the emotional impact on me as it does the characters themselves. Examples: the anime, Super Dimensional Fortress Macross or the musical and movie, Rent, feature one song that is supposed to blow us away. Yes, they are good... great songs... but nothing as earth shattering as it was supposed to be. Like finding out what the secret of the Da Vinci Code is and thinking to yourself, “And?”

Did I just imagine it or was that Rose's theme played over the “song must end” exchange at the end of the episode? The dialogue and music semi-reminded me of the BBC's promos/previews for Rose's final two episodes not to mention that Billy Piper is a popular singer/performer in the UK. One wonders if I'm correct or just reading too much into it (probably the latter).

Finally, the ending of the episode is how I picture many off screen adventures of the Doctor to be like: Doctor and companion do great good, are thanked, then fly off to save the day somewhere or some...time... else. I believe this is why many of the Doctor's companions stay with him (then again, I'm probably just crazy).

Nitpicking

Kess: "I always wanted to do this! Grrrrrrrrr!" Seriously, what the heck was up with this character? 'Subtle' either is not in the actor's, writer's or producer's vocabulary methinks. Did we need such an over -the-top and evil character? Granted they only have 44 or so minutes per episode, but they have done so much better (great, now I have the Legally Blonde the Musical Act I finale song in my head now – heh) in the past. Even his death was a let down (not that it was supposed to make one cheer). Look at it like this: this character's screen time could had been eliminated (as well as the lame & crazy crane scene) and in his place, a random soldier or two shown abusing the Ood. This would still drive the point home as well as free up time for other (and more important) characters. Even the character of Halpen got to display a secondary side to himself (when he set free his own personal Ood). Big thumbs down from me here! Booo hisss!

The Ood Operations PR person, Solana, states that they caught that (the initial Ood murder) on "tape." They still use "tape" in the 42nd century? Also, they still use handcuffs in the future?

After D&D are captured (and the horrible crane scenes), the 'red eye' Ood attack the security force, Kess screams, "Shoot to kill!" It's obvious that he means for his troops to kill the Ood yet when D&D and Solana behind them flee the Ood, they are fired upon without any Ood nearby. Any reason why they were dodging bullets other than to spice up the scene with more action?

Not sure I like this 'mind meld' ability of the Doctor's. I cannot remember if this was done in the original series; I do believe this is the second time it's been shown in the revival series (please feel free to correct me or clarify this in the comments section). Although I'm not saying it can't or shouldn't be an ability of the Doctor's; it's just a little too Star Trek for me. Then again, what do I know? The Doctor, himself, stated that he was 'half-human' (in the Doctor Who FOX TV movie/pilot). Meh. Moving on...

So, let me get this straight. Halpen's grandfather came up with the emergency plan to blow up the Ood brain via detonation packs set around the circumference of the area? That's what Halpen considers a benefit of having a family owned company? Well, since his grandfather came up with it, I hope those charges still work after all those years. Did Halpen regularly check on them to make sure they were still viable? I know that only authorized personnel were allowed to enter (namely Halpen and Dr. Ryder), but to store those... dangerous... charges in an unlocked cabinet near the brain... this is a good idea? One would also think that Dr. Ryder would had inspected that cabinet in the ten years that he had been working for the company....

I wonder if the real reason behind producing another Ood episode was to save money on costumes as seemingly a good many were produced for the season two episodes. No confirmation on this, just pondering on my part.

Halpen: "Very observant, Ginger." Was this a reference to Gilligan's Island? Humorous if it was; however, I have to ask whether Gilligan's Island will still be watched in the year 4126.

Quotes

Donna: "Now that's what I call a spaceship! You got a box. He's got a Ferrari."

Doctor: "Oh no no no no. We are not married."
Donna: "We're so not married."
Doctor: "Never"
Donna: "Never ever."

Solana: "Because at heart, what is an Ood but a reflection of us."

Ood: "I do not understand, miss."
Donna: "Why did you say 'miss?' Do I look single?"

Donna: "Is that why you travel around with a human at your side? It's not so that you can show them the
wonders of the universe, it's so you can take cheap shots?"

Donna: "Being with you, I can't tell what's right and what's wrong anymore."
Doctor: "It's better that way."

Ood Sigma: "I think your song must end soon."
Doctor: "Meaning?"
Ood Sigma: "Every song must end."

Until next week!

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