Neil Gaiman and Terry Pratchett’s collaboration is brought to the small screen.
In the beginning, God (Frances McDormand) created the heavens and the Earth. This is generally regarded as a bad move. God then created people, which is just a giant mistake, because have you met people? Although, it did give us Douglas Adams, so maybe that’s a push. Well, in any case, people quickly got kicked out of paradise due to being tempted by a demon in the form of a snake. That demon, named Crowley (David Tennant), was sent to Earth by the forces of Hell to stir up trouble. Meanwhile, his counterpart, the angel Aziraphale (Michael Sheen), who was supposed to guard the gates of Eden, is stuck on Earth opposing Crowley. Over the millennia, the two have grown fonder of Earth, and of each other, than they are of either Heaven or Hell. However, it turns out that the apocalypse is drawing nigh, so the two are determined to work together to stop the antichrist (Adam Taylor Young) from accidentally ending the world, along the way meeting one of the last witchfinders (Jack Whitehall) and a witch (Adria Arjona) following a series of prophecies by her own great-great-great-grandmother (Josie Lawrence).
I always compared Good Omens to the song “Under Pressure.” It’s thoroughly enjoyable, to be sure, and the product of a collaboration between two absolutely brilliant minds, but it’s not the best product of either of the authors. That said, it’s still a really fun book and has a lot of amazing character moments that clearly arise by having the creations of two very different writing styles interacting. One thing that consistently works about the book are all of the fun intercalary passages depicting the strange things happening as the world approaches the end times and all of the fun prophecies put forth by Agnes Nutter.
This TV show is a solid adaptation of the material, but the material is difficult to adapt. The beauty of much of the writing of Good Omens is the almost lyrical language that the two authors carry into the narrative and the multitude of fun, well-developed characters. Even with the huge amount of narration in this series, it’s still tough to get the humor to the screen without literally reading the entire thing. The series manages to do this well enough, mostly through having a lot of clever cuts and framing devices for different scenes. The fact that most of the characters are color coded and heavily distinctly costumed also helps to elaborate on their backstories without having to dwell on them. I particularly love what they did with the Antichrist’s friends, coloring them as the horsemen of the apocalypse. The thing is, though, they still can’t quite visually represent the same level of quirky humor and the endearing descriptions that are found in the novel. The show is definitely cute and funny, but only a handful of the scenes have any real staying power and only a few of the jokes really showcase the strengths of the source material.
There are a few highlights, though. First, Tennant and Sheen are just freaking magical in their scenes together. They really manage to convey “best frenemies” perfectly, with each of them clearly caring deeply for the other while making a show that they don’t. It’s pretty much summarized by a scene in the first episode where Aziraphale fiercely says “Get thee behind me, foul fiend,” before politely inviting him to enter the building, saying “after you.” One of the best sequences in the series is a depiction of their history from Egypt through the French Revolution.
Another highlight is that some of the characters are really well designed, particularly the demons. Almost all of the demons who are associated with flies are found with some type of insectivore living on their person, which is just funny. The angels are similarly depicted as being fussy and obsessed with order, particularly Gabriel (Jon Hamm), who loves human suits.
The side-stories aren’t quite as good visually as they were when being described, mostly because a lot of them were just designed to be quick jokes that just colored the world, whereas the TV format kind of forces a little more time on them just to justify the expense of setting up the scene.
Overall, it’s not the best show on TV, but it is definitely a pretty solid one. It’s fun and that’s about all it needed to be. I’d say give it a try if you have the time.
Darkwing Duck, the terror that flaps in the night, is getting a dark and gritty reboot that no one asked for… especially not Darkwing Duck.
This is your spoiler warning. This episode is on Amazon right now. Spend the 2 dollars. It’s worth it.
Within the reboot of DuckTales, Darkwing Duck is a television show from the 90s which starred a stuntman named Jim Starling (Original Darkwing voice Jim Cummings), famous for doing all his own stunts. Most of the world appears not to remember the series, but Launchpad McQuack (Beck Bennett) is a huge fan of the character. His passion is so great that it tends to infect others with an affection for the show. It’s also mentioned repeatedly that the show ended on a cliffhanger.
Jim Starling, the former Darkwing Duck star, is signing autographs. Launchpad, along with another nameless die-hard Darkwing fan (Chris Diamantopoulos) tries to get an autograph, aided by Dewey Duck (Ben Schwartz), but keeps fainting from nerves. When Dewey tries to tag the pair in a photo, he discovers that Darkwing Duck is trending online, because they’re making a movie of the series. Believing that he’s naturally going to be asked to reprise the role, Starling heads to the studio making the movie, which happens to be McDuck Studios owned by Scrooge McDuck (David Tennant).
Scrooge and the director of the Darkwing Duck film, Alistair Boorswan (Edgar Freaking Wright!!!), are having creative issues. When Louie, Launchpad, and Starling bust into the meeting, they’re shown the trailer, which portrays it as a grim and gritty reboot which satirizes a number of terrible superhero movies. Everyone agrees that this movie is terrible, including Scrooge, who puts Dewey in charge of directing the finale of the film. Starling is willing to be in it anyway, only to be surprised when the fan from earlier is introduced as the actor now playing Darkwing Duck in the movie. Starling attacks him, resulting in his and Launchpad’s expulsion from the studio. Starling talks Launchpad into helping him get back in so they can get him in the movie, with Launchpad trying to lock the new actor in his trailer. They fight briefly, but it’s revealed that the actor was inspired his entire life by Darkwing Duck and, while he knows the movie’s bad, wants nothing more than to try and help give another generation of kids the same hero he had. He and Launchpad quickly become best friends. The actor tries to confront Starling and suggests they work together to make the movie great, but Starling refuses to let anyone else be Darkwing Duck. He locks the actor in a closet and goes on set to film the finale.
When told that Darkwing surrenders in the last scene, Starling refuses to follow commands and instead starts wrecking the props, before grabbing the fully functional lightning gun that the film’s villain Megavolt (Keith Ferguson) was using and attacking the crew. The actor, now dressed in his Darkwing Duck costume, shows up to stop him. The two fight, with Starling growing increasingly more insane and villainous, until finally Launchpad tries to convince them to stop. A prop starts to collapse, and after the actor tries to save him, Starling jumps in and saves them both, sacrificing himself.
While the final fight was filmed, it’s revealed that Dewey recorded over it with a video of himself dancing. Scrooge declares that there will never be a Darkwing Duck movie. The actor is saddened that he can’t bring Darkwing Duck to a new generation, but Launchpad tells him he should just do it for real. The actor, revealed to be none other than Drake Mallard, agrees to give it a shot. Unbeknownst to the rest of the cast, it’s revealed that Jim Starling survived the explosion, but now is insane, with the colors being washed out of his costume to reveal that he is now Darkwing’s arch-nemesis: NEGADUCK.
When I first reviewed DuckTales, I mentioned that I consider it one of the more successful reboots I’ve ever seen. It takes everything that was good about the original, adds in some more source and expanded universe material, but also updates, enhances, expands, and, let’s be honest, sometimes corrects the source material (particularly some of the female characters). It strikes the perfect balance between nostalgia and originality, while also being clever and funny. This episode exemplifies that balance even better than the rest of the series.
The concept of Darkwing Duck as a show within the show was an interesting way to reintroduce the character, though it seemed like it mostly closed the door on the actual character ever appearing in the series. However, it seems like, in retrospect, much of this was a carefully planned build-up to this episode. When the original surprise announcement that Darkwing Duck would appear in the new series was made, one of the producers, Frank Angones (who is the best at Twitter), mentioned that it was difficult to introduce Darkwing Duck, because once you put Darkwing in an episode, he just naturally becomes the focus. Despite, or perhaps because of this, they put relatively little of Darkwing Duck in the first season, limiting it to a single scene in a cold open, a fun gag about the catchy closing theme song to the show, and a bobblehead that said “let’s get dangerous.” It was extremely restrained, making this episode even more impactful.
The brilliance of this episode is that it is a reboot of a character within a reboot of a series and the episode is a parody of bad reboots. The most obvious part is the “trailer” for the film, which contains explicit references to the gratuitous slo-mo pearls falling from Batman v. Superman as well as the strange flaming letters scene from Daredevil, both of which have been mocked by everyone who has seen the films. The movie that Alistair Boorswan is making is dark and desaturated, much like Batman v. Superman, and Boorswan’s primary concern is conveying his dark and edgy “study of man’s inhumanity towards man.” Boorswan doesn’t actually care about what made Darkwing Duck good, only about his “artistic vision.” He also dislikes even presenting a heroic character as heroic, thinking that making someone darker and more morally compromised makes them automatically better. I’m not saying that’s a shot at DC films, except that of course I’m saying that. Meanwhile, Scrooge himself is a parody of studio interference in film, being so out of touch that he admits he didn’t see a movie since 1938 and says that “color’s all the rage nowadays.” He then gives the movie to Dewey, who tries to insert a musical number just because he likes it.
The core to this episode, though, is Drake Mallard. In the original series, Darkwing Duck was a hero because he wanted to be one. Sure, he wasn’t perfect, often egotistical, fame-hungry, histrionic, and sometimes just flat-out selfish, but he did have a strong moral center and a desire to be a hero. In this series, Drake Mallard is a hero because he wants to give children something to look up to, the way that he looked up to Darkwing Duck. This is the strongest rebuttal to the type of movie that this episode was satirizing: A movie where the heroes aren’t really heroic. This version of Darkwing wants to inspire the good in the world, rather than just combat the bad, like the well-written versions of Superman, Captain America, Spider-Man, or even Batman. These heroes are supposed to show us what we can do if we believe in fighting for justice and they’re not tied to a person but to an ideal because people fail, ideals don’t. This isn’t a new concept – hell, it’s one of the books of Plato’s Republic – but that’s why even if we have the “grittier, more realistic” heroes, it’s still important to have heroes out there who are focused on inspiring and presenting a better version of the world to fight for. Real heroes make us want to be better.
Just a few more notes: Much like in Into the Spiderverse, the focus in this episode is on the hero always getting back up when they get knocked down. It’s genuinely moving to watch Drake continue to take a hilarious beating and keep fighting to protect everyone, and that’s one of the few things that anyone can relate to: the desire to just fight one more time for what’s right. It’s also appropriate that this would happen in a show featuring David Tennant, a man famous for being such a superfan of a character that inspired him that he grew up to be one of, if not THE, best versions of that character. If you don’t know what character I mean, please read this.
Overall, I loved this episode, if that’s not obvious. I think it gave us a bunch of solid gags, the set-up to a whole bunch of potential storylines and maybe even a spin-off, and it reminded me of why I love some superheroes over others. Plus, it got me to re-read part of the Republic, so that’s fun.
They might solve a mystery or re-write history. DuckTales re-boot!
People constantly complain about reboots, but it’s not like they’re a guaranteed failure. I preferred the new Battlestar Galactica to the original, there have been who knows how many amazing film and television versions of Batman, and From Dusk ‘Til Dawn even did a solid job going from film to television. Hell, I think that Scooby Doo’s best incarnation was the 12th. Still, there’s no denying that, a lot of the time, it feels like reboots are just cash grabs aiming for our nostalgia wallets. Because of that, every time a show comes out that’s just a reboot of an old property, I’m inherently suspicious. So, when they first announced that a new DuckTales was coming out, I didn’t put a huge amount of faith in it.
As time went by, though, I admitted that I started to get excited. First, they announced the cast for the show by having them sing an acapella version of the theme song. This both showcased the insane level of talent they managed to grab and also showed that they were paying their respects to the past series.
Then, they announced that Lin-Manuel Miranda would appear in the series as Gizmoduck, cementing the return of one of the more beloved creations of the original cartoon and having him voiced by a genius composer and playwright. They announced that Tony Anselmo would be voicing Donald Duck, giving the show ties to the regular Disney canon. They released a copy of the show’s intro sequence which was a combination of the original Carl Barks Uncle Scrooge comics with the original cartoon, but updated and redesigned, with the same theme song only a little jazzier. Oh, and they dropped the bombshell during Comic Con, just a month before the show was set to premiere, that Darkwing Duck would make an appearance, a character that people have been begging to get more of for 20 years.
At this point, I was just worried that this was all going to fall apart. Then, they did the last thing I would have expected: They put the pilot on YouTube. Not behind a paywall, not for a limited time, they just put the pilot “Woo-oo!” online, and IT WAS FANTASTIC. Watch it right now!
“Woo-oo!” was a great first episode. It introduced us to the characters, emphasized all the differences between their current and previous incarnations, and put in a ton of wonderful nostalgia references while also being funny and original in its plot. Huey, Dewey, and Louie now had different voices, looks, and personalities, with Huey (Danny Pudi) being the closest to the original version but nerdier, Louie (Bobby Moynihan) having abandoned even the outfit from his previous incarnation and being the greedy one, and Dewey (Ben Schwartz) being a blend of old and new traits and a fame seeker. Scrooge McDuck (David “I’m the f*cking Doctor” Tennant) is now a jaded old man who wishes to rekindle the exciting, adventurous days of his youth. Launchpad (Beck Bennett) is a little dumber than his original version, but still an adorable doofus and an optimist. Donald Duck is pretty much the same, but plays a much bigger role in the series.
Then, there’s Webby Vanderquack (Kate “from Garfunkle and Oates” Micucci) and Mrs. Beakley (Toks “I’m so f*cking amazing” Olagundoye). These two were basically redone from the ground up. Rather than being the young girl who carries around her doll all the time, this Webby is smart, skilled, and more athletic than any of the boys, but is socially awkward due to living in a mansion alone. Mrs. Beakley, rather than being just a live-in nanny with relatively few other character traits, is a retired version of Agent 99 from Get Smart. I’m not even joking, they have an episode that tells you that’s who she’s supposed to be.
The first half of “Woo-oo!” showed us that, in this new universe, magic is real, Scrooge is an almost Batman-level combatant and adventurer, and that he and Donald had a falling out in the past. Flintheart Glomgold (Keith Ferguson) returns as one of Scrooge’s enemies and is shown being even more over-the-top Scottish, almost as a mockery of the fact that his nationality was changed in the original series from South African (because Apartheid). He’s also much more of a comic foil to Scrooge than a serious rival, but his brutality is raised a few levels in this version. In the second half, the group goes on an adventure to Atlantis and, upon returning, the boys and Donald move in with Scrooge.
Now, this would normally be where the Pilot just acts as a set-up for the rest of the series, but, at the last minute, Dewey moves a piece of a painting seen earlier, revealing the figure of a young female duck. Dewey, shocked, says “Mom?” as the episode ends. Yes, at the last second, the show drops the biggest two surprises on us it could. First, they’re actually going to address what happened to Della Duck. Second, holy hell, THIS SHOW IS A SERIAL. There are going to be actual story arcs throughout the series. Again, this is in the last 15 seconds of the episode and it is huge.
The rest of the season was a little mixed. Some episodes were amazing and had fantastic guest stars, but others didn’t really use the characters well, and I was getting a little worried that they were too hit-and-miss. However, the whole time, they were also building up plot-lines and characters, including setting up Magica De Spell (Catherine “I was the best Tennant companion” Tate) as the big bad of the season. Then, we got to the penultimate episode, “The Last Crash of the Sunchaser” which not only had one of the most intense sequences in animated history, but had an ending that led me to sit in stunned silence trying to grapple with what I had just witnessed.
Then, we get to the finale and it took a bit to get going but, once it kicked into gear with Magica De Spell as the villain du jour, it was a hell of a ride. Probably the single best thing was that they had Donald Duck swallow a “Barksian voice modulator” which made him talk like Don Cheadle. He then proceeded to deliver some both hilarious and bad-ass lines (which were turned into hilarious ones by the fact that DONALD DUCK was saying them). The season ends, however, with several plot-lines still up in the air, giving them plenty to work with in the next year.
The main thing that really makes this reboot stand out is that showrunners Matt Youngberg and Francisco Angones basically went through all of the previous incarnations, from the comics to the show to even other Disney cartoons from the 80s and 90s, and kept what was timeless. They didn’t go out of their way to avoid doing things like the old show, they celebrated the things the show did well while correcting the things it didn’t. They tried new things, to be sure, some of which worked better than others, but they gave the show a feel that, while still DuckTales, was still unique. They gave us nostalgia, but they never really relied on it too much and they always made any reference still work even if you didn’t know it.
They also knew that too much nostalgia could overpower the work they were doing, so they did it gently. They did re-introduce Darkwing Duck, but now he’s a character on a show within a show. However, they go out of the way to point out that the actor who played Darkwing did his own stunts, so they have left the door open to have the actor become the superhero in future episodes. This was the right way to do things, because, if you put Darkwing Duck directly into the series, there would be too much pressure to keep putting him in it and any episode he was in would be focused on him.
Overall, I think this is one of the best reboots I’ve ever seen. Check it out, guys!
So, I’m gonna be the guy who says that he didn’t like the first season of Luke Cage that much. It wasn’t anything wrong with the characters, per se. I loved most of the villains and the supporting characters and Cage himself, but I thought the pacing was awful and the dialogue was not great either. The music was amazing on every level, the themes were well-conveyed, and the acting was excellent, but I just felt like they wrote 8 episodes worth of plot and tried to stretch it into 13. I felt the same way about Jessica Jones, though, so maybe it was just a problem with how Netflix ordered the shows.
Now, I grew up reading the comics and I loved Luke Cage. Especially the older, campier adaptations of the character. After all, he’s the guy who once kicked Doctor Doom’s ass over his basic principle: A Deal’s A Deal. I always loved that aspect of Luke Cage, that he’s a man of his word and holds other people to theirs. Even among superheroes, Cage’s belief in personal responsibility and integrity was especially pronounced. Now, I’m not saying the show didn’t uphold that aspect of the character, but it tended to convert it into the swear jar more than the audacious Cage of old. Still, I believed Mike Colter as Luke Cage, just as a more modern, serious, version of the character.
SUMMARY OF JESSICA JONES, SEASON 1, AND THE DEFENDERS (*SPOILERS FOR THOSE*)
Luke Cage is a black superhero in Harlem who has unbreakable skin and superhuman strength. However, he is also an ex-convict, having escaped from prison after being framed for a crime while a police officer and forcibly experimented on by a secret lab. When we first see him in the show Jessica Jones, he’s a bartender who is hiding his superpowers and ends up becoming romantically involved with Jessica Jones (Krysten Ritter) until he finds out that she killed his wife while hypnotized by that show’s villain Kilgrave (David F*cking Tennant). Eventually Cage gets controlled by Kilgrave and turned against Jones, but Jones wins the fight by shooting him point-blank in the head with a shotgun, knocking him out. They don’t really talk for a while after that.
In the first season of Luke Cage, Cage is hiding in Harlem, working low-profile jobs at barbershops and nightclubs. He ends up getting involved in a series of gang problems after one of his mentors gets killed (this is a comic-book show, after all). Cage singlehandedly starts to devastate the local drug dealers and the gang leaders through destroying their buildings and hospitalizing their minions. Initially opposed by kingpin Cornell “Cottonmouth” Stokes (Mahershala Ali), Stokes is eventually killed by his cousin, councilwoman Mariah Dillard (Alfre Woodard), who starts to oppose Cage. However, Dillard is then supplanted by Diamondback (Erik LaRay Harvey), who is revealed to be Cage’s illegitimate brother who tries to kill him using special bullets and an exo-skeleton. Cage ends up surviving and taking down Diamondback in public as a hero before being re-arrested for his prison break, though a local police officer, Misty Knight (Simone Missick), finds the evidence to clear him.
In The Defenders, Luke Cage joins the other Netflix Marvel heroes to fight off the forces of the Hand, a group led by Sigourney Weaver that plans on opening an interdimensional portal for some reason that I honestly just don’t remember but think was tied into living forever. Either way, Cage reunites with Jones and meets Matt Murdock/Daredevil (Charlie Cox) and Danny Rand/Iron Fist (Finn Jones), who he becomes friends with after first fighting over their different lifestyles (Rand is a billionaire by inheritance whereas Cage is… not, while Rand had to work his whole life and beat a dragon in a fight to earn his superpowers but Cage spent a night in a chemical bath and got better ones). The team ends up victorious, but Cage is the only one that the public really hears about, since Jessica Jones is notoriously anti-social and both Rand and Murdock have secret identities.
OUTLINE OF SEASON 2 (SPOILER-FREE)
So, the beginning of season 2 finds Luke Cage as being a celebrity and the Hero of Harlem. He’s still dealing with “Black” Mariah Dillard, who is now the biggest crime boss in Harlem, but also has to deal with the arrival of John “Bushmaster” McIver (Mustafa Shakir), who is a Jamaican gang leader who has similar powers to Cage, except from a supernatural source. The season covers a gang war between the two over the fate of Harlem, with Cage caught in the middle and trying to fight for the soul of the neighborhood along with Misty Knight’s help.
Probably the biggest change in this season is that the “Judas Bullets” which were what actually hurt Cage in the last season, no longer work. Because of the last season’s events, Cage not only has bulletproof skin and super-strength, but any time you beat him up, his body heals stronger than it was before. This means that, throughout most of the season, nothing can hurt Cage and whatever does will be shortly overcome. It required the writers to find other ways to challenge him, something that sometimes worked and sometimes didn’t.
First off, they fixed most of the pacing issues in this show, even if the episodes sometimes feel a little slow. However, part of that is that they try to work musical performances in frequently as part of Harlem’s culture and it usually feels organic. The villains are a little more compelling and fleshed out this season than the previous one and the side characters are also a little more developed. Overall, the production of this season is a step up from the previous. But it’s the changing themes of the show that really were a little more hit-and-miss.
A big theme of the show at large is, naturally, racism, but this season didn’t actually try to address it as directly as the last. Instead, a lot of this season is about the nature of power. Not that power doesn’t intersect with racism, of course. It’s literally the backbone of all forms of discrimination: One group has power and uses it to keep another group from acquiring it. Sexism, racism, homophobia, you name it: If you don’t have power, then your desire to discriminate is useless.
The show goes into what really creates power in several forms. There’s wealth and status, shown through Mariah and other “Lawful Evil” characters who manage to avoid consequence by buying their way out of it, as well as Danny Rand, who uses it to help people. There’s celebrity, the power to avoid consequence through the adoration of the masses, which Luke himself is just learning how to wield in this season. Then, there’s physical power, as embodied by Luke and Bushmaster. And all of them are shown to be able to be used for both good and evil pretty equally.
However, as the season goes on, we see how a lack of consequences can influence people. It reminded me of the story of the Ring of Gyges.
I put a video of it explained to the Legend of Zelda above, but quick refresher: The Ring of Gyges is a story from Plato’s Republic in which a shepherd finds a golden ring which allows him to become invisible (Yes, this was written before Lord of the Rings). He then used the power of invisibility to commit a series of acts for which, of course, he is never blamed, since he’s never at the crime scene. Eventually, he seduces the queen and murders his king, taking the throne for himself. The myth is the subject of a discussion of whether or not moral character is dependent upon whether or not you can be held accountable for your actions.
The show takes a bunch of positions but, for the most part, the show says that good people will WANT someone there to hold them accountable for their bad decisions because they know that using power inherently will lead them to make bad decisions. But they won’t choose not to use the power, because, as another comic once paraphrased from a number of past sources, “with great power, there must also come great responsibility.”
In this season, Luke, at several points, realizes the truth of his situation: He can’t be brought to bear for his actions. He is sued at one point and arrested at another, which are attempts for the system to reign him in, but that quickly falls apart, both because he’s now famous enough to buy people off and because, as he says “no bullet can harm me, nothing can kill me, nothing can stop me, and no jail can hold me.” And throughout the season he realizes that this is not necessarily making him a better person.
However, what’s also interesting, though perhaps a little bit disheartening, is how Luke using his power of celebrity to do good also inherently leads to other people using his celebrity for their own gain. One of his friends sells “authentic” Luke Cage merchandise for profit. Others use his name to threaten people. At another point, Luke finds that his celebrity status and well-known do-gooder tendencies can work against him when Luke attempts to confront a jackass at a party. Luke’s threats towards him do nothing but amuse the man, who thinks that it’s just a thing that Luke Cage does.
Really, what I both loved and hated about the season is how it reminded me that everything always stems from violence. In the end, we pretend that there are all these societal rules that keep us in line, but they all can only ultimately be enforced by violence or the threat of violence. Sure, some people will voluntarily do the right thing, but for all the people that do the wrong thing, they can avoid responsibility for it until some form of violence is brought upon them, whether it’s the police, the mob, or the superhero. Violence is what keeps a lot of people in line. The show even demonstrates that, without some application of violence by some people, the chaos that ensues from removing any consequences creates significantly more violence.
However, it’s also true that the threat of violence is what’s most effective at keeping people suppressed, as the show discusses through violence against women in this season, as opposed to racial violence. I’m not sure how I feel about that, though I think that they actually manage to address the pervasive nature of gender-based violence in a reasonable manner, though it seemed to be dropped a little too quickly after the next plot point.
Ultimately, I recommend watching the season, but I’m not going to tell you to move it to the top of your queue. Still, even if it doesn’t do it perfectly, it’s trying to address something big, and that’s worth supporting.
Doctor Who is over 50 years old, it’s died twice, been revived twice, and managed to have more people play the lead character than almost anything besides Tarzan or Sherlock Holmes. You can’t really say that there’s a “standard” episode, because it varies so much in tone, quality, and style over the run that it’s very difficult to describe in broad strokes. It also creates some very long-running jokes or callbacks, some so long that it spans a generation or two. As such, it’s often difficult for new fans to really get into the show, because even if you join after the latest incarnation, there’s so much mythology built up that it gets intimidating. This episode, though, avoids that.
The premise of the show is that there is a being called the Doctor that travels through time and space with various companions to fight evil. He’s an alien who lives and journeys in a 60s British Police Box called the TARDIS. Sometimes he fights aliens, sometimes he eats hot dogs, sometimes he meets famous historical figures. Honestly, he just kind of travels, but the TARDIS tends to take him where he needs to be. Sometimes he changes history, sometimes he can’t, depending on the writing. At the time of this episode, there had been 10 doctors, and the current one was played by David Tennant. His companion at the time was a woman named Martha Jones (Freema Agyeman).
Three factors set this episode apart. First, the Doctor and Martha are barely in it. Despite being the main characters of the show, this episode focuses almost entirely on a woman named Sally Sparrow (Carey Mulligan).
Second, this episode actually establishes some goofy, but still somewhat logical, rules of time travel in the Doctor Who universe, by saying that “most of the time, what happened didn’t happen until it happened, but it also didn’t happen and might not have happened if you didn’t know it happened after it happened, which allows it to unhappen if you intervene in a way such that it is still yet to happen at that time.” Or, as the Doctor puts it: “People assume that time is a strict progression of cause to effect, but, actually, from a non-linear, non-subjective viewpoint, it’s more like a big ball of wibbly-wobbly… timey-wimey… stuff.” But it’s really the third factor that most distinguishes it, and earns it a place on this list: The Weeping Angels.
The Weeping Angels are statues. In fact, they’re a lot of statues. Maybe even all of them. But they’re usually shown as female angels with their faces covered by their hands, hence, appearing to be weeping. And, most of the time, they’re just normal statues.
This isn’t a cute expression. They’re actually stone, and not living, when observed. But, when nobody is looking, they come to life and attack at unbelievable speeds, capable of traveling several dozen feet faster than the eye can blink.
And, if they catch you, they kill you in one of the most unusual ways possible. They transport you back in time, and then they eat the energy that your potential life would have generated. You get to live out the rest of your life, but it will probably start years or even decades before you were born. Even better, throughout the episode, some of the statues in the background respond not to the characters, but to the viewer, which can really freak you out the first time you notice it.
Before the episode starts, the angels have gotten the Doctor and Martha. However, as the episode progresses, Sally, the main character, finds that the Doctor has set up clues and hints for how Sally will beat the angels from years in the past. Things range from messages under wallpaper to hidden DVD extras, which leads to both a really clever and really horrifying scene. The progression of the episode is brilliant, because it manages to tell the viewer both that the Doctor has set all of this up, and also that it absolutely doesn’t guarantee success because “wibbly-wobbly timey-wimey.” Ultimately, the solution for the angels is both obvious and clever at the same time. (No, it’s not “mirrors”… although, later, it’s mirrors).
If you ever want to get a person into Doctor Who, this is the episode to show them. It requires almost no knowledge of the show, but it somehow manages to embody some of the best elements of it at the same time.