Showing posts with label Amanda Brotchie. Show all posts
Showing posts with label Amanda Brotchie. Show all posts

Sunday, August 31, 2025

#13 (2.3): The Well.

Wary soldiers hold Aliss (Rose Ayling-Ellis) at gunpoint.
Wary soldiers hold Aliss (Rose Alying-Ellis), the sole survivor of a disaster, at gunpoint.

1 episode. Running Time: Approx. 48 minutes. Written by: Russell T. Davies, Sharma Angel-Walfall. Directed by: Amanda Brotchie. Produced by: Chris May.


THE PLOT:

The Doctor and Belinda find themselves on a mining planet in the distant future, in the midst of soldiers under the command of Shaya Costallion (Caoilfhionn Dunne). Contact was lost with the miners, and Shaya's mission is to find out why and rescue any survivors.

When they reach the facility, the workers are all dead - half of them shot and the other half physically assaulted. All mirrors have been shattered with deliberate efficiency, and there is only one survivor: Aliss (Rose Ayling-Ellis), the cook. Aliss indicates that the crew went mad, all except for her, and that she was forced to kill her best friend to defend herself.

Belinda does her best to treat Aliss's wounds with guidance from Mo (Bethany Antonia), a compassionate trooper who acts as the team medic. Meanwhile, the Doctor retrieves what he can from the facility's corrupted logs. He hears one of the dead miners moaning, "We don't know what it is!", which jogs his memory.

To his horror, he realizes that he's been on this planet before. He knows exactly what enemy he's facing - and he's not prepared for it...


CHARACTERS:

The Doctor: He behaves seriously and compassionately when they find Aliss - and except for that, he spends the first half at his most arrogant. He calls the second-in-command, Cassio (Christopher Chung), "babes" and, when he objects, switches to "hun." He crouches by the mine shaft and yells, "Hello," into it to hear the echo. Upon entering the facility, he removes his and Belinda's protective gear. Cassio calls this out as a bad idea, but the Doctor shrugs that he's just "not loving the look." This comes back to haunt him, the need to stop and put that gear back on slowing the escape at the end... which I love, because while arrogance is part of the Doctor's character, it should sometimes come with a price.

Belinda: She is the first to see the creature's shadow in the background, before it begins wreaking havoc among the troops, and she makes the mistake of dismissing it as "nothing" a couple of times more than is plausible. She gets the standard companion role of being compassionate toward Aliss, trying to reassure her while the Doctor investigates the base. She still wants to get home, and she wistfully recalls her parents' pleasantly mundane routines, but she's also starting to enjoy the adventure... though one wonders if the events of this episode will knock that right back out of her.

Shaya: The commander of the team, she initially comes across as single-minded and mission focused. She directs the squad to draw weapons on the Doctor and Belinda until they explain themselves, relenting after the Doctor uses his pyschic paper to pass himself off as a high-ranking official. When Mo notes that the lack of lifesigns doesn't mean anything given radiation interference and that there is still hope, Shaya instantly replies, "Hope is irrelevent." She defers to the Doctor's judgment when their enemy is unveiled, however, even when that creates tension with Cassio.

Aliss: The Doctor puts her survival down to her deafness, which saved her from hearing the creature's whispers. She is appropriately traumatized after seeing half of the people she worked with murder the other half. She just wants to get back to her daughter - even if that means concealing information to keep the soldiers from leaving her behind. Rose Ayling-Ellis is very good, managing to convey Aliss's fear without ever threatening to make her one-note. She's neither noble nor pathetic; she's just an ordinary person who desperately wants to go home.


THOUGHTS:

The Well benefits from a very strong script. Things are casually planted early that are remembered and utilized later. The Doctor removing protective gear, a seeming throwaway moment, ends up costing the characters precious time at the end. Elements of Shaya's backstory make her into a more rounded character, but they also figure into the resolution. In terms of sheer construction, this is the best script so far this season.

The episode is extremely well made. The first half focuses on building atmosphere and mystery, and shot choices lean into this. There are striking images: the Doctor and Belinda, surrounded by the squad; the squad shot from above as they approach the mining facility; the Doctor, standing at the edge of the vast mine shaft; and the soldiers gathered around Aliss in a semi-circle, seeming as frightened of this single, small woman as she is of them.

Shots are allowed to linger on screen for a second or two longer than most episodes would allow, which makes them register in the viewer's mind. Also, when cuts don't necessarily occur at the moments we're primed to expect, the extra seconds help to enhance the unsettling vibe of the piece.

Everything speeds up once the enemy is unveiled, and there is an action scene that is memorable in its chaos. As Aliss says of the incident with the mining crew, what happens ends up happening fast - only for it to end just as abruptly, with the characters left to process what just occurred. This is extremely effective, all the more so because it follows a clear logic without ever being overexplained.

I was fortunate enough to remain unspoiled about the episode's major reveal, and that unquestionably enhanced the viewing experience. If anyone's reading this who has yet to watch The Well... don’t read anything else about it before watching, because it is best viewed without extra information.


OVERALL:

A couple of moments near the end keep this shy of full marks. There's one moment that would have worked well with just action and music, but it gets slightly overegged with the addition of unnecessary voice-over. There's also an ending sting that I think the episode would have been stronger without. These are minor blemishes, but they're just enough to keep me from awarding a "10."

That said, The Well is an excellent episode: tightly constructed, well-acted, and extremely well made.


Overall Rating: 9/10.

Previous Episode: Lux
Next Episode: Lucky Day

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Sunday, August 24, 2025

#12 (2.2): Lux.

The Doctor and Belinda meet Mr. Ring-a-Ding (Alan Cumming), a cartoon come to life.
The Doctor and Belinda meet Mr. Ring-a-Ding (Alan Cumming), a cartoon come to life.

1 episode. Running Time: Approx. 44 minutes. Written by: Russell T. Davies. Directed by: Amanda Brotchie. Produced by: Chris May.


THE PLOT:

A barrier is preventing the Doctor from returning Belinda to her own time, so he attempts to outmaneuver it with a doohickey and some technobabble. This leads to the TARDIS materializing just outside a movie theater in Miami, Florida, 1952.

It's instantly obvious that something is afoot. The theater isn't just closed; its doors are chained shut, and there is a memorial outside. They learn that three months earlier, 15 people attending a screening disappeared without a trace. After multiple searches, the police have given up, leaving the building empty save for its projectionist/caretaker, Reginald Pye (Linus Roache).

A quick pass of his Sonic Screwdriver is all it takes for the Doctor to access the theater, where he discovers the entity behind the disappearances: Mr. Ring-a-Ding (Alan Cumming), a cartoon brought to life. Mr. Ring-a-Ding is now the embodiment of Lux Imperator, the Chaos God of light. The Doctor resolves to defeat him; but before he and Belinda can do anything, they find themselves trapped in celluloid - and themselves transformed into cartoons!


CHARACTERS:

The Doctor: He's determined to keep his promise to return Belinda to May 24, 2025, not least because of his growing concern that something has gone very wrong. He tries to hide that worry from Belinda by cranking up both energy and charm even beyond his norm. His enthusiasm for materializing in 1952 Florida is tempered when he stretches out his hand to remind himself of his skin color, with him remarking that going unseen "might be wise." When Belinda absorbs those same implications, the Doctor tells her that it's not his role to change human history, not even for the better: "I have toppled worlds. Sometimes I wait for people to topple their world. Until then, I live in it, and I shine."

Belinda: So far, I like Belinda. Unlike Ruby, she's a reluctant traveler, and her willingness to push back against the Doctor rather than just wholeheartedly embrace his enthusiasm adds an extra layer. She doesn't complain about her unwanted travels, and it's clear that she's far from immune to the Doctor's charm. She's a compassionate figure, as shown when her resistance to investigating drops away after she meets the mother of one of the people who vanished. I wouldn't say there's particularly more to her character than there was to Ruby. But I'm feeling connected with the Doctor/Belinda team in a way that I struggled to feel with the Doctor and Ruby for the first third of the previous season.

Mr. Ring-a-Ding/Lux: This episode wouldn't work if its animated "monster" didn't. Mr. Ring-a-Ding's design is perfectly judged. He looks like a 1950s cartoon, with comically exaggerated features that include oversized hands and an impossibly wide grin. Those same exaggerations become menacing when he steps out of the screen. Alan Cumming adopts a nasally voice for the character that's reminiscent of (but not a duplicate of) some of the Looney Tunes voices. He's also able to turn from amiable to sinister with a very slight drop in pitch and the tiniest slowing of vocal pace. The character remains bound by cartoon logic. When his theme is played, he has to stop to sing and dance to it. When he heads to the booth to pursue the Doctor and Belinda, he has to comically pull his rubbery legs up each stair while complaining that he never should have learned perspective.


THOUGHTS:

Lux shares a lot in common with The Devil's Chord from Gatwa's first season. Like that story, this is set in the past, with the Doctor facing off against a threat bound to art - music in that episode, animation and movies in this one. In both cases, the opponent is superficially comical. Both episodes also invoke the Toymaker's giggle to let the Doctor know that these are Gods of Chaos.

I find Lux to be the better of the two. The Devil's Chord had a splendid first half but became more slapdash toward the end, while Lux feels both controlled and unified throughout. The word "lux" directly refers to a unit of light, and the teaser shows moonlight bringing the Chaos God to life in the form of Mr. Ring-a-Ding, an animated celluloid character who is brought to cinematic life through the light of the projector. Lux forces the projectionist to keep playing movies in the empty theater because the light from the projections "feeds" him. Both the manner of his creation and his "feeding" are consistent with the way in which he's ultimately defeated. Not all the rules are explained, but the internal logic holds.

The episode plays with the divide between reality and fiction. This starts from the teaser, with the fictional cartoon, Mr. Ring-a-Ding, emerging from the screen to the horror of the audience. In the second half, the Doctor and Belinda are trapped on celluloid and transformed into two-dimensional cartoons - a transformation that follows multiple references from them to Scooby Doo, with the Doctor teasing Belinda by identifying himself as Velma and her as Fred. There are a couple of direct fourth wall breaks, including a mid-credits bit that I found amusing.

I quite like how this episode addresses the issue of how certain points in history might not be ideal for a nonwhite Doctor. It isn't dismissed condescendingly, as happened in The Shakespeare Code. The Doctor notes that in this time and place, it might be best for him and Belinda not to be seen, and he fills Belinda in on "the rules" of their interactions with others at a diner - but he also cuts short her outraged reaction, instead focusing her attention on the task at hand. The issue is addressed with suitable directness, but it never threatens to interfere with either the story or its pace.

This aspect is also effectively folded into the narrative. The brief exchange at the diner about breaking "the rules" of segregation to get information effectively parallels the way the Doctor uses "the rules" of the pantheon of Chaos Gods to get information from Lux. The idea of light recurs throughout the story, and that motif is referenced when the Doctor observes that it's as well that he and Belinda have arrived late at night and can go unseen. When the story ends, in the light of morning, he combines both the ideas of light and of rules as he declares that it's time to leave: "According to the laws of the land, babe, sunlight doesn't suit us."


OVERALL:

Lux is a fine episode, with a tightly constructed script that makes full use of both its themes and plot elements. The villain is particularly strong, mixing the comical and the frightening to excellent effect. The live action and animated elements mix seamlessly, and this is one of the few episodes that visibly benefited from the Disney partnership.

Overall, a very good episode, one that raises my hopes for the rest of the season.


Overall Rating: 8/10.

Previous Story: The Robot Revolution
Next Story: The Well

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