Was this also a scheme to boost a little visibility on Patreon once I start promoting my upcoming book of Capaldi Doctor Who essays? Honestly, I’ll openly tell you that of course it is.
The next few months of 2017, leading up to Peter Capaldi’s actual regeneration in the Xmas Special, will see me actually paying some attention to my Patreon page. I’ll be posting old Doctor Who philosophical reviews a couple of times each week, just to encourage some attention, and driving some social media attention to the page as well.
What more significant place to splash the first step of that promotional campaign than in my review of “World Enough and Time,” and “The Doctor Falls.”
The Weight of the Occasion
“The Doctor Falls,” as an episode of Doctor Who, was written so carefully that almost every line was maximally portentous. Steven Moffat has written eleven season finales or stories with the same symbolic importance.* What do I mean here, when I talk about the symbolic importance of a story.
* I'm counting “A Good Man Goes to War,” “Angels Take Manhattan,” all three “X of the Doctor” stories, and “The Husbands of River Song,” as having the same symbolic importance as a season finale. You’ll see why when I answer the above question.
Let’s start from a common theme that tends to occur in a lot of Doctor Who stories these days. Quite often – but especially so under Moffat’s tenure as creative director and in his stories – 21st century Doctor Who stories tend to include ethics statements for the character.
|There's no more epic, intense moment in Doctor Who like a regeneration|
story. It's when the entire show literally transforms.
** Big, rousing theme music. An arresting change in camera technique, often focussing more on close-ups to showcase emotionally evocative and powerful performances. Usually occurs at a turning point or a climax in the narrative.
This statement may be in the form of a speech, or an event. Here, it reiterates the point that Moffat made in “Time of the Doctor,” that you take a stand to protect people because the gesture of kindness itself justifies who you are. To be fundamentally kind is to put yourself entirely on the line to protect innocent people under siege.
An Improved Second Draft
Matt Smith’s regeneration story was a wonderfully epic statement of that theme, though the experimental format of “Time of the Doctor” kind of obscured the statement itself.
The extended time frame of that story – an entire community of people growing around the Doctor for centuries as he protected them from an intergalactic siege – kept us from building an emotional connection with any characters.
“The Doctor Falls,” makes, as well as excellent
The cast from “World Enough and Time” breaks into this story and change everything. It’s an excellent example of one type of story – a rural horror story with a few BBC-copyright elements – being smashed into by a crew of sci-fi immortals.
We’re allowed to focus on a few key characters of this rural horror story, the girl Alit and the community matriarch Hazran. We get to know them well enough as an hour-long story can for a couple of supporting characters.
But they carry through to the end of the story, and provide a grace point for Nardole leaving the TARDIS crew. It’s a nice return to the old Doctor Who tradition of companions leaving for a new home, as does Bill.
We follow the same five main characters through the episode. Nardole grows closer to the community. Bill comes to grips with her cybernetic zombification. The Doctor and the Masters battle over whether the villain will ultimately turn.
|What I loved best about Michelle Gomez's Master was the stealthy|
coldness she kept under her quirky, smirking social personality.
I saw some initial reviews of the episode that called it, “the battle for Missy’s soul.” I mean, that rather missed the point of who Missy actually is. Michelle Gomez and John Simm aren’t playing different characters – they are both the same person.
This is why I think it was a mistake to keep referring to Gomez’s Master as Missy. It implies that she’s actually someone other than the Master. It was brilliant move introduce so casually transgender regeneration.*** It was typical to undercut it with the irreverent playfulness of a Steven Moffat who’s so overjoyed with his own jokes that he’ll throw out exactly the wrong number too many.
*** And tease it in a so-not-really-a-throwaway line.
Understanding the true nature of the Master’s storyline in this episode means knowing all the way through that John Simm is Michelle Gomez for the same reason David Bradley is Peter Capaldi. Gomez and Simm are the Master.
This is a battle, of sorts, between the Doctor and the Master over what kind of person the Master will eventually be. It’s the story of a man seeing his own future and doing everything he can to reject it, and the older one has a few last doubts that this change in life is the right one.
|John Simm's Master was – aside from being the only credible one|
available – the best contrast for Gomez's most empathetic Master
ever. He was, of all of the major Masters, the one more thoroughly
consumed with hate and rage.
For one thing, we see so much of the Doctor as a character – it’s their show, after all – that you don’t really get a big enough gap in our knowledge of him to get such a radical break as Simm to Gomez. Simm’s Master is literally from a totally different era – the Davies era.
Simm’s Master is solidly a Davies creation as well. That frenetic, feverish energy – the sheer giddy delight in the possibilities of the universe.**** Gomez’s Master is speaking of Davies just as much as she is of Simm when she whispers how she so loved the flaming power of being him.*****
**** Contrasting Moffat’s era to Davies’, especially being able to take in the entire Moffat era in memory, truly does show how very rooted in the theatrical gay aesthetic the previous era was.
*****Clearly, Moffat also knows that theatrical aesthetic just as well as Davies. He can see it – he just can’t write it.
Don’t think that “You won’t regenerate” line is at all sincere. Doctor Who will technobabble its way to a new Master in a few years, whenever Chibnall or some future writer thinks of a good story for her. No, this is the end of Gomez’s Master, and Moffat has given the next writers of Doctor Who a wonderful gift.
What Is a Hero?
Gomez’s Master ended in a moment of genuine goodness – she was at the beginning of an act of kindness, of becoming genuinely heroic. She was already there, and it was utterly justified because she did do it without recognition, as the ethical standard of her season arc said.
To be good without any prospect of recognition or reward is an act of the supreme virtue – kindness. That’s exactly what the Doctor says as the two Masters are leaving the village. Kindness is a good life in itself because of the nobility of kindness – it’s a life without ulterior motive, at its most profound.
You can tell lies, have some hidden motives, because these are petty hypocrisies. It is most profoundly noble to do what you can for others in need with no expectation of your own aggrandizement because you don’t need reputation for the sake of your own self-worth.
The Master has chosen that kind of nobility. From now on, she can no longer be a villain because she has been kind. The Master always had kind of a limited act before now – the same kind of cartoonish villainy Terrance Dicks and Barry Letts thought of. Doctor Who’s very own scenery-chewing Snidely Whiplash.
Overcomplicated evil schemes, the quest for power over the universe, the ruthless embrace of destruction, the gloating obsession with the Doctor. It was as reliable as Daleks shouting “Exterminate!” while they conquer and destroy.
The Master is something different now. An ex-villain in Doctor Who. Someone who has the capacity to commit horrifying acts, who has a history of doing so, but has now turned against it.
The next Master doesn’t have to be a villain. She can be a chaotic, devious sage. A demented and depressed blend of Kali and St. Francis of Assisi. A mad inventor tearing worlds apart in absent-minded enthusiasm. A dedicated revolutionary in too much love with her own violent zealotry.
|Michelle Gomez is probably the most significant actor to play the|
Master in the character's entire history, simply for incubating so much
more possibility for the character than has ever existed before.
The Weight of the World
Season finales, companion departures, and regenerations are stories that, in the 21st century era of Doctor Who, are moments where the entire ethic of Doctor Who as a show and the Doctor as a character are summed up.
That format gets a slightly different mix every time, depending on what kind of event is the primary reason to maximize symbolic weight. Most sensibly, symbolic power gets its maximum hit from regenerations or companion departures.
The entire show has anchored itself around these characters, so the departure of a lead actor requires a moment of thematic summation. Their story climaxes, giving us the perfect moment to hear what Doctor Who is for this moment, for this companion, for this Doctor.
What does the Doctor say? Not just those words about kindness, but a very existentialist version of them. Where you stand is also where you fall. Stake the possibility of your life or death on one moment.
What kind of person will you be in that moment when you face the possibility of death? That’s the core question of nobility. What is the most impressive and awesome character to embrace at such a critical moment?
Such a character is most inspirational to us ethically – in terms of our virtues – what makes us the best kind of people we can be. What kind of character uses all of humanity’s capacities in their optimal arrangement?
The kind person. That’s the entire ethical message of Doctor Who.
• • •
Read the full set of essays on this year's season of Doctor Who.
The Pilot / The Girl With the Star in Her Eye
The Pyramid at the End of the World (1)
The Pyramid at the End of the World (2)
The Lie of the Land
The Monks Trilogy
Empress of Mars
Eaters of Light