‘Doctor Who’ blogging: “Army of Ghosts”/“Doomsday”
Russell Davies, you magnificent bastard. I told myself I wasn’t gonna cry. I’ve seen these episodes a bunch of times now, I should be over the crying. But I cry every time. Every damn time I cry.
Russell Davies, you magnificent bastard. I told myself I wasn’t gonna cry. I’ve seen these episodes a bunch of times now, I should be over the crying. But I cry every time. Every damn time I cry.
It makes for a refreshing change that the ‘villain’ is not some megalomaniacal alien who wants to take over the world for its own nefarious alien purposes, that it’s just a lonely child who doesn’t mean ill but is acting purely out of fear and a terrifying isolation.
If you’re a newbie — say, you’ve been hearing about this BBC/BBC America show and have been meaning to check it out — here’s the spoiler-free, nothing-ruined-for-you-till-you-watch-it-yourself lowdown on the series.
Tons of spoilers! Don’t read unless you’ve seen the episode!
(intro to my Who blogging, please read before commenting / previous: Episodes 8/9: “The Impossible Planet”/“The Satan Pit”) When you’re a kid, they tell you it’s all grow up, get a job, get married, get a house, have a kid, and that’s it. No, the truth is the world is so much stranger than that, … more…
Man, this is grim. Nerd wakes up to the possibility of life outside nerdom, and dies immediately thereafter. What’s the point?
It’s like Milliway’s, the Restaurant at the End of the Universe, except without the bar, this station on the impossible edge of a black hole, hovering at the edge of oblivion, and for what? Really, for what?
We snark about how no one ever dies in science fiction (or in comic books) but still… this is the weirdest extrapolation of that idea ever. *Torchwood* is a deeply weird show, of course, but it gets weird *and* profound in this episode.
So I started by Googling the phrase “idiot’s lantern” because it’s *such* a perfect euphemism for television, even better than “boob tube,” but I’d never heard it before, and I wondered whether scriptwriter Mark Gatiss invented it.
It’s probably not in the least bit surprising that the genre of the Information Revolution — science fiction — is the one that does satire on the tentacly power of the corporation so well.