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In my search for my new worst DW I have but one question (for now): can watching too much DW rot your brain?
Anyway, I guess I'm more tolerant of bad DW now. This wasn't THAT bad but it was bad mind you. Why?
Mel running away, doesn't realize the Doc fell...I think in front of her. Then she goes and has a snack with two old ladies who...don't seem quite right in the head from the second they appear...but they do cut her loose and she does need some info to continue, and they give her some. Not sure how long ago the young people were abandoned but almost every criticism of this story gives us the idea that the Kangs are too old and played by actresses who are too old. I am not sure I agree. I do agree that they, and almost everyone else in this story, acts retarded or more eccentric than the Doctor...and that's a problem...I think. It used to be but perhaps as in all DW, there's room for every kind of story and tone.
Here the tone is: well, retarded. No, really. The Doctor does like the Kangs and laughingly gives them their long involved salute (with accompanying goofy music). The Kangs are annoying. The robotic cleaning machines look about as dangerous and threatening as a small, very small kitten or puppy. Even the Doc gets too close...of course he's just viewed a picture on a wall that showed him one of the cleaning machine arms killing a Kang so he's stupid too to do that.
The Caretakers seem to be killed by them as well with full consent of the strange leader of the Caretakers...who, in a strange cliffhanger greets the Doc as the Great Architect and orders him killed!
Oh and the Doc had to eject the swimming pool from the TARDIS. Did they need that bit? It got them here as Mel seems fascinated with pools in this ep and wants to go swimming. Huh?
Well anyway on the plus side: there's....
The Doctor has stopped mixing up proverbs and doesn't even say any that I heard. He does tend to mumble just about now. This story also starts the trend, earlier than I expected, of fans or viewers having to read about the story to figure out what the F is going on. I mean really. The novels, fan fiction, fan articles, fan letters, interviews with the writers, questions an answers in Doctor Who Magazine, interviews with JNT and Eric and the actors, and the novelizations of the story or fan made scripts, etc....and even introductions to the novels, future New Adventures, ABOUT TIME, TIMELINKS, etc...all have to explain what is going on. It's mostly stories like CURSE OF FENRIC and GHOSTLIGHT (where too many elements are thrown in with the kitchen sink, too many characters, and too many subplots without any explanation or link to the sink or link to each other) but here we have PARADISE TOWERS and a bit later HAPPINESS PATROL and possibly even SILVER NEMESIS. Blimey, I've heard of letting the viewers figure things out for themselves (ever see the original THE PRISONER?) or of symbolic surrealism and hidden meaning and deep thought social commentary (again all in THE PRISONER and possibly the very first ep of BLAKE'S 7) but this is ridiculous.
I longed for the time when the show would tell us "Gee whizz, Adric, we're in the year 2525?" or more likely Adric would read it out, "We're in the year 1925 on Earth." and so on. Usually before Adric and Romana, it was the Doctor who told us where we were and if he didn't know he'd say that too and make a guess. Here we exit the TARDIS and we're in a flat on an unnamed planet in where? In what time? It does give an otherworldly quality to the thing(s) and stuff like this was happening all the time in this and the last era and somewhat in Davison's later stories...we might as well be in Oz, Neverland, Fantasia, or the Looking Glass. I mean some of the time I'd like a year. Oh, wait, the novels will fill that in.
That leads me to what I was saying before: If stuff has to be filled in by other sources...is this a good thing or a bad thing? I am not sure. I guess it depends on how I feel while watching. If I want to be entertained, then I want something thre to fill me in. If I want to be force fed into reading to learn, then I guess give me the abstract (PRISONER again), symbolic, strange, social comparision, thinking man's and woman's scripts which reflect and react to society and make you think about what's wrong with the world...usually though I don't want that in DW...but if you're going to do that, do it well...which DW almost never does in this era and the era just before it. I mean KINDA, SNAKEDANCE, WARRIOR'S GATE, LOGOPOLIS and CASTROVALVA can all be understood. If you are going to try to give us social rebellion or commentary or show us about individuality vs conformity and make us figure out which one is better or worse or at what times one is better than the other, do it like THE PRISONER.
OR don't do it at all.
this episode, the thing is: I'm not sure what it's trying to do or to be. And at this point, it makes little to no sense. And that's before Pex arrives. Maybe the explanations of everyone went off to war and left the old and the young here to fend for themselves is enough. But surely something ELSE is going on. Maybe we get more answers later on. I find myself saying that all the time during this and the last error...
but at least McCoy has calmed down and is not as fast talking...now he's mumbling but he seems like the Doctor here and actually IS the Doctor. Mel has started becoming...less like a companion and more like a problem though...