Films are like jigsaws, with the picture being constructed from many different pieces. Framing, colour, sound and subtext all spring to mind but there are a host of other elements that shape the final product. Most movies will find one way to use each of these and stick with it but The Ordinaries plays with them like an inquisitive child figuring out a new toy. The result is a visually interesting, character-driven, heartwarming, metatextual commentary.
Set in a society where people are divided by character type, we follow Paula – a supporting character who aims to become a main character. Along the way she becomes embroiled in the struggles of background characters who have been confined to a lum and are aiming to make their voices heard. It’s practically dripping in social commentary with the Main Characters and Background Characters reflective of the Upper and Lower classes respectively. The former are either ignorant or unaware of how the latter are treated, with there being conflicting reports of ann event dubbed The Massacre by both groups. It appears to have been some kind of war that shaped their society into where it now stands but as Paula discovers more about herself she discovers the truth behind this tragedy. Who fought, who died, why it happened, and the consequences it had on all classes.
This is also a story of self-discovery and finding your place in the world. Paula wants eagerly to be a main character, to the extent that she is attending a main character school with her best friend Hannah, who comes from a family of Main characters. She does it largely to live up to her main character father (who died during the massacre) and to please her supporting character mother who could never live this life herself. The more she discovers about the treatment of background characters, the less certain she becomes about the world around her and her place in it. The desire to become a main character remains but her motives for doing so shift slightly. It’s no longer just about her and her mother, but about giving a voice to the voiceless, in a development that can only be described as revolutionary.
The way the story is told is just as interesting as the story itself. That aforementioned playfulness is constantly present in aspects like the score, which can be heard in-universe, and the character designs, which feature characters from deleted scenes who flicker in and out of existence. The editing is also impressive, with cuts being used to excellently dramatic effect on more than one occasion.
In both story and execution, The Ordinaries is thoroughly interesting. It has plenty to say about class struggle and individuality, which it does with an impressive amount of creativity. Nominated for the Audience Award for good reason.
The iconic horror flick that spawned a franchise seems simple on the surface. The 8-person crew of the space mining ship Nostromo attempt to survive an alien that has evolved to be the ultimate killing machine. Of course, so many plots seem simple when boiled down to their core elements, but it’s how these stories are told that makes them engaging and help them to stand the test of time. When the layers are peeled back, Alien is nothing short of a masterpiece.
At just under two hours, it’s shorter than most current blockbusters, but it doesn’t rush the plot. The first hour takes its time establishing atmosphere and allowing the audience to get to know the crew. It’s about forming that connection with these characters and slowly building the tension as the audience waits for the inevitable and horrifying plot twist. Neither is the sole purpose of this first half, instead, both elements work hand-in-hand to set a vibe that will be turned on its head by the famous Chestburster scene – one of the finest plot twists ever put to screen.
At this midpoint of the plot, it seems like the immediate danger is over. Kane (portrayed by the ever-stellar John Hurt) has already faced death at the tentacles of the aptly-named Facehugger and finds himself in a surprisingly healthy condition, enjoying a meal with the crew. It’s in the midst of this joviality that the Chestburster does what it was named for and Kane meets his demise, covering the crew in a decent helping of blood and skittering off into the air vents. It may be one of the most famous scenes in cinematic history (being parodied in everything from ASDF Movie to Spaceballs) but at the time, and to the crew of the Nostromo, it comes as a complete surprise. As with all plot twists, this is where the major plot beats begin as the crew attempt to find and kill what will one day be known as a Xenomorph.
Of course, the entire crew, aside from Ellen Ripley, end up dead and this is the real tragedy of Alien. It’s been claimed by many that if they’d simply listened to Ripley in the first place and not allowed Kane to return aboard then they would have survived but that isn’t necessarily the case. It is ultimately revealed that the company they work for (later named Weyland-Yutani) has placed an android named Ash (portrayed with calculating menace by Ian Holm) on board the Nostromo with the express mission to collect the alien and to treat the crew as expendable. It is Ash who directly disobeys orders and brings Kane aboard but, even if he hadn’t, there’s no reason to believe that he wouldn’t have found some other way to complete his objective. It’s plausible that he could have smuggled an egg on board without the crew knowing or that he would have killed them all himself. At the end of the day, whilst the specifics of the plot may change, the outcome likely remains the same…the crew of the Nostromo die.
This seems inevitable because the odds are so stacked against them. They’re not just fighting the alien, they’re fighting the will of the Weyland-Yutani corporation, who are more of a villain than the alien ever is. It’s born to kill and knows nothing else but Weyland-Yutani is a company run by people. It’s a company so focussed on profit and winning a war that hasn’t even started that it will literally sacrifice its own employees. This fundamental truth spans the entire franchise but it’s so blatant here that it’s difficult to ignore. The specific orders are only seen on the ship’s main computer (dubbed “Mother”) meaning it comes across as emotionless as it really is. It’s so quiet when Ripley reads the words “crew expendable” that there’s nothing to focus on except her desperate sobs.
At the end of the day, it’s a working-class story. The crew are miners who smoke cigarettes and complain about company policy on board a ship that has gathered grime from a once pristine state. These aren’t highly trained professional astronauts like the fine folks at NASA (although clearly they are trained), these are common people. They walk, talk, and react as common people would. It makes them all the more relatable and helps their deaths come across as more tragic.
It’s never just a fun little sci-fi adventure, there’s always at least one extra layer. The whole show is like this, delivering a message even if you don’t notice it, but it’s especially true of these festive episodes which pick the most impactful ideals. This time, The Twelfth Doctor and Clara face off against face-hugging aliens that send people to sleep as they slowly dissolve their brains and only Santa Clause can stop them. It’s all very silly, a little dark at times and constantly keeps the audience guessing but the episode’s meaningful message is hidden in plain sight – Last Christmas. As is pointed out during the adventure, every Christmas is somebody’s last with someone else. What’s upsetting is that you don’t know it’s the last Christmas until the day itself has passed. Christmas is finite, lasts for one day out of the year, and a lot can change in between celebrations. Relationships can end and lives can be lost so every Christmas should be cherished.
This doesn’t mean that the season should be without grief and the episode makes that clear too. Clara is facing her first Christmas without the love of her life Danny Pink. When she finds herself celebrating the day with him in a deadly dream, she contemplates allowing herself to die knowing that she will do so at her happiest. Ultimately, she allows herself to wake up because, while people may not always be with us, the memories made with them are. And what is Christmas for if not making memories?
The Husbands of River Song
Christmas specials aren’t designed to flow neatly into each other. There’s a year of real time between each and a whole series-worth of storytelling. Companions come and go, villains are fought and defeated, The Doctor’s appearance occasionally changes. However, if any era was close to having it’s own structure, it’s this one. The theme of Last Christmas carries over as beloved femme fatale River Song makes her final appearance to fight alongside The Doctor. Having been introduced by Moffat during the RTD era, it makes sense that he would wish to give her closure, especially since her timeline has been so turbulent. Her and The Doctor are never meeting in the right order but here, their timelines finally sync up, in her final adventure before that fateful trip to The Library.
This episode almost mirrors that first meeting, where the Tenth Doctor didn’t know who she was, by having her fail to recognise him. She is forever seeking him out and is aware of every face from his first regeneration cycle but is unaware that he has been gifted a new one with a brand new face. Of course, this doesn’t last forever and fans finally get the River/Doctor dynamic where they both have all the details. It’s a melancholy meeting because we and The Doctor know that this is their final night together at the Singing Towers of Darillium. She spends the majority of the episode oblivious to his presence and believes he doesn’t truly care about anyone because he can’t afford to as the universes protector. His final act of love for her proves her wrong in one of the sweetest and most heartbreaking moments of the show because of course he cares. He doesn’t protect the universe because he wants to be praised or rewarded, he does it because it’s right and, above all, it’s kind. If there was ever any way to approach the year ahead…there it is.
The Return of Doctor Mysterio
Superheroes are an interesting concept. Everybody lives a double life to an extent, hiding at least one secret from everyone they know, but superheroes take that to the extreme. They invite the age old query “if you had powers and anonymity, would you use them for good or evil?” which can often lead to some hefty introspection. The stories can be silly (Shoutout to The Condiment King) but at their core they usually say something about humanity. Superman fights for truth, justice and a better tomorrow while Batman fights for what is right even if his methods can be a little sketchy. This episode explores much of that idea – erring on the Superman side of things.
Of course, one could argue that The Doctor is something of a superhero himself. He sweeps in from nowhere when there is danger, barely ever sticks around to receive any gratitude and almost never tells anyone his real name. The main difference is that he isn’t living two seperate lives, there’s no Bruce Wayne to his Batman. However, like many, he has two very different faces. The public Doctor laughs in the face of danger whilst the private Doctor is sadder because he knows nobody can see. This special sees him grappling with the loss of River Song, meaning it also flows quite nicely from the previous special. His current companion Nardole (again, from the previous special) is doing what he can to help but the only true cure for grief is time. There’s no antidote for this pain, it just has to be lived with until one day you find you’ve barely thought about it at all. Anyone who can do that is a true superhero.
Twice Upon A Christmas
The twelfth Doctor has always been underrated. It’s no secret that a large section of the general public stopped watching the show when Russell T Davies left and that numbers continued to dwindle as the Moffat years went on. It’s a genuine shame because, whilst the Eleventh Doctor was good, this Twelfth incarnation was everything the famous Time Lord should be. He was mysterious, charismatic, charming, fantastical and just a little bit grumpy. Actor Peter Capaldi once said that he was aiming to channel all the men who had come before him, particularly classics like William Hartnell and Jon Pertwee, which absolutely comes across. It’s particularly prevalent here as a regenerating Twelfth Doctor encounters a regenerating First Doctor portrayed by David Bradley.
Bradley’s characterisation isn’t perfect, being overly sexist in a way that Hartnell never was, but has the same inquisitive nature and cheeky attitude. He’s clearly written this way to demonstrate how far society has (allegedly) come since 1963in terms of the attitude towards women but the show was never like that. It has always represented the best of humanity, regardless of the year. The very first episode was produced by the late Verity Lambert – a woman – and directed by the talented Waris Hussien – a gay, British Indian – which set the standard for representation behind the screen as well as on it. This episode features the introduction of Jodie Whittaker’s 13th Doctor, which was a landmark moment in the shows history, but the plot isn’t building up to her specifically. With both the First and Twelfth Doctors refusing to regenerate, it’s about how far this show has come and how long it could continue to go. Sure, Jodie gets a couple extra seconds to really bask in her presence but then it’s straight back into business as usual. Pretty much sums up the end of the year too. Let’s all take a little moment to bask in the year just gone before diving into the one to come.
Probably the most well known Christmas tale aside from the Nativity Story and for good reason. The tale of miserable miser Ebenezer Scrooge, whose heart is changed by the Ghosts of Christmas Past, Present and Future, has everything. It’s filled with all the joy and heartache that the yuletide season can bring as well as a sprinkling of scares but it primarily features an important message about life itself. Every single adaptation, regardless of quality, manages to capture at least an inkling of that spirit because the story at it’s source is so pure, and this episode is no exception. Crotchety curmudgeon Ezran Sardick is unwilling to allow a spaceship to land on the planet whose skies he controls, risking the lives of all onboard, until The Eleventh Doctor pulls a Christmas Carol on him. In a fascinating twist to the classic tale, The Doctor spends many Christmases with him and a young woman named Abigail who Ezra falls in love with despite her short lifespan. It switches between these adventures in the past and Old Kazran in the present as he deals with these newly acquired teenage memories. All the elements of the globally famous book are here, just adapted slightly and with a timeline twist that only The Whoniverse could provide.
This is notably the very first Christmas special where The Doctor is joined by his full time companions, in this case the recently married Amy Pond and Rory Williams, as well as the third time that he joins in with a Christmas dinner. It also features real snow, which will become a constant for this era, and zero on-screen deaths, which will not be a constant ever again. As far as Christmases for the timelord go, this is a fairly relaxed one (unless you count the shark).
The Doctor, The Widow and The Wardrobe
Christmas isn’t easy for everyone. It’s a special day for many but, even for them, life carries on. After all, December 25th is just one of 365 days in the year. This particular episode sees newly war-widowed Madge taking her son and daughter to an uncle’s country house for the holidays. Waiting for them is the house’s new caretaker – The Doctor – who has recently faked his death in front of his friends (Amy, Rory and River) meaning he is the loneliest he has been in quite some time. The messaging in this episode is likely to hit harder than in previous years as it deals directly with processing grief. Madge knows that if she tells her children that their father is gone, then they will forever link that to this time of year, which is heartbreaking enough on it’s own, but it’s the very human way that The Doctor responds that may cause a few tears. His response is one of the most meaningful lines The Doctor, or any other character on the show, has ever uttered: What’s the point of them being happy now when they’re going to be sad later? The answer is, of course, because they are going to be sad later.”
It’s impactful on its own but it means more coming from The Doctor at this particular moment because kindness always means more when it comes from someone who needs it the most. He just wants to provide a magical Christmas for this family, knowing it’s something he can never have, especially with those closest to him. Eventually, the adventure ends and Madge gives him some tough motherly love about being with those you love at Christmas which leads to The Doctor to visit the Ponds and unveiling the truth of his survival. It’s another beautiful, quiet moment that requires no dialouge to convey how much this reunion means to him. Actions speak louder than words and choosing who you spend Christmas with is one of the most impactful actions of all.
The Snowmen
Love isn’t always easy, especially if it ends in loss. Unfortunately, this lesson is often learned the hard way – through first hand experience. The world feels unjust and cruel, like nothing will ever matter again. It’s easy to shut yourself away from everyone and become ambivalent to those who still care because having feelings again just opens you up to more pain. This is the situation The Doctor finds himself in as the episode begins, only to be pushed into a plot involving carnivorous snowmen and a secretly cockney nanny, but his heart isn’t in it initially. This incarnation of The Doctor was known and loved for his whimsical delight and enthusiasm, which was present in his previous special, so to see him like this is upsetting. It feels wrong.
Of course, as the adventure progresses so does he. He finds himself lost in the mystery and fails to realise how much fun he’s having until he clocks himself in a mirror. Without even thinking about it, he has adorned his iconic bowtie, which he’d abandoned it when he no longer wanted to be The Doctor. It’s a small moment but it’s poignant as those moments often are. All it takes is a small moment of self reflection (metaphorical or literal) to remember how good things used to be and to realise that they could be again. Sure, life has its sorrows, but they make those moments of joy even more meaningful. Find things and people that you love and hold on for as long as you can. Treasure those precious memories because it’s those experiences that make life worth living.
The Time of The Doctor
Another regeneration special and another reminder that it’s okay that nothing last forever. As The Doctor finds himself in a stalemate in the town of Christmas on the planet Trenzalore (where it’s prophesied he will die) he faces his mortality and his principles. Yes, he could leave, allowing the town to be destroyed by every villain he’s ever faced but he never would. The Doctor will always fight for what is right, down to his last breath, for even just one life. Even here, as he approaches the end of his final regeneration, he tells the townsfolk that he has a plan because he would rather give them hope than allow them to wallow in despair. The Doctor stands for hope, kindness and the promise that someone out there cares.
That’s true of the show as a whole. For those who love it, it’s a safe space that’s always there when it’s needed. Stories can have dark moments but with The Doctor at your side, there’s no need to be scared. The show has a lasting impact on the fans and this episode is a powerful reminder of that legacy. This special aired Christmas Day 2013, one month after the 50th anniversary special The Day of The Doctor aired in cinemas around the world, and it felt like a defiant stand to anybody who thought the show was close to finished or a niche interest. Doctor Who has been around for nearly 60 years now, and fan-willing, it could go for another 60 because it’s a premise full of promise – all of time and space. The Doctor has 13 more lives (11 as I write) and every single one of them will have their time. This episode asks the oldest question “Doctor Who?” and there’s your answer.
There’s never really been time for seasonal celebrations in the Whoniverse. The classic run only aired on Christmas Day once, during the 12 week-long story The Daleks Master Plan, with a Christmas specific episode titled The Feast of Steven. The footage is currently missing, as is much of the William Hartnell era, thanks to the BBC wiping tapes to re-use at the time. They weren’t to know it would be one of the most popular shows on Earth. It’s especially frustrating for this case in particular because an episode like that never aired again during the classic run. In fact, no episode was ever broadcast on Christmas Day again…until 2005. That’s when showrunner Russell T Davies, who had recently revived the show for a new generation, aired the first of his dedicated Christmas specials The Christmas Invasion. These specials continued throughout his 5-year stint as showrunner, becoming something of a running joke for characters on the show itself and cemented the beloved day as a British Christmas Tradition.
The Christmas Invasion
There is something very human about this episode. That shouldn’t be a surprise given it focuses on human characters, with The Doctor out of commission having just regenerated, but it’s how it shows the humanity within people that makes it wonderful. With Earth under threat of alien invasion on Christmas day and ⅓ of the world’s population being held hostage on rooftops via blood control, it’s up to the human race to save themselves. But how do you handle such a crisis? Do you attempt peaceful negotiations or plan a “defensive” attack and face the potentially deadly consequences? Of course, The Doctor awakes but British Prime Minister Harriet Jones still makes her final decision and she faces the career-defining ramifications.
It also serves as a spectacular introductory episode for The Tenth Doctor. David Tennant slips into the role comfortably, bringing an element of comedy, but still brings an air of gravitas that demands attention whenever he speaks. He does so in just 15 minutes of screentime, so it’s no surprise looking back that he became one of the nation’s favourite Doctors. There are plenty of noteworthy performances throughout the rest of the episode too, particularly from Penelope Wilton as Harriet Jones (former MP for Flydale North and current Prime Minister). It’s clear that she’s afraid but it’s never for herself, rather for the people of her country and the rest of the world, but it’s masked by a steely resolve. Meanwhile Billie Piper as Rose Tyler brings a layer of dramatic emotional devastation over losing the Doctor that she knew whilst still having the courage to stand in his place as Earth’s spokesperson and defender. It’s an episode about having hope, even when it feels like there’s none left, and what’s more Christmassy than that?
The Runaway Bride
The Doctor’s own humanity is front and centre here. For the first time since he met Rose, he finds himself alone whilst mourning a great loss. When Donna Noble materialises in the TARDIS on her wedding day, he becomes swept up in a plot that dates back to the dawn of time even though he doesn’t have to. He only initially gets involved out of curiosity but, as the plot progresses,it becomes clear that he’s sticking around to save Donna’s life because (despite not wanting to) he cares. It’s clear from the mournful looks he gives her, and the ones that he keeps to himself, that he needs to save someone…anyone.There’s a sweet and simple moment where they’re sitting on a rooftop having just escaped a robotic santa in the TARDIS where The Doctor puts his coat around her. It’s a tiny gesture but, given his desire to be uninvolved, it’s clear how meaningful this act is.
It all builds to the moment where The Doctor faces off against the enemy, defeating her in an act of pure rage. He isn’t doing this because he’s worried about humanity or even because he’s worried about Donna, he’s doing it because he feels alone and doesn’t care what happens to him. For him, this is a moment of acceptance of his place in the universe and his final sacrifice for humanity because the pain of his losses is too much to bear. Donna stops him but she still refuses to travel time and space with him. It’s rare that someone turns him down and it clearly stuns him. He once again finds himself all alone, which breaks his hearts because life is only truly an adventure if it’s shared.
Voyage of the Damned
In times of struggle, there should be no class divide. In times of crisis, everybody is human…or alien as the case may be. Once again The Doctor finds himself stumbling alone into an evil scheme, only to find himself surrounded by a delightful cast of characters. On the space cruiseliner Titanic, whose crew features robotic angels set on murdering everyone, there is no shortage of class representation. There’s the rich businessmen who feel like they deserve their wealth, the waiting staff who have very little and the farmers who toil away endlessly to earn theirs. It’s easier to sympathise with some of the characters more than others but it’s not difficult to hate the villain behind the whole scheme – a morally bankrupt CEO. It doesn’t matter how many people die, even if it’s everyone on Earth, so long as he gets his paycheck. Whilst this portrayal of CEO’s is comical, the underlying truth unfortunately is not. For the rich, it’s all about getting richer.
Meanwhile, the story manages to grapple with grief and loss. The cast is larger than just The Doctor and his companion but each character is fleshed out in a way that makes them easy to root for…even the stockbroker. It wouldn’t be a Christmas special without death and this one is no exception, featuring several of them, with each more devastating than the last. They are all inspired to sacrifice themselves, because that’s what they feel The Doctor would do, and his guilt is evident but grief can and should be felt at Christmas. Not everybody makes it from one Christmas to the next and that hurts but it doesn’t mean that feeling should be avoided. Celebrate Christmas for those you’ve lost with those you haven’t.
The Next Doctor
Sometimes Doctor Who is just a classic Doctor fights the monster story with a lot of heart. Battling the cybermen in 1800’s London alongside a man claiming to be The Doctor is one such tale. The major draw at the time was the spectacle of it all and the tease of a Doctor we hadn’t yet met. David Tennant’s Tenth Doctor was beloved by the nation (still is) so his leaving the role was a major deal. The announcement was made prior to the airing of this special so it wasn’t improbable that 11 (or even 12) could have popped up. Of course, this turned out not to be the case but that’s a shame because David Morrisey is one of the best Doctor’s we never had. He embodies the very heart of the character. He’s charming, suave, and charismatic in a way similar to classic incarnations like The Fifth Doctor. His impassioned speech to a crowd of Victorians about how The Doctor has saved humanity countless times and has never been thanked turning into a raucous applause for the man himself is a beautiful moment.
The previous two specials have left The Doctor alone and grieving but here he finally gets a moment of peace. For the first time since The Christmas Invasion, he is convinced to enjoy a Christmas dinner. Given everything he’s been through, and everything he’s about to go through, it’s a brief moment of levity that brings joy to the soul.
The End of Time
It’s apt that this is ultimately a story about fate and acceptance. This two-parter was a major event at the time as, for many people, it was their first regeneration. David Tennant had been the titular timelord for 5 years and was adored by the general public but his fate was the same as every other actor to play the role – to leave. This idea is baked into the plot, which sees him facing off against The Master on a global scale. It’s been prohpisied that he’s going to die but he isn’t ready and is barely holding back his frustration. It perfectly echoes the emotions of the audience who were’nt ready to let him go either.
However, as it must, his fate arrived all the same. The Tenth Doctor, though upset, understands and accepts that it’s his time to go. He takes an emotional walk down memory lane, seeing where all his companions are and how they’re doing, seemingly to put himself at ease. The universe is currently resting easy, as are those in it that he cares about, so there’s no stone left unturned for him. The episode only shows Ten’s companions (although The Sarah Jane Adventures later clarified it was all of them) which makes a great deal of sense because it brings everything full circle. It’s obviously sad to see him go but visiting his companions serves as a reminder of all the good times. It’s almost like a clean slate, so that The Eleventh Doctor can burst onto the scene without baggage and embark on his own adventures. What a dynamic entrance it is too filled with excitement and wonder. This wasn’t to be the final festive regeneration (in fact it’ll be a little bit of a recurring thing) but it was the first and it knew the weight it carried. It was big, bold and beautiful.
How do you achieve longevity? There are a couple of solutions and they are both present in Marvel’s 30th(!) feature length film Black Panther: Wakanda Forever. The background surrounding production is as well known as the title Black Panther, with the sequel entering development before the unfortunate passing of Chadwick Boseman and being reworked with a new name taking the mantle. It introduces beloved comic character Namor to the MCU in a rivalry between his underwater tribe and the Wakandans on land, which invites comparison to the DC hero Aquaman, although these comparisons end up being unwarranted. There is such a vast difference in the portrayal of both characters and the oceans they live in that it would do each world a disservice to compare them.
Naturally, at the forefront of this film, is the legacy of Chadwick Boseman. His introduction as Prince T’Challa (later King T’Challa) AKA The Black Panther gave children of colour across the globe a hero that represented them. He took the largest franchise in the world and used it as a platform at a time when racism in the West was on the rise. He seemed destined to continue in his role as actor and activist for years to come, which made his unexpected passing all the more upsetting. There were calls to recast the role but, given this surrounding context, it wouldn’t have felt right and the plot does address that. With all the heart shaped herbs, which provide the power of The Black Panther, being burned in the previous film Shuri is determined to replicate it…to no avail. The opening scene where she attempts to recreate it’s synthetic structure to save her brother is heartbreaking, especially since he is dying of a mysterious illness that he has been hiding from those around him. The story beat works on its own but it, very deliberately, hits close to home mirroring the real life circumstances surrounding Chadwicks passing. Eventually Shuri recreates the herb, consumes it, and becomes the Black Panther but initially she is only doing so out of vengeance. Her arc sees her struggling between letting the hatred consume her and deciding what this role as “protector” actually means. For those who have faced grief, it’s a familiar battle, to let the grief overcome us or to do our best moving forward. To shy away from the darkness or to run toward it. She struggles with it until the bitter end, right up until the moment she is about to kill Namor but, of course, she chooses the lighter path because this story is about healing…or beginning to heal.
The film’s conclusion sees her sitting on a beach, burning the funeral clothes, before being joined by T’challa’s partner Nakia and Nakia’s son T’Challa. It’s a clear indication that while Chadwick (and his character) may be gone, his legacy carries on. It’s not a straight-up recast but still allows for there to be a T’Challa in this world which is the perfect middle ground. Young T’Challa won’t be taking up any mantles any time soon but some day, presumably, he will. Chadwick won’t be forgotten in that time (or in anytime thereafter) but this allows for as much healing as can be done in a moment like this before life carries on. Through this character and these films, Chadwick has achieved longevity and ensured that we will never forget him.
The presence of T’Challa Junior also highlights the intended longevity of the MCU itself. Whilst it seems inevitable that he’ll become Black Panther someday, it’s likely that this won’t occur for perhaps another decade. He’s not the only new character either with the introduction of Riri Williams AKA Iron Heart and the aforementioned Namor. Riri is a delightful enough character who seems destined to entertain people in her own series next year before cropping up as “New Iron Man” for the foreseeable future. Meanwhile, Namor is rather interesting with his disdain for land-dwellers and long life span (having been around for several centuries) which is deserving of more exploration. Namor receives a rare treat as an MCU villain in that he gets to live, which is for the best considering dead characters can’t really be explored further. Then there are the returning characters, whose own stories are just beginning. Everett Ross returns to light up every scene he’s in with a charm that British Men seem to have patented with Valentina Allegra de Fontaine (or The Countessa) by his side. She makes her return after appearing in Black Widow and The Falcon and The Winter Soldier, where she is clearly putting together a Discount Avengers (or The Thunderbolts as they’re otherwise known), making her in essence the new Nick Fury. The MCU has ramped up its production rate since Phase One but considering Fury has been present since the start and is still kicking around, this should give some idea of how long The Countessa should be cropping up for.
The discussion surrounding “superhero fatigue” is a complex one but when the MCU alone is taken into account, it’s not difficult to see why it’s brought up. Black Panther: Wakanda Forever is film number 30 but, with TV Shows included, it’s project number 39. The newly released Guardians of the Galaxy Holiday Special is release number 40 and it aired only a couple of weeks after Wakanda Forever’s initial release. Here’s the thing about the MCU…it’s good. Even at its worst (bar a couple special cases) the projects are still adequate at worst. Even Wakanda Forever, which suffers from usual issues like obvious greenscreens and unnecessary characters, is still good. The issue isn’t and has never been the quality, it’s the rate and the risk that there will be an inevitable drop in that quality to maintain release schedules. There’s been a large conversation surrounding Phase 4, which started with Spider-Man: Far From Home (yes it did, I don’t care what Kevin Feige said) and ended with Wakanda Forever. “It feels directionless” is the big critique and it’s partially true but that’s mostly because it lacks context. Every piece in this phase that feels out of place will make sense in time as The Multiverse Saga draws to a close. It’s a promise to the audience that there’s a reason to stick around. People have already clocked off and that’s fine because the critics will still be here, keeping track for you.
Doctor Who is a ridiculous show. It is inheritly silly that a humanoid alien with two hearts, who ocassionaly regenerates their body, travels time and space in a little blue box. The stories told have been dramatic, serious and even heartbreaking at times but it’s still absurd. That’s part of why it’s such an easy show to fall in love with. The fanbase (or “Whovians” as we’re known) are one of the most passionate of any franchise and our excitement often peaks whenever The Doctor regenerates. There’s a palpable air of explosive tension as the episode approaches, which remains after the episode has aired and The Power of the Doctor is no exception. It features an added layer of hype because it coincides with the hundredth anniversary of the BBC’s founding, so it should be as Doctor Who as the show has ever been.
The feature-length episode sees the Thirteenth Doctor combatting The Master, whose plan involves Daleks,Cybermen and Raputin, although it’s so complex that it requires a PHD to understand. She is assisted by current companion Yasmin as well as former companions Ace and Tegan but the list doesn’t stop there. As an episode designed to celebrate the show and the network it airs on, there was no doubt that there would be cameos and references galore, but they really pulled out all the stops. The first batch of cameos occur shortly after The Master has succeeded in one of his plans many stages – forcing The Doctor to regenerate into him. Seeing actor Sacha Dahwan in the Thirteenth Doctors clothes having stolen her body (and by extention her regeneration cycle) would be thrilling enough but it allows Thirteen’s conciousness to interact with her former lives. (Think Aang in The Last Airbender conversing with former avatars). It allows for a lovely scene where David Badley as The First Doctor praises Thirteen for all she’s done, which should warm even the darkest of hearts. The First Doctor then morphs into his sixth, fifth and seventh forms which were to be expected given the good health of all the actors involved and their continued love for the show. The major cameo here is the presence of Paul McGann asThe Eighth Doctor, which is delightful. His TV movie has held a less than stellar reputation with the fanbase but over the years, people have softened and it feels as if Paul is finally getting the love he always deserved.
The second batch of cameos are equally wonderful. At the conclusion of the episode, Thirteen’s companions Graham, Yasmin and Dan form a former companion support group. In the room are the expected ones – Ace, and Tegan – as well as the semi-expected Jo Grant. However the cherries on top of this nostalgia cake are the appearance of Mel, who acompanied the sixth and seventh Doctors as well Ian Chesterton who was (along with Barbara) the very first companion. Actor William Russell may be 97 years old but he doesn’t look it and it so marvellous to have him involved. The same would have been true of Tom Baker (The Fourth Doctor) had he been well enough to be involved. The cameos were not the only way that the show was celebrated as there were plenty of references for people who knew where to find them. Whilst The Master is The Doctor, he puts together an outfit featuring Ten’s shirt with tie, Seven’s sweater, Thirteen’s coat, Two’s cordorouy trousers, Four’s scarf and Five’s stick of celery. It looks a lot cooler than it sounds. Further, on top of even that, is the presence of The Doctors AI hologram which adopts the physical form most familiar to their companion. It leads to a lovely scene of Tegan with Five and Ace with Seven, which are made all the more wonderful with a couple of iconic lines and a mention of former companion Adric.
This may all sound like gushing about how cool this is for fans but that’s because it kind of is. Proper analysis requires a slightly further dive.
This is still a Christopher Chibnall written episode, which means that his fingerprints are still visible. As lovely as all of those character moments are, the majority of the script is fairly basic. It’s most notable during the opening segment where Thirteen, Yasmin and Dan board a moving space train. It’s especially true of Dan (whose actor John Bishop isn’t a very good actor) but none of Chibnall’s characters have much…character. They are there to tell The Doctor how cool she is and to fawn over her but nothing more. At least Dan didn’t stick around for long and Graham had a semi-arc with Ryan but Yasmin has really gotten the blunt end of the stick. She doesn’t just fawn over The Doctor, she’s in love with her (which is alreaady a tired trope). This wasn’t the intial plan because Yasmin was initially interested in Ryan but that was changed when a section of the online lesbian community began to hope that they would end up together. It’s only truly been present in the Thirteenth series and in these last three episodes. The prior episode Legend of the Sea Devils featured it very explicitly but that episode was filmed last which means that those scenes were written knowing that there was no romantic ending for the two. “Thasmin” (a portmanteau of The Doctor and Yasmin) was a half-assed concept, executed purely to please a subsection of fans with the liklihood being that it would never pay off…which is queerbaiting…which is a really awful thing to do.
There are several contrived aspects that could be focussed on, but if it’s a mostly futile exercise. The AI isn’t ACTUALLY The Doctor which means that Ace and Tegan didn’t truly get closure with The Doctor herself, but it’s closure for them and allows for a couple of nifty scenes. The forced regeneration is never fully explained, but it propels the stakes as high as they’ve ever been and (again) allows for some very neat scenes. The Doctor should probably regenerate quicker than she actually does, but it gives her a final scene with Yasmin which some people will have liked. The biggest contrivance that can be truly critiqued is The Masters Dalek Plan (an in-episode gag, which got a smile). The episode never fully explains it because this Doctor refuses to talk to anyone about anything that matters. She claims that Yasmin is her best friend but this refusal to tell her anything is so cruel it’s a wonder she hasn’t already left. Even as she’s about to regenerate, The Doctor pushes her away for seemingly no reason.
This is the end of an era and in a lot of ways it feels like it. There are grand stakes and countless homages for the fans but it should also work as a series finale…which it doesn’t. One of Chibnall’s biggest issues as a writer is that he can come up with an interesting idea but often won’t fully see it through. There are a couple of dangling plot threads that are unlikely to go explained (a belief that Chibnall himself backed up in a recent interview). The concept of The Timeless Child works in theory, adding a new layer of mystery to an already mysterious character, but it has no resolution. The Fugitive Doctor (allegedly a pre-First Doctor incarnation) is a brilliant idea with an unfortunate placement in The Doctors history which allowed for actress Jo Martin to give a few stand-out performances…but that’s half the issue. She is relegated to a few minor cameos and her backstory is never properly explored on-screen. It is explained in a comic book storyline but that makes it feel like it wasn’t important enough to actually get Jo Martin back on a soundstage for. Then there’s this manic iteration of The Master, whose placement in the timeline is also never explained. Chibnall is all excellent concepts with poor execution and that isn’t missing here, it’s just being overshadowed by the pre-existing characters.
The regeneration itself is stunning. Credit has to be given for allowing Thirteen to regenerate outside which hasn’t been done since the fourth regeneration. It allows for a beautiful setting and a now iconic shot. Even more iconic are her final words which are short, sweet and very Thirteen. One could complain about the camera close-ups (another Chibnall staple) but honestly, it’s so near to perfect that it doesn’t matter. The introduction of the Fourteenth Doctor, however, is perfect. Portrayed by David Tennant, with a call back to the first Tennant Doctor (Number 10), it’s as funny as it is shocking. It can only be speculated why the body chose this face and why the clothes also regenerated but the current hypothesis relies on “forced degeneration gonna do something weird” although I personally would also throw in this being part of the new regeneration cycle. The Eleventh Doctor did warn that it may be a bit unstable.
The Power of the Doctor may have it’s issues but it’s still a delight to watch. As a regeneration episode and celebration of the shows history, it’s excellent and as a moment in that history it is unprecedented. There are thirteen months between now and the airing of the 60th anniversary specials, which are sure to be rife with fan speculation and social media teases. Whilst writing this, the new logo and momenteous pairing of the BBC and Disney+ were announced. It’s difficult not to be excited as a fan. As an underappreciated Doctor once said:
When is a movie actually two movies? When it’s The Cloverfield Paradox. The third part of the (current) Cloverfield trilogy had an even bigger challenge than its predecessor, needing to live up the legacy of two great movies instead of just one. Instead of going down the “spiritual successor” path, it opted to be a semi-sequel to both, placing all 3 films in a semi-shared universe which is a lot less complicated than it sounds. However, this isn’t where the issue lies, instead it comes with the focus of the plot which comes in two parts. Primarily it follows Ava Hamilton and her crew aboard the Cloverfield Space Station who are testing the Shepard Particle Accelerator to find a source of infinite energy for the Earth which is rapidly running out. Things go horribly wrong when they find themselves catapulted across dimensions to an alternate Earth, which is where the semi-sequel aspect comes in. It causes a rip in dimensions causing what is known as the “Cloverfield Paradox” which opens portals to other dimensions allowing unknown horrors to seep through. Essentially, it gives birth to the Cloverfield Multiverse. It’s an interesting enough story on its own but the secondary plot sees Ava’s husband Michael attempting to survive the carnage back home with a small child in tow.
This decision makes sense in theory. It should allow for more concern for Ava and what awaits her should she get home, but it doesn’t pack the impact it needs to. This is partially because not enough time is dedicated to the secondary plot and the little time that is spent with it doesn’t delve as deep into the monstrous destruction as it needs to. It’s also partially because the primary plot isn’t entirely focused on Ava’s return home. It’s the ultimate goal of her and her crew but they spend most of their time focused on surviving increasingly weird and horrific events aboard the station. The Cloverfield Paradox is trying to be a horror space sci-fi and a re-tread of the original Cloverfield, but it spends an unproportionate amount of time on both meaning that neither feel complete. This is likely due to it not originally being a Cloverfield script. Much like 10 Cloverfield Lane, the project started life as a spec script but unlike that film, The Cloverfield Paradox feels like it’s cramming that IP’s elements in. The former merged it with the script to add a layer of suspense but barely focused on it whilst the latter made it its own point of focus. This plot element didn’t need to be cut but it needed to at least be refined. Perhaps have the Cloverfield Paradox affecting the alternate Earth before jumping back to their own hoping to escape. The reveal in the film’s final moments is tense but mainly due to actor Roger Davies’ performance as Michael instead of the moment feeling earned.
The primary plot aboard the space station is interesting on paper too, yet somehow lacks punch in its delivery. The dynamic between the crew isn’t as solid as a film like Alien, even when it tries to be, because these are standard characters with very little development. They should be the priority and the plot should revolve around how this disaster tests their relationships, which are already tense having lived in a confined space for two years. Instead, the plot treats them as side characters with much of the time on the station being spent with Ava. Eight members is a lot to juggle even when there isn’t an entire secondary story. Alien capped its crew at seven and spent more time with them in the opening act before the attack so that the eventual murders would be impactful. It feels like The Cloverfield Paradox was trying to replicate that but never focusses on the correct aspects.
The word “focus” has been used a lot in this review and, whilst repetition should be avoided where possible, it feels fitting because this film lacks focus. It can’t pick a plot, character or twist to maintain for overly long which simply isn’t an issue had by its predecessors. Those films work, in part, because the aim to tell one sole narrative with a small cast of characters. Cloverfield had 6 friends travelling through a deteriorating New York City to save another friend whilst 10 Cloverfield Lane spent its time with 3 characters in one location with two trying to escape to a world they aren’t even sure is there. The Cloverfield Paradox pits 8 characters against a space station that could collapse at any moment and anomalies that may do worse than kill them while also depicting life on Earth through 2 more characters. There is plenty here that could work if it was given a bigger role but as is, it’s a mediocre display of all these aspects with another stunning Bear Macreary score.
Perhaps the real monster is the Hollywood demand for sequels regardless of quality.
When is a sequel not a sequel? When it’s 10 Cloverfield Lane. The hit follow-up to the iconic Cloverfield had a lot to live up to in terms of legacy but it opted for a different path than most sequels. Instead of being a direct continuation of the story, it serves as a “spiritual successor” which maintains the atmosphere of the IP and very little else. This is largely due to the film beginning development as an independent script from writers Josh Campbell and Matt Stuecken before J.J. Abrams’ production company Bad Robot swooped in and adapted it to fit the world of Cloverfield.
This means that the plot was the primary focus of the script rather than conforming to public perception of legacy or trying to continue a story that needs no continuation. The film sees recently brokenhearted Michelle trapped in a bunker with conspiracy theorist Howard and town handyman Emmet during a supposed global attack. It’s a tale full of twists, with each more crushing to our characters than the last. At the center of it is Howard, whose motivations are always in question whether he seems kind, quirky or malicious. He switches between playing the roles of protagonist and antagonist which keeps the audience on their toes. This would be true regardless of what horrors may or may not await in the outside world.
The ambiguity of what is happening outside adds a further layer of tension. Howard’s theories are never specific enough to be believable but that could just be because he doesn’t know for certain what has happened. This ambiguity would be enough but 10 Cloverfield Lane takes it one step further by seemingly confirming each theory as the story progresses. Is it attacks from Russia, invasion by aliens or is there simply nothing wrong at all? The major twist in the plot may seem to be whether Michelle can escape Howard (and that is a twist) but it’s primarily what may await her if she gets free. This reveal even pulls a bait-and-switch at the very last moment to keep the audience on edge for as long as possible. Knowing the outcome doesn’t harm the ending of the film either, it simply changes why this aspect is so tense. Instead of worrying what may happen to Michelle outside, we become concerned by the lengths she is willing to go through to escape Howard and meet her fate.
Despite not being a found footage flick, there is still a high level of realism present, largely due to the production methods. Instead of filming scenes out of sequence due to location and actor availability, the film was shot entirely in order minus a few pickup shots. They also used MDF Boards (painted to look like concrete) to construct a physical bunker which, aside from allowing them to film however they wanted, allows for a natural flow from room to room. There’s no trying to figure out schematics (a la Seinfeld’s apartment) because this is a physical space with a physical layout. It was also designed to look like it had been built in stages over the course of many years which is a minor enough detail that most probably won’t pick up on it but still adds a layer of authenticity. It’s all wrapped together in the bow that is Bear McCreary’s unsettling score. It allows for an added level of emotion manipulation that the original Cloverfield was never able to provide, and it is never overused. When the scene requires silence, it has it but when the tension needs lifting there’s the score. This is only one of McCreary’s many projects, but he would, most noticeably to me, go on to provide the score for Amazon’s Lord of the Rings: The Rings of Power.
There are those who will claim that the sequel is never as good as the original but films like 10 Cloverfield Lane prove that they are wrong. It’s not just on par with its predecessor, it surpasses it on every level. It has fewer elements in location and cast means that there is a much smaller room for error…so none are made. It’s worth getting trapped with.
When is a monster movie not a monster movie? When it’s Cloverfield. Yes, there’s a monster in it but it’s a more a catalyst for the plot than an actual antagonist. The film isn’t about the creature, it’s about the several lives being destroyed by it’s arrival. This is in stark contrast to something like A Quiet Place, where the protagonists are actively fending off their monsters but that’s only part of why Cloverfield works so well. It has become an icon of the horror genre, with producer J.J. Abrams being asked about the posibility of a sequel for almost a decade after it’s release. Eventually that sequel would come (sort of) and there would even be a threequel (sort of, we’ll get to that). Even now, the Cloverfield brand lives on, with a fourth installment reportedly in early development.
Even after a decade and the technological advancements that came with it, the simple story of Cloverfield remains tense to sit through. It follows a group of friends through the rapidly crumbling city of Manhattan as they attempt to reach a love interest trapped in her apartment that they can’t even garuntee is still alive. Tension builds through how unpredictable the stability of their surroundings areas are as well as how little is shown on screen. It makes excellent use of the found-footage style of filmmaking, proving the age-old adage that less is more. There are scenes where the monster is seen in it’s entirity but it spends the majority of the plot hidden behind buildings or smoke from debris. The biggest threat is the dog-sized parasites that fall from it’s body and lurk around possibly every corner that our protagonists may walk around. The creature designs are a little more basic than something from H.R. Gieger but they’re still memorable enough. The closest look that is given makes it clear that these creatures are more than a little bit gross, in a shot that stands out as one of the most memorable in the entire franchise.
The characters all feel realistic. None of them are the “hero” of the story, even though primary heartthrob Rob is presented that way. Even before the creature attacks, it’s clear that they lead messy lives. Jason and Lily argue like many couples but, although they may seem frustrated with each other, there is still obviously love there. Hud the cameraman and Marlene who wasn’t even meant to be at the party slowly form a bond over the course of the plot despite him being annoying and her being out of his league. Rob the “hero” is the one determined to save his love interest Beth but, having recently slept with her and not called her back, it feels like it’s primarily motivated out of guilt. Real life, much like this iteration of Manhattan, is messy and Cloverfield never shies away from that.
The cherry on top is the lack of score. There’s a Cloverfield Overture that plays through the credits and continues to keep the audience unsettled even after the plot is over, but the entire film has purely diagetic sound. Aside from making sense, given that this is supposed to be a tape found in Central Park, it allows the sound of silence to echo from the screen. There’s no jumpscare sound effects or quivering violins, the film has to scare with atmosphere alone. Even as the story races towards its conclusion and the action amps up, it never feels like a work of pure fiction. If a creature were to land in the middle of one of the most populated areas in the United States, this is likely how it would go down.
Providing visuals for a hypothetical attack is perhaps the most unnerving part of all.
Shakesqueer 