Hell Bent – New Who Season 9 Episode 12 Review

Season finale here we go!!  Spoilers as always.

We open up to the Doctor getting out of a truck in Nevada with a bag and a guitar.  Not how we left off, but I like the visual.  He enters a diner and there’s Clara working as a waitress.  Haven’t we seen this diner before?  I’ll come back to that later.  They chat while he plays, he says the song’s name is “Clara” and she says “tell me about her”.  Clara doesn’t know who Clara is?

After the credits we’re back to Gallifrey.  The Doctor marches through the desert while the Sisterhood of Karn join the High Council.  Well, he’s actually going to the barn that we saw in The Day of the Doctor, where he had the Moment.  An old woman comes in and looks very happy to see him.  His mother?  Next thing we know he’s at a small table eating with a massive group gathered around him.  He looks kind of happy until a ship comes down and points a giant gun at everyone.  The Doctor gets up, draws a line in the sand, then goes back to his meal.

First the head of the military arrives at his door.  He shuts it on him.  Next the high council. The same.  Next, the president.  When the president offers his hand, the Doctor drops the confession dial containing his torture chamber at his feet and tells him to leave the planet.  The president tells soldiers to aim at the Doctor and fire on his command, but because the Doctor is a war hero, the soldiers won’t do it right away.  We see them aim and fire and then we switch back to the diner.

So if you haven’t been following, this is the part where I tell you that the diner isn’t really a diner.  It’s more the in-your-own-head kind, where the Doctor is going to tell Clara how clever he is.  Right?

Okay, so all of the soldiers intentionally miss.  Then, a few at a time, they drop their weapons and join the Doctor.  Reinforcements arrive to aid the Doctor, and even the head of the military joins him.  The president is told to get off the planet, and later the head of the military points out that he may have nowhere to go because they’re at the far end of everything.  The Doctor says he doesn’t care, and he plans to send the high council off as well.

The Doctor has a chat with the military head and sisters.  Basically what we already knew about the Hybrid according to their prophecies.  He promises to save them but needs an extraction chamber to talk to an old friend.

Flash back to Clara’s death and time freezes just before the raven enters her.  She goes into the extraction chamber and it’s explained to her that she’s basically in a form of stasis and once they’re done with her she’ll be returned to the moment she was in previously and will die as she was supposed to.  The Doctor grabs a gun with the intent of saving her, but Clara tries to talk him out of it.  They say if they save her time will fracture. He asks the head of security how many regenerations he has left before shooting him, grabbing a human compatible neural block and taking Clara away.

The head of security regenerates into a woman, and the sisters come in.  They say he’s going to the Cloisters, and they were right.

Back at the diner, the Doctor is telling his waitress this story, though made less spacey and more Earthy.  She tells her that he had to wipe Clara’s memories of him to protect her.  So it looks like the diner isn’t in his mind after all.

With the Cloisters we see various creatures that tried to break in and were trapped, including a Dalek, several Weeping Angels and a Cyberman.  They find the hatch out but are trying to work out the key to open it.  While they chat, Clara realizes it’s been an extremely long time for the Doctor since he’s seen her.  You can see that makes her sad.  When this is all said and done they’ll most likely need to say goodbye again, and I’m not sure I can handle that twice in one day.  She asks lots of questions about what happened, and he downplayed it as he told the story.  While this was happening the military and sisters were arriving.  So Clara asked *them* how long he was trapped inside the confession dial.  The answer was 4.5 billion years… they *think*.  Clara was devastated.  She told the Doctor that her time was up and they needed to tell each other everything they needed to say because this was it.  I can’t handle this… Seriously.

She then goes back to the Time Lords and tells them they’re monsters.  She’s right though.  She gave them a short speech about how terrible they are and when they asked what she said to him she replied that she told him not to worry and that they’d all be looking at her.  Of course when they looked over he was gone.  They asked what he’d do and she told them he was stealing a TARDIS and running away, at about the time one materialized around her.

The Doctor said she should be “alive again” once they broke free of Gallifrey but she didn’t get a pulse back.  The tattoo is also still on her neck.  They head to the end of time and she still has no pulse.  There’s a knock at the door and the Doctor says it’s me.  He goes outside and there’s Ashildr.

“Do you know why we run, Doctor?  Because summer can’t last forever.” – Ashildr

Hmmmm, sounds very Game-of-Thrones-y to me.  In their quick little chat, Ashildr basically says that Clara died for who she was and they don’t have the right to change that.  Then inside the TARDIS Clara uses the sonic sunglasses to turn on the viewscreen, just in time for a conversation about the Hybrid.  The Doctor suggests it’s Ashildr and she suggests it’s him.  In reality, Ashildr thinks it’s actually a combination of two people – the Doctor and Clara.  She points out that Missy introduced the two of them.  The Doctor then tells Ashildr that he knows he went too far and he plans to save Clara by putting her on Earth somewhere in the middle of nowhere and wiping her memory of him.  He plans to tell her first, or so he says.

They both come inside the TARDIS and Clara says she was watching.  When the Doctor explains his intentions she says that she used the sonic sunglasses on the neural block and she’s keeping her memories.  The Doctor tells her she’s right.  But he’s gone too far to protect her so one of them has to go.  He says he doesn’t know what the block will do, but I think he does.  They push the button together.  The Doctor starts to pass out, then says goodbye to Clara and out he goes.  Damn it I’m crying again.

The Doctor wakes up in the desert with a man standing over him.  The man says Clara asked him to look out for him and that he might be a little upset.  At the diner, the Doctor explains that he knows there was a girl whose name was Clara, he knows they traveled together by the holes in his memory, knows the adventures, but can’t remember *her*.  Only her name.  I’m sad all over again…

He starts spinning in his chair saying he thinks they were there together once.  Just enough time for Clara to wipe the tears from her eyes and for me to start all out bawling.  He then remembers that it was Amy and Rory he was in the diner with.  Clara dropped a hint about maybe the memory of what she said to him in the Cloisters becoming a song… maybe the one he was playing.  She walks into the back room of the diner, which is now the inside of the TARDIS with Ashildr inside.  The diner disappears from around him as the TARDIS takes off and he’s left in the desert again.  And he’s standing in front of his own TARDIS.  The front of it has been decorated as a memorial to Clara… including her image.

In the other TARDIS Ashildr thinks the chameleon circuit is broken so the exterior will be stuck as a diner.  Must be a common problem with those things.  Clara still has no pulse, so she knows she has to die.  To do that she has to go back to Gallifrey so they can put her back in her time stream.  But she can take the long way round, so it looks like she’ll travel with Ashildr for a bit.  That means we could potentially see them again or even (I hope not) have a spinoff, although *someone* would need to get killed off of Game of Thrones first.

The Doctor steps inside his TARDIS while we listen to what I like to call “The Clara Music”.  I suppose we won’t be hearing that anymore, which makes me sad.  Everything lights up, and on Clara’s chalkboard we see “Run you clever boy… and be a Doctor”.  His velvet jacket is hanging there as well so he puts it on.  We also get a brand spanking new sonic screwdriver and the doors close with a snap of the fingers.  Then he goes off to his next adventure, which will be the Christmas special.

I really didn’t think I was this attached to Clara, but I guess I was.  That or I’m a stupid emotional woman, maybe both.  I have a ton of theories and things going on in my brain right now but because there could be about a million different things …

Bassinet

Now this kid sleeps in style!

Bassinet

Time Lord Academy Graduation Certificate

Every good Time Lord needs one of these!

Graduation

Tom Baker Talks About His Return

From Unreality Primetime:

Following his surprise appearance in last Novembers Doctor Who 50th anniversary special, former Time Lord Tom Baker has expressed his thanks to fans and wished them all a happy New Year!

Baker, who appeared on our BBC screens as the fourth incarnation of The Doctor from 1974 – 1981, appeared briefly in the global celebration of the hugely popular BBC family sci-fi series, The Day of the Doctor, helping to guide then current Time Lord, Matt Smith on his quest to save the world from himself.

His appearance was warmly welcomed across the world, and Baker has revealed on his official website how he felt “swamped in love” following fans reactions, as well as revealing that he and Matt Smith did not discuss his appearance in the episode, explaining:

“Wonderful messages came in from around the world following his cameo in the The Day of the Doctor, which he revealed was filmed in Cardiff last spring. Through the wintry darkness of April, I travelled to Cardiff where my scene was to be shot. The BBC decided that I shouldn’t stay in a hotel in Cardiff in case people guessed what I was there for. Matt and I did not discuss the scene or talk about what it might mean; God forbid! No, we started just after eight am and about four hours later I was released.”

Baker also took the opportunity to reveal his experience of the London ExCel three day party held in the shows honour over the weekend of the anniversary, explaining:

“It was tumult: the fans cheered as if I had come back from the dead and the cheering did the trick… I travelled back in time: it was wonderful. I enjoyed it all.”

Finally Baker divulged his power-less Christmas period having been in the midst of the South East storms which left many homes without power over the Christmas period, as well as thanking fans for their support:

“Sue & I had to manage the best we could in the darkness, trying to be cheerful and entertaining ourselves. He looks forward to completing more recordings for Big Finish Productions in the New Year. I have never been happier at work than I am with my colleagues at Big Finish. The actors are well cast and are wonderful company.

“I am constantly touched and amazed by the personal stories people have told in my guestbook about how watching Doctor Who helped them through difficult times and inspired them to make something of their lives. Thank you for sharing these wonderful stories with me and other fans. I certainly find it very interesting.”

Doctor Who returns later this year for its eighth series, with new Doctor, Peter Capaldi at the helm of the infamous Tardis!

Santa

Santa

More Numbers

Entertainment Weekly has some more numbers for us:

The Time Lord has conquered the box office.

A special nationwide 3D screening of the Doctor Who 50th anniversary TV special “Day of the Doctor” grossed a stunning $4.8 million at the U.S. box office.

What makes this particularly impressive: That’s from one night. The 75-minute “Day of the Doctor” screened in 660 theaters as a one-night-only special event Monday and averaged $7,155 per location, with 320,000 tickets sold. Granted, the tix were $15 a pop, so that certainly helped.

In fact, the BBC’s cult favorite show was the No. 2 movie in America on Monday, behind only The Hunger Games: Catching Fire. Its gross is nearly as much as The Wizard of Oz in 3D made during its entire run earlier this year ($5.5 million). And it was more than indie fav Much Ado About Nothing ($4.3 million) or bomb The Fifth Estate ($3.3 million).

And don’t forget: This screening was two days after the episode had already premiered on BBC America, so most fans had already seen it. On limited Saturday screenings, the show racked up $204,000 in the U.S. box office and $2.9 million at the UK box office.

“It’s incredible that Doctor Who has made history once again, setting record numbers across the board on BBC America, in social media, and now in theaters. It’s a testament to the fans and their dedication for Doctor Who,” said Soumya Sriraman, EVP Home Entertainment and Licensing, BBC Worldwide North America.

Doctor Who wasn’t too scruffy in the TV ratings either. A total of 2.4 million viewers watched the special’s first telecast at 2:50 p.m. ET on Saturday, breaking BBC America’s ratings records. That total rose to 3.6 million once including the show’s encore.

Moffat on Regenerations

Another from BBC America.  Now remember folks, rule #1 is that the Doctor lies.  Rule #2 – so does Moffat:

It’s been, what, 36 hours since “The Day of the Doctor” finished, and already debate is starting to build up over what the inclusion of John Hurt’s War Doctor will mean in terms of the regeneration rules.

In case you have only a passing interest, it’s been a staple of Doctor Who that Time Lords are only given the ability to regenerate 12 times, giving 13 possible incarnations. This was first stated in the 1976 story “The Deadly Assassin,” in relation to the Master, but as time has gone by, it’s becoming a more pressing issue for the continuation of the show.

Although it was thought that we had at least one last regeneration after the Eleventh becomes the Twelfth Doctor on Christmas Day. However, Steven Moffat has now revealed that this is not the case.

Speaking to the Daily Mirror, he pointed out that the Metacrisis Doctor (generated when the Tenth Doctor was shot by a Dalek and he diverted the excess regeneration energy into his own severed hand) counts as one regeneration, and now so does the War Doctor.

So the Eleventh Doctor is now the Thirteenth Doctor (despite what Mr Moffat may have previously clamed). And Peter Capaldi is lined up to play a man who cannot exist.

Or, as Steven himself has put it: ”The 12 regenerations limit is a central part of Doctor Who mythology – science fiction is all about rules, you can’t just casually break them.

“So if the Doctor can never change again, what’s Peter Capaldi doing in the Christmas special?”

Naturally, he offers no reply to this question, nor should we expect one until…ooh, December 25?

Thoughts?

The Time Of The Doctor

Staring at the title of this post wondering what the heck is going on?  Type?  Nope!

The title of the Christmas special has been revealed, which is obviously The Time of the Doctor.  The official synopsis has also been released:

“Orbiting a quiet backwater planet, the massed forces of the universe’s deadliest species gather, drawn to a mysterious message that echoes out to the stars. And amongst them – the Doctor. Rescuing Clara from a family Christmas dinner, the Time Lord and his best friend must learn what this enigmatic signal means for his own fate and that of the universe.”

We also have some official artwork:

Official2

official

11 looks positively evil!  Of course, we know he regenerates, so maybe he’s angry about it 🙂

I’ve heard/read that some people see Doctors in the fire by 11’s left hand, but I can’t see it.  Maybe I’m just blind.  Although, is that the Silence off to the left?

The Eleventh Hour Panel

There was a panel the day before The Day of the Doctor aired, at the Doctor Who celebration in London.  Of course BBC America had someone on hand to report.  Maybe someday I can get to do one of these things 😉 :

Themes of loss and rebirth loomed above “The Eleventh Doctor” panel today at the Doctor Who celebration featuring Matt SmithJenna Coleman, showrunner Steven Moffat, and producer Marcus Wilson.

By the end of Christmas Day this year, two of those names—Smith and Wilson—will have officially departed the show, while the other two will usher in a new era of Who with Twelfth Doctor Peter Capaldi.

But this transition will not occur without a period of mourning. Asked about her saddest moment while on the show, Coleman responded, “Saying goodbye to this one,” pointing at her partner-in-crime, Eleventh Doctor Matt Smith, who will be subsumed in a blaze of regenerative energy and turn into Capaldi in this year’s Christmas special.

Moffat agreed: Matt’s departure would be the saddest moment for him in his three years running the series. After all, Moffat took over the reins of the show as an ultimate fan, and Smith embodied the character he grew up loving. “I’ve worked on many shows,” Moffat said. “Some I’ve created. I’ve never been as emotional about them as I am about Doctor Who.”

But Doctor Who revives itself through constant changes, with companions coming and going, and the Doctor taking on new forms. “You never tire of seeing someone enter the TARDIS for the first time,” Coleman said when asked about why Doctor Who endures.

Finding an appealing, commanding Doctor has always been a key part of the show’s survival, and Matt Smith seemed almost genetically engineered for the role. Moffat revealed that the production team were “almost certain we were going with someone older, since David Tennant was a young Doctor.” But that’s because they hadn’t met Matt Smith yet, and when he auditioned, he immediately nailed the crotchetiness necessary for playing a 900-year-old. (Moffat boasts that he has the casting tape on his laptop. Will it make its way to YouTube one day?)

Fans, who loved the romance and righteousness Tennant brought to the Time Lord, were willing to give a new actor a chance. Smith, whose hair is finally growing back after he sheared it off for Ryan Gosling‘s How To Catch a Monster, waxed rhapsodic over his rock star reception at the Village East Cinemas for the U.S. premiere of his Doctor debut, “The Eleventh Hour.” “You guys go wild for it over there,” he said.

“I tried to embrace his old crankiness while have a young face,” Smith said.

Meanwhile, Smith says the Doctor is in good hands with Capaldi. “Peter Capaldi is an actor of the highest regard,” said Smith. “Anyone with doubts should watchThe Thick Of It.”

But, of course, before Capaldi takes over the TARDIS, there’s still Smith’s penultimate episode, the much-awaited “The Day of the Doctor.” The panel was mostly mum about the highly guarded plot details of the 50th anniversary episode. Moffat praised Marcus Wilson’s contributions to it: “The 50th looks like a multimillion dollar blockbuster, and it’s all because of this guy,” gesturing toward Wilson. (Wilson, whose final episode is the Christmas special, says he’s sad but “I’m going out with a bang.”)

Meanwhile, Jenna Coleman’s lips are sealed when it comes to revealing former companion Billie Piper‘s role in “The Day of the Doctor.” “I have been told to say nothing regarding Billie,” she told the crowd. “So that will be a big surprise tomorrow night.”

Gaiman and Dicks Talk to the Reg

Neil Gaiman and Terrance Dicks talked to The Register about Who:

Doctor Who @ 50 Two writers stand at opposite ends of the Doctor Who anniversary – cult graphic novelist and author Neil Gaiman and veteran TV man Terrance Dicks.

Gaiman contributed just a single story to Doctor Who: a tale that personified the TARDIS as a woman named Idris, lending flesh to the love of the Doctor’s life and articulating an intense and eternal relationship that could never be physically consummated.

Dicks wrote many episodes between 1969 and 1974, with 70 Who novelisations to his name. He’s best known for cranking out the epic 10-parter The War Games. If anybody knows Doctor Who it is Dicks, whose Time Lord was more time buccaneer than time anguisher.

On the brink of the fiftieth anniversary episode, on 23 November, Gaiman and Dicks talked to us about five decades of change: simple plots, late scripts, Colin Baker’s silly costume, “incoherent crap”, and getting giggly over the 50th anniversary…

Neil Gaiman

The Reg: You’re the multiverse-minded storyteller whose Who credits include 2011’s The Doctor’s Wife. Are you preposterously excited at the prospect of the fiftieth anniversary episode?

Neil Gaiman: I actually am. I love it so much, especially here in the fiftieth anniversary year. It’s magic. Amanda [Palmer, Gaiman’s musician wife] and I are doing An Evening With Neil And Amanda in New York on Saturday, but because of the magic of the international dateline I will be able to go and see the fiftieth anniversary episode in 3D in the cinema, simulcast with the UK, in the afternoon. I love that. And I think the possibility that I will get through that live show without saying something about Doctor Who is zero – it will definitely happen.

The Reg: Without wishing to grovel, The Doctor’s Wife is one of the outstanding recent episodes.

NG: I felt really, peculiarly honoured to be allowed to write that, and to have been allowed to go and play in the Doctor Who sandbox. I’d had this story in my head and Steven Moffat [writer and later producer of the new Whos] just let me go with it. And when it looked like they couldn’t actually afford it in the first season, rather than try to do it on not enough money, and in a hurry, they bumped it to the next season and gave it lots of money. So we actually got to do it properly. I was just so lucky with that – we had a great director, wonderful actors and I got to use all of the things I’d ever wondered about the TARDIS since I was three.

The Reg :The main one being?

NG: I think I must’ve been about eight when I decided that actually what the TARDIS did was it went to, you know, where the Doctor needed to be. Getting to put that line from eight-year-old Neil into Doctor Who was fantastic. Because we all kind of knew it, there wasn’t anybody who watched The Doctor’s Wife and said: “This is not true!” Everybody said: “Oh yeah – that’s how it works.” And the lovely thing about it is, it kind of ever so slightly changes everything that went before… but it doesn’t.

The Reg: Peter Capaldi looks like he’s going to make a very convincing Doctor – he is just him.

NG: It’s one of those ones. And he’s the perfect Doctor after Matt Smith. Matt Smith’s such a puppy, and you know what whatever Peter does he’s going to be a wise old dog, and I think we need one of them now. There’s something gloriously Hartnellian about him, and it’s nice, that idea that it’s somehow gone full circle.

Terrance Dicks

The Reg: Forty-four years after you first wrote for it, and fifty since its début, how has Doctor Who survived?

Terrance Dicks: I’ve always said that the reason for its success is its variety. The show constantly undergoes change, whether major or minor – getting a new Doctor, the changing companions – and if it’s working it just carries you along. It evolves like a living thing, in fact, but the continuity and the central thread of the show is the Doctor, who is always the Doctor, with the same characteristics and attitudes, ideals and morals.

The Reg: Was this part of your plan when you became script editor?

TD: My plan was to get the bloody show out, on the air! When people asked me: “What were your aims and ambitions for the show?” I’d say: “That the BBC did not have to show the test card at 6pm on Saturday night.”

When I arrived [Dicks was appointed assistant script editor in 1968], the script situation was fairly diabolical and chaotic – they were very often late, and shows were falling through. The most extreme example of I can think of is when a four-parter and six-parter had fallen through, and [script editor] Derrick Sherwin came into my office and said: “Terrance, we need a 10-part Doctor Who and you’re going to write it and we need it next week.”

I exaggerate slightly but not much. I called Mac [Malcolm] Hulke, who’d been my friend and mentor in the business, as it were, and we wrote The War Games together, a script every two days. Obviously, it’s madness to do a 10-part Doctor Who!

Dicks on The War Games

The Reg: But people really dig The War Games!

TD: Yes. In the past I was always a bit apologetic about The War Games, at conventions. I’d say: “The opening episode’s good – they’re in the First World War and a Roman chariot comes out of the mist, that’s a great moment. And the end, with the trial of the Doctor when he’s condemned to turn into Jon Pertwee, is good. But in between there’s a lot of running up and down corridors, escapes and captures.

When it came out on DVD, there was a big review in the Doctor Who magazine which said: “Terrance has been talking nonsense, it’s excellent all the way through.” I was highly delighted to be proved wrong.

The Reg: Is there a particular Who phase you rate?

TD: The whole of the Pertwee era [1970-74], though I’m a bit sort of schizophrenic about the Doctor being exiled to Earth. I love UNIT and the UNIT stories, but of every story is a UNIT story, monotony is going to set in, and in any case, it’s not Doctor WhoDoctor Who is the Doctor saying: “Come for a trip in the TARDIS, I know this delightful planet”, and when they arrive monsters jump on them immediately. So we spent at least a season, maybe more, getting the Doctor up and away again.

The Reg: Some viewers have mixed feelings about the ’80s Who.

TD: My feeling aren’t at all mixed. There was a decline without a doubt. I think the people working on it, particularly John Nathan-Turner [producer 1980-89], were not fit for purpose, as it were. Colin Baker, for example, never got a chance with that silly costume, which I thought was a great shame. I was sorry but I wasn’t surprised when they took it off.

When they did the 1996 movie, Barry [Letts, producer 1969-74) and I both hated it – a BBC mandarin asked me what I thought of it, and I said: “Incoherent crap.” The one thing they got right was Paul McGann. I was sorry when it didn’t go to series, though with an Anglo-American project you’re always in a dodgy situation. So I was highly delighted when it came back with such a bang in 2005.

The Reg: Comparing the two epochs, what has been lost and what’s been gained, do you think?

TD: What has been gained is pace, complexity and of course spectacle, with special effects – they’ve got a much bigger budget than we had. What’s been lost a little, I think, is narrative structure and everything making sense. Having just 50 minutes, they sometimes have to whizz through a story, sometimes too quickly. It’s not the show I worked on and it’s neither better nor worse, just thoroughly different.

I don’t always understand it but I still watch it and I think Matt Smith and David Tennant were both born-to-play-it people, like the first handful (of Doctors) pretty much were. David Tennant was terrific – if it wasn’t for Pertwee he’d be in the running for my favourite I think.

The Reg: Would you pass on any wisdom to the current producers?

TD: I think the essential character of the Doctor certainly shouldn’t change, but I’ve served my time on Who, and it’s not my business to tell them how to do it. It is, though, largely made by people who grew up reading my Doctor Who books, ha ha!