Let’s start with the big-picture stuff. The Timeless Children was fun to watch, but more than that: fascinating. It’s full of interesting ideas, and they all pretty much make sense. The rewriting of Time Lord history accords well what we have come to learn of that race’s mendacious tendencies, and the Doctor’s discovery of her own pre-Hartnell history makes perfect sense.
The Master’s role is crucial, his plan truly horrible; the Irish policeman’s story from last week plays into the big reveal in a perfectly cromulent way; and the reappearance of Ruth Clayton from Fugitive of the Judoon was welcome and not overcooked. I particularly liked how everything she said was reflecting back to the Doctor things she already knew.
It feels to me that this series is gearing up to be much stronger than series 11, and this penultimate episode does a fine job of setting the stage for the finale. I like that we’re left with three separate cliffhangers.
What I like even more is the way the episode built to that point, organically and progressively, almost as though there was some narrative craftsmanship involved. I found myself drawn into the story of the Irish foundling baby, and moved by it, to the point where it almost felt like an unwelcome jolt to be pulled out of that story into what was more obvious Doctor Who: how many backstory sequences can we say that for?
Do you have unmetered Internet access?
Do you have a nearby neighbour with either metered or no Internet access?
Give them your wireless password for the duration of the COVID-19 crisis. (You can change it later, to lock them out when the crisis has subsided.)
At this time, access to the Internet is literally a lifesaver. Not only that: with video calls the only human interaction some people have, lots of data is a lifesave. A connection limited to some number of Gbits per month is not going to cut it.
I feel like the ingredients are all there in this episode, but the somehow they spend most of the episode just sitting there. We have a cast of interesting historical characters in a web of ambiguous relationships, in the setting of an ostensibly haunted house on the night in which one of them should write one of the two greatest horror novels in the English language … but the tension never really ratchets up above “medium”.
To be fair, it kicks into gear in the last third, when tension has been abandoned and it becomes about the lone cyberman. But that gear-change serves to highlight how relatively weak everything up till then has been.
It was interesting seeing this one so soon after Praxeus. Like the earlier episode, Can You Hear Me? begins with a sequence of apparently disconnected vignettes — this time, monsters in Aleppo in 1380, Ryan’s distant friend Tibo, Yaz’s flashbacks to herself alone on a moorland road, and Graham’s visions of an imprisoned girl between two burning planets — and asks what thread ties them together.
But this time, there is such a thread, and it pretty much makes sense.
My eldest son, Daniel, just turned 22. Sushi is his favourite food, but of course we couldn’t take him to a restaurant during the Coronavirus crisis — and even in peacetime, the nearest good sushi restaurant to us is 67 miles away in Solihull. So I prepared his birthday meal.
Here, I am making the last of the nigiri — mostly salmon, some tuna. In the middle of the plate is a roll of my own invention, inspired by Peking duck pancakes in Chinese restaurants. It’s shredded chicken, sliced spring onions, hoi sin sauce and avocado. It was a big hit.
Dire Straits’ third album, Making Movies, has a stellar side one: Tunnel of Love, Romeo and Juliet, Skateaway. Only three songs, but all of them stone-cold classis, using their extended running times to great effect. But then on side two, it all falls apart, eventually staggering to embarrassing collapse with the cod-cabaret of Les Boys.
That’s Praxeus, that is.