In the desperate search for Melody Pond, the TARDIS crash lands in Thirties Berlin, as the time-travelling drama returns for the second half of the series shown earlier in the year. The ...
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In the desperate search for Melody Pond, the TARDIS crash lands in Thirties Berlin, as the time-travelling drama returns for the second half of the series shown earlier in the year. The Doctor comes face to face with the greatest war criminal in the Universe. And Hitler. Old friendships are tested to their limits as the Doctor suffers the ultimate betrayal and learns a harsh lesson in the cruelest warfare of all. As precious time ebbs away, the Doctor must teach his adversaries that time travel has responsibilities. And he must succeed before an almighty price is paid. Written by
BBC Press Release
When inside the Tardis, Mels fires her automatic pistol, resulting in a bullet hole in a glass-like partition. Later in 1938, post-regenerated Mels/River pulls the same gun from the fruit bowl on Hitler's desk then fires at the Doctor. The gun "clicks" on an empty chamber as the Doctor holds up the loaded magazine he removed earlier. Mels/River then tilts the gun so she (and the audience) can see the magazine well is indeed empty. Automatic handguns operate by using the gases from one shot to work the action and chamber the next round - hence, Mels/River should still have one live round in the chamber. Furthermore, although most such weapons have a safety feature which does not allow the discharge of a chambered round if the magazine is not seated properly, this safety feature does allow the round to fire if the magazine well is empty. Mels/River should have been able to fire that one round. See more »
Doctor, River was brainwashed to kill you right?
Well, she did kill me. And then she used her remaining lives to bring be back. As first dates go, I'd say that was mixed signals.
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DOCTOR WHO returns from its midseason hiatus with the Doctor in pursuit of the kidnapped Melody Pond. It is a fast, furious and frequently funny episode that shows off show-runner Steven Moffat's ability to make hairpin turns in plot, but often pushes the unfortunate edge of melodrama. I enjoyed it tremendously, particularly for the wonky lines, but...
A story is composed of character and plot: the people who inhabit it and the course of action they follow from beginning to end. In a well-made story, the characters drive the plots. Their actions, and the story are driven by who they are and their characters change -- which is what makes a story, rather than an anecdote -- in response to events.
"Let's Kill Hitler", however, gives me the definite feeling that the plot is driving the characters, particularly Melody Pond. The changes in her character seem more driven by her plot than the other way around. We see her as a psychopath who has been focused and programmed to kill the Doctor, as set out in the last episode. We know she will become River Song, who so loves the Doctor that she will sacrifice her life to save his in season Four's "Silence in the Library" two-parter. That is her plot, and her change in character here seems to proceed from a simple need to get from the psychopath to the loving woman. It feels like the lines of logic in the 1960s TV Batman, justifications and excuses. It's not drama, it's melodrama.
I enjoyed it immensely, but it's not great Doctor Who by any means. The jokes are funny and the performances are great. Nina Toussaint-White as the psychopathic Mels is wonderful, and Alex Kingston, as the newly-regenerated Melody Pond, entranced by her new body, is uproariously, bawdily funny. Arthur Darvill, as usual, makes the most of the put-upon Rory Williams, who knows how idiotically dangerous it all is, yet copes throughout. The story though, the plot, needs tinkering and probably another twenty minutes to fill in the details to make Melody's change in character work.
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