Tony ponders The
Difficult Second Story.
The End of The World.
New Earth.
The Beast Below.
Into the Dalek.
I mention these stories by
way of illustration that while a regeneration story is supposed to stamp a new
Doctor’s personality and vibe across our screens and our minds, their second
stories often come as just a little bit of a let-down. There may well be lots
of good stuff in them – in fact, there usually is – but rarely do they make
people’s all time top ten lists.
Paradise Towers. Attack of
the Cybermen. Four To Doomsday. You see the point? And yes, I fully cop to the
fact that the idea breaks down when you get to the first four Doctors, but it’s
been a clearly established trend for over thirty-five years – the second story
of any relatively modern Doctor is sort of expected
to be…a bit naff.
Enter Jodie Whittaker.
And…erm…well, here’s to
the continuation of a long and semi-proud tradition.
The Ghost Monument, as has
been regularly pointed out since it aired, is a kind of 21st century
Keys of Marinus. In other words, it’s lots of potentially interesting dangers,
mostly driven past on the way to a core objective. Dying in space when the planet
you expect to be there, isn’t – good potential for a story…solved, almost
instantly. Crashing to a planet that isn’t where it should be, in a rustbucket
spaceship. Solved, almost immediately. A race to enormous wealth and victory,
complicated instantly by the arrival of the Doctor and her mates. A planet
almost entirely inimical to life. Erm…OK. Acid water, one boat, an army of
killbots who can’t shoot straight. EMPs that kill all machinery except the
trackers the team are using to find their way. Magic killer rags that come to
life after dark. They’re all rushed through, meaning very little actually hits
home. As with the first episode of the series, there’s lots more time devoted
to characterisation than plot, and as with the first episode, it’s in the
characterisation that the real reason for watching The Ghost Monument is found
– the differing personalities and motivations of Angstrom and Epzo each have
something of value in them, with Angstrom (Susan Lynch) by far the most
convincing and the most sympathetic.
But in The Ghost Monument, this focus on ignoring all the potential plot elements that could have deserved exploration, in favour of the characterisation, leaves the audience high and dry once the race is jointly won and the characters zap off to their variously enriched destinies. In fact, the audience is already high and dry before that happens because despite all the stuff that would have been interesting to stick around and investigate, the solution to the mystery of Desolation is all written out quite neatly on the floor, meaning everything that’s led up to that point feels hollow and almost cynical, because it doesn’t need working out by the cleverest lifeform in the room. It just needs reading.
That sound you hear is the
shoulders of the fandom, shrugging in a massive collective ‘Well, that was
naff, wasn’t it?’
It’s a shrug not really
helped by the telegraphed-miles-ahead set-piece of Acetylene Fields and the
self-lighting cigar, and the remarkable convenience that the fields of gas
don’t go all the way to the ground. As a sequence, you can see what was in
Chris Chibnall’s head – ‘Need some drama, need the Doctor to Do Something
Clever.’ But ultimately, it’s neither dramatic enough nor clever enough to make
up for the whole ‘reading a shedload of exposition and explanation off the
floor’ thing, nor indeed the ‘Let’s mention the Stenza again just to make them
seem more fearsome than one cheating clueless bloke with a headful of molars’
moment.
All in all, The Ghost
Monument is never going to be remembered for the intricacies of its plotting or
its philosophical impact. It will however
be remembered for its visuals. Apart from the joy of the new title sequence and
theme variation, both of which are dark and classical (somewhat at odds with
the tone of the show itself, but approved of by most fans), there looks to be
an enormous amount of money spent on the show in this episode to make its
variety of environments, especially the custard-yellow sands of South Africa,
look genuinely alien. The ships look believably spaceworthy (albeit in the one
case, only just). And then there’s the Tardis reveal.
You could certainly make
the case that everything that comes before the last five minutes of The Ghost
Monument is padding ahead of the Tardis reveal, much as everything that comes
before the last ten minutes or so of The Christmas Invasion is padding ahead of
the full-on New Doctor reveal. And what you think of the Tardis reveal will
determine how often you re-watch The Ghost Monument. For my entirely personal
money, the teal exterior is a lovely tweak, (suggesting, if you want to get enormously
over-analytical about these things, a lighter-spirited, more optimistic
Doctor), and the majority of the console room is neatly retro, with its walls
that nod to both The Invasion Of Time and the Secondary Console Room giving it an
impressively designed-within-an-inch-of-its-life feel. The crystalline
crab-sticks that bend in to encase the console itself though seem as though
they’re creating a tighter, smaller, fairly claustrophobic area of operation in
an otherwise enormous room, giving the new Tardis interior the feeling of
actually being smaller on the inside, which will take some getting used to. As
for the console itself, set quirkiness to Matt Smith Max, with its twisty
things, and spinny things and biscuit-dispensary. Feel free to make up your own
headcanon for what the quirky things do (beyond dispensing Custard Creams), at
least until they’re given an official purpose. I have, and it all works
wonderfully.
Ultimately then, The Ghost
Monument joins a long list of ‘difficult second stories’ for new Doctors,
stories that are more about character and visuals than they are about making
any kind of sense. Will fans flock to re-watch The Ghost Monument in years to come?
Mmmmaybe, occasionally, just to see how the new Doctor coped on her first
post-regeneration outing, to see the stunning quality of the visuals and the
Tardis reveal, maybe – though less likely – to have some fun with some at least
vaguely interesting supporting characters. It’s never going to be must-watch
Who, it’s too clunkily put-together for that. But in the line-up of second
stories from Four to Doomsday to Into The Dalek, it can hold its head up at
least reasonably high.
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