#AI Generator | Explore Tumblr posts and blogs

timeagainreviews · 2 months ago

Text

The Robot Revolution Will Be Televised

If headlines were anything to go by, pre-screened reviews of the latest episode of Doctor Who, “The Robot Revolution,” were mixed. The ending was referred to as “controversial.” My gut reaction was worry that it would be yet another lore change. I felt like the Babadook mum screaming, “Why can’t you just be normal?” There were a couple of moments that I felt could be divisive. Cat fanciers might have balked at the untimely demise of Lucy from number 7’s cat. Then there was the moment when our lovable robot pal, Scoot, vacuums up Alan at his most zygotic. But Lucy from number 7’s cat was quite literally RTD doing the opposite of saving the cat to let you know these robots are bad business. And the sperm and egg line is so camp that it’s going to be one of those “my girlfriend is a paving slab instances.” But we know the real reason this episode might spark controversy.

Was that the first cannon mention of sperm in Doctor Who? I certainly can’t recall another instance of the word in the show’s nearly 62 years of existence. The new Davies era has added quite a few new words to Doctor Who’s lexicon. We now have cosplay, sperm, and even incel. That’s two new additions in a single episode! Bravo! Jokes aside, it’s the incels who may or may not be mad about this episode. I’ve learned to turn down the volume of those types of people years ago. I often refer to it as background static because that’s what it is. The truth is, the only issue I have with Belinda Chandra saying “It’s the planet of the incels,” is that it’s a bit on the nose. But this episode is so camp that I’m not even upset.

The Chibnall era had the unfortunate knock-on effect on people’s perception of a woman Doctor. Because the show wasn’t very good, some people (idiots) blamed it on Jodie Whittaker’s gender. Another knock-on effect was how it made so any legitimate criticism of the era also had to first combat claims of sexism. It was a messy time in the fandom. But when the show is good and people are still complaining, then what is the complaint? No episode of Doctor Who is perfect, but this might be one of those times where if you didn’t like the episode, it’s probably because you’re an incel. You’d have to make one hell of an argument because, baby, I had fun!

My impression of Russell T Davies has always been that he’s a man who appreciates when Doctor Who is a little camp. He even refers to the Robots as “camp” on Doctor Who Unleashed. Part of Doctor Who’s charm is that it exists in a hyper-reality where Doctor Who is possible. This week, he leaned heavily on the retro-futurism of ‘50s B-movies, citing 1955’s “This Island Earth” as one of his main inspirations. Fans of Mystery Science Theatre 3000 will be well-acquainted with This Island Earth, as it’s the film they riff in the MST3K movie. It’s a gloriously corny bit of science fiction from Universal in their post-horror era. The AI Generator’s throne room could easily have existed on Metaluna.

However, the usage of retro-futurism here is also part of a growing trend in sci-fi to embrace vintage tech. In the Alien franchise, we’ve seen the return of the chonky mechanical keyboards of the Nostromo. The computers in Star Wars still look like absolute dogshit. And. I. Am. Here. For. It. It’s nice to see the Doctor using computer panels that resemble something the Second Doctor would have utterly destroyed. I’m reminded of “World Enough and Time/The Doctor Falls,” when they took the look of the Cybermen from “The Tenth Planet,” and updated their texture and materials enough to make them seem realistic. Things don’t always need to look how you expect them to, they can look how they need to look. The Doctor doesn’t need to pull up a Tony Stark-type HUD of holographic buttons for me to believe he’s on an alien planet.

Grounding this fantastic wonderworld in a bit of much-needed reality is Varada Sethu as Belinda Chandra. Belinda is a nurse who works hard for the NHS. She lives off of the least spoiled items in a community fridge. She’s a no-nonsense type who treats her work with the utmost sincerity. For the most part, nobody needs to tell us that Belinda takes her job seriously because it’s evident through her actions. Belinda doesn’t just sleep soundly; she sleeps on her stomach over her covers, presumably where she collapsed in exhaustion the instant she got home. This is precisely the sort of character work I’ve been missing from RTD since he returned. His work crafting the Tyler household was so strong that you felt as though you knew Jackie and Rose. I hope he keeps developing Belinda in this fashion.

We first meet Belinda as a teenager, talking to her dickweed of a boyfriend, Alan Budd. It’s clear from the outset that Alan doesn’t respect or even particularly like Belinda. He wants to possess and control her. He names a star after her but needs to associate it with her marital status by adding “Miss” at the beginning of her name. He critiques how she tears open her gift. He also steals the world’s most awkward and unearned kiss from her. In part, Alan is a knob and she knows it.

I found it a bit odd that Belinda would keep the star certificate all of these years later. But despite the irksome “Miss,” or Alan’s name on the diploma, it is still a bit cool to have a star named after you. Alan, as it would turn out, was the least significant part of that equation. In the words of Bilbo Baggins, “Why not keep it?” The episode wastes no time bringing the Robots into Belinda’s life. They drop in, break down some walls, terrify some nurses, and vaporise Lucy from number 7’s cat. RIP kitty. But things don’t happen so fast as to deny us a brief moment with the enigmatic and fourth-wall-breaking Mrs Flood. She’s up to her usual spooky shit. Very little new to report there. The question one must ask, however, is whether Belinda lives near where Ruby lived, or does Mrs Flood get about?

The Doctor tries to save Belinda, but as he’s chasing her, both she and the Doctor experience a “schwup,” in the space-time continuum, causing them to arrive at their destination at different points in time. Their destination? Missbelindachandra One is a planet whose name I would have read as gibberish the first few times in a book but is simply Belinda’s name as it appears on the star certificate, sans spacing, plus one. The Robots are the merciless hatchetmen of an imbicilic AI Generator. This is one of those rare moments where Doctor Who referencing current events doesn’t feel painfully dated, as the AI debate still rages on. You’ll be happy to know that anything you ever read on my blog is always 100% me. Fuck AI.

The Doctor has ingratiated himself into society on Missbelindachandra One. He holds the prestigious title of historian, which, when you consider megalomanics and their attitude toward accurate history must have been torture to the Doctor. Can you imagine trying to spin the AI Generator’s status as a bronze Torbjorn main as something cool? The Doctor truly is selfless. I’d have been stealing shit from the office every day. Call it quiet quitting, I call it fighting the power. My wibbly wobbly timey wimey lunch breaks would redefine the meaning of thirty minutes. Though, I do find the timing all to be a bit off. The Doctor says it took him a long time to rise to the role of Historian, but he’d been there for 6 months before Sasha 55 discovered him. Though, as we’ve learned from the Eleventh Doctor, any time sitting still is interminable. In an episode so fucky, it’s ironic that that’s the only timeline that confuses me.

Spoilers for the 1994 Jean-Claude Van Damme action sci-fi movie “Timecop,” but this episode reminded me of Timecop. Particularly, the moment when the evil Senator MacComb touches himself from another timeline, and the two melt into a puddle. It left an impression on 11-year-old me as it was one more way, like quicksand, which could totally kill me. Previously on Doctor Who, two of the same object or person co-existing has a plethora of effects, especially when those two items or people touch. Rose Tyler holds baby Rose Tyler, and the walls of reality weaken. Amy Pond touches her younger self, and nothing happens. Two of the same sonic screwdriver throw sparks. These diplomas throw us into a trippy Troughtonesque psychedelia where people age in and out of form like a Chris Cunningham video. It's a stunning bit of film making, and that shit reminded me of Timecop.

Much of this episode reminded me of other stories. We have echoes of “The Girl in the Fireplace,” with a society of automatons (and people) taking a name too literally. My sister and I are watching through modern Who at the moment, and we found weird parallels within “Dinosaurs on a Spaceship.” The villainous Solomon even spurred my sister into saying “Incels make the best villains.” Too true, Rachelle. Too true. But the story which I thought of the most was the Seventh Doctor adventure, “Paradise Towers.” You have a dystopian future where society is thrown into chaos by an overzealous artificial intelligence. My friend Gerry and I both commented that the moment Manny showed up, we both thought of Pex. The big evil robot faces even compliment each other. I also thought of Futurama’s Femputer, which is really secretly a Fembot, which is itself a reference to The Wizard of Oz.

A man behind a curtain is exactly the issue. Alan Budd is our AI Generator. After Belinda inadvertently got Alan kidnapped ten years in the past (thanks to the schwup), he became a sadistic ruler over Missbelindachandrakind. However, due to a fault in programming, he runs on an 8-part cycle, rendering him and his robot thugs unable to hear every ninth word. Because of this, a rebellion was able to form against the AI Generator. But he too is fighting his own rebellion against himself, the Alan part of him that exists within every ninth moment yearns for death. He’s a pathetic figure, really. He’s an idiot’s idea of power. A very apt archetype for today’s leadership. I like to think it was a conscious decision on the effects department’s behalf to make one of his arms way bigger than the other. Alan is clearly working out at Onan’s Gym. It really is the cherry on top of an already stunning design.

Davies’ season openers are usually airier romps. Something to dip our toes back into the world of Doctor Who. Aspects reminded me of “Smith and Jones,” when the Judoon force the Doctor and his new companion into meeting through kidnapping. “Star Wars: The Force Awakens,” while initially praised as a return in tone to the Star Wars franchise, has since been reappraised (perhaps unfairly) as a rehash of the original film. Similar criticisms have been lobbied toward RTD, which accuse him of recycling older concepts from Doctor Who. It comes with the territory when a writer returns to a franchise. You’re bound to see some of the same themes. But Doctor Who does this a lot. “The Hungry Earth/Cold Blood” is basically a rehash of “The Silurians,” with a dash of “Frontios” thrown in for good measure. “Rise of the Cybermen/The Age of Steel” is a reimagining of the origins of the Cybermen, swapping the mirrored “Tenth Planet” of Mondas for an alternate reality Earth. We’re in season two of this new version of the show, expect to see more “remixing” of the classics. You’re old now.

One thing which I hoped Davies would do is chill out a bit. Stop trying so hard and just let loose a little. This feels like that. When Rose Noble gave her speech about being non-binary in “The Star Beast,” I complained that it felt a bit clunky. It had that awkward David Lynch is your uncle telling transphobes to fix their hearts or die energy to it. It comes out a bit weird, but his heart is in the right place. But with this story, it felt more natural. Sure, lines like “You’ve taken coercive control and made it complete control of the whole planet,” are a bit on the nose, but as I said earlier, the camp tone affords those moments. This all feels very deliberate and considered.

Much of the script feels thoughtful, which in turn proves to be thought-provoking. One aspect to science fiction I’ve always wondered about was whether “humans” in things like Star Wars are like us. Belinda asks a question that you seldom hear come up in sci-fi, and that is whether or not Missbelindachandrakind share a similar physiology to humans. I love that not only does Davies ask the question, but he even takes the time to discuss the differences for no reason other than flavour. It’s nice to see Davies having fun with the ideas he’s bringing up. This tells me he’s engaging with his own concepts and developing them in a way that says, “Thank god we have more writers this year.” He’s not just in love with his ideas, he’s exploring them.

Some fans will have been disappointed that the skeletal ray gun effect from the trailers wasn’t the result of Daleks. I even saw fan theories that Alan’s golden form was the new look for Omega. This is exactly why I stay away from fan speculation as it’s never accurate. However, one clarification from the trailer for which I was grateful was the origin of the Doctor’s cream coloured costume. While the annoying side of the internet was busy melting down over the Doctor’s blue kilt, I was quietly hating on the cream coloured costume that he wears throughout this episode. Ncuti Gatwa’s Doctor Who costumes have been rather varied, but generally keep to a few themes. We see a recurrence of tartan patterns, overcoats, and tight fitting shirts. His costume here is the only one from the trailer which felt wrong for the Doctor. So I am very pleased that there was a story reason he was dressed so drab.

Ncuti and Varada have believable chemistry. I like that it’s not so cut and dry. The Doctor is trying to be flashy and cryptic, whereas Belinda is reserved and direct. She doesn’t appreciate the Doctor’s showing off, which is a quality I have always admired in companions. If you read my article about older companions, you’ll know I appreciate their less-than-starry-eyed approach to the Doctor. Donna Noble, Evelyn Smythe, Ian and Barbara, Tegan; none had time for the Doctor’s shit. Belinda is in good company, and I like that she holds the Doctor to a higher standard. Belinda has a good head on her shoulders. She won’t put her skills as a nurse to waste. And she certainly won’t let someone die in her name. She’s also brave in a way I admire. She’s ready to sacrifice herself to save lives.

One aspect of the Doctor and Belinda’s relationship that I’m less into is something RTD seems to be doing more of recently. Instances where two characters experience a lifetime over a short period to insta-bond them is a weak story device. Whatever method they employ to fast-forward character bonding steals real moments of discovery between the actors and the audience. There’s showing, and there’s telling, and this was telling. It doesn’t feel earned, it feels hollow. It’s the weakest element of this episode and I wish they would stop doing this type of shit. What’s the hurry? Why does the Doctor need to state how much he cares about and knows Belinda now? What purpose does that serve other than to reveal too much of the Doctor’s interiority? Shouldn’t we, as an audience, trust the Doctor’s judgment in people by this point? It feels cheap because it is cheap.

Despite the episode’s daft energy, real stakes are established beyond a cartoonish cat skeleton disbursing into the ether. The Doctor’s friend Sasha 55 is unceremoniously cut down by Robots moments after discussing her future travels with the Doctor. The way she was talking to the Doctor like “Take me to the stars,” she may as well have painted a target on her back. It’s the Doctor Who equivalent of a policeman one day from retirement. For their sake, we pretend to be shocked when they die. But we knew. We knew. That isn’t to say that losing Sasha 55 wasn’t an effective moment- quite the opposite. Evelyn Miller gives an effective performance in the short time she’s onscreen. I know people give Ncuti grief for crying too easily, but here it’s totally appropriate. We’re reminded of other would-be companions who didn’t live to see the day. Lynda with a Y. Rita from “The God Complex.” Astrid Peth. And now Sasha 55. RIP Sasha 55. I liked you better than “Orphan 55.”

Watching Belinda walk toward her fate of marrying the AI Generator and becoming incased in gold gave me flashes of Han Solo on his way to the carbonite freezing chamber. The orange lighting pushing through the foggy clouds cast a brilliant glow on Varada’s face, convincing me that she was always meant to be a part of the Star Wars universe. This was her “Empire Strikes Back” moment for sure. The strength in the moment comes from Belinda’s choice not to hide. The Doctor and Manny were working out a plan that sounded foolhardy at best. Anyone within earshot would know it was a doomed mission. Belinda alerts the Robots to her location. She goes willingly. There’s a selflessness to her actions that screams Doctor Who companion far more than the Doctor witnessing her life could ever achieve. Her brand of self-sacrifice is heartbreaking to see, and I wonder if it's completely healthy. I hope they explore that.

The same sombre tone follows us into the ending of the story. When the Doctor fails to bring Belinda back to her own time, we’re shown images of a wrecked earth floating in space. Something or someone has removed or destroyed the earth, and it’s legitimately creepy. It’s giving “The Stolen Earth,” and I’m here for it, again. Though the “Planet of the Apes” style half Statue of Liberty must have been a massive blow to the Weeping Angels. That was like one of their tallest soldiers. I joke, but I also don’t joke. I had to sit through “The Angels Take Manhattan,” and now you’re telling me it meant nothing? It makes you ask the wrong questions in the moment. Questions like “Isn’t that thing alive?” “Is it dead now?” And “Why is it always the top of the statue? Why not the feet?”

I mentioned previously that I might try and write these reviews along with a corresponding Saturday morning cartoon. However, I believe it was my adherence to this bit that delayed this article. After I had watched “The Robot Revolution,” I felt a surge of positive energy about Doctor Who and I really just wanted to sit in silence for a bit. I usually take that as a good sign after watching something. When I sit there quietly absorbing everything I’ve just seen. But when I hit play on that episode of Spider-Woman, the moment ended. So I don’t want to do that anymore. It seemed a fun idea at the time, but I would rather just abide in the time and space allotted to me by Doctor Who. A time which might not always be there. A space so fantastic that Doctor Who can exist within it. Here’s to season three.

29 notes · View notes