- Series Title: Doctor Who
- Story Title: Deep Breath
- Story Number: Series 8, Episode 1
- Original Air Date: August 23, 2014
- Cast: Peter Capaldi as The Doctor, Jenna Coleman as Clara Oswald, with Neve McIntosh as Madame Vastra, Catrin Stewart as Jenny Flint, and Dan Starkey as Strax
“I am alone. The world, which shook under my feet, and the trees and the sky, have gone. And I am alone now… The world bites now, and the world is grey, and I am alone.” – The Doctor (Peter Capaldi)
“But he is the Doctor. He has walked the universe for centuries untold, he has seen the stars fall to dust.” – Madame Vastra
“I wasn’t. I didn’t need to. That was me talking. You can’t see me, Can you? You look at me and you can’t see me. Do you have any idea what that’s like? I’m not on the phone, I’m right in front of you. Please, just… just see me.” – The Doctor (Peter Capaldi)
I remember, just barely, watching “Deep Breath” in the movie theater for the premiere. And, of course, watching it and the rest of the season on BBC America and later still on DVD. See my review of Doctor Who Series 8. But I’ve decided to re-watch Peter Calpaldi’s Doctor Who from the beginning. If you have been reading my Patrick Troughton Era reviews, this means I very well may skip “The War Games” but I did review the rest of his stories that are available on DVD. Anyway, I have seen series 9 and 10 on BBC America, but not watched them on DVD so those reviews will be forthcoming eventually. What is amazing about “Deep Breath” is that although it in much more subtle than the Matt Smith era, it does set up themes that will be returned to over and over throughout the Peter Capaldi Era.
The opening of “Deep Breath” is in essence merely a McGuffin. As cool and as incongruous as a dinosaur in Victorian London in the Thames is, and as silly as said dinosaur vomiting up the TARDIS which caused it to be transported, that is merely a McGuffin – the dinosaur bursts into flames immediately upon the Doctor promising to save it. This leads the Doctor and the Paternoster Gang to investigate a series of similar murders, which leads to the Doctor discovering a restaurant of clockwork people, which is really an ancient spaceship.
This spaceship is the S.S. Marie Antoinette, sister-ship to the Madame de Pompadour, which the audience knows from the David Tennant episode, “The Girl in the Fireplace”. So the audience knows about it’s clockwork occupants who replace parts with human (and in this case, dinosaur) parts. The Doctor, however, keeps insisting that he can’t quite remember why it is so familiar.
My the themes of identity and obsessions with endings and even death link this story with the entire Peter Capaldi Era. From Clara not recognizing the Docor, not seeing him as the Doctor, and being freaked out that he regenerated, he’s “renewed”, but his “face has lines” and “he’s old”, to the “broom speech” where the Doctor is ostensibly talking about the droid leader, but he could easily be talking about himself. When he’s “translating” for the dinosaur who is so alone, the Doctor could be talking about himself as well. And in the last scene between the Doctor and Clara, he practically begs her to “see him”. Capaldi’s years as the Doctor would feature many more references to both the Doctor’s great age, and his almost being ready to give up because he’s fought for so long. This is what is very good about this episode – it introduces a theme, which will be returned too again and again, not so much in Series 8, but usually at least once a season during the Capaldi years. And even his final Christmas special is as much about whether or not he will regenerate as anything else.
However, independent of the season and the era, even though it looks very good, the plot of “Deep Breath” isn’t that impressive. The opening gambit with the dinosaur is used more as an elaborate joke and then as a McGuffin to introduce the real plot as anything else. I actually felt bad about the dinosaur exploding, but it’s a sign of bad writing as well. How do you get rid of the extraneous character who’s only purpose was to get your characters together so they can solve the mystery? Why making that character yet another victim in the series of crimes. Goodbye, dinosaur.
But worse, the central plot is lifted straight from “The Girl in the Fireplace”. Even the Doctor remarks that droids using human parts, a hidden spaceship that crashed eons ago and is looking to return home “the long way around”, and the name of the ship, S.S. Marie Antoinette, sister-ship to the Madame de Pompadour, sounds familiar. And for anyone watching, unless they never saw “The Girl in the Fireplace” – it does sound familiar – it’s the same plot. Steven Moffat is literally stealing from himself. And this isn’t the first time he does it – Amy Pond’s entire characterization and her arc plot are identical to Reinette in “The Girl in the Fireplace”, from first seeing her as a child, to Reinette/Amy’s steady belief that the Doctor will always be there for her (something Clara also does in “Deep Breath”). Moffat doesn’t so much write original stories, as re-write his most popular ones over and over again, changing only the character and maybe the setting. This something often found in genre writing such as mysteries or romantic suspense. It works for awhile, but sooner or later as a reader, one realizes it’s the same story over and over and over again.
Still, having re-watched Patrick Troughton’s Era on DVD, I’m excited about re-watching the Peter Capaldi era again.