The destroyer of the “well”.
Sometimes, in a novel, you don’t need to say a very important thing to make a good point in a very important way, just ask how a thing will work if it plays around the world. The episode of this week Doctor Who“well” does this.
In the 50s costumes of “Lux” and Belinda, picking it up straight up, he is trying to get Tardis to work. Belinda helped take control of the control, but the ship still refused to land on May 24, 2025, which even more alarmed the nurses. If TARDIS is not broken, she thinks the date or the earth itself may be broken and bothered by her parents. The doctor shared her concerns but promised that she would be reunited with her family.
The doctor insisted on his plan with more points of landing with the defense apologist (the gadget he built last week) to locate the TARDIS. This time, this is the next 500,000 years, and Belinda asks if humans exist now. He assured her that when humans spread to the stars and brought themselves into every corner of the universe, he assured her. The two went to the Tardis closet and then went to some suitable clothes.
They walked into the gantry of a spacecraft, where a group of marines jumped into the blank. They had no choice but to join them, and they landed on the planet below to enable the doctor to accept the reading of the defense lawyer. But, als, the heavy radiation of the earth is the ship (and expands, TARDIS) that must slide slowly over the next five hours. So they tagged the psychic paper with the task, allowing the doctor and Belinda to secretly go with the team.
The planet is everywhere, with only one small mining colony occupied by it, which has been mined into the world to extract its last remaining useful resources. A few days ago the colony was silent, and in the event you could say, “Oh, this will be (another) alien impromptu? “One of the Marines showed that it was wise to “nuclear weapons from orbit”.
All the colonists died, half dead by gunfire, and half from injuries that looked like they had fallen and broke all the bones of their bodies. The mirrors were smashed and the system was offline, i.e. unreachable records. But there is a survivor, the colonial chef Aliss Bethick (Rose Ayling-Ellis), who is deaf like the actress who plays her. Aliss has been waiting for a few days in the middle of a large cargo cargo carousel (read as a large circle on the camera).
Aliss is isolated, both on stage and due to her hearing loss, and while she can straighten it is still a barrier between her and the soldiers. Doctors can communicate with Aliss, and soldiers have their own subtitle screens on their lapels. The second act was mostly interrogation of Aliss because of the logistics of how the Marines communicated with her. For example, by throwing the screen of another soldier on her eye line to the screen of another soldier to make her turn. Belinda enters the circle to treat Aliss’ injuries but keeps seeing something lurking behind the new patient.
Soon after, the doctor learned that the desolate planet they were standing had been covered with diamonds. It was midnight in the fourth episode of the series, when the doctor was trapped in the shuttle, trying and ultimately failing to defeat the sinister entity with a passenger. Like then, the doctor’s plea for peace failed. Two soldiers rebel and try to lure the entity and kill it. They cannot survive.
It was Belinda who worked out and explained the rules: If you imagine the master (Aliss) being the center of the clock, then those who stand directly behind her will be attacked by invisible monsters. If you stand at six o’clock, that’s great, but “You’ll die at midnight.” Literally, like anyone in the entity, was thrown like a ragdoll – half of the crew shot at each other to kill the entity, and the other half was cut off by aliens.
The doctor approaches Aliss and talks with the monster, but since it should be the end of the third act, he just stares at it for a moment before solving the solution. To dig out the diamonds, the colonists will use pipes that are convenient to run behind Aliss’ head to dump mercury. The shooting pipeline will cause a mercury river to land, forming a mirror that is enough to eliminate monsters.
They escaped, but the doctor couldn’t help but wait until he saw the monster, which gave it a chance to lock on Belinda. The Marine Captain shot Belinda so much that the entity thought she was about to die and switched the hosts, and they jumped into the mines after that. Belinda wakes up in the care of a doctor, preparing for her next adventure. Meanwhile, the Marine Corps boss report – Mrs. Flynn! Who knows the defense lawyer – before revealing that the aliens did make it a spaceship on board.
One theme in the episode is Belinda constantly discussing human terms and superstitions to make everyone around her shrug. This is something that she and the doctor are confused, because there seems to be something Very wrong With all reality.
You died at midnight…
Performance host Russell T. Davies was asked about malicious criticism of the show in some way woke up. “Some people always ask questions about diversity, there are online fighters who accuse us of diversity and bad, involving messaging and issues, and I don’t have time to do that,” he said. “I call it ‘diversity’, I just call it open the door, it’s cold, there’s a world in front of you! There’s a blue sky, there’s clouds, there’s a cloud, there’s noise, there’s a bird singing, there’s someone arguing.”
It is worth noting that Davies’ open (and open) approach makes the show create the possibility of storytelling. For example, last time it was Doctor WHO features a deaf-mute character (2015’s “Under the Lake”), and she relies on her colleagues to explain on her behalf. Her speaking skills became part of the plot problem solution – reducing her to more than that.
Here, while Aliss’s deafness is the core part of the plot, it feels as if she is defined by that aspect. Having worked hard to flesh out one’s role, it’s a place to explore how technology and communication intersect with people with different accessibility needs. In particular, Sharma Angel-Walfall and Russell T. Davies struggle to think about how to work.
Whenever I watch an episode of nü-nü-who, in my mind, I think about the injected change of Disney money. “Midnight”, “The Well” is a sequel, produced as a “Double Bank” plot – shooting two episodes at a time with clues separated. “Midnight” is also intended as a cheap story, with most of the scripts being performed in a single room. If you are honest, the “well” works well, as most of the movements are performed in a few rooms.
This is not to say that the extra cash was wasted in this episode: “The Well” is almost indulging Doctor Who Its width and depth standards. I can’t help but think back alien impromptu A strange new world In its first season production, the series’ live suit was reused that season to create the wreckage of the arena US. Sounds strange Doctor Who The fact that a garbage bunk can be afforded within a minute, but it’s a luxury This is.
Perhaps part of the reason why it feels indulgent is that it is a relatively low and high personality plot in the event. Belinda gets a real show here, both of them claiming to the narrative in several places, but are also rebuked for doing so. She tried to be responsible for helping the injured Aliss, but the medical kit was so advanced that it was impossible to use it. She was smart enough to make rules for aliens, but eventually it got better.
While the first two episodes of the season feel stuffed and rushed, smaller stories and focus on characters can make everything breathe. Accessibility tools are a key focus of the plot and serve as a place for storytelling and character development.
See, I was bored when I read it, but once again I couldn’t help but point out the impact Steven Moffat has been in this season. One of the inspiration and silence of monsters like the Crying Angel is that they can easily turn into campus games. The unnamed entity here, if you stand directly behind the host, it will die, which seems perfect.
But “The Well” also provides examples of Davis’ conversations with the rest of the season and his earlier work. In “Midnight” and “well”, doctors are at risk of losing the situation, as unknown threats make people paranoid and jump. A deep set of pessimism runs through all this work, and while it is shown here, people have more hope than before.
Interestingly, Davies has always structured his own seasons in a rather rigid way, seemingly deliberately repeating themes and rhythms. The similarity between this season and the last feeling is almost like they are trying to grab their own attention. “Space Baby” and “Robot Revolution”, “Devil’s Chord” and “Lux” and now “Boom” pair with “well” are like plots that compete for the same space in different realities. Not to mention the repetition of moments from plot to plot – such as Tardis wardrobe sequences and repeated hand injuries. If next week’s “lucky day” is primarily in the absence of a doctor on Ruby Sunday and revolves around physical distance and/or paranormal phenomena, then we might think it’s more than just coincidence.
Mrs. Flood Corner
I always hate “end…or?” forgery often ruins any dramatic drama they do. Of course, it able If you are effective want to Cheap the sacrifices that your character sacrifices to conquer villains, but often encounters horrifying sacrifices. Not to mention people with poor media literacy would think that the person who is going to solve the cliff next week is actually a trailer.
here, Umessentially, it was a way to pick up Mrs. Flood after the doctor and Belinda left. She knew the doctor’s use of defense attorney and now has seen it in action thanks to the soldiers’ recordings. But there is no broken fourth wall, which means she is here running in the same way Susan Twist last year. That’s very interesting.
