Doctor Who reviews: A Town Called Mercy

In the Doctor Who episode “A Town Called Mercy,” the Doctor, Any and Rory arrive in the American Southwest in the late 19th Century.  The Doctor learns that the town of Mercy is harboring Kahler-Jex, a crash-landed alien scientist, who in return for safe haven has cured the town’s cholera outbreak and wired it up for heat & electricity.  Now, though, a deadly cyborg hunter known as the Gunslinger is camped outside of Mercy, demanding the town turn over Kahler-Jex to him for execution.  The Doctor attempts to come up with a plan to aid Kahler-Jex in his escape, but cuts short his efforts when he locates the alien’s spacecraft, intact, out in the desert.  Suspicious, the Doctor accesses the ship’s log, and learns that Kahler-Jex was part of a group of scientists who performed a series of hideous medical experiments to create a cyborg army in the hopes of ending a war that had decimated their planet for nearly a decade.  The cyborgs did indeed bring a quick end to the carnage, but one of them, the Gunslinger, went rogue and began hunting down the team who created it.  Kahler-Jex is the last survivor.  The Doctor is now confronted with the moral dilemma of whether to still aid Kahler-Jex, or to leave him to the Gunslinger’s brand of justice.

The Doctor’s first reaction to Kahler-Jex’s true nature is one of absolute disgust.  Charging back into town, he forces the scientist out into the desert at gunpoint, ready to give him over to the Gunslinger.  Although shocking, I do not think this action came out of nowhere.  In the episode preceding this one, “Dinosaurs on a Spaceship,” the Doctor left the ruthless space pirate Solomon, who had murdered thousands of innocent Silurians, to be killed when a fleet of missiles was diverted towards his spaceship.  I was a bit surprised by that, as the Doctor very rarely kills anyone in cold blood.  But Matt Smith had done such a superb job of conveying the Doctor’s slowly mounting anger at the pirate’s crimes, so that it seemed understandable from the Doctor’s point of view that he did what he did.  And, indeed, “A Town Called Mercy” follows up on the Doctor’s changing attitude.

Once again, Smith brilliantly conveys the cold fury coursing through the Doctor.  In a brilliant exchange penned by writer Toby Whithouse, a shocked Amy demands to know why killing has suddenly become a choice.  And the Doctor, full of rage & anguish, tells her “But they keep coming back, don’t you see? Every time I negotiate, I try to understand. Well not today. No, today I honor the victims first. His, the Master’s, the Daleks’.  All the people that died because of my mercy!”  And Amy responds by telling him “This is what happens when you travel alone for too long.”

Whithouse’s script is tapping into the idea that the Doctor’s companions serve to ground him, to give him the ability to empathize, and grant him morality.  This is something that was seen in David Tennant’s final year on the show, but actually goes back to the very first season of Doctor Who, broadcast in 1963-4.  When we first see the Doctor at the start of the series, he is rather ruthless, manipulative figure, kidnapping Ian Chesterton & Barbara Wright to keep his granddaughter Susan from leaving him, ready to bash in a caveman’s skull with a rock to save his own life, and sabotaging the TARDIS so that he has the opportunity to stay and explore an alien planet.  But Ian and Barbara had a humanizing effect on the Doctor.  Their presence gradually seemed to make him a better person.  And by the time the serial “The Dalek Invasion of Earth” aired a year later, it was the Doctor who was stopping others from killing in cold blood, stating that he would only take a life in defense of his own.

High Noon for the Doctor

“A Town Called Mercy” presents a very real moral conundrum for the Doctor.  The character of Kahler-Jex is a very complex one.  He epitomizes just how much of a fine line there is between “war hero” and “war criminal.”  Kahler-Jex feels he absolutely did the right thing in creating the cyborg army, that he saved millions of lives.  Yet, when pressed on the issue, he is forced to admit innocent people suffered & died on his operating tables in order for that to be achieved.  He is a mixture of self-righteous justification and monumental guilt.  And, as the Doctor points out to him, now the citizens of Mercy have been drawn into his conflict, putting the fate of further innocent people in his hands.  Adrian Scarborough does a magnificent job at portraying this contradictory, conflicted individual.

This is one of the few Doctor Who stories I can recall offhand with such a high level of moral ambiguity to it.  Reflecting on the Doctor’s ambivalence about what to do with him, Kahler-Jex observes “It would be so much simpler if I was just one thing, wouldn’t it? The mad scientist who made that killing machine. Or the physician who’s dedicated his life to serving this town. The fact that I’m both bewilders you.”  Whithouse did an excellent job scripting a story which raises some very difficult questions, really bringing the characters to life.

In the end, there aren’t any easy answers offered in “A Town Called Mercy.”  While on a certain level this is frustrating, it is also more realistic.  As those who regularly read this blog may realize, I am not any kind of adherent to black & white morality, to Objectivist thinking.  In real life, answers very seldom come wrapped in neat little packages marked “right” and “wrong.”  This story address that, as we see the characters grapple with the issues and try to come up with the best possible solution to a complicated problem.

I was very impressed by the production values of the episode.  It really did look like it was set the post-Civil War American West… or, at least it looked like what we’ve come to think of as the Old West.  After all, I myself have never actually been in a time machine that took me back to Arizona in the 1880s, so I can only comment on the seeming air of authenticity!  I’ve read that the Doctor Who team actually filmed this episode in Spain, with sets from an old Sergio Leone western being utilized.  However they pulled it off, it looked great.

I cannot even think of anything critical to say about composer Murray Gold.  Often I have found his scores for Doctor Who to be too whimsical.  But on “A Town Called Mercy,” Gold absolutely hit all the right notes (no pun intended).  When it needed to, his music absolutely packed the requisite emotional punch.

My only real complaint concerning “A Town Called Mercy” is that Rory seemed to be a fifth wheel for most of it, either running around to provide a distraction for the Doctor or just standing in the background.  I probably should not complain; he received a really prominent role just last week in “Dinosaurs on a Spaceship.”  It’s just that Whithouse appears to have written a script that could have easily functioned with only just the Doctor and Amy.  From what I’ve read, there are just two more episodes before both Amy and Rory leave the series for good.  So I certainly hope those stories give him more of a presence before that departure.

Doctor Who reviews: Asylum of the Daleks

Dalek Prime Minister: What do you know of the Dalek Asylum?
The Doctor: According to legend you have a dumping ground. A planet where you lock up all the Daleks that go wrong. The battle-scarred, the insane, the ones even you can’t control. Which never made any sense to me.
Dalek Prime Minister: Why not?
The Doctor: Because you’d just kill them.
Dalek Prime Minister: It is offensive to us to extinguish such divine hatred.
The Doctor: Offensive?
Dalek Prime Minister: Does it surprise you to know that Daleks have a concept of beauty?
The Doctor: I thought you’d run out of ways to make me sick. But hello again. You think hatred is beautiful?
Dalek Prime Minister: Perhaps that is why we have never been able to kill you.

“Asylum of the Daleks” is the premier episode of Doctor Who Series Seven, featuring Matt Smith as the Doctor, Karen Gillan as Amy Pond, and Arthur Darvill as Rory Williams.  I have to say, it’s great that here in the States we are now getting to see brand  new episodes of Doctor Who so soon after their first airing in the UK.  For a long time, there would be a wait of two or three years for the shows to make it across the Atlantic.  But now they are aired on BBC America within a matter of a couple of days.

In any case, “Asylum of the Daleks” was a pretty good opening episode for the new season.  The Parliament of the Daleks has discovered that the human spaceship Alaska has crash-landed on their Asylum world, breaching a supposedly-impenetrable force field.  And if something can get in, then it follows that something could likewise get out.  Fearful that the insane inmates of the Asylum will break loose and attack their captors, the Parliament forcibly recruits the Doctor and his companions to travel to the planet and shut down the force shields, which will thereby enable the Dalek fleet to then obliterate the planet.

The Daleks have always been experts at manipulating other beings into doing their dirty work, often using deception, fear, or mind control as incentives.  All of these tools are on display in “Asylum of the Daleks,” taken up several notches.  They manipulate the Doctor, their arch-nemesis, into aiding them, something they already did once before in “Victory of the Daleks.”  More insidiously, we see the Daleks using nanogenes to convert innocent people into Dalek/human hybrids, twisted creatures that can be used as sleeper agents or weapons.  Even dead, these mutant beings are still useful, becoming zombies armed with Dalek technology.  There is some unsettling material in “Asylum of the Daleks,” as the Daleks casually twist and pervert humanity into tools they can use.  Writer Steven Moffat very much restores the Daleks’ stature as beings of almost pure evil in this story, and Nick Hurran’s excellent direction imbues them with a real sense of menace.

I did think it was rather clever that at least some of the inmates of the Asylum were Daleks who had survived encounters with the Doctor during their past campaigns.  The Doctor has the unique ability to wear down the patience of even his closest friends.  So for a species such as the Daleks, who are obsessed with overcoming him, being defeated by him would no doubt be enough to drive them insane.

The lunatics have taken over the asylum

One of the reasons why the Doctor agrees to go along with the Dalek Parliament’s plans is because at least one member of the Alaska’s crew survived the crash, a computer genius named Oswin, portrayed by Jenna-Louise Coleman.  Oswin has been stranded on Asylum for a year now, wrecking havoc with the planet’s infrastructure and baking soufflés while zinging witty bon mots.  At first, with her unnatural grace under fire and her quick-witted repartee, I had almost written off Oswin as yet another of Moffat’s uber-competent heroines along the lines of Amy and River Song.  But right from the start, there are hints that all is not what it seems with Oswin, and the Doctor picks up on these right away.  When he finally discovers the truth about her, it is a truly horrifying, tragic revelation.  I don’t know if other viewers saw it coming, but I certainly did not.

There is also a subplot concerning the impending dissolution of Amy and Rory’s marriage.  Amy has become a high fashion model and is seemingly ready to chuck her relationship with Rory in the rubbish, casually signing divorce papers right before the two of them are kidnapped by the Daleks to join up with the Doctor.  Towards the end of the episode, we finally learn why Amy is so ready to throw in the towel.  It does seem incredulous that this is a topic that she never even attempted to discuss with Rory before, putting up a false appearance of indifference.  That said, the actual scene where Rory forces Amy to admit what is going on is in and of itself well written, and both Arthur Darvill and Karen Gillan play in marvelously.

I mentioned before Oswin’s flair for witticisms.  If there is one overriding criticism that I’ve had with Doctor Who since its revival, first under Russell T Davies and now with Steven Moffat, it is that both of them have often made too much of an effort at penning this sort of rapid-fire, clever, ultra-self aware dialogue.  I much prefer it when the scripting goes more low-key.  Some of the best scenes in “Asylum of the Daleks” are the more restrained ones.  Matt Smith is especially good at taking these very big, emotional moments of anger, excitement, or sadness, and underplaying them.  It is much more effective than playing it loud and broadly.

The music by Murray Gold was, for the most part, effective.  However, it did seem a bit too whimsical at times for what was such a dark story.  On more than one occasion, I wondered to myself how much different the mood of show would have been if it had been composed by Peter Howell or Roger Limb, both of whom were composers on Doctor Who in the 1980s.  I think it would be interesting to have either one of them contribute to the revived series, especially on one of the more atmospheric episodes such as this one.

So, though not perfect, “Asylum of the Daleks” is a decent episode.  It’s good to have Doctor Who back on our television screens, and this opening episode leaves me anticipating the rest of the forthcoming season.