Doctor Who “Twice Upon a Time” - Review

“Yes, but what do you mean, ‘one?'” I can’t help but admit that Moffat’s final story in Doctor Who is very underwhelming, and generally, gives credence to those that criticized his work overall. On a personal preference, I think he did some fantastic writing early on with Matt, but with Peter, he tried to be too introspective. Those I’ll give as valid criticism to blanket his writing, and anything less isn’t being properly constructive. Nevertheless, even in one of his worst stories he can and will make you cry with a line that is just so simple.

Mark Gatiss’ Archibald Hamish Lethbridge-Stewart, despite being a character that appeared only once and in a story that is seen as unfavorable, will always be impactful. Set at the south pole, “Twice Upon a Time” once again attempts to put weight on that classic era for which I have a few DVDs behind me, and yet still, I don’t think that works. The online wingback chair writers of Twitter might scoff in their small numbers and loud voices. The truth is, that isn’t going to gain fans, but it will put them off. Where I think that blend of touching the classic series and Nu-Who works, whether you know it or not, is Captain Lethbridge-Stewart.

I said it last week, I’ve said it before, and I’ll say it once more, Steven Moffat had a persistent desire to make Doctor Who a show about time travel when it is just a show that features time travel. “Twice Upon A Time” is a messy, convoluted, and most of all, very boring story of Doctor Who that I think many fans (even the loudest) will say tried to rewrite history. I’ll stick my hand up and say that, yes, there are moments where David Bradley’s wonderfully charming elements of William Hartnell’s Doctor penetrate my cold dead heart. Nonetheless, the overstated and generally unwelcome exaggeration of the 1960s politically incorrect Doctor doesn’t work.

Was Hartnell’s era “of its time?” Yes, but do I also have a Tom Baker episode behind that is “of its time?” Also, yes. To say Doctor Who is now and forever has been the most left-wing progressive show on TV would ignore lots of the show’s history. Though not everything has been Chibnall’s “They’ll see you for who you really are,” as said to a then de-White-faced Brown man in Nazi-occupied Paris. The point of the show might be to do good in the face of racism, sexism, homophobia, and general aggression towards others, but there have been stumbling blocks.

The story itself, however, isn’t that fun, interesting, or exciting; Both Doctors come from Cyberman-centric beginnings to their regenerations. To say it is a 54-year snapshot tour of Doctor Who might be an oversimplification, as the glass-like alien ship-thing (I still don’t understand) gives Peter’s Doctor some memories of recent friends and old faces. Somewhat centric on the notion of “correcting time,” as it were, with the glass thing wanting to put the Captain back in his place to die in World War 1. The Doctor(s?) not being one to give up on life so easily, as he is effectively dying and facing the concept the Time Lords push themselves, they of sorts say, “sod this for a game of soldiers.”

Put aside all the hodgepodge of ideas to cram in useless aliens, the oversaturated attempts to make the First Doctor (the original, some might say) a postcard of 1960s views, and basically everything to do with Bill, Nardole, and Clara. Captain Lethbridge-Stewart’s story is actually something that would be quite a big story just a year later. Especially following the airing of Jodie’s “Demons of the Punjab,” when Peter Jackson’s They Shall Not Grow Old was broadcast on the 11th of November. This and Jackson’s documentary are two of the most impactful pieces of entertainment to touch on the “war to end all wars.”

Of course, Jackson’s film is far superior, but I can’t lie and say that when Gatiss delivers that “Yes, but what do you mean, ‘one?'” line, it doesn’t make me sob. Taken from the crater of a WWI shell where he was pointing his gun at a terrified young German, Captain Lethbridge-Stewart goes on an adventure that may be his last before death. For the benefit of my editor: Lethbridge-Stewart is the name of long-time friend Brigadier General Alister (presumed grandson) and recent addition Kate (great-granddaughter). If those details weren’t kicking someone’s heart to death already, the two soldiers climbing out the crater into no man’s land to sing “Silent Night” during the 1914 Christmas Truce should do it.

The trouble with the entire episode is the focus on the Doctors and their inability to accept each other as themselves (if you didn’t get the pronouns last week, you’re out of luck). Almost every moment is there to make fun of one another, often with increasingly diminishing returns. Something that I wish was a diminished return would be the use, once again, of “arse:” Yet another moment to highlight the first’s dated views, a point to pretend what follows is funny (it’s not), and the last time to act like Doctor Who needs to be “grown-up.” Which says nothing of Rusty, another example of introspection to pretend there is some sort of weight there.

Particularly during the armistice, Rachel Talalay’s direction is beautiful. I can’t take that away from her, as with all her episodes thus far, she’s created some gorgeous shots and most importantly for a director, not gotten in the way. The trouble that I seem to find, especially online, is the assumption that good direction equals a good episode as a whole. It doesn’t. As I’ve said, a large portion of the story is lethargic and I don’t think anyone will fault me for saying Moffat wasn’t at his best in his final story.

Ultimately, though I do love bits of “Twice Upon a Time” either because I’m a fan that likes David Bradley’s spotless performance of William Hartnell’s original Doctor or the sentimental value of the World War 1 soldier living because of the armistice. The blithe cynicism of making the first Doctor overtly sexist and quirky is jarring, particularly for those that know that Doctor well enough. Not the best ending for Peter’s incarnation, but certainly a fitting beginning for Jodie’s run. As the woman herself says before blowing everything up: “Oh, brilliant!”