The Cutprice Guignol

The Ninth Year: The Haunting of Swill House

Doctor Who: Turgid, Awful, Rancid, Dreadful, Intolerable Shite

Firstly, in case you missed it, yesterday I shared my newly-started Patreon for this blog-check it out here. But now, on with the episode.

I mean, where to start with this one? I knew when I saw the teaser for this episode that I was probably going to hate it, but I was hoping that I’d have my low expectations subverted by something that was at least….entertaining? Witty? Emotional? And it’s not that The Girl Who Died didn’t try to give me all those things. It just failed dismally on every count.

Just sidling over to the old Robin Hood sets again, I see.

Outside of the sonic sunglasses being broken (OH YES OH YES OH YES), I can’t bring to mind one bit of this episode that worked for me. Let’s take this beat by beat, folks, because that’s the only way I’ll be able to take a look at The Girl Who Died without tearing my eyes out.

Let’s get the obvious fuck-ups out of the way: firstly, the Mire, a fearsome alien warrior race, declare war on a small Viking village (I cannot be remotely fucked explaining why, because every single twist and turn of this episode was so fucking contrived that I could see the veins on the writer’s necks standing out as they strained to be slightly original). I’ll repeat that: a fearsome alien warrior race, described by the Doctor as one of the most efficient and brutal in the Galaxy. And they’re defeated by….electricity? And the threat of an embarrassing video on space Youtube (I almost slit my wrists when Yakety Sax started playing, by the way)? Not to mention the fact that the immortality chip that the Doctor gave to Ashildr came from the Mire so…why aren’t they immortal? Look, I know the Mire were just a poorly-conceived plot point to push the story along, but nothing about them made the remotest bit of sense. They didn’t even have the good manners to look really cool, for fuck’s sake.

Then, there was Ashildr. Look, I have something potentially controversial to admit here: I think Maisie William is a TERRIBLE actress. I’ve never understood why Arya is such a popular character on Game of Thrones (which is where she found her fame), partly because the writers just went “here’s a trope, you fill in the rest”, and partly because Williams absolutely cannot convey any emotion no matter how hard she tries (side note: Emilia Clarke is only good when she’s speaking a made-up language). And I knew that her presence wasn’t going to enhance this episode for me, but I figured I could get past it, hell, maybe even come round on her- do you remember how fantastic the usually nail-chewingly irritating Frank Skinner was last season?

She was fucking atrocious. The script (by James Mathieson and Steven Moffat, both equally responsible for this monstrosity) didn’t give her much to work with, to be fair, but it’s blindingly clear that she had to directly spell out every bit of her own characterisation in a painfully affected speech (“The boys thought I was just a girl, and the girls thought I was a boy”- oh, so you were just Arya, then?) for the audience because she sure as hell couldn’t convey it in her performance. There was a long shot at the end, of her against the apparent desktop screensaver backdrop of changing skies to signify the years she’d lived, and the camera was focused in on her face, and it was almost hilarious what a complete lack of….well, anything there was to her.

See for yourself. Christ, staring at this face is like listening to white noise- it’s so meaningless it starts to drive you a little insane.

When she died, I was fully hoping Peter Dinklage would wander on-screen with a wheelbarrow and cart her back to GoT, but instead she became the Hybrid, referenced by Davros earlier this season, which terrifyingly suggests we’re going to be seeing a lot of her. The words “hoist” and “petard” spring to mind, because-and I don’t say this often- she was unwatchably bad in this episode, and showed no signs of improving. I think she’s a potential disaster for the series, mainly because Moffat cannot let things go and if he’s come up with this idea he’s going to force it down our throats until he’s satisfied we understand the full extent of his genius.

The Doctor was terrible in this episode, as well- I was on the messageboards yesterday (That’s right, I messageboard about Doctor Who, you wanna make something of it?) and there were a lot of people lamenting the fact that one of the best actors we’ve ever had for the role is getting hurled this level of half-baked garbage. Not only is he patronizing Clara in this episode (“I have a duty of care”- funny, because the last time I heard that line it was in reference to a literal child, which Clara most certainly is not), he’s translating baby soliloquys, he’s grunting out terrible nicknames, and he’s generally fucking about like the most irritating of cocks. He’s been boiled down to a handful of pop-culture references, self-referential jabs to the ribs, and a swerving attitude that darts between a complete lack of care for whatever tertiary characters are about this episode and “I’M THE DOCTOR AND I DO DRAMATIC MONOLOGUES ABOUT HOW I SAVE PEOPLE IN THE MOST OVERBLOWN AND UNDERWRITTEN SCENES OF ALL TIME”.

I’ll say it again: Capaldi is not at fault here. He’s doing his best. But the Doctor is irritating and inconsistent and mean. This episode contained the “reveal” about why Capaldi chose the face he did (basically the show retconning the fact that the actor had already appeared in season four episode the Fires of Pompeii), and the revelation fell flat with an audible thud. So, he chose that face because he wants to save people? I mean, I…I know that. That isn’t a revelation. That’s what he does every single week. I’ve seen a lot of people touting this as a defining moment for this Doctor, but is it, really?

The less said about Clara, the better, in an episode where she exuded almost nuclear levels of smug. Again, Jenna Coleman is not at fault here, but Christ, considering that they re-write the character every episode to fill whatever plot-hole they’ve created for themselves, it’s no wonder that I can’t get a hold on who Clara’s character actually is.

Really getting the most out of those spacesuits, aren’t they?

Then, there was the rest of the episode to contend with: the terrible jokes, the baby giving a monologue (was I supposed to be howling with laughter through that entire speech? I assume not, but fuck me, it was HILARIOUS), the scrappy, half-baked story, the thundering lack of emotional stakes…I really didn’t think that the show would ever outdo (under-do?) last season’s Kill the Moon. But this might have done it.

Kill the Moon was at least ostentatiously terrible, in a way that meant I could sort of see what people liked about it. But this…despite reading a bunch of adulatory reviews and scrolling through the worshipful Twitter feed, I still cannot find one thing that didn’t annoy me about this episode. I’d make a case for this being the worst episode of Moffat’s run by quite a stretch, which is a shame because Under the Lake/Before the Flood were actually pretty decent in retrospect and season nine looked to be shaping up as a stronger entry than the last year.

But this is unforgivable-it would be one thing if it were this awful in a sort of low-budget, rollicking fun way, but the thing that really put the nail in coffin of The Girl Who Died (puns are my FAVOURITE) was how fucking self-satisfied it all seemed. Smug, even. And that infuriated me the most. Well, that, and the knowledge that we’ve got a whole other episode to go yet.

And you think you can dangle Tennant and Donna in front of us and expect it not to make the episode worse by comparison? I’ll have you yet, Moffat.

Blogerversary + Patreon News

So, last month, this blog reached it’s three-year anniversary. That’s kind of insane, considering that I started this thing just to pass the time when I was stuck in my dorm room with no-one to talk to back in first year (joke’s on them, because now I have a cat to talk to. Oh, and friends, a boyfriend, whatever) and build up some links for my portfolio. In the last year, I finished my brutal love affair with Fifty Shades of Grey, started my genuine love affair with Doctor Who recaps, and wrote a bunch of stuff on sexuality, feminism, mental health, and other topics that I never thought I would ever have had the balls to write about in public. So, firstly, a huge, mega thank-you to everyone who’s supported the blog over the last three years- all your shares and likes and comments and reads have made this worthwhile, and there’s no way I’d be doing this without you. I just hit a thousand followers a couple of weeks ago, which still boggles my mind a little bit. You’re awesome, and I’ll buy all of you a pint next time I see you.

The Cutprice Guignol has provided an awesome jumping-off point for me into the world of freelance writing, and that brings me to my next point. With my official job title being “jobbing freelance writer”, I spend most of my time writing something or other (movie reviews, album critiques, alien erotica, etc) and that takes away time I get to spend writing for the blog. As I’m not getting paid for the work I do here, I can’t really justify spending as much time on it as I’d like and I can’t always take on the cool ideas my readers pass on to me. As a poor student about to be an even poorer graduate, I’ve had to seriously think about whether or not I can financially justify spending so much time on The Cutprice Guignol.

So, to remedy that I’ve created a Patreon. For the uninitiated, a Patreon lets readers and supporters of the blog sponsor me a small amount of money per month so I can keep doin’ what I’m doin’ (and hopefully improve it, too). There are special rewards based on how much you sponsor me (including exclusive blog posts), and if I reach a certain amount of sponsorship per month I’ll be able to take on new recapping projects and generally spend more time turning this into a real website. You can check out my Patreon page here for more information, and how to donate. Notable: if the first one of my sponsorship goals is reached, I’ll be recapping the second Fifty Shades of Grey book. Do with that what you will.

To be clear, no matter how much or how little you fabulous people decide to share with me, I’ll keep writing for the blog, and I’ll keep going with my current recapping projects. Any donations I receive will go towards giving me time to get more blog posts up every month and create a better user interface for my readers. Considering that I’m basically jingling a virtual charity tin under your nose, I appreciate any and all donations more than I can express. More than that, I appreciate all the support people who’ve read this blog have given me over the years. Thank you for reading! Here’s to another three years.

TMI: Vaginismus, Me, and Why We Need to Talk Abut Female Sexual Dysfunction

So, in August of this year, the FDA approved the “little pink pill”- basically, female Viagra. And it got me to thinking: with Viagra for dudes being so readily available and such a common, shrug-worthy part of society, the way we treat women’s sexual dysfunction is pretty embarrassing. You know how I know that? Because, for three years, I suffered from a type of Female Sexual Dysfunction (FSD), and no-one seemed to have a god-damn clue what to do with me.

You whisper the words “vaginismus” in front of any woman who’s suffered from it, and you can see that look of haunted horror that passes across their face. Vaginismus is a condition where your vagina essentially boards itself shut, sticks up “closed for business” signs, and leaves you unable to enjoy sex without massive amounts of pain-or, in my case and in the case of many other sufferers, unable to have sex at all. Muscle spasms make it painful or impossible to get anything in there, whether it’s a tampon, an erection, or the cotton swab of a very nice lady who just wants to figure out what the fuck is going on with me. But I’m getting ahead of myself.

My vaginismus made itself known when I was first dating my high school sweetheart, and what I was feeling seemed to go above and beyond the usual kind of painful-first-penetrative-sex experiences that I’d been conditioned to expect. But I didn’t think much of it until, two years later, I was still unable to get so much as a finger inside myself without crippling pain. Neither me or my then-boyfriend could figure out what was going on, and we both spent months in silence, assuming that I would just never be able to put out and that we’d just have to deal with that shit as it was. In a culture that values sex so highly, especially at the age I was at, there was no way in hell I was telling anyone else that the crunchy sound of a condom wrapper made me flinch.

I couldn’t tell you what the tipping point was, but I eventually found myself, face burning, eyes on the ground, in my school nurse’s office, explaining to her what was happening and borderline begging her for an answer to the problem. Was I frigid? Was I actually gay? Was I just broken in some profound and unfixable way? She nodded sympathetically, then referred me to another doctor, to whom I said much the same thing before being referred to another doctor to whom…yeah, you get the idea. I remember vividly how uncomfortable the people-medical professionals- I discussed this problem with became, and how keen they seemed to palm me off on someone else. It’s not even as if vaginismus is the most uncommon affliction in the world- it’s hard to pinpoint exact numbers, but somewhere in the realm of one in five hundred women suffer from it and it’s even more common amongst women 16-24, which was an age group I fell into. Yet no-one could even give me a name, and I was getting increasingly frantic, assuming that I would never have sex, never have a family, never get one of those Mooncups I’d been hearing so much about.

Eventually, I got referred to a sexual health clinic, and made an appointment. I sat in the waiting room, surrounded by glum-looking folks who looked as if they were waiting on bad news about that herpes test. I found myself confronted with the aforementioned sympathetic lady, pretty much the first who didn’t seem like she was hoping I’d stop talking about my vagina right about now. That appointment marked the first time a woman touched my nether regions, but it’s not an experience I remember fondly- naked from the waist down, trying not to cry from the pain of the cotton swab she had inside me. I cried all the way home, and prayed that this time I might get an answer.

I was visiting a friend’s house a few days later when I got a phone call from the clinic, and they spelled out the name of what they thought I had over the phone. That was it: they just told me what it was. After more than two years, I finally had something to work from, even if that was the last time I ever heard from the clinic. I was out in the wilderness again, and as I began to look up information about my dysfunction, things felt almost as bad as before. Websites recommended dilators, basically small plastic dildos of varying sizes meant to acclimatise your vagina to the intrusion of other accoutrements. Even looking at the weird, almost always pink, almost always weirdly bullet-shaped collections sold in neat packages of eBay, was enough to make me cringe with pain. I resolved that I’d just have to be really, really good at all the other sex stuff and chuck in any chance to have a fulfilling sexual relationship with a man. I clung to my boyfriend, convinced than no other man would ever want a woman who he could barely touch.

Then we split up, and I was faced with the reality of entering a dating world where the ability to have sex is usually assumed. With the leftovers of my student loan, I finally ordered those dilators from online, and spent a tense Christmas break in my childhood bedroom with lots of wine and heavy breathing as I tried to manoeuvre those bastards into me. And eventually, things started to change. Maybe it was a new partner, maybe it was the dilators, maybe it was just sheer bloody-mindedness, but I did it: I was finally able to have painless sex, hell, even to enjoy it. And that’s awesome, but it doesn’t mean that I’ve forgotten what it was like to suffer from vaginismus, and wonder how other women who suffer from FSD are being treated.

It might sound like I’m pretty angry about a lot of this, and that’s precisely right. I had a pretty common medical condition whose resolution usually needs a wide variety of different approaches, sometimes including emotional and physical therapy. I never got that. I was never even offered that. Even though it’s long behind me now, you try shaking two and a half years of being convinced that you were frigid and no person who ever want to form a relationship with you because you couldn’t have sex- that shit will mess with you, and still does to this day. If I’d been a man who couldn’t get it up, there would have been myriad options to help me with what I was going through, and at least I would have known that my experiences were common and not exclusive to me. But no- we’re not teaching people about it, we’re not talking about it, and we’re leaving the scores of women who suffer from vaginismus and other sexual dysfunctions out in the cold. My experiences, luckily, are not universal for women who tried to get help, but they’re not unusual either-and, even if we have got a little pink pill to boost our libidos, we’re failing to address the myriad other sexual dysfunctions that might well cause that lack of desire to get down.

So, I want to address this last paragraph to women who are suffering or have suffered from FSD: firstly, it gets better. Even if you think you’re crazy or broken, even if no-one seems to have a clue what’s wrong with you, it can get better, and you deserve to have it taken seriously. Secondly, when you’re ready, talk about it. Talk about it with your friends, your family, write about it, write it in the sky from the engines of a light aircraft. Because every time a woman is dismissed or shut down on the subject of FSD, it blocks an opportunity to educate and hopefully normalise these strikingly common problems, making them less stigmatizing and therefore easier to seek treatment for. Because we deserve better than this.

.

Doctor Who: Time Altering Romp Delivers Inconsequential Shrug

Usually, after an episode of Doctor Who, I spend a whole evening thinking about what I’m going to write in these reviews the next day. I’ll lie in bed thinking about the themes, the faliures, and the successes of the episode so that I can spring out of bed on a Sunday morning with nothing better to do than write Tardis puns and delve into whatever batshit outing Moffat has delivered to my iPlayer this week. You might deduce from this that I have no life, and I’m certainly not going to contest that. But, either way, that just didn’t happen this week. The most ardent reaction I could come up with for this week’s episode, Before the Flood, was a giant shrug.

And honestly, that’s better than I was expecting after last week’s excellent adventure. I was pretty much resigned to the fact that they would find some way to balls up the second part of the story in a long and proud Moffat-era DW tradition, but they didn’t necessarily do that. In fact, there were a lot of things about the episode I liked-an attempt to come up with a legitimately new monster, a collection of cracking supporting actors, and the lack of a giant, unwieldy twist ending all made me pretty happy. On the subject of that monster, as well, I loved (in a twisted kind of way) how ropey and rubbish and old-series Doctor Who it looked- the whole costume wobbled when it walked, for fuck’s sake. But an effort had been made to actually construct a legit alien being, and I thoroughly enjoyed it’s presence.

It was also voiced by Peter Serafinowicz, who’s a brilliant actor and has one of my favourite voices ever, but unfortunately his presence meant that every time the Fisher King spoke I was instantly reminded of the “DO YOU WANT ME TO COME, FRAN?” scenes from Black Books (have you seen Black Books? Why not? Why aren’t you watching it RIGHT NOW?). But there wasn’t enough Fisher King for my liking- and, in fact, there wasn’t enough of anything in this episode, and that was the problem.

Really can’t say enough good things about the supporting cast, especially these two.

The plot of Before the Flood revolves around the Doctor heading back in time to try and stop the message of the Fisher King imprinting on the crew of the vessel from Under the Lake. This involved a lot of time-travelling jiggery-pokery, and an astonishgly on-the-nose explanation of the Bootstrap Paradox (UM THANK YOU TOBY WHITHOUSE I’VE BEEN WATCHING THIS SHOW FOR TEN YEARS I THINK I KNOW WHAT A BOOTSTRAP PARADOX IS), and a whole lot of cool scenes that didn’t really seem to reach any satisfying emotional or plot-related climax. Sure, I loved the scenes with the ghost-Doctor, and I thoroughly appreciated the bitter-sweetness of the romantic subplots, but this episode, for once, left me completely opinion-free. And that can’t be a good thing. Surely?

So spectacularly retro

Look, I feel annoyed that I didn’t really care for this episode, because I can’t tell you why. The supporting cast were great (though can someone confirm or deny the fact that the deaf woman was apparently able to use sonar to assess her surroundings?), and the script managed to eke out a couple of legitimately touching moments from the plot. It felt strange, after the light and airy characterisation last week, that this week’s plot should revolve around the Doctor essentially gloating because he survived through his own ingenuity even as he let numerous people die.  But aside from all of that, the whole thing felt…rushed.

Yes, that’s what it is: after the thoughtful, pretty slow build of Under the Lake, Before the Flood seemed to power through plot points at the speed of light without giving much thought to motivation or, indeed, occasionally logic. Though this was a good episode in terms of character (for once, Jenna Coleman actually had something to do and reminded me just why she’s such a popular assistant), the plot read like something I’d have written when I was fifteen- a half-cool idea that I swiftly lost interest in and sort of muddled an ending out of. The episode seemed harried, as if it was always working against it’s running time. It felt like a bunch of connecting scenes had been cut out to make space for the bare bones of the plot (and a reference to a probable big bad this season, in the form of the as-yet-unknown Minister of War).

Corey Taylor did the roar of the Fisher King, which is the BEST NEWS EVER

They introduced a cool villain, only to give him about ten lines. They seemed to be invested in the emotional arcs of the supporting cast, but then just quarantined and cut loose their ghosted loved ones. It wasn’t the kind of catastrophically half-baked episode that completely negates everything that came before it, but I can see myself remembering certain scenes and lines over a strong plot or cohesive arc. I wish I had more to say about Before the Flood, but aside from a few neat scenes, I have no real opinions either way on this episode. I can offer you up a resounding “meh” and not much more, much to my chagrin, because if there’s one thing (and there is only one thing) I do well it’s having strong and shouty opinions on Doctor Who episodes.

I tell you one thing I won’t be quick to forget though, and that’s the Doctor straight-up winking down the camera at the episode’s end. And endlessly, constantly, unironically playing the guitar. I’ll have you yet, Moffat.

American Horror Story, Hotel: Indefensible

Well, that’s it: they’ve fucked it. They’ve gone too far. There’s only one way to describe the premier of American Horror Story’s fifth season, Hotel, and that’s indefensible.

The show had always threatened jumping the shark, but here they’ve less jumped it than nonconsensually sodomized it in a seedy motel room. Series one and two balanced so carefully outrageous camp (Jessica Lange feeding the corpse of her husband to her dogs, a possesed Lily Rabe delightedly choosing a cane with which to beat her asylum-bound charges) and genuine emotional stakes (ugh, the “Never trust a drunk” scene between Jessica Lange and Francis Conroy in season two, basically), but series three and four seemed to throw any kind of semblance of over-arching plot to the wind in favour of…witches? The sentient head of Kathy Bates? Denis O’Hare getting Freaks-ed?

Suddenly, they weren’t dedicated to creating interesting, thematically coherent stories with plenty of dark horror elements; they wanted to make hyper-camp, unbelievably bad taste exploitation flicks that yeah, did occasionally hit some televisual sweet spot and remain kind of entertaining. Every season, there seemed less and less that was compelling about the show. Sure, there were a few great performances, some good scenes, some great lines, but none of it hung together as anything other than a series of halfway connected vignettes. With a big overhaul in place for their fifth year, I was hoping that they might reclaim some of the decent stuff that had made the first two seasons so compelling.  But with the first episode of season five, Checking In, out this week, I think I may have lost the last vestiges of goodwill I had towards American Horror Story.

I recall when Denis O’Hare got actual acting to do!

Right, let’s get this out of the way. Here are the things I liked about that episode: Kathy Bates’ acting, Sarah Paulson having a legitimately sassy role, the tantalising promise of Evan Peters. There. That’s it. I’m done. Wes Bentley’s performance as the tragic cop who winds up living at the hotel is good, but everything about his crime-scene investigations comes off as cut-price Hannibal (mainly because he reminds me of Chilton a little bit) with elaborate and violent mutliations that serve no actual plot purpose beyond having a guy’s penis glued inside a dead girl’s vagina. And hey, that starts us off on my first major gripe with this episode: the outrageous amounts of sexualised violence.

Look, I have a pretty strong stomach for almost any kind of violence. I watched The Human Centipede 3, for Christ’s sakes. I can appreciate violence when it’s either done well or adds something to the plot; outside of that, I’m not really going to enjoy it, and it’s going to take a lot of convincing for me to believe that it’s necessary. And this episode…yeesh. There were hot blonde teenagers being force-fed in their skivvies, there was a shockingly unsexy soft-porn sequence where a vampiric Lady Gaga (more on her later) and her partner hump then murder an unsuspecting young couple, and there was, of course, the scene where a dope fiend got violently sodomized with a spike.

Honestly, my rule for these kinds of things is that if Se7en wouldn’t do it, there was probably a good fucking reason for that.  And that reason is that showing, in pretty graphic detail, a man getting raped with a giant spike only enlightens the viewers as to what a man getting sodomized with a fucking spike looks like. The scene genuinely upset me, and also made me really angry, because Ryan Murphy and his team have been throwing around sexualised violence a lot in their shows recently, often to no real conclusion. This was just an extension of that in the worst possibe way: we learnt nothing, we were told nothing, and it all seemed like an excuse to show us something “shocking” and “edgy”, trivialising the pretty grotesque act. Do you remember the rape scene in series two, where the camera slowly pans in on Sarah Paulson’s traumatised face, and how impactful that was? Compare it to this scene: vile, exploitative, and simply there to feed the dumb gross-out violence of a certain subset of horror fans (note: this is the second time someone has been bummed to death in this show. Just so we’re keeping count). I hated it. I HATED it.

But let’s focus on some other elements of the show. Firstly, Lady Gaga: if there’s one thing I could say for certain that Lady Gaga has, it’s presence, but for some reason it just didn’t translate on screen. Her line readings veered between terrible and just bearable, but she was a nothing of a character beyond the outrageous outfits and dirty, kinky sex, neither of which she really carries off. Her partner, Matt Bomer, is playing a nineties boyband star- not literally, but take a look at these photos and tell me I’m wrong:

-and he was fine, but in a completely forgettable way. The two of them had a kind of Spike-and-Drusilla vibe, if Joss Whedon had had the bad sense to show the audience the two of them constantly boning. It’s their relationship that makes it interesting, not the constant soft-porny shots of Matt Bomer’s ass. AHS has a long and proud history of showing copious amounts of man-ass, but this was too much, even for me (have you seeeeeen the pictures of Finn Wittrock this season though? Can’t handle that hotness, because at least 30% of my attraction towards this show is the unbelievably gorgeous men).

UGH BRB DYING

More than anything, the show felt like a series of disconnected vignettes. If you’ve had the misfortune of watching Kanye West’s godawful Runaway, then that’s the best point of reference I can find for Checking In. It was dumb, all over the place, with apparently no real urge to go anywhere or do anything or explain any of the reasoning behind it’s often tasteless choices. American Horror Story has always been trashy TV, but this went beyond that and into the realm of exploitation for the sake of exploitation. The whole thing reads like Gaga’s own Bad Romance video: occasionally cool, wierdly headwormy, but ultimately signifying nothing.

Spoiler-Free Review: The Visit, or Shyamalan’s Biggest Twist Yet

So, we all remember M Night Shyamalan, don’t we? He made those couple of films you like, and then a bunch you don’t, and then The Happening, where Zooey Deschanel permanently puts the nail in the coffin of her ever getting out of Manic Pixie Dream Girl-land? You know what I’m talking about.

His first couple of big hits were pretty impressive- The Sixth Sense and Unbreakable were interesting, tightly-constructed little stories told with deftness and some strong performances. Signs (for my money, his best movie) and The Village at least succeeded in their simplicity, telling small stories against the background of a larger conspiracy. Fuck, I’ll even throw all my credibility to the wind and admit that I don’t mind Lady in the Water, mainly because it has Paul Giamatti in it and I’m legally obliged (look it up, it’s in there) to like any movies he’s in. But past that, we’ve got The Last Airbender (Let’s cast almost all white kids in this predominantly Asian series!), After Earth (Scientology: The Motion Picture), and the aforementioned The Happening. Like many other people, I’d honesty written him off as another director cursed by his early movies being too good to top (See also: Quentin Tarantino, Danny Boyle). But then I saw The Visit, and that changed things.

I was staggered when I sat down in front of The Visit and found Shyamalan pulling off his biggest twist to date- that he was actually a good film-maker the whole time! I can only assume that The Last Airbender and The Happening were just sleight of hand as he led us up to his career’s own twist ending, which came in the form of the kind of brilliant, old-fashioned found-footage horror.

It’s impossible to escape the fact that Shyamalan is bringing his movies back to their roots with this one, a tense horror that focuses on some strikingly good performances from child actors. Remind you of anything?

An unbelievably great movie, if you need convincing, by the way

But, ignoring the obvious Sixth-Sense comparisons, this was just an impressively low-key horror, which is difficult to pull off without losing the stakes. It follows Rebecca (Olivia DeJonge) and Tyler (Ed Oxenbloud) as they go to visit their estranged grandparents for the first time. Rebecca documents the progress of their trip in the hopes of turning it into a documentary-but the camera doesn’t lie, and there’s definetly something weird going on with their beloved nana and grandpa. There’s not much else to say about the plot without ruining great swathes of the film for you, and it’s the tautness and simpleness of the story that gives Shyamalan so much space to get us really invested in these characters.

Ed Oxenbloud in The Visit. Ooh, I just want to pinch his cheeks!

I really can’t stress how utterly fantastic the two child actors are, which is a phrase I say about as often as “NO, I would NOT like to see the new Rob Zombie movie, thank you very much” so you know it’s serious. I adore the way the script delves into their characters a bit, balancing their stubborn, schtum tendencies as young teenagers against their ability to genuinely articulate their feelings and fears, especially over the disappearance of their father. The leading quartet is rounded out by Deanna Dunagan and Peter McRobbie as the grandparents, who are equally great and exude just the right level of discomforting off-ness for the film’s run. It’s the careful time Shyamalan spends on letting us get to know these characters that makes the horror, which takes it’s sweet time to arrive, even more effective. Seriously, I’ve seen all the Saw movies and The Visit definitely ooked me out quite a bit, which is certainly not why I was showering with the door open for a week so that they couldn’t sneak up on me. Not in the least.

Oh, hey, Katherine Hahn plays their mother! What’s not to like?

The Visit was impressive almost just because he pulled it off. I was waiting the whole way through for some ludicrous twist (me and the consort were bellowing guesses at the screen all the way through: “THEY’RE ALIENS! THEY’RE DEAD! THE TWIST IS THAT THERE IS NO TWIST!”) to render the whole experience pointless, but it never came. And, for that alone, The Visit deserves a watch- it’s proof that Shyamalan is still capable of making controlled films that don’t spiral into senseless insanity at the half-way point. For anyone mourning the loss of his days as a good writer and director, let me welcome you with open arms to this movie. Just don’t watch it alone.

Doctor Who: Tardis Afraid as Rising Damp Incurs Spirits

Some episodes of Doctor Who are bad (Deep Breath, Kill the Moon, whatever last week’s fiasco of an episode was called). Some Doctor Who episodes are fiendishly clever (Name of the Doctor, Listen). But some episodes are just good- deliciously, deliriously, simply good, and that’s what this week’s outing, which should so obviously have been called Under the Sea in order for me to hum the best Disney song ever through it’s entire run, staked it’s claim in.

I’m not getting my hopes up too high just yet, because the last couple of two-parters the series has done with Capaldi’s Doctor have had amazing first halves and a funeral dirge of a second half. But right now I can linger in that lovely space between knowing and not knowing, without having to qualify any discussion of Under the Lake (the episode’s actual, less exciting title) with “…but the second half was pish”.

The Doctor’s prompt cards were a joke that was just on the right side of obvious.

So let’s discuss what worked about this episode, shall we? Firstly, it was written by Toby Whithouse, he of the patchy but very creative supernatural dramedy Being Human- his Doctor Who episodes have been equally all over the place. For every School Reunion (brilliantly touching), there’s a Vampires of Venice (trudgingly unfunny), for every God Complex (sublimely excellent), there’s a Town called Mercy (??????). But whatever his episodes have been, they’re usually memorable- maybe for some cool new monster, an interesting concept, or fabulous world-building. I’d wager that this episode had one major advantage over the host of recent DW episodes, and that’s the fact that it got the Doctor pretty much spot-on.

What I’m saying is, in short, fuck Moffat’s version of the Doctor, who swerves between calculating self-preservation and grating silliness that’s the equivalent of the show refusing to stop tooting a kazoo right in your ear, and give me this version instead. Capaldi careers around a hilarious script, one that matches decent laughs with pretty impressive horror, and for once he’s not ahead of the game, he’s figuring it out along with everyone else. Something about the slapdash nature of this Doctor is really charming and balances out the ever-present arrogance that oozes off him at every turn.

But ah, I’m getting ahead of myself. What about the story? After the crew of an underwater base haul an alien ship on board, they find themselves infested with ghosts- not the benign, wise-cracking, Hogwarts kind, but the kind that threateningly pick up spanners and brutally drown various crew members to make new ghosts. The Doctor has to try and figure out why they’re collecting the souls of the base’s crew. but as the base starts going a bit haywire he’s forced to leave Clara behind and travel back through time to work out a way to keep everyone alive. As I said earlier, it’s the first part of a two-parter, so I fully expect them to fuck this up royally next episode, but this was a fun, tight, rollicking script that didn’t let the action drop for a moment, and I can respect that. And let’s take no notice of the fact that it seemed to be ripping off previous well-respected Who episodes, with obvious visual nods to The Satan Pit with the corpse floating past the window plus the fact that the Prentis character had very obviously appeared in Silence in the Library. Don’t even think about it. It’s gone.

It was also bloody scary- well, when I say that, I mean that I would have been shit-scared by this episode ten years ago, which is my watermark for how scary a Doctor Who episode is as now I sit around watching House of 1000 Corpses over breakfast so my current scary-radar is kind of skewed. Even the Tardis was too scared to get near the creatures in a cool touch that really spooked me. The ghosts looked legitimately cool-

-and I appreciated the fact that they didn’t go for the traditional bloodless DW deaths (which, when you think about it, only really come in the form of deadly zaps- the Autons, the Cybermen, the Daleks…) and had the ghosts committing straight-up murder. I’ve written before about how keen I am for Doctor Who to terrify kids, partly because it stops them running around with their sticky hands smelling of yoghurt and trying to come near me all the time, but mainly because it gives kids an easy way into good horror, the same way it did for me. Part of Doctor Who’s legacy is sending generations of kids cowering behind the sofa, for Christ’s sake, and it’s about time they upheld that.

A solid supporting cast really helped up the ante and give the episode some stakes, and the addition of a character who communicated through sign-language could have felt tacked-on but just doesn’t. Clara also works best when she’s got some normal people to interact with, and she had a genuinely decent episode for once. I know this show likes to bring the Doctor and his companions together only to brutally rip them apart-

I felt you would appreciate this joke as much as I did, dear reader.

-(ugh, maybe I’m due my period or something, but the memory of David Tennant getting cut off just before he tells Rose that he loves her made me choke up a little) but it’s nice to have them on the same side for once, especially when they seemed to spent so much of last season at odds with each other.

Look, sometimes I just don’t want to criticise Doctor Who because it is, after all, my favourite show, and this episode didn’t make me want to pick it apart at the seams. I’m sure most of the plot would collapse if I took a closer look at it, but I have no intention of doing so because this episode provided everything I wanted-scares, laughs, an interesting story, and apparently next week a monster voiced by Corey Taylor. Because yeah, the big twist set up by this episode is basically resolved by clicking on the Wikipedia page. I’ll have you yet , Moffat.

Community, and the Problem with Ironic Sexism

Look, I guess I should set one thing straight here, before I begin- I don’t think Community as a show is inherently sexist. Dam Harmon, the man behind the cult-smash sitcom, has made an express effort to hire female writers and create interesting, well-rounded women characters who get just as much respect and screentime as their male counterparts. With an ensemble cast as big as Community’s in it’s heyday (seasons one through three, and I’ll hear no different), it was and still is legitimately awesome to see the strong central female cast taken as seriously as they were, as likely to be cracking the joke as the butt of it. So let’s get that out of the way.

But I was rewatching the show over the last few weeks (I’m back at university, any sort of college-based comedy is a must to float me through the next few months alive, and apparently all I write about now is sexism in sitcoms), and something jumped out at me a few times across the show’s run. And that’s it’s use of ironic (or hipster, depending on what article you read first) sexism.

Ironic sexism is basically when the writers know they’re being sexist, and the audience knows the writers are being sexist, and the joke stems from the fact that everyone is in on the fact that this would be a horrible way to treat women in real life. Let’s take a couple of examples that jumped out at me- the first was in a Christmas episode, where Annie (played by Allison Brie) sings a parody of the dumb sexy-baby-voice tunes meant to appeal to men with fetishes I’d rather not consider, presumably:

And yeah, this is a funny scene. Don’t get me wrong. I like the way they dismantled the ridiculousness of the woman forced to prance around downplaying her intelligence to further appeal to men. But it’s still Allison Brie prancing around and bending over in a little dress. We’re still being invited to objectify her, even if we are all in on the funny joke. Take a look at these scenes, which are basically the same thing twice:

Woo, we’re so enlightened that we can ogle women doing stereotypically sexy things- in an enlightened and non-sexist way! I understand what tropes they’re going after here, by presenting a stupidly overboard version of those tropes, but it’s hard to see two conventionally attractive young women straddling each other while covered in oil and see it as a breakthrough. And, of course, this kind of stuff isn’t contained to Community. It’s in advertising, where women and men are posed outrageously sexily- in a tongue-in-cheek way! It’s on social media, where people order women they disagree with to make them a sandwhich, bitch- but it’s only because they’re totally enlightened and we live in a post-sexist society anyway, right?

Look, I get that they’re trying to critique the ridiculousness of these kinds of tropes here, but is simply regurgitating a trope actually providing a critique of it? I’m genuinely asking. I think it depends n the circumstance, the intention, and lots and lots of other things, but when it comes down to it, simply producing a replica of sexism and calling it funny assumes that everyone observing it is going to understand that that’s a ridiculous or unacceptable way to treat the person in question. But, you know, that’s kind of a gamble when objectifying women in the media   (and more broadly in society) in a non-ironic way (WHY HELLO THERE GAME OF THRONES) is so completely accepted, so normalised. I know a bunch of people who see the joke in the above Community scenes, but still appreciate the chance to ogle the actresses in question, so while those scenes have successfully made the point they wanted to make, they’d sort of undermined themselves. I guess what I’m saying is that I don’t think you can critique a problematic trope while you’re adding to it, and doubly so when you’re using it as an excuse to stick two of your leading women in fantasy scenarios and outfits for the audience to gawk act. But what’s your take on it?

Scream Queens, or Ryan Murphy Fools Me Again

So, as you may know, I have something of a…troubled relationship with Ryan Murphy. The writer/director/showrunner, along with his oft-partner in crime Brad Falchuk, has produced some of my favourite and some of my least favourite television of the last decade or so. On the one hand, the turgid back end of Nip/Tuck’s run. But the other, the spritely first season of Glee. But then, everything after the first season of Glee. However, American Horror Story. And on and on into oblivion. His TV produce, as far as I’m concerned, is almost astonishingly patchy, but yet I still find myself drawn to whatever new pile of bubblegum poison he’s pumping on to my screen. No matter how ridiculous the concept, how outrageous the casting, how badly I know in my soul it’s going to go wrong, he fools me every time and I come back for more. And that’s how I found myself watching his new show Scream Queens.

Look, there’s a lot I like about Scream Queens. For one, it’s a hearty, unambiguous salute to a specific genre of horror- the teen slasher, which is one of my personal favourites (Friday the 13th REPRESENT). It’s packed full of in-jokes, gloriously violent and horrible deaths, convoluted backstories, and plenty other genre tropes that make me clap my hands together. Plus, there’s the cast, made up of my favourite actors from other Murpchuck shows: Lea Michele from Glee, Emma Roberts from American Horror Story, etc. Plus, there’s Jamie Lee Curtis (basically playing Jane Lynch’s character from Glee, gloriously)!

The plot revolves around a sorority house, led by a sociopathic president (Emma Roberts) who’s intent on keeping her house for the pretty and popular- using deadly means. Initially, the show has it’s charms- the bubblegum world studded with hideous, violent death (spray tan replaced with hydrochloric acid, head-in-the-fryer prank gone wrong, etc) is pretty great, and I actually kind of enjoyed Nick Jonas’ guest turn as the simpering suck-up to the most popular guy in school. The show seems to be having a lot of fun dismantling those cliches, even if it is done with the usual level of sledgehammer subtlety from the team behind this sequence. Skyler Samuels, as pledge Grace Gardner, really reminds me of Jane Levy in Suburgatory, with her laid-back charm that doesn’t slide into gratingly pointed territory, and the almost all-female cast look like they’re having a ball- of course, as anyone who’s even glanced at her work before, Roberts is glorious as the poisonous valley girl, while supporting cast like Abigail Breslin (as one of Roberts’ cohorts) and Lea Michele (as a socially awkward new pledge) fill out the world.

But I’ll tell you the one thing that doesn’t really work about it: the horror. Look, I get that this is a comedy series before a horror series and that’s cool: in fact, I’m hoping the heavily tongue-in-cheek take on horror might get a few more people to seek out the films they’re lampooning and then I’ll have someone to talk to this shit about. But there’s an uneasy balance at work here. The show’s main villain, the Red Devil, has a pretty cool design that suggests someone somewhere was half-taking this seriously-

Ugh, let’s be real, I would probably wear those trousers in real life.

-and it seems at times as if we’re meant to find them scary. The direct horror sequences lurch wierdly between satrical and serious, and it’s not that good. Look at something like Scream, the ultimate meta-horror. Remember that first time you saw the opening sequence and how shit-scary it was? Yeah that’s what Scream Queens needs. It needs someone who isn’t afraid to really twist the knife (if you’ll excuse the pun) and go hard on the horror, partly because it helps make everything else look so starkly, ludicrously great in comparison. Maybe I’m a horror snob (in fact, no damn maybe about it) but, for all it’s good points, Scream Queens just isn’t doing justice to it’s horror icons.

Dammit, I know I’ll probably be watching the rest of the series. He’s done it again. He always does.

Doctor Who: Tedious Adventure, Rewritten Details Impact Series

Do you remember the Matt Smith episode Rings of Akhaten from season seven (shout out to my fellow shameless Whovian nerds)? It’s a pretty average episode, but it features what is arguably Matt Smith’s finest moment out of his entire run on Doctor Who- a big speech, plopped right in the middle of the third act, where he spoke of everything he had seen, everything he had lost, everything he had to carry with him. Sure, the writing was a little cheesy, but Smith was so thoroughly ingrained in the character by that point that no-one noticed. It’s a bloody excellent scene, a reminder that past the quirky, fun sci-fi adventures, the Doctor has suffered like the rest of the universe, particularly surrounding the destruction of his home planet, Gallifrey. The acting was great, the writing was intuitive, and it felt like everyone involved with that moment understood it’s significance.

I’ll say this, for what it’s worth: I think Capaldi has the right look for the Doctor, even if the writing hasn’t been doing him many favours.

If you haven’t already figured it out, the fact that I’ve started the review for The Witch’s Familiar off by talking about a completely different episode is a bad sign. The episode, the second part to last week’s The Magician’s Apprentice (oh, by the way, my fellow Doctor Who blogger is catching up on his reviews for season 9 now, and has just posted his Magician’s Apprentice review, to be shortly followed by a vastly different take on this episode, so check that out), follows the Doctor as he tries to grapple with a dying Davros and save Missy and Clara. After the fun and rollicking adventure of last week, I had a sneaking suspicion that the follow-up wasn’t going to be as good. Sure, there are a handful of great moments mixed up in there- each and every one of Missy’s lines was a dizzying delight, to the point that I attempted to break up with my boyfriend half-way through the episode, believing it dishonest to stay with him when I was so clearly in love with Michelle Gomez. So let’s get that straight (or, in my case, very, very gay): Missy is excellent, and one of the best things to happen to the series in ages. Her take on the Master has echoes of Roger Delgado’s original series campy dastardlyness, and might even eclipse John Simm’s Tennant-era interpretation (allow me to go flog myself for blasphemy for a few years before I continue).

And don’t even get me started on Clara in this episode: no, seriously, don’t, because she did basically nothing except exist as a conduit for Missy’s humour. It’s gotten to the point now that I was praying Clara would bite it by the end of this episode, just because the show has no clue what to do with her and continues to underwrite her in every episode. Fly free, my sexy Bambi, fly free.

Her hair looks nice at that length, I guess?

But the rest of the episode…it was kind of a shrug. Muted. Meh. The Doctor’s encounters with Davros should have held a clash-of-the-Titans style seriousness to them, but seemed cheap and overwrought. Clara getting all hooked up inside a Dalek was a neat idea that seemed to lead to another “the Doctor and Clara love each other 4eva OMG” climax that I’d seen at least ten million times before. The Daleks themselves seemed…secondary, which is not really a complaint because COME UP WITH NEW VILLAINS FOR CHRIST’S SAKE, but when you set your episode on the planet of the fucking Daleks, I expect a bit more of the trundling teapots of Death. And was it just me, or did Skaro-the planet of the Daleks- seem to only be taken up by about an acre of Dalek-infested land?

Lots of dramatic looking in this episode.

One of the things that really jumped out at me was how average the writing was- I’m not sure if I haven’t already mentioned it a thousand times, but I’m reviewing New Who with another blogger, and we’re currently working our way through series one. Now, every single episode so far has a handful of brilliant lines- whether funny, emotionally resonant, or just plain spine-tingling (like this quote from the season opener), and that’s true of the series pretty much up until Capaldi’s arrival- from the Matt Smith example quoted above, to David Tennant’s goodbye to Rose, the show always had some prestige writing wrapped up in easy-to-swallow sci-fi nonsense.

Cast your mind back over Capaldi’s run: could you quote any of his lines? Pick out any really defining moments without having to grope around a bit first (I’d go with his non-discovery of Gallifrey at the end of the last season, but even that was pretty overwrought in restrospect)? The Witch’s Familiar was the first episode that I’d really put my finger on what was up with the series, and it’s lazy, unpolished writing that focuses more on amusing-but-forgettable quips over characterisation, Thinking about it, that’s one of the reasons Capaldi still doesn’t feel like the Doctor to me, despite the fact that he’s a tremendous actor who’s giving his all to this role.

UNF

But I’ll tell you the main reason this dude doesn’t feel like the Doctor. Because, with Gallifrey returned in the 50th Anniversary Special, half his angst is gone. All that seriousness that followed the Doctor around- as the man who remembered, then the man who forgot- is gone. He’s not the last of his race any more (well, he never was, because the Master existed, but you know what I mean), and that’s taken something from his character. When I first saw Day of the Doctor, I knew that Moffat had done something cataclysmic to the continuity of the show, and to the characterisation of it’s leading man, but it’s only now that I’m really noticing how shallow the Doctor seems now. Take that scene from Rings of Akhaten- it meant something because we believed that this person really had suffered, really had lost something unthinkable. But with that undone, Moffat seems to have stuck two fingers up to the brilliant work both he and The Davies had done earlier in the series making that such a central and fascinating part of the Doctor’s character, and he just doesn’t have the clout he once did.

Oh, and REPLACING THE SONIC SCREWDRIVER WITH SONIC SUNGLASSES? I’ll have my revenge in this life or the next, Moffat.