Fugitive of the Judoon - The First Review
WARNING! THIS REVIEW CONTAINS SPOILERS FOR DOCTOR WHO: SERIES 12 EPISODE 5! YOU HAVE BEEN WARNED!
Starring Jodie Whittaker, Bradley Walsh, Mandip Gill and Tosin Cole, with Neil Stuke, Jo Martin and Nicholas Briggs.
Written by Viney Patel & Chris Chibnall.
Directed by Nida Manzoor.
Ko Sho Blo! Trigger-happy space police the Judoon are targeting 21st-century Gloucester. The Doctor, Yaz, Ryan and Graham race back to Earth in order to prevent them doing too much damage to the cathedral city. But who are they looking for, and what did they do to incur the wrath of the Judoon?
And I was so looking forward to this one as well.
After keeping continuity to a strict minimum throughout his tenure thus far, Chris Chibnall decides to throw the whole kitchen sink at the audience in "Fugitive of the Judoon". While the return of the Judoon was much publicised (in fact the only part of the series to be publicised before it aired), there are a number of other elements in this story that are designed to pander to the fans. There was a build up by the BBC in the week leading up to this episode's transmission that some (myself included) dismissed a little bit as over-hype and an attempt to push the ratings up. However, I will at least coincide that, in this case, the BBC were right. Sadly, however, this is the first Jodie Whittaker episode that doesn't really work on any level for me, and it takes me back to the dark days of the Moffat era. Sure, it will appeal to the fans, but, for me, it wastes a potentially great set-up with an massive over-indulgence in continuity and set-up for stories to come.
This episode starts off fairly decently, with the audience being introduced to two characters, Ruth and Lee, who are designed as our fish-out-of-water characters for the episode. These scenes are actually fairly good, as we get the sense of two people who don't entirely trust each other, but still care for each other and love each other. This relationship is fascinating, and fuels the early scenes with intrigue and character detail the likes of which we haven't really experienced in the Whittaker era thus far. We spend the first five minutes of the story getting to see the minutiae of their lives and then see that all torn up as the Judoon rampage in, seemingly looking for Lee. Now, this is a great set-up, that sees us enter into the lives of two relatable characters before bringing the Doctor and her friends into the picture. Those opening scenes are torn straight from a Russell T Davies episode, although without the forced and obvious trickery in order to get us to like them. However, from about fifteen minutes in, it starts to become clear that this episode has a very different focus and direction that it is aiming for. And that is a shame. Because the initial ideas that the story is based around are actually really good, and could sustain a story for the entirety of its run-time. "Fugitive of the Judoon", at least in its initial form, starts off really decently. Sure, if it had played out the way it was set up to, it probably would have only amounted to a fun run-around with rhino-headed monsters. But is there anything wrong with that? No, if it told engagingly and excitingly enough. However, this episode isn't content with being mundane but enjoyable, and instead plunges us headlong into a series of twists and turns that, to my mind, feel over-indulgent and add nothing to the episode. If anything they, to me, actively take away from the experience, and just left me feeling depressed about Doctor Who's future. In addition, they relegate the Judoon to basically an extended cameo, which is such a shame considering the great potential they have. People do still recognise them, so why the story felt like pushing them to one side is beyond me. This was the chance to do something really exciting and interesting with the Judoon, and, as far as I'm concerned, they blew it.
Starring Jodie Whittaker, Bradley Walsh, Mandip Gill and Tosin Cole, with Neil Stuke, Jo Martin and Nicholas Briggs.
Written by Viney Patel & Chris Chibnall.
Directed by Nida Manzoor.
Ko Sho Blo! Trigger-happy space police the Judoon are targeting 21st-century Gloucester. The Doctor, Yaz, Ryan and Graham race back to Earth in order to prevent them doing too much damage to the cathedral city. But who are they looking for, and what did they do to incur the wrath of the Judoon?
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| The Doctor (Jodie Whittaker) faces down the Judoon Captain (Paul Kasey & Nicholas Briggs). But do they have the answers she seeks? |
And I was so looking forward to this one as well.
After keeping continuity to a strict minimum throughout his tenure thus far, Chris Chibnall decides to throw the whole kitchen sink at the audience in "Fugitive of the Judoon". While the return of the Judoon was much publicised (in fact the only part of the series to be publicised before it aired), there are a number of other elements in this story that are designed to pander to the fans. There was a build up by the BBC in the week leading up to this episode's transmission that some (myself included) dismissed a little bit as over-hype and an attempt to push the ratings up. However, I will at least coincide that, in this case, the BBC were right. Sadly, however, this is the first Jodie Whittaker episode that doesn't really work on any level for me, and it takes me back to the dark days of the Moffat era. Sure, it will appeal to the fans, but, for me, it wastes a potentially great set-up with an massive over-indulgence in continuity and set-up for stories to come.
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| The Judoon Captain wonders where his fugitive is. I can't help but agree with him. |
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| "Chris, why does this mystery box say 'property of Steven Moffat' on it?" |
As I mentioned above, we start with two interesting characters with some clear tension beneath the surface of their relationship. However, as the episode progresses, we realise that has all been a lie. Both the characters of Ruth and Lee, to varying degrees, aren't real, and they are, in fact, different people. I will get into the semantics of the twist later on, but I think that, for me, making what we see at the beginning of the story completely fictitious and 'unreal' (for want of a better word) completely devalues it. Stories like this have pulled the rug from under our eyes before, but have left what we see at the beginning as important, or somehow significant. Look at "Human Nature/The Family of Blood" (an obvious example, but the best one perhaps), where, despite the fact that 'John Smith' is a fiction, the actions that he takes and the choices that he makes still feel real, and earned. However, the way the reveal is staged here means that Ruth and Lee's lives feel completely artificial after that twist. It's a shame, because Neil Stuke and Jo Martin are great: Jo particularly so after the twist, despite how egregious it is. They sell the couple who do care, but who slowly realise their relationship is built on lies. If the twist had been self contained to its own story, I think I'd be hailing this as some of the best character drama of the Chibnall era. But, sadly, it wasn't to be. I also have to highlight the terrible treatment of the regulars this time around as well. All four of them get hideously upstaged, especially the companions. It's so bad that, for a fair chunk of the run-time, you actually forget that they exist. Instead, all they do is become caught up in the set-up for a future plot arc, which feels forced in and unlikely to lead to anything interesting, if past form is anything to go by. And the Doctor herself doesn't fare much better, as she also finds herself caught up in a massive plot arc set-up that feels forced and unlikely to lead anywhere, if I'm being honest. She certainly has more agency in her sections of the story than the companions, and Jodie does get some opportunities to shine, but the rest of it feels a dreadful waste.
Production wise, however, this episode is standout. Nida Manzoor's second outing for the show is just as polished as her first, and is probably, in many ways, more daring and experimental than "Nikola Tesla's Night of Terror". There are some wonderful use of framing shots and some beautiful cinematography that, despite the poor script, at least makes it enjoyable to look at. It's amazing how talented the current crop of directors on the show are, as they are able to make even the poorest stories at least look good. The flashbacks that Ruth experiences in the cathedral are amazingly edited, and bring the moments of Ruth describing her past to life in a way that the story couldn't hope to achieve otherwise. It looks amazing, and, when coupled with the high quality of acting and design work (including the re-invention of a set that has been a staple of the show since its inception) means that "Fugitive of the Judoon might be the best-looking episode of the season, an amazing feat considering how many of the sets are recycled and reused from previous stories. Honestly, the production on this episode is just incredible.
And now we come to the twists. Because they are, as far as I'm concerned, the reason why "Fugitive of the Judoon" is an unmitigated failure. Neither Captain Jack's return, nor Ruth being the Doctor, work as well as Chris is clearly hoping for, and, as such, renders everything this episode is trying to do as pointless. While both John Barrowman and Jo Martin are wonderful, their acting ability cannot salvage some of the most ill-conceived twists in the show's history. The return of Captain Jack is so laughably tacked on, it ends up unimportant, and a detriment and insult to the man himself. Is there any reason why this has to be Jack? Could it not be River Song? Or Ace? Or Nardole? I mean, Jack talks like Jack, but there's no real reason why Jack is involved with this. Sure, we might find out at a later date, but somehow I doubt it. At least the Judoon have a purpose, even if it feels weird with what we find out later. But Jack is shoehorned in in an attempt to paper over the ludicrously poor way in which the 'Lost Cyberman' arc is set-up. So a character just tells our companions that the 'Lost Cyberman' will threaten the future if the Doctor gives it what it wants? That's not engaging, that's just baiting the audience into trying to get excited about something that would be exciting on its own, without the need for inducing artificial hype to start off with. As for the idea that Jo Martin is the Doctor... well, not only does it come out of nowhere, but it seems designed purely to rile the fans up into a frenzy. Now, I probably won't talk too much about the theories flying around (mostly because it will just make me angry), and just say that I find the resolution of this aspect of the episode underwhelming and a bit dull. Sure, there's a 'new' past Doctor, but what significance does this cast on the show's future? None at the minute, because it's going to get put aside, while we move on and do something else. Introducing a new 'old' Doctor isn't a new idea either: Steven Moffat got there first with the War Doctor. And that brings me down to the man crux of my argument with all this: what's new about these arcs? The Timeless Child? Well, we've had the Hybrid for that. The Lone Cyberman? Reliant on past continuity in order to sustain it, and has echoes of both Series 2 and Series 6's arcs. Jo Martin's Doctor? "The Name of the Doctor" pulled a similar trick. All this stuff has been done before, with a lot of the same story props that both Russell and Steven used. They're just a Frankenstein's monster of old arcs and old moments stapled together in order to provide dramatic momentum. But that momentum falters for this viewer, because none of these ideas sit harmoniously together. They just feel forced, in the frame of a narrative that doesn't need them because it can tell its own engaging story. People criticise Steven for jangling keys in the audience's face to distract them from the terrible script, Chris threw the whole car at us. And I can't get on-board with that.
I get that a lot of fans will love "Fugitive of the Judoon". And I want to make it clear that, if that is the case, then I am so happy for you. I am delighted that you got something out of an episode I didn't. I hope you are satisfied with the resolution to the arcs, and you enjoy the show going forward. I am definitely in the minority on this. However, for me, I found that "Fugitive of the Judoon" was on the same level as "Journey's End", "The End of Time", "Journey to the Centre of the TARDIS" and "Hell Bent": an absolute car-crash of a story that just left me baffled with what actually just happened, and how those creative decisions were taken without no one questioning whether they would work. Bafflingly awful, this is a horrible portent of things to come, and a sign the show is slipping back into habits that I hoped it had grown out of. Please don't make me be this negative again, Chris Chibnall, because I hate being like this. I've loved your era thus far. But this was just atrocious.
All pictures copyright to the BBC. Thank you very much for reading. Apologies for the negativity.
Production wise, however, this episode is standout. Nida Manzoor's second outing for the show is just as polished as her first, and is probably, in many ways, more daring and experimental than "Nikola Tesla's Night of Terror". There are some wonderful use of framing shots and some beautiful cinematography that, despite the poor script, at least makes it enjoyable to look at. It's amazing how talented the current crop of directors on the show are, as they are able to make even the poorest stories at least look good. The flashbacks that Ruth experiences in the cathedral are amazingly edited, and bring the moments of Ruth describing her past to life in a way that the story couldn't hope to achieve otherwise. It looks amazing, and, when coupled with the high quality of acting and design work (including the re-invention of a set that has been a staple of the show since its inception) means that "Fugitive of the Judoon might be the best-looking episode of the season, an amazing feat considering how many of the sets are recycled and reused from previous stories. Honestly, the production on this episode is just incredible.
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| "Hey, I've been reading the script, and I'm just curious why we Judoon aren't in this story as much as you promised, Chris..." |
And now we come to the twists. Because they are, as far as I'm concerned, the reason why "Fugitive of the Judoon" is an unmitigated failure. Neither Captain Jack's return, nor Ruth being the Doctor, work as well as Chris is clearly hoping for, and, as such, renders everything this episode is trying to do as pointless. While both John Barrowman and Jo Martin are wonderful, their acting ability cannot salvage some of the most ill-conceived twists in the show's history. The return of Captain Jack is so laughably tacked on, it ends up unimportant, and a detriment and insult to the man himself. Is there any reason why this has to be Jack? Could it not be River Song? Or Ace? Or Nardole? I mean, Jack talks like Jack, but there's no real reason why Jack is involved with this. Sure, we might find out at a later date, but somehow I doubt it. At least the Judoon have a purpose, even if it feels weird with what we find out later. But Jack is shoehorned in in an attempt to paper over the ludicrously poor way in which the 'Lost Cyberman' arc is set-up. So a character just tells our companions that the 'Lost Cyberman' will threaten the future if the Doctor gives it what it wants? That's not engaging, that's just baiting the audience into trying to get excited about something that would be exciting on its own, without the need for inducing artificial hype to start off with. As for the idea that Jo Martin is the Doctor... well, not only does it come out of nowhere, but it seems designed purely to rile the fans up into a frenzy. Now, I probably won't talk too much about the theories flying around (mostly because it will just make me angry), and just say that I find the resolution of this aspect of the episode underwhelming and a bit dull. Sure, there's a 'new' past Doctor, but what significance does this cast on the show's future? None at the minute, because it's going to get put aside, while we move on and do something else. Introducing a new 'old' Doctor isn't a new idea either: Steven Moffat got there first with the War Doctor. And that brings me down to the man crux of my argument with all this: what's new about these arcs? The Timeless Child? Well, we've had the Hybrid for that. The Lone Cyberman? Reliant on past continuity in order to sustain it, and has echoes of both Series 2 and Series 6's arcs. Jo Martin's Doctor? "The Name of the Doctor" pulled a similar trick. All this stuff has been done before, with a lot of the same story props that both Russell and Steven used. They're just a Frankenstein's monster of old arcs and old moments stapled together in order to provide dramatic momentum. But that momentum falters for this viewer, because none of these ideas sit harmoniously together. They just feel forced, in the frame of a narrative that doesn't need them because it can tell its own engaging story. People criticise Steven for jangling keys in the audience's face to distract them from the terrible script, Chris threw the whole car at us. And I can't get on-board with that.
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| The Doctor, Yaz (Mandip Gill), Ryan (Tosin Cole), Ruth (Jo Martin) and Lee (Neil Stuke) stare at a strange object. Does it have anything to do with the plot? Probably not, no. |
All pictures copyright to the BBC. Thank you very much for reading. Apologies for the negativity.
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