Doctor Who: Flux, Chapter 3- Once, Upon Time

 “Time is playing games with you all."

I have to admit this episode is pretty damn awesome, and has me bloody excited. I have my usual reservations with Chibnall's retconning of the Doctor's past and continuity- has it been thought through? Is it going to benefit the show in the long term rather than buden it with confused and conflicting continuities? There's a reason why the so-called Cartmel Masterplan quite deliberately never amounted to the odd vague hint. However, in the moment, I'm enjoying the ride. A lot.

I've been reading a lot of Michael Moorcock lately, and this feels very much like his work. Concepts like the Passenger, a planet called Time and awar between Time and Space are very Moorcockian, if that's a word. The Flux is decimating space; now the same is happening in time. The narrative is complex, with the Doctor, Yaz, Dan and Vinder jumping between different times and places simultaneously, some real and some relived memories- but memories with details changed. Nothing is stable. I have reservat ions about how the general public will take to this, but this middle aged geek loves it.

We get nice little glimpses into the pasts of both Yaz and Dan, good character moments for the pair of them Dan and Diane are sweet together and she's clearly besotted, and Dan is horrified to discover she's trapped within the Passenger. We also learn Vinder's past- and he's a whistleblower in a corrupt society who was punished for doing the right thing, a difficult concept to grasp in the "in no way corrupt" Britaoin of 2021 (Ooh, bit of politics there...). We also see the mysterious Bel, on a quest (with her unborm Tamagochi child or summat) for love that encompasses hordes of Daleks, Cybermen and others.... only to discover at the end that she and Vinder are a couple on mutual quests for each other.

Oh, and Vinder knows what a TARDIS is, which is interesting...

But we also, of course, learn a lot about scenes from the Doctor's past which she relives alongside people she sees as Yaz, Dan and Vinder. Yet her own reflection shows her as the Jo Martin Doctor, while Dan is really Karvanista, who must be bloody ancient. So who are the other two...?

The Doctor is leading an army for the Division, an agent of law and order against the same two baddies as the present day. But are they baddies? They seem to have an ideology (Time must not be constrained) which is not obviously any more right than that of the Division.But we get very little context... until a mysterious scene with Barbara Flynn as a mysterious woman who explains that the Flux and all this is deliberate, the universe ending is the point, and it's all the Doctor's fault.

Oh, and there are some awesome action sequences with Cybermen and especially Weeping Angels, now right up there as iconic baddies. Yes, I loved this episode, and Chibnall wrote it. But let's hope what he's doing to the mythology of the show doesn't break it, or I may well look back upon this episode less fondly...

Doctor Who: Flux, Chapter Two- War of the Sontarans

 “Repair must not be undertaken by idiots!"

Once again, for the second week in succession, I must admit this episode is pretty good. Chibnall's scripts have a certain lack of wit and polish, but he's getting better. And, much as I'm not sure how the general family viewing public will be reacting to this complex, universe-spanning, timey-wimey plot, I'm quite enjoying it.

The main season plot chugs on underneath as our three mysterious baddies from the dawn of time- Azure, Swarm, and the bizarrely named Passenger- attack a planet called Time, which isn't supposed to exist, where mysterious priests called Mouri keep Time itself under control as, apparently, when Time is uncontrolled it is "evil". All this is brand new mythology, unknown either to us or, interestingly, the Doctor. It'll be interesting to see where Chibbers is going with this. So far it seems to be about providing a Perils of Pauline-style cliffhanger for Yaz and Vinder, now integrated into the gag, just to give us a cliffhanger, but the concepts are cool.

Meanwhile, the Sontarans have exploied the Flux to invade Earth and, in a nice touch, are basing their claim on Linx's exploits all that time ago- and they seem to have time technology far more extensive than that of The Time Warrior, invading Earth at all points in its past in a plan which is rathere confusing to think about. But the extended sequence of the Doctor and Mary Seacole in the Crimean War is rather fun as an A plot for the episode, and I must confess that history being changed so that the British, French and Ottomans are fighting the Sontarans, not the Russians, is pretty damn cool. And I like the portrayal of the Sontarans- comedic, yes, as they have been since RTD brought them back, but also brutal.

As is the Doctor. Jodie Whittaker proves to still be on fire here: she's awesome.So, too, is the character of Dan, merrily slaughtering hordes of Sontarans with a wok given to him by his mum in Sontaran-occupied Liverpool, as you do, in scenes which reminded me a bit of Independence Day.

There's also that sceptical bloke ffom 1820 wandering around in the temple on the planet Time, and so many cool concepts and set pieces not least of which is a Sontaran on a horse. I must admit, I'm rather enjoying this.

Coriolanus (National Theatre Live, 2014)

“I am known to be a humorous patrician, and one that loves a cup of hot wine with not a drop of allaying water in it. One that converses more with the buttock of the night than with the forehead of the morning."

I'm a Shakespeare geek, I suppose, but of his thirty-nine plays I have certainly neither read nor seen them all. So, having neither seen nor read Coriolanus, I'm caught between a first experience of the play- one extraordinary both in itself and in what it has to say in our sadly populist times, where militaristic demagoguery continues to plague us.

I can see why the play is not so popular and well-known as the Warwickshire lad's other late tragedies. It is austere, has a proud and abrasive protagonist who is not inclined to self-aware soliloquys, and assumes a knowledge of semi-mythical early republican Rome, in the 490s BC, where the last king has barely been deposed and where, with the first secession of the plebs, issus of class and war intertwine as the young city state conquers its neighbours.

One must surely imagine this play, with its emphasis on the people, the tribunes, the conflict between arrogant privilege and the popular will, would be much less resonant in early Jacobean times than it is today, where Coriolanus as a proud warrior and would-be tyrant evokes not so much the sadly delusional Trump as the much younger, leaner and more sanely arrogant Cummings. Tom Hiddleston is superb, succeeding in seeming authoritative and believable as a proud and reactionary soldier undone by hubris, his performance full of nice little touches, at limes leavening the tragic gloom with bitter humour. Mark Gatis is similrly superb as Menenius, the humour of his performance concealing dark depths. The sparse production, too, is a triumph, allowing the play itself to succeed by its words and performances. It's just a shame Birgitte Hjort Sorensen of Borgen has such a relatively small part.

Magnificent, both as a play and a performance. Not all tragedies have to be Hamlet, and there's a real power in letting the interior thoughts of the protagonist remain opaque. From Hiddleston I've never seen a finer performance.