Doctor Who Recap: Last Night Was a Movie

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For a moment, let’s imagine we can travel back in time with the TARDIS, specifically to the 2007 episode “The Shakespeare Code.” In the series history of ‘Doctor Who,’ Martha Jones, the first full-time Black companion, has just traveled to Elizabethan England. She asks the Tenth Doctor, “Am I safe here? Won’t they mistake me for a slave or something?” When the Doctor questions her concern, she points out, “Well, as you can see, I’m not exactly white.” The Doctor responds by saying he’s not even human and suggests, “Just act like this place is yours. It works for me.” Although Martha might have been safe during that era, his response to her valid concern seemed careless.

Over a dozen years since last time, Russell T Davies has returned as the showrunner for “Doctor Who,” and for the first time ever, the TARDIS crew consists entirely of people of color: Belinda and Fifteen. This week’s episode finds the Doctor explaining to his companion how race affects their interactions in different periods of history. For instance, they can’t casually stroll through Miami in 1952, passing a whites-only diner or movie theater without causing a stir. As Belinda grapples with the harsh realities of segregation, the Doctor offers words of wisdom: “I often wait for people to change the world. But until then, I live in it and make it shine.” Interestingly enough, this week we’re introduced to a new divine entity: Lux, the deity of light (portrayed by Alan Cumming, known for his work on “The Traitors”).

In an unusual turn of events, it’s no wonder that the show is mirroring Lux’s eccentricity by crafting a more unconventional, exploratory episode. Before we fully understand Lux’s character, we witness his abilities under the soft glow of moonlight. This scene introduces Mr. Ring-a-Ding, a singing, blue cartoon character with a pig-like snout who comes to life. His debut is rather alarming as he emerges from the movie screen, cautioning the audience not to provoke laughter. After this incident, when we revisit the theater, there are flowers adorning the entrance and a police notice on a locked door. It has been months since all 15 individuals in that audience have gone missing.

The TARDIS arrives at a crime scene because the Doctor’s time navigation device (which he playfully calls his “vindicator”) is pulling them towards May 24 through an alternative route. Eager to explore, Belinda can’t resist stepping into another era. However, one might wonder if her clothing is suitable for the occasion. The Doctor’s charm is boundless as he says, “This is the fun part, sweetheart.” His enthusiasm is contagious as he playfully tosses her down the hallway to change or dances excitedly as they reappear in costume. It’s hard not to feel joy watching him buzz with excitement like that. His body language is expressive. Upon spotting a locked cinema, it’s clear that he can’t resist the temptation. “You’re Scooby-Doo,” Belinda concludes. Offended, he retorts, “Sweetheart, I’m Velma.

Despite the vindicator being prepared for departure, the Doctor manages to persuade Belinda to carry out some inquiries at the diner first. It seems that an employee and a mother connected to one of the missing boys are willing to bend the rules during early morning hours when no one’s around. Hearing Mrs. Lowenstein express hope due to the TARDIS, which resembles a police box, causes Belinda to lean towards their plan. As they discover that projectionist Reginald Pye has been alone inside playing movies every night, Belinda becomes more intrigued and joins the Doctor in solving this mystery, taking on the role of Fred to the Doctor’s Velma.

Mr. Pye stands in shock as the duo forcefully enter and encounter the living Mr. Ring-a-Ding. It’s unclear how this ties into powers of light, but the animate cartoon character has its own soundtrack; there’s a record-scratch when the Doctor queries about the missing individuals. However, after Mr. Ring-a-Ding repeats something humorously too many times, the Doctor suspects that this involves the gods, which is later confirmed when Mr. Ring-a-Ding laughs out a playful melody resembling the Toymaker. Lux then reveals himself as the deity of light, the “sparkle in the core of the Pantheon, the twinkle in the eyes of the mad, and the final sight before plunging into the void.” Regrettably, this doesn’t instill much fear within me. Sutekh’s formidable powers as the self-declared god of death set a high standard. Even Lux’s herald, a billboard for the fictional Rocky Hudson film The Harvest Bringer, seems less dramatic compared to the humans the last two gods affected.

Mr. Pye purchases some extra time by playing a peculiar cartoon that leaves Lux with no other option than to dance and sing along, even though he was previously able to break free from any actions dictated by Mr. Ring-a-Ding’s script. This delay allows us to learn more about Reggie’s past, as it turns out that he continues to provide Lux with films because the animated character can potentially bring his deceased wife back to dance with him. Eventually, Lux manages to catch up and offers a cryptic clue about how he might be defeated (“Consider, what have I not done?”). In no time, he transforms Belinda and the Doctor into visual representations, much like he did with the 15 individuals who vanished, as we’ve recently discovered.

The characters, the Doctor and Belinda, are initially placed in a flat cartoon world. To make their personalities more complex and realistic, they must open up about their deepest fears, particularly the Doctor’s past trauma regarding the genocide of his people which he hadn’t previously discussed when she mentioned “Timelordia.” When they attempt to pull on their surroundings, they return to the theater. A police officer and Mrs. Lowenstein, who had acted cordial earlier at the diner, now appear suspicious and prejudiced. After a moment of tension, the Doctor clarifies that the police uniform is incorrect and that this entire racially charged situation is just a creation by Lux.

In a playful twist, The Doctor and Belinda stare directly into the camera and make their exit. This action enables them to step out from a television screen and encounter fans named Lizzie, Hassan, and Robyn who are avid followers of “Doctor Who.” Yes, we’re delving into meta territory here. RTD throws in some witty jabs about internet leaks and the intense adoration for Steven Moffat’s “Blink” episode. The fans find the ending a tad predictable due to Lux’s statement that film stock is explosive. They seem to grasp the god’s hint, though they choose not to reveal the answer to avoid spoilers. These fans have become self-aware enough to comprehend that they are characters in Lux’s trap. In the end, everyone agrees that when The Doctor and Belinda return, this group of fans will vanish. With a final expression of affection, Lizzie removes the frame and sends them on their way.

The Doctor and Belinda manage to break free by simply pushing upward to halt the celluloid. This move could either save them or kill them, but Belinda seems unfazed by the risks. After they safely escape, Belinda tsks at the Doctor for letting her treat his burned hand. I find it amusing how she treats him like a child. However, he explains that being from a different generation has given him extra vitality, and then shows her how he can heal himself. Lux, on the other hand, wants to construct a body using the light inside of the Doctor, as if every cartoon character wants to become human. The reels draw the Doctor in and position him in front of the projector. “Because that’s something I never do, my dear friends,” Lux says. “I never go outside.” Now, I am genuinely worried about Lux, as he becomes increasingly grotesque and deranged with the Doctor’s light bringing him to life.

In the current scenario, Belinda, now completely confident in the Doctor’s guidance, obeys his commands to exit the room. She recognizes that, being a Time Lord, he can perceive it’s daytime, and she begins to grasp that his strategy revolves around all the film reels catching fire. Reggie elects to assist, as his spouse (or possibly an image of her) gives him matches. The ensuing blast creates a hole in the structure, allowing sunlight to flood into the theater directly. The Doctor collapses on the floor as the light reaches Lux. In response, the deity transforms into a 2D shape and ascends, reminiscent of Gayle King and Katy Perry venturing into space. “I am all … and I am nothing,” Lux whispers feebly, as the sun’s power causes him to expand, filling the entire universe. “Farewell.

It seems… a deity of light has been annihilated by light itself. The Doctor points out an intriguing paradox: humans can perish by drowning despite being predominantly composed of water. Although this analogy might not be entirely apt, since people are not gods (one would find it strange if Poseidon drowned in the Pacific Ocean), I’m left pondering the logic before the vanished individuals start exiting the theater.

In the scene, Belinda and the Doctor observe heartwarming reunions, but due to discriminatory regulations, they don’t stay too long, instead quickly returning to the TARDIS. In “Dot and Bubble” last season, we learned that the Doctor will strive to save even overt racists, yet the false policeman encounter was tense. I’m relieved that our pair doesn’t have to endure any direct microaggressions or racist comments and can slip away discreetly. If it wasn’t for Mrs. Flood drawing attention by telling Mrs. Lowenstein, her son, and the diner boy to look, they might have departed without being noticed. She then suggests that the event concludes on May 24 and makes a joke about an “optical illusion.

At the end of the episode, we switch to a scene where Hassan, Lizzie, and Robyn are evaluating the show (giving it a score of seven out of ten). It’s touching to see them providing constructive criticism, which hints at RTD’s ability to poke fun at himself. This conversation, in turn, makes the viewers feel connected, implying that we too exist within the realm where Doctor Who is a fictional series. In an endearing move, even minor characters like Hassan, Lizzie, and Robyn have their surnames displayed in the credits, suggesting that RTD may be subtly expressing his affection for his audience. Aww, RTD, is this your way of showing us how much you care?

Cut for Time (Lord)

Although the doctor pronounces Belinda’s name as “Belind-uh”, she herself introduces it as “Belind-er”. This little difference has me intrigued. Let’s make sure to pay attention to Belinder, as she goes by both versions!

• How is Mrs. Flood traveling through time and space? The questions with her never end.

Each time Alan Cumming uttered, “Don’t make me laugh,” my eagerness to listen to Alan Cumming perform a rendition of “Popular” from Wicked, in his Mr. Ring-a-Ding style, intensified.

Before they leave the TARDIS, Belinda assures the Doctor that everything they said when they were frightened and excited remains valid, and furthermore, they’ll confront it together from now on. I was hoping the rapport between the companion and the Doctor from last week could continue a bit longer, but it seems Belinda is completely committed now. However, next week’s sneak peek hints at events that may challenge their newly formed trust…

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2025-04-19 18:57