Lucie’s Aunty Pat now runs a hotel in the Lake District. All is tranquil until some unexpected guests turn up.
1 Comment
Styre
on May 7, 2016 at 9:54 PM
THE ZYGON WHO FELL TO EARTH
I’ve been disappointed of late in the various scripts and novels by Paul Magrs, whose unique magical realist tone seems to have vanished in lieu of banal, vaguely funny runarounds. Fortunately, he seems to be getting back on the right track with “The Zygon Who Fell to Earth,” a surprisingly warm, poignant comedy that, while not reaching the previous heights of scripts like “The Wormery,” injects some much-needed significance into an otherwise frivolous Paul McGann season.
While we’ve seen the Zygons in one memorable television episode and a couple of forgettable novels, none of the stories have really dealt with the identity issues at the heart of their species. With their camouflage technology, they are able to live among other societies without difficulty or conflict. This begs the question: can a Zygon stop being a Zygon? It would certainly appear so, as evidenced by the actions of Trevor (Steven Pacey), a Zygon who now lives as a musician with Lucie’s Aunty Pat (Lynsey Hardwick). It’s a little heavy-handed at times, but never overwrought — and besides, Magrs’ stories often feature a “love conquers all” theme. And though the story doesn’t explore this, I wonder what this says about the Doctor: a Zygon can “settle down” on Earth but the Doctor cannot.
There’s also a surprising ending that comes as a shocking counterpoint to the philosophy espoused by the new series. One of RTD’s central themes is the celebration of the potential of the average human: yes, we can be cruel, we can be boring, but there’s also heroism waiting to be unlocked. But what about the ordinary people who stay ordinary? We see, in “Zygon…” just such a person in Aunty Pat — and after her shocking, futile death, we also learn that the timeline doesn’t even care about the paradox created by her death. Unimportant people are papered over, their wrinkles smoothed from the fabric of time without a second thought. It’s surprisingly bleak, especially for an otherwise lighthearted script, but it doesn’t jar with the overall tone.
Paul McGann seems to enjoy Paul Magrs scripts, and this instance is no different. I think the final scenes between him and Sheridan Smith are among the best in the Doctor/Lucie relationship — it’s affecting to hear Lucie let down her guard, especially in tragic circumstances. Steven Pacey easily brings across Trevor’s weariness and inner turmoil, and Hardwick’s turn as Aunty Pat shows that aforementioned “bravery of the mundane.” Malcolm Stoddard, Tim Brooke-Taylor, and Katarina Olsson clearly enjoy themselves a great deal playing the Zygons: the scene in which a Skarasen is milked is one of the great gross-out moments in Doctor Who. Production was handled by ERS, and they easily recapture the “feel” of “Terror of the Zygons” with this lighter, more farcical tone — meanwhile, Barnaby Edwards holds things together with his reliable direction.
Overall, “The Zygon Who Fell to Earth” is an improvement over last year’s “Horror of Glam Rock.” It has something to say, it aspires to be better than average, and it succeeds in these goals. It’s not a masterpiece by any stretch of the imagination, but it’s a rewarding way to pass an hour, never lacking in humor or poignancy. The McGann series seems to have hit a consistently high standard of quality — I just wonder if this range is ever going to have a “Spare Parts” or “Holy Terror” of its own.
THE ZYGON WHO FELL TO EARTH
I’ve been disappointed of late in the various scripts and novels by Paul Magrs, whose unique magical realist tone seems to have vanished in lieu of banal, vaguely funny runarounds. Fortunately, he seems to be getting back on the right track with “The Zygon Who Fell to Earth,” a surprisingly warm, poignant comedy that, while not reaching the previous heights of scripts like “The Wormery,” injects some much-needed significance into an otherwise frivolous Paul McGann season.
While we’ve seen the Zygons in one memorable television episode and a couple of forgettable novels, none of the stories have really dealt with the identity issues at the heart of their species. With their camouflage technology, they are able to live among other societies without difficulty or conflict. This begs the question: can a Zygon stop being a Zygon? It would certainly appear so, as evidenced by the actions of Trevor (Steven Pacey), a Zygon who now lives as a musician with Lucie’s Aunty Pat (Lynsey Hardwick). It’s a little heavy-handed at times, but never overwrought — and besides, Magrs’ stories often feature a “love conquers all” theme. And though the story doesn’t explore this, I wonder what this says about the Doctor: a Zygon can “settle down” on Earth but the Doctor cannot.
There’s also a surprising ending that comes as a shocking counterpoint to the philosophy espoused by the new series. One of RTD’s central themes is the celebration of the potential of the average human: yes, we can be cruel, we can be boring, but there’s also heroism waiting to be unlocked. But what about the ordinary people who stay ordinary? We see, in “Zygon…” just such a person in Aunty Pat — and after her shocking, futile death, we also learn that the timeline doesn’t even care about the paradox created by her death. Unimportant people are papered over, their wrinkles smoothed from the fabric of time without a second thought. It’s surprisingly bleak, especially for an otherwise lighthearted script, but it doesn’t jar with the overall tone.
Paul McGann seems to enjoy Paul Magrs scripts, and this instance is no different. I think the final scenes between him and Sheridan Smith are among the best in the Doctor/Lucie relationship — it’s affecting to hear Lucie let down her guard, especially in tragic circumstances. Steven Pacey easily brings across Trevor’s weariness and inner turmoil, and Hardwick’s turn as Aunty Pat shows that aforementioned “bravery of the mundane.” Malcolm Stoddard, Tim Brooke-Taylor, and Katarina Olsson clearly enjoy themselves a great deal playing the Zygons: the scene in which a Skarasen is milked is one of the great gross-out moments in Doctor Who. Production was handled by ERS, and they easily recapture the “feel” of “Terror of the Zygons” with this lighter, more farcical tone — meanwhile, Barnaby Edwards holds things together with his reliable direction.
Overall, “The Zygon Who Fell to Earth” is an improvement over last year’s “Horror of Glam Rock.” It has something to say, it aspires to be better than average, and it succeeds in these goals. It’s not a masterpiece by any stretch of the imagination, but it’s a rewarding way to pass an hour, never lacking in humor or poignancy. The McGann series seems to have hit a consistently high standard of quality — I just wonder if this range is ever going to have a “Spare Parts” or “Holy Terror” of its own.
Recommended.
8/10