The Devil's Chord! This was my most highly anticipated episode of the series because of The Beatles - who I'm very nostalgic for, sue me - but they had a much smaller part than I expected. That may be for the best, as the actors don't look anything like the real deal, but they did an admirable job considering the circumstances.
I love the idea behind this one. I'm a musician myself and love things about music. Music being important, music being holy, I love it all. Everything from Maestro playing us into the theme tune, to the way it aligns with the characters' established personalities (the Doctor's jukebox and Ruby's band), made me very happy. The music battle was especially cool. Very The Devil Went Down to Georgia. Out there, but I liked it a lot.
Maestro was also a lot. I liked them, though. Great costumes, great performance. A campy villain in the best way. They're the Toymaker's child, which is interesting in itself, and I like that the rules around fair play seemed to extend to them as well.
There was a lot of series arc stuff here. So, Ruby has Carol of the Bells deeply ingrained within her. There was some important figure (another of the Pantheon, presumably) at her birth - is Ruby herself a child of the Pantheon? More snow, as well. There's also the One Who Waits coming up again. It all feels a little too self-conscious and crammed in - "remember, there's pay-off coming for these random mysteries that you have no context for!". I know we live in an era of heavily serialised media, in large part because of streaming and the binge model, and obviously Doctor Who has been semi-serialised since the revival, but it just seems like a lot. Maybe even too much, especially since the first episode was quite heavy with it too.
Although, I did wonder if this one was meant to be later in the series. First Ruby saying "you never hide" and then "you always know what to do" signaled a far longer association with the Doctor than she has had, but then it was especially jarring when she said it was hard to keep track of when her time is and it could be June or July... That sounds like someone who's been travelling with the Doctor for a while, not like someone who's on their second trip. And it was Christmas for her only last episode. Obviously there can be off-screen trips, but usually for the first couple of episodes we want to feel that this is the start of their journey as the audience gets to know them. Did this get plucked from later in the series and dropped into the episode 2 slot? Because it seems a bit of a shame, if so.
There was a lot of fourth wall breaking in this one as well. There was a wink to camera each from Maestro and the Doctor, as well as the Doctor's comment about thinking the music was non-diegetic (a nice little moment that probably a lot of people will miss). I do quite like a meta moment, and particularly loved the Twelfth Doctor's partaking in them, but I wonder if these serve a particular purpose, because we also had Mrs Flood talking to camera at the end of the Christmas special. Since RTD seems to be going with a theme that the rules of the universe have changed and become a bit more magical, I wouldn't be surprised if the meta elements tied in somehow.
Then, this is less meta and more fully surreal, but that whole ending musical number was... odd. I don't know what I think about it yet. The Doctor with his wink and "there's always a twist at the end" seemed to signal that we were leaving the normal reality of the show, but then... Did that musical number literally happen? How about the Abbey Road zebra crossing acting like a piano? It's part of my specific brand of autism that I struggle with surreal things when it's not clear how/whether they relate to the more realistic things going on, so maybe other people love it. It just made me feel confused, though, and slightly annoyed. I expected a musical number because the trailers showing this made that fairly clear, but I'd assumed it would be explicitly connected to the strange happenings of the episode. Instead it's just plonked at the end after everything has been fixed.
A lot of this latter stuff sounds quite negative, but overall I really liked this one! As I said before, the music stuff speaks to me personally very much, and I'll withhold final judgement about the serialisation stuff and even the meta/surreal stuff, as it may well pay off yet.
Small things
Love their outfits so much, and obviously we've known about them for a while, but it was funny they were worried about blending in when both of them (especially Ruby) were wearing pretty 60s adjacent outfits at the start. The Doctor was more 70s, but I don't think many people would have looked askance.
Ahhhh, Fifteen mentioning that One was in the junkyard made me exceedingly happy! The speculation about what happened to Susan also has me hoping beyond hope that this might be set-up for a Susan return.
I loved that extended instrumental scene where Ruby just played on the rooftop and people listened. It was quite moving!
Love hearing the word "lesbians" on Doctor Who <3 - I don't think even Bill explicitly got to use that word!
Just the general queerness is really nice. Ruby writing a song for her friend's gay break up. Maestro being they/them and it not really being a thing beyond their introduction. Ruby's mum having a "girlfriend" who was a Beatles fan that makes me wonder if that's in the platonic or gay sense.
I want to know the behind the scenes details of how they chose the music they did, especially when it comes to the chords that both summon and banish Maestro.
Henry the child is real and alive at the end! (Though it's during the musical number, so I guess real is dubious.) When he vanished into nothingness (and his music teacher didn't seem to care), I had thought he wasn't real. Does he have his own world-ending powers?
The Doctor referring to bigeneration as having had his soul "torn in half". Hmm, don't like that! I won't rehash my feelings on bigeneration here, but this implies that there is not continuity between the end of Fourteen and the start of Fifteen, which mucks up one of the only ways I could hold onto being just about okay with it.
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Bruce Yamada post revival!
Here’s the sweet and lovable baseball player!!! He enjoys baseball, and soft jazz!
I tried to make it seem like he’s thinking of spaced out because like canon Bruce has the most memory issues post revival, he has trouble remembering numbers, dates, faces, and sometimes names. It frustrates him, so to keep his mind busy he pops rubber bands on his wrist, and he writes in a memory book!
He’s still very sweet but I think dying put a damper on his personality, he’s spacey, aloof, and calm on most days and sometimes he’s cold, bitter, and mean on worse ones. Those are the days where he can barely remember he’s alive.
I tried to keep it similar to canon with him having his memory and own sense of self being altered because like all the others I think dying left a serious impact on his mental health and psyche.
One thing didn’t change though!! He’s a major nerd for baseball and is an absolute natural at it!
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