Writer: Jamie Mathieson
Director: Paul Wilmshurst
Starring: Peter Capaldi, Jenna Coleman, Frank Skinner, Samuel Anderson
The Story: The Doctor and Clara are on the most beautiful train in history, speeding among the stars of the future – but they are unaware that a deadly creature is stalking the passengers. Once you see the horrifying Mummy you only have 66 seconds to live. No exceptions, no reprieve. As the Doctor races against the clock Clara sees him at his deadliest and most ruthless. Will he work out how to defeat the Mummy? Start the clock!
The Verdict:
This week we took a detour to a beautifully computer-generated space train named the Orient Express. After Clara made her outraged exit from the TARDIS at the conclusion of Kill The Moon, it was actually slightly surprising to her reunited with The Doctor at the beginning of this episode. Although having said that, it really should have been expected given the dedication this series has to strengthening their ever-complicated relationship.
Mummy on The Orient Express quickly establishes its central storyline within the opening sequence, which also happens to justify its later time slot easily with its absolutely terrifying mummified antagonist. For a science fiction series that’s been recently aimed at families and young children, it’s amazing quite how much Doctor Who continues to push the boat out with adult story-lines and content potentially unsettling for youngsters. On the face of it, this particular story may seem like a standalone adventure for a (so far) fantastic series of the greatest show in the universe. However, when inspected a little bit closer, Mummy on The Orient Express contains quite a few elements of continuity consistent with the long-running themes series eight has already set up. The most obvious of these though, is undoubtedly Moffat’s recent theme of soldiers, the army and post traumatic stress disorder. This has raised interesting questions that are synonymous with recent media obsession with PTSD and war-torn ex-soldiers, as seen in IRON MAN 3, Sherlock and True Detective.
This has made me analyse the role of Danny Pink and what part he will play in the Doctor and Clara’s lives further down the line. Anderson’s role in this episode is incredibly brief, however it is effective in hammering home his mysterious intention to turn Clara against the Doctor once and for all. It does give a slight bit of credibility to the popular fan-theory that Danny Pink is in fact The Master…although I will admit that I am dubious about that idea (however much I would squeal with delight if it were true). Whatever the case may be with Doctor Who‘s recent soldier fascination, the central story of series eight is clearly the wonderful relationship between The Doctor and his most important companion of all time. In fact, the intriguing idea of The Doctor constantly rotating between boyfriend and bit on the side, is a brilliantly engaging narrative device that has kept their on screen dynamic fresher and more interesting than ever. In my humble opinion, the notion that Peter Capaldi’s Doctor is an addictive and incredibly secretive side-hobby for Clara, has made their charisma more potent and captivating than it ever was with Matt Smith’s Doctor (Sorry Matt).
This episode was an impressive debut for Jamie Mathieson and Paul Wilmshurst’s amazing directorial skills. After Kill The Moon, Wilmshurst manages to create a beautifully retro-interior and that genius on-screen death clock (not to mention the horrifying Mummy). Frank Skinner provides an amusing performance as Perkins, an ever-so-slightly bland mechanic who seemingly matches Doctor in terms of technical know-how. Although this isn’t a huge element of the episode, Skinner plays his part well enough to justify his role as The Doctors short-term buddy and honorary companion. Other episode highlights include references to Jelly babies and a hilarious ‘Are you my Mummy?‘ moment, as well as Foxes’ atmospheric rendition of ‘Don’t Stop Me Now‘.
Mummy on The Orient Express leaves us with more questions regarding Danny Pink’s pursuit to play Clara against the Doctor, the identity of Gus and how far Clara’s dangerous ‘addiction’ to the Doctor will take her down this increasingly risky path.
Best Bit:
The brilliant opening scene prior to the shows opening credits, which is both terrifying and stage-setting for a exciting and tense episode.
Best Line:
The Doctor: I’m so pleased to finally see you, I’m the Doctor and I will be your victim this evening…are you my mummy?
[usr=4] THN’s Doctor Who Series 8 Blog returns next Saturday.
