2nd Opinion: Face the Raven
David Selby and Connor Johnston give their verdicts on the tenth episode of Series 9.
David’s Verdict
Well, they actually went there.
And, admittedly, to a large extent, that’s all I really want to talk about. I can say that taken separately from Clara’s death, Face the Raven is a solid episode, enjoyable and well-paced, and traditional ‘high-concept’ Doctor Who. It’s remarkable how well Dollard pitches it between being overtly political like, say, The Zygon Inversion (and it’s worth noticing how the key concept, at first at least, is that a black man is on a murder charge, guilty-until-proven-innocent, Mockingbird-style), and just a straightforward Doctor Who story playing with an interesting science-fiction/fantasy idea. The only improvement I could think of making would be to actually film this in London, so that the Trap Street comes off a recognisable London street, rather than some blatantly Welsh architecture.
But this isn’t a case of trying to review an episode clouded by a plot-centric ending – at its heart, Face the Raven is a story about Clara’s death, and it’s told through pitching itself as an ordinary Doctor Who episode and letting Clara kill herself by trying and failing to take on the Doctor’s role. Even Clara’s final scene is taken as a regeneration shot, as Clara stretches out her arms, having died for her companion, while the Doctor stands behind, speechless and terrified. It’s not even that much of a shock ending – it felt inevitable, and that inevitability adds to Capaldi’s performance which portrays not just the character’s hopelessness, but his forlorn acceptance that this was always how it was going to end.
It will be interesting to see how this one divides fandom. I might as well say, from the off, that I was happy for Clara to be killed off. Whatever you say about character and cliché, nothing will change the fact that people love a good death. Writers pitch in their best because they love to write a death. Audience invest their fullest because it’s as low as what they’re watching will ever sink. And actors realise that they’re playing a character doing something which they will, unavoidably, do themselves one day: die.
It frustrates me that I’ve seen the word ‘fridging’ crop up over the last couple of days more times than I can count on the fingers of one hand. Fridging, for those who aren’t aware, is the trope of killing a female character for the purpose of developing the male character (a development which usually results in angst, anger and violence). But apparently it’s literally just the trope of killing any female character, at any time, in any circumstances, and one frankly wonders what television would look like run by people who are only willing to kill a character if he’s a man.
Because this is not fridging. That’s what makes it such a good death: the long-lasting legacy of Clara Oswald is that she finally subverted the trope of fridging. She tells the Doctor – orders – that he must not hurt people because of this, that he must not get angry and not get violent. By giving him an order, she doesn’t die to develop the Doctor, but chooses how the Doctor will develop before she dies, potentially even saving Mayor Me’s life.
With this, Dollard shows a truly impressive understanding of Doctor Who (even if this is Moffat, the fact that he chose not to claim a co-write credit suggests that he attributes most of this to Dollard): she recognises that the Doctor’s anger cuts short the moment a child is hurt, references Danny Pink and the significance of his “right” death, and refuses to hold back on the actual death scene when it comes. Clara dies in pain with the Doctor looking on, and at last it’s clear that the show outright refuses to hold back from telling the story it wants/needs to tell. By throwing aside limitations, Doctor Who feels so much more real and so much easier to invest in, and it’s clear that everyone involved in it is loving the experience, from the inspired genius of Murray Gold to the criminally underrated costume department for producing that magnificent velvet jacket.
This was an episode which just worked for me, maybe because of the attachment I’ve formed to the Twelfth Doctor and Clara; this was the first time I haven’t been ready for a companion to go, and have felt the consequences. It was hard-hitting and left me feeling at once drained and satisfied. My favourite companion got the ending she deserved – but I’ll miss her.
Connor’s Verdict
After last week’s subtle dip in excellence with “Sleep No More“, the immaculate quality of the ninth series returned with a vengeance this week, offering one of the most profound, original and moving episodes of not only the series – but of the show’s now 52 year history. On a more narrowed scale; the episode was essentially the narrative conclusion to one of, if not the greatest journey of the Doctor and a companion, as well as the heart wrenching demise of arguably one of the greatest characters and actresses of the show’s existence. In addition to this, “Face the Raven” also held the obligation to produce a stunningly original standalone adventure, as well including a chaotic and suspenseful lead in to one of the most mysterious finales of the revived era – all of which within a 50 minute timeslot. It was of course no easy task, but one new to who writer Sarah Dollard met exceptionally well.
The episode is one that is swimming in originality and concepts, with the premise being so refreshingly new and charming and leaving no secrets as to why Sarah Dollard’s ideas were met so enthusiastically by the show running team. The idea of the ‘trap street’ is one that instantly grabs the audiences intrigue and attention. An outpost for lost and asylum seeking aliens fleeing persecution and hidden within our own blindness is so rife with narrative possibility, one can only hope it’s a setting that shows up again very soon. The invention of the Janus, the Lurk-worms and the Shade also work incredibly well in contributing to the mythic nature of the episode and the Whoniverse itself – all three of them being worked into the plot to great significance seamlessly by Dollard.
As original and fresh as it felt, there was also a sense of familiarity with the episode seeing the return of both Rigsy and Ashildr – cementing two more reoccurring characters for the Capaldi Era. Rigsy as a character was a highlight of Series 8, and easily become one of Series 9 as well. It would’ve been so easy to make the ‘urbanite graffiti artist’ an unlikable and juvenile character, and I can do nothing but applaud both Mathieson and Dollard for sympathizing with the modern youth and moulding a character that, while a touch misguided, is displayed as a genuinely good person. Rigsy’s presence in the episode is incredibly rewarding and Jovian’s performance achieves the perfect balance of energy and emotion required by the episode. I’ve grown to realise that the reason some people label Ashildr’s character as inconsistent is the same reason I love the character so much. We’re not watching a character develop as we normally would with Ashildr, given that every time we meet her we are bypassing a good 300-500 years of her life. We aren’t given the reasoning to how her role or attitudes has developed – we’re simply shown the character she’s become and allowed to fill in the blanks ourselves. It’s no secret that Ashildr isn’t the main focus of the episode, but what she does do incredibly well is enhance the mystery and uneasiness of the plot due to Maisie Williams’ superb and layered portrayal.
Justin Molotnikov really needs to be commended on his work to construct the episode. The action and energy of the first few scenes is beautifully scaled down as the narrative progresses and enter the claustrophobic and enigmatic trap street. The realisation of the setting itself really achieves the mystic and magic we’ve come to associate with Doctor Who in recent years. Molotnikov also masters the fast pace of the story, fitting in a great amount of twists and content without it feeling particular rushed, and appropriately slows down during the episode’s conclusion to give the events of the final scene the justice they deserve. Similarly, Murray Gold’s score of the episode is painstakingly beautiful. Without question, “Face the Raven” sits remarkably comfortable as not only his best work in an already impressive series for the composer, but one of his most heart-breaking scores in over 10 years.
This episode was one of our last opportunities to admire and revel in the glory years of the Doctor and Clara, and it beautifully tributes this dynamic with an energetic and adventurous first half where both the Time Lord and his friend are clearly at their most capable and charismatic. Peter Capaldi’s portrayal of the Doctor is specifically moving this week, as he faces the anger and remorse of losing his best friend. His performance during the final quarter of the episode is particularly effective in the way it omits any public display of dramatic lamentation. The Doctor’s reaction is as bitter and defeated as tragedy itself, and ensures that the Doctor’s mercy and principles are suitably compromised leading into the finale.
Clara’s death is something that’s been heavily foreshadowed all series, and up until the final moments of the episode it almost seems like it’s an avenue that’s too ambitious and risky for the show to take. The first half of the episode seems like fairly dangerous territory for Clara, but no more than any other episode has been since her departure was announced. When Clara ups the stakes by taking on Rigsy’s death sentence, it’s a logical twist that drives the plot, but also speaks to Clara’s arc. There is compassion and heroism in her actions to assure that Rigsy survives for his wife and for his daughter, there’s the Doctor-like intelligence in the fabric of her plan (which granted what she knew, is quite clever) – but there’s also an impulsion and recklessness. She’s heroic, but she’s also too self-assured, too confident in the face of tremendous danger, which is inevitably her downfall.
Perhaps this was why the circumstances of Clara’s death made it so profound and moving – that something as mundane as an error of judgment fuelled by compassion, heroism and most importantly by an illusion of indestructibility, was her undoing. It would be almost ironic if it wasn’t such an appropriate and fitting conclusion to her character’s development. It’s not specifically triumphant or bombastic – but simply remains character driven and dependent on such a strong level of sincerity in both its manner of storytelling and actor’s performances. In an era like Clara’s where character development, emotional investment and the Doctor/ Companion dynamic form such a crucial and rewarding list of characteristics… there really couldn’t have been a more satisfying and moving death. Jenna Coleman has not once faltered in her portrayal after almost 4 years – but in “Face the Raven” she exceeds her impossible benchmark with a performance that is especially breathtaking. The true selflessness of Clara’s character is that even in her final moments Clara’s mind is on the Doctor and not on herself. She literally uses her last breaths to order him to not take revenge on anyone, and to not let whatever journey ahead change him. It’s one final, bittersweet and touching moment watching the control freak in action…. And it’s absolutely heart-breaking. Clara Oswald’s finest moment, is her last.
In mourning, it almost seems inappropriate to look forward to the next two weeks despite it being a very promising finale – and yes there still remains the initial numbness and heartbreak of losing such an influential character barring me from doing so. However what we need to remember is that while Clara’s life is over – her story and impact on the show is far from being finished. In the weeks ahead we can look forward to the effect Clara’s death will have on the Doctor. The decision to kill a companion off before the end of the series is a risky one – but if it allows time enough for the Doctor to reflect and find closure through whatever Jenna’s involvement is during “Hell Bent” without unfairly hindering the Time Lord’s connection to another companion in the future (as it has detrimentally before), there’s no telling how much of a successful choice it could become. What is clear however, is that Clara’s departure is still ongoing, and we have a few more weeks left to reflect on such a beautifully written and performed character.
For the time being however; Sarah Dollard, Steven Moffat, Peter Capaldi and Jenna Coleman have presented something utterly breath-taking, which even after countless rewatches sweeps me up in the mystery, thrill, suspense and emotion of the narrative. I have no hesitation in labelling “Face the Raven” one of the greatest pieces of television of all time, which is no less than what such an influential character like Clara deserved.
