2nd Opinion: Listen
David Selby and Connor Johnston both give their own verdict on the 4th episode.
David’s Verdict
Series Eight thus far has acted as an exploration into the Doctor’s character from a number of perspectives and through a plethora of different techniques. Steven Moffat’s Listen, an episode with a typically ‘scary’ premise, instead uses the Doctor to provide a deep, fascinating and completely unexpected insight into what it means to be scared.
Although the episode flits smoothly between contrasting locations, a recurrent setting of Clara and Danny’s date is used to give Moffat a chance to work with a more artistically convoluted narrative structure (while simultaneously establishing a constant within a more jolting atmosphere). Whilst the dynamic was interestingly altered and Clara sufficiently re-examined as a character, both the character of Danny and actor Samuel Anderson felt, at times, awkward. I preferred Into the Dalek’s interpretation of a quieter, more shell-shocked ex-soldier (even if it did raise questions about he got the job at Coal Hill). Thankfully, the direction Listen goes in with the character means that it at least sets up for more successful future episodes worth investing in. It’s quite flattering to the young audience that Moffat wasn’t worried about minimising the romantic aspects, and the consensus seems to suggest that the show-runner’s progressively adult new ideas are being generally well-received.
Moffat’s script allows both Capaldi and Coleman to play to their characters’ strengths, with Clara functioning as a mother-figure to each character (alongside their older interactions) and the Doctor as a troubled man whose inner child releases a mad curiosity. Listen sees both characters at the top of their game, with their exchanges perhaps a little edgier and tenser than usual. Clara’s presence in the Doctor’s life remains astonishing, if a little frustrating; I’m hoping it will be addressed at a later date. Running concurrently with the ‘Heaven’ motif: is Clara, in fact, the Doctor’s Guardian Angel?
I’ll only speak briefly about the overall idea of the barn scene as I’d rather discuss what I feel is most important about it. Merely by merit of its existence, the new establishments of the Doctor’s childhood are bound to alienate and/or dissatisfy a number of viewers. But, as a keener fan, I’d personally rather the show-runner took risks rather than producing a forgettable series with little or no impact on Who lore as a whole.
In my eyes, the significance of the scene wasn’t that it expanded canon, but that it conveyed a surprisingly unusual moral to younger viewers. As an episode which superficially exists to scare children, it ends up instead reassuring them about the terrors that lurk under their bed and communicating completely effectively that it’s alright to be afraid. By placing the young Doctor in the position of juvenile jeopardy, it allows the younger viewer to put themselves in his shoes (or in this case bare feet) whilst realising all that the Doctor has achieved as he’s grown up. Listen surely must bring hope to some of the maybe more anxious younger fans, so to complain about the episode being adult would be completely absurd. Fundamentally, it’s a statement of family television at its best: an exhilarating piece of drama that invests both adults and children. I also enjoyed the presence of humour more than last week; it was amusing and well-timed without taking up the duration of the episode.
Murray Gold’s soundtrack was arguably his best yet, and I admire the decision to leave the end of time unscored, emphasising the sense of solitude and closing which it inevitably brought.
If you’ve been reading all my reviews, you’ll know by now that one of the reasons I’ve grown more cynical towards the show is that I’ve doubted whether it’s still able to tell a decent story in fifty minutes. Listen put my worries to rest. It proved that Doctor Who doesn’t just tell a good story in less than fifty minutes, but, in fact, a great one.
Connor’s Verdict
There is always a change in the atmosphere every time a standalone Steven Moffat episode makes its way into a series line-up. There’s always a certain expectation, a certain buzz, an electricity in the air – something that separates a Moffat script from other unique yet occasionally generic adventures. Perhaps this is why Moffat’s last standalone – “The Beast Below”, isn’t widely as appreciated or regarded in the same esteem as say “The Empty Child” or “Blink”? Because it lacks such atmosphere. Question: Could it be that Moffat’s superb ability to write Doctor Who has evolved to be restricted to such episodes like Christmas specials and finale’s, those that due to their place already entail a certain weight in the grand narrative of Doctor Who? Conjecture: Undoubtedly, and thankfully, no.
The decision to, in essence, divide the plot into two main parts of: ‘The Date’ and ‘The Hiders’ is admittedly initially confusing, but in a true Moffat fashion that channels parallels with his ‘Sherlock’ way of storytelling, Moffat connects every aspect of the narrative with great class thanks to the common theme of “Fear” and the constant links to Danny’s character.
A real highlight of the episode is the extremely memorable performances from the three principle cast members. Peter Capaldi serves up an incarnation defining piece, as the Doctor potentially has a nervous breakdown and we get an insight to the chaotic way the Doctor’s mind works in a sharp yet intriguing opening sequence. The snarl, the investment, the alien nature of the Doctor that comes through Capaldi’s performance is something we can only marvel at. One major concern that I’d imagine most parents would have had going into the Twelfth Doctor’s era would be that the new incarnation might possibly be TOO dark, TOO shocking for their younger children, after all “People don’t need to be scared by a big grey-haired stick insect”. If these concerns weren’t put to rest during last weeks “Robot of Sherwood”, then the Doctor’s brilliant, inspiring and gentle interactions with Rupert will surely stomp them into the ground.
Jenna Coleman hardly needs any more praise on DWTV– but Clara’s performance this week simply deserves as much as it’s physically possible thanks to her exceptional chemistry with Danny, perfect dynamic with the Doctor and her stunning ability to interact and form a bond with children, stressing the maternal teacher aspect of her personility. Samuel Anderson is finally given a script which allows him to really sink his teeth into; both as the awkward but instantly lovable Danny and his descendent: Colonel Orson Pink, time traveller of the future. Anderson achieves the perfect level of contrast and differentiation between his two characters, and with the Doctor’s initial business with Orson seemingly concluded – it looks like we are set for a very interesting reaction when the Doctor first meets Danny. The cast is rounded out with an extraordinarily impressive acting debut by Remi Gooding as Rupert Pink, silencing for at least this week any doubts on the ability of young actors and their value in Doctor Who.
The episode’s successes cannot be simply attributed to the script and performances, impeccable as they were, but rather the seamless marriage of a plethora of production elements – headed by Douglas Mackinnon’s deliciously cinematic direction. Mackinnon definitely gives Ben Wheatley a run for his money as best director of the series and while there may be not one clear direction highlight – there is instead a constant run of perfectly placed and visually appealing shots and sequences. He succeeds tremendously in translating the horror of Moffat’s ideas and writing into real, spine tingling visuals, achieving the perfect balance between the sharpness of horror movies and the mystery of Doctor Who. It’s with great anticipation I look forward to Mackinnon’s next two Doctor Who credits in the form of “Time Heist” and “Flatline” in the coming weeks.
How is it possible that after almost 10 years, Murray Gold continues to go from strength to strength, triumphantly bettering his work each series. The subtle yet effective score carries on the Series 8 trend of Gold using the value of silence, though still delivering striking and memorable tracks; notably in the pre-credits scene capturing the rising intensity and of course the hauntingly beautiful score that accompanies a hauntingly beautiful closing scene.
The resolution to the “Perfect Hiders” plot is ridden with the stench of Classic Moffat drama in the way it encourages viewers to rethink everything they think they’ve retained throughout the episode. Could these monsters simply be a manifestation of man’s paranoia? The threat serves its initial purpose of delivering a creepy, at times frightening layer to the episode; before transition into a clever, bold and unique idea due to the lack of a definitive explanation. This doesn’t cheapen the initial fear factor, but instead ensures for an enormous amount of discussion and interaction following the episode. But then again, the scares themselves are not the point of the episode….
“Listen” has it’s unsettling, borderline terrifying moments, but unlike most episodes that send kids running behind the sofa – the beautifully written ending scene teaches them that it’s okay to be afraid, that it’s okay to be frightened – because fear makes us stronger. The bravest people are the ones that overcome their fears. What a stunning message to teach through both the Doctor’s speech to Rupert and Clara’s speech to the young Doctor in a scene that is simply a privilege to watch.
Of course “beauty is in the eye of the beholder” and “Listen”, while extremely far from a flawed episode, is not free from minor irritations that may be more detrimental to some than it would to others. The main qualm seems to be that an episode so rich in character development and heavy in its plot may prove to be almost too much for the minds of casual or possibly less invested Whovians to grasp during their initial watch, though the majority of the wider reception seems to disprove this theory, with only minimal expressions of confusion seemingly lost after subsequent views.
“Listen” is an episode that after a mere few days is already being branded as one of the best in Doctor Who’s history, both by the majority of fans and critics alike – and quite deservingly so. Its message, plot and atmosphere encompasses everything that the Doctor, the show and the story stands for. “A soldier who’s so brave he doesn’t need a gun … can keep the whole world safe. What shall we call him?” Delivered with incredible class, “Listen” leaves the audience both petrified with fear and suspended in awe. The definition of ‘edge of your seat’ drama and the very epitome of ‘event’ television: this humble Moffat standalone is Doctor Who storytelling at its best.
