Mission Impossible: Clara Oswald in Review – Part 3
Connor Johnston continues his ongoing series overlooking Clara’s development throughout Series 8 with episodes 7-9.
In a series that introduces a new incarnation of our favourite Time Lord, anyone would usually be correct in thinking that the spectacle of Peter Capaldi might overshine and steer focus away from any side characters or companions, and while Capaldi’s performance has been indeed inspired, there seems to be another equally rewarding role this series. Through both her evolutionary performance and an abundance of inspired writing, Jenna Coleman (and in turn Clara Oswald) has achieved the seemingly impossible: continuing to go from strength to strength and proving to be as much of a valued and important role as the titular character himself. Over the course of this series, we’ll be tracking the developments of Clara’s character as she is thrown into the strangest, most dangerous and most amazing environments, and hopefully watch as her popularity in the opinions of the fan base skyrocket.
Our “Mission Impossible” continues with evaluations of episodes 7-9 in Series 8, written by Peter Harness and Jamie Mathieson respectively.
Kill the Moon – by Peter Harness
“Don’t you ever tell me to mind my own language, don’t you ever tell me to take the stabilisers of my bike and don’t you ever class me with all the humans you find so little and silly and predictable!”
And here we are at article number three addressing the three “Dynamic Development” episodes of the series: “The Big Three” as I’ve grown fond of labelling them. First today is the divisive, though in my mind absolutely brilliant “Kill the Moon” written by new-to-Who writer Peter Harness. It’s an episode rich in moral ambiguity, intense and looming consequence and mature drama unlike Who has seen for quite some time – but for Clara, it involved quite a gamechanging development regarding her relationship with the Doctor. The episode starts off as always, the Doctor and Clara a united, equal force taking Courtney on the trip of a lifetime. Throughout the first half of the episode,there are some moments of tension – but it never passes the level of annoyance, and for the most part the pair seem to as always work together sensationally. It’s not until a revelation regarding a certain infant moon creature that cracks start to form (pun intended).
The Doctor’s decision to leave the choice up to Clara, Courtney and Lundvik is one that seems hard to label either right or wrong. Moral dilemma’s in Doctor Who are rarely so black and white. Without doubt, the Doctor was correct in allowing the choice that defines humanity to humanity – in that respect it’s definitely an ego mellowing move from the titular character that has seemed somewhat arrogant during certain moments throughout his first series.. Where his faults lie is in the execution, leading to a completely justified and hurt reaction by our character of study today. Clara was left alone, scared, needing help and with the pressure of protecting the lives of not only herself; but her student, her planet and an innocent unborn child as well. The coldness and abruptness of the Doctor’s abandonment was unnecessary – regardless if his basic reasoning is right – especially when we take into consideration the crutch Clara has been for him in recent times…
- All of Gallifrey hangs in the balance and the Doctor almost commits an unspeakable genocide – Clara is there for him without question, helping him through this impossible choice. As a human she had no right – as a friend she had every right.
- The Doctor is dying, weakened after 900 years of battle on the fields of Trenzalore – Clara is there for him without question, even pleading to the Time Lords to help the man she knows deserves it more than anyone. As a human she had no right – as a friend she had every right.
- The Doctor is faced with a challenge different from anything he’s ever been faced with before: Travelling into a Dalek. He needs Clara, without question she is there for him.
- The Moon, the Earth and an innocent life hang in the balance and Clara almost makes an ultimate sacrifice. The Doctor leaves her, alone and scared – refusing to help her make this impossible choice. As a Time Lord he had no right to interfere with this decision… as a friend he had every right.
Whether she likes it or not (more on that later) the duty falls to Clara and co. to make the decision alone. It’s here the plot connects to the stunning pre-credits scene in which Clara begs the human race to assist them in the “impossible choice” and in arguably the most realistic decision ever made she completely ignores them. Throughout her whole legacy on the show, we have been constantly reminded about Clara’s control freak tendencies as well as her own maternal actions – making it obvious from the get go the choice she, and Courtney, would ultimately make.
Stunner Soufflé Scene:
Another obvious choice for this episode’s “Soufflé Stunner” is the concluding argument between the Doctor and Clara – the culmination of half a series of bubbling tension. We’ve already spoken today about both perspectives during the choice being made, but what this scene translates throughout Jenna’s flawless and authentic performance is more the internal feelings going through Clara’s mind at that moment. Yes the Doctor might have been somewhat justified to remove himself, as was Clara justified to be scared and somewhat cheated by his actions; but in a moment of vulnerability and anger we learn what really has Clara feeling so disrespected and violated. The Doctor left, automatically assuming Clara would make the “right choice” despite knowing vital information that might have eased the process. He made her feel alone and classed her with all the predictable little humans that he has admitted in isolated incidents he finds being below himself. It’s a move that really is demeaning, patronizing and outright egotistical. That’s why despite the chance the reaction might come close to being somewhat melodramatic, I’ll continue to be in Clara’s corner every time this debate arises.
Mummy on the Orient Express – by Jamie Mathieson
“She said – Hatred is to strong an emotion to waste on people you don’t like…Look what I’m trying to say is I don’t hate you… I could NEVER hate you.”
“TARDIS, Doctor…. Clara? What?!”
… was basically my reaction to the opening scenes of “Mummy on the Orient Express”. Confusion quickly settled into curiosity regarding Clara’s presence in the episode.
So were we robbed from seeing the immediate effects of the companions’ absence on the Doctor? Were we robbed of a week of Clara-less melancholy? In my honest opinion I don’t believe so. There was a very definite shift come the start of Mummy – things change in arguments all the time – It was resolved (like mature arguments) and that to me fulfils the promises of things changing and still makes the conflict between 2 adults completely realistic. I’m glad they didn’t drag it out because now it means we’ve had the initial adjustment period – the hiccup – and now we have at least a few adventures (hopefully) where we get a confident and close TARDIS team. That’s development right there.
It takes an insanely successful charisma and strong dynamic between not only two characters, but two actors to realistically transform a relationship from existing in a tense, somewhat uncomfortable atmosphere to an arguably stronger relationship that the pair have ever had before in less than 50 minutes. “Mummy” without a doubt secured the Twelfth Doctor and Clara as my favourite TARDIS team of all time. They are best friends – arguments and all! There is now an understanding, a sympathy and a concern that somewhat lacked earlier in the series which is so evident now. As such it goes without saying that Clara’s decision to stay onboard the TARDIS and the pair’s sheer joy as the episode concludes was greeted by a victorious fist pump in the air from yours truly. It’s a testament to the writing this year that Clara’s actions have been anything but expected – one only needs to look at both her reactions and presence this series to back this statement up. What an absolute indulgence to watch and have no idea what the future will hold.
Alas, this happiness and joy continues to follow the Doctor Who tradition of not being so black and white. Everything comes with a cost, and their rekindled friendship was only a possible result when Clara slightly fell back on her morals. In a series that started off looking at Clara’s impact on the Doctor – “Mummy on the Orient Express” flips the scenario and in essence is the start of a greater focus on how the Doctor and life on the TARDIS has changed Clara, no doubt to be expanded in future episodes.
Stunner Soufflé Scene: In a similar way to “Time Heist”, “Into the Dalek” and to some extent “Robot of Sherwood”; “Mummy on the Orient Express” reduced Clara’s role down immensely as to showcase and admire her development from a distance. In saying that however, there is still no shortage of standout scenes for the character. Just missing out on the top spot today is the genuine and honest relationship that is built between Clara and Maisie – and taking out the prize is the touching dialogue between the Doctor and Clara on the beach towards the conclusion of the episode. After the last few weeks of tension and miscommunication between our two protagonists – we finally get a moment of complete mutual understanding. This leads effortlessly into Clara’s decision to stay onboard the TARDIS and from that point on the duo have returned to their original dynamic – possibly stronger now thanks to the growth of their relationship during this little hiccup. The Doctor and Clara are back travelling together again as a united and equal force… and it’s simply a joy to watch.
Flatline – by Jamie Mathieson
“I’m the Doctor…but you can call me Clara.”
The first time the statement “Clara Who” is actually justified – quite hilariously so – “Flatline” saw Clara take a more dominant position in the structure of the plot as we are faced with an episode that sees the Doctor trapped in the TARDIS and Miss Oswald herself taking on his iconic façade. Act like the Doctor acts, talk like the Doctor talks and value what the Doctor values is her duty when taking on the mysterious case of the dimension jumping villains, doing so with a cheek and a class that is outright entertaining.
The story progresses due to an incredible sense of initiative on Clara’s part, who has taken on the role with ease and a hint of comedy. Like all the best Doctors, Clara acquires the help of her own companion; Rigsy portrayed by Jovian Wade. It’s not an over exaggeration to say the two hit it off instantly. There’s a certain irony that works really well watching Clara in a dynamic where her position contrasts the one she has in her relationship with the Doctor. Like the Doctor, there are many times throughout the episode where Clara is frightened and overwhelmed – but channelling the bravery, courage and even the detachment of her mentor, she manages to rise above it and hold her own weight as the clear leader of the group desperate to survive.
As the plots resolution rolls around in a crisp and invigorating turn of events that showcase not only the best of Clara, but the desperation of the Doctor, it slowly becomes clear that this “façade” Clara puts on for the episode might not be the temporary act we first thought – but instead an expanding number of inherited attitudes and values she’s picked up from the Doctor. The Doctor himself also realises this in an incredible scene; not able to compliment Clara on her actions due to both the hatred he holds for himself and the realisation of the effect he is having on her. The lies, the detachment and to a very loose extent the apathy of the Doctor is clearly visible through some of Clara’s actions this week and through the eyes of the Doctor we share in the question: How long until the excuses she’s come so prone to making for the Doctor become the excuses she learns to make for her own.
The episode ends with a hauntingly sinister twist: Missy is back and reveals that she’s had a bigger part to play in Clara’s life. Clara Oswald’s role in the show is once again a role of mystery… the gates of heaven are opening, an impossible choice awaits and the constant threat of death lingers on the horizon as we approach the final stages of Series 8. What does the future hold for Miss Oswald? All is about to be revealed…
Stunner Soufflé Scene: Now as I’m sure most of you are well aware of at this point, the Stunner Soufflé Scene is intended to separate one scene from each episode and put it on a shiny pedestal explaining in detail why it is Clara’s best moment for the series. While there have been many instances where limiting myself to one choice has been excruciatingly hard, which can only be attributed to how great Clara’s writing and portrayal has been this series, I’ve managed to keep to the rules every week. Well today, sonic screw it! I’ve reached my breaking point! So instead I leave this challenge to you all today! Call it laziness, stubbornness, bliss or confusion – But for an episode where both Jenna’s portrayal and Mathieson’s writing is constantly spot on I cannot pick one instance apart from the rest. So what do you think? Leave your on Soufflé Stunner scene for “Flatline” in the comments below.
Join me in 3 weeks’ time when we continue in this “Mission Impossible”, following Clara’s changing role in the series by looking at episodes “In the Forest of Night”, “Dark Water” and “Death in Heaven” in terms of her character.
