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For some reason, writers of Science Fiction have always felt it appropriate to align themselves with certain causes.
So far as this reviewer is concerned, this storytelling framework (in SciFi) really began with Gene Roddenberry’s Star Trek: the late 1960’s program practically perfected the formula of disguising elements of that era’s culture into some relatively benign story construct which could be ridiculed, satirized, or picked apart by a meaningful story. (I know some would argue that The Twilight Zone perhaps is owed greater credit, but Zone’s stories often relied more on ‘the twist ending’ to make its point whereas Trek really took on the issue “by the horns” and rode it to the big finish.) Categorically, I state that there’s nothing wrong with spinning yarns more didactic than others; I just wish writers would address these controversial subjects fairly and within the greater context of history than they typically do.
This past week’s Doctor Who titled “Oxygen” took the occasion to harp not so much on commerce as one might initially deduce; instead, the villain is eventually revealed as the all-too-predictable “corporate greed” that gets commonly mislabeled as capitalism to be the guilty culprit, but never trust a screenwriter to get it perfect of his own accord. (I don’t. Never have. Probably never will.)
So far as this reviewer is concerned, this storytelling framework (in SciFi) really began with Gene Roddenberry’s Star Trek: the late 1960’s program practically perfected the formula of disguising elements of that era’s culture into some relatively benign story construct which could be ridiculed, satirized, or picked apart by a meaningful story. (I know some would argue that The Twilight Zone perhaps is owed greater credit, but Zone’s stories often relied more on ‘the twist ending’ to make its point whereas Trek really took on the issue “by the horns” and rode it to the big finish.) Categorically, I state that there’s nothing wrong with spinning yarns more didactic than others; I just wish writers would address these controversial subjects fairly and within the greater context of history than they typically do.
This past week’s Doctor Who titled “Oxygen” took the occasion to harp not so much on commerce as one might initially deduce; instead, the villain is eventually revealed as the all-too-predictable “corporate greed” that gets commonly mislabeled as capitalism to be the guilty culprit, but never trust a screenwriter to get it perfect of his own accord. (I don’t. Never have. Probably never will.)
In response to a distress call, the Doctor, Bill, and Nardole (finally some screen time!) materialize on a distant space station named Chasm Forge only to find the space mining facility inhabited by the mechanically-zombified crew. Before they can hightail it off to another destination, the trio find themselves trapped beyond reach of the TARDIS with these walking dead closing in from all directions. Once they join forces with what remains of the unaffected crewmembers, our heroes must race against time (and commerce) to find a solution that proves to an A.I. menace that human beings aren’t necessarily expendable when measured against profit and loss.
Now let me say this right up front: I thought “Oxygen” was both brilliant constructed and executed. Don’t get me wrong: I disagreed with so very much of the political and ideological aspects of Jamie Mathieson’s script, but I do try to separate “message” from “narrative” for the purposes of reviewing the merits of any tale. Visually, Chasm Forge’s claustrophobia gives this hour the dark, unrelenting punch it needed to make much of the untenable believable, and the show’s three leads turn in effective, convincing performances of a trio-in-crisis doing what must be done against the odds. (Sure, I wish it could be said about the assorted guest players, too, but none of them were really given anything of substance other than some well-delivered quips.)
Now let me say this right up front: I thought “Oxygen” was both brilliant constructed and executed. Don’t get me wrong: I disagreed with so very much of the political and ideological aspects of Jamie Mathieson’s script, but I do try to separate “message” from “narrative” for the purposes of reviewing the merits of any tale. Visually, Chasm Forge’s claustrophobia gives this hour the dark, unrelenting punch it needed to make much of the untenable believable, and the show’s three leads turn in effective, convincing performances of a trio-in-crisis doing what must be done against the odds. (Sure, I wish it could be said about the assorted guest players, too, but none of them were really given anything of substance other than some well-delivered quips.)
“Oxygen” opens, in fact, with a nod toward the afore-mentioned Star Trek: while delivering a lecture to his university students, the Doctor says “Space, the final frontier.” For those unaware, those are the exact words spoken by Captain James T. Kirk in Trek’s opening credits, and I suspect Mathieson and director Charlie Palmer hoped Who’s audience would be in on the gig. (I’m certain no one missed it.) But then the Doctor segues into a discussion of how space is so decidedly dangerous to mere mortal, a sentiment that has always made me believe personally that mankind will never successfully explore much of it: our feeble bodies aren’t designed to L-A-S-T anywhere but here on Earth. As it turns out, this soliloquy is all set-up for what’s going to follow, and the audience soon learns that it’s the business of outer space that’s the real culprit.
Sadly, that’s a kinda/sorta predictable turn for an otherwise stellar hour. Far too many movies and TV shows have already scored marks by attacking/satirizing/maligning capitalism, so much so that this episode’s central idea – crewmembers are “charged” for oxygen, hence the title – has probably been the punch line of far too many jokes worth mentioning. But where there’s an axe to grind there’s probably not a screenwriter too far behind, and “Oxygen” ends up a little short of breath in that regard.
Still, Mathieson doesn’t disappoint as a late-breaking development – one that’s not fully revealed until the tale’s closing moments – that spells certain doom for the Doctor: he hasn’t escaped his tour of the final frontier without injury, and I would imagine this is just one of the first dominoes to fall on the path to regeneration.
Sadly, that’s a kinda/sorta predictable turn for an otherwise stellar hour. Far too many movies and TV shows have already scored marks by attacking/satirizing/maligning capitalism, so much so that this episode’s central idea – crewmembers are “charged” for oxygen, hence the title – has probably been the punch line of far too many jokes worth mentioning. But where there’s an axe to grind there’s probably not a screenwriter too far behind, and “Oxygen” ends up a little short of breath in that regard.
Still, Mathieson doesn’t disappoint as a late-breaking development – one that’s not fully revealed until the tale’s closing moments – that spells certain doom for the Doctor: he hasn’t escaped his tour of the final frontier without injury, and I would imagine this is just one of the first dominoes to fall on the path to regeneration.
Lingering Quibbles:
I understand perfectly well that Doctor Who is the product of an entertainment company housed deep within a socialist enclave, but the constant swipes at capitalism in “Oxygen” left a bad taste in my mouth. I “get” that – as socialists – not everyone agrees with the benefits of capitalism, but essentially making the most successful course of commerce in the history of mankind into the enemy works perfectly fine as a set-up: no need to keep beating your drum, BBC writers. We get it. You don’t like it. Well, it doesn’t much care for you, either.
I understand perfectly well that Doctor Who is the product of an entertainment company housed deep within a socialist enclave, but the constant swipes at capitalism in “Oxygen” left a bad taste in my mouth. I “get” that – as socialists – not everyone agrees with the benefits of capitalism, but essentially making the most successful course of commerce in the history of mankind into the enemy works perfectly fine as a set-up: no need to keep beating your drum, BBC writers. We get it. You don’t like it. Well, it doesn’t much care for you, either.
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