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casasupernovas · 2 years ago

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Oops. Uploaded in November. It is now April. In my defence, a LOT has happened in my life. Too much for such a short amount of time. But I'm back with Part 2 of my Doctor Who 'Human Nature' commentary, so here we go! Long post incoming!

So onto the next! We last left off with Martha and Joan in the corridor. We now move onto the two racist boys from earlier, Baines and Hutchinson and a third. Mind, referring to one another by surname specifically is old fashioned (duh) and done in a very formal way. It seems insignifciant but I feel like pointing it out because while I understand that not only is it accurate and would have been something the boys parroted by the teachers, I feel it works even better to showcase just how stiff upper lip this school is. It's all so impersonal. In this scene we are introduced to the eternally baby-faced Thomas Brodie Sangster playing 'Latimer,' who is Huntchinson's 'fag' - not the offensive slur or just the Brit way of saying 'cigarrette.' In this case, the word means a 'junior pupil' who often does chores for more senior pupils. Builds character. For any who used to read Enid Blyton, think of when the twins at St Clares had to go do chores for the Fifth Formers. That sort of thing. They already have servants at the school but even their own pupils have a way or reigning over others. But it's not too disimilar fo the modern age - Hutchinson is making Latimer do his homework. Latimer also calls him "sir" very politely. It's at this point we find out that Latimer isn't like the rest of the boys after he is shown to know specifics about Huntchinson's life without any real reason. The musical cue and Brodie-Sangster's performance make it clear that Latimer doesn't know this information because he overheard it elsewhere. Our Latimer seems a little psychic. We see that this strange ability gets him into trouble as Huntchinson responds to his apparent prying with violence, shoving him up against the wall. We also see that this boy has a calmer, quieter dispostion than the others but also a kindness and depth, speaking to Hutchinson about the 'beauty' of Africa. Very important considering the references to war there that will come up in the future. Baines swiftly changes the subject and showcases some sterotypical 'boys will be boys' behaviour by sneaking out to get beer "none for the filth" in reference to Latimer. This decision for naughty behaviour will end badly for Baines.

In the next scene we see Martha and Jenny at the back of a pub, outside in the cold. Clearly the servants aren't allowed inside. Maybe only the black ones aren't and Jenny is showing solidarity, who knows? But we know they're not sitting outside with their pints on purpose. They'd rather be inside. Martha vocalises this, to which Jenny responds with laughter telling her that Martha full well knows they can't, attributing her defiance to her being from London, with a topical reference to the stirrings of the time - the Suffraggettes no less (black women didn't grt the vote until a decade later). Martha voices her frustration at the situation but in a amicable way to Jenny, trying to get her to be more rebellious, question why things are the way they are. It is very on brand for Martha, someone from the 21st Century to see how backward their situation is. But for Jenny it's too far away. Martha doesn't have time for reluctance, or easy dismissal. Jenny isn't a bad person, but her insistance that change can't happen here is part of the problem. Jenny does not know if she wants it, or see how it is feasible. But Jenny is clearly inspired and awed by Martha's defiance. In one of my favourite quotes, Martha expresses how is glad thay she doesn't have tp stay under such conditions for much longer. "One more month and I'm as free as the wind." This gives us another little tibit into the Doctor and Martha's plan. They are on a time limit. She may be a servant and he may be human now but it is not supposed to last forever. We'll get our normalcy back soon. I also like the running of gag of the only way people from the past can comprehend Martha Jones and the way she acts against the norm is because she is from a completely different country. Mentioned in 'The Shakespeare Code' and now here despite the fact that Martha Jones was born and raised in London. Can't hide that accent if she tried.

MARTHA: Anywhere. Just look up there. Imagine you could go all the way out to the stars.

JENNY: You don't half say mad things.

MARTHA: That's where I'm going. Into the sky, all the way out.

I do love the show's homage to the whimsy that is Doctor Who. For all its horrors, the show sure has a way of capturing the imagination. The Doctor is the man from the stars after all. Consequently, the companion's eyes are opened and have a foresight and experience that no one else has. I made a post about how Freema Agyeman does this part in particular very well, Martha feels older, and her wistful comment feels like make ypu truly believe this person really has seen the wonders of the universe. I think even Jenny senses it while she tries to understand it in her own perametres - Martha's a bit odd (in a good way) because she's not from around here. Of course as Martha looks up at the sky, thinking of all the possibilies that the Doctor has taught her can be possible and more, the script flips and we see a flash in the sky. Something that immediately snaps Martha to attention, reminding the audience that the Doctor and Martha are not here for a holiday. They are hiding. They are in danger. And in this moment, they have been found. And I think the scariest part, is we never find out how exactly the the enemy located them. Joan also sees the light on her way to the pub.

Martha asks the appearing Joan, and John if they too saw the light, Jenny did, thinking it a pretty display of natural phenomena. John Smith has a almost boringly analytical response - "All gone. Commonly known as a meteorite. It's just rocks falling to the ground, that's all." It's robotic with a tinge of humanity at the end. All the more indicators to whoever this 'John Smith' is. His speech isn't very natural. He dismisses it away and leaves with Joan while Martha attempts to investigate - in the dark, something Jenny tries to dissuade her from doing so due to possible physical harm "you can't just run...you'll break a leg." We also find out that someone else saw the light. Baines. Looking for the bloody beer, buried in the fields before stumbling on something else entirely - the invisible spaceship belonging to, who we can clearly guess are the advesaries that the Doctor and Martha have been running from. He disappears inside around the time Jenny and Martha arrive. It's creepy to realise they are so close without realising.

Inside the craft, Baines is huddled in a corner of a green tinged spacecraft, seemingly alone. The only person we can see is him. But he is clearly speaking to someone, a female voice. "But I don't understand. Who are you?" He is afraid, in that way where the reality of a dire situationn slowly creeps over you. I always found it creepy how Baines appear to not be in any immediate danger - there is no one there, but he is sitting on the floor, knees drawn up, hands around himself. It's a much younger image than the boy who was looking for beer, and we can see from his body language that he is clearly uncomfortable and scarier still, we just hear the voices of who are making him so uncomfortable. We also find out in this exchange that Baines' name is Jeremy. Jeremy Baines. Remember what I said about informal/personal name calling? Jeremy pleads to leave but the female voice apologises (not sincerely) and decline - he can't ever leave. Jeremy Baines then speaks for the audience; "But, who are you? Why can't I see you? A male voice responds this time, asking why Jeremy wants to see him. Why? Because he and the audience want to see who these people are, put a face to the aliens that the Doctor and Martha have gone to such lengths to hide from. The woman responds that this should be easy to do - "because very soon we will look so familiar" with a fast zoom onto a screaming Jeremy Baines. Is he dead? Have they teleported him away?

The episode moves back to the school, specifically the boy's dorm. Latimer is polishing shoes while the others play cards as Hutchinson complains about Baines' tardy behaviour only to get a knock at the window. Who is it? Only one scene before a student had been seemingly killed. Is it one of the murderers? "There he is. Let him in." Baines is back? Is it a trick? As one of the boys let him in, it is very clear that something is very very wrong. From the camera angle to Harry Lloyd's (Baines' actor) performance, it is very clear to the audience that sonething has happened to Baines. His expression is...unsettling to say the least. A strange smile across his lips and a curiously wide eye stare. As Hutchinson questions Baines, more annoyed about the lack of alcohol, not apparently noticing the very odd behaviour of his classmate, Baines responds simply "there was no beer, it was gone." A simple answer, his tone almost curious rather than matter of fact. At this point I think it's accurate to assume the boy has been possessed. Almost as if what has got him is learning.

HUTCHINSON: Damn it all, I've been waiting. Pretty poor show, Baines, I have to say. What's the matter with you? Caught sniffles out there?

BAINES: Yes, I must have. It was cold. Very cold.

See? The agreement, said in an equally strangely empty but also careful tone. The last two bits are the creepiest to me. Baines does a sniff after this and Hutchinson assumes he has caught a cold whereas Latimer looks at him due to his odd behaviour. Safe to safe Baines isn't sniffing because he has a cold. I feel that it it clear that whatever has gotten Baines' original environment, or maybe their ship was cold. It makes me think of the episode 'Midnight.' Maybe whatever was there is a sub species of these creatures? Keep notice of this temperature motif, it comes back later.

In the next scene, we see Martha on a bike as her one of her many tracks from the soundtrack plays. It sounds idle and soothing, just like a bike ride would honestly. But where is she going? Martha dismounts and heads into a stone alcove and! It's the Tardis! Hidden away. She uses her key to unlock it and greets it, before dismissing herself, "I'm talking to a machine" and - the Doctor never told Martha his ship is sentient? Martha looks up and around - she might not have been here in a while. The lights are dimmed and it's certainly strange to see it without the Doctor dashing about the console, flicking switches and pulling levers. As Martha looks up the scene flashes and changes - a flashback admist the same lilting melody, it's parts of the scene the episode starts with.

DOCTOR: Get down! They're following us. They can follow us wherever we go. Right across the universe. They're never going to stop. Martha, you trust me, don't you?

From this alone we are told why the Doctor and Martha are hiding. They are being hunted down and whatever if hunting them won't stop - unless they stop them? Find a way to foil them?

Admist this the scene cuts back to Martha, clearly disturbed by the memory. This is how it all starts isn't it? The music changes, minor notes come into play and the music almost slides downwards, in a mirror to the twist you get in your gut as you realise something is very very wrong.

DOCTOR: Those creatures are hunters. They can sniff out anyone, and me being a Time Lord, well, I'm unique. They can track me down across the whole of time and space.

MARTHA: Huh. And the good news is?

DOCTOR: They can smell me, they haven't seen me. And their life span'll be running out, so we hide. Wait for them to die.

So much information all at once. Firstly, the adversaries they are running from are hunters according to the Doctor. I said it because it seemed to fit but the confirmation makes it a lot creepier. I have always thought of the opening to the Fox and The Hound regarding this story. How you can hear a dog barking in the distance, the peace of the woods until bang - Todd's mother is found and runs for her life. The idea of the Doctor and Martha being chased for what? Sport? What do they want? Them as some sort of sick trophy? Is it just for the thrill of the chase? The imagery of being hunted is reinforced again as the Doctor states that the reason they are so damn good at it is due to their sense of smell - see? Fox and the Hound. Hunting dogs chasing a doe or a rabbit. I inagine Martha as the doe but the Doctor as the Hare. Now we're heading to Watership Down territory.

Anyway, the Doctor being the Last of his Kind, makes him a very specific smell, and they've clearly got it. In fact, they have narrowly avoided being caught. The Doctor is in the more immedate danger here and it's not exactly shocking that the Doctor is the hot ticket here.

But luckily for the Doctor, they didn't see him. This is why at the start of the episode, the Doctor stresses to Martha that it is important that 'they' haven't seen her face. Moreover, these hunters have a life limit - it's running out. The Doctor doesn't need to fight. He can just wait. They're both being pushed into a corner but they don't necessarily nedd to fight. But still, it's worrying that the only option they have to get out of this scenario in one piece is for these hunters to die. That implies they are that dangerous.

MARTHA: But they can track us down.

DOCTOR: That's why I've got to do it. I have to stop being a Time Lord. I'm going to become human.

Aha! That explains John Smith right? He's not just an avatar walking around with the Doctoe's face. He really is the Doctor, just a human version. The music is getting a bit louder, drums have come in, and it's no less unsettling now, actually now it's become anxiety inducing. The musical track is called - 'Only Martha Knows.'

DOCTOR: Chameleon Arch. Rewrites my biology. Literally changes every single cell in my body. I've set it to human.

Timelord tech am I right? But also - what other settings does this thing have, slitheen???

DOCTOR: Now, the Tardis will take care of everything. Invent a life story for me, find me a setting and integrate me. Can't do the same for you. You'll just have to improvise. I should have just enough residual awareness to let you in.

I wonder why it can't for Martha? Also to all those who hate that the Doctor 'chose' 1913 - look at that. He beat the allegations, it was the Tardis' fault. The ideation that the Tardis sends the Doctor places he is 'needed' leaves it up in the air once more.

Crikey Martha has to do a lot here. Improvise? This is a lot but there apparently is no time. More scary still - "I should have just enough residual awareness to let you in." That, I feel isn't reassuring at all. "Should," being the operative word here.

MARTHA: But, hold on. If you're going to rewrite every single cell, isn't it going to hurt?

DOCTOR: Oh, yeah. It hurts.

Martha then has flashes of having to watch the Doctor scream in agony with nothing she can do to stop it. Martha really gets the best adventures doesn't she? She hasn't said it yet, but we know at this point she really - really loves this Timelord right? So all of this is definitely traumatising for her. Traumatising for the Doctor too, but at this point in the Doctor's life, this is any old Tuesday. He did get possessed and frozen last episode. These guys are not having a great time. But there, a chunk of the mystery has been sold. 'John Smith' is a biologically rewritten Doctor. They have travelled to 1913 with Martha 'improvsing" as his maid, all to wait out the deaths of yet unnamed hunter creatures who want the Doctor.

Martha attempts to shake off the memory and switches on the monitor and the Doctor suddenly pops up on this screen. "This working?" Wait - is the Doctor back? No alas, these are pre-recorded instructions for Martha. Nice to know she got a bit more information to go on. She smiles as he loses count at 3, (see?) but number 4 sets my teeth on edge - "don't let me abandon you." That's a possibility? Even scarier stakes here. But it makes sense. This 'John Smith' has residual memory of her. But they have no bond.

Martha has apparently seen this video numerous tines, fast forwarding it (maybe she comes here everyday) "but there was a meteor, a shooting star. What am I supposed to do then?" Good question.

"And twenty three. If anything goes wrong, if they find us, Martha, then you know what to do. Open the watch." Cut back to John Smith in his study. It's the watch that is the key. There's a perception filter on it. Which is why Smith picks up the watch, then puts it down. It's not important to him. It's also just on his mantle. In plain sight, a ruse. Nothing suspicous. No attention drawn to it.

DOCTOR: But don't open it unless you have to. Because once it's open, then the Family will be able to find me. It's all down to you, Martha. Your choice.

No pressure. Martha is under a lot of stress here. Her Doctofication continues. She is the one with the power. What other companion has been put in a situation like this? Others have been sent away for their own safety. Either he doesn't care or, and most likely, the Doctor is keenly aware that not only can he defeat these guys with someone's help, he can't do it without Martha's. I strongly believe no other companion could have done this story, especially as the story goes on. What's more - if the Doctor's favoured choice is to literally rewrite his own biology to hide away from these hunters - but all Martha has to do is get John to open the watch exposing them to the Family - what would happen? The Doctor rather wait for them to die. Would he fight them? We still do not know what exactly these creatures want from him.

I dunno, but something about the way the Doctor said "your choice" made me a bit pensive, anxious. Especially considering the end of the story. Because clearly the one person here who would have any kind of power to put an end to these creatures would be the Doctor. We have seen him do it countless time. Is he almost not-so-subtly letting Martha know that if she wakes him before the hunters die, that she is giving him the okay to do with them whatever he sees fit? I feel there is more to the Doctor simply saying 'be careful if you restore me early, they'll find us and everyone will be in danger.'

The Tenth Doctor has always struck me as a darker incarnation - from series 2 there is a strange air or apathy about him (which works very well with his overall arc) and even a meanstreak. All his "one chances." Not to say I think he is a horrible person. I just think that while the Ninth Doctor's worst moments very clearly read as coming from a place of pain, the Tenth's overall demeanor seems from a place of complete indifference.

I don't know when tbis happens exactly - it's there before Doomsday and The Runaway Bride. I'm gonna go out on a limb here and say it was apparent from 'The Christmas Invasion.'

See, understandably, I don't think the Tenth Doctor takes too kindly to being forced into a corner, a place of vulnerability, of being exposed. The Tenth Doctor's story literally starts with him being hunted down by 'pilot fish' who were working for the Sycorax. His energy attracts them. He''s down on the job, vulnerable. But he also defeats them with ease.

Theorising aside. The Doctor leaves the recording, but comes back because he remembered to say something. "Oh and thank you" with the kindest smile before the screen switches to a blue with gallifreyan symbols.