#ruby walker | Explore Tumblr posts and blogs

timeagainreviews · 6 months ago

Text

A Foot in Two Worlds: 73 Yards

My third-grade lunch buddy was a girl named Kendra. We used to love chatting about movies and television. My favourite topic was Batman. Hers was Full House. However, one morning, instead of gushing over Stephanie Tanner, she told me about a movie she and her brother had watched over the weekend. The movie was 1989’s “Clownhouse,” and she was a bit traumatised by it. And because of her vivid description, so was I. Honestly, I don’t remember anything past her saying “It’s about these kids who see clowns watching them through their windows,” because I never stopped thinking about that sentence, for years. While I’ve still never actually seen Clownhouse, nor do I experience coulrophobia, the idea of being watched from a distance still creeps me out. I still close the blinds at night.

Initially, I wanted to compare “73 Yards,” to something like “It Follows,” or even “The Immortal Snail.” Both scenarios entail being tracked by a slow but relentless pursuer who kills you if it ever catches up to you. But “73 Yards,” isn’t so much a story about being pursued. It’s about feeling watched. It’s about feeling judged. It’s about feeling abandoned. It preys on our fear of being the subject of gossip. That people could spread lies about us that scare away our loved ones. The fear that maybe they’re right. Maybe we don’t deserve love. It’s about the ambiguity that sits within our hearts. The liminal threshold between us at our best and us at our worst. But it’s not just about the wicked and the divine, but also body and spirit. A foot in both worlds.

Doctor Who currently has a foot in both worlds. The Doctor steps on a science fictiony land mine one week, and the next week he’s stepping on fairy circles. A recurring theme in this new season is “look before you leap.” Or ‘watch your step.” Ruby steps on a butterfly in the past and changes species. The Doctor steps on a land mine and almost dies. And now, the Doctor steps on a fairy circle and disappears. The Doctor is learning to have a healthy respect for the new supernatural powers coursing through the Whoniverse. At least he would if he remembered anything from this adventure. Not even Ruby will learn a lesson here, so was it worth it?

After last week’s “Boom,” I was game for whatever Russell T Davies had in store for the future. The trailer for “73 Yards,” gave us very little to go on, and in hindsight, it’s pretty easy to see why. This was a Doctor-lite episode and therefore not a lot of footage to share that wouldn’t also spoil this being a Ruby-centric story. But I was ready for it. Ruby has been suffering a bit from underdevelopment as a character. I even saw a Chibnall stan on Twitter saying so, which is quite extreme when you consider how underdeveloped Yaz was. In Ruby’s case, however, it’s hard to pinpoint what it is about her that’s underdeveloped. She’s got a great family dynamic. She’s nurturing. She plays in a band. But who is she? Like River Song before her, her character arc is starting to affect her character development. And my interest is waning.

After the Doctor steps onto the fairy circle and disappears, Ruby unsuccessfully tries the TARDIS doors. She then checks around the other side to see if he’s having a pee. This may be the first time the show has canonically mentioned the Doctor goes to the bathroom. It’s funny to think of the great Time Lord having a slash off the edge of a cliff. The Doctor seems to do a lot of important things on cliff edges these days. Failing to find the Doctor, it’s then that Ruby notices a strange old woman standing under a creepy old tree from 73 yards away making some sort of hand gestures. However, the closer she walks toward the woman, the further she appears away.

The mechanism of how the woman moves is hidden by editing, but it feels like something Ruby would notice quickly. I don’t imagine Ruby walking closer would cause the woman to start backing up physically like that Community episode where Professor Duncan got a restraining order on Chang and used it like he had force powers. Instead, they cut back to the woman and she’s simply further away. Ruby is conveniently looking for footing every time, so she fails to see this. But if you started walking toward someone and they started hovering backwards, wouldn’t you find that weird? It’s not like she doesn’t sense something weird pretty early on. She even asks the woman if the Doctor’s disappearance has anything to do with her. She even asks the hiker (yet another character played by Susan Twist) if she can see the old woman.

Something I found interesting about the Susan Twist scene was that whoever her character is, she’s not immune to the effects of the old woman. Either that, or she’s lying. Either way, it feels important that we were shown her having the same reaction to the woman as everyone else. If she’s a magical trickster, she’s not an invincible one, or maybe she’s not magical at all. We’ve learned very little about Susan Twist’s character(s), but this indicates that she’s not fully in charge of the situation if she can be scared off like that. What’s frustrating is that the first time a character looks at her and says “Hey don’t I know you from somewhere?” it’s in an aborted timeline. I would have expected the Doctor to have made the connection after the ambulance screens in “Boom,” matched the woman from Space Babies, but maybe he’s been distracted by clothes.

By this point in the episode, I’ve been fully drawn in. Ruby finds her way to the small village of Glyngatwg and a pub called “Y Pren Marw,” which translates to “The Dead Wood.” I thought this might have been a reference to the weird tree on the cliff, but the illustration on the pub sign looked more like an oak tree, so I doubt it. Another name they could have used for the pub could have been “The Gaslight Inn,” because man oh man did they gaslight the hell out of Ruby. They keep accusing her of thinking they’re yokels for asking pretty innocuous questions. Asking if you can pay with your phone is perfectly reasonable. There’s a chippy in my village that does the best fish n chips in the area, but I never use them because they haven’t got a card machine and I don’t carry cash. I don’t imagine the owner of the chippy goes home every night in his Fred Flintstone car because of it. Maybe they’re worried they really are yokels. Either way, five quid for a Coke and abusive staff? What’s their Trip Advisor score? Negative six?

The only non-yokel in the pub is Enid and that’s solely because she’s played by Siân Phillips, who could never be mistaken for common. She was easily the highlight of the episode for me, sitting elegantly at the bar in her fashionable hat. Of all of the patrons at the bar, she’s the one I believe would coin the Latin phrase “semper distans,” to describe the way the old woman follows but never approaches. If only she could have taught Isaac Newton the word “gravitas.” Beyond being incredibly rude, I rather enjoyed the patrons of Y Pren Marw. They reminded me of characters you would have found in classic Doctor Who. The pub scenes reminded me a lot of “The Dæmons,” or “Terror of the Zygons.” But more than anything, this episode reminded me of “The Stones of Blood,” wherein things start like folk horror and end in a more mundane setting.

After Ruby’s unwanted follower scares away one of the pub’s most faithful patrons, she’s forced to head back to London, which is about where the episode starts to lose steam. Up until that moment, I was expecting a sort of witch coven or worse to spring up in the sleepy village of Glyngatwg. I was ready to call it RTD’s best ever. But now we’re back in London where the biggest mystery is Mrs Flood, and she’s really only there to remind us she exists. But that’s not to say a piece of Glyngatwg didn’t leave with Ruby, and it’s not to say I disliked the story’s ending. But there was a noticeable drop in excitement the moment Ruby boarded that train.

I found it odd that Carla and Cherry were badmouthing the Doctor in his absence. Cherry was ready to jump his bones the last time they spoke and now he’s good for nothing. I get that they want to support Ruby, but like, what if he’s hurt somewhere? All I’m saying is that if I ever go missing, please don’t send Carla and Cherry to find me. After telling Carla about the old woman, Ruby’s deepest fears are realised. Like Susan Twist and Josh before her, talking to the old woman causes her to abandon Ruby. The look Carla gives Ruby from the cab as it drives away is the last way anyone would want to be looked at by their loved one. It wasn’t a look of fear, it was a look of disgust.

It’s that look of disgust that really started to make me think of another story from the Whoniverse- “The Curse of Clyde Langer,” a Sarah Jane Adventures episode written by Phil Ford. In it, Clyde’s name becomes cursed and anyone who hears or reads it becomes irrationally opposed to Clyde. His friends and family disown him and it’s Clyde against the world, which is wild because Clyde’s one of my favourite characters in all of Doctor Who. Who could hate that precious cinnamon roll? Even further, who could forget that episode? Well, it turns out Davies was kinda hoping the answer would be you. I’m not saying Davies is out of ideas, but he seems to be “remixing,” a lot of what has come before. More on that in a moment.

After losing her family, Ruby gets on with life, but not before being given a spark of hope in the form of Kate Lethbridge-Stewart. We even learn some things about the old woman from Kate. We establish that yes, it is always 73 yards away. And no matter how close a person gets to her, she always looks as in focus as a person with 20/20 vision would see her from 73 yards. We also learn that the old woman’s “powers” work via headset, as Kate breaks contact with Ruby, leaving her devastated from losing yet another lifeline.

An interesting factoid about that scene is that Kate and Ruby were sitting across from “The House of Pi,” and Pi Day is the 73rd day of a non-leap year. Why do I know this? Because I went into a bit of a rabbit hole trying to learn about the number 73 yesterday. I looked into its mathematical significance. I learned it’s Sheldon Cooper’s favourite number. I looked it up in terms of numerology. I read the 73rd Psalm. There are 73 books in the Catholic Bible. But none of it felt significant. Then my dumbass googled whether RTD had explained the number, and he claimed it was as simple as going outside and measuring the distance from which people’s faces began to blur. Right. Well, that’s disappointing, albeit creative.

We’re treated to a montage of Ruby getting on with her life throughout the next couple of decades. Like the rest of us, her age starts to show itself with long hair and big glasses. I mentioned earlier that Ruby suffers a bit from a lack of character development and this montage does nothing to help that. She grows up into possibly one of the most boring people they could have made her. Her queer group of friends she has a band with seem to have disappeared. Her dating life is painfully heteronormative. She didn’t date a single woman throughout that time? She would have learned by now not to encourage her friends to talk to the old woman, and due to the perception filter, it’s not like anyone seemed to mind her anyhow. I’m just saying, if someone as normie as her started wearing a political shirt for the nuclear war-hungry Albion Party, I’d look at her and say “Pssh. Figures.”

Speaking of the Albion Party, it’s time we started talking about Harold Saxon. Oh, sorry, I meant Roger ap Gwilliam. The episode implies that Roger is the trickster “Mad Jack" who had escaped the fairy circle after the Doctor stepped on it. But Davies is remixing the classics, or as LCD Soundsystem puts it- “Shut up and play the hits.” He even mistreats women in the same way as the Master. I took this to be Doctor Who’s flimsy attempt at a comment on the MeToo movement. It would work better if ap Gwilliam was more than a moustache-twirling miscreant. Especially because Ruby throws poor Marti to the lions by not warning her away from Roger. If this is a MeToo story, Ruby is an enabler, which is not a great look. But she apologises so I guess it’s ok. Don’t worry Marti, your trauma gets erased anyhow.

While the campaigners prepare for a press conference for Roger ap Gwilliam to announce that Britain has purchased Pakistan’s nuclear arsenal, Ruby realises she’s out of time and needs to act now. Using her semper distans friend to her advantage, Ruby backs 73 yards away from Roger and sends him cowering and eventually resigning from his position as prime minister. Ruby expects this to be the end of the old woman, but she remains with her until the day she’s on her deathbed, at which point, the old woman changes from her perspective to Ruby’s. As the old woman, Ruby sees her young self and is able to call out to her and warn her about the fairy circle. That’s what happened, right?

Well, maybe? The biggest curveball comes in the form of the old woman herself. Because while Ruby does age to the ripe old age of 80, the actress playing her is Amanda Walker. The actress playing the woman is Hilary Hobson. Set pictures have also revealed Hobson in make-up that appears to be scarring going up the left side of her face. And those hand gestures of hers? Sign language. Eagle-eyed viewers have roughly translated her signing as “Bless you. Thank you so much, that's so kind of you. When you gave me that little thing, it was just so precious. How am I ever going to repay you? But we will think of something.” Perhaps this scarred woman is someone the Doctor and Ruby have yet to meet. Perhaps she repays them by warning them away from the fairy circle and saving both the Doctor and Ruby from a bizarre fate.

People seem divided by this episode in a major way, which is pretty normal for Doctor Who. But one of the more irritating takeaways I’ve seen is that the episode doesn’t make any sense. That’s only sort of true. There are some bootstrap paradox things occurring, which if you haven’t accepted as a reality of Doctor Who at this point, what are you even doing here? But what does the old woman say to Ruby? Where does the Doctor go? How does she travel back in time to the clifftops of Glyngatwg? Forgetting completely that we’re in a Doctor Who era which has introduced magic in a real way. But that’s a bit hand-wavy, can’t we do better? Well, they do mention that the TARDIS’s perception filter parked so close to the fairy circle might affect how people ignore the old woman. I liked this because it implies that the TARDIS and magic are somewhat compatible and therefore opens up new avenues for storytelling. You could also imply that if the TARDIS could affect the fairy circle, perhaps it can affect the TARDIS in turn. Maybe people reject Ruby because the warding spell placed on Mad Jack is affecting Ruby. Maybe Ruby needed to be in a position where she was so friendless that she would join the conservative party.

The episode may not have explicitly explained things, but it gives us enough of a vague framework to form an idea. As a fan of David Lynch, I am rather happy to exist in that liminal space. To straddle the cusp between the known and the unknown. It leaves an air of mystery, or as David Lynch would say “room to dream.” I will however slightly come down on the episode for its rather bland ending compared to its strong start. I don’t agree with the people who said it nosedives toward the end. But I would be lying if I said I lost a lot of interest the moment Ruby left Glyngatwg. Earlier, I compared the story to “The Stones of Blood,” but where the two stories differ is that when “The Stones of Blood,” changes its setting from the occult folk horror of the Cornish countryside, it replaces it with something equally strange.

That isn’t to say the jump to the year 2046 isn’t interesting. I’d be very curious to see how this story plays over the next few years. It acts as speculative fiction and the bizarre reality of speculative fiction is that it occasionally becomes mundane in hindsight. What once sounded unreasonable now feels painfully obvious. HBO’s “The Leftovers” hits different after the pandemic. Richard Kelly’s loony “Southand Tales,” feels tame after the 2016 election. Therein, I fear the day Roger ap Gwilliam becomes something more than a cartoonish depiction of British politicians. Partly because of the implied threat of nuclear devastation, but also because 2046 feels like a rather generous timeframe.

#Doctor Who #73 Yards #Russell T Davies #Millie Gibson #Ruby Sunday #Ncuti Gatwa #Fifteenth Doctor #Roger ap Gwilliam #Aneurin Barnard #Siân Phillips #Susan Twist #Kate Lethbridge-Stewart #Hilary Hobson #Amanda Walker #UNIT #Gemma Redgrave #timeagainreviews

24 notes · View notes