TV Review: Thematic Analysis of Doctor Who, S08E01 — "Deep Breath"

Warning: Only read this post if you are a DW nerd and/or enjoy thematic analysis 

The Writing is Objectively *Good*

Feelings for the BBC sensation, Doctor Who, are pretty segregated. For most viewers, they seem to either love the show or think it's cheesy. No one can really HATE the show—at worst, viewers might criticize the British comedy for being low-budget and childish. But regardless of your feelings towards the show's execution, the writing is inarguably BRILLIANT! Let me introduce the two head writers since 2005:

• Russell T. Davies (Headwriter & showrunner:  2005 - 2010)
• Steven Moffat (Headwriter & showrunner:  2010 - CURRENT) including classic episodes like Blink, Silence in the Library, and Let's Kill Hilter during his predecessor's tenure.  Moffat is also the headwriter for the BBC success, Sherlock (starring Benedict Cumberbatch & Martin Freeman)

These men are two of television's most-talented, modern storytellers. (Their massive number of collective awards and nominations speak for themselves.)

I believe, for a TV series to be *good*, it must—

1. be entertaining on a superficial level (e.g., action, humor, sex, violence, drama, etc.)  and
2. make us feel good on a deeper level (e.g., good triumphing over evil, advocating a popular issue in a universally-accessible way, showing something redemptive, underdog for the win, etc).

And there is one additional condition:

1. Messages/themes can't be too obvious. An English professor once said that the theme, the central idea you’re trying to convey, should be hidden. Buried in the folds of your story. The shotgun approach to teaching morality was effective in the days of Family Ties, Perfect Strangers, and Full House. But modern television viewers resent being explicitly told how to live. Why do good writers obscure their messages? Because people—most people—like treasure hunts. We like it when we uncover something that might not be visible to just anyone—it makes us feel smart. Davies and Moffat make their sermons on forgiveness, tolerance, diversity, love, bravery, unselfishness, duty, communication, empathy, etc. more palatable by tucking them in the folds of classic, British humor. 

Note: It's critical that a successful show can't survive by exploiting just one of these elements. Any given modern-day television show crammed with hilarious punch lines, but containing zero substance, will rarely last more than a season. Likewise, shows with profound and meaningful messages, which aren't packaged in a consumable way, rarely make it past focus groups. But for the good shows that do last "six seasons and a movie," are calculated to leave us blissfully unaware of the messages that have been sneeked into our heads. They are carefully designed so that all we are suppose to (consciously) be aware of is that our cheek muscles are sore from smiling, Thus, we conclude that the episode/series is a good one.

Let's examine how Moffet successfully fulfills the aforementioned criteria.

The British Humor Can Be Disarming

The episode is full of laughs:

• Anything with Commander Strax.
• My favorite line of this episode was delivered by The Doctor to the Alleyway Hobo:

Look at the eyebrows. These are attack eyebrows. You could take bottle tops off with these! They're cross; they're independently cross. They probably want to secede from the rest of my face and set up their own independent 'State of Eyebrows'...I'm a Scott! I am Scottish! I can really complain about things now.

• The Newpaper Ad Misunderstanding scene in the cafe. 

I wouldn't be too surprised if most American viewers were so focused on catching these low-hanging laughs and straining to interpret Capaldi's Scottish brogue that they missed the following two thematic messages completely.

Moffat's Two Fundamental Narrative Themes

I love to examine media narratives and uncover the social assumptions inherent therein. For me, Doctor Who is a treasure trove. To kick off the 8th season of the 2005 Doctor Who franchise, Moffat emphasized two themes in the first episode, "Deep Breath": 1) be less judgmental of yourself and others, and 2) question your own values—that which makes you who you are. These messages were apparent throughout the entire  saga and especially in this latest episode, a la our new—but wrinkled—12th doctor, Peter Dougan Capaldi and his supporting cast. For those who were watching carefully, you will remember the following thematic moments from the episode:

Theme #1: Exterminate the judgmental parts of your personality

Moffat wisely emphasized this particular theme for the 12th Doctor's debut episode to aid in the transition between the beloved Matt Smith and this older, darker Doctor.  Moffat knew *fangirls would be hating on Capaldi—things like, "I just don't like him." "I'll generously give Capaldi five episodes to win me over."And "Why does he have to be SO OLD?!!"  However, after a full episode of being bombarded by this theme and especially by co-experiencing Clara's own transformation, Moffat hoped it would be enough to soften the hearts of his audience enough to see and recognize this new doctor as the beloved Doctor they have always known and loved, regardless of who's skin is on the outside.

Introducing the theme:

• In the first scene of the episodes, Madame Vestra initiated the topic of passing judgement when she calls into question the dopey police inspector's grasp of biology (and justifiably so—or so she thought). 
• When The Doctor (our ideal of this virtue) first popped out of his box—all dazed and confused—exclaims, "You two!! The Green One, and the Not Green One.  Or it could be the other way around.  I mustn't pre-judge." Despite one of the clearly being a green reptile and the other a caucasian human.  Moffat uses this simple illustration to teach us that the things we believe to be transparently so, really deserve a little more thought
• When The Doctor corrected the viewers' collective assumption of the T-rex's gender. (Additional messages embedded here.)
• When The Doctor asks Clara to notice a troubling disturbance at lunch she said, "they look fine to me; they're just eating."  Are they?" retorted The Doctor.
• Clara: "Sure he's safe?"  The Doctor: "Sure, not sure; one or the other." —The Doctor responding to Clara's question about the Half-faced Man coming out of dormancy.  The Doctor's response could be mistaken for ambivalence.  But again, it's not.  It's code for "this is a no judgement zone. At least not until we get all the facts through a scientific inquisition.  And even then, people change."  [Which he does by the end of the episode.]
• (This one was probably unintentional, but nevertheless, it's still there.)  The Half-faced man, himself, is a metaphor for replacing the undesirable or robotic parts of ourselves in pursuit of a more human, a more beautiful ideal.

The Veil Metaphor: Coping with the Judgement of Others:

• We should let go of our judgement of others' judgement of us. [The scene where Madame Vestra and Clara sat/stood for tea was packed with important moments for our theme.]

MV: "I wore a veil as he wore a face; for the same reason."
Clara: "What reason?"
MV: "The oldest reason there is for anything. To be accepted." [Madame Vestra's veil and The Doctor's new face are dichotomous metaphors for how we choose to react to the judgement (or lack of judgement) of others.  Vestra cynically conceals.  The Doctor vulnerably reveals.]
MV: "I wear a veil to keep from view what many are pleased to call my disfigurement. I do not wear it as a courtesy to such people, but as a judgement on the quality of their hearts.
Clara: "Are you judging me?" A critical question illustrating the fact that judgement goes both ways.
MV: "The Doctor regenerated in your presence. The young man disappeared. The veil lifted. He trusted you. Are you judging him?!" [Highlighting Clara's initial inability to see past the outward appearance of who used to be her dear friend. Also highlighting, The Doctor's trust in Clara and how we ought to be more vulnerable with the ones we love.]
Clara: [Diatribe] "...just because my pretty face has turned your head, do not assume that I am so easily distracted." [Moffat's woman power way of poetically saying that Clara is more interested in ideas and science and substance than in pretty faces or "muscular men working out" in her subconscious. Clara's diatribe against Madame Vestra's ironically judgmental accusations was so stirring, it elicited a standing ovation from MV's wife, Jenny Flint.
Clara: "When did you stop wearing your veil?"
MV: "When you stopped seeing it." [Technically, it was during the cut scene.  But symbolically, it was when Vestra deemed Clara's heart to be worthy of her trust.]

Theme #2: Know Thyself

Despite Capaldi spending most of the first episode "rebooting," distressed by the enigma that is his current face and form, it is Jenna Coleman's Clara that chiefly develops this theme for us.  While Capaldi's monologuing skills are masterful, Moffat made a great decision in placing Clara, a character that the fandom universally loves and already emotionally connects with, as the focus of developing this theme.  It's as we, the audience, co-experience Clara's transformation of letting go of the superficial, and accepting what's beneath the skin, that will allow us to accept him as well.  Moffat said in a pre-season interview that he is thrilled with what Capaldi brings to the character.  The way Moffat sees it, every Doctor is fundamentally the same; it's the tiny flourishes that make each one different.  Finally, this season, we will address THE BIG QUESTION—Doctor Who?

The Doctor's Heroic Journey of Self-Discovery

• Let's start with the Doctor. While his personal journey of self-discovery wasn't the focus of this episode, it will be for the series. The name, Doctor Who, was initially nothing more than a who's-on-first-esque double entendre, common in UK humor.  However, the new Doctor Who writers have adopted the playful question/proper noun and turned it into a major theme of the show.  More so than in previous seasons, Moffat is leveraging the show's namesake to initiate our hero's journey—and the audience's as well.  Moffat asks the audience to look into our own mirrors and then actively seek out who we are and who we want to become.  I may be reading too far into this, but I see this invitation as a commentary on a morally lazy society, too couched in antiquated tradition, and too susceptible to popular opinion to shed our automatonic natures and really start thinking for ourselves.  Doctor Who, the Gallifreyan, encourages us to join him in his journey of scientific and emotional self-discovery, all the while bound by a strict moral code.
• The alley monologue scene.  For me, perhaps the most poignant line of the episode was when Capaldi peered into the broken mirror in hobo alley and pondered, "who frowned me this face?" If Moffat ever borrowed a moment of Shakespeare's Hamlet, this would be it.  His question invites viewers to examine everything that makes us who we are, including our genetic history and past decisions. With this in mind, Moffat challenges us to explore and identify how and why we make judgements and decisions so that, like The Doctor, we can understand ourselves.
• Remember the eyebrow rant? I wonder if Moffat was using this jocular scene to tap into a more serious theme—to connect with those viewers who may be struggling to embrace their own identities, whether it be related to sexual orientation, or an occupational calling.
• Doctor: [To the Half-faced Man, as he reflectively gazes into space] "You probably can't even remember where you got that face from."  Moffat again repeats his challenge to us to seek out our own identities through clues in our respective pasts.  (Aside: I bet Moffat would really get into family history...)

Accompanying Clara During her Acceptance Process:

• The following line is repeated at least three times throughout the course of the episode.  Clara: "I don't think I know who the Doctor is anymore."  [whilst the TARDIS whizzes and whines in the distant background] Vestra: "It would seem, my dear, you're very wrong about that." Clara's unclarity is used to support both of our themes on judgement and self-discovery. 
• Additionally, Clara's repeated question forwards Clara's character development.  Clara is beginning to realize that she doesn't love The Doctor romantically, despite their flirtatious exchanges or because she has a crush on his younger face. By the end of the episode we discover (along with Clara) that, just as Clara was able to see beyond Vestra's veil earlier, she is now able to see The Doctor for the beautiful "mountain range" that he is—that he needs her, and she needs him.  Furthermore, Clara's statement poses a philosophical question: What it it that defines who we are?  Are we that which bullies, or the media, or even friends and family think or say about us? Or are we somebody, independent of another's perception of us?  I think Moffat is using Clara's character development to teach us that knowing who we are is fundamentally the only thing that truly matters.  But Moffat also highlights through Clara that friends are essential to our identity and journey as well. And because this is so, we ought to carefully surround ourselves with those who would support our vision of who we really are and who we aim to become. 
• The hair plucking scene in the restaurant was only included to forward this theme.  When Clara comments on The Doctor's abundant grey hairs.  The Doctor: "Do you have a problem with the grey ones?"  Clara: "If I got new hair and it was grey,  I'd have a problem." The Doctor: "Yeah. I bet you would." Clara: "Meaning?"
• Later, the Doctor plucks the errant hair from Clara's head and says, "sorry. It was the only one out of place. I'm sure that you would want to kill it."  Clara: "Ooo! You trying to tell me something?"  Yes, yes, he is! Moffat leaves the pair of questions unanswered for our subconsciouses to gnaw on.  It's clear that Clara is still completely caught up in outward appearances.
• Later on in the restaurant, the Doctor tears off the waiters face and puts it up to Clara's, illustrating that it's just a face.  That a face isn't the real person that is inside.
• Captive in The Half-Faced Man's lair, Clara is still not convinced she knows who The Doctor is.  This is where we witness Clara's turning point regarding her acceptance of The Doctor's new identity. In this scene, the Half-faced Ancient Robot/Man insists that she tell him where "the other one" is.  Trustingly, she reveals The Doctor's location by saying, "if The Doctor is still The Doctor...he will always have my back."
• 12th Doctor:  [Taking Clara home in the TARDIS] "I'm the Doctor.  I've lived for over 2000 years.  And not all of them were good. I'm made many mistakes.  And it's about time that I did something about that."  At this point, the Doctor challenges us to explore the inconvenient truths in our respective pasts.  The Hero's Journey calls this the call to adventure.
• 11th Doctor to Clara about the 12th Doctor: "Clara, please. Hey, for me—help him. Go on. And don't be afraid." In a last ditch effort to win over the hearts of all the holdout fangirls, Moffat calls upon Matt Smith to help trembling Clara to embark on this new adventure with a nearly-disabled Doctor.  It's a little cheesy, but I think the scene works.  Matt punches 'em all right in the feels.
• 12th Doctor: "You can't see me can you.  You look at me, and you can't see me.  Have you any idea what that's like?"  This is the last question The Doctor asks just before winning the heart of Clara.  Similarly, it's a question all us adventure-seekers ask of those closest to us.  As Madame Vestra stated earlier in the episode, people—since the beginning—crave to feel accepted.  We want to be seen—really seen.  Not just the parts of us that we freely display before the world, but our cores, the inner most parts that makes us who we are.  The parts containing our gifts and faults, our dreams and failures.  We all need companionship.  Friendship.  People we can trust.  And how can we identify people whom we can trust?  They are those who see us, and don't judge.

*I called out fangirls, as opposed to fans in general, because I've only heard complaints from girls who watch the show.  Guys seem to care less about the loss of Matt and (especially) David's pretty, young face.

Other Interesting Stuff from the S08E01

Who is Missy?

But what about the "Heaven" scene at the end?  I'm not sure yet, but I am sure there's a perfectly logical explanation for it all.  Here is a brief collection of theories that attempt to explain it:  Who is Missy? 

• River — nope.  She wouldn't call The Doctor her "boyfriend" if her soul were copied and saved after they were married.
• A female reincarnation of The Master — Missy --> Mistress --> Female Master? Maybe. I can see Moffat bringing back a fellow Gallifreyan to aid/hinder The Doctor in his journey of self-discovery and redemption. 
• Someone new — very likely.  We do need some new villainous blood in the cast to balance the arrival of the new Doctor.

Trivia:

Think you're a true Doctor Who fan? Let's see if you know this off the top of your head: T.A.R.D.I.S. is an acronym.  What does it stand for? Highlight the black bar with your mouse for the answer: Time And Relative Dimension In Space