An Hour of Who a Day

May 14: "Mind Snap" (K-9) / Death of the Doctor Part One (SJA)

It's been a while since Bob Baker wrote for Doctor Who or any of the spin-offs, and during that time he's done a fair bit, including cowriting three Academy Award-winning Wallace & Gromit films. But now he's finally gotten his K-9 spin-off off the ground (after spending 12 years trying to get the thing going), and after 21 episodes Bob Baker has finally cowritten an episode of this series.

And so what do we get? A sodding clip show.

So that's a first, I guess; none of the other shows have ever done a clip show before -- lots of retrospectives and things, sure, but nothing inserted into the main run of the series. But because it's a clip show, it's hard to really discuss this. The framing story (K-9's mind is scrambled by the STM, so Gryffen and Starkey have to try and help him remember who he is) is fine enough, and the clips are well chosen, but there's still little to engage with here. This is a way for the show to save money, pure and simple, and while these sorts of episodes may have been (marginally) acceptable in the 1990s and earlier, as a way for viewers to see clips and fondly remember the stories they came from, now with the Internet and streaming video services and cheap DVDs, clip shows are largely redundant.

I guess in terms of achieving the episode's goals this story is a success -- there don't appear to be many awkward clips that K-9 wasn't actually present for or revisitations of any truly painful moments, and it does serve as a somewhat useful reminder if you've forgotten aspects of the show. And I assume it did save them the money they were hoping for. But by just about any other standard, "Mind Snap" falls well short of the mark.

But now we're back to The Sarah Jane Adventures. After cowriting the first episode, Russell T Davies has stayed away from contributing scripts to the series -- but now he's finally back with Death of the Doctor. It's a nice hook, suggesting that the Doctor is dead, even if it's not one we actually believe (if nothing else, the main series is carrying on, so it's unlikely they'd let their main character be killed in a spin-off) -- but what works well here is that Sarah Jane refuses to believe it either. And to Davies' credit, he does a good job of having it both ways: having us believe that there's something going on with the Doctor's "death", but maybe wondering that Sarah Jane is simply in denial.

Jo and Sarah Jane try to work out who would want to fake the
Doctor's death. (Death of the Doctor Part One) ©BBC

However, the most wonderful thing about this first episode is the appearance of Katy Manning as Jo Jones (née Grant). From her first, slightly scatterbrained entrance, she slips effortlessly back into the role, and her interactions with Elisabeth Sladen are pure joy. You also get the sense that, after five years of Russell T Davies reining in his fanboy tendencies on Doctor Who (for fear of alienating the casual audience), he's finally allowed himself to cut loose. So we get references to Peladon, Azal, Zygons, Daleks... Davies even sneakily has Jo reminisce about her visit to Karfel, as mentioned in Timelash. But we also get a little bit of sadness as well, after Sarah Jane lets slip that the Doctor came back and saw her more than once -- something that apparently never happened to Jo. "Oh, he must have really liked you," Jo says, with happiness and wistfulness equally mixed in one of the best line readings ever. And you also get a hint of sadness from Sarah Jane, as she listens to Jo's stories of how she married Professor Jones, had seven kids and twelve grandchildren ("Would you believe number thirteen is on its way?"), and has spent her whole life traveling the world and standing up for what's good and right. Jo is someone who met the Doctor and turned her experiences into action almost immediately, while Sarah Jane needed to see him again to realize what she should do. It's a nice touch.

And, happily, the end of this episode sees the Shansheeth (who've been orchestrating this funeral) reveal their true colors, followed by the appearance of the eleventh Doctor, who swaps places with Clyde:

RANI: That's the Doctor?
JO: What Doctor? The Doctor? My Doctor?
SARAH JANE: Yeah, well, he can change his face.
JO: I know, but into a baby's?
DOCTOR: Oi! Imagine it from my point of view. Last time I saw you, Jo Grant, you were, what, 21, 22? It's like someone baked you.

(from The Sarah Jane Adventures Transcripts - Death of the Doctor, part one)

Clyde seems worse off, stuck on a red dusty planet with some sort of device counting down, but the Doctor is able to take more action on Earth. Well, in theory, but the cliffhanger has him transfixed and in pain by a Shansheeth device...

May 13: The Vault of Secrets Parts One & Two (SJA)

The previous story was interested in exploring some of the common nightmares that people have and putting them into a different context. The Vault of Secrets, by contrast, is more of a good old-fashioned romp. It's effectively a sequel to last series' Prisoner of the Judoon, with some elements from the "Dreamland" cartoon thrown in for good measure. And so we see the return of Androvax, trying to rescue members of his race who are in suspended animation and being held by the Men in Black.

The Men in Black. (The Vault of Secrets Part One) ©BBC

The Men in Black have made a smooth transition from CGI creations to live action -- not that it was exactly a hard transition, given their nature, but it's still done well. Plus it's nice to see some love for the somewhat neglected cartoon. (Even if that's probably because Phil Ford wrote both that and this.) They're a much more compelling threat here than they were in "Dreamland" as well, since they're actually the main...well, "villains" is too strong a word, but that's the function they're fulfilling for a good chunk of time. No Viperox here to steal their thunder. It also helps that Angus Wright does a great job of being cold and imposing as Mister Dread, the leader of the Men in Black.

And interestingly, we also get an attempt to reframe Androvax's character. He's still rather unpleasant to deal with, but he's not as evil as he was the last time. Instead he has the noble goal of trying to rescue the last surviving members of his species before he dies, and while he may be going about achieving that goal in the wrong ways (taking over people and stealing what he needs without remorse), that doesn't make what he's trying to do any less honorable. Of course, the fact that the planet will be destroyed by his actions does mean that he needs to stopped, or another solution found, but at least his heart is in the right place.

But the best thing about The Vault of Secrets is that it never loses its underlying sense of fun. From Sarah Jane disrupting a NASA Mars rover before it captures an image of a pyramid (thus providing us with a quick in-joke) to Clyde quoting Terminator 2 to Gita dragging Haresh to the British UFO Research and Paranormal Studies Society (B.U.R.P.S.S.), the overwhelming feeling this story gives off is one of playfulness. It's clearly having a good time with all these ideas, and it's hard not to feel the same way as a viewer. And we even get a happy ending, with Androvax able to take his people away without the Earth being destroyed. It's not a deep, philosophical episode, but The Vault of Secrets is an entertaining episode that will leave a smile on your face.

May 12: The Nightmare Man Part Two (SJA) / "Robot Gladiators" (K-9)

The Nightmare Man is now free, but he doesn't seem to be interested in immediately taking over the world; he's more interested in flexing his powers a bit, which involves giving nightmares to Rani and Clyde as well as Luke. This also touches upon some deep childhood fears: Clyde's nightmare involves being unsuccessful and forgotten, taunted by Sarah Jane as a senile bag lady, while Rani's involves turning on the people she considers friends, exposing them on television as a journalist. They're both realistic nightmares that still tie in with the main story, and so they're very successful as a result.

The Nightmare Man is pulled into a nightmare of his own creation.
(The Nightmare Man Part Two) ©BBC

And it's fitting, in what appears to be Luke's final story as a main member of the cast, that the main message is that Luke, Clyde, and Rani are unstoppable as a team: "This world has faced so many nightmares but there's always been someone there to stop them," Luke tells the Nightmare Man. "Us. You know, I was so scared because I thought my mates wouldn't be there for me. Never mind Oxford, they followed me into my nightmares. Three kids breaking down the walls of dreams to be together. Something no one's ever done. Because together, we're unbeatable." It's a positive message, telling us that friendships are the most powerful thing in the universe, and it's a message that's worth hearing more often, I think. It also means that Luke can head to Oxford, secure in the knowledge that his friends are still with him, even if they're not in the same location.

This is a strong opener for series 4, with a thoughtful script, a sufficiently scary enemy, and some great acting from the regulars. It's a reaffirmation of what makes this show so good, and it's a great sign of what the future has in store for The Sarah Jane Adventures: even if Luke won't be around as much, the team on Bannerman Road will still be a force to be reckoned with.

Over on K-9, "Robot Gladiators" opens with a surprisingly ambitious sequence for the series: trying to make things look both like a fun entertainment show (the captions) and a sort of film noir/gangster film. They actually continue down this road for a while, with each of the gang heading undercover in Frankie Maxwell's illegal robot fighting ring to find some evidence that they can use to shut it down. It's actually quite fun, and while K-9's initial complaints about being stuck with primitive robots are amusing, even he warms up to them.

K-9 and the Pain Maker square off in the ring. ("Robot Gladiators")
©Screen Australia, Pacific Film and Television Commission Pty
Limited, Park Entertainment Limited, Cutting Edge Post Pty
Limited, and Metal Mutt Productions Pty Limited

Sadly, it does get less interesting when we learn who's really behind things (no prize for guessing who), although there is a nice moment where Thorne contemptuously wonders if they thought their ruse was remotely believable -- as I was wondering the same thing (since isn't Jorjie meant to be 14?), this was nice confirmation that at least someone was thinking about things. But the whole thing is apparently a ruse to gain access to K-9's regenerative capabilities: the Pain-Maker will either beat K-9 up or blow him up, but either way the Department wants access. Of course it doesn't work and everything ends well, but to its credit, "Robot Gladiators" does leave us with a lingering question: how exactly did Thorne know about K-9's capabilities? Is Gryffen's house bugged? Or is there a spy in their midst? This is a question that will hopefully be explored in the future, but as for now it's left unanswered.

For the first half, "Robot Gladiators" is a surprisingly good episode that's actually trying to do something a bit different. As a result, it's not surprising that when it slips back into the tired old routine at the end we feel a sense of disappointment. But, at least for a little bit, K-9 flirted with being something different, and the result was better than normal.

May 11: "Taphony and the Time Loop" (K-9) / The Nightmare Man Part One (SJA)

In the UK, K-9 took a summer break, but then it returned in October 2010, coincidentally(?) right around the same time as the start of series 4 of The Sarah Jane Adventures.

Taphony and K-9 have a discussion. ("Taphony and the Time Loop")
©Screen Australia, Pacific Film and Television Commission Pty
Limited, Park Entertainment Limited, Cutting Edge Post Pty
Limited, and Metal Mutt Productions Pty Limited

This latest episode, "Taphony and the Time Loop", is a somewhat confused story. It's about Professor Gryffen rescuing a girl (played by Maia Mitchell, who apparently is actually somebody -- although not at the time this was made) who he helped experiment upon a while ago, as he feels guilty about her being locked up in a maximum security prison, only for her to appear inside his house, rather than a safer location like he'd originally intended. Taphony, the girl, is incredibly dangerous, it seems, and she's completely unaware of the damage she's causing -- believing that aging Professor Gryffen is a form of justice, and not comprehending that Jorjie doesn't want to die so that Taphony can live. The script veers between considering her dangerous and misunderstood, and while it seems to eventually come down on the "misunderstood" side of things, it feels half-hearted somehow, as if the writers have made this decision because it's the sort of thing expected from the show, rather than because it makes sense. It also doesn't help that it's never quite clear why Taphony is such a threat. Yes, she can age people and steal their life essence, but how she can do this is vague. Calling her a "time blank", like that's supposed to mean anything, doesn't help either, but that's all the explanation we get, and it's left to us to fill in the blanks.

Still, the underlying message of "being dangerous doesn't necessarily mean being malicious" is a good one, and it is rather fun to see Gryffen aged (and the make-up is quite good) -- even if the "he has to be de-aged before his birthday or else he's stuck" conceit is risible. If this episode had committed more strongly to being one type of episode or the other (either make Taphony incredibly dangerous and naïve or just have her be evil), then they might have had a winner, but "Taphony and the Time Loop" tries to have it both ways and thus falls rather flat.

But as I noted above, it's not just K-9 coming back. Autumn 2010 brought us the fourth series of The Sarah Jane Adventures, which opened with The Nightmare Man. Luke is off to Oxford, a year ahead of Rani and Clyde (apparently that brain really is good for something), but as he's getting ready to leave he starts to have nightmares...

It's striking, comparing The Sarah Jane Adventures to K-9, just how much more confident the former is. Even allowing for K-9 being a low budget show in its first series, its aspirations appear to be middle-of-the-road children's fare. The Sarah Jane Adventures, by contrast, is aiming much higher. This first episode is a perfect example. While we still get interpersonal drama, in Luke's leaving for university and how it's going to affect everyone, we also get the SF/horror idea of a figure from nightmares entering the real world (yes, much like A Nightmare on Elm Street). But rather than being an end of itself, at least in the first part, writer Joseph Lidster has chosen to make the nightmares reflect the anxieties of most children who leave home for the first time -- the thought of people being glad that you're finally gone, or of being replaced and forgotten. They're very plausible nightmares, and the realization here is more scary than the Nightmare Man himself (as played by Julian Bleach, who here becomes one of the very few actors (and possibly the only one who's not a member of the BBC Wales "company", à la monster actor Paul Kasey) to have appeared in Doctor Who and its two BBC spin-offs). The Nightmare Man is scary not because of his appearance but because of the nightmares he can cause Luke to have. We're deliberately at this point not given an explanation as to the Nightmare Man's true nature, which helps with the strange nature of this episode.

It's a good move, juxtaposing the change of heading to university with the associated nightmares and maintaining this focus throughout the episode, and this first part is a genuinely impressive and well-written piece. It also leads to a great cliffhanger, as Luke finally succumbs to sleep, allowing the Nightmare Man to enter the real world -- while Luke is trapped in an empty void in his head...

May 10: "The Big Bang"

One of the things people at the time commented on about this episode was that it required you to pay attention -- the time travel shenanigans with the vortex manipulator apparently had some people scratching their heads, trying to keep up. Yet it becomes clear that Steven Moffat and company are working extra hard to make this aspect easy to follow -- all the business with fezzes and mops and conversations broken off before they're over is to make it clear what bits are happening when, and it's a clever way of handling this. What's instead far harder to wrap your head around is how exactly the Doctor saves everything.

Part of this, I suspect, is a result of what we're shown on screen; the Doctor flies the Pandorica into the heart of the exploding TARDIS, which then causes the Pandorica to explode -- but then we start to see things rewinding. This is meant to be the start of the Doctor travelling back up his own time stream, but how many of those viewers who were confused by the vortex manipulator jumps thought that time itself was rewinding, I wonder?

Rory, Amy, and the Doctor look at the exploding TARDIS in the
sky. ("The Big Bang") ©BBC

But then that's one of the wonderful things about "The Pandorica Opens" / "The Big Bang" -- this is a story that expects you to have been paying close attention. So much of what we need to understand the ending is set up cleverly in other ways (such as the Doctor's conversation with Amy after she finds the engagement ring: "Nothing is ever forgotten, not completely. And if something can be remembered, it can come back" -- a line important enough to show up in the "previously..." section at the start of "The Big Bang"), rather than just being outright stated, that this is a story that almost demands repeated viewings, with more revealing itself every time. This is not a story that will hold your hand; instead it races along and encourages you to keep up, confident in the belief that you will.

This is doubly pleasing because even without the time-hopping, "The Big Bang" isn't remotely straightforward. There's an awful lot of stuff to work through, what with the time stuff, the Cracks in Time, "Silence will fall" (and note that this is the first series of the BBC Wales version not to answer all the questions by the finale; we still don't know why the TARDIS blew up or what exactly "silence will fall" means -- those answers will have to wait for later)... but you never get the sense that it's too much. This is Doctor Who at its most fearless, playing a game with myths and legends both ancient and modern and utterly self-assured as it does so. It's full of striking imagery (Rory preparing to guard the Pandorica for 1000 years, the fossilized Dalek trundling down corridors) and wonderful big ideas (the sun is the TARDIS, the Pandorica contains pieces of the old universe that can be extrapolated) that spark the imagination. But the best bits are the small moments, the quiet scenes: the Doctor trying to determine if the Auton Rory is still Rory, his conversation with Amy inside the Pandorica, and, perhaps best of all, his little speech to the seven-year-old Amelia Pond:

When you wake up, you'll have a mum and dad, and you won't even remember me. Well, you'll remember me a little. I'll be a story in your head. But that's okay. We're all stories in the end. Just make it a good one, eh? Because it was, you know. It was the best. The daft old man who stole a magic box and ran away. Did I ever tell you that I stole it? Well, I borrowed it. I was always going to take it back. Oh, that box. Amy, you'll dream about that box. It'll never leave you. Big and little at the same time. Brand new and ancient, and the bluest blue ever. And the times we had, eh? Would have had. Never... In your dreams, they'll still be there. The Doctor and Amy Pond, and the days that never came.

(from The Doctor Who Transcripts - The Big Bang)

But then that's one of the great things about Doctor Who in general, and this story in particular: the gigantic and the intimate can exist side-by-side, each enhancing the other. "The Pandorica Opens" / "The Big Bang" is about huge events, but it never gets so wrapped up in being epic that it forgets to be personal as well. It strikes the perfect balance, and the final result is impressive.

It also marks the end of series 5, the first series with Matt Smith as the Doctor and Steven Moffat as the showrunner, and it's been a very strong run. As I noted before, we get the sense that Steven Moffat has been thinking about this for a long time and so has had a lot of time to work it out. This means that we get an impressively coherent and balanced series this year, with only one real disappointment ("Victory of the Daleks") in the whole run. Part of this success is because Moffat has (either by accident or design) given us a varied series that feels naturally polished, as if it were always meant to be this way. The emphasis has shifted subtly from Davies' era (Eccleston and Tennant in particular often felt like the romantic hero, while Smith is more like a mad uncle), but it hasn't shifted so far as to be unrecognizable to fans of the previous era -- this is still definitely the same show.

But another part of the success of series 5 is the performances from Matt Smith and Karen Gillan. Matt Smith impresses from the start, with a timeless quality about his performance that suggests that he's both very young and very old at the same time, but nevertheless constantly experiencing things with a sense of child-like wonder. Karen Gillan, meanwhile, provides a feisty companion in Amy Pond -- occasionally too brash and shouty, but always complementing Smith's Doctor extremely well. And while Arthur Darvill isn't in this series the entire time as Rory, when he is he provides the balance between these two extremes. The result is a genuine pleasure to watch.

A great set of stories, a fabulous new TARDIS team, and a show brimming with confidence in both the audience and itself: where will they head next?

May 9: "The Pandorica Opens"

Throughout series 5 there's been a sense that Steven Moffat has been doing his own take on the debut album, much like Russell T Davies did with series 1. You get the sense that he's had an awful lot of time to think about what he would do when he was put in charge of the show, and now that he's finally gotten the chance he's not going to waste it.

Nowhere is that clearer than in the series 5 finale: we travel to 19th century France to 20th century London to three different locations in the 52nd century to 2nd century Britain, and that's all in the cold open. Steven Moffat is flexing his muscles and seeing how much he can get away with -- the answer is quite a bit. They even travel to see the oldest message in the entire universe, only to find it says "Hello sweetie" (complete with a theta sigma for the older fans). "You graffitied the oldest cliff face in the universe," the Doctor admonishes River. "You wouldn't answer your phone," she replies airily.

This is the sort of fun that Moffat knows he can get away with, in the service of possibly the most overtly epically-minded story to date. This episode is concerned with the opening of an elaborate prison cell beneath Stonehenge known as the Pandorica, which contains "the most feared thing in all the universe." The Doctor tells us the legend: "There was a goblin, or a trickster, or a warrior. A nameless, terrible thing, soaked in the blood of a billion galaxies. The most feared being in all the cosmos. And nothing could stop it, or hold it, or reason with it. One day it would just drop out of the sky and tear down your world." When you don't know what's coming this is intriguing; when you do know what's coming this legend takes on a fascinating new twist, and one can easily imagine Moffat chuckling to himself as he wrote it.

"The Pandorica Opens" is emphatically a series finale (well, the first half of one), and so we get a boatload of cameos of characters from earlier in series 5, but the biggest one is the (initially inexplicable) return of Rory. It's a return that's played for laughs (the Doctor's reaction) and pathos (Amy's non-reaction), but it's unreservedly welcome. It's also confusing, but the eventual explanation is horrifying -- all of the Doctor's old enemies have formed an alliance and basically raided Amy's mind (all right, the psychic residue she left in her house) just to create an elaborate trap, one that the Doctor would believe and walk into. It's a clever piece of writing, even if it takes a bit to wrap your head around, and it provides a satisfying explanation for Rory's reappearance: he's really just an Auton.

The end of the episode sees the Pandorica opened, and the Doctor finally realizes it's a trap when he sees it's empty -- it's been waiting for him, as all his greatest enemies (Daleks, Cybermen, Sontarans, Silurians, Sycorax, and, er, Hoix) force him into the Pandorica, to stop the TARDIS from exploding and destroying the universe. "Only the Doctor can pilot the TARDIS," the Supreme Dalek grates, and while the logic is sound we realize how wrong the Dalek is. It's a hell of a cliffhanger: the Doctor locked away inside the Pandorica, River trapped in a TARDIS that's about to explode, and Amy dead by the hand of Rory, who was unable to completely suppress his Auton side. It's a huge, ballsy cliffhanger, appropriate for an episode that has been just as huge in its execution, daring the audience to not keep up. "The Pandorica Opens" sees a supremely confident production flexing its muscles and pushing things into new areas, and it leaves us eager to see what they come up with next.

May 8: "The Lodger"

If you're only familiar with Gareth Roberts' works from his earlier Doctor Who and Sarah Jane Adventures episodes, you might not realize how funny he can be. There are jokes scattered throughout his television work, but nothing more than other episodes by different authors. If, however, you are familiar with some of his Doctor Who works in other media (such as his Big Finish audio The One Doctor or his season 17 Missing Adventures), then you may have been wondering when that Gareth Roberts would show up on the TV version. With "The Lodger", he's finally arrived.

It's a simple idea: force the Doctor to have to pretend to be a normal 21st-century person for a few days and see what happens. (It's so simple, in fact, that Roberts had actually used it before: this is technically a remake of a Doctor Who Magazine strip with the tenth Doctor and Mickey instead of the eleventh and Craig, although Roberts basically wrote this episode from scratch.) The result, however, is pure joy -- Matt Smith is clearly having a ball with this, and he's been given the perfect foil in James Corden (perhaps best known to American audiences now as Craig Ferguson's successor on CBS's The Late Late Show). Ostensibly this is about the Doctor trying to deal with an alien spaceship that's preventing the TARDIS from landing, but really it's about his relationship with his new flatmate Craig. The Doctor, bless him, does try, but because he's currently the eleventh Doctor, a persona that often seems more child-like than just about any of the other Doctors (the only other real comparison would be the second), he's wonderfully uncomprehending of all the social cues he's being given. So we get some really great dialogue from the Doctor as he tries to work out on the fly the best things to say and do to avoid arousing suspicion, usually getting it slightly wrong. The most obvious one is the Doctor's repeated la bise greetings (the cheek kissing) to people (something, one suspects, he picked up from Vincent van Gogh last time, as Vincent does it to Doctor Black), which seems to slightly throw everyone he does it to, but there are also lots of magical little lines, like his explanation of where he learned to cook ("Paris, in the eighteenth century. No, hang on, that's not recent, is it? Seventeenth? No, no, no. Twentieth. Sorry, I'm not used to doing them in the right order") or his outrage at Sean's assertion that their pub football team would "annihilate" the next team ("Annihilate? No. No violence, do you understand me? Not while I'm around. Not today, not ever. I'm the Doctor, the Oncoming Storm, and you basically meant beat them in a football match, didn't you?").

Of course, the Doctor being the Doctor, he can't help but stand out, even when he's trying to blend in. He seems to naturally excel at everything: he can cook, play football (which must have pleased Matt Smith no end, as he wanted to be a professional footballer until a back injury diverted him into acting), and work at a call center better than Craig can, seemingly without trying. He also inspires Sophie to travel the world and chase her dreams, rather than spend the rest of her life stuck in Colchester. These actions are the sort of thing we expect from the Doctor, honestly, but it drives Craig mad, which leads to even more wonderful Doctor-Craig sparring, culminating in another mind-meld-like thing à la various Tennant episodes, albeit this time delivered via headbutt. (And look, another brief look at all the Doctors -- this new production team seems significantly less reticent about dropping in quick references to the past than the previous regime. We also get Smith singing "La donna è mobile", much like Pertwee did in Inferno, but it's not a total capitulation to older fans -- Roberts didn't follow through with his initial idea to make the villain of the piece Meglos from the eponymous story, with the joke being that the Doctor doesn't remember Meglos at all.)

Yes, there's a plot involving an alien ship on the roof, luring people to their doom, and while it's driving a decent amount of the story (and will become retroactively important next series), it's not really the point of the story. The point of "The Lodger" is to show the Doctor as a fish-out-of-water tale without realizing he's a fish-out-of-water, and it's to provide a double act between Smith and Corden, and at these two things it's terribly successful. The only thing that's slightly odd is that the message seems to be that it's OK to stay at home as long as you're with someone, which is rather the opposite of the show's usual message of "go and experience new things", but even this isn't terribly out of place, as the primary conceit is "love conquers all". This is an extremely entertaining and very funny episode with some outstanding comedic acting from Matt Smith and James Corden, and a strong contender for best episode of series 5.