Camille Coduri

Doctor Who (2005) s02e12 – Army of Ghosts

One Earth episode without Camille Coduri was clearly too much so she doesn’t just appear in this one, she also pretends to be daughter Rose (Billie Piper) and play companion to David Tennant. Coduri and Tennant don’t grate as sharply as one might’ve feared (hard to imagine her and Christopher Eccleston stuck together so much for an episode subplot)….

But I’m forgetting the most important part—the episode opens with Piper narrating. This story is the last one she’s ever going to tell (not really, because there’s a cliffhanger, so she’s referring to a two-part story). During the resulting flashback montage, Eccleston shows up for about two seconds (and not his face); does all “Who” ignore previous Doctors or is it just with Eccleston? If so, rather inglorious.

After the intro montage and narration setup, Tennant and Piper go to present-day Earth so Piper can visit Coduri and get her laundry done. Sleeping arrangements and laundry facilities on the TARDIS… are they ever discussed?

Right away, Tennant and Piper know something’s wrong because the Earth is now visited on a regular basis by ghosts. Investigating leads them to the mysterious Torchwood Institute, run by a game but too thinly written Tracy Ann Oberman, who are actually causing the ghosts by punching holes in the universe or something.

Doesn’t matter. What matters is Tennant knows they’re not ghosts—doesn’t say how he knows, “Who”’s de facto atheist, after all—and he tries to get Oberman to knock it off and do some investigating.

Unfortunately, we—the audience—know the Cybermen are back as they’ve slowly been taking over Oberman’s staff, principally Freema Agyeman and Hadley Fraser, who are conspiring to do something. Will Tennant be able to save the day, even though he’s got Coduri at his side so Piper can investigate on her own?

Not sure, because it’s a cliffhanger. It’s also a bit of old home week for Piper, because the Cybermen aren’t the only ones back from another dimension….

Noel Clarke’s back, playing tough again.

Clarke’s not good tough, but he’s a lot better tough than whiney.

Better than I was expecting direction from Graeme Harper, on par writing from Russell T. Davies (on par for Russell T. Davies, I mean).

The bookend is annoying and the cliffhanger reveal’s a trope.

Doctor Who (2005) s02e10 – Love & Monsters

It’s a not bad concept episode (written by Russell T. Davies, which seems weird but whatever) about a regular bloke (Marc Warren) who records a video diary on his digital camcorder to upload at 160×120 to his FTP server to share his story about the Doctor. I mean, it’s a YouTube doc before anyone knew there’d be YouTube docs. At least Davies knew where the format was going.

And once it’s clear the Doctor (David Tennant) isn’t showing up as a principal, the episode’s fine. It’s always amusing—Davies goes for more smiles than laughs and the episode’s mostly well-cast so the cast quickly endears.

When Warren was a kid he saw the Doctor in his house. As an adult, he lives through the alien invasions of the last two seasons and joins a group of other alien enthusiasts and they soon get talking about the Doctor. Eventually, they become a family, which is great until a government agent (Peter Kay) takes over their group and sets them about Doctor-hunting.

If Kay were good, it’d be great. Instead, he’s not, and it’s a not bad concept episode. It’s zany. There’s not a lot of Tennant and Billie Piper, as they’re guest stars in Warren’s life, but when they show up it’s fun and funny. Slapstick. There’s slapstick. The slapstick’s really cute.

The plot eventually involves Warren stalking Piper through Camille Coduri and an attempted seduction scene as we get to see what life’s like for Coduri when Piper’s not around. Also Mickey’s not around, which is another sadness for Coduri. It’s… the best Coduri’s been in a while. There are asterisks, but more relating to Davies’s writing and Dan Zeff’s direction.

Zeff’s okay. Better than a lot of “Who” directors without being one of the good lot.

Shirley Henderson plays the girl in the group who Warren’s crushing on. It’s a not exactly a cameo but kind of like an extended one. Maybe she’s a “Who” fan?

It’s cute, at least until the punchline, which is incredibly problematic if you give it much thought.

Doctor Who (2005) s02e06 – The Age of Steel

I had low expectations for this episode, given the first installment was so unimpressed; writer Tom MacRae and director Graeme Harper do not improve at all this episode. The perfunctory cliffhanger resolution does nothing to ratchet up any enthusiasm. The stakes are simple—the Cybermen are taking over this alternate universe and Billie Piper won’t let David Tennant wait it out in the TARDIS because Piper’s parents Camille Coduri and Shaun Dingwall are in danger.

Dad Dingwall works for evil mastermind Roger Lloyd Pack but did he know Lloyd Pack was really a bad guy who wanted to turn everyone into Cybermen? Tennant’s suspicious but Piper’s obstinate and disinterested in finding out the truth. She’s so annoying this episode. Tennant eventually goes to hang out with alternate Earth revolutionary Helen Griffin, leaving Piper with Dingwall. She starts annoying him pretty quick too.

Meanwhile, Noel Clarke is off learning how to be a revolutionary—his double is on a team with Griffin and Andrew Hayden-Smith—and finding himself and whatnot.

The episode reuses action beats from the show’s pilot, which is kind of… well, it’s sad, but it does have the potential for Piper to comment on it. She doesn’t, of course, because MacRae’s disposable (at best) script.

Clarke ends up with better scenes than anyone else as he has to save the world himself for once. Unfortunately, Clarke’s performance still isn’t very good but… the episode’s got a very low bar. Successfully turning Clarke into even a hero in his own mind is something.

What else… bad CGI? There’s some really bad CGI.

There’s also a fairly dark ending with Tennant having to torture a bunch of people. It seems like it’s going to be one of those sobering “Doctor Who” resolutions but somehow it’s not. Maybe because it’s an alternate universe. Maybe because it’s so insincere. Thanks to Tennant, who’s absurdly underused, season two of “Who” has been very sturdy, but MacRae and Harper seem likely to be names to dread going forward.

Doctor Who (2005) s02e05 – Rise of the Cybermen

The cold open of this episode looks pretty bad and the direction on the actors is terrible so I was just waiting to see it was Keith Boak. Then the opening titles rolled and I got a little hopeful upon seeing the writing credit—Tom MacRae, new guy (all the “Who” writers are guys so far), and the show’s done better with new writers than the regular one—then it turned out not to be Boak, but Graeme Harper. Harper and MacRae both being “Who” newbies.

Harper’s direction is fairly bad, with the show once again looking like it’s a soap opera at best. Poor cinematographer Ernest Vincze, who shoots all(?) of the episodes, yet sometimes outside his control it all looks bad.

It’s an alternate universe adventure with David Tennant trying and failing to keep Billie Piper from hunting down alternate universe dad Shaun Dingwall—it’s incredible what a bad character Piper’s become this season. She nearly broke the universe last time she went after Dingwall. Did she learn anything? Nope.

Then there’s Noel Clarke, who’s sad Tennant doesn’t like him more. There’s this whole thing about Tennant only caring about Piper and not even being interested in Clarke’s (unknown before this episode) backstory involving grandmother Mona Hammond, who died in the regular universe. But the show’s established Piper thought she and Tennant were romantically involved or at least interested so what does she want him to do with Clarke? It’s just bad writing, with the bad production values hurting things even more.

Though I guess it’s obvious the episode doesn’t know much show canon because when we find out Clarke’s alter ego is named “Ricky” instead of “Mickey,” no one remembers how Christopher Eccleston called him “Ricky” last season. It’s this great setup and then does nothing.

The villains this episode are the Cybermen, who are back from the original series, only this time they’re run by brilliant megalomaniac businessman Roger Lloyd Pack who wants to be immortal. Lloyd Pack is extremely bad. Like. Extremely.

Towards the end of the episode it appears he’s doing an impression of Sidney Greenstreet in Maltese Falcon but apparently without coordinating with director Harper.

It’s a slog of an episode. So much of one a particularly annoying Camille Coduri doesn’t even rate mention.

Doctor Who (2005) s02e00 – The Christmas Invasion

There are quite a few things to say about The Christmas Invasion. For example, as improbable as it seems, there’s a chance David Tennant is going to redeem Camille Coduri, who went from a perfectly fine guest player at the beginning of last season to a complete time suck by the end of it. It’s unclear whether Tennant will be able to work that magic with Noel Clarke, who’s still really annoying no matter what number Doctor we’re on.

The episode opens with Coduri and Clarke hearing the TARDIS coming into Christmastime London so they rush to the street to greet it. The doors open, an unfamiliar Tennant stumbles out, warmly embraces them, collapses. Then Billie Piper comes out and says, “That’s the Doctor.”

To which Coduri replies, “Doctor who?”

Wokka wokka.

Though Christmas Invasion does work as a fairly easy introduction to “Doctor Who.” Do they always ingloriously shuck the previous Doctor or is it Tennant being immediately amazing. Well, somewhat immediately. He’s in a coma because of transforming from Christopher Eccleston at the end of last season. This Christmas special doesn’t just introduce Tennant but makes a bunch of promises for the Doctor’s upcoming adventures.

Tennant’s in his coma for maybe the first half of the episode but it does feel a little longer because we’re got to get through the initial stages of Coduri and Clarke whining about Piper being a time and relative dimension in space traveller. Also for aliens to invade. There’s a big action sequence, which director James Hawes sadly doesn’t pull off, despite there being obvious money behind it. Then we get to catch up with Penelope Wilton, who’s gone on to become prime minister since we last saw her.

Wilton’s great. She could carry a show about her being a small town politician turned prime minister.

Events occur to get Piper and company teamed up with Wilton (on the alien ship, which is actually rather interesting—it appears the alien race launched themselves into space with their ship built under their planet’s crust or something). The aliens are this weird mix of Star Wars and Star Trek, dynamic enough to engage the casual viewer.

They only have to maintain interest so long, because once Tennant wakes up, no one’s paying attention to anything else. He’s amazing from go. Spellbinding. You can’t wait to see the next adventure because it’s him. So it’s a great promotion for the brand.

It’s also got an exceptionally problematic twist where Tennant takes advantage of sexist and ageism to “do the right thing,” except he’s not just being vindictive because it’s a bureaucracy. It’s also cruelly done.

Will Tennant’s fun-loving, convivial Doctor go on to be cruel?

Guess we’ll have to wait for a Dalek to find out. But Tennant puts “Who” into a “must see” category it didn’t even glimpse last season.

Doctor Who (2005) s01e13 – The Parting of the Ways

This episode just ought to be called Deusest Ex Machina because it turns out everything this season has been building towards is a giant reset for the series. Which does make sense, given the Doctor gets reborn whenever they recast, but it completely dismisses the idea of Christopher Eccleston having a significant role. It invalidates him over and over, even before the angel saves the day; in other words, if you’re okay with this Parting of the Ways nonsense and you gripe about “Battlestar”’s finish… you’re lying.

Worse, Noel Clarke and Camille Coduri are back. There’s an awkward conversation between Rose Piper and Coduri about the father’s death because Coduri doesn’t remember meeting her daughter in the past because… “Doctor Who”’s time travel logic is utter nonsense.

Shouldn’t matter, obviously, and if it weren’t just more awkward badness from Coduri and Piper it’d be fine.

See, once Eccleston resolves the previous episode’s cliffhanger in the cold open (or close to it), he sends Piper to the past so she’ll be safe from the alien invasion. Eccleston and John Barrowman have to try to save the day, which gets less and less likely as they fend off alien invaders. There’s some really weird stuff, like Barrowman apparently lying to a bunch of volunteers about how to fight the aliens. Then again there’s also the “Bad Wolf” resolve and it’s really, really bad. It’d be even worse if it wasn’t what drags Piper away from Clarke, who’s trying to wiggle his way back in when she thinks she doesn’t get to be a time traveller anymore.

There’s a little bit more with Jo Joyner as Eccleston’s lady friend of the week and Nisha Nayer and Jo Stone-Fewings have more to do as future humans. They’re all right. I mean, Joyner’s great, the others are all right.

It’s a Joe Ahearne directed episode so it could be a lot worse. And the vast bad CGI shots are… fine. I guess. They’re proofs of concept.

Russell T. Davies’s script has to do a whole bunch—send off Eccleston and resurrect the character, resolve the “Bad Wolf” thing, deal with the alien invasion, deal with the Piper arc. It’s a lousy send-off for Eccleston. Inglorious to the extremest.

It’s probably an impossible group of things to make run well but… Davies still manages to fumble it.

I wonder what next season’ll be like.

Doctor Who (2005) s01e08 – Father’s Day

I went into Father’s Day with high hopes; Joe Ahearne directing, Paul Cornell writing. I remember hearing about the episode (albeit vaguely) when it first aired because I knew Cornell’s comic book writing. So I went into the episode full of goodwill.

It’s all about the obvious kid going and saving their dead parent thing the show somehow pretends isn’t obvious. The episode opens with a flashback to Camille Coduri telling a young version of Billie Piper, played by Julia Joyce, about how her dad died when she was a baby. Then it cuts to this truncated cold open with Piper now asking Christopher Eccleston to take her to her parents’ wedding. Or something. To at least see her dad, played by Shaun Dingwall.

Once Piper’s seen the wedding, she wants to go hold Dingwall’s hand after he’s been hit by a car and is dying. Coduri’s already established Dingwall dies alone and it’s something Coduri’s really sad about her entire life apparently.

Except Piper’s not going there to comfort dying Dingwall, she’s going there to save him, which eventually results in time demons attacking London. The show hasn’t done the “don’t un-kill people” warnings, which has been kind of nice, but the pseudo-rift Piper’s action causes between her and Eccleston is one of the episode’s many fails. There’s a lot of crisis stuff with the cast, as Eccleston and Piper help the eighties folks barricade themselves into a church while Dingwall slowly comes to understand what’s going on.

But there’s also… Eccleston getting to needle Coduri in the past, which doesn’t play, Eccleston being nice to new bride and groom Natalie Jones and Frank Rozelaar-Green, which does play for some reason, in addition to Eccleston being mad at Piper, Piper being weird around Coduri (and Coduri hating Piper), and then the obvious Dingwall and Piper stuff.

It’s packed.

And none of the important threads connect.

The time demon sequence is intense and Dingwall’s excellent, but whatever they thought they were doing, they don’t. It should be a singular and instead it’s pedestrian.

Doctor Who (2005) s01e05 – World War Three

Digital video in the mid-aughts was still very rough. Around the time World War Three came out, some of the best DV cinematography wasn’t being done in film or television but in art and technical schools, as creatives were figuring out how to best light for the medium.

In other words, I understand why cinematographer Ernest Vincze shoots such an ugly hour of television. I don’t understand Keith Boak’s direction. Like, seriously, an out of focus foreground or background character in crappy DV… But I do get Vincze’s limitations.

The episode is full of them. The aliens go from disquieting giant suits to terrible CGI. You can even see the models reused in different effects shots. Vincze doesn’t even have the budget—or, let’s just say it, ability—to light the composites well. World War Three takes a big swing and a big miss as far as the visuals.

The story’s not much better. Christopher Eccleston resolves the previous episode’s cliffhanger quite perfunctorily and then there’s a lot of chasing—there are aliens chasing Eccleston, aliens chasing Bille Piper and Penelope Wilton (who almost makes the episode worth it), and aliens chasing Piper’s mum, Camille Coduri. Sadly, Coduri teams up with Noel Clarke and they work remotely to help Eccleston save the world.

Coduri’s not great. Her character’s bad but she’s also not great. Clarke’s real bad. So having Coduri around him the whole episode doesn’t help. Though the terrible subplot about Coduri wanting Eccleston to assure her Piper is safe as his companion is all on Coduri. And writer Russell T. Davies. It’s not quite a “Martha” moment but it’s in the same vending machine. Davies’s resolution to the dilemma is an eye roller.

The episode hinges on various deuses ex machina to get to its conclusion, which is sort of an extension of the first episode. It’s kind of a real stinker, thanks primarily to Boak and Clarke; Corduri is collateral damage.

The ending, which resets the stakes to where they were before the two-parter with a little change—oh, also—we find out Piper’s phone accepts incoming calls, which means the entirely twelve months she was missing, neither Corduri or Clarke tried calling her. Like… what.

Anyway. The ending threatens to make things worse, then returns them to the status quo.

I really hope Boak takes next episode off. I can’t handle any more Boak right now.

Doctor Who (2005) s01e04 – Aliens of London

Director Keith Boak is back and it’s obvious from go some of the problem with Boak-directed episodes is Boak’s a bad director. Some of the problems are budgetary, but Boak and cinematographer Ernest Vincze even make the non-effects stuff look like bad digital video. There’s an anti-suspense suspense sequence involving sympathetic coroner Naoko Mori, who finds herself trapped in the morgue with an alien. Vincze throws all these goofy lights at her to cover for Boak’s complete inability to direct the sequence.

The episode starts with Christoper Eccleston bringing Billie Piper back to “the present” (meaning Piper’s present) so she can check in with mum Camille Coduri. We immediately discover last episode wasn’t a fluke and Eccleston really can’t control when the TARDIS jumps in time. Later in the episode he does a fairly precise teleportation, so the problem seems to be fourth dimensional, not first through third. It’s kind of obnoxious watching them goof off with the absurdly silly navigation system on the TARDIS—has it been updated since 1963. Is it a series trope? Like the Enterprise crew “spinning” 360 degrees?

Eccleston gets Piper home a year late, after Coduri has given up hope for her safe return and after Piper’s boyfriend, the just-as-charmless-as-last-time Noel Clarke, has been a suspect in her disappearance. Cue drama. Cue more drama once Coduri finds out about Eccleston.

But Piper and Coduri having a showdown isn’t the episode, the episode is an alien spacecraft crash-landing into the Thames. The government response involves a missing Prime Minister, an inquisitive Penelope Wilton (who makes the episode given how bad everything else works), and a flatulent replacement PM, David Verrey. In fact, most of the melodrama hinges on… fart jokes. Lots and lots of fart jokes.

Really bad CG aliens eventually show up and everyone’s in danger. Cue cliffhanger.

It’s occasionally well-acted and Wilton’s a delight, but the bad direction and photography, Clarke being an energy vampire, and so on….

It’s needlessly tiring.

Doctor Who (2005) s01e02 – The End of the World

This episode is so much better than the previous one. So much better. And the only difference, besides setting and it not introducing a new lead character (Billie Piper), is a different director (Euros Lyn). Or maybe writer Russell T. Davies just had much better ideas for this one? Though the special effects are also “better,” quotation marks because it’s a bunch of exterior space shots, which don’t involve the main characters. It’s just pragmatic exposition shots of the sun about to Krypton Earth.

The Doctor (Christopher Eccleston) has brought Piper to the end of the time, at least as far as time goes for planet Earth; they’re going to watch its destruction some five billion years in the future. It’s a seemingly budgetary choice, with Eccleston teasing Piper with possible stops in the future—but she never gets to get out of the TARDIS (okay, weird thing about “Doctor Who,” the absurd jargon is catchy). Instead, they go way way into the future so they don’t need to do exteriors and instead the action takes place on this spaceship—viewing platform—where a bunch of rich future people (people meaning aliens) have paid to watch the Earth get zapped by an adjusting sun. There’s a lot of exposition about how the future works, but it’s mostly just blather, some of it amusing, some of it diverting, all of it usually amiably delivered by Eccleston.

Eccleston’s a lot better this episode—Piper’s the main improvement, acting-wise, as she goes from a very low middling to fantastic as the weight of the reality she’s experiencing hits her. She’s five billion years in the future. She’s meeting all these alien races—Eccleston calls her a racist in response to her pointing out he had the TARDIS change her brain chemistry to allow her to understand alien languages, so it’s good to see the Doctor’s a man—and the Earth is about to die. Even though everyone she knows is five billion years dead. Though Eccleston does outfit her phone with a new SIM card (taking her off AT&T?), allowing her to call through time and space and talk to mum Camille Coduri.

The main plot, involving sabotage, is rather nicely executed and quite winding. Eccleston gets a love interest—an excellent Yasmin Bannerman—and Piper makes her first alien friend, Beccy Armory, and her first future human enemy, Zoë Wanamaker.

It’s really quite good. If they were all like this episode, I’d be closer to understanding the “Who” enthusiasm.

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