“Sleep, that knits up the ravelled sleeve of care. The death of each day’s life, sore labour’s bath. Balm of hurt minds, chief nourisher in life’s great feast. Congratulations, Professor. You’ve revolutionised the labour market. You’ve conquered nature… You’ve also created an abomination.”
Written by Mark Gattis
Transmitted 14 November
In sharp contrast to previous sequences, Clara and the Doctor are not the centerpiece of this week’s story. Sleep No More is an experimental episode told via ‘found footage’using a first-person point of view.
Sleep No More has been getting damning reviews from fans, but I quite like it. Even though this is essentially ‘Attack of the Eye Boogers,’ it’s just a spin on the traditional ‘base under siege’ story that has been used since the 1960’s. The added flair is that the monsters win in the end in a way that doesn’t really make sense. Quite a change of pace from the Doctor defeating the monster in a way that makes no sense!
For the uninitiated, Doctor Who is a long-running science fiction series that screened for 26 years from 1963-89 with a triumphant return in 2005. Doctor Who’s greatest strength is its variety and outlandish style. The leading man (referred to only as ‘The Doctor’) has changed twelve times over its 50 years with more to come and each time this change occurs, the character of the Doctor has altered.
Aided (and often hampered) by young travelling companions, the Doctor faces dangerous obstacles and bizarre aliens throughout the entirety of time and space (but usually England). Whereas the 1963-89 program had limited success that tapered off toward the end, the current series has obtained a strong following. The program is a cult phenomenon combining elements of science fiction, fantasy, history, comedy, action and drama. It really is like no other TV program and as such it’s an acquired taste.
In this week’s installment ‘Sleep No More,’ the time travelers are aimlessly wandering about before being discovered by a rescue operation to a space station orbiting Neptune. The station appears to be empty and as the exploration continues, a series of sleep pods, called Morpheus, are found. Clara gets snared into one of the pods and is immediately placed into a sleep state with a hologram of dancing girls hovering over the lid. The cloned ‘grunt’ notices that one of the pods is occupied and Gagan Rassmussen, the man who opened this episode explaining the unusual nature of the narrative.
After much prodding, Rassmussen explains that he has been enhancing the Morpheus pods which compress sleep into 5 minute bursts allowing the surviving members of the human race to be more productive. The Doctor is horrified by this revelation and explains the importance of sleep for the quality of life, citing poets and playwrights from human history to back this up.
In no time, strange horrific monsters attack the survivor, rescue team and the TARDIS crew. To add to the confusion, the creatures are reduced to sand-like granules when under stress. Then the satellite begins a drastic fall from orbit and a loss of heat shielding. Using his sonic sunglasses and the helmets worn by the soldiers, the Doctor defuses the situation but cannot understand how or why the creatures (dubbed ‘Sandmen’ by Clara) could do this.
After Rassmussen is devoured by a Sandman, the Doctor and Clara lead a daring chase through the satellite with the only surviving member of the rescue squad, Nagata. Befuddled, the Doctor pieces together that the entire affair is being masterminded by Rassmussen but cannot understand why. The scientist gladly explains that a side-effect of the Morpheus’ ability to compress sleep is the creation of a new, superior, life form. He endeavors to aid this new life form which can find its way into a victim’s body through the corner of one’s eye with dreams of galactic conquest. The Doctor defies Rassmussen and manages an explosive escape.
Even after defeating a monster made of five years’s worth of Sandman material, the Doctor is not convinced that he has succeeded in foiling Rassmussen’s scheme. In a video that only the viewer can see, Rassmussen reveals that the invasion is through the video itself and that if it is being viewed, the Sandmen are already on the move.
Sleep No More is the second foray into first person point of view as a mode of storytelling (previously used in Love & Monsters), but this attempt was far more in-depth with only footage via headcams and security footage used, eventually including Clara and Nagata’s point of view sans camera.
There has been outcry over this episode with viewers claiming that it is incomplete and incomprehensible. Interviews with Gattis have revealed that the initial script was two-parter, but maintained the open ending. A devoted fan and scribe of novels, audio adventures and several episodes for the new program, Gatiss added nods to the classic era. The Doctor casually mentions The Silurians (from the 1972 story, the Sea Devils), the Great Catastrophe (introduced in the underrated 1984 story Frontios), and even a ‘When I say run, run!’ command dating back to the Troughton era. Gatiss was influenced by classic adventures that hinted at a vast future at war and strove the leave hints at this in his script, but due to the truncated length of the story from two to one parts, these details get muddied and confuse the action.
The visuals of Sleep No More are quite striking and the stellar acting ability of Capaldi (whose face fills the screen much of the 45 minutes) is top notch. After a foray into decidedly wacky behavior earlier in the year, it appears that the ‘Thin White Duke’ of old is back. From next week’s preview images, it seems be seen that he has ditched the disheveled hoodie and check trousers for a more refined look including a red velvet jacket that would be at home with Third Doctor Who, Jon Pertwee.
The ninth series of Doctor Who has been controversial with fans. As any regular reader of my blog will attest, I am much more critical of the new series in comparison to the 1963-89 program. However, I have been re-watching the past few years with a much more casual eye and recognized the strength of the new series lies in its ability to fascinate viewers with bizarre situations and visuals that cannot be found elsewhere. From a room full of ventriloquist’s dummies in an alien hotel to graffiti that comes to life and a lion-headed fire-breathing alien… Doctor Who excels at leaving viewers scratching their heads wondering what they just witnessed.
… and hopefully come back for more.
The 2005-present Doctor Who program has added a new element of melodrama which more often than not hampered my enjoyment but was still an essential part of its success. Just mention Rose Tyler to a fan and they will tear up. The past few years has seen a departure from the ‘Doctor in love’ angle as well as a less hug-able leading man. I applaud these changes, but as the viewing figures and outcry indicates, I could be in the minority. The 9th series has been incredibly ambitious with all two-part stories with the exception of two episodes (this week and next). This year’s 9 installments are wildly diverse in tone, use time travel in new ways, explore topical subjects using fantastical characters and introduce a new layer of absurdity to the program.
After seeing the negative reception it received online, I entered this week’s episode with low expectations but was pleasantly surprised. While not a classic, Sleep No More is chilling and weird with a threat so deadly that even the Doctor cannot fathom it. And we could use more of that. Open endings have been used before in Idiot’s Lantern (where did the Wire come from?) Impossible Planet (was the Beast really the Devil? Was it Sutekh? Did the Doctor defeat it) and even Listen (what was that thing knocking at the door and hiding under the bedding?), but fans seem to be furious that this story was not resolved.
Personally, I think that the muddy nature of a script crammed with too many ideas due to a reduced running time and a monster essentially made from grit that you scrape out of the corner of your eye are the main problems preventing enjoyment of this story. But even accepting those limitations, it moves quickly and introduces a new scary monster as well as clever tech and some positively unsettling moments. Even the Doctor admits to being scared!
Note- Mark Gatiss has confirmed that Steven Moffat has already asked him to write a sequel to this story.
The 2015 ratings so far (via DrWhoTV):
The Magician’s Apprentice 4.58m (overnight) 6.54m (final) AI 84
The Witch’s Familiar 3.7m (overnight) 5.71m (final) AI 83
Under the Lake 3.7m (overnight) 5.63m (final) AI 84
Before the Flood 4.38m (overnight) 6.05m (final) AI 83
The Girl Who Died 4.85m (overnight) 6.56m (final) AI 82
The Woman Who Lived 4.34m (overnight) 6.11m (final) AI 81
The Zygon Invasion 3.87m (overnight) 5.76m (final) AI 82
The Zygon Inversion 4.13m (overnight) 6.03m (final) AI 84
Sleep No More 4.0m (overnight) TBC (final) AI 78
The complete 2014 ratings: show
Overnight figures only include those who watched it live and those who recorded and watched it later that night.
Final figures includes those who recorded and watched within a week, making them a more accurate measure of how many were watching.
Live Plus 7 (L+7) counts those who watched live and all repeats, including iPlayer, within seven days following broadcast.
The Audience Appreciation Index (AI) is a score out of 100 which is used as an indicator of the public’s appreciation for a show. Over 90 is considered exceptional, 85 or over is excellent, 60 or less is poor, and less than 55 is very poor.
Next time: Face the Raven