Friday, 28 July 2023

Planet Of The Ood: Ranking - 114

 Planet Of The Ood

(Series 4, Dr 10 with Donna, 19/4/2008, showrunner: Russell T Davies, writer: Keith Temple, director: Graeme Harper)

Rank: 114

  'The Song of the Ood translated...

IWe..We love the colourful orb she holds
And the way the sunlight plays upon her folds
Through telepathy we hear the sound of a gentle word
On the wind of the aid conditioning we had installed


We're picking up Ood vibrations
The voice in our head giving us excitations'




 

I wish I had three brains the way the Ood do: one in their heads running on autopilot, one they carry around so they can pretend to go ‘yes sir, no sir’ and another big collective one in a ginormous tank allowing you to work on automatic. I would get so much more work done and so many more reviews written. Of course I’d hate to be an Ood in every other way: always at the beck and call of lesser species, never asked what you think, never asked how you feel, never more than a slave to a species that has got super lazy when you have such powerful art (specifically music) waiting untapped that no one ever hears. The Ood have got to be my favourite ‘monsters’ of the modern series – precisely because they’re not monsters. Well, only when in the hands of the real monsters: humans. The great Dr Who twist is that even while we’re told the Ood feel nothing and even while their mannerisms resemble slightly stiff Victorian butlers with impeccable manners their appearance screams untamed wild beast, with the look of a deranged toddler that’s spilt spaghetti all over themselves and lots of evidence that not only do they feel they feel a lot. Far from being monsters, left to their own devices the Ood are sweet, polite, desperate to please, a universe away from the Daleks and Cybermen, with the fan-pleasing references to their close cousins The Sensorites – creatures from 1964 who couldn’t handle bright lights or loud voices. Not every alien race are conquerors – some are conquerees – and deserve pity and help rather than fear. For Dr Who old hands that’s maybe not so much of a surprise (for the first ten years of its life the series was doing this sort of thing every other story – see ‘The Savages’ for its most basics sense but it dates right back to the first story ‘An Unearthly Child’) but if you were little in 2008 and were used to the more generic sort of scifi then this sort of concept was mind-blowing and exactly what this series was for.

We haven’t really had anything in Who like that since the ‘morality’ stories of the Pertwee era – the Malcolm Hulke ‘and this is how humanity forgets to be humane’ type stories which were always my favourite (so much for only modern Who being ‘woke’ eh? Something that’s only true if, ironically, you were asleep for more than half the episodes). It’s a welcome return, especially since the ‘classic’ series was still a little bit sensitive over ideas of slavery. In places ‘Planet Of The Ood’ is quite brutal in the way it shows how slavery isn’t a thing of the past but is alive and well in the present (and future), with a much-discussed line where a smug Donna – confident of her own era – is taken down by the Doctor for wearing clothes manufactured for pennies in sweat shops around the world. The Ood don’t even get that much freedom though they’re at humanity’s beck and call always. It’s a story that always reminds me of Asimov’s famous three laws of robotics (a central theme of ‘Robots Of Death’), only worse because these are real people who are being told their lives are worthless and they need to suppress their real selves to better care for their masters. Another source is the ‘Roots’ series, the groundbreaking TV movies of 1977 (the one that made a star of LeVar Burton long before he was Geordie in ‘Star Trek: Next Generation’) that told the colonial tale from one man researching his family tree (turning ‘us’ into the monsters, at least if you were white watching this as a majority of the audience still was in 2008) and gave a ‘voice’ back to those who had lost it; here it’s a clone race and the only ‘roots’ are growing out of their mouths but it’s telling the same story, giving a voice to those who don’t have it, and as such might be the single most ‘Dr Who’ story of the entire Russell T Davies run. There’s a bravery about ‘Planet Of The Ood’ that makes it amongst the best of modern Who and even though from the moment the Doctor and Donna arrive you know where all the plot beats are going to go – that things are going to be put right by the end – even so it’s very satisfying to see all the right people get their comeuppance and peace restored, just like the good ol’ days.

There was, however, only one ‘classic’ story that came even close to the subject of slavery, Steve Gallagher’s ‘Warrior’s Gate’, though in every sense the two stories are polar opposites. The 1981 story was a poetic philosophical discourse about free choice and free will and about the stupidity of Humans who need to escape a universe that isn’t theirs who think that they can do so by enslaving the local population and making everyone trapped rather than everyone free. ‘Planet Of The Ood’ isn’t really like that, not least because the Ood are basically naked and the Tharils are uber-furry. They differ in other ways too though: you could if you so wished see Gallagher’s work as a discourse on how all of us are trapped and even telepathic time-sensitive beings with special powers are more trapped than most. That’s not true for Temple’s story, which goes for the jugular and screams in your face that this is a story all about the horrors of slavery and losing your free will and what that must be like. ‘Warrior’s Gate’ is definitely more unique and works on several extra levels compared to normal as well as looking beautiful that brushes past you like a watercolour; ‘Planet Of The Ood’ is a warehouse and a quarry (albeit a more interesting warehouse and quarry than normal), a photograph that holds up a mirror to just how brutal and ‘real’ the system can be. ‘Warrior’s Gate’ is the story I return to, but there’s more than room out there for a story like this one too. ‘Warrior’s Gate’ is a Yeats poem, all hints and miscues and secrets that are only unlocked when you’re the right age and of the same life experience to unlock every word; ‘Planet Of The Ood’ is a Dickens novel, with over-exaggerated caricatures to better emphasise the truth.

‘Planet’ is also rare in being a sequel that comes with far more depth than the rather flimsy source material. Generally speaking in Who sequels are less interesting than first ideas but such was the mess that was ‘The Impossible Planet/Satan’s Pit’ (where the Ood were only the second most alien characters, after, umm, The Devil) and so popular were they with fans that Russell T Davies wanted to give them a story that out them centre stage. After all, The Ood must be pretty unique in Who monster circles in that we still didn’t know much more about them after we met them: for the most part they were just sweeties who were easily led by dark thoughts from Lucifer beamed inside their brain (a bit like MAGA Americans, in other words). Even The Doctor admits to being a bit ‘busy’ the last time he met them to answer all the questions that Donna has in this episode. So, with the costumes still in storage (and constituting a saving compared to inventing a new monster) it made sense to give them an ‘origin’ story. Figuring that it was sounding like a ‘traditional’ sort of a Who tale Russell gave it over to one of the older modern Who writers, Keith Temple. Though more of a soap writer who’d dabbled in drama, without any scifi experience, Russell knew him well; his partner Morag was an executive producer who had given Russell his big break with ‘Children’s Ward’ and at various meetings down the years (including a recent reunion at a TV Choice awards show) Russell had struck up a bond with Keith over memories of the old Hinchcliffe days of watching Tom Baker’s Doctor behind the sofa. Temple had been keen to write for the series for a while too, even sending his idea for his drama breakthrough ‘Layer Cake’ to his old friend as the most ‘Whoy’ work he’d done (it’s very series one: a girl from a dysfunctional family estate vows to defeat the poverty and apathy around her by becoming a famous baker  bringing joy to millions and is, umm, blessed with luck by the Virgin Mary when one of her sticky buns comes out in her likeness; unlikely as it seems it could well be that Russell wanted to give the ‘Ood’ a story where they were on the side of ‘God’ rather than the Devil for a change. Or perhaps he reads the word ‘Baker’ and started thinking about Tom or Colin).

It’s a sign of how little work Matt Jones had put into the ood that Keith was basically handed a blank template for what the Ood were and how they came about, along with a sudden flash of inspiration from Russell that ‘we haven’t done an ice planet in a while’. In every other sense though this is an ‘origin’ story that fits pretty seamlessly, with a storyline of the Ood as slave labour for a species too lazy to do stuff themselves. It’s all too sadly plausible that, having explored space and found a friendly and feeble lot of aliens, mankind’s first thought isn’t to help them, encourage them, befriend them, trade with them or train them, but to sell them into slavery to make their own lives easier. You end up feeling for the Ood more than most creatures, the way you feel for the bullies kids at school (who tended to be the Dr Who fans anyway, except in this era funnily enough when we were the cool kids; for Catherine Tate the Ood reminded her of her newly adopted cat who was still a bit scared of her and stared at all Humans with big wide eyes). The idea of giving them their own ‘spiritual’, a beautiful song that the Humans are oblivious too, is a gorgeous bit of writing too, a window into their vulnerability and sadness that they keep hidden, but which plays on to give them all a sense of solidarity and hope (much the same way as slaves on plantations).  Note how it gives them all a sense of community and peace so different to the stressed and fragmented Humans, who are all out for themselves in this story, each of them trying to make money and stab each other in the back. If you were ever sold something you didn’t need by an over-sleazy salesman who wouldn’t take no for an answer then you know where this story is coming from, even if you’re young enough and lucky enough to be in the demographic that’s never had to think about slavery before (and if you have then Dr Who is tailor made for the child who has already thought deeply about such things and felt they were intrinsically wrong, but never had the right sort of person to give them hope about putting things right, till that all-important first meeting with The Doctor).  

It’s a clever backstory because it isn’t that far from what we saw in ‘Impossible Planet’ and doesn’t take long to set up and makes parallels with the slave trade without ever quite coming out and saying it. Mankind has been told so many times across so many years that Oods are less than human don’t feel any pain that everyone has come to believe it – but they’re all wrong, they’ve just had it bred and beaten out of them. The Ood just bear the pain stoically, doing what they need to in order to get by but enjoying their own culture at night when the humans can’t see or hear (like African Americans and their spirituals). Temple touches on other ideas too: we see the Ood gathered together in a concentration camp that should set alarm bells ringing for anyone who knows their history (or has seen ‘The Dalek Invasion Of Earth’) while even after being diluted in the final draft there’s still the starting point of the Ood being treated like ‘battery hens’ (they were originally kept in similar cages). The most telling part of the whole story is when Donna urges a freed Ood to run – but he is so scared and a descendent of so many Ood in similar circumstances that he has no concept what freedom is and nowhere safe he can run to. It’s all handled well for the most part – they could have made the Ood out to be weak and pathetic but instead you’re rooting for them from the moment we follow them; equally they could have made all the humans out to be monsters but instead they’re just ignorant for the most part – it takes Donna, as our eyes and ears, being uncomfortable to make people feel that anything is wrong about a part of society they grew up with and never thought to question. There’s another telling line, for instance, that the Earth ‘customers’ know exactly what’s going on – but have asked not to know. Humans are good at putting their hands over their eyes and ears and going la la la. The Ood are also interesting because they’re not strictly individuals but parts connected to a giant hive brain via telepathic powers– something that’s relatively easy to take over as it happens – but for all the representation of them as a replica species they still feel like they have real personalities beyond being just another ‘clone race’. The scenes of the Ood singing in captivity, with their minds the only place they’re free to roam and their spirits the only thing that can’t be extinguished, are incredibly moving. And then they get revenge, developing glowing red eyes and a taste for human flesh, making this one of the properly scary stories of modern Dr Who, even though this is one of those rare episodes that has you cheering them on every time. Mostly, though, this is a charming episode, one very much in the grand old tradition but with the budget of the new series delivering things the olden days could never have dreamed of: there aren’t just one or two Ood for instance but dozens. That said, though, we never do see a whole ‘planet’ exactly and the title is more ironic than truthful: this is not the Ood’s planet but a warehouse where they are harvested. It’s humanity’s planet: the Ood are just a commodity to be harvested, like a phone or a piece of meat.

The Ood are central to everything that happens in this story – even when the characters in it just see them as another object. That’s another reason ‘Planet Of The Ood’ feels old-fashioned in the best way (the writer even submitting his early drafts in the form of ‘episodes’ like the olden days): this story is less about the plot and more about world exploring. You know why the Ood ended up here and there are lots of neat touches, such as the ‘Andy Warhol’ prints for the company office to make the Ood look ‘good’ in a shiny must-have way, like the latest i-phone. It’s all very inhuman, too, for lack of a better word, emphasising that while this might have started as the Ood’s planet it’s long since been remodelled without any thought as to the Ood’s welfare. All the doors and ceilings are built with Humans in mind. It also feels ‘real’ in a way few modern Who stories do: there’s very little CGI in the entire story; all the lines of Oods you see really are there (pity the poor extras, often the unsung hero of productions like this, who are all wearing head-masks) while the amazing things the Ood heads do in close-up are due to animatronics rather than computers. If nothing else ‘Planet Of The Ood’ is a visual feast. Which seems an odd thing to say about a story who’s lead monster looks as if he needs a bib at mealtimes, but such is Dr Who.      

It wasn’t filmed on an alien planet of course, but the Brecon beacons of all places. Rugged terrain that looks about as close to another planet as anywhere in Britain (give or take a quarry), it’s one of several Dr Who stories to be filmed in Tredegar in the Southeast of Wales. The rather flat film version of Douglas Adams’ ‘Hitch-Hiker’s Guide To the galaxy’ (released about the time the new series debuted in 2005) was filmed there too, which might be why its uses in Who are more sparing than you might think for such a famous location area. For once the studio shots line up with the location filming really well too, so that you can’t necessarily see the divide between one extreme and the other: this feels like a planet that’s been turned into a giant warehouse. Perhaps the biggest change, compared to the olden days, is that the winter base actually looks as if it has real snow. Amazing. It’s not even Christmas either! After all, this is not the sort of story you put on at Christmas.

However it’s also Russell’s insistence on this being an ice planet that arguably knocks this story down a peg or too: I’m not the first person to point out that a race like that wouldn’t have evolved on an ice planet – of all the aliens in Who the Ood are the ones with the most flesh on show, as it were; unless their DNA is ridiculously different to every known species in every other story they’d freeze quicker than we would unclothed and as a species we’re pretty feeble in the cold. Nothing at all about the Ood’s history screams ‘ice planet’. Certainly not their large round feet (that don’t connect with the ice very well). Not the lack of fur or hair (the Ood are the least testosteroned aliens since their close cousins The Sensorites), which would be less obvious if this wasn’t a story solved – in part – through hair tonic. And certainly not the fact that of all the creatures that exist in the ‘Whoniverse’ they’re the ones most susceptible to ‘brain freeze’ (given that they carry one of their triple brains around with them in orb form). No wonder they’re so outwardly happy to become humanity’s servants: at least that way they have a chance of a warming fire and something to look at which isn’t glaciers. The heating bills for this planet  must be astronomical – why not transport the Ood to a warmer human climate and take the big brain of goo with them rather than keeping them here? (Surely somebody must have tried that –I mean, it’s not as if these humans are at all worried about inconveniencing the Ood if it can possibly help them in some way).This is also a rather odd ice planet but nobody ever seems to be cold, even outside in the snow and the sun is visibly blaring in every scene (does snow in the future have a higher melting point or something?) As it happens the truth is more prosaic: with typical luck this story was swapped around with ‘The Unicorn and The Wasp’, to better make use of what was meant to be the better English summer weather with this story left for late August when the weather was expected to turn (and be better suited to an ‘ice planet’). Only as it turned out peak August was super cold and everyone froze in their flapper dresses and t-shirts and for ‘Ood’ it was sweltering, just when everyone was dressed up for cold weather.

There are other problems that are more Temple’s work too. Telepathic species are, surely, the last people who ought to be repressed and enslaved: they have the superpower of being able to organise a resistance without the fear of being overheard (admittedly this is a problem shared by Steve Gallagher and ‘Warrior’s Gate’ too an even less excusable there in a universe that’s their own, not just a planet). We see the physical power that the Ood have by the end and how the Humans are really just a bunch of cowardly cutlets – the Ood could have taken their planet back in seconds had they wanted to. Instead they play a long waiting game over a number of years by ‘poisoning’ their keeper and having him turn into one of them: a satisfying moral end ‘tis true but hardly practical (and how come that one last portion is the one that suddenly turns Halpen from 99% Human with some dodgy hair into a full-on Ood? Even by Dr Who standards of coincidences that seems unlikely).  The Friends Of The Ood seem to be doing more harm than good in their rather haphazard way of rescue too; as anyone with any knowledge of colonial history will tell you, there’s no good freeing one or two slaves if they’re got nowhere to go or their owners will just take them back and/or make things worse for the ones left behind (some abolitionists they are!) The ending is also rather rushed: somehow every Human everyone seems to know when the Ood have gone back to being peaceful again and they stop their mass slaughter because the script needs them to – even though, given how things turned out in history, the Oods would surely all have been murdered ‘just in case’ they went rogue again, Doctor intervention or not.

Talking of Doctor intervention…That’s the biggest problem with ‘Planet Of The Ood’ all round: The Doctor and Donna don’t actually do anything. They go on the public tour, then wander around for a bit and get some Ood to sing for them. That’s it. The Doctor-Donna are eye-witnesses as much as anything else; ‘The Friends Of The Ood’ and the Ood themselves do all the heavy lifting. A lot of critics see that as another way this story is like a throwback to the olden days of Hulke and Letts against the world, except that’s not true: the 3rd Doctor was the most hands on of them all. In fact it’s hard to imagine any Doctor beings as hands-off as Dr 10 is here (even Dr 7 would have gone back in time and manipulated ‘The Friends Of The Ood’ from the very start; the closest in past stories is the way the 6th Dr and Peri turn up over halfway through ‘Revelation Of The Daleks’, but that’s not characteristic of Sixie as a whole and is more the writer having a chunter). If anything the Tardis team just get in the way of the Ood’s plan. That gives ‘Planet Of The Ood’ a rather odd feel about it, especially given the pair are sent packing with a celebratory ‘song’ for doing absolutely zip; this is a rare Dr Who story that might have been better served without The Doctor in it, as a standalone ‘warning’ story from ‘The New Twilight Zone’ or ‘Black Mirror’ (although they’d have ad to up the technological basis for both series).

Not that the Doctor or Donna are portrayed badly; if anything Temple is the first writer (creator Russell included) to truly get the pair’s dynamic, of best friends exploring the universe together as equals (in a way we haven’t seen since late Romana). Both get lots of great lines and Donna especially gets quite the range of emotions in this episode: the thrill of being on a new planet, terror when the new planet turns out to be scary, empathetically sad for the Ood and the future of humanity, angry when the mood calls for it. Donna is already a much calmer, gentler presence than in her first three stories with more signs of the big heart she hides behind her big mouth when she comforts a dying Ood (a scene that could have been silly – another throwback to the olden days when the Doctor learnt all about the world he’s on from a dying character who tells him everything he needs to know in the opening scene - but is genuinely touching). This story is Donna’s coming of age in so many ways (and I disagree with the last minute decision to switch this story and ‘The Fires Of Pompeii’ around over fears this one was too ‘dark’ – because characters being buried alive under poisonous ash clouds or burning alive in lava isn’t?!? – as the resolution to that story only makes sense if Donna has already experienced tragedy).

It’s a shame, too, that the Human characters aren’t delivered with the same love, care or attention as the Ood as many of them are just one-dimensional bad guys, doing questionable moral things because they have questionable morals, rather than good people who just go along with the status quo because fighting it is too much work and they’re desperate to make money or fear of being treated the same way as an enemy of the state (which is how most evil regimes are propped up, after all, including the ones we’re living through now). One of them – an un-named rep – is played by Tariq Jordan, brother of ‘Sarah Jane Adventures’ regular Maria (actress Yasmin Paige). ‘Ood’ has it’s darker, deeper moments but overall it’s very much a child-friendly view of a difficult subject and while that might well have been the only way to handle slavery comfortably it does mean that there is less in this story to get your teeth into than other episodes. It’s maybe not a coincidence that ‘Planet Of The Ood’ runs short, with its forty-eight minute running time a good four minutes shorter than average: this story feels like it has a lot to say, but it says it all in the simplest terms possible, without as many b-plots or extra story arcs (the only real ‘extra’ is Donna’s line about bees going missing: a throwaway line that’s only going to make sense in the series finale).

It is all, dare I say it, a bit simple compared to the more complex plots we’ve been getting used to by 2008. Still, they say the devil is in the detail and this time around the story is all the better for the Devil and the detail not being here, giving the Ood proper room to breathe and dumping all the things from last time that didn’t really work in a vat of goo. Not every story needs to be extra-complicated and there’s more than enough to love about this story than not: the Doctor is brilliantly Doctorish, the Ood themselves are extraordinarily good in design and performance, their mass speaking and takeover greatly chilling and a daft action sequence towards the end breaks up what’s quite a talky episode nicely and gives Tennant something to do rather than stand around raging or pouting. I also love the way it’s a futuristic story about how nothing really changes, with humanity another long slow step on the way to equality and justice. In other words its very very ood episode indeed, but with maybe a few too many logistical problems to rank amongst the very best.

POSITIVES +They could have left this as one of those metaphorical ‘you figure out what we really mean’ stories but no – they’re actually brave enough to come out and say it, without actually quite saying it. Donna is appalled at the thought of people sweating away working for people they’ll never meet because they’re forced to and quietly smug they don’t have slavery in her own time, unlike the past and future. Then the Doctor points out that the clothes she’s wearing were stitched half the world away in a sweatshop for pennies. The parallels with the way that Earth is picking up free Ood slaves and don’t ask questions about how they got them (because ‘they don’t want to know the answers’) is one of those moments new Who covers no other series could get away with but which really needs to be said.

NEGATIVES - Murray Gold’s musical score is a bit loud this week even compared to normal and often gets in the way. Despite being such an intrinsic part of the story he could have done so much with (honestly it’s hard to see any difference between the Ood song of captivity that brings Donna to tears and what he uses for emotional scenes every single week). I SAID MURRAY GOLD’S MUSICAL SCORE IS A BIT...Oh What’s the use? I’ll stick the subtitles on. One other note in the music: we get endless references to the traditional hymn ‘Will The Circle Be Unbroken?’, so much so that you expect that song to be the one everyone is singing. Only, of course, that is very much the sort of old hymn the white slave owners would have been singing not the slaves (and could, when viewed a certain way, be a song about not changing the status quo because it’s God will, slavery included). Did someone working on this story assume that it was a black spiritual hymn and Murray Gold’s score is a last minute substitute? That might explain why it feels more cobbled together than usual.

BEST QUOTE: Halpin: ‘Can’t say I’ve ever shot anyone before. Can’t say I’m going to enjoy it. But then it’s not exactly a normal day is it?…’


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