Scientists have found that our internal body clocks vary so greatly that they could form the next frontiers of personalized medicine. Whereas 'Under the Lake' and ' Before the Flood' managed to craft thin but meaningful stories around certain aqua marines, making their importance to the story something greater than being mere cannon fodder – O'Donnell in particular underlined the Doctor's alien nature, as well as the emotional bond he shares with his companion.Although the federal government recommends that Americans sleep seven or more hours per night for optimal health and functioning, new research is challenging the assumption that sleep is a one-size-fits-all phenomenon. The unresolved nature of Clara's interaction with the Morpheus machine is compounded by Capaldi's performance, which transcends the episode's awkward plotting and the seeming irrelevance of many of its supporting characters. The narrative bridge, then, is less an immediate threat to one character or another, and more of an uncertain complication left to linger and build, like a bit of crustiness in the corner of a sleeping person's eye.Īll season long, Doctor Who has made clear the emotional connection between the Doctor and Clara, and what it would mean if he were to lose her. Here, 'Seep No More' operates almost as a standalone episode, especially as it ends so abruptly and resolves neither Rassumssen's creatures nor Clara's exposure to the device that creates them. The hour doesn't end on the kind of cliffhanger most have, which is to immediately raise the stakes and create a bridge to the second hour. But 'Sleep No More' is different, which raises a red flag of sorts meant to go along with the Doctor's demeanor when Clara inquires as to his ability to correct the effects of the Morpheus machine. The two-part structure of the episodes this season makes it a challenge to discern the immediate stakes of the plot during the first half. And, more precisely, it's about the threat to Clara Oswald, and what her time in the Morpheus machine means to her character moving forward. Additionally, their bodies are susceptible to shifts in gravity but apparently not military grade weaponry – not that the space marines think to use their rifles as anything other than a club on their dusty adversaries.īut 'Sleep No More' isn't really about the monsters on Le Verrier it's about the potential threat Rassmussen's creations – both deliberate and inadvertent – pose to humankind. Naturally, the monsters have a specific set of rules: they stalk the corridors of the Le Verrier Space Station in search of human bodies to consume, but being made of eye boogers, they are ironically sightless. The casualness of the conversation pierces the settings' familiarity in a way that is almost meta without being too cute about it. This time, instead of a submerged military base and a group of aqua marines, the Doctor and Clara find themselves on a space station accompanying a group of space marines – which affords the two an opportunity to engage in a conversation about applying the word "space" as a lame modifier to other words. That episode featured the Doctor and Clara running around a strangely circular compound, being chased by ghosts bound by just enough of a set of rules that the heroes could conceivably navigate the otherwise hostile environment in order to survive. Most notably, the episode echoes the plot of ' Under the Lake' from earlier in the season. Doctor Who certainly makes the best of it during 'Sleep No More,' wherein the hour seemingly slips in the tiniest hint of worry about Jenna Coleman's soon-to-be-departing Clara, in order to elevate the episode slightly above the messy use of found footage and an overall clunky script.īoth in structure and in its use of a rapidly aging device, 'Sleep No More' feels reminiscent of things that have come before. Resorting to a visual gimmick to aid in some late-season storytelling doesn't necessarily have to be a bad thing.
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