欢迎友友们围观，不必有礼貌留言的负担，谢谢！
“太空婴儿”和“恶魔的弦” （Space Babies and The Devil’s Chord）
“神秘博士”2024新一季（总共八集)首播便放出了两集，“太空婴儿”和“恶魔的弦”，这让我很开心。
“太空婴儿”紧接着2023圣诞特辑的剧情展开，前几分钟主要重新介绍了新任“博士”（the Doctor）和他的同伴“鲁比”（Ruby Sunday）。
（剧情简介：博士和鲁比前往一个太空站，却发现这艘飞船实际上是一个婴儿农场，由会说话的婴儿们管理。这些婴儿生活在对飞船下方怪物的恐惧中，他们称这个怪物为“鬼怪”。婴儿们唯一的照顾者据说是一个名叫NAN-E的人工智能。博士追踪NAN-E的程序到一个储藏室，却发现实际上是一个名叫乔斯林（Jocelyn）的女人。乔斯林是这艘飞船的原始船员中的最后一个成员，其他成员都被迫离开飞船和婴儿们。博士找到一个附近的难民星球，并发誓要把乔斯林和这些太空婴儿送到那里。）
演员Ncuti Gatwa（饰演博士）已经展现出了绝对的魅力，他为这个角色带来了难以置信的能量和深度。他与Millie Gibson（饰演鲁比）的搭配也非常精彩。Gibson自己也很出色，为角色和整集添加了很多色彩。
前几分钟节奏非常快，迅速带过“神秘博士”的关键概念，让剧情真正开始。然而，不幸的是，正是在这个节点上，剧情开始崩塌。余下的部分节奏有些不好，奇怪的CGI技术让婴儿看起来很怪异。婴儿本身的表现让人觉得尴尬而不是可爱，但直到故事的高潮部分，这一集还算是有救的。（我还蛮喜欢这些婴儿啊。我觉得他们很可爱。试想一下：能讲话、还能管理飞船的婴儿、、、）。
在揭示“Bogeyman”本质的欢快搞笑场景之后，紧接着出现了一幕，作为观众的我们被要求认真相信“Bogeyman”的存在应该与婴儿本身一样重要。这本可以是一个很好的信息传递，但这一集根本没有为这个场景做任何铺垫，让人没有理由去同情这个由鼻涕组成的怪物。总体而言，这是一个很差的开局，只能说完美的选角和出色的表演拯救了它。
“恶魔的弦”则是一个非常有趣且夸张的剧集，有很多值得喜欢的地方。
(剧情简介：故事讲述了博士和鲁比穿越时空去到1963年，去看那时候的英国摇滚乐队‘甲壳虫’，却发现世界对音乐失去了兴趣，甲壳虫乐队的那些成员也如此。据片头介绍，在1925年，一位钢琴老师向他的学生展示了“魔鬼和弦”，召唤出Maestro，Maestro吞噬了老师的音乐精华，并杀死了他。忧虑世界对音乐失去了兴趣并怀疑是Maestro作祟，博士让鲁比演奏钢琴，召唤出Maestro （Jinkx Monsoon 饰），发现他的笑声极像这一季第一集中出现过的Toymaker。逃离Maestro的袭击后，他们回到2024年，发现伦敦成为核冬天中的废墟。Maestro出现，揭示他们是Toymaker的孩子，计划消灭宇宙中的所有生命。Maestro声称，要击败他们，博士需要找到正确的和弦来驱逐他们，他觉得博士做不到。博士和鲁比再次穿越到1963年，遭到Maestro的攻击，但《钟声颂歌》"Carol of the Bells"响起、、、最终甲壳虫乐队的Lennon和McCartney完成了和弦，将Maestro拖入钢琴中，释放了博士和鲁比。剧终时，音乐恢复，音乐表演继续、、、)从夸张的Maestro，到1960年代乐队“甲壳虫”的出现，再到最后的音乐表演，这些概念本可能处理得很糟糕，但编剧们完全投入到这一集的夸张和奇异中，创造出了一颗真正的宝石。（我完全同意。我原本就很喜欢“神秘博士”以真实历史事件为背景的剧集。很开心看见剧集中出现著名的伦敦艾比路斑马线）。
这一张是博士和鲁比的剧照，下一张是那张有名的’甲壳虫‘封面照：
Maestro是一个非常出色的反派，他在荒谬和威胁之间平衡得很好。（饰演博士和鲁比的）Gatwa和Gibson再次表现得令人难以置信，他们之间的化学反应是真正的近年来最好的。
这一集中我们真正开始看到Gatwa作为神秘博士的光芒。他为这个角色带来了奇妙的能量和惊奇，同时在必要时保持了角色的严肃和黑暗。这感觉像是一个全新的博士，已经处理了他过去的创伤并接受了它们，但又并没有忽视它们。尽管这一集的结尾还是有一些牵强和直白，但仍然是一集结合了搞笑、紧张、出色表演和情感深度的精彩剧集。
看完这两集，感觉这一季的总体故事也非常引人入胜。设定了许多谜团，从鲁比的出生到Susan Twist的存在，再到“the one who waits”，我非常期待看到这一切是如何展开和解答的。
Space Babies and The Devil’s Chord
The new 2024 season of Doctor Who opened with the release of two episodes on the same day, and I am very glad they did.Space Babies picks up where the Christmas special left off, and spends its first few minutes reintroducing the audience to the new Doctor and his companion Ruby Sunday. Ncuti Gatwa (the Doctor) is already absolutely electric in the role, bringing an incredible energy and depth to the character. He plays off Millie Gibson（Ruby） fantastically. Gibson herself is also spectacular, adding so much to the role and the overall episode.
These first few minutes are lightning fast, moving through the key concepts of Doctor Who quickly so the episode can really begin. Unfortunately, that point is also where the episode falls apart. The rest of the episode is somewhat poorly paced, with strange CGI making the babies look uncannily weird. The portrayal of the babies themselves strays more towards cringe than cute, but the episode was still saveable until the climax of the story. (I quite like those babies. I think they are really cute. Think about it: the babies can talk and can manage the spaceship…).
The jovial, jokey scene where the nature of the Bogeyman is revealed is then suddenly followed by a scene where we, the audience, are seriously meant to believe that the Bogeyman’s existence should hold as much value as the babies themselves. This could have been a well-done message, but the episode itself does nothing to justify this scene and there is no reason to feel sympathy for this monster made of snot. Overall, a very poor start to the series saved by perfect casting and phenomenal acting.
The Devil’s Chord on the other hand, is a wonderfully fun and campy episode with a lot to like. The whole concept of it, from the over-the-top Maestro, to the presence of the Beatles in the 1960s, to the musical number at the end, could have been handled very poorly, but the writers fully commit to the campiness and weirdness of the episode, creating a genuine gem of an episode. (I totally agree. I have always liked historical episodes of Doctor Who anyway. It is nice to see the famous zebra crossing on Abbey Road in London).
Maestro is a fantastic villain who manages to walk the line between ridiculous and intimidating very well. Gatwa and Gibson are once again incredible, and their chemistry is genuinely one of the best in a long time.
This episode is where we really begin to see Gatwa shine as the Doctor. He brings a marvellous energy and wonder to the character while still retaining the seriousness and darkness of the role where necessary. This feels like a fresh Doctor, one who has worked through the traumas of his past and has accepted them, but without ignoring them. While the resolution of the episode is a little contrived and convenient, it is still a fantastic episode that combines silly fun with high stakes, fantastic performances and emotional depth.
The overarching story of the season is also very intriguing after these two episodes. There are so many mysteries that have been set up, from the circumstances of Ruby’s birth to the presence of Susan Twist, to the one who waits, I’m very much looking forward to seeing how it all resolves.
