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Doctor Who: Enlightenment – Special Edition (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Enlightenment originally aired in 1983. It was the third and final instalment in the Black Guardian Trilogy.

Enlightenment is easily among the very best adventures to feature Peter Davison in the role of the Doctor. It helps that it has a story that seems to perfectly suit his version of the character, one that’s arguably more cerebral and fanciful than it is dark and horrific or adventurous and action-packed. Enlightenment features one of the most quintessentially British storylines in Doctor Who, capturing the quirky appeal of the series almost perfectly, with a boat race in space… with pirates! It’s fun, it’s clever and the special effects aren’t ground-breaking, but they’re stylish enough to pull it off.

No matter how you cut it, Enlightenment is a win.

Sailing into the sunset...

Sailing into the sunset…

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Doctor Who: Terminus (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Terminus originally aired in 1983. It was the second instalment in the Black Guardian Trilogy.

Tegan?

What?

If ever you had to kill someone, could you do it? Could you?

No. I don’t know. If it was important, to save my friend, to defend myself.

But cold-bloodedly?

You’re weird, Turlough.

– Turlough does seem to “get” Tegan, does he?

Terminus gets a bit of a bad wrap, and I can understand why. It’s a very “eighties” production, in all the wrong ways. There’s too much soap opera, there’s bad acting, there’s a wealth of high concept ideas that are never properly exploited, the monster looks absolutely terrible, and the budget shows in the worst possible manner. Still, despite all these (very significant) flaws, I still kinda like it, admiring the story more for the ambition than for the execution.

The serial has some pretty big garn-damn problems...

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Doctor Who: Mawdryn Undead (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Mawdryn Undead originally aired in 1983. It was the first instalment in the Black Guardian Trilogy.

Oh look, it’s all a long time ago, Doctor. I mean, surely what’s past is —

Very much in the present, Brigadier. You never did understand the interrelation of time.

– Brigadier and the Doctor have a bit of time travel trouble

Mawdryn Undead is a bit of a strange beast. It’s written by director Peter Grimwade, who last wrote the script for the unbelievably bad Time-Flight, which is a serious contender for the worst Doctor Who adventure of the eighties – no small accomplishment in a decade that gave us The Twin Dilemma and Timelash. Still, Mawdryn Undead is an entertaining little romp with a clever central concept that is somewhat overshadowed by the fact that Grimwade seems to have been given a laundry-list of tasks to accomplish with his script. With the serial featuring the Brigadier, introducing Turlough and kick-starting The Black Guardian trilogy, you can understand why the rather nifty little time-travel story tends to get overshadowed a bit.

Faithful companion?

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Doctor Who: Snakedance (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Snakedance originally aired in 1983.

I know exactly what you want.

Do you?

Yes, you’ve come to pester me with some extravagant theory you’ve dreamed up concerning the Mara, and should I, the Director, fail to take sufficient notice of your colourful improbabilities, it will be the end of civilisation as we know it at least. How am I doing so far, hmm?

– Ambril and the Doctor

I think it’s quite a compliment to the concept of the Mara, introduced the previous season in Kinda, that the relatively new alien menace was chosen to take part in the celebration of classic villains that was Peter Davison’s second season. It was only a year old at the time, and hadn’t exactly been stunningly realised, so it seems like a massive vote of confidence in the monster to see it measured against foes like Omega in Arc of Infinity and the Master in The King’s Demons. Common knowledge will tell you that Snakedance is a perfectly entertaining serial, but can’t really measure up to one of the better stories of Davison’s first season. I’m not so convinced, and think that the two stories actually complement one another perfectly.

Don't let this get out of hand...

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Doctor Who: Arc of Infinity (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Arc of Infinity originally aired in 1983.

We know who you are.

That changes nothing.

– the Doctor and Omega set one thing straight

There really should be a bare minimum threshold of enjoyment for a Doctor Who story set on Gallifrey. I mean, these are beings who claim to control the whole of time and space. Their guards look like they modelled themselves on Adam Strange, replacing his jetpack with a cape, and there’s always an excuse for some good old-fashioned science-fiction ray-gun-related fun. How hard can it be to entertain an audience for four episodes in that particular setting?

Unfortunately, Arc of Infinity answers that question. Quite boring indeed, it seems.

Going around in circuits...

Going around in circuits…

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Doctor Who: The Name of the Doctor (Review)

How do we get down there? Jump?

Don’t be silly. We fall.

– Clara and the Doctor set things straight

Like The Wedding of the River Song, The Name of the Doctor suggests that Moffat might be better served by reverting to the Davies-era model of two-part season finalés. The strongest season ender of the Moffat era (and probably the best season finalé of the revived show) was The Big Bang, because it felt like Moffat had enough space to allow his ideas to breathe. The Name of the Doctor is a lot sharper and a lot more deftly constructed than any of the closing episodes from Russell T. Davies’ seasons, but it feels a little too compact, a little too tight for its own good.

To be fair, Moffat is has very cleverly structured his season. The mystery of Clara was seeded as early as Asylum of the Daleks and hints have been scattered throughout the past year of Doctor Who. Even the build-up to the final line of the episode feels like an idea that Moffat has been toying with since The Beast Below. Despite all this, it still feels like The Name of the Doctor could do with a little more room to elaborate and develop the concepts at the core of the story.

Journey to the centre of the Doctor?

Journey to the centre of the Doctor?

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Doctor Who: The Crimson Horror (Review)

I’m the Doctor, and you’re nuts.

– the Doctor making friends, as usual

The Crimson Horror, much like Cold War before it, feels like a Mark Gatiss episode. Perhaps due to the fact he has been one of the most consistent contributors to the revived television show, Gatiss has developed his own technique and tropes, favouring particularly elements of Doctor Who, which tend to shine through in his scripts from The Unquiet Dead through to this latest instalment. While I’d be reluctant to name Gatiss among the strongest writers to contribute to the television show, it’s clear that he’s cracked a formula that works for him.

While The Crimson Horror feels a little too familiar in places, a little too conventional, it’s a solid instalment – much like Gatiss’ earlier addition to the season, Cold War.

He's got the formula down at this point...

He’s got the formula down at this point…

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Doctor Who: Nightmare in Silver (Review)

I trust the Doctor.

You sure he knows what he’s doing?

I’m not sure I’d go that far.

– Clara and the Captain make sure they’re on the same page

Nightmare in Silver might not be as breathtakingly ambitious as The Doctor’s Wife, but Neil Gaiman’s sophomoric Doctor Who script retains the writer’s charm and wit. A collection of wonderful high concepts thrown together into a blender, distilled to their essence and gleefully sprinkled across forty-five minutes of television, it’s a beautiful reinvention of the Cybermen. After all, the show’s golden anniversary probably wouldn’t be complete without a visit from the Doctor’s silver nemesis.

Face-off!

Face-off!

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Doctor Who: Time-Flight (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Time-Flight originally aired in 1982.

I’ve never heard such an extravagant explanation.

– Hayter’s gonna hate

Time-Flight is a much maligned piece of Doctor Who, and hardly the best way to round out a season that has, generally speaking, done a reasonable job introducing a new lead actor following the departure of the most iconic actor ever to play the role. The show’s nineteenth season holds together reasonably well, with Earthshock generally highly regarded and only Time-Flight considered to be a complete failure.

And yet, despite that, I can’t hate Time-Flight. That’s not to suggest that the traditional criticisms of the serial are off-base. They are entirely spot-on. The production is shoddy, the plot is nonsense and the dialogue is terrible. It seems like everybody was trying to push one last story out the door before breaking for holidays, and nobody cared too much about the final product. And yet, despite that, I find myself able to forgive quite a lot of the show’s problems.

Don’t get me wrong. It’s not good Doctor Who. It’s not even passable Doctor Who. However, I’d argue that it is nowhere near the worst that the Davison era would produce.

Keeping the nose clean...

Keeping the nose clean…

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Doctor Who: Earthshock (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Earthshock originally aired in 1982.

I would suggest you get your people well back. The hatch may be booby-trapped.

What about you?

Well, my arms are only this long. I can’t get any further away.

– the Doctor and Scott

Earthshock is regarded as one of the stronger stories of Peter Davison’s tenure on Doctor Who. It’s easy enough to see why. After all, it features not one but two memorable twists. It also harks back to the classic “base under siege” stories of the Patrick Troughton era. While it’s still very clearly a piece of early eighties Doctor Who, its production values hold up rather well compared to adventures from that era of the show. It’s written by Eric Saward and, like The Visitation, it has that same sense of tension and pace, building towards a truly massive final twist.

And yet, despite that, I find it very difficult to love Earthshock. I suspect a lot of that is down to how it seems like Doctor Who learned all the wrong lessons from Earthshock, retroactively tainting an otherwise very solid serial.

Shattered...

Shattered…

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