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Doctor Who: Series Four (or Thirty) (Review/Retrospective)

The fourth season of the revived Doctor Who is probably the most consistent of the seasons produced by Russell T. Davies. The first season had a very clear arc running through it, building to a fantastic final run of episodes; the second season had some strong individual elements, but suffered from a lot of behind-the-scenes shuffling; the third season suffered from a shoddy opening stretch, teething difficulties with the show’s first new companion lackluster finalé, despite some great ideas and wonderful experimental plotting.

While the fourth season is far from perfect, it does hang together a lot better than any of the previous three seasons. Watching from Partners in Crime through to Journey’s End, it definitely feels like Russell T. Davies had a stronger sense of where he wanted to go than he had with any of the previous three seasons. It helps that the past three seasons had been spent trying to acclimatise viewers to the workings of Doctor Who. The first season introduced the first Doctor and companion and the Daleks. The second introduced the first new Doctor and the Cybermen. The third introduced the first new companion and the Master.

doctorwho-theunicornandthewasp

So the fourth season is the first time that the show doesn’t really have too much of a mission statement. Unlike the Daleks or the Master or the Cybermen, nobody was really clamouring to see the Sontarans reinvented, let alone to reintroduce Davros. Like a lot of the foruth season, it seems like the show was really enjoying any freedom from a sense of obligation. The public knew what Doctor Who was. The rules and players had been set out, the past had been acknowledged and the show defined.

As such, the fourth season feels a lot more relaxed for everybody involved.

doctorwho-planetoftheood12

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Doctor Who: The Stolen Earth (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.

The Stolen Earth originally aired in 2008.

Someone tried to move the Earth once before. Long time ago. Can’t be.

– the Doctor reminds us that just because the Daleks are threatening doesn’t mean they aren’t completely insane

The Stolen Earth and Journey’s End are not, by any stretch of imagination, tightly-constructed episodes. They don’t represent the pinnacle of the Davies era from any technical or production standpoint. The story logic is questionable at best, and Davies’ primary concern seems to be keeping the script moving fast enough that the plot holes and illogical narrative loose ends never overwhelm the production. It is basically the most bombastic and large-scale season finalé of the Davies era. And given that it’s measured against The Parting of the WaysDoomsday and The Last of the Time Lords, that’s really saying something.

And yet, despite that, I have a strange affection for this season finalé. It’s an excuse for Davies to really bask in the success of the revitalised Doctor Who, creating a plot that draws together all manner of disparate elements into one gigantic tribute to the past four years of Doctor Who. It’s hard to hate, on those grounds alone.

An explosive finalé...

An explosive finalé…

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Star Trek: Deep Space Nine – The Maquis, Part I (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first season. Check back daily for the latest review or retrospective.

The Maquis is an interesting episode, because it really illustrates the weird place that Star Trek: Deep Space Nine holds in the pantheon. It’s the middle act of an arc designed to play out across the final season of Star Trek: The Next Generation, the second season of Deep Space Nine and into the first year of Star Trek: Voyager. This was all part of gigantic lead-up to Voyager, a way for the producers to generate friction between the regular cast of the show.

However, with The Next Generation ending and Voyager being set on the other side of the galaxy, Deep Space Nine wound up stuck with this plot thread. As Michael Piller concedes in The Deep Space Log Book: A Second Season Companion, “DS9 is the true inheritor of the Maquis since there is no long term benefit to Voyager.” And so – despite the fact the Maquis were never intended for the show – they wind up become a perfect vehicle to explore the show’s world view.

Picard's not the only one who can get a good face palm going on...

Picard’s not the only one who can get a good face palm going on…

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Doctor Who: Journey to the Centre of the TARDIS (Review)

“Good guys do not have zombie creatures. Rule one, basic storytelling.”

– Clara understands the way the universe works

And here our big theory that this anniversary season is a “greatest hits” collection runs into a bit of bother. Okay, Cold War was definitely a Troughton-era throwback. And Hide had a definite Hinchcliffe-and-Holmes feeling to it. (“The Baker Street irregulars” in 1974.) Maybe you could stretch it a little bit and argue that The Bells of St. John is a tribute to the Pertwee era by way of Russell T. Davies; and The Rings of Akhaten definitely feels a little like a classic bit of Hartnell-era world-building.

Making the case for The Journey to the Centre of the TARDIS is just a little bit harder. After all, The Crimson Horror is another throwback to Hinchcliffe and Holmes, while Nightmare in Silver is another “base under siege by classic monster” tribute to Troughton. So there’s only one missing piece here. If that “greatest hits” argument holds, then Journey to the Centre of the TARDIS must be one gigantic shout out to the John Nathan Turner era.

Hear me out.

A shining beacon of light...

A shining beacon of light…

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Non-Review Review: The Way Back

The Way Back is an impressive technical accomplishment. Peter Weir has repeatedly demonstrated that he really is one of the very best directors working today, and that he’s a deft hand at establishing mood and atmosphere. The Way Back, the story of a prison escape from the coldest depths of Siberia, is packed with beautiful vistas – from mountains snuggled in clouds to endless desert to icy tundras – and it’s also efficient and effective. However, it seems to spend so much time on the scenery that it almost forgets about the characters.

They got snow where else to go...

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