• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

Doctor Who: Time Crash (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 Crash originally aired in 2007.

To days to come.

All my love to long ago.

– the Fifth and Tenth Doctors look backwards and forwards

There is a strange school of thought about the revived Doctor Who, populated by a very vocal minority of fans, who insist that the new series hasn’t been paying nearly enough attention to what came before – that it’s really the show “in name only” or whatever extremist rhetoric you want to use. These are the fans who refuse to be satisfied with The Day of the Doctor because it’s not “The Eleven Doctors”, without having actually seen the anniversary special.

These are fans who are heartbroken that the show hasn’t found time to show Paul McGann regenerating into Christopher Eccleston, or who object to the destruction of Gallifrey or the re-working of monsters with messy back stories like the Cybermen in order to make them more accessible to modern audiences. It’s worth stressing that this viewpoint is very much in the minority, but it exists. Any journey into on-line forums or discussions about the show will inevitably trip across this particular viewpoint.

Of course, that’s complete nonsense. Even if it was ambiguous beforehand, Time Crash exists as nothing short a love letter to a very particular past era of the show.

More than just a tip of the hat...

More than just a tip of the hat…

Continue reading

Doctor Who: The Three Doctors (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 Three Doctors originally aired in 1973.

Well, Sergeant, aren’t you going to say it that it’s bigger on the inside than it is on the outside. Everybody else does.

It’s pretty obvious, isn’t it?

– the Doctor and Benton

The Three Doctors never seems entirely sure what it’s supposed to be. It knows what it has to accomplish. This was the first serial of the tenth season of Doctor Who, so it has to feature the three versions of the character to date. It also wants to radically shake-up the status quo of the series and to allow Jon Pertwee’s Doctor to take to the cosmos. Those are really the two primary objectives of The Three Doctors, and writers Bob Baker and Dave Martin accomplish them quite well.

The problem is that the story itself isn’t sure what it wants to be. Pertwee-era script editor Terrance Dicks would be a lot more confident when juggling The Five Doctors, conceding that the whole thing was a gigantic nonsensical spectacle. The Three Doctors seems almost like a regular story with the tenth anniversary grafted on to it – it’s easy enough to imagine a rough outline of this story that could work with only Jon Pertwee and without the end of his exile.

As a result, the two strongest beats in The Three Doctors feel almost like afterthoughts, grafted on to the outline of a generic and somewhat bland Doctor Who adventure.

Why does the Doctor hate himself...?

Why does the Doctor hate himself…?

Continue reading

Doctor Who: Genesis of the Daleks (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.

Genesis of the Daleks originally aired in 1975.

Genesis of the Daleks is a great little story, and a strong contender for the title of “best Dalek story ever.” It works because Terry Nation takes his creations “back to basics” – not only in terms of time period, but also in terms of basic principles. If the Daleks are the embodiment of total warfare, it makes perfect sense to return to the war that spawned them, giving us an insight into their creation, and the philosophy that launched these deadly xenophobes into the wider universe.

Face of evil...

Continue reading

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

Continue reading

Doctor Who: The Enemy of the World (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 Enemy of the World originally aired in 1967-68.

One chance, my friend. I said one chance.

– Patrick Troughton gets his David Tennant on

The Enemy of the World is an absolute joy from start to finish. Far too often, six-part Doctor Who serials tend to feel over-padded or over-stuffed, more a result of budget and production constraints than of any creative imperative to tell a story spread across six weeks. Instead, The Enemy of the World is a thoughtful, playful and fin six-part adventure that shows off Patrick Troughton at his best, with Dennis Whitaker’s script toying with various genre expectations and some interesting ideas about who the Doctor really is.

Face to face...

Face to face…

Continue reading

Doctor Who: The Ice Warriors (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 Ice Warriors originally aired in 1967.

It’s strange that the Jon Pertwee era tends to attract so much criticism for adhering so rigidly to formula, with Barry Letts and his team rigidly working within well-defined lines and trying hard to produce television that doesn’t suck. Outside of the political criticism of the Pertwee era, there’s a train of thought that suggests the show became a little too formulaic, a little too predictable, failing to really push its own boundaries, with a few scattered exceptions.

And yet the Patrick Troughton era was arguably just as much a slave to routine and formula. The Troughton era is defined by its “base under siege” stories, so massively influential that they’ve become a Doctor Who subgenre unto themselves. Episodes like Earthshock and The Almost People arguably serve as homages to the genre that peaked during the late sixties. Indeed, allowing for some measure of flexibility, six of the seven adventures in this season could be described as “base under siege” stories.

I can’t help but wonder if the destruction of so many Troughton-era stories has led many Doctor Who fans to become blinded by nostalgia reflecting on the era. The Tomb of the Cybermen is, after all, much more exciting as the sole surviving “base under siege” story of the fifth season than it as the first of six adventures loosely adhering to the same structure and conventions.

Ice to meet you...

Ice to meet you…

Continue reading

Doctor Who: The Reign of Terror (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 Reign of Terror originally aired in 1964.

Hush, child. Say your goodbyes and remember, we shall be leaving almost immediately

– the Doctor, about two minutes into the first part of a six parter

The Reign of Terror represents a fairly disappointing conclusion to a reasonably solid first season of Doctor Who. I won’t argue that the show’s first year can be ranked among the finest in the fifty-year history of the show, but I do think that the stories generally did quite a decent job of introducing the characters and concepts and setting them up so that they could support a lot more. It’s interesting to compare the title character introduced in An Unearthly Child to the version presented in The Sensorites.

While The Sensorites is still a story far too long and far too generic for its own good, it still feels like it solidifies a version of the character who – broadly speaking – resembles the Doctor we know and love. While I’d argue the Doctor was only absolutely solidified as a hero in The Dalek Invasion of Earth, there’s a very clear through-line from An Unearthly Child to The Sensorites which charts the evolution of the character. The Sensorites would make a decent (if unspectacular) place to end the first season.

Unfortunately, the first season continues on for one more episode. The Reign of Terror is just as over-long and just as padded out as The Sensorites, but it suffers because it feels like a massive step backwards in a season that has been very clearly moving forwards.

An animated sort...

An animated sort…

Continue reading

Doctor Who: The Gunfighters (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 Gunfighters originally aired in 1966.

Everything excepting that rattlesnake friend of yours Holliday blew in this mornin’. Who’re your friends, Wyatt?

Well I, er–

Oh, quite, quite so. Allow me, sir, to introduce Miss Dodo Dupont, wizard of the ivory keys, and er Steven Regret, tenor. And lastly sir, your humble servant Doctor Caligari.

Doctor who?

Yes, quite right.

– Masterson, Wyatt Earp and the Doctor

I am hesitant to turn my trip into the history of Doctor Who into a series of articles about fan opinion or consensus. If I like a story, or dislike a story, I have my reasons that I will often try to explain away. However, sometimes it’s nice to have a bit of context. It is handy, for example, to know that I like The Talons of Weng-Chiang just a little bit less than most fans seem to. The Gunfighters is an oft-maligned serial. It is part of the show’s troubled third season, building – as it did – off the show’s generally quite solid second year. However, I actually enjoy The Gunfighters for what it is, which is a knack I seem to have for a lot of the stories from William Hartnell’s era.

People would try to convince you that it's like pulling teeth...

People would try to convince you that it’s like pulling teeth…

Continue reading

Doctor Who: Black Orchid (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.

Black Orchid originally aired in 1982.

Why would I attack you? Have you done me any harm?

No!

No, then I’ve no reason to harm you. And besides…

Besides what?

Well, it wouldn’t be cricket.

– the Doctor, Ann Talbot and Muir

Black Orchid is pretty damn frustrating. There’s a lot of interest here, but sadly it’s mostly from a technical point of view. This is the first two-part adventure since The Sontaran Experiment. It’s also the first historical story told with no science-fiction elements excluding the TARDIS crew since The Highlanders. It’s also the penultimate adventure starring this version of the TARDIS crew, and the last Fifth Doctor serial before his world is turned upside down in Earthshock. So there’s a lot that should be interesting here.

Unfortunately, the writing is at best generic and at worst actively crap. Black Orchid feels exactly like the sort of thing that the BBC was doing without countless television shows other than Doctor Who, so Black Orchid needs to be able to do it to a reasonable standard. Instead, it feels like a murder mystery written by somebody writing with an Agatha Christie adaptation on in the background. It’s frustrating, because there’s a lot of potential here, but the end result is just disappointing.

Clowning around...

Clowning around…

Continue reading

Doctor Who: The Keeper of Traken (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 Keeper of Traken originally aired in 1981. It was the first instalment in the “Master” trilogy.

He dies, Doctor. The Keeper dies!

– Tremas heralds the end of an era

Of course, the entire season has been less than subtle about the point, but The Keeper of Traken is the point at which Tom Baker’s final season builds to critical mass, and reaches the point of no return. Entropy, decay and death have all been crucial ingredients in the year’s collection of adventures, but The Keeper of Traken is the point at which it seems like our character has set himself on an incontrovertible course, a path from which he cannot diverge. Baker’s approaching departure gives The Keeper of Traken a great deal of weight, and helps balance a story that might otherwise seem excessive or overblown. There’s melodrama here, but it feels strangely appropriate.

Lawrence Miles has argued that Logopolis was the funeral for the Fourth Doctor. If so, The Keeper of Traken is his wake – and it’s fitting that Irish poet and writer Johnny Byrne should provide this strangely lively (if morbid) celebration.

Hell of a wake...

Hell of a wake…

Continue reading