All those years ago, when I began, I was just running. I called myself the Doctor, but it was just a name. But then I went to Skaro. And then I met you lot. And I understood who I was. The Doctor was not the Daleks.
Daleks are pretty amazing really, aren’t they?
They’re one of the most enduring concepts in fiction of the 20th Century – there aren’t a great many things which could claim to have had such an impact upon the zeitgeist, or such an impact to their presence. They started out as Nazi metaphors, but they’ve outlived that. They have a new relevance. Daleks are creatures of hatred; they’re twisted mirrors which show our own propensity for cruelty and evil. Daleks are far more than just another Doctor Who monster. They’re the perennial threat, there since the start, all those years ago, when it began. To use them simply as monsters shooting and killing, whilst a lot of fun, is something of a waste. They can be a lot more – they are a lot more.
Into the Dalek is a lot more.
At its heart, Into the Dalek has a fascinating, complex moral dimension to it. It’s the question of whether or not you can have a good Dalek; whether it can overcome what is it’s basic nature. The Doctor is, of course, dubious. Why wouldn’t he be? Same goes for the audience. Everyone knows how a Dalek works, everyone knows what a Dalek is. And it’s not like we haven’t seen the idea of a good Dalek before; similar ground has been covered, though not quite dealing with the same aspects.
The episode deliberately plays off parts of the Dalek iconography from across fifty years, to really cement the idea that we don’t have a good Dalek. There’s some subtle symbolism, like the parallels to Dalek, and there’s proper, classic scenes – “This door won’t hold forever, but I’ll be damned if I make it easy for them!”. It’s Daleks 101, all serving to reinforce the idea that there isn’t a good Dalek. Everyone expects the inevitable turn around – and there it was. It was even earlier than I expected actually, by a good 5 minutes or so – there isn’t a good Dalek.
But Into the Dalek is smarter than that. “Good” isn’t a matter of what side you’re on, it’s who you are. A Dalek isn’t something that kills and hates the good guys, it’s a thing that kills and hates. The big point of the Dalek is hatred. And they couldn’t take that away. They tried so hard but they couldn’t. The Dalek was still full of hatred – it was pointed in a different direction, sure, but it was still a Dalek. Everything else? It’s as Dalek as they come.
It’s the hatred that makes a Dalek, it’s the hatred that makes something evil. And it’s whether you rise above it that counts.
I’m on the record as having said that my favourite Doctor is the Sixth. He’s still the Doctor, he’s still compassionate, he’s still a hero – but he’s an alien hero. He’s different, and he’s not all that easy to understand. Sometimes it won’t be clear what he’s doing or why, but he will always come through. Yes, he might be abrasive, but he’s saving your life. If your feelings get a little hurt, well, better sad than dead. And that applies very much to Peter Capaldi’s Doctor. (6 x 2 = 12, after all.)
Peter Capaldi acts this fantastically. He is very, very good. I’d give a standout scene, but frankly I’d just end up listing them. The opening, where he forces Journey Blue to put down her gun, stop threatening him, and say please. All the brilliant one liners, the pithy humour, the sarcasm.
But he’s more than just that. There’s some real poignant and introspective moments here, which really make the story worth its salt.
“You are a good Dalek.”
Peter Capaldi really, really sells this part of the plot. The sheer contempt in his voice when talking about the “Good Dalek”, which begins hope and wonder when he thinks it’s possible… and the quiet, introspective sadness and revulsion when a Dalek looks into his soul and sees hatred.
That’s how you do a new and interesting take on the Daleks. By looking at them, and looking at what they mean. That’s when you find ways to make them continually relevant. And that gives us brilliant, brilliant stories like Into the Dalek.
Clara is continuing to soar to new heights as well. When I first watched Jenna Coleman in the role (in another Dalek episode, no less) I thought that she might eventually become my favourite companion of the new series. In series 7B, however, Clara didn’t really get the focus she deserved, for one reason or another, which was something of a shame.
But that’s very clearly changing now. The writing is really concentrating on her now; it’s focusing on character traits she already had, but changing the way they look at them, and making them more central to her. She feels a lot more distinctive now, and it’s really encouraging. Seeing her hold her own with the Doctor, and making him re-evaluate his decisions and what he knows in a way that’s unique to her as a character? That’s brilliant.
Plus, Clara is a lot more fun to watch now. That sequence at the start with Danny Pink? Wonderful stuff, and very funny too. Samuel Anderson played the part really well, and there’s a lot of promise to the character, I’m interested to see where it goes. Loved his lines about the reading. I feel a kindred spirit.
Finally, the direction. It was really wonderful here. I loved the way they’d intercut scenes with flashbacks – it made Clara and Danny’s conversation a lot funnier, and gave quite a bit of impact to the Doctor meeting the Dalek by holding it off a little longer. The whole thing looked amazing throughout. Spaceship battles at the start? Fantastic. Inside of a Dalek? Brilliant. Exploding Daleks? Wonderful. It was probably the best set of Dalek fight scenes across the past ten years.
As you can tell, I really, really enjoyed this episode. Bar the 50th, it’s probably the best Doctor Who episode since 2012. Now, it wasn’t perfect, no – the scene with Missy in the middle jars a little, for example – but it’s pretty bloody good.
I’m going to give it a 9/10. In part, that’s because I’m saving the 10 – I’m confident that this series is going to keep getting better…