Doctor Who Review: Fugitive of the Judoon

doctor who review fugitive of the judoon jo martin ruth doctor chris chibnall vinay patel nida manzoor

Doesn’t time fly when you don’t have all the answers?

I am, I think, finally starting to understand Chris Chibnall’s take on Doctor Who.

That’s been a point of contention for a little while now, something I’ve spoken about in my review of each part of Spyfall; there’s been, to my mind, a frustrating almost-anonymity to Chibnall’s Doctor Who work, leaving a lot of it feeling like a weak, Davies-era tribute act. I’ve never entirely understood what exactly drives Chibnall, what he thinks Doctor Who is for, what he loves about it. “Chris Chibnall’s Doctor Who” has never felt as coherent a concept as “Steven Moffat’s Doctor Who” – much as the latter is often misunderstood, there’s an obvious set of easy to appreciate personal idiosyncrasies that the former very much lacks.

But! I recently read quite an interesting interview with Chibnall (in a magazine, otherwise I’d link it) which I think sheds some light on it all. He described series 12, in contrast to series 11, as “a journey deeper into Doctor Who” – where series 11 was about setting the stage, this is Chibnall finally getting towards doing what he actually wants to do with the series.

Which, actually, makes a lot of sense. Granted, I’m inclined to question just how well series 11 functions as an introduction to how good Doctor Who can be – given that it, uh, was rarely as good as Doctor Who could be – and I’m more than a little suspicious of how in tune his populist instincts actually are, but it makes sense. Series 11, in that sense, almost starts to look like Chibnall’s version of series 10 – not quite treading water, exactly, but a prologue inspired by a popular predecessor in the same way that was an epilogue. Series 12 is what Chibnall thinks Doctor Who should be – as he put it in the interview, “all the treats of the Doctor Who universe and then some”. That, immediately, is much more interesting to me than the (deliberately) simpler, less overtly authored series 11.

Granted, I still don’t know exactly how I feel about this vision – it’s perhaps a little too rooted in established canon and continuity call-backs, even for me – and, more to the point, I’m still not entirely sure where it’s going. Jo Martin’s Doctor is fascinating, though, and introducing her character feels like the most ambitious the show has been since… well, I suppose since casting Jodie Whittaker. For the first time in a long time, to me at least, the series feels genuinely quite compelling – and that’s a pretty nice feeling, actually.

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Which isn’t to say, though, that it’s necessarily actually any good. Honestly, there’s a case to be made that Fugitive of the Judoon is scarcely an episode at all – just an hour of set-up, moving the pieces around the chess board so that they’re ready for (presumably) the finale.

So, it’s probably worth discussing Jack for a moment. On a production level, it’s more or less inevitable that the character would end up returning – he’s the most easily revisited Davies-era character, for one thing, and certainly one of the most popular (like, I’d love to see Martha back – the only other character you could bring back without having to tie yourself in knots to explain how they’ve returned – but I can’t imagine many people are really clamouring for that). Even setting aside the Davies-era nostalgia, though, Jack was always going to return because John Barrowman is something of a household name. In 2005, he was a theatre actor, with a couple of small film roles; now, he’s been on I’m a Celebrity, he’s a judge on Dancing on Ice, he’s hosted game shows and talent contests and he’s a talk show regular. John Barrowman is, if you like, Bradley Walsh after the watershed – of course he was going to return in Chibnall’s Doctor Who. And, you know, John Barrowman aside, I do basically like Captain Jack, as indeed I like, well, everything from Doctor Who when I was 10. Yes, it’s pretty much entirely nostalgia, but it just about worked for me (even if, structurally, it was a bit of a mess).

What was interesting, though, is how much his sheer force of personality – for better or for worse – nearly entirely overshadowed the other companions. There’s something fundamentally really, really strange about Yaz sharing screentime with Jack – the difference between caricature and character writ large in a Bristol Cathedral dressed as a spaceship. Yaz, of course, was already poorly served by this episode, which was already especially egregious given it was the alien space police episode, but Jack’s return threw it into even sharper relief.

Granted, I don’t actually think Jack was especially well-served by Chibnall’s writing either – often feeling more like a memory of the character’s quirks, and too reliant on technobabble that was never Barrowman’s strong suit anyway – and structurally, his involvement in the episode was a mess. (You couldn’t have given the three companions something to do within this – helping Jack somehow, rather than just watching?) But it highlights, I think, the limits to Chibnall’s skill, even now, as we’re starting to get a better understanding of just where he wants to direct that skill.

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On the plus side, though, Jodie Whittaker had one of her best weeks yet. So that was nice.

As I noted last week, Whittaker has always done best in the role when she’s had to play against a strong guest actor; the reason, I think, is that it draws out her otherwise fairly passive take on the character. Pushed to the margins, she’s forced to try and reassert herself over the narrative – so in that sense, pairing her with another Doctor is sublime. Here, the challenge to her place as lead is, by necessity, much stronger that it ever is with Tesla or King James – because Jo Martin, and Jo Martin’s Doctor, offer a very different vision of what the programme could be. It’s not a huge surprise that there were people left sort of wishing the series stayed with Martin at the end – that means it’s working!

(Although, of course, I suspect the two Doctors will eventually find themselves a little more closely aligned by the end. It’s surely not a coincidence, after all, that the Ruth Doctor evokes Grace – who was very consciously, explicitly paralleled with the Doctor in The Woman Who Fell to Earth.)

In places, yes, I do still wish Jodie Whittaker was being given more to do. She’s plainly capable of so much, and the show is often so close to giving her things to do – that confrontation with the companions at end, where she brushes them off and insists they don’t know her, has a bitterness and an edge to it that’s almost entirely unlike anything she’s got to do so far. That’s brilliant! I’d love to see more of that! But it was resolved, so, so quickly, it didn’t really go anyway. A shame.

At the end of my review of Nikola Tesla’s Night of Terror – an episode that, I think, is actually probably better than Fugitive of the Judoon – I commented that it’s perhaps not a good thing that it was the best Doctor Who could do. This week, though, I welcome the ambition on display – even if it doesn’t always add up to much, it feels like Doctor Who has regained a certain sense of momentum. I’m really, really glad of that.

Related:

Doctor Who series 12 reviews

Doctor Who series 11 overview

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Ten Years of the Tenth Doctor: Journey’s End

doctor who journey's end review tenth doctor david tennant donna noble catherine tate rose tyler billie piper russell t davies graeme harper daleks davros

It’s been good, though, hasn’t it? All of us. All of it. Everything we did. You were brilliant.

Again, I want to start with a fairly simple, straightforward declaration: I love this one. I love every part of it, even the silly parts, even the bits I don’t like that much. It’s the apex of a particular version of Doctor Who, and when I watched it the first time, it was everything to me. So, there’s a degree to which I’m not really going to budge on that, now or ever.

Admittedly, that perhaps sounds like a preamble to an “admittedly…”, but no, I really do like this one a lot. It’s an episode that is, I think, easier to talk about for its questionable moments, and I obviously will talk about them, but that’s only really because of the nature of its strengths. It’s an episode that’s so bombastic and sprawling, so confident and sure of itself, that for a lot of it you’re left with little to do but point and gesture in wordless appreciation.

The review that follows – a particularly lengthy review, actually, because I wanted to try and do something hefty for what is a pretty significant episode, but also because I happened to have a lot of thoughts on it all – comes across, I worry, as being more negative about the episode than I actually feel. Like I said, it’s the sort of episode where the good things about it felt, to me, a bit harder to write about.

That said, though, I do just want to take a moment now to talk about my favourite moment of the episode: towing the Earth back home. It’s such a brilliantly sentimental scene, with one of Murray Gold’s best pieces of music from the Davies era, and I love what it represents. I love the way Freema Agyeman makes eye contact with the camera, too – it’s a strange, Blue Peter moment, and in a way it kinda threatens the integrity of the whole thing, as though it’s about to make it a joke. But, actually, it’s different from that, because it’s letting us in on the joke, including us, as though we’re piloting the TARDIS with them. I love the strange, crazy confidence to the way the scene just stops for an obscure Gwen Cooper continuity reference.

It’s really such a brilliant, brilliant moment. It’s actually the bit that makes it all worth it, to my mind; you could probably make some reasonable arguments that bringing all the companions together like this isn’t a brilliant idea – or at least you could try, because this scene shows how absolutely wonderful that is. I really, really loved it.

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Ethically, there are bits of it that are a little sketchy. Well, that’s perhaps the wrong way of putting it (if nothing else, it creates the impression I’m talking about something else) – rather, I suspect the moral quandary supposedly at the heart of the story is somewhat ill thought out.

One of the things that Journey’s End purports to grapple with – it doesn’t really; the idea is abandoned reasonably quickly – is this idea of the Doctor as a very dark figure, the Destroyer of Worlds. Not someone who emboldens and elevates those around him, shaping their lives, inspiring and empowering them to be better people, but instead moulding them into soldiers, weapons first and foremost rather than travellers or people or Doctors themselves. In and of itself, that’s debateable; certainly, I wonder how much, outside of this episode itself, that interpretation is actually supported by the Davies era anyway. Undeniably, there’s elements of it, and it’s more obvious with characters like Martha, but… well, is it true? I’m inclined to compare it to the Capaldi era, as I so often am, where the companions were left to become Doctor figures in their own right; I wonder if perhaps that’s the same as what’s happening here, but it’s a fundamentally different vision of the Doctor here than in the Capaldi era. That’s an interesting idea to grapple with – immediately the counter argument that they’re becoming, in effect, failed versions of the Doctor, missing the point, not the full version of such, which has an interesting resonance of its own – but I think befitting its own essay rather than a few stray paragraphs here.

More to the point, though, I think it’s worth considering what the companions are turned into soldiers against: the Daleks, the ultimate robot fascists. It is… difficult to argue, to be honest, in any meaningful sense that killing Daleks is wrong particularly. Certainly, in prior contexts – the Time War, or The Parting of the Ways – the point was not about the morality of killing Daleks per se, but killing Daleks while leaving massive collateral damage. That’s definitely the case with Martha’s final solution, but that’s not really emphasised in the text, and it doesn’t seem to be a factor with the warp star or… whatever it is TenToo did with the Crucible at the end. Instead, it does seem to be a fairly basic “killing Daleks is wrong”, which strikes me as questionable. It feels mainly like a broader version of the whole punching Nazis thing – yes, that is ethically fine. Just as it is, you know, ethically fine to blow up a Dalek.

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And that… not complaint, exactly, but certainly that little curio feeds into some wider points about the episode’s spine. Well, no, I’m reluctant to call it a spine exactly, because I don’t think it is – as I’ve said above, it’s dispensed with fairly quickly. It’s more that it’s just the subject of Davros’ rant, because if the villain is going to have a rant at all, it needs to be something with a lofty ethical point to be made.

I think I’d have preferred it if, on some level, there was an effort to refute that. I think it might have held the episode together a little better thematically if… well, if at any point the Doctor had been able to turn around and say “actually, we are so different, you and I”. Or, not like that exactly, but I think taking the broader point, about the impact the Doctor has on people, and showing it actually hasbeen a positive, that he actually is different, so on. I think it’s interesting to look at Sarah Jane’s line about how the Doctor has the biggest family of anyone on Earth, because actually, it’s debateable how much the episode itself actually seems to believe that; after all, the note that’s emphasised at the end is him, alone, crying in the rain.

More on that later, though, because what I want to talk about instead is TenToo. A lot is made of the suggestion that he’s this very dark figure – born in battle, full of bloodlust, all that jazz – but I’m not wholly convinced that rings true across the episode. Certainly, he seems broadly more cheerful and adjusted throughout than the brown-suited version of the Doctor does; you can chalk bits of that up to knowing Donna isn’t dead and the TARDIS wasn’t destroyed, so TenToo certainly has reason to not be as angsty, but even then. I think a big part of this, though, is that I’m still not especially convinced that killing the Dalek empire like that is an especially difficult decision; TenToo did the right thing, and Sarah Jane’s suggestion wasn’t wrong either. Martha is a bit more questionable, but at least that’s got an element of the trolley problem to it. (My hot take: Journey’s End would’ve worked better with the Slitheen, in that regard at least.)

What I do think works, though, is TenToo leaving with Rose at the end. Certainly, it’s a difficult scene to get right, and you can understand why Russell T Davies deliberated over it so much in The Writer’s Tale; very easily, it could have been a weaker rehash of the version from Doomsday. What’s impressive, though, is the way it’s doing something much more complex; where the last version was about Rose, this is about the Doctor – he’s manipulating her and pushing her away, essentially, making a choice because he thinks he knows what’s best for her. Actually, thinking about it, there’s an interesting connection to what he does to Donna later.

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Of course, there’s also the question of Donna. I’ve been deliberating over exactly how to handle this for some time now. To be honest, I was tempted to not bring it up at all; certainly, that would have been truer to my experience of the episode the first go around, because it was years and years before I realised there was anything to discourse about at all. For the longest time my thoughts on the subject began and ended with “that’s a tragic ending, I wish there had been some way for Donna to remember” – which, to be honest, I suspect was also the beginning and end of Russell T Davies’ thoughts while writing it.

But, equally, it’d feel too much like an unspoken elephant in the room if I didn’tmention it, and that doesn’t feel like something I can go without talking about. Particularly, actually, given that my beloved Capaldi era addressed this ending directly – more than once, actually, but most obviously with Clara, my favourite companion. So, it’d be a bit dishonest not to.

For anyone who’s not aware, the discussion centres around the Doctor mindwiping Donna; the – critique feels too mild a word, and perhaps misrepresents the strength of feeling of some of those who object to it – objection (not much better) regards how he ignores her wishes, disregards her autonomy and takes something from her without her consent. Part of the contention, too, is that it’s not really problematised within the narrative enough; the focus is largely on the tragedy, and how sad it is for the Doctor, as opposed to depicting it as a horrific violation of consent. That’s… I was going to say “That’s not an unreasonable interpretation, even though it’s not what the episode intended”, which manages to be both true and missing the point; whether it’s what the episode intended or not, that is essentially what’s on screen. I’m inclined to disagree heavily with certain sections of the debate, largely those that compare it to rape; I understand where they’re coming from, in terms of it being a violation of consent, but… it doesn’t sit well with me, for myriad reasons too extensive to really delve into here.

I think it’s probably best understood as a medical procedure; even then, there’s questions to be asked, but I think that’s a better model from which to approach it. (I also think it’s worth noting, in terms of comparisons to the Capaldi era, in Hell Bent and The Pilot, where the selfish, patrician nature of the act is emphasised, it’s not to save a life, which is manifestly different to what’s going on with Donna. Just to complicate things further!) It’s not a companion exit that sits with me entirely well admittedly; it’s cruel in a lot of ways, bleakly cynical in a way that sets it apart from the tragedy of, say, Doomsday. But… it also doesn’t, in a significant way at least, diminish the episode. At least not for me. I don’t know.

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One thing that did strike me as interesting is how easily this episode could have functioned as a series finale to New Who as a whole, if the specials hadn’t been commissioned.

Granted, you’d want a few changes made throughout; the version of this episode that was an actual ending would, I think, leave Donna as the DoctorDonna – the Doctor would finally have a companion and friend who really could travel with him forever (at the same time he gave Rose a Doctor who really could live with her forever, which would’ve been neat). Also, you’d kinda want there to be more of an effort to address Davros’ accusations, as I mentioned above; Journey’s End is interesting because it feels like it comes quite close to, or could have come quite close to, addressing the whole survivor’s guilt thing, and ultimately saying “actually, no”, but then ultimately eliding that in favour of a sad ending.

(Actually, personally, I think much more telling than the actual consent violation/mindwipe aspect is the fact that Donna isn’t allowed to keep her memories once she becomes a Doctor figure – a successful Doctor figure, in marked contrast to the others, beating the Daleks by tricking them into their own trap and hoisting them by their own petard rather than an aggressively militaristic figure. But where the others are failed Doctor figures who live, Donna is… not punished, exactly, but regresses. That, I think, is the difference between Donna and Clara; where “being the Doctor” is something anyone can do in the Moffat era, “being the Doctor” is a much more singular burden to bear in the Davies era. Again, that’s another idea worth returning to, particularly because I think Moffat’s conception of what it means to be the Doctor is one of the most interesting ideas of his tenure, and it’s actually probably one of the best ways to get to the heart of the whole lonely god idea in the Davies era.)

Anyway! Gosh. When this is finished it’s going to be over 2000 words, possibly approaching 2500; certainly, the longest of any of the X Years of the X Doctor posts I’ve done over the years. Actually, no, it could well be the longest single piece I’ve written full stop. It’s probably too critical in a lot of places, and doesn’t flow the way I’d like it to; equally, though, to repeat the usual refrain, these are often just the thoughts off the top of my head after watching an episode. A lot of the thoughts above are ones I’d like to elaborate on in future, though.

So. Journey’s End. I enjoyed it massively; I think that impression might not come across from this review, much as I would’ve liked it to, because so much of it dwells on the problem areas of the episode. That’s what got me thinking, I suppose.

I did have a slightly more elegiac conclusion in mind, but I’ve just remembered that next week I’ll be doing a general Series 4 overview. So I’ll save that for then!

10/10

Related:

Ten Years of the Tenth Doctor Reviews

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