Ten Years of the Tenth Doctor: Journey’s End

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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

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Ten Years of the Tenth Doctor: The Stolen Earth

I came here when I was just a kid.

I love this one.

I also love the next one (arguably more, though I don’t tend to think of these two in discrete parts), but we’ll get to that in time.

I used to have all these Doctor Who action figures – no, collectibles – nah, action figures. A couple of David Tennants, quite a few of them missing hands; Rose from New Earth and Rose from Rose, a strange thing that looked like it was about to start a fight most of the time; Daleks, invariably missing their manipulator arms (alright, plungers) or guns or eyestalks, each one totally broken by the siblings and never by me. (That’s not, like, an attempt to talk around it or laughingly suggest it was me and I pretended it was them; it was them and they know it.) Judoon, Slitheen, Captain Jack from The Empty Child and Sarah Jane from her Adventures, complete with a little Graske, Martha from Smith and Jones and Mickey from Army of Ghosts, complete with half a Cyberman.

But, anyway, I collected them over the years, and played with them, obviously.  Always ridiculous, over the top narratives, with exterminations and resurrections and epic, galaxy-spanning stakes, and, of course, every companion ever. (Well, no, not every companion ever, because I never had a Donna figure.)

You can, I imagine, see where this is going. The Stolen Earth is Doctor Who as it always existed in my imagination, writ large across the screen. It’s sprawling and excessive and fun, Doctor Who taking joy in simply being Doctor Who. There was no way I wasn’t going to love it. Watching it at nine years old (probably) it was, genuinely, event television in a way I’d never really experienced before. Watching it ten years later, there’s still such a rush of giddy joy to it all. Across these reviews I’ve written about how I sometimes worry my opinions are based too firmly on how I first watched it, but with this one, I’m not worried about that. I know it, and I don’t care – this was the most amazing episode of Doctor Whoever then, and in more ways than one it still is now.

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There’s still, I think, a kind of… conversations about Doctor Who are still basically lead by the same types of people, and arguably in some cases the same people full stop. It’s people who grew up in the 70s, talking about Weetabix and Target novels and Tom Baker pants, and then being terribly ashamed of it all in the 80s and 90s (and in some cases still, bizarrely, carry the imagined weight of that around with them).

Less common – and to me, more interesting – is accounts of people talking about growing up under the revived series. Probably the obvious reason for that, I suppose, is that they’re mostly just not old enough yet; we’re still kinda at the point where it’s people who were teenagers when Rose aired are talking about it, as opposed to the 7 and 8-year olds. Maybe in a few years’ time we’ll start to see the stories of Cyber-strawberry frubes and Totally Doctor Who and David Tennant pants, which I would just like the record to state that I always found kinda weird and never had. Anyway, though, we’re definitely getting there. It’s something I’d like to have a go at myself one day, I suppose.

If, and when, people start getting around to it, I suspect The Stolen Earth will loom large in those accounts. It feels difficult, now, to quantify quite how big it was at the time. I remember that it was one of the last episode titles to be revealed; at that point I was following production news and stuff, albeit mainly through the Doctor Who Adventures magazine, and listing the title of episode 12 as CONFIDENTIAL (or TOP SECRET or what have you) – alongside, I think, what became The Sontaran Stratagem – really set me off. The anticipation! (Mind you, I was always pretty confused by the theory that Harriet Jones was the Supreme Dalek, though I’m pretty sure I found out about that after the fact.)

And, I mean, I’ve already said how much I loved this episode at the time. That picture of all the companions assembled together, ‘The Children of Time’, that was my computer background for years. It was then, and in many ways still is, such a wonderfully intense episode of Doctor Who, and one that’s really quite deeply bound up with the ways I watched Doctor Who at the time, the way I experienced Doctor Who, and, sure, the way I lived it.

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It still stands up today, I reckon.

The oft-repeated refrain when I write about the first part of any two-parter is, you know, that that’s quite difficult for all these reasons, which I recount mainly to fill up my own arbitrarily set wordcount, and as a bit of a caveat for the fact that I’ve not really said anything. Admittedly, a lot of this review is me talking around the fact, discussing what The Stolen Earth is and represents as opposed to anything that actually happened in it. On the flip side, though, it is mostly set-up and OMG moments and the cliffhanger of modern-Who, still yet to be topped, so maybe that’s not so bad.

Still, though. There’s a lot of great moments. The obvious bits, like any moment where Bernard Cribbins is on screen, have been rightfully discussed, but what stood out to me about this episode most of all was Elisabeth Sladen. It feels odd to say it, but she’s a much, much better actress than I ever realised –  not that I ever thought she wasn’t, or anything, but it really struck me that every emotional beat of the Dalek invasion works because of her. It’s her fear of the Daleks, at Davros, and for Luke, that makes it work – it’s genuinely the most impactful performance of the episode.

It’s quite the episode, The Stolen Earth. Quite the episode.

These days those action figures are all neatly displayed on my shelves – lovingly displayed, in fact. (I’d have to concede they’re actually maybe not that neat, and they pick up dust like mad.) I feel like maybe I should try and construct some metaphor out of that, that the things you love as a child start to hold a different place in your life as you grow up or whatever, but nah, that’s nonsense. Or it’s nonsense here, anyway.

I just wanted to tell you about them. I really love those things

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Doctor Who Review: The Witch’s Familiar

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I didn’t come because I was ashamed. I came because you were sick and you asked. 

To be entirely fair, I don’t think anyone really expected the episode to open the way it did. We’d all believed that we’d see a linear progression from the cliffhanger on to the start of the next episode – I even spent some time proselytising about the morality of it all, and whether or not you really should steal Davros’ favourite teddy.

It was a classic piece of misdirection though, which we really should expect by now, and it allowed Moffat to present us with something that was a little bit different. Rather than a parable about changing time (I was entirely expecting them to just do away with the Daleks completely, to be honest) of the sort we’ve seen before, we saw something that has been rather unique thus far.

A proper conversation between Davros and the Doctor.

That was, I’ve read, the starting point for the episode, when Moffat was working on the idea; we’ve had so many stories with the Doctor and Davros, and their interactions are always stellar, but often so fleeting as well. Here, then, was a chance for us to really examine the relationship between the pair of them, getting to the heart of it, and showing us something we’ve never seen before.

Julian Bleach and Peter Capaldi sell it, of course. It’s their performance that captures the essence of the thing, and provides the true highlights of the episode. This is likely to be remembered as the best interaction between the Doctor and Davros ever, and will no doubt inform all future ones as well.

It’s some genuinely compelling writing in those scenes – I’d be prepared to say this is Moffat’s best rendering of a returning villain, but Missy was in this episode too – which gives us a fresh outlook on things, whilst still remaining faithful to what’s gone before. Take, for example, the conversation about Gallifrey; Davros congratulates the Doctor, says that he’s happy for him, and you can believe it, because that’s based on everything we already know about Davros. It builds upon his own jingoism and passion for Skaro, and examines it in a different light.

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Another thing that stood out to me were the moments where Davros was almost like a friend of the Doctor’s; sharing a joke with him, watching a sunset together, and speaking of the admiration he felt for the Doctor. It forms a wonderful set of parallels with Missy, another staple of the programme, who’s both an enemy and a friend to the Doctor.

The difference, of course, was that it was ultimately just a lie – where Missy genuinely does consider the Doctor a friend, albeit it in a complicated fashion, Davros is simply manipulating the Doctor, taking advantage of his compassion. It’s a testament to the strength of both the writing and the acting that Davros’ about turn really did feel like a betrayal; I’d totally bought into the idea that they were going to kill off Davros, because this felt like the absolute right way to handle it. When he did then start to laugh maniacally… well, everything changed.

Something that worked quite well about the Davros and the Doctor scenes were how perverse they were, in a way. A lot of the imagery relied upon twisting what we already knew so well, and presenting it in a very different, much more disturbing light. Davros laughing, for one thing, as well as Davros’ real eyes – there’s a strange, almost uncanny valley effect to it, which really heightens the tension to the scene. Davros quoting the Doctor’s own question – “Am I a good man?” – only added to this, really heightening the intrigue, and investing us in the interaction between the pair.

On the topic of the imagery, and disturbing ideas, it’s worth discussing the Dalek sewers. That was a fantastically macabre concept (that set up a similarly fantastic pun!) which was used quite effectively I think. It’s another aspect to the horror of the Daleks; the screaming sound remains chilling, and the concept of Daleks living on, even after “death”, is one that has a lot of potential, and I really hope it gets mined further.

Director Hettie MacDonald did a wonderful job of bringing it all to life. I must admit, I am typically not inclined to comment on direction, because I don’t really know a huge amount about it, and usually can’t distinguish between any particular flourishes or mistakes, but it must be said, this episode was quite well done. The Dalek city is very stylish, the sewers are atmospheric, and the whole episode is wonderfully evocative. So, great job there.

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Admittedly, though, the episode was not perfect. I think it’s probably fair to say that, as with last week, the plot was not necessarily the most substantial. Obviously, the sheer quality of the Davros/Doctor scenes more than makes up for a lot of this, but the episode does feel a little empty, in some ways.

Similarly, the subplot with Clara and Missy was lacking too. Lots to appreciate; both Michelle Gomez and Jenna Coleman are exceptionally skilled actresses playing well written characters delivering witty dialogue, and seeing the two play off of one another works very well, but… Clara was disappointingly easily manipulated. She fell for the same tricks just a few too many times, and I feel like she should have been a little more guarded around Missy – particularly given what happened with Danny.

Something that was interesting that came up: all this talk of hybrids and confession dials and why the Doctor left Gallifrey. It looks (though I’m not certain) like they’re trying to set up something of a series arc here. I’m not entirely certain how I feel about that, really – the reason why the Doctor left Gallifrey is something that I’m always cautious about them getting too close to. It’s one of those pieces of the mythos that should really always remain largely open to interpretation; add in bits and bobs, develop certain aspects, but shy away from any explicitly writing big prophecies into the canon. That’s the sort of divisive element that should really remain in headcanon.

But, talking about the character of the Doctor, this lets me swing back round to the start of the episode – and to the end of the episode – to comment on something I really enjoyed: the character of the Doctor put forward.

I loved that line, “I’m here because you’re sick and you asked.” I loved how Capaldi delivered it, and spoke of how ‘the Doctor’ is, essentially, an ideal he aspired towards. The Doctor is someone who’s just passing through, trying his best to help people.

He doesn’t kill Davros, because why would he? If presented with the opportunity to kill Davros, the answer is in fact to try and teach him something better. To help him. To let compassion win out.

And that was brilliant. So, no, the episode wasn’t quite perfect. I didn’t quite enjoy it as much as last week (which I was perhaps a bit kind to), but it’s still a very, very good episode. 9/10

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Doctor Who Review: The Magician’s Apprentice

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If someone who knew the future pointed out a child to you and told you that that child would grow up totally evil, to be a ruthless dictator who would destroy millions of lives, could you then kill that child?

Doctor Who is back! And it’s back with a blast.

I’ve really missed the show, I realised. That wasn’t something I’d been aware of, exactly, in the run up – obviously I was keeping on top of the news about the episodes, watching all the trailers, and blogging about it all… so I suppose that’s why, actually. I didn’t miss the presence of the show because I didn’t feel like it had ever gone away – I’m on the message boards, I entered the Mission Dalek competition (didn’t win, sadly) and I am essentially a massive nerd, I realise, as I type this sentence. Hmm. (But, you know, I am reviewing Doctor Who, so I guess that can be taken as read.)

But, yes. There’s nothing quite like new Doctor Who, is there? And that’s the experience that I missed. That of watching brand new Doctor Who.

Steven Moffat has, I think, explicitly tailored this episode towards capturing that feeling – the sheer excitement of watching new Doctor Who. That’s what The Magician’s Apprentice is all about – it’s buzzing with energy, and there’s a real vibrancy and bombast to all the spectacle involved.

The episode begins with pure, unadulterated, unashamed and unabashed continuity references, which is the sort of thing I love. First, we’re on Skaro, then the Maldovarium; next it’s the Shadow Proclamation, and finally Karn itself, complete with cameos from Ood, Judoon, Sycorax and Hath. Gotta admit, I wonder how that went down with more casual fans – I’d assume that it’d be fine, because they simply see cool looking aliens, but perhaps it was a little… alienating. (Haha, pun!)

We go from there to Missy and Clara, and there’s yet more spectacle on display – not just in terms of the frozen planes (an excellent hook, which was a great way of establishing both Clara and Missy in their element) but also the spectacular acting on display. (Another pun!) It carries forth throughout, really – both Jenna Coleman and Michelle Gomez are excellent in this episode, and it’s brilliant to see the pair of them together, with Missy essentially in the role of the Doctor. Lots of excellent dialogue there; very fond of the references to the Doctor’s friendship with the Master. Like I said in my review of Death in Heaven, way back when, I really do like the Doctor and the Master being depicted as friends – albeit ones with a rather complicated relationship!

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But, in all fairness, the moment of the most impressive spectacle is the entrance of the Doctor. Steven Moffat gave a bit of a talk about it, in this YouTube video here, and you can see that a lot of thought went into the execution of it – it wasn’t just (great) puns! The overall effect, mind, was that the Doctor was acting out of character and over the top because he was ashamed. Self loathing. Off kilter. This is actually subtly different from how death was invoked during the Matt Smith years – the point is not “the Doctor has to face his death”, but rather “the Doctor owes it to Davros to meet him, even though it will likely cause his death, because he is ashamed of what he has done”. Peter Capaldi absolutely sells this, of course, in the same way he does with everything – he’s a fantastic actor, and a really magnificent screen presence. Entering into the second year, I have to say, I’m really hoping he sticks around for a good long while yet.

And of course, there’s no reason why he wouldn’t want to, is there? This must be his childhood dream, because he’s really ticking off all the big icons! Daleks, Cybermen, the Master… and now Davros. That’s the crux of the episode, really. The re-appearance of Davros. Julian Bleach was back again, reprising the role from 2008′s The Stolen Earth/Journey’s End, and he really is a brilliant actor. His performance is noticeably pitched differently, and we get a really compelling depiction of a dying Davros. It’s very well done – and it was really, wonderfully exciting to see Davros again. I admit, I’d heard rumours of the appearance of young Davros, but never of the return of Davros as we know him.

The interaction between the Doctor and Davros was, as you’d expect, remarkably well done. Moffat wrote some excellent confrontations between the pair – something I thought was rather effective was the Doctor begging with Davros to save Clara – and he’s managed to tell a story which not only references old canon, but builds upon it, and leads us to view the older episodes in a new light. That, I think, is the best approach to take to continuity, and Moffat very clearly has an excellent handle on that.

doctor who the magician's apprentice review peter capaldi davros julian bleach skaro steven moffat hettie macdonald

As ever, there’s a lot of things I’ve not really been able to mention and deal with. One day there’s going to be a review that’s just a list of bullet points, in all likelihood, because that’s the only way I can get through all of these things.

Colony Sarff was a wonderful concept, as were the hand mines. (Were they inspired by a typo, do you think?) I think Sarff is one of Moffat’s best original concepts in a while, actually – the eventual reveal, where the layers of his face split into the different snakes, worked excellently, and it was really well directed – Hettie MacDonald did great work throughout. Set design was fantastic throughout, from 1198 Essex to the Dalek City on Skaro. Really excellent stuff. The stopping of the planes was a really nice concept, which fulfilled just as much of a plot requirement as it needed to, and the appearance of UNIT was a nice touch too. (As was, by the way, Moffat’s repositioning of UNIT as being lead by a team of female scientists. That’s not really something he gets enough credit for, I think.)

The episode worked, then, to do exactly what it needed to do: to provide a spectacle and vibrancy, and remind everyone of the sheer joy of watching Doctor Who. It was, admittedly, very much a “part one” episode; it was doing a lot of heavy lifting for next week, and if The Witch’s Familiar falters at all, then this is retroactively going to suffer, I think.

But so far? I honestly, really enjoyed this episode, and it put me in such a good mood after having watched it. Certainly, I thought it was superior to Deep Breath last year, which, whilst wonderful, felt somewhat lacking. The Magician’s Apprentice was such a confident and strong episode that I’m actually inclined to give it…

… well, I’m inclined to give it a 10/10 actually. (That’s based on two watches, for the record.) Perhaps that one is entirely contextual; maybe it’s simply the buzz of having new Doctor Who on the TV. But for now, I am actually pleased enough with the episode to give it that sort of ranking.

Related:

Doctor Who series 9 reviews

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