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 Reviews

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Ten Years of the Tenth Doctor: Doomsday

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Same old life. Last of the Time Lords.

There are some things which are pretty self-evident about Doctor Who, when it comes down to it. Ideas which, as soon as they’ve been brought up, practically beg to be incorporated into the show – in fact, not just beg, but need to be used. Of course the Time Lords would be the ultimate villains of the Time War (I’m getting ahead of myself there, though). Of course the Doctor is friends with all these different historical figures.

Of course the Cybermen and the Daleks should meet.

And of course they should fight each other.

Russell T Davies once described it as sounding like “bad fan-fiction” and… on the one hand, I can sort of understand what he means. There’s something very gratuitous about it; when you think about it, there’s not really any reason for the Daleks and the Cybermen to meet one another outside of the fact that they’re the two famous Doctor Who monsters. If it was any other pairing, it wouldn’t quite have the same weight (although I look forward to the eventual Ice Warriors vs Sontarans story).

Yet, at the same time, that’s exactly why it appeals – the reason why it has that fanfiction attraction. The sheer insanity it symbolises, to finally bring these two together; that’s fantastic, to steal from the Ninth Doctor. With this story, Davies is quite literally bringing to life the imagination of every fan. There’s something about Doomsday that consistently goes further, time and time again, to properly realise everything that we’ve always held in our heads; even Verity Lambert herself highlighted the spectacle of seeing the Daleks swarming across London in their thousands. In a way, there’s something quite special about that.

In many ways, I think Doomsday contains what I would consider to be the archetypical depiction of Daleks – cruel, scheming, and full of hate. Brimming with evil, and genuinely quite deadly. And yet, at the same time… just a little bit snarky. A cruel edge of sarcasm and smug superiority. For me, this is the definitive image of the Daleks – likely because, thinking about it, this would have been my first proper Dalek story. All others have been measured against this one.

And it’s rather impressive for a Dalek story, isn’t it? I’m very fond of the Cult of Skaro in particular, actually; they’re a brilliantly innovative concept. They do the wonderful trick of elevating the Daleks from monsters to villains – in this story and subsequent ones, that is, and I don’t mean to suggest it’s never been done before – which helps to make the interactions between Doctor and Daleks far more nuanced, and indeed far more compelling to watch.

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There’s a lot else to like in this episode, of course; I’m going to take some time to highlight those things, because I don’t want to let the drashig in the room overshadow the rest of what makes this episode such a great piece of television – the final ten minutes are great, and they are iconic, but the rest of it is pretty damn brilliant too.

I always comment on Russell T Davies’ character work, because I do think it’s his chief strength as a writer; I’m going to be talking about that a lot in a moment, specifically in terms of the Doctor and Rose, but I think it’s worth taking a moment to look at all the other impressive character moments that are on display in this episode.

Principally, you’ve got Jackie and Pete; just as much as this is the ending of Rose’s story, it’s also the ending of their story. It’s nice, then, to be able to see the pair of them finally reaching a sort of happy ending together – it goes to show you just how effectively Doomsday acts as a series finale not just to the second series of Doctor Who, but also to the past two years of the program.

We also get the opportunity to see Mickey in hero mode; after Rise of the Cybermen and Age of Steel, he’d completed his hero’s journey, and now we’re looking at the end result. It’s fascinating to compare the Mickey we see here – self-assured, confident, and the “bravest human” Rose had ever known – to the jumpy, frightened young man of Rose. It’s a testament to those involved, then, that this evolution feels earned; you can understand the journey, and you can understand why Mickey is who he is now. (Incidentally, I’ve gained a lot of respect for Noel Clarke over the past few weeks, simply because I’ve found out a lot more about the rest of his career. He seems to do a lot of interesting things; definitely going to have to search out his Hood movies and watch those.)

Similarly, Rose’s own hero’s journey comes to a fore this week; she stares down the Daleks, she makes the final sacrifice, and she chooses Doctor-life over any other. Over on Pete’s World, she becomes a ‘defender of the Earth’ – the Doctor for a world that doesn’t have one. It really is very reminiscent of the journey that Clara went on; I know a lot of people draw parallels between Clara and Donna, but I definitely feel like Clara and Rose have a lot in common with one another.

One final aspect worth commenting on, though, before moving on to the main event: Yvonne Hartman. I mentioned last week how impressive I found her character – and now, this week, we get to see her tragic downfall. At the same time, though, there was something of a triumph to her tragedy; Yvonne is the only character we’ve seen with a resolve strong enough to resist the Cyber conditioning. It’s perhaps ironic that she gets her only ‘moral’ moment of the two-parter when she’s been converted; a parallel, maybe, with how Torchwood was always appropriating alien technology for its own benefit. Even in death, Yvonne is still doing what she’s always done.

(And I bloody love that single, solitary tear. It’s one of those defining Doctor Who images which has always stayed with me.)

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Of course, there’s only really one thing that Doomsday is known for. That scene. Possibly one of the most iconic scenes of Davies’ Who, if not the entirety of Nu-Who as a whole. It is quite the scene.

For a Yahoo article a while ago, I wrote this about the scene:

It’s the culmination of a two-year plot arc, and it is heartbreaking. All of us in the audience have watched these two characters travel together, and grow together, ever since the show returned; it was with the Tenth Doctor that we really saw the depth of feeling these two characters had for each other. And yet, in the end, the Doctor and Rose were ripped apart from each – it was cruel, it was unforgettable, and it was wonderfully written by the fantastic Russell T Davies.

And, you know, that’s completely right. But it’s also a huge oversimplification of what’s really going on in the scene; that, admittedly, was because I was writing it largely from memory, without a proper understanding of the context of the scene.

It’s not just about seeing the depth of feeling this two characters have for each other – it’s the moment when they finally admit to each other how they feel. Because so far, they haven’t; I’ve pointed out over my previous reviews that the love story between the Doctor and Rose is, in fact, quite subtle. They weren’t ever really in a relationship together; it was never anything that complicated, or that mundane. It was just the Doctor and Rose, in the TARDIS. As it should be.

But that’s what really emphasises the tragedy of this moment – there was a sort of purity to it, because it was the first time that the pair of them expressed these feelings. The first time they chose to, because it was the last time they could. Which serves only to heighten the sheer cruelty of “Rose Tyler, -”, in the end – we know what he was going to say, but it’s just not fair that he didn’t get to say it. (All the more frustrating, really, that the pair of them wasted time on little small talk; in a way, though, that makes the moment all the more effective. These two inarticulate idiots, dancing around their feelings – and, in the end, denied even that one final moment together.)

Tennant and Piper are, frankly, perfect here. I’m inclined to say that Billie Piper does better here even than in Father’s Day, with her grief open and raw. Similarly, Tennant does an impressive job of just barely holding it together – wonderfully delivering the Doctor’s ever so slightly dismissive jokes, he really conveys quite how sad the Doctor is. It’s a poignant moment, and I must admit that it had me on the edge of tears. Russell T Davies really managed something special here, it has to be said.

Ultimately, Doomsday is a brilliant episode of Doctor Who. It’s a fitting resolution to the second series of Doctor Who, a wonderful ending to Rose Tyler’s story – and most importantly of all, it’s got a clever hook for the start of next year.

9/10

(This time next week, there will be an overall series review & retrospective, and the following week there’s going to be a general analysis on the Tenth Doctor in his first year.)

Related:

Ten Years of the Tenth Doctor Reviews

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