The Impossible Planet

We are the Legion of the Beast.

The Ood

Synopsis

Separated from the TARDIS, the Doctor and Rose find themselves stuck on a planet orbiting a black hole with the crew of a space base. However, an evil entity is awakening, causing trouble for the crew.

Review

The Impossible Planet is possibly one of the first glimpses of revived Doctor Who I ever had. I have a distinct memory of seeing the crew seeing Scooti’s body floating towards the black hole when my brother was re-watching this episode – or possibly channel hopping. It is certainly a stronger two-parter than the rather limp Cyberman double-hander in the same series, giving us some great moments of fear and unease and (takes a deep breath) some actual decent moments between the Tenth Doctor and Rose. I think the majority of the guest cast do well and they feel like lived-in characters.

No signal. That’s the first time I’ve gone out of range. Mind you, even if I could…what would I tell her? Can you build another TARDIS?

They were grown, not built. And with my home planet gone, we’re kind of stuck.

Well, could be worse. This lot said that they’d give us a lift.

And then what?

I don’t know. Find a planet. Get a job. You live a life the same as the rest of the Universe.

I’d have to settle down. Get a house or something, a proper house. With…doors and carpets. Me, living in a house. That, that is terrifying.

You’d have to get a mortgage.

Rose Tyler and the Tenth Doctor

I’ll start by talking about the Doctor and Rose. If you’ve read any of my other reviews of David Tennant’s first series, you’ll know that I’m not the biggest fan of this pairing, however, the writing seems a lot better. The scene with the Doctor and Rose discussing the implications of losing the TARDIS, especially for the Doctor, is one of the most mature and well-dealt with conversations that I think that these two ever have. It’s interesting for the Doctor to have this discussion, considering that Russell T Davies seems to like forceably separating the Doctor and the TARDIS. I might be wrong but can think of several occasions this happens in his era, and this might be mind playing tricks on me) but I can only think of two occasions since 2010 that this has happened (Cold War and The Tsuranga Conundrum). This story moves to ground their relationship and actually makes me see that David Tennant and Billie Piper do have decent chemistry together. There are little moments like Rose kissing the Doctor’s visor before he goes down in the drill capsule with Ida that sell the idea of this relationship being something more than the standard Doctor-companion relationship. Perhaps because the Doctor feels quite out of his depth, with the language that the TARDIS can’t translate means that they can’t be as smug and cavalier as usual. We do get some of the inconsistent Rose that has been around since Tennant’s debut in New Earth rather than the strong individual we saw when she was with Eccleston, especially in the moment she tells Ida and the Doctor to keep breathing when they are in the diving bell.

The story certainly fits into the category of base under siege, with the interesting added threat of the black hole. I’m reliably informed by my research done in the course of writing this blog that a planet in orbit around a black hole is not as impossible as the Doctor states, just highly improbable, but otherwise this story is well written. Matt Jones goes down as another writer who has written one solitary adventure for the revived series, although Russell T Davies had to do a lot of work on this two-parter, which might explain why he never came back. The story does create a terrifying atmosphere, with the scenes with Toby Zed on his own, with Gabriel Woolf’s voice is really scary. I love the idea of the planet being ‘the bitter pill’, which is a lovely piece of dialogue. The story also presents some uncomfortable truths about humanity with the inclusion of the Ood, revealing that even in the future, humans will still feel the need to subjugate species. The story also benefits from the direction of James Strong who helps the story feel claustrophobic and threatening when it needs to. The shot of Scooti floating in space is beautiful, and even knowing how it was filmed thanks to Doctor Who Confidential, it still blows me away every single time.

In the scriptures of the Valtino, this planet is called Krop-Tor, the bitter pill. And the black hole is supposed to be a mighty demon, who was tricked into devouring the planet only to spit it out because it was poison.

Ida Scott

The guest cast here for the most part feel quite lived in and three dimensional, with the exception of Scooti, who is dispatched quite early on by Toby. Zach is thrust into a reluctant leadership position by the death of the previous captain of the mission and it is encouraging to see how he is supported by his fellow crew members, making the best of a bad situation. The only character who seems to be lacking characterisation who survives the run-time of this first part is Toby, who seems to be classed as a bit weird and a loner, also known as perfect possession material. I’d like to reserve special praise for the work of Silas Carson and Gabriel Woolf, voicing the Ood and the Beast respectively, as both are key here. Carson makes the Ood’s calm responses chilling when they start reciting the messages of the Beast and Woolf is suitably sinister – when Radio Free Skaro did a commentary episode for it a few years ago, they slipped a clip of his dialogue in unannounced, and save to say it felt as though my heart stopped for a second!

Verdict: The Impossible Planet does a good job of creating a terrifying atmosphere thanks to a strong script and direction, as well as a good guest cast. 9/10

Cast: David Tennant (The Doctor), Billie Piper (Rose Tyler), Danny Webb (Mr Jefferson), Shaun Parkes (Zachary Cross Flane), Claire Rushbrook (Ida Scott), Will Thorp (Toby Zed), Ronny Jhutti (Danny Bartock), MyAnna Buring (Scooti Manista), Paul Kasey (The Ood), Gabriel Woolf (Voice of the Beast) & Silas Carson (Voice of the Ood).

Writer: Matt Jones

Director: James Strong

Behind the Scenes

  • Matt Jones wrote the Seventh Doctor Virgin New Adventures novel Bad Therapy.
  • The story originally featured the Slitheen Family until the production team realised that the cost of repairing the costumes was equivalent to creating new ones.
  • First appearance of the Sanctuary Base space suit, which would be worn on multiple occasions and by multiple incarnations of The Doctor.

Cast Notes

  • Gabriel Woolf previous played Sutekh in Pyramids of Mars.
  • Danny Webb was in the audio plays The Girl Who Never Was and The Dark Husband.
  • Claire Rushbrook went on to appear as Tula Chenka, sister of Eighth Doctor companion Liv Chenka, in Escape from Kaldor and the spin-off series The Robots.
  • Will Thorp has appeared in the Big Finish audio plays 100 BC and Bedtime Story.

Best Moment

The scene where Scooti discovers the possessed Toby out on the planet’s surface, especially with the creepy computer voice.

Best Quote

Well, we’ve come this far. There’s no turning back.

Oh, come on! Did you have to? No turning back, that’s almost as bad as “Nothing could possibly go wrong” or “This is gonna be the best Christmas Walford’s ever had!”

Ida Scott and the Tenth Doctor

Previous Tenth Doctor Review: The Idiot’s Lantern

Link:

Radio Free Skaro’s Commentary for The Impossible Planet/The Satan Pit

The Tsuranga Conundrum

The Empty Child

Are you my Mummy?

The Child

Synopsis

The Doctor and Rose encounter a mysterious object in the Time Vortex which they pursue to 1941 London in the midst of the Blitz. While Rose meets Captain Jack Harkness, The Doctor encounters a group of children who are being terrorised by a child wearing a gas mask.

Preamble

I’m going to go off on a slight tangent before starting my review. I’m writing this on the day that Big Finish announced that Christopher Eccleston would be reprising the role of the Ninth Doctor in four boxsets starting in May 2021! Eccleston returning to the role is something that I never thought would happen, and it’s safe to say that I’m very excited about this happening. As I am approaching the end of his first and only televised series, I was making plans for what I would be doing for this slot next year, which now will be pushed back a little bit, but that’s no problem when we’re getting more of Eccleston!

Review

The Empty Child kicks off a rather strong end to the first series of the revival with a story that doesn’t become less creepy the more it is watched. Those who have read reviews on here of Steven Moffat’s other work will know that I greatly enjoy his writing and his stint as show runner, but I did try and watch this as it would have been seen in 2005. This first part of the story presents us with a Doctor and companion at the peak of their powers, a character who would go on to be a fan-favourite and one of the best one-off villains of all time, coupled with one of the most haunting deliveries of a relatively simple line. Moffat delights in taking the mundane and everyday and making it frightening – here, it is the traditional image of the World War Two gas mask.

This story separates the Doctor and Rose early on and gives the Ninth Doctor some great characterisation. Throughout the first series, we have seen glimpses of just how battle scarred this incarnation is, but here we get clear confirmation of the impact of the Time War on him. We get the exchange between him and Doctor Constantine, a lovely appearance by Richard Wilson, where we appreciate the sheer scale of what the Doctor has lost, making Wilson’s brief cameo particularly effective and memorable. We also get a mention of the Doctor’s childhood on Gallifrey.

What’s this, then? It’s never easy being the only child left out in the cold, you know.

I suppose you’d know.

I do actually, yes.

The Ninth Doctor and Nancy

We also get to see the Doctor interacting with children, something I feel that we haven’t seen this incarnation do a lot of – going forward, the Eleventh Doctor in particular spends a lot of time interacting with children. We also get a good moment that feels as though any Doctor could say it – the scene with the cat, which feels as though any Doctor could have said it. In my case, I can especially picture that scene with Peter Davison!

Rose? (A cat meows, the Doctor picks it up) You know, one day, just one day, I’m going to meet someone who gets the whole don’t wander off thing. Nine hundred years of phone box travel, it’s the only thing left to surprise me.

The Ninth Doctor

Billie Piper is great here, too, and separating her from the Doctor gives her an opportunity to explore the setting of wartime London and stumble across a renegade Time Agent Jack Harkness, before being reunited with the Doctor shortly before the cliffhanger to tie the plot together. Having begged the Doctor for some more ‘Spock’ as she calls it, she falls quite literally into the hands of John Barrowman’s Captain Jack Harkness, someone who is all about gadgets and showing off and she falls under his spell. She’s particularly good in her moments of outrage, like when Jack tells her to switch her mobile off, pointing out the absurdity of the situation. She also show initiative, trying to imitate a Time Agent whom Captain Jack is trying to con, and obviously does this effectively enough to get Jack and The Doctor to meet.

The story really doesn’t let up, starting with a bombastic and frenetically paced cold open which establishes the basis for the story effectively and economically as the audience is in no doubt as to what is happening and what the problem is. After the opening credits, Steven Moffat uses some horror tropes to create an atmosphere of fear and dread, such as the Child, the sudden appearance and equally sudden disappearance of Nancy and the phone call to a disconnected phone. The script really crackles with some great dialogue, some humour and is recognisable as a Moffat story. In more recent times, I have developed problems with the idea of romanticising World War II, and for the most part this story depicts something close to the grim reality of the Blitz. The Doctor does have a speech that, in the wrong hands could have rubbed me up the wrong way, but it’s a testament to the writing, directing and performance by Eccleston that it doesn’t rankle.

Amazing.

What is?

1941. Right now, not very far from here, the German war machine is rolling up the map of Europe. Country after country, falling like dominoes. Nothing can stop it. Nothing. Until one, tiny, damp little island says no. No. Not here. A mouse in front of a lion. You’re amazing, the lot of you. Don’t know what you do to Hitler, but you frighten the hell out of me.

The Ninth Doctor and Nancy

James Hawes’ direction also adds to this story and the feeling of unease and fear, with scenes like the ones in the hospital towards the end of this episode really well done. The scene with the reveal of Doctor Constantine’s scar on his hand, his subsequent transformation into one of the gas mask creatures is nicely done and all of the other affected patients sitting up in their bed are all creepy.

The Child is one of the creepiest antagonists to the Doctor and this is in no small part down to the performances of Albert Valentine and Noah Johnson who make this character so eerie and iconic. The voice sends shivers down my spine, and the direction and appearance of the Child make simple gestures like pointing effective. Nancy, his sister, is also good and she proves herself to be capable of providing for the gang of children without the Doctor’s help. Unlike Rose, she is utterly blunt with him, rather than hanging off every word. Otherwise, John Barrowman is good as Jack Harkness, coming across as a lovable rogue, even if he is ultimately responsible for the problem that the Doctor and Rose find themselves trying to solve.

Verdict: The Empty Child is one of the best examples of what Doctor Who can do. A creepy child and a sense of dread and fear make this one into an absolute classic. 10/10

Cast: Christopher Eccleston (The Doctor), Billie Piper (Rose Tyler), Kate Harvey (Nightclub Singer), Albert Valentine (The Child), Florence Hoath (Nancy), Cheryl Fergison (Mrs Lloyd), Damian Samuels (Mr Lloyd), John Barrowman (Jack Harkness), Robert Hands (Algy), Joseph Tremain (Jim), Jordan Murphy (Ernie), Brandon Miller (Alf), Richard Wilson (Dr. Constantine), Noah Johnson (Voice of the Empty Child) & Dian Perry (Computer Voice)

Writer: Steven Moffat

Director: James Hawes

Behind the Scenes

  • Working titles included World War II and An Empty Child, a reference to An Unearthly Child.
  • The first contribution to the show by future showrunner Steven Moffat.
  • This story introduces the character of Captain Jack Harkness, who would go on to have his own spin-off in the shape of Torchwood and would return on numerous occasions, most recently in Fugitive of the Judoon. Although Barrowman would stay with the show until the end of the first series, his name would not appear in the opening credits until he came back in Utopia in series 3. It was intended in Russell T Davies’ original pitch that the character’s real name would be Captain Jax.
  • The first revived story to feature a child as being responsible for the bizarre goings on in the story.
  • The name Chula for the warship is a reference to a restaurant in London, where Moffat, Robert Shearman, Mark Gatiss and Paul Cornell went to celebrate being commissioned to write for the first episode since the revival.
  • This two-parter won the Hugo Award for Best Dramatic Presentation, Short Form in 2006.

Best Moment

There are too many to mention, but I think my favorite might be the conversation between the child and the Doctor in the hallway of the Lloyd’s house.

Mummy? Please let me in, mummy. Please let me in.

Your mummy isn’t here.

Are you my mummy?

No mummies here. Nobody here but us chickens. Well, this chicken anyway.

The Child and the Ninth Doctor

Best Quote

Before this war began, I was a father and a grandfather. Now I’m neither, but I’m still a doctor.

Yeah. I know the feeling.

Doctor Constantine and the Ninth Doctor

Previous Ninth Doctor Review: Father’s Day

The Idiot’s Lantern

Men in black? Vanishing police cars? This is Churchill’s England, not Stalin’s Russia!

The Tenth Doctor

Synopsis

The Doctor and Rose arrive by accident in London in 1953 on the eve of the coronation of Queen Elizabeth II where something is lurking in the televisions sold by Mr Magpie

Review

Series Two of Doctor Who really frustrates me because it varies so widely in terms of quality. So far on this blog, I have revisited the high points (School Reunion and The Girl in the Fireplace) and the lows (New Earth) and there are more of both to come in this series. Sadly, The Idiot’s Lantern falls at the lower end of the series and continues to contribute to an uneven debut series for David Tennant. Equally frustrating from my point of view is the fact that I know that Mark Gatiss is a better writer than this. For evidence of this, you need look no further than Gatiss’ first script for the revived show, The Unquiet Dead, or Big Finish stories like Invaders from Mars, and there are other stories in the future for this blog which are far better than this.

I will praise the work of the set dressers and others who worked so hard on making sure that this story really evoked the feel of the post-war period. There is fantastic attention to detail to ensure that the story looks right, whether this is costumes or the appearance of the street party at the conclusion of the episode. Gatiss has clearly set out to create a feeling of nostalgia for the post-war period and specifically the Coronation of Queen Elizabeth II for a backdrop for his story and the production team deserve a huge amount of credit for bringing this to life. Of course, Gatiss goes on to show us that the perceived idyllism of the post-war period isn’t as rosy as it would first appear, and this has been subtly alluded to by the shape of the television aerials being similar to that of swastikas, setting up the eventual plot point that Eddie Connolly has been informing the authorities about the people whose faces have been taken by the Wire. I find the direction really strange here, though, as it feels as though Lyn (who is generally quite decent) is afraid to tone down some of the more over the top performances and the majority of shots are shot at an angle that it makes me feel as though the camera stands were all broken.

The drama of the Connolly family certainly forms the B part to this episode, with the patriarch, Eddie Connolly being abusive towards his wife’s mother, his wife and his son. I must admit that I haven’t seen Jamie Foreman in anything else but I’m sure he is a good actor. Sadly, the character of Eddie is such a one-dimensional Hitler-allegory that it does Foreman a disservice and really means that the story hits a bum note in the conclusion when Rose encourages his son to try and build bridges with his father, especially considering how he talks about beating Tommy for being homosexual or his emotional abuse of his wife Rita, telling her to put a smile when her mother has been taken away. The rest of the Connolly family are good and we certainly sympathise with their treatment at the hands of Eddie, and Debra Gillett is particularly good in the scene where she sends Tommy off with the Doctor and kicks Eddie out. Tommy is a good companion of the week, and Rory Jennings and David Tennant have some good chemistry together, and I particularly liked the moment where Tommy is reunited with his grandmother at the conclusion of the story.

I’m the Wire, and I’m hungry!

The Wire

Speaking of the one-dimensional fascistic Eddie Connolly, we have another one-dimensional villain in the shape of the Wire played by Maureen Lipman. The idea of televisions taking people’s faces feels as though it should be a classic Doctor Who idea – taking something so prevalent and usual in this modern culture and making it scary. However, the Wire is so one dimensional and irritating that it means that this doesn’t really work. Lipman’s performance at the beginning, but she starts to gain power, it becomes almost unbearable. It is a running joke between my wife and I that we will screech the line above at each other around meal times. Ron Cook’s Mr Magpie, who is manipulated by the Wire into selling the affected television sets, feels largely wasted in this story, but he does well with what he is given. The effect of the ‘stolen’ faces on the actual people looks really unpolished and cheap, whilst, conversely, the effect of the faces on the television screens in the shop is rather effective and unnerving.

I am talking!

And I’m not listening!

Eddie Connolly and the Tenth Doctor

Now to address the Doctor and Rose. It is clear through this series that the intention was to establish the fact that the newly regenerated Doctor and Rose are perhaps overconfident throughout this series, but sadly for me it largely across as them being smug. This is not a problem that is exclusive to this story, but in a story that is quite poor anyway it really stands out. It is interesting to see the Tenth Doctor and Rose separated as this hasn’t happened a lot since the start of the series and Tennant is good in the scenes where he can be a bit quieter, like the interrogation scene where he flips the scenario on Detective Inspector Bishop. In contrast, the louder scenes, like the one the quote above is taken from are so hideously overacted and cringe-worthy. Since The Christmas Invasion, the production team have been hinting at this rage bubbling under the seemingly amiable face of the Doctor, but here it just across as he is a bit of a bully, especially in the scenes with Magpie. There is also the fact that the Doctor doesn’t seem to be too interested in solving the mystery until it directly affects him when the Wire takes Rose’s face. As a character who is supposed to stand up against the wrongs of the universe regardless of how he is impacted personally, this is really glaring. Rose is pretty poor too for the most part, reduced to a shadow of how she was in Eccleston’s series as the Doctor to an obnoxious and lovelorn character. We do get a hint of what the character like last series when she investigates Magpie’s shop though.

Verdict: This story really does flounder with one-dimensional villains and the central cast aren’t good enough to raise this one. Kudos on the production design though. 3/10

Cast: David Tennant (The Doctor), Billie Piper (Rose Tyler), Maureen Lipman (The Wire), Ron Cook (Magpie), Jamie Foreman (Eddie Connolly), Debra Gillett (Rita Connolly), Rory Jennings (Tommy Connolly), Margaret John (Grandma Connolly), Sam Cox (Detective Inspector Bishop), Ieaun Rhys (Crabtree), Jean Challis (Aunty Betty), Christopher Driscoll (Security Guard) & Marie Lewis (Mrs Gallagher).

Writer: Mark Gatiss

Director: Euros Lyn

Behind the Scenes

  • The working titles of Mr Sandman, Sonic Doom and The One-Eyed Monster.
  • Mark Gatiss originally wrote this episode for Christopher Eccleston’s 9th Doctor, and it was originally intended to be broadcast as the ninth episode of Series 2. It also contained a sub-plot about Tommy having a crush on the Doctor, but Rose mistakenly believing that he had a crush on her.
  • Magpie Electricals is a brand that would reoccur throughout the revived series, including Martha’s television in The Sound of Drums, a microphone in Voyage of the Damned, some parts of the Eleventh Doctor’s first TARDIS and a shop is seen in The Lie of the Land. The brand has been retrospectively inserted as an Easter Egg in several animations of Patrick Troughton episodes, including The Power of the Daleks.
  • The street on which the Connolly family lives is Florizel Street which was the original name for long-running soap opera Coronation Street. Coincidentally, Doctor Who producer Phil Collinson went on to be producer of Coronation Street from 2010 to 2013, whilst Russell T Davies had previously briefly been a storyline editor in the 1990s.

Cast Notes

  • Margaret John holds the record for the longest gap between appearances at 38 years, having previously appeared in Fury from the Deep.
  • Rory Jennings played teenage Davros in I, Davros: Innocence.

Best Moment

It’s always hard to choose these with an episode that I don’t particularly like. Probably Rita finally kicking out her abusive husband.

Best Quote

Twenty years on the force, I don’t even know where to start. We haven’t got the faintest clue what’s going on.

Well. That could change.

How?

Start from the beginning. Tell me everything you know.

Detective Inspector Bishop and the Tenth Doctor

Previous Tenth Doctor Review: The Age of Steel

Reviews mentioned:

The Christmas Invasion

New Earth

School Reunion

The Girl in the Fireplace

Invaders from Mars

Father’s Day

It’s so weird. The day my father died. I thought it’d be all grim and stormy. It’s just another day.

The past is another country. 1987’s just the Isle of Wight.

Rose Tyler and the Ninth Doctor

Synopsis

Rose convinces the Doctor to take her back to the day of her father’s death, 7 November 1987. On a whim, she ends up changing his fate, creating a paradox and summoning the Reapers to the wedding of Stuart Hoskins and Sarah Clark.

Review

When Father’s Day was first broadcast in 2005, it was exploring relatively untrodden ground for the show. Although Ace encountered her own mother in The Curse of Fenric, it was not central to the plot, whilst here it is the driving force behind the narrative. For some fans, this story is symptomatic of the soap opera feel to the revived series, with the Reapers taking a backseat to family drama. However, this is a really moving story that deals with fixed points in time nicely and gives us nice character moments.

The story focuses on the companion, Rose Tyler, and her father Pete, who died when she was a baby in a hit-and-run. With the Doctor agreeing to take her back in time to the day when he died so that someone can be with him as he is dying, Rose freezes when it comes to the punch and she convinces him to take her back again, despite the risks, which are multiplied when Rose saves her father. As the Reapers arrive, the survivors of the wedding party take refuge in a church, as the older something is, the more protection it affords. One of the aspects of this story that interested me was the idealised view Rose has of her father from her mother’s stories, which gets quickly dispelled when the Doctor and Rose attend her parents’ wedding and once she actually gets the chance to talk to Pete in the car after saving him and in the Tylers’ flat. A relationship that has been described to Rose as being perfect, is in reality, full of suspected infidelity and arguments. Equally, when asked about what he is like as a father, she paints an equally idealised image of him as a father which he ultimately sees through and realises that he will not be around to see Rose grow up. The story is packed full of emotion, culminating in Pete’s decision to sacrifice himself to reverse the effects his survival has had on time itself. The story is somewhat driven by misconceptions as the wedding that the Tylers and Stuart and Sarah, where Stuart’s father is certainly of the impression that his son is only marrying someone that he regards to be unsuitable because she is pregnant.

The antagonists, the Reapers, enter the narrative due to the paradox of Pete’s survival and are described by the Doctor as being bacteria coming to cleanse the subsequent wound. They are rather one dimensional as a foe, although the Doctor does admit that he is pretty powerless against them. The CGI hasn’t dated fantastically but they do have a good design and I particularly like the shots from their point of view as they pick off humans in their quest. Ultimately, though, this story is character driven rather than driven by the alien threat. It is perhaps surprising that the Reapers have never returned, especially considering some of the other paradoxes we have had in the revived series. However, it can be said that they only appear when time is seriously weakened: here, not only does Rose save Pete, meaning that she and the Doctor would never have to travel back to save him in the first place, but she does so in front of earlier versions of herself and the Doctor. The Reapers As the characters shelter in the church, the Doctor is regaled with the story of how the to-be-weds met, ironically being asked to look after the baby Rose and the adult Rose imprinting herself on young Mickey. The story certainly deserves praise for making us care about what happens to members of the guest cast, the majority of whom we will never see again.

The cast here do a spectacular job with this story. Christopher Eccleston and Billie Piper are fantastic together, even when having the most serious argument that at the time we’d ever seen the Doctor have with a companion. The argument serves to remind us that Rose is still quite young and immature, especially when compared to the Doctor. When the Doctor tells Rose that they are no longer going to travel together, we genuinely believe that he means it, and having seen his ejection of Adam from the TARDIS in the previous story, it feels like a genuine threat. Camille Coduri is good as the frustrated younger Jackie, and of the guest cast, Shaun Dingwall stands out as Pete, who along with Billie Piper acts as this story’s beating heart. Dingwall of course would return for the second series as an alternative version of Pete Tyler.

When we met, I said “Travel with me in space.” You said no. Then I said “Time machine.”

It wasn’t some big plan. I just saw it happening and thought, I can stop it.

I did it again, I picked another stupid ape. I should have known. It’s not about showing you the universe. It never is. It’s about the universe doing something for you.

The Ninth Doctor and Rose Tyler

The direction and general production are pretty fantastic here too. Joe Ahearne’s direction is very good and I particularly like the appearance of the TARDIS as it restores around the key. The moment when the Doctor opens the TARDIS doors to find that it is empty is also a lovely moment. There also has to be a mention of the fantastic work done by the costumes department and set dressing in evoking the look of the 1980s with some great costumes, and attention to detail with posters especially in the early scenes.

Verdict: One of several episodes that ensures a strong finish for Christopher Eccleston’s Ninth Doctor and the debut series of the revival. 9/10

Cast: Christopher Eccleston (The Doctor), Billie Piper (Rose Tyler), Camille Coduri (Jackie Tyler), Shaun Dingwall (Pete Tyler), Robert Barton (Registrar), Julia Joyce (Young Rose), Christopher Llewellyn (Stuart), Frank Rozelaar-Green (Sonny), Natalie Jones (Sarah), Eirlys Bellin (Bev), Rhian James (Suzie) & Casey Dyer (Young Mickey)

Writer: Paul Cornell

Director: Joe Ahearne

Behind the Scenes

  • The first contribution of Paul Cornell to televised Doctor Who.
  • The story deals with fixed points in time, a topic which would frequently reoccur in the revived series.
  • Alexander Graham Bell’s first words spoken over a telephone are incorrect.  In this episode, they are said to be “Watson, come here, I need you”, when in fact they are “Watson, I come here, I want you.”  According to Phil Collinson, this was an error that crept in during the recording of the line, as the line was correct in the script.

Best Moment

I really like the moment that the Doctor returns to the TARDIS, only to find that it is only a box.

Best Quote

Now Rose, you’re not going to bring about the end of the world. Are you?

The Ninth Doctor (to Baby Rose Tyler)

Previous Ninth Doctor Review: The Long Game

The Age of Steel

The Age of Steel - Cybermen

The human race.  For such an intelligent lot you aren’t half susceptible. Give anyone a chance to take control and you submit.  Sometimes I think you enjoy it.  Easy life.

Tenth Doctor

Synopsis

On the parallel Earth, Lumic is starting to convert unwilling humans into Cybermen and it is a race against time for the Doctor, Rose and Mickey along with Pete Tyler and the Preachers to stop the Cybermen.

Review

I’d love to say that my problems from Rise of the Cybermen are magically fixed by the second part.  There are some nice moments here, however, the Cybermen do still feel quite hampered by the presence of John Lumic, their creator, who feels like a completely unnecessary addition to Doctor Who’s history.  The conclusion to their reintroduction to the revived series, this episode is better than it’s predecessor but could be so much better.

There are moments here that work really nicely and most of these are down to Graeme Harper’s direction.  The scenes with the Doctor and Mrs Moore walking through the Cybermen-filled tunnels leading to Battersea Power Station are beautifully shot and nicely atmospheric.  Harper’s experience of directing the original series definitely stands him in good stead and this definitely shows through here and shooting the Cybermen from low angles certainly makes them feel intimidating.  There are some nice emotional moments here, like the scene with the Cyberman remember who she was prior to conversion, revealing that she was Sally Phelan and converted the night before her marriage.  Call me a sentimental old romantic, but that really gets me every time.  Equally, even though I know that Mrs Moore’s demise is coming every time, it doesn’t lessen its emotional impact.  A scene that did take me by surprise, however, is a very brief one in the episode’s closing moments when Rose returns home to see her mother, and when Jackie asks what’s happened and the Doctor can only answer that they went ‘Far away.’  It’s a lovely moment, where the acting achieves more than pages of dialogue ever would.

Equally, Mickey finally has some development.  Following on from the death of his doppelganger Ricky early on in this concluding episode, Mickey finds a place for him to be happy and not trailing around after the Doctor and Rose, which feels like a lovely moment of seizing control of his future.  I wish I could say that this feels like it has been coming from Rose, however, from my other Tenth Doctor reviews you will see that I am not a fan of how the show has treated Mickey generally.  That being said, the fact that he kisses Rose before running off with Ricky does suggest that he hasn’t entirely moved on from her, despite her ambivalence towards him.  Rose’s reaction to her decision to stay on this parallel Earth feels slightly false considering what we’ve seen before.

The Age of Steel - Cybercontroller

I feel as though the writer, Tom MacRae, and potentially Russell T Davies (depending on how much he rewrote), don’t really know what to do with the Cybermen.  They seem to just be there for large periods of this story, not really doing anything except being pawns in Lumic’s game for World Domination.  The fact that the Doctor is able to save himself, Pete and Rose early on with the sonic screwdriver without really explaining what he did really irritates me.  The story does feel extremely derivative of Genesis of the Daleks, especially when he debates whether causing the destruction of the Cybermen by overwhelming them with emotion is the right course of action.  Equally, Lumic feels utterly superfluous – not every adversary that the Doctor faces needs a Davros style creator, and Lumic feels utterly ridiculous here.  Ultimately, the audience doesn’t really care when John Lumic gets converted into the Cyber Controller by the Cybermen because we haven’t really spent enough time with this character to care about his ultimate fate.

The Age of Steel - Pete Rose Doctor

Verdict: The conclusion of the reintroduction of the Cybermen is enjoyable if slightly underwhelming, with the titular antagonist taking more of a back seat in this concluding part. 5/10

Cast: David Tennant (The Doctor), Billie Piper (Rose Tyler), Noel Clarke (Mickey Smith), Camille Coduri (Jackie Tyler), Shaun Dingwall (Peter Tyler), Roger Lloyd Pack (John Lumic), Andrew Hayden-Smith (Jake Simmonds), Helen Griffin (Mrs Moore), Colin Spaull (Mr Crane), Duncan Duff (Newsreader), Paul Kasey (Cyber Leader) & Nicholas Briggs (Voice of the Cybermen).

Writer: Tom MacRae

Director: Graeme Harper

Behind the Scenes

  • In a scene that was deleted from the final episode, it would have been revealed that Ricky and Jake were lovers.
  • There are references to Tomb of the Cybermen, including the Cybermen being able to kill with electricity from their hands, using mind control and characters being surprised by a decoy Cyberman.

Best Moment

A scene that I had forgotten but one that plays really nicely – the brief scene between Rose, Jackie and the Doctor towards the end of the episode.

Best Quote

I’ve been captured.  But don’t worry, Rose and Pete are out there.  They can rescue me.  Oh well, never mind.

The Tenth Doctor