I had dropped out of the habit of getting the animated reconstructions. I bought Shada (which wasn’t quite the same thing as later releases) and The Power of the Daleks, but had not bought The Macra Terror and had not thought about getting The Faceless Ones urgently. I had the audios and the surviving episodes and clips and did not think I would gain much more from the animations.
I recently bought The Macra Terror and was impressed enough to quickly by The Faceless Ones too. They give a better idea of the story and how it would have looked. The animation of The Faceless Ones seem more fluid and detailed than the previous releases, although I was surprised they gave the titular Faceless Ones crude faces (eyes, nose, mouth) when the surviving photos show that they had no face at all, not unlike the people from The Idiot’s Lantern .
I was glad that they have chosen to animate overlooked stories like The Macra Terror and The Faceless Ones alongside more obvious crowd-pleasers like The Power of the Daleks and Fury from the Deep (coming soon). I do hope for a swift release of The Evil of the Daleks, although I imagine it would be an expensive production, given the number of characters and settings.
The Faceless Ones has a fairly strong plot, about the kidnapping of holidaying teenagers by aliens who are identity thieves of a rather different kind. Strangely, the Invasion of the Body-Snatchers card is not really played very much here, with only a few scenes where it is unclear who a character is. It makes a change from the usual Troughton base under siege and the story has a 1960s vibe previously only seen in The War Machines (broadcast the previous year, but set on the same day).
The final episode in particular is strong as the Doctor exploits the divisions between the aliens (classic Troughton deviousness) while his friends try to keep up with his bluffing. It’s good to have a visual record of this at last.
The plot is stretched a bit thin, with some padding with death-traps, although the Goldfinger-style laser scene is better animated than on audio alone. Malcolm Hulke (here getting his first Who credit, alongside David Ellis) was not the greatest plotter, but his usual strong characterisation is present here, particularly the Commandant (who transforms believably from uncomprehending bureaucrat to valuable ally over six episodes) and Scouse teenager Sam Briggs, who comes across as even more contemporary than Ben and Polly, who are sadly absent for most of their final story.
There’s good acting too, particularly Donald Pickering as the villainous Captain Blade and Bernard Kay as Inspector Crossland – two actors who made a number of strong Doctor Who appearances, but never seem to be spoken of by fans in the way that, say, Michael Wisher or Michael Sheard are.
One of the amusing things about this story is the way that the Chameleons, who are not exactly a premier league enemy, are convinced of their own superiority, and the intelligence of their Director. At least they have self-belief.
Spyfall is, of course, a James Bond parody. James Bond and Doctor Who are very different and while it is amusing to see Doctor Who pastiche elements of Bond (the briefing, the casino and dinner jacket, car chases and assassinations), it feels quite different to Bond, especially in the time travelling second half. Inasmuch as it is Bond, it’s more For Your Eyes Only than The Spy Who Loved Me, a slow-burning character piece rather than an epic action spectacular. In fact, the most effective scene is the horror/suspense sequence of the Kasaavin attacking the Australian agents in the Outback, which is not Bond at all.
The first part is brisk and effective, but the second episode falls apart a bit. The cross-temporal story feels bitty, not lingering in any locale long enough to build up a sense of place or tension. Daniel Barton is sidelined when we really need to see more of him and his plan. Once O’s true identity is revealed, Barton goes from master villain to henchman, which is disappointing, as Lenny Henry was sinister in the first half and later in the lecture scene as he plan appears to be about to work. I’m not sure why the Kasaavin want to turn everyone into computers or what Barton thinks he’s going to get out of it. Info dump scenes where the villain reveals his whole plan are endemic to both Doctor Who and James Bond, so it’s no wonder the Master delivers a big one here. Sacha Dhawan does at least portray a Master malevolent enough to make his plan seem reasonable, at least to a psychopath.
To be honest, I don’t like “celebrity historicals” much. They seem to assume the audience are ignorant and lazy, info dumping information for context instead of leaving the audience the fun of independent research (let’s not forget Doctor Who was originally educational). It leads to very stilted dialogue and storytelling. Ada and Noor could each have their own episodes, whereas here they are reduced to bit-players. A more focused episode two could have reduced the time travelling and spent more time on the Fam on the run.
The ontological paradox on the plane escape is a narrative flaw of a different kind, essentially just a cheat, and one already over-used by Steven Moffat.
Sacha Dhawan is probably the highlight of the story in what are essentially two different roles. More than any other Master, he seems to be playing a part as O, not just wearing a mask. He says he had “fun” impersonating O and appears to have taken the role seriously enough to work for MI6 to infiltrate properly (unlike the John Simm Master who faked Harold Saxon’s background).
The result is a story which starts well and is generally good when Dhawan is on screen, but which loses its way a bit.
I did not review this year’s Doctor Who on initial viewing. I’ve decided that my first impressions are too emotional and subjective, far beyond the fact that all criticism is subjective on some level. It’s too easy to get sucked into “different = heretical” (or “same = boring” for that matter). I hope to review the 2020 season here soon, but I realised I never reviewed Resolution! I watched it again last night. Here we go!
Early on there’s an attempt to tap into classic Doctor Who horror tropes. There’s some solid tunnel work early on and the scene of the possessed Lin in her bathroom was very effective, genuinely sounding like she was about to throw up in disgust at what was happening to her.
Unfortunately, this rapidly became one of those stories where a science fiction threat is married to an emotional subplot that has no plot or thematic connection to it. I’ve never really seen the wisdom of this. I feel the emotional core of the episode should relate more directly to the science fiction plot. Neither of the plot lines is particularly bad here, but they do not really gel either, especially with no sign of Aaron becoming a semi-regular whose experience with a Dalek might become relevant.
The juxtaposition between the Dalek killing two police officers and Aaron trying to sell a microwave/oven was effective, if not especially challenging. New Year’s Day viewing perhaps requires a degree of familiarity in the tropes used. There was a danger of Aaron becoming the cliché of the black man who abandons his family, but this is rescued by Daniel Adegboyega’s thoughtful performance as a man with regrets who is realising that he has made some serious mistakes with his life.
Surprisingly, the action seemed lower down in the mix than the emotion, a feature that may be budgetary as there seemed surprisingly few soldiers while GCHQ was represented by one extra in a single room. At least we did not have an Action Man tank this time. And an ill-advised joke near the climax about families needing to relearn the art of conversation was (a) not funny, (b) old, and (c) distracting from the climax of the story.
There was some handwaving of plot points too, possibly to keep the two separate plot strands running at the same time. Presumably the Dalek learnt where its gun was from its internet searching, but it was not completely clear about where it had been for the previous thousand years until it was bought by MDZ.
In the end the Dalek was defeated and Aaron and Ryan reconciled, as we knew all along would happen. The problem is that it is not at all clear whether Aaron has really changed, something reinforced by his non-appearance in 2020. Has anyone really moved on? It’s hard to tell, which makes this seem a bit like something happening on the television rather than in real life.
I don’t wish to sound too negative. Resolution was a success overall, especially as our only new TV Doctor Who for 2019. It was worth holding back this Doctor’s first meeting with the Daleks to make it count off-screen as well as on-screen, turning the only episode of the year into more of an event. I just wish that Aaron could have been integrated into the plot a bit more.
I was surprised at the hate that greeted the bit about UNIT being suspended at the time of broadcast, as it seemed to me a fairly obvious way of explaining why they weren’t around so that we could focus on the Doctor in this incarnation’s first battle against the Daleks. I doubt that they will be out of commission for long. I am also unsure why people saw it as a Brexit joke, when it seemed to me to be more about austerity in general or, more likely, Donald Trump’s threats to pull the USA out of NATO. The Dalek apparently accessed the Black Archive on Lin’s computer, which indicated to me that UNIT may not be as out of reach as Polly thought.
I know I’m not the only person who has wondered how Medieval knights killed a Dalek. Was it the brother of the rubbish Dalek who blew up when shot with spears and arrows in Death to the Daleks?
I liked the matter-of-fact way Graham says “Alien psychopath.” You can almost hear him thinking, “Another of those nutters.”
The final part of my mini-series on unfairly neglected Doctor Who stories!
I’ve never understood the sheer hatred Fear Her has inspired since its broadcast. Indifference I could understand, but not hatred. To many fans, this is the worst episode of Russell T Davies’ time as showrunner, if not one of the worst of all time.
I concede that the monsters are subpar. The father in the wardrobe conceit doesn’t really work. We don’t see enough to really buy it as a threat, and what we do see isn’t scary enough. And there is a huge dollop of sentimentality, especially over the Olympics. But excess sentimentality is, in my opinion, a problem with a lot of Davies-era stories and never stopped episodes like Doomsday and Journey’s End topping polls. At least in this story the Doctor and Rose seem likeable and believable, compared with other stories this season, where they often radiated smugness, acting like a couple of demi-gods who deigned to descend from Olympus to patronise us mere mortals. The bit where Rose shoots daggers at the Doctor for eating marmalade out of the jar is one of my favourite Doctor/Rose bits in this season, not least for being done non-verbally.
I suspect the problem for a lot of people with this story is that it goes further into both fantasy and children’s fiction than Doctor Who usually ventures, and low fantasy at that, thus alienating all the fans who insist that Doctor Who is Serious Adult Science Fiction. If you’re one of those fans, then this probably isn’t for you. But please don’t stop me from liking it.
Journey to the Centre of the TARDIS
This story seems to get a lot of flack just for having a TARDIS interior without roundels. In fact, the “roundels everywhere” approach is inconsistently applied in the original series – just see Inside the Spaceship (or The Edge of Destruction if you prefer) or The Invasion of Time. Journey to the Centre of the TARDIS is hardly flawless, with some confused plot elements that took me a couple of viewings to fully understand and a strange twist that requires the Doctor to fake a threat of destruction before the story introduces a real one. I have to say this is probably one of the weaker stories on this list for me. However, the TARDIS is presented convincingly as a living labyrinth leaking time, the Doctor is quietly manipulative and there are some nice surreal moments even if they production team’s intentions didn’t quite meet the budget with some rooms reduced to views through doorways.
Under the Lake/Before the Flood
I was going to write about In the Forest of the Night, but much of what I said about Fear Her applies to it. So I’ll go for Under the Lake/Before the Flood, which surprised me by appearing near the bottom of the poll for series nine.
I feel it has a lot going for it: the enclosed atmosphere of the first half (ghost story/base under siege hybrid) broadening out to the surreal abandoned mock-Soviet village of the second. The time travel paradox is handled well (I like time-travel stories, but they’re rare outside of Moffat’s time on the show, except for Dennis Spooner’s tenure as story editor*). It’s very creepy even if the pseudoscientific explanations don’t entirely hold water (again, not unusual for Doctor Who). There’s a decent monster too who towers over Peter Capaldi, although he isn’t seen much. The story even gets away with breaking the fourth wall, just don’t ask me how (well, as we would find out a few episodes later, the Doctor always needs an audience).
Arachnids in the UK
I admit that I don’t know which Jodie Whittaker stories are considered good, beyond knowing that I’m in a minority in preferring her first season to her second. Arachnids in the UK is a rather silly story, but a lot of fun, even if the not-Trump is a bit of a stock “evil American businessman.” Giant creepy crawlies is something Doctor Who has done quite a bit, with varying degrees of efficiency. It’s no surprise this feels like a bit of a throwback to the Pertwee era, with giant spiders, a corrupt businessman and an ecological theme. Leaving all the spiders to die is a bit of a brutal ending though.
That said, my favourite bit only happened in my head: when the Doctor asks “Are all your hotels built on repurposed sites?” Robertson responds, “Some of them are built on Native American graveyards.”
*For more on the appearance of time travel stories under Dennis Spooner and Steven Moffat, see my book, Regeneration: The Changing Style of Doctor Who, by D. G. Saunders, available from Lulu.com and also Amazon US, Amazon UK, Blackwells and Barnes and Noble!