Being a lifelong Doctor Who fan is a curious business. You would assume that during this “Golden Age” where hard men in pubs get glassy-eyed over Billie Piper’s farewell, that fans would be consumed with excitement for the show’s return. Well yes and no. You see fans are generally wracked with paranoia, and dread the show’s return, while at the same time giggling like a schoolgirl from that first glimpse of the first trailer. 

Or is that just me?

As we begin the third season, the paranoia is ramped up tenfold, all because the show is about to undergo a change. And it focuses on one person, Martha Jones. What will she be like? Will she be a Rose clone? Will she be as annoying as Donna? Will we like her? How good is Freema Agyeman?

"I fell in love with Martha Jones"

I am prepared to say after watching this one episode that Martha Jones may just become my favourite companion of all time.

All that stress, all those fears are dispelled within those opening seconds of Smith and Jones. What Russell T Davies does is present us with a whole load of back-story in a matter of moments, as Martha has to deal with her bickering family. Already you get a sense of her compassion and understanding, only wanting the best for everyone. How refreshing this is after two years of selfish Rose.

What’s nice is that we get to compare Martha with her peers. Either Morganstern or Julia Swales could’ve been asked by Mr Stoker to examine the patient, and throughout the episode we get to see how each of them survive in their predicament. Julia has brief, direct contact with The Doctor, but she blows her chance immediately, while Morganstern tries to smooth over the situation with the Judoon, but ultimately sells out for 15 minutes of fame. So, hooray, for Martha Jones!

She quickly assesses the situation she’s in, and has a logical reasoning which endears her to The Doctor, and to us. She realises that the hospital is not airtight, yet they’re still breathing. She decides that they must be on the moon because of extraterrestrials. She works out how to use an x-ray machine in time of stress. And she asks questions. I don’t recall any companion who asks where the crew are when they first enter the TARDIS, but she is right to ask.

But there is one particular moment that I fell in love with Martha Jones, and indeed, Freema Agyeman. Just when she tells The Doctor that she’s not really interested in him, only humans, she gives a look that opens up her soul to us. And Freema plays it beautifully. She makes Martha believable and realistic, and I think that she will be a perfect foil for Tennant’s Doctor.

"makes using a straw a scary thing"

We have never been given such a strong first episode of a new series. RTD has delivered the goods. He has a lot to get through what with introducing us to Martha, making us want The Doctor to take her on board, while delivering sufficient threat to display her talents, and enough effects to blow the casual audience away. Murray Gold lives up to his name with Martha’s theme, which is absolutely beautiful, and I look forward to hearing more of it. I must also mention the fabulous work of The Mill and Neil Gorton with all their creations, as well as the marvellous Roy Marsden (who deserved more screen time) and Anne Reid, who makes using a straw a scary thing without sucking!

I loved this episode. There is so much going on. Just like Martha we are thrown into this adventure with no time to breathe. Yes, there maybe a few gaps in the logic of the plot which aren’t dealt with (The MRI scanner destroying half the earth, The Doctor dying but not regenerating, the Slabs, why the Judoon use marker pens) but so what? Instead we have that tender balcony scene, “Your spaceship’s made of wood!” and my favourite bit: The Doctor’s first fleeting appearance where he takes off his tie. Bizarre but genius!

At last the paranoia is over for another year, and now we have another 3 months of fun and amazing adventure, where I can giggle like a very contented schoolgirl. Hopefully.

Has ever an episode of Doctor Who ever been so religious? And I’m not just talking about the hymns; although I was slightly disappointed/ pleasantly surprised (delete as applicable) not to see Aled Jones leading the community sing song. 

Russell T Davies has written a thought-provoking damnation on a hopeless humanity, whose blind faith in the non-existent powers above is the only thing that keeps them going. Each of the travellers we meet are desperate for salvation, but that desperation prevents them from seeing the real peril they are in. In a fascinating allegory, the quickest path to that better life is down in the depths of the hellish fast lane, which is as far away from the shining Over City as you can get. And its where the monsters live.

"reminded me of the bad old days of 1970s CG"

I love the Macra. In their only previous story, 1967’s The Macra Terror, they deviously take control of an idyllic human colony, enslaving the humans to mine gas that the Macra needs to survive. But this time the Macra have devolved to being simply beasts, like alligators in the sewers. This is a beautiful in-joke considering the original Macra were moved around on the back of a van, while here The Mill gorgeously recreates them. In some ways it’s a shame that these beasts weren’t behind the capturing of the colony, because there is no true threat for The Doctor to defeat. Very quickly, we’re informed that the whole senate became addicted to the mood drug Bliss, which eventually wiped them out, another damning indictment on humanity for its self-created weaknesses, and it’s only thanks to The Face of Boe that anybody survived.

The Face of Boe is the Saviour of humanity, sacrificing himself to save them from themselves and deliver them to the Promised Land. With the odd exception the whole episode looks amazing: the cat people, the New New York skyline, the Macra and the interior of each car worthy of hefty praise. Unfortunately, I felt the motorway at times looked a bit too CG, and that shot where The Doctor gets picked up by Brannigan reminded me of the bad old days of 1970s CSO.

Of course in Gridlock we finally find out what big secret the Face of Boe has to reveal, and it wasn’t much of a surprise to be honest. “You are not alone.” I’ll be interested to see where that plotline goes. David Tennant’s reaction to it was fantastic. You could see so many thoughts sprinting through The Doctor’s mind all at once, but in a less manic way than his verbalised “Yes! No! Hang on! Yes!” kind of speeches. And how nice to see The Doctor actually bond with Martha for once, after holding her at arms length for so long. Although I was gutted that Abide With Me took over just as he was getting into the whole Time War explanation. If only we could’ve seen Martha’s reactions to all this information.

"not just turn them into an amusement park ride"

There’s too much in this episode to make it one of the very best. The mood drugs are a waste of an idea that isn’t fully explored, when they could carry an episode of their own, especially when the human condition is being so thoroughly investigated in the cars on the motorway, like an Alan Bennett monologue. Although having said that, Milo and Cheen are definitely the worst characters of the season so far, and should’ve been eaten by the Macra. My only other complaint is that I have to remove the idea of cat/human breeding from my mind! 

With those things removed I would have given the Macra more of a starring role. They should not have been such a throwaway idea; anything could’ve been living down on the fast lane. If you’re going to bring back a classic monster then make sure they return with legendary status intact, not just a continuity reference for the old fans, because, let’s face it, that sort of act is what alienated the general public twenty years ago and got our beloved show cancelled. Admittedly, with all the pollution generated by the cars, this is a logical choice of monster, but RTD should do something with them, not just turn them into an amusement park ride. Although, that said, there’s nothing to say that they aren’t still at the bottom of the motorway, and hopefully they’ll evolve back to their former cunning selves at some point.

But despite these relatively minor issues, there are plenty of things that I really enjoyed. I like how different in tone and feel this episode is when compared to the rest of the new style Who. In fact, this could’ve been a classic series story, reminiscent of not only The Macra Terror, but with hints of The Happiness Patrol and Paradise Towers to name but two. Of course, the presentation is vastly superior to those old days, and you would not get away with having two hymns in an episode back then. But halleluiah! They add a depth and spirit that makes you hopeful for humanity’s survival, even if it gets drugged up and stuck in a murderous traffic jam. Songs of Praise indeed!

Copyright The Jeweller 2007

Wow! That was incredible! 

I’ve been watching Doctor Who since I popped out of the womb two weeks late, and I am struggling to remember an episode that I have enjoyed more. For once I was able to allow my inner 8-year-old self to get swept up in the excitement and danger of the situation, which hasn’t really happened, well since I was 8.

"The Daleks are great at gene splicing but pants at getting them to look real." 

“Happy Days Are Here Again!” welcomes us joyously into the beautifully captured world of 1930s New York, truthfully heralding 46 minutes (Yes! An over-running episode, but one so rich, trimming it down would be like chopping off a limb) of wonder. Last year James Strong delivered one of the strongest and most popular stories in The Impossible Planet/The Satan Pit, and thoroughly deserved to be given the chance to helm the iconic Pepperpots. He’s not let his masters down and proves that last year was no fluke. Yes, he was helped in no small part by the design team with their elegant Dalek lift and the bleak Hooverville; The Mill who beautifully recreated those wonderful cityscapes; Millennium FX for creating a grotesque, yet beautiful Human Dalek; Murray Gold whose brassy music is so evocative of all those B+W B Movies; and David Tennant who is on top form.

This New York is just like the future one, where the desperate are seemingly forgotten. They can barely survive, having lost nearly everything, apart from their humanity, something that the Daleks still covet. While this tale invokes memories from Evil Of The Daleks, Dalek Invasion Of Earth, and Power Of The Daleks, Helen Raynor has presented us with an intriguing parallel between the two groups showing that maybe humans and Daleks are not so different, especially when you have people like Mr Diagoras.

"I'm not a huge fan of the Daleks" 

I’m not a huge fan of The Daleks (The Cybermen have always been better) but until 2 years ago the best Dalek stories were pre Davros, because they were able to think for themselves, not just react to their creator. They are probably the archest connivers with their cunning plans and thankfully, The Cult of Skaro bring the Pepperpots back to their very best form because they are just trying to survive and will do anything to achieve that goal, even if it means becoming what they hate.

The Daleks seem to bring out the best in David Tennant, or is that James Strong? After all it was in The Impossible Planet where we finally saw a glimpse of a calmer, more reflective Tenth Doctor. But it’s in the minutiae of the performance where Tennant continues to excel. The look of fear on his face when he realises who is behind the mutant slime ball dragged me to the edge of my seat, goose bumps screeching to attention. And I’d already seen the Daleks!

Of course that fabulous moment was juxtaposed with the delightful Miranda Raison’s cheeky little song “My Angel Put The Devil In Me” (How surprising that Tallulah was not that annoying despite that voice) while Martha paid homage to Morecambe and Wise’s 1965 film The Intelligence Men. When I first heard that there was going to be a musical number in the show, I have to admit that I was quite concerned, but it’s a beautiful spectacle, gorgeously sweeping us into the dance, and gives us a break from the horrors that are happening all around.

"I’m not going to ruin this feeling of wonderment and excitement by nitpicking"

I know you could argue that the Daleks should’ve spotted The Doctor in the lab, and that they should’ve been able to tell that Martha was a time traveller; but I’m prepared to accept that the emergency temporal shift Sec and the gang carried out in Doomsday has seriously exhausted their capabilities. I know that some of the Pig Slave prosthetics weren’t the most convincing (Ogrons anyone?) but maybe The Daleks are great at gene splicing but pants at getting them to look real. And I’m sure I could find more faults, but I’m not going to; because as I said at the start, my 8-year-old self took over while watching this episode, and days like these only happen every few decades, so I’m not going to ruin this feeling of wonderment and excitement by nitpicking.

In fact I could gush about this episode all day, and will sing its praises forever more. Saturday night telly is all about thrills, spills, and chills with big musical numbers tossed in. Daleks In Manhattan did it all, and then some. The Power of the Daleks is back!

Copyright The Jeweller 2007

"Happy days are here again
The skies above are clear again
So let's sing a song of cheer again
Happy days are here again
Altogether shout it now
There's no one
Who can doubt it now
So let's tell the world about it now
Happy days are here again"

Hooray! Happy days are most certainly here again, although after last week’s greatness I must confess that I sat down to watch this episode with a cushion over my face. Two horrors had been nagging at the back of my head all week, and I knew it wasn’t nits. Firstly, what if my 8-year-old self doesn’t show up for the resolution to one of the best stories ever, and secondly, what if it’s just a load of tosh? Little did I realise that my fears were completely unjustified, but the cushion was to be a very welcome companion on this riveting traumatic thrill ride.

"it's just a load of tosh"

There is so much to love about this episode, and I could keep you here all night, but as I have to get back to my plans for galactic domination, I’ll simply list them for you.

1. David Tennant. How fabulous is he? He is exceptional in this episode, giving the best Doctor performance since Peter Davison in The Caves Of Androzani. There’s something about a desperate Doctor that makes him more compelling to watch, certainly more entertaining than the gurning know all we’ve come to expect. I don’t know whose idea it was to have The Doctor offer himself up for extermination at Hooverville, but I was so shocked a tear dropped onto the cushion. It was such an irrational act- because if the Daleks kill him, who is going to stop them- but it makes you realise that this is still a damaged Doctor. Yet he is still willing to help Sec with the forceful evolution of the Dalek race, because he believes that “one man can change the course of history” and he is still not prepared to commit genocide just like in Genesis Of The Daleks. That’s why, with all the carnage that the Daleks create, he is determined to save Lazlo, in another “Everybody lives” moment. He doesn’t want to do this for any other reason than his own state of mind, and Tennant plays this beautifully as well, inducing more tears from this reviewer.

"We know to be a lie"

2. The Daleks. Conspiratorial whispering in the sewers. Hooray! This is the Daleks at their best, always plotting, always conniving, and always fidgeting anxiously. We’ve not seen them this good since the peak of their career in the two Troughton stories.

3. James Strong. He has joined the elite pantheon of great directors the show has ever known. How ingenious to shoot the Dalek from below while its travelling, because it gives a sense of great speed, which we know to be a lie as we can see from other camera angles.

4. Murray Gold. His music is big, brash and brassy. The scene with the Human Dalek troops marching through the sewers was straight out of a 1930s movie. I wish it hadn’t been cut so short because I could listen to it for days. I just hope it appears on the next soundtrack album.

5. Hugh Quarshie as Solomon. A wonderful dignified character trying to do the best for his people, and believing that there is good in others. If we ever have a black Doctor he gets my vote.

6. The battle in Hooverville. Looked fantastic!

Martha being a doctor again. Classic series companions would only use their skills for maybe the first episode they were in, and then they end up as a generic character. And The Doctor entrusts with the psychic paper, so she must be doing something right in his eyes. Her best moment though has to be electrocuting the Pig Slaves, yet feeling remorse. Nicely done.

I could go on and on. But I won’t, for fear of repeating myself. This was an amazing experience because my 8-year-old self reappeared for the second week in a row. Now because that’s happened I feel that last week can’t have been a fluke. I was fully expecting to be disappointed, but it’s completely the opposite. This story now joins The Invasion, The Girl In The Fireplace, The Pyramids Of Mars, The Empty Child, The Moonbase, The Power Of The Daleks, The City Of Death, The Curse Of Fenric and Time And The Rani, as the greatest shows in the galaxy. So all I can say is thank you to all involved.

PS: can you spot the deliberate mistake?

Copyright The Jeweller 2007

Did I miss something? 

Am I watching Doctor Who? 

Its just that having a baddie called Lazarus who reinvigorates his life with a sparkly super gizmo, which goes out of control and turns him into a giant monster, is more the fare of your friendly neighbourhood webslinger, than our favourite time traveller.

"a completely unrealistic face, 
which unfortunately destroys the whole illusion"

When I heard about this tale, I have to confess that I wasn’t looking forward to it. After all Mark Gatiss is not the greatest actor in the world and seeing as he’s not written a story this year he must’ve got the role as some form of nepotic consolation. I know he is a big fan (and why he hasn’t been allowed to adapt his marvellous New Adventures novel Nightshade for the series is anyone’s guess) but this whole episode relies on him to deliver the goods. To be fair he is very good under the latex of old age, with realistic mannerisms, sucking of teeth, shaky limbs. Its only when Lazarus becomes younger that the acting is a little dodgy. His sliminess is over the top in a World War One kind of way, and when his transformation into the monster begins, the gurning is so ridiculous I would rather they’d brought back Sylvester McCoy! But this is nowhere near as bad as the monster we are left with after the transformation. The Mill have created a scary body with spitting tentacles and pincers, but they have let themselves down by tacking on a completely unrealistic face, which unfortunately destroys the whole illusion.

"It is shameful"

The heroes of this episode are definitely the locations. The Senedd building in Cardiff, which is used for the Lazlabs reception, looks beautiful on screen. The building’s design is based around the concepts of openness and transparency, somewhat ironic considering the secretive nature of Lady Thaw’s connections. The tranquility and vast nave of Wells Cathedral on the other hand, give the comic book story the epic ending it deserved, while reminding me of the first Batman movie. Even now I am absolutely amazed that the production team were granted access to both of these places, and along with The Globe Theatre in The Shakespeare Code, it shows how well respected Doctor Who is right now.

There are some nice slices of continuity with The Doctor “reversing the polarity” for the first time in a very long time, and some banners at Lazlabs looking suspiciously like Gallifreyan text. The worst thing about this episode is Professor Lazarus’ machine being switched on by the Sycorax big red threatening button from The Christmas Invasion. It is shameful. We are supposed to believe that this machine is cutting edge technology, yet a cheap bit of plastic is just chucked beside the control panel. The only reason for this is so that it is easy for the evolved Lazarus to operate once The Doctor and Martha are trapped inside.

"leave you pining for Camille Coduri"

Thankfully, though, the third act is one of salvation, both in story and realisation, lifting the previous 30 minutes to the heights of pretty good. Gatiss is redeemed by finding some depth and richness in his final moments, when Lazarus seeks sanctuary in the cathedral, and the final confrontation with The Doctor is beautifully played by both men. Then we have the thrilling climax, with the most wonderful homage to Spinal Tap. And I was so hoping that Tish would be asked aboard the Tardis after such an involvment in the story. At the very least I was expecting The Doctor to give her a big hug at the end, especially as she bravely joined Martha in luring the monster up into the bell tower. However, I am grateful that Martha has earned her place as an official companion. She may have some awfully realised two dimensional relations (mother, brother, father) that leave you pining for Camille Coduri, but long may she reign.

Overall, I liked this story, but its not good enough to make me do a Spinal Tap and give it an 11. Like most comic books, and comic book movies, it tries to be more than it really is, but doesn’t have the depth and subtlety to become an all time classic. However, as the trailer at the end of the episode shows, the best is yet to come. Hopefully.

According to The Hitchhikers Guide To The Galaxy, the number 42 is the answer to life, the universe and everything. However, we are posed one big question by its very presence: If Chris Chibnall is the man who as head writer on Torchwood delivered some of the weakest moments in the universe of new Who, why has he been promoted to the main series? It’s a bit like making Victoria Beckham head of the English National Opera.

"unexplainable but ridiculously obvious"

42 is supposed to be a loose sequel to The Impossible Planet/The Satan Pit. It isn’t, though it is set in the same time period. Chibnall is basically copying the great Steven Moffat’s work, making this closer to The Girl In The Fireplace and The Empty Child. His monsters are people possessed by an unknown force, who wear a mask and have a catchphrase (“Burn with me”, and “Are you my mummy?”) while the resolution is unexplainable but ridiculously obvious (Nancy is his mummy/ The ship is called Madame De Pompadour/ Michelle Collins stole the sun). Please just take a moment to thank whatever god you may support, because if Chibnall hadn’t done this, I dread to think what tosh we would have had to sit through.

What a great idea to have a real time episode. The 45-minute episode format has been crying out for something like this, because the storytelling has to be so quick. It’s just a shame that the production team fail to deliver on this concept. It isn’t real time, just very nearly. However, its not bad enough to ruin the idea, and Graeme Harper has grabbed the very traditional countdown to destruction plot and ratcheted the tension up by several million knots. The granddaddy of the show delivers another vigorous, electric episode, which looks amazing. The spaceship interiors are believable, and the exteriors are awesome, especially the escape pod falling into the sun.

"satisfy some misplaced desperate desire to fulfil the long-term viewer with the Saxon storyline?"

The frantic pace never gives up and you are always aware that the clock is ticking even in the quiet scenes. The only problem with this is that it knackers you out and by the end I was totally drained. However, that’s not a bad thing just once in a while. In fact I would rather had more of that than the crass, unnecessary phone calls between Martha and her mother. Why does Martha have to do the same things as Rose did in the past? They are supposed to be different! When Rose talks to Jackie in The End Of The World, it’s a surprising, tender moment, reassuring both Rose and the viewer that she can always go home. The calls Martha make have been shoehorned in to satisfy some misplaced desperate desire to fulfil the long-term viewer with the Saxon storyline. Well Whoopty-Woo! I don’t really care. This is supposed to be a story about a ship crashing into the sun, not Martha’s misguided mum and her evil friends. And anyway Martha would surely have rather phoned Tish if they were that close, wouldn’t she?

The time wasted on that could’ve been better spent on our hero who yet again delivers a sumptuous performance. Tennant is outstanding from his rapid “Happy Prime” speech to the touching moment at the escape pod, and the chilling possession and exhausting exorcism. He captivates the viewer and dominates the screen so much that the rest of the cast are totally forgettable, including guest of the week Michelle Collins. They’re not bad, and that’s all. It’s just that Tennant is so good that they pale away to insignificance.

The standout of this episode though, happens 22 minutes in. For a show that has redefined Saturday night drama by being big and noisy to have 23 seconds of silence is staggeringly perfect. It was a very brave choice by Harper and co, and says so much about the situation our leads are in, and how much they mean to each other without a single sound. Awesome! I can also guarantee that you will not see that in any other show ever.

"the jury is still out"

This particular 42 isn’t the answer to life, the universe and everything. It’s not a bad story, a traditional run around corridors to save the day, with a nice twist of who the bad guy is. However, it is well directed and has a stand out showing from the star. It is a breathlessly fraught tale in a grim depressing setting that makes you pine for home comforts. I’m glad that Chibnall copied Steven Moffat’s masterful storytelling prowess because it is definitely his best effort so far. But the jury is still out and I’m not sure I can hear a stick thin, talentless WAG singing Puccini just yet.

Copyright The Jeweller 2007

“Years ago, there was a range of books… and there was one written by Paul Cornell called Human Nature that I think is literally one of the best stories ever written. One of the best Doctor Who stories ever written. One of the best stories full stop, actually. So when we brought Doctor Who back, I just sat there one day and thought why are we not telling it?“

Russell T Davies on Doctor Who Confidential: Alter Ego

I’ve read Human Nature twice and Russell T Davies is bang on- it’s fabulous! More than any other episode, this is the one I’ve been looking forward to all year because Paul Cornell delivered the superlative Father’s Day in season one. The novel is such a rich experience but thankfully I was not disappointed by the televisual adaptation, although there are some key differences between the two versions. The Doctor chooses to become human, not because he’s had enough of his life as it is, but because the Family of Blood are chasing him. I just think that seeing The Doctor was so eager for the Daleks to exterminate him at Hooverville, it would have been a very interesting idea to have "The Lonely God" deciding to give up all that he is. What we have been presented is, however, a rollicking good start, which wrong foots the viewer immediately, and drags us into the adventure kicking and screaming.

"the downside of this is that we have to lose a number of things from the novel, which is such a shame"

What’s right about the episode? Oodles and oodles of things! How cool is Smith’s journal? I bet there isn’t a geek across the land who didn’t yelp or squeal, or punch the air in delight when we glimpsed those sketches of the previous Doctors. (I actually weed a little! Still hooray for leather chairs!) Likewise, how lovely is it that John Smith’s parents were called Verity and Sydney? Harry Lloyd is shockingly sinister as Baines, helped by some weird camera angles, while Thomas Sangster as Tim is wonderful, pervading an air of mystery, and with those boggle eyes I reckon he could easily become a future Doctor. The star of the week though is Jessica Hynes, whose portrayal as Joan is flawless - a dignified, warm soul, which is exactly how I imagined her when reading the book. The conversation between Martha and Joan at the dance is so sad, with Martha apologising for what she has to do. Like Madame De Pompadour before her, we know that Joan will get her heart broken by events outside of her control, which is even more depressing considering she already knows what its like to have a loved one ripped away from her.

It is often an accusation of the first part of two that the pace is too gentle, but not here, even though, as we’ve come to expect from Cornell, we have a thoughtful consideration of characters. He seems to understand his creations so well that he allows us time to get to know them and their motivations. The downside of this is that we have to lose a number of things from the novel, which is such a shame. I would be quite happy spending more than a fortnight here so we could explore things like Tim’s punishment by the head boys and his “resurrection”, or Alexander who finds out his “friend” Richard will die in the forthcoming war, but helps to save the day anyway.

"I'm flabbergasted it wasn't spotted"

So what is wrong with this episode? One minor, very insignificant thing that I noticed and wished I hadn’t. There is a white lorry in one scene. I won’t say where, because I don’t want to spoil it for the rest of you. Its there for a split second, and its playing on my mind so much I simply can’t forget about it. For a production team with very high standards this is simply unacceptable. I’m flabbergasted that it wasn’t spotted.

Despite that blemish this is a riveting episode, with so much good in it: an astonishingly potent look at racism in such a brief exchange, The Doctor using his cricket skills once again, and a lonely Martha talking to the magnificently lit Tardis in emergency power mode. Also we must congratulate Suzie Liggat for becoming the first female producer since Verity Lambert, and Phil Collinson for getting an Executive Producer credit.

I said about the Dalek story that I could gush about it all day. Well that will have to wait a week or so cos I’ve got to tell everyone about Human Nature… one of the best stories ever written. Full stop. Except for the lorry.

Copyright The Jeweller 2007

CLICK FOR TOP

This is the weakest of the 3 series finales given to us by Mr Davies. But to be fair, considering the heart wrenching opposition, it’s not really surprising. Bad Wolf/Parting Of The Ways set an impressive benchmark, which was then whooped on from a great height by Army Of Ghosts/Doomsday (despite a disgraceful treatment of Cybermen). It also comes after possibly the strongest run of episodes in the whole 44-year history of the programme in any media. This episode contains my most favourite moment in that history with the delightful homage to Dennis Potter. Seeing John Simm in his element singing along to the Scissor Sisters while menacing our hero is my TV highlight of the year. Everything is captured so successfully in those couple of minutes: The Master’s insanity; The Doctor’s vulnerability; the hopelessness of the situation. Marvellous!

"What is the point?"

I said I would gladly pay my licence fee twice for more top-notch confrontations between two of this country’s best actors. Thankfully, The Jeweller’s coffers are quite safe because the climatic face off between the two is so swift. What is the point in zapping them to the Welsh hillside for a couple of lines and a quick fumble? This should’ve been an epic battle between two colossal gods rather than some kitchen sink drama. Sometimes I really hate the domestic approach. There was I sat on the edge of my futon waiting for some Survival action, when even the yawns of The Keeper of Traken would’ve been better than what we were served.

What of Martha the girl in love who has flattered to deceive at times? Yes she finally got a bit more character development, being the only one to benefit from the whole missing year. But if she really is this hardened, more determined soul, who needs to be captured by The Master, why is she cowering and whimpering on those stairs in the safe house? Either it’s a poor decision by director and actress or writer and script editor. At the very least it should’ve been picked up during the edit, because it simply vomits on all the progress that the character has made and is completely unbelievable. I like Freema, her enthusiasm, and the dignity she has displayed during the tabloid smearing of her abilities, and I only hope she is given more consistent treatment when she returns to our screens in what I think is her more natural home of Torchwood.

"some guff about being a head in a jar"

Speaking of which can anybody pleas explain to me why Captain Jack was back? I’m sure it was to get 2 plot devices shoe horned into the story: The Doctor’s hand and the “space hopper,” while giving The Doctor someone who can survive deadly situations. What a waste of a wonderful character and charismatic actor. John Barrowman is a big fan of the show and deserved a bigger role, and not some guff about being a head in a jar.

Overall the 51 minutes were entertaining, but ultimately unsatisfying. I feel sorry for those fans abroad that will miss the best bit. In fact you could say they won’t feel like The Master’s dancing. There are, of course, 2 tremendous performances, beautiful CGI work (especially Little Old Doc), and some subtle adult character development with Lucy Saxon’s black eye. Then there’s the Toclafane (which apparently in French means ‘Fake the Fan”). Were they Sontaran war ships, Cybermen (with those blades and lasers) or Gelth (same voices)? No! They were the scariest things that have been seen for many a year- that annoyingly voiced Blue Peter winning boy/girl thing. Is this the first time a BP viewer has been mutilated then shot on prime time telly?

You see… “My heart is dead inside, Its cold and hard and petrified” And for killing filthy old Creet this episode is… Gorgeous!