The End of Time

The final adventure of the Tenth Doctor would always have been a significant story in of itself- David Tennant is the only actor to have successfully challenged Tom Baker for the title of most popular Doctor. And what a story it is- two and a quarter hours in length (a six-parter in old money) with cameos from every actor to have played a regular role and the return of the Time Lords. The plot is simple and just about works, albeit with an odd structure. There are a few problems with the script. The resurrection of the Master is presented as a necromantic ritual, a move which could work had the emphasis been different. However, mentions of ‘potions of life’ and ‘the secret books of Saxon’ are a bit too Harry Potter. The plot means that the critical characters of Naismiths are given short shrift in the second episode- a pity, considering David Harewood’s fine performance. The means by which the Time Lords escape, although comprehensible, is in danger of being misread. Donna’s ‘defence mechanism’ seems to have been constructed purely to season the cliffhanger.These are all valid criticisms all raised by perceptive critics of the programme (together with others raised by those who cannot tell the difference between a plot hole and something that they have failed to spot). However, like The Evil of the Daleks, like Logopolis, The End of Time manages to overcome these shortcomings to produce a story of real wonder and excitement.

However, once the Master is properly back after his Voldemortesqe resurrection, we are again blessed with John Simm’s electrifying take on the character. The Master started off being simply an evil opposite to the Doctor, but since The Keeper of Traken, he has become a Time Lord who is physically, as well as mentally 'wrong'. His return in "Utopia" was as a fully fledged Time Lord, but his botched rebirth here leaves him a nightmarish horror- his flesh repeatedly vanishing to reveal the skeleton beneath, able to fire lightning from his fingers; and all the time, he is ravenously hungry, as shown in scenes that must have caused Yuletide gastric discomfort in a few viewers. The relationship between him and the Doctor is as deftly written as ever. Both need each other on a visceral level- the Master instinctively holds the Doctor as he falls from his own assault. However, once he finds out what is returning, he is perfectly willing to let the Doctor die- his visceral feelings were grounded in his own selfishness.

The story starts off by an imposing voice narrating events in a rather florid manner (but who are the ones who have an infinite capacity for pretension?) which reaches a crescendo in the middle of the first episode- to reveal the face of the Narrator. The Master Plan with his Master Race is only a small part of the grand scheme- for the Time Lords have returned. We are treated to Gallifrey on the last day of the Time War- the dome of the Capitol shattered, the wrecks of Dalek saucers strewn around. The High Council are in session and it is clear that these are a grimmer, more ruthless race than we have ever seen before. The Lord President (as the Narrator turns out to be) deals out disintegration for dissent and, as they descend on Earth, bringing the raging inferno that is the dying Gallifrey with them, it is clear that the destruction of the Time Lords was no accidental side effect. Twisted by the Hell that the war had become, they chose to ascend to godhood- ripping space-time apart in the process, as the final act of the war. Davies’ depiction of the final days of the Time War prove that it is an event that should never be explored on screen- how can anything compare to the images in our minds of The Nightmare Child, the Horde of Travesties and, most wonderful of all, the Could-have-been King with his army of Meanwhiles and Never-weres? It should remain a series of images in our head that point to something we can never fully understand. The Lord President is played with relish by Timothy Dalton, arguably the best actor to play James Bond. He is actually named as Rassilon himself by the Doctor, which makes sense- if the Master was brought back as the ultimate warrior, it makes sense that the founder of Time Lord society be resurrected to lead his people- a people who become just as much the Doctor’s enemy as the Daleks. The Time Lords are truly awesome in their power, Rassilon overcoming the Master’s schemes with a flick of his gauntlet (The Great Glove of Rassilon?) but it is clear that they know that the Doctor is not someone to be underestimated, even with something as primitive as a service revolver in his hand.

Euros Lyn is often overlooked as a director, despite his amazing track record. As the revived programme’s longest serving director, it is fitting that he helms Tennant’s finale. The spectacle demanded by the script is easily realized by Lyn, from the stunning scenes set on Gallifrey to the wonderful Star Wars inspired sequence where the Vinvocci ship has to evade and shoot down seemingly every missile on planet Earth. The appearance of Gallifrey is as awesome as it should be (it seems to be as large compared to the Earth as we are to the Moon). Lyn makes sure every performance counts (even in minor roles such as the Visionary and Shaun, we have Brid Brennan and Karl Collins). I must also mention the incredibly likeable Sinéad Keenan as Addams and a cheeky role for the legendary June Whitfield, in the wonderful sub-plot of the ‘Silver Cloak’- Wilf’s network of OAPs who know everything there is to know in London. Then there is the appearance of the legendary Claire Bloom as a woman who guides events to try and help the Doctor. We never find out who she is (or indeed, her fellow partisan, whose face is never revealed) which is for the best- until we do find out, let us revel in our theories.

There is spectacle to be had, for sure, but there is a heart to the story- the relationship between the Doctor and his companion. Here, that role is taken by Donna’s granddad, Wilf. It is great to see his joy in seeing the Earth from space and to feel the thrill he has in finally sharing in the adventures his granddaughter had. It is in the quieter moments between the Doctor and Wilf that the characters really shine. Both are old men, reaching the end of their lives, which means the Doctor is more open, more emotional with Wilf than he has been with anyone else. Wilf’s decency comes through in every scene, from his refusing to be shamed by the fact that he never took a life as a soldier, to the scene where he immediately rescues a man he has never met from being sealed in the Nuclear Bolt chamber, even though it means he gets sealed himself. Bernard Cribbins is wonderful in the role, mixing his natural lovability with a really strong performance.

But he does get stuck, which leaves us with the Doctor. He has prevailed against the Master, against Rassilon and his Glove (and, no doubt, his Key, Rod and Sash). However, the four knocks come- Wilf in the chamber. The Doctor knows that this is why Wilf has figured so often recently- he is the bringer of his Doom. He will not give his life to save the Universe or even Earth- but to save one man. On Mars he was at his most arrogant, speaking in condescension of ‘the little people’. It is for such a little person that he will make the ultimate sacrifice. He rages like an alcoholic Welsh poet, but in the end, in a scene of genuine heart-wrenching emotion, he saves Wilf, while the old man begs him not to. The scene of the Doctor’s irradiation itself is shot simply- it would scarcely have looked different twenty years ago. Although he gets up, it is clear that the regeneration has started. In the short time given to him, he visits his friends- Martha, Mickey, Sarah Jane, even the descendant of Joan Redfern in a series of scenes that have been earned and therefore avoid being self-indulgent. Although he cannot speak to Donna, he does make sure that she is secure for the future, before taking a trip to the Powell Estate in 2005. But his time has run out.

David Tennant has made the Doctor his own in the hearts and minds of millions in a way no-one has done since Tom Baker. He never failed to put in a great performance and, in some stories, he put in the best performance yet in the role. In watching the entire programme from the beginning one thing is clear- William Hartnell finally has his match in this fantastic actor. It is fitting that the Tenth Doctor’s passing nearly rips the TARDIS apart, in a scene that is shot and scored immaculately. ‘I don’t want to go!’ are his last words- and I’m sure that no-one sane wanted him to go either. Matt Smith seems good enough in his short appearance as the end- but he has a hell of an act to follow.

"The Stolen Earth"/ "Journey's End"

Rose. Martha. Captain Jack and Torchwood. Sarah Jane and Luke. The Daleks. Harriet Jones. This was what we were promised in the teaser for "The Stolen Earth" and it was an increasingly poorly kept secret that Davros was returning. In addition to this, we have the return of Mickey and Jackie and not one, but two Doctors- the phrase ‘everything but the kitchen sink’ springs to mind, but this will be the last regular Doctor Who story until 2010 and so it must have that end-of term feeling of going out with a bang. The Daleks return in a truly spectacular manner- the Earth is moved across space to a location amongst 26 other planets. They do their usual thing of mercilessly subduing any opposition, but this merely incidental. Their ultimate plan is their most ambitious and masterful one since, erm, The Dalek Master Plan. These Daleks were born when Dalek Caan managed to do the impossible and travel back to the Time War. Despite the fact that his sanity was destroyed he managed to bring back Davros himself. Unwittingly taking a leaf from Sutekh’s papyrus, this new Dalek Empire intends to destroy all matter except themselves, leaving them the only life forms in every Universe and every dimension and reality, by using the gravitational fields on the 27 planets to amplify the effects of the ‘reality bomb’. This is a threat that dwarfs even the collapse of the Universe in Logopolis.

The return of practically every recurring character that appeared in the programme since its revival could have resulted in a self-indulgent mess, but Davies knows what he is doing and he understands the characters he has invented and the audience's reaction to them. The webcam session where they all meet is cannily constructed with Rose being an outsider, which probably gave the Martha worshippers a warm feeling inside. It is obvious from Rose's first materialisation that all these characters have changed. Rose spends a lot of time carrying a gun the size of a porpoise. Martha, clad in black, literally holds the key to the destruction of the Earth. As Davros says, the Doctor takes ordinary people and fashions them into weapons. Davies still manages to lighten scenes with some very funny lines- Wilfred's reason for not having a webcam had me in stitches and, of course, even the Daleks know who Harriet Jones is. I also love the fact that the mysterious Shadow Proclamation that has been hinted at since "Rose" is merely a police force, seemingly made up of Judoon and what look like space-age albino versions of the Bennet family from Pride and Prejudice. The cliffhanger is the most thrilling yet and its resolution, although it seems cheap at first, makes sense in terms of the programme's continuity and results in serious plot developments.

Graeme Harper gives this story the epic treatment it deserves with scenes looking incredibly cinematic. He is helped by the most spectacular special effects the programme has had up to this point, from the Dalek attack on the Valiant, to the flotilla of Dalek saucers to the awesome Crucible. Harper makes sure that all the performers are up to scratch. Any quibbles about Piper's performance in "Turn Left" are instantly quashed- Rose Tyler is definitely back with a wonderful performance by Piper. We also see the welcome return of Jackie and Mickey and, I must again heap praise upon Noel Clarke for another moving, yet very dignified performance. However, the best performance is definitely Julian Bleach as Davros. Bleach is definitely Michael Wisher's equal in realising the role, being both cold and calculating and a shrieking madman. The make-up is a fitting update for the character and anyone who wished to know what Davros had under his tunic get the unpleasant shock that they deserve.

This is very much the end of an era, so we are fittingly, given a series of endings that bring to mind Return of the King. We are taken back to Bad Wolf bay again and Rose is left in the parallel universe with the other Doctor. This manages to work because of the deep understanding of the characters that Russell T Davies has. Rose has a selfish streak, but it is proved here that she is not, ultimately, a truly selfish person. However, any emotion that Rose's second departure might have had is eclipsed by the rueful fate of Donna Noble. Of the companions who have travelled with the Doctor, Donna started off with the least and developed the most- a thirtysomething temp from Chiswick becomes half- Time Lord and saves all of creation. However, her human body cannot cope with the intelligence of a Time Lord so, to save her life, the Doctor removes from her memory all of her experiences with him. Once again, she is the eternal temp, eagerly awaiting a new Pringle flavour. Catherine Tate was never less than spectacular as Donna in a performance that should have silenced all her critics, but didn’t, as her critics could not see past their own prejudices. In my opinion, she was the best companion since the return of the programme, a character that was always interesting to watch and I will miss her.

We end on the Doctor being alone (thankfully not jarred by a teaser for the Christmas Special) after a real thrill-fest that had me gripped throughout. And yes, that includes towing the Earth home!

NEXT: "The Next Doctor"

"Turn Left"

Ever since It’s a Wonderful Life, the ‘What if X was not there?’ storyline has been used many times in film and television and it was time for this question to be asked in a Doctor Who episode: What if the Doctor wasn’t there to save us? We are presented with a world where the Doctor died as a result of the encounter with the Empress of the Racnoss. As a consequence, Martha dies when the Judoon steal the Royal Hope Hospital (together with Sarah Jane, who was the only one who stepped up in the absence of the Doctor). The starship Titanic crashes into Buckingham Palace, causing a nuclear explosion that devastates the south of England, causing the breakdown of British society. The USA would help, but the Adipose have harvested their young from the fat of America (one wonders why they didn’t do that in the first place!) Torchwood (with the obvious exception of Captain Jack) also give their lives immolated with the burning of the poison sky. We are presented with a Britain that is truly broken, where martial law is in operation and, eventually, non-British people get shipped off to labour camps. Some may find this a bit too grim, too 'adult', but this is what life would be like without the Doctor- a bit too close to real life for comfort. And it is clear that it isn’t just Britain or even the Earth that is affected. Overhead, without any fuss, the stars are going out...

I have said that the question is what if the Doctor wasn’t there to save us. However, it is soon obvious that the real question is what if Donna wasn’t there to save the Doctor? For the whole thing is brought on by a mysterious fortune teller on the planet of Shan Shen. Somehow, she is persuaded not to take up the job that led to her meeting the Doctor. This is the story of Donna Noble, the temp from Chiswick, whose normal life was ruined, but not destroyed by the horrors that were unleashed upon Britain. This episode is very much Catherine Tate’s and any lingering complaints about her performance should have been thoroughly eradicated. Donna is recognisably the same gobby woman from "The Runaway Bride", but Tate gives her more depth, understanding that Donna is not the one-shot character she once was. She can be crass and rude (such as in her initial treatment of Rocco Colasanto) but she shows real determination and grit and we love her for it. Bernard Cribbins works his inestimable magic in another delightful performance as Wilfred, but Jacqueline King deserves special praise for her excellent performance as Sylvia, effortlessly showing the fight draining out of her. Rocco is played by Joseph Long in a performance that initially screams ‘comedy foreigner’, which makes his eventual fate even more shocking and tragic in a wonderfully judged performance. However, there is another significant character- a mysterious blonde woman who rushes into Donna’s life at key points. Rose is back, although it has to be said that Billie Piper seems to be a tiny bit uncomfortable in the role, like wearing an old pair of shoes. It is wonderful to see her again, however, and her performance is good, in spite of Piper’s uncertainty.

Davies wrote the great script, but it is the masterful direction of Graeme Harper which binds it all together. Scenes of office mundanity are punctuated with tragedy, a bucolic Christmas is shattered by nuclear holocaust. Then, of course there is the unforgettable scene where Donna travels back in time. The beetle on her back is a very basic animatronic creation, but Harper’s direction makes it genuinely creepy. Harper also makes sure that the effects are as blinding as they have always been and Murray Gold provides another outstanding score.

This is a triumphant and thrilling story anchored by a phenomenal performance by Tate. Donna not only saves the Doctor, but saves the world (This is most emphatically *not* a reference to the execrable Heroes). However, Rose whispers two words that, as before, appear everywhere. The cloister bell rings...

NEXT: "The Stolen Earth"/ "Journey's End"

The Sontaran Stratagem"/ "The Poison Sky"

Helen Raynor’s previous Doctor Who story was "Daleks in Manhattan" / "Evolution of the Daleks", which I consider to be the nadir of the relaunched programme by a considerable margin. So it was with great trepidation that I awaited the broadcast of this two-parter. Happily, Raynor provides a far better script this time. The Sontarans storm back and it is obvious that Raynor and Russell T Davies really understand these monsters. Unlike the Daleks and the Cybermen, these are not creatures who have been altered to remove or restrict emotions, but are merely conditioned to be bellicose from birth (or hatching). This obviously means that they are easier to characterise and Raynor does this excellently- the face-off between the Doctor and General Staal at the climax is brilliantly written. The plot is simple, but not predictable and shows inventiveness . The setting at the Rattigan Academy at first seems like something out of The Sarah Jane Adventures, but is incorporated well into the story. Most importantly the script has coherence and internal consistency, the lack of which damned Raynor’s previous Dalek two-parter. The pseudo science is no less fake than in "Daleks in Manhattan" / "Evolution of the Daleks", but it doesn’t contradict itself and such is the verve of the story that it can be forgiven, even the quite extraordinary method used to disseminate the Poison Sky- surely burning it would use up all the oxygen, asphyxiating the Earth even more quickly? The story is helmed by Douglas Mackinnon who directs with great verve, and energy, effectively dealing with spectacular scenes, such as the appearance of the Valiant, to more intimate ones such as Donna’s reunion with her family.

The characters are also well written. Child geniuses are seldom appealing characters, but Luke Rattigan is very memorable and is excellently played by Ryan Sampson. His arrogance is to the fore early on, but his betrayal by the Sontarans leaves him sobbing like an infant on the floor and his redemption is very moving. This story sees the return of UNIT, led by Rupert Holliday-Evans’s Colonel Mace, who plays the Brigadier role (the real one is mentioned for the first time this century and has received a knighthood- hurrah!) and it is good to see that the non-commissioned end of the ranks is not full of stereotypical army grunts. We have the wonderful character of Private Harris, played by Clive Standen, who discovers the clone in the basement. He acts like a typical squaddie, taunting General Staal about his height, yet displays intelligence and sympathy when examining the clone. Staal is played brilliantly by Christopher Ryan, who makes the character a very believable leader of an army of clone warriors, yet is not above humour. The look of the Sontarans takes the best from their previous appearances (i.e. the Kevin Lindsay versions) and updates them with 21st Century prosthetic techniques with very impressive results.

One thing I was very much looking forward to was the return of Martha. Miss Jones is now Dr Jones and Freema Agyeman effortlessly shows her as being more mature, with more responsibility, but still the Martha we know and love. Her performance as her evil clone is nicely underplayed and all the more sinister for that. Donna is great in this, displaying her ‘supertemp’ skills and it is always great to see her family. Anyone expecting a cat-fight between Martha and Donna were to be disappointed and their relationship is good- although I love their differing responses to the Doctor’s safe return. The Doctor is presented in a way closer to the Jon Pertwee era than ever before and David Tennant plays the part with his usual excellence. Raynor wrote very generic Doctor material in her previous story, but this time she goes for archetypal- the Doctor saves the day by inspiring someone to be better.

"The Sontaran Stratagem"/ "The Poison Sky" is wonderful fun and proves that Ms Raynor had it in her all along.

NEXT: "The Doctor's Daughter"

"Partners in Crime"

The opener of the 2008 season is a jolly tale about a miracle slimming cure with some rather unusual side effects. Of course, the Doctor is interested, but we also see the return of the Runaway Bride herself, who has regretted her decision to not accompany the Doctor on her travels. The plot is quirky and easy enough to follow and, again, does not centre on an invasion of Earth, which is refreshing. The major niggle I have is that the Doctor and (especially) Donna’s involvement was the only thing that made the Adipose plan an actual threat- true, the Doctor does point this out, but a little guilt would have been nice. However, the writing is as good as ever, with the story being pitched as more of a light comedy- scenes of the Doctor and Donna missing each other are well staged and gags and great lines flow like wine. "Partners in Crime" doesn’t have to introduce a new character, but this does not mean that there is no character work- Donna is cannily written as being on the other side of a divide from Rose. Rose is young, but can see only a life of chips and TV in front of her, whereas Donna is in her mid-thirties and has the additional feeling that life has passed her by (Martha has purpose and a future even before she meets the Doctor). This means that her joy at being reunited with the Doctor is palpable and felt by all of us.

James Strong again helms the show with great skill in an episode with some stunning scenes. The Adipose babies are lovable, without being unbearably cute, and the CGI of them swarming (assisted by Weta Digital) is jaw-dropping. I love the Close Encounters inspired space-ship at the end and Stacey’s dissolution into Adipose. However, the best scene involves no special effects at all- the wordless conversation between the Doctor and Donna when they first meet. The performances are excellent, with Sarah Lancashire being great as villainess Miss Foster. The legendary Bernard Cribbins returns, with his character revealed as being Donna’s grandfather in a very likeable performance. However, it is the return of Catherine Tate that attracts the most attention. Here she is less brash, but still full of the same spirit she had in "The Runaway Bride". She is very likeable throughout, and I had no problem with spending the next 14 weeks with her. David Tennant clearly enjoys working with her and their on-screen chemistry is wonderful.

So it’s off into time and space again for new adventures- but hang on; who’s that girl?

NEXT: "The Fires of Pompeii"

"Voyage of the Damned"

"Voyage of the Damned" is pure action escapism, providing a Doctor Who spin on the likes of The Poseidon Adventure- by this time, Doctor Who had become a Christmas tradition like a big movie and the OTT nature of the story fits well in the festive season, even with a replica of the Titanic swooping over Buckingham Palace! The characters are engaging and Davies supplies us with his usual fun dialogue- Mr Copper’s unique take on Earth culture is a highlight. The ‘monsters’ are the host, very reminiscent of the titular automatons in The Robots of Death, but whose angelic form recalls a more recent adversary. If there is a criticism, perhaps it lacks the heart of so many other Doctor Who episodes- even Astrid’s passing does not quite move us in the way it should, in a rare case of inadequate character writing by Davies. This is the first time that the credited guest has died and it should really have had more impact. This is purely a character problem- the dialogue is wonderful, when it could be cheesy: 'You're not falling, Astrid; you're flying'.

The story looks and sounds fantastic and we know we are in good directorial hands with James Strong. The episode is stuffed with fantastic set pieces that are thoroughly exciting with stunning special effects. The cast is hugely impressive- Geoffrey Palmer as the Captain exudes dignity and regret, and Russell Tovey is very charismatic as Midshipman Frame. George Costigan is imperiously sleazy as Max Capricorn. The band of survivors are all engagingly played from Jimmy Vee’s Bannakaffalatta to Clive Swift’s hilarious Mr Copper and Rickston Slade, played by the fascinatingly bug-eyed Gray O'Brien. The big guest star is, of course, Kylie Minogue as Astrid. It is easy to forget that Kylie started off as an actress and she exudes the same charisma as she did on Neighbours, making Astrid a very likeable character.

The Doctor is more of an action hero, as befits a disaster movie and David Tennant makes this work perfectly- the moment where he takes charge over the loathsome Rickston makes you want to punch the air. The Doctor even gains a new companion, only to lose her, watching her ghostly form dissolve before his eyes. It is not surprising that at the end, the Doctor is on his own again and wishes to stay that way.

"Voyage of the Damned" lacks some of the substance or soul of previous stories, but it is very well made and supremely entertaining- if you are in the right frame of mind, you will have a blast!

NEXT: "Partners in Crime"