"The Power of the Doctor"

"The Power of the Doctor" is one of the longest individual episodes of Doctor Who ever made. As the story was made in the year that the BBC celebrated its centenary the story has one eye on the past, with more callbacks to the programme's 59 year history, than in the previous 17 years combined. This is also an ending, with the final regular appearance of Jodie Whittaker and Chris Chibnall's swansong as showrunner. It is designed to be a spectacular, a brief that it certainly fulfils, with memorable sequences aplenty to feast the eyes on. The problem is, it appears that Chibnall appears to have written arresting sequences – The Master as Rasputin, the raid on the space train, the child/Qurunx, the volcano plot – and then contrived a plot to connect them together. As the Master's Dalek Plan is to blow up the Earth with volcanoes, everything else is really only window dressing. Some sequences are cribbed from better stories produced under the aegides of his predecessors and with less effect.

As a nostalgic look back, the story is somewhat more successful. The return of Tegan and Ace are very welcome – as someone whose memories of the original run are from the 80s, they were my Jo and Sarah Jane. Both Janet Fielding and Sophie Aldred put their all into their roles and it is truly wonderful to see them together for the first time. Then there are the returning Doctors. Colin Baker's role is rather small but Paul McGann again puts more Doctorliness into his performance in a few minutes than he did in his début. The interaction between Davison, McCoy and their old companions is something special. The scene with the companions' support group is sublime and it is a true joy to see so many familiar faces, with Ian being a particularly wonderful surprise. Kate is back, hopefully to be as constant a presence as her father.

The current roster are not to be forgotten. Dan has a more considered version of Tegan's leaving scene and we have a great performance from our other leading lady. Mandeep Gill has taken Yas way beyond the way she was written and the indescribable contradictory feelings stirred up by the shot of Yas and the Doctor eating ice creams sitting on the TARDIS, is a moment to treasure. Sacha Dhawan has an absolute blast as the Master, bonkers plan or not.

The production is startlingly good, masking the haphazard jigsaw of the plot. Jamie Magnus Stone is probably the stalwart director of this era, so it is fitting that he closes it. Rehashed though some of the concepts are, Stone and the production team make them work.

The Chibnall era was not the utter disaster that I was fearing and yet it can't be denied that the programme is not a patch on what it was from 2005-2017. There were some very good stories, but no real classics which, in hindsight, makes one appreciate all the more that in the RTD and Moffat eras, there were at least two stories per series that were amongst the best examples of television produced in that year. This curate's egg of a story is watchable, but doesn't stand up to repeated viewings, which is typical of Chibnall. Plotting is not his strongest asset as a writer, neither in resolving them or keeping an eye on the subplots. His strength was in quieter character moments and, in his choice of lead, he was helped immeasurably. Jodie Whittaker's charisma and talent papered over many cracks and, in her final moments, Chibnall's writing and her performance harmonise to perfection. After a sequence of potential portentous last words, her parting shot is a flippant quip and the gorgeous visuals of that regeneration give the viewer the ASMR it deserves.

However, I look forward to the return of one of the finest writers in the world to the helm, as he steers Doctor Who into uncharted waters with the casting of the utterly unique Ncuti Gatwa – after he goes into very familiar territory with Whittaker's immediate successor!

NEXT: "The Star Beast"/"Wild Blue Yonder"/"The Giggle"

"Eve of the Daleks"

The Daleks return to herald the new year for the third time. The previous year had seen a rather soulless Chris Chibnall script saved by a very confident production. This time, we have the Daleks and a closing time loop. It's a simple story but one that has, possibly the best script that Chibnall has written to date. There is little fat in the story and the dialogue has a lightness and humour that feel like the effortless sparkle of the Davies and Moffat eras - “Good hearted weirdos are actually the keepers!” is a line truly definitive of Doctor Who itself and one of the finest lines of the era. The Daleks themselves are merciless and constantly adapting and the constant “Daleks do not...” lines go through repetitive to being funny. The events of Flux are dealt with quickly, so we can truly enjoy this episode alone.

There is a very small guest cast, but it is one of the most effective that the programme has ever seen. On paper, Nick seems too bizarre a character to work – a man who hoards his exes' detritus and has an unrequited love could be off-putting, to say the least. Yet Adjani Salmon projects a really likeable sense of naivety that truly defines the good hearted weirdo. However, the main guest role of Sarah is filled by Aisling Bea, one of the funniest, most charismatic and likeable comedians in the world. Bea seems real, sympathetic and hilarious in every second of her screen time. She is so good, that you can imagine a version of the story without the Doctor and her companions, with just Bea and Salmon. 

I loved Graham and Ryan, but the blossoming of Yas has been truly wonderful to behold and the duo of Yas and Dan has succeeded as in a far shorter time than the Fam.  We have a companion in love with the Doctor again, but it's in a more realistic way than ever before – for the first time, Chibnall has handled something better than his predecessors. Dan is the loveable, yet resourceful scamp that he always is. Perhaps necessarily, the Doctor is written rather thinly, but Jodie fills in the gaps magnificently.

The limited locations mean that there is no need for the widescreen vistas and extravagant special effects of past weeks. Yet the production is tight as a drum and even something as mundane as a storage centre is built, lit and shot with care, with Annetta Laufer making something that is, by its nature, repetitive seem constantly fresh. Personally, without being disparaging, 'Beef N' Beans' is one of Chibnall's best gifts to the Whoniverse!

"Eve of the Daleks" was transmitted exactly 50 years after the first episode "Day of the Daleks" and it does its illustrious predecessors proud, a pride that Chibnall has earned the right to feel for himself. I sincerely hope that he won't let us down in the final act of his era.

NEXT: "Legend of the Sea Devils"

There was not an unusually lengthy wait for the next Doctor Who episode following "The Timeless Children". However, what came in between those episodes in the real world, made it seem like the longest wait of all, in a time where many thought that the threads that hold civilisation together would snap. Yet, thankfully, Doctor Who was not stopped by the ravages of COVID and the first day of 2021 brought us a brand new episode and, for Chris Chibnall, that means the return of the Doctor’s deadliest foes.

Again, Chibnall decides to crib freely from the past with The Power of the Daleks (via "Victory of the Daleks") being the main source. The Daleks are used as RoboCops to quell civil unrest and there is another internecine Dalek conflict. As a plot, this is perhaps the least inventive script in well over a decade. It hangs together, but there is virtually nothing that cannot be anticipated by the viewer. There is a prologue which adds nothing to the story and, in fact, removes the surprise of the Daleks’ appearance.

Where the script is far better is in the characters. Yas, as befits what the future will be like, is very much the lead companion and her obsession with not only finding the Doctor, but continuing her work, is very much the heart of the story, and we have a wonderful performance from Mandip Gill. We have the last appearance of Ryan and Graham as regulars and Tosin Cole and Bradley Walsh make us truly regret the splitting up of the fam. John Barrowman returns and his chemistry with his oldest friend is instant. Our leading lady is masterful throughout and Jodie Whittaker somehow makes the decades that separated the Doctor from her fam seem evident in her performance alone.

The secondary villains are the legendary Dame Harriet Walter as the ruthless Prime Minister and Christ Noth returning as Jack Robertson. Whilst it is great to see him, he appears to be in a different story to the rest of the cast (a special mention must me made of the great supporting turn by the hugely versatile Nathan Stewart-Jarrett as Leo) which is a rare fault in the otherwise very impressive helming by Lee Haven Jones. We have seen Dalek saucers flying over London before, but Jones makes it seem fresh and exciting. The scenes in the Dalek factory in Osaka are masterfully shot and, again, the scenes with the Dalek out of its case are very eerie. The RoboCop Daleks are a great design, but it’s great to see the bronze ones return.

"Revolution of the Daleks" is great fun, but, again, it is because a rather anaemic script by Chibnall is given an invigorating transfusion by every other aspect of the production. For the sake of the programme, it is to be hoped that the rest of his tenure will show some improvement.

NEXT: Flux

"Resolution"

When the broadcast date for Jodie Whittaker’s first special was announced, it seemed that Chris Chibnall had committed the ultimate sin – ruining Christmas! Nevertheless, with the glow of a slightly different holiday illuminating it, "Resolution" pulls itself out of being the target for ill-will, by bringing this most mould-breaking of Doctors face-t0-face with her most iconic foe for the first time.

Again, Chris Chibnall borrows heavily from a previous story, in this case the Daleks’ reintroduction to the twenty-first century, in Rob Shearman’s eponymous classic. However, although some of the beats are there – the reconstruction of the creature, the high-speed absorption of the internet – there are sufficient differences to give the story a flavour of its own. There is some nice domestic dialogue involving Ryan and his family and the fumbling hesitancy of Mitch and Lin’s budding romance is well written. Again, the glue binding the script together is nothing like as strong as for RTD and Moffatt, but this is something, it seems, which we have to get used to. The jokes about Brexit and the loss of personal contact are not particularly polished, but are funny nonetheless – although it is to be hoped that we can look back and laugh at the former, in the future!

However, the realisation of the story is what really pulls it from OK to very good. Wayne Yip puts in some spectacular work. The scene with the Dalek mutant possessing Lin is genuinely creepy and it is a master-stroke differentiating the telepathic voice of the Dalek from its more familiar staccato. Lin’s murderous rampage is given a Terminator like urgency and the battle scene with the junk yard Dalek and the soldiers is spectacular. Yip makes these disparate moods blend excellently and he handles the quieter, more personal scenes very well, and he is helped no end by the performers. The very likeable and versatile Charlotte Ritchie is great as Lin and Nikesh Patel dials down his usual dashing look so much, that he is almost unrecognisable as the rather geeky Mitch. Special mention has to be given to Daniel Adegboyega’s wonderful performance as Ryan’s dad, a nuanced and sensitive portrayal that feels genuinely real. The regulars are on fine form and Jodie Whittaker fills the Doctor with the fire that we have come to expect from the Time Lord facing her greatest enemy. Her conversation with the possessed and unpossessed Lin is written generically, but given a spin that only she could.

"Resolution" is a welcome and very enjoyable break from what may be the longest hiatus since the programme’s return. I look forward to welcoming the Doctor and her fam back.

"Twice Upon a Time"

When other Doctors have reached the end of their lives, this century, they have been fighting one of their bitterest foes - The Daleks, the Master and now, the Cybermen. Here, the battle is over, and we are left with a Doctor who, unlike his Tenth incarnation, is all-too willing to go. But he will not be alone...

This is, of course, Moffat's swansong, as well as Capaldi's and there are some familiar concepts that are expanded on. After giving us a Hell (the Teselecta) we are give a Heaven, in the form of Testimony – the NetherSphere without the horror. As with his first ever story for the programme, there are no real villains, because, despite the action-packed set-pieces, this is, more than any other a story about facing death, something that both of the regular characters have actually gone through.

Of course, the other main attraction is the Twelfth Doctor interacting with the First Doctor. The differences in character between incarnations are, as always a source of comedy, especially the First Doctor's rather less enlightened views of the role of women. David Bradley, after playing William Hartnell in An Adventure in Space and Time, now plays Hartnell's role. As with Richard Hurndall before him, Bradley doesn't try to impersonate the great man, but uses his considerable skills to essay an interpretation of the First Doctor that is compatible with Hartnell's. It is a powerful performance that highlights how much the character of the Doctor has changed, and not just his views on women – the speech that Moffat gives the Doctor for his motivation for leaving Gallifrey both ties in with the more detached, reluctant character in "An Unearthly Child" and is completely compatible with the man he will become. Making a very welcome return is Pearl Mackie, effortlessly confirming my opinion that Bill is the best companion of the 21st Century. We also have a nice role for Mark Gatiss who faces death in an all-too human context as the Captain it's the earnest, likeable persona which he does so well, very different from his other appearances. Playing the closest thing to an antagonist in the story is Nikki Amuka Bird, whose calm voice is perfect for the Glass Woman and her very distinctive face is recognisable even when captured as a transparent CGI creation.

Rachel Talalay again helms the story with great skill, again, making slower introspective moments work well with the action, of which we have plenty – the capture of the TARDIS by the Testimony Ship, the Ypres Salient and the horrors lurking around Rusty's domain. The production team are totally committed to making this tapestry bind and shine and the result is a visual feast.

And we are left with our leading man. Peter Capaldi has taken the Doctor into new places and successfully redefined the role. I had high expectations, as soon as his name was announced as the new Doctor and he has never disappointed. Here, he is a resigned, battle-weary hero literally, at the gates of Heaven, but he elects not to go through. Capaldi is funny, fierce, commanding and silly in his final performance as a regular, and he is wonderful and genuinely heartbreaking to see the Doctor's ring fall off his finger.

But it is not heartbreaking to see the owner of the hand that it slips off from. Jodie Whittaker is a phenomenal actress and I very much look forward to the most radical reformatting yet of a character that has survived and thrived for 55 years, precisely because reformatting is vital to the programme’s survival. Long may it continue...

"The Magician's Apprentice"/"The Witch's Familiar"

If there has ever been a greater hook for the fans than the pre-titles sequence to "The Magician's Apprentice" I have yet to see it. As written, however, it serves to anchor the purpose of the story, for, before the main course, we are given a sweeping entrée through the known universe as we are used to from a Moffat two parterbefore two random amuse-bouches of Doctor Who story types - the UNIT story that reintroduces Missy and the wacky pseudo-historical that marks the Doctor's re-entry into the story. We are taken further 'into the Dalek' than we have ever been before - free will apparently means nothing inside a Dalek and the reason for the constant repetition of their most notorious chant is that it is the only vocalisation permitted towards any non Dalek - a good way to reload. We are expressly told what happens to senescent Daleks; immortal they may be, but not ageless (it is good, incidentally, that the more cloacal aspects of the Skarosian slime are addressed and the word 'sewer' used, as the intimations would have been there anyway).

However, this is the tale of the Doctor and Davros and the creator and the created. We are taken to earlier in Skaro's history than we have ever been before and to the apparent end of Davros's life. A goodly portion of "The Witch's Familiar" is taken up with a remarkable conversation between Davros and the Doctor. Davros's seeming deathbed repentance is one of the most shocking moments in the programme's history and only someone blindly subservient to the programme's past would deny that Julian Bleach exceeds Michael Wisher's high mark in his performance in the role. He is helped by the best make-up job for the character yet - recognisably the same, but utterly convincing as simply the face of an old man, so the opening of his Kaled eyes (helped by the framing of the shots) doesn't seem jarring. In addition, we finally find out just how much of Davros's Kaled body is left, as the Doctor literally unseats his arch enemy! Hettie Macdonald puts in stellar work and marshals an outstanding job from the production team, such as the retro, but utterly convincing Skaro and the trips to UNIT and mediaeval Essex, which are treated with as much care as if they had been the centre of the story.

It is testament to the skills of Moffat, Bleach and Michelle Gomez that the first story to feature both Davros and the Master doesn't have one swamping the other. Missy is brought back (the method of her survival, lovingly detailed in the pre-credits sequence in "The Witch's Familiar". Gomez's psychopathic flightiness makes Missy genuinely unpredictable and genuinely frightening, notwithstanding the fact that for the vast majority of their screen time together, the Doctor and Missy are allies. Indeed, Clara is pretty much Missy's companion in the story and Missy is quick to make Clara very much the fall guy in their double act. This makes her apparent betrayal of Clara both totally expected and incredibly powerful. Jenna Coleman effortlessly makes Clara noticeably more mature, as she should be, following the loss of Danny. Capaldi is on fire throughout, whether belting out 'Mickey' on his Yamaha SGV800 (with an invisible wah-wah pedal!) pleading for Clara's life or regenerating the Struldbrugs of Skaro.

The dénouement, brings all these strands together. Embodying a Dalek Empire that has literally been reborn, Davros is triumphant - yet he has forgotten that all his children have been renewed; including the abandoned elder ones. The sewers are, indeed, revolting. Most crucially the Doctor saves the young Davros, answering the question 'Who Made Davros?' with the only acceptable answer 'Skaro'. People who have kindness shown to them when they were younger sometimes still become monsters.

The ninth series opener is a storming piece of work that seems contemporary, retro and timeless at the same time thanks to sterling work on all aspects of creation and production. The Doctor and Clara are again free to wander time and space together. We are, however, left with the promise of a horror awaiting our heroes in the future...

NEXT: "Under the Lake"/"Before the Flood"

"Into the Dalek"

The Daleks are brought into play for their earliest appearance in a new Doctor’s tenure since Patrick Troughton. The setting is a commandeered hospital ship holding human soldiers desperately fighting off against the Daleks. The exact situation is unspecified – these could be the human/Dalek wars from the 20th Century series, or a new war with the growing post-Time War Dalek empire. However, the setting is by no means vital, and neither are the story’s influences, which it wears on its sleeve – 2001: A Space Odyssey, Fantastic Voyage (and, obviously, The Invisible Enemy) and "Dalek" itself, for the story uses its well-worn tropes to probe more deeply into the relationship between the Doctor and his oldest nemeses than ever before.

Ben Wheatley assembles a very impressive cast, with Michael Smiley giving the Colonel a dour, yet sympathetic grit and the always watchable Ben Crompton gives the small role of Ross his all. Most memorably of all is Journey Blue. Zawe Aston is a megastar in the making; she has brought unexpected depths to the comedy roles I have seen her in, and she makes Journey a truly vivid character and I’m sure that I’m not the only one who was disappointed that the Doctor did not acquiesce to her plea to join the TARDIS crew. The production is a triumph, with the awesome space battle at the start, the jaw dropping miniaturisation sequences and the design triumph of the giant Dalek interior. Wheatley’s missteps in directing the fight sequence in "Deep Breath" were clearly a glitch, as he orchestrates some of the finest scenes of Dalek slaughter ever seen on the programme.

Despite this, as with Rob Shearman’s story nine years ago, it is the scenes with the Doctor and a lone, captive Dalek that are the heart of the tale. A damaged Dalek is par for the course for the Doctor, but it is the idea of a Dalek that is so damaged that it has become good that intrigues the Doctor. As I said many moons ago, when it comes to the Daleks, it is not a game for the Doctor and now we find out a bit more about that eternal relationship– the Doctor finally found out who he was when he first met the Daleks and ‘Doctor’ became more than a name. The very concept of a good Dalek is an attack on his identity and he denies that possibility until the very end. In "Dalek", the titular monster said that the Doctor would make a good Dalek, and in this story we see the Doctor as more ruthless and detached than we have seen him since he was last Scottish – his pragmatic use of Ross’s death to save the others and his tasteless joke about it later are not things we would have had from his two predecessors. Capaldi’s performance is a triumph and the fact that this darker, more detached persona is still the Doctor is shown in the scene where the Doctor asks Journey to ask him to take her to the Aristotle nicely - despite the harder exterior, the Doctor still wants to make people better. Phil Ford and Steven Moffat’s script deliberately does not use love or any other emotion as the trigger for the Dalek’s epiphany, but detachment, bringing the Dalek closer to the Doctor. When this Dalek repeats the accusation that Van Statten’s captive made, the implication is different and the look on the Doctor's face speaks volumes.

The fundamental question is whether the Doctor is a good man, something that Clara is unsure of any more. The new relationship between Clara and the Doctor crackles. There is the joke that Clara is his carer, caring so he doesn’t have to, but this is closer to the truth than ever before, with the scene of the Doctor being slapped by his companion being played seriously for the first time. Jenna Coleman makes Clara more appealing as the series goes on and I look forward to seeing how this relationship develops, together with the one with Danny, in which role Samuel Anderson makes an immediate impact.

"Into the Dalek" is, all in all, something of a triumph, transcending its plot to become an adventure that stands up to many multiple viewings. As in "Bad Wolf", there is a lot of transmatting just at the point of death, with Journey meeting the Doctor and Gretchen being the second person we see meeting Missy. Things are getting intriguing...

NEXT: "Robot of Sherwood"

"The Time of the Doctor"

All too soon, it seems, the saga of the Eleventh Doctor comes to an end, such a short while after celebrating the seeming immortality of the character. In fact, one of the things "The Time of the Doctor" is about is confronting the inevitable fact that the grave waits for all of us, even the Doctor. However, this is not the main aim of the story. Neither is the fact that it pretty much ties up all the loose ends in what can loosely be termed the Eleventh Doctor's Arc. The story is about how this silly man can be the greatest warrior and the greatest hero the universe has ever seen.

A mysterious coded message broadcasting to all of space and time has attracted some of the most fearsome armies in the universe to a seemingly innocuous planet. When the Doctor decodes the message, it reveals a question that he has been running from all his life emanating from a crack in the Universe he vainly hoped he had left behind him. A question whose answer could rip the cosmos apart – for it is the Time Lords who ask it and the planet is Trenzalore and, with the Daleks closing in, the Time War could start again. It is here that we meet the oft-mentioned Papal Mainframe, led by Tasha Lem, the 'Mother Superious'. The way in which the layers of Steven Moffat's additions to the Doctor Who mythos finally integrate is joyful – the Silence is a religious order of the Papal Mainframe that was formed to stop the Doctor answering the question, with some chapters breaking off and actually declaring war on the Doctor – all the while unknowing that they are being groomed to become a bridgehead for the Doctor's greatest enemies to finish what they started.

This all seems to indicate a grim story of siege and attrition – yet all two of the three principal characters want to do is celebrate Christmas. Throughout the story, Clara is cooking the Turkey for Christmas dinner with the Oswalds, whom we finally meet in the 'present day'. Although Clara's family do not register as well as they could, this is not true of Ms Oswald herself. Clara is put through the wringer more than she has ever done and Jenna Coleman's performance is delightful and very moving, from her faking her romantic relationship with the Doctor to demonstrating the strength of their real one. Supporting the regulars is the fantastic Orla Brady as Tasha, making us instantly feel that she is an integral part of the Doctor’s life, despite only just having met her. Moffat manages to garnish the story with his trademark humour, juggling the varying moods perfectly. He is helped by a stellar production, with vast fleets of starships, wooden Cybermen and the beauty of a day that lasts minutes. Jamie Payne brings all of this to life with style in another excellent outing in the director's chair.

The Doctor celebrates Christmas in a different way – for Christmas is the name of the town on Trenzalore where the TARDIS materialises. The Doctor will protect Christmas, but not by using its inhabitants as soldiers. When Moffat inherited the role of showrunner, the Doctor was a man who was haunted by the belief that he had committed genocide against his own people. The events of "The Day of the Doctor" removed that burden from his past and now, "The Time of the Doctor" removes another burden from his future. Trenzalore promised a battlefield strewn with the graves of those who died defending the planet. What the Doctor does is defend the people as well as the place; now the graves are those of the people who were saved by the Doctor. The people of Christmas love their saviour, a man who can fix young Barnable's toys whilst holding off the greatest army in the universe. Believing this to be his final life, the Doctor is allowed to retire as only he can, saving the universe and, approaching the end of his second millennium (probably) he looks very much like he did twelve lives ago. However, as has been said before, even the universe cannot bear to be without the Doctor.

Anchoring all of this is the final regular performance in the title role by a man who confounded all initial expectations and exceeded all subsequent ones. Matt Smith inherited the role from a man who made it his own in a way no-one else had done for 30 years – and managed to inhabit the role completely in less than an hour. The youngest actor to play the Doctor managed to make him feel like the oldest, which is reflected in the way he meets his end – his predecessor didn't want to go. He knows what is inevitable, although his successor will not get the bow tie. As I have said before, Peter Capaldi is a phenomenal actor and he immediately makes an impression. But the raggedy man with the big chin will never be forgotten...

NEXT:  "Deep Breath"

"The Day of the Doctor"

The anniversary specials of the programme have always generated interest, but Doctor Who in 2013 is a mainstream success in a way it hasn't been since Dalekmania in the 1960s. It is probably no exaggeration to say, therefore, that "The Day of the Doctor" is probably the most eagerly awaited episode of Doctor Who since "Rose". It has to satisfy the wide mainstream audience that will tune in, whilst keeping an eye on the fans, some of whom remember William Hartnell, some of whom were not even born when Christopher Eccleston was the Doctor. It has to pay tribute to the 50 years of television history that preceded it, whilst trying to tell an engaging story. It is a pleasure to state that the episode manages to succeed in all of these aims on a level that genuinely surprised even me.

More so than any of the other anniversary specials, "The Day of the Doctor" works as a regular Doctor Who adventure, this one being a fiendish plan by the Zygons to take over the Earth. The use of the pictures as suspended animation makes that part of the plot seem like a bright and breezy season opener, with the added bonus of featuring a well-loved adversary from yester-year. However, although the Zygon plot is easily enough to sustain a story in itself, taking place in two time zones and featuring a Zygon Good Queen Bess, this is only the gateway into a deeper story. For the pictures are relics of Gallifrey and of the darkest day of the Doctor's life...

The key thing the audience remembers from Anniversary specials is the current Doctor meeting with past incarnations and here, we have the very welcome return of David Tennant, playing the Doctor like he'd never been away. Joining him is the incarnation we must now call the 'War Doctor' played by the legendary John Hurt. I stated at the end of his era that I thought Tennant was the best leading man the show had had since Hartnell and Hurt is an acting legend, one of the finest in the world, who has always been thoroughly mesmerising in every role he has played. I can think of no better praise for Matt Smith than stating that he completely holds his own in the presence of Hurt and Tennant. Moffat uses the three Doctors more intelligently than his predecessors did – we really get a sense of the centuries dividing them. The War Doctor is definitely the warrior that his predecessor chose to be, but he has not made the key decision that has haunted his successors. It is also a good choice to have a previously unknown incarnation be brought to the fore – the War Doctor has no nostalgic connotations, so he can stand in for all the previous incarnations more effectively, which makes his criticisms of his successors' characteristics all the more potent. Some portions of fandom criticise the perceived modern overuse of the sonic screwdriver, which is alluded to by the War Doctor and then it is shown why the sonic is used so often, as, for the first time this century, the Doctor is locked up! The War Doctor initially has little respect for the flippancy of his successors, but it becomes clear that it is a coping mechanism for something he has not yet done. Little kisses to the past abound, from the title sequence to the fulfilled promise of all the Doctors making an appearance.

Nick Hurran manages to make the episode both completely epic, with the stunning fall of Arcadia and also very low key in the quieter moments. The 3D photography really serves the epic space battles well, but the episode never devolves into a mere 3D showcase. The design is opulent and contains great little touches – apparently the original version of Le Radeau de la Méduse contained no humans! Hurran assembles a great cast, with the very welcome return of Jemma Redgrave as Kate Stewart, a fun turn from Joanna Page as Elizabeth and her Zygon double. There is also the wonderful Ingrid Oliver as Osgood (related to a certain UNIT technician who assisted at Devil's End?) Jenna Coleman continues to sparkle as Clara, whether impersonating witches or out-thinking three incarcerated incarnations of the Doctor. However, there are two minor parts that made my jaw drop – a brief flash of Peter Capaldi's eyes and (possibly) the first uttered words of the Twelfth Doctor; and the return of the most iconic actor to play the Doctor in the 20th Century. Whoever the Curator actually is, it is a true joy to see Tom Baker again!

The decision to rescue Gallifrey may not be acceptable to some, but the way in which it is brought about is excellently constructed. Moffat wants to rescue the Doctor from the burden of committing the genocide of the Daleks and the near omnicide of his home planet. We found out the importance of the name of the Doctor and now we find out what must be done in that name. The emotional consequences are still there, as the Ninth and Tenth Doctors forget what the War Doctor did in his final days. The Doctor has had many titles given to him, but where once he was Death, the Destroyer of Worlds, he is now the more famous aspect of Vishnu, that of Preserver < / pretentiousness >. Moffat's script is superlative, writing and rewriting myth with aplomb, without losing the little touches of humour.

I remember "The Five Doctors" when the programme was in the autumn of its success and I also remember Remembrance of the Daleks and Silver Nemesis when the winds of winter were blowing. The story looks back at the programme's history, but makes sure that it does not rest on its laurels and makes a decisive step forwards into the future. In this November, 50 years after it started, "The Day of the Doctor" is another highlight of a glorious second summer that shows no sign of coming to an end. Long live Doctor Who!

NEXT: "The Time of the Doctor"

"Asylum of the Daleks"

...and we’re back, with the return of the Doctor’s arch enemies for their first starring role in over two years. Since the return of the show, the Daleks have featured in some of the best stories (“Dalek”, "Army of Ghosts"/"Doomsday") and the absolute worst ("Daleks in Manhattan"/ "Evolution of the Daleks"). This is, however, the first time that Moffat has written a Dalek story and, it must be said at the start, his run of excellent series openers remains unbroken.

The plot is simple- The titular Asylum is a planet, containing the insane survivors of the most brutal Dalek conflicts and has been absolutely secure- but a breach has occurred and these horrors could escape. Only the Doctor has what it takes to enter the Asylum and deactivate the force field, so that the Asylum may be destroyed. So far, so generic. However, other threads have been weaved in. The source of the breach is heralded by a voice of an incredibly bright young woman who can marshal Dalek technology like no-one has ever done before, but has a problem mastering the art of soufflé making. Also, as hinted at in the Pond Life shorts, the marriage of Rory and Amy has fallen apart, but it seems that the nightmare of the Asylum, with Amy in danger of succumbing to the Dalek nanogenes in the atmosphere, might be what will bring them together again. It is wonderful how Moffat can show how a relationship where two people are so completely in love can fall apart, but there is, of course, hope, as humanity is a hard thing to lose. Moffat's trademark sparkling dialogue never loses its soul. 'What can you do?' states Amy, regarding her split from Rory. 'What can I do?' says the Doctor. Oswin Oswald is fantastically appealing and ideal companion material, but it, emerges, she really is too good to be true and it emerges that eggs/exterminate joke is darker than initially thought. There is also the brilliant concept of the Dalek zombies which, I hope, will be brought back at some point. The script is so full of ideas and feelings and so tightly constructed that explanations are not needed, even when significant changes in the Whoniverse are intimated- the Daleks are back as a major force in the cosmos, but the Asylum is an artefact of the old, pre Time War, Dalek Empire that is regarded with a mixture of horror and admiration.

Nick Hurran returns to the director’s chair and his eye for a great shot is very welcome. It must be said that "Asylum of the Daleks" is a faster paced, more action packed episode that either of his other episodes, and Hurran seems to be a bit outside his comfort zone- he doesn’t quite pull off the Zombie Dalek attack for example. However, in slower, subtler moments, Hurran is masterful. The selling point for the episode was the fact that it had Daleks from every point in the programme’s history. This is true, but it would have been great to have had the Special Weapons Dalek fire at least one shot! Happily, the RDT era Daleks are the focus, with the bulky new Paradigm Daleks pushed to the background- hopefully it will stay that way and is a sign that Moffat has realised his mistake. As usual, Hurran manages to get the best from a very talented cast. Anamaria Marinca, a wonderfully soulful actress whom I have long been a fan of, is excellent as Darla, the lead Dalek ‘puppet’. The regulars are on fine form, especially one who is not a regular yet. Jenna-Louise Colman is utterly charming as Oswin and I look forward to seeing her join the Doctor on his travels- whatever character she plays. The regulars have to play their parts very carefully, as Amy and Rory's personal crises have to balance perfectly with the perils of the Asylum and Arthur and Karen are totally convincing in this regard. The Doctor has to take a more reactive role that he has ever had to this century, but Moffat knows who the star of the show is and just how good his leading man is. What we get is a very delicate, yet seemingly effortless synergy between the regulars and the writer that is pulled off perfectly.

There have been some comments about Moffat reusing themes. This is nothing new, to be honest- from The Arabian Nights to Dickens, themes have recurred, but to tell different stories. Yes, Oswin is a bit like CAL, the nanogenes cause humans to sprout horrendous alien appendages,¤ etc. The story is different and the effect is different and Moffat is in no way on auto-pilot, but is keen to make things uncertain, to pull us out of our comfort zone- most notably in the fact that the Daleks forget the Doctor, removing one of the oldest relationships in the programme. If the Doctor is the Daleks’ Devil, he has pulled his greatest trick...and I for one am delighted!

NEXT: "Dinosaurs on a Spaceship"

"The Pandorica Opens"/"The Big Bang"

Ever since Steven Moffat was announced as showrunner, speculation was rife as to how he would continue to tell this story of a madman with a box. One subject that would crop up in discussion, is what a Moffat finale would be like- a trip into disquieting horror, a fiendishly clever puzzle-box of a plot, a spectacular showdown. What we got was better, even than this- a story that emphasises why the new teams in front of and behind the cameras are well up to the task, proving that they can forge their own style whilst still making the same programme that we know and love.

Moffat immediately grabs our attention with a dazzling opening that brings back many of the guest stars of the season making it probably the most star-studded eight minutes in British television history. From throughout human history the warning comes: the Pandorica is opening, the TARDIS will explode. The Pandorica is located underneath Stonehenge, which is being guarded by a Roman legion, with one very familiar centurion. When we find out that the Pandorica holds the most feared being in all the cosmos, it was obvious who the only candidate would be, even before the Doctor describes it, ‘soaked in the blood of a billion galaxies... One day it would just drop out of the sky and tear down your world.’ The Pandorica is a prison, but it hasn’t taken delivery of the prisoner yet- the Daleks, the Cybermen, the Nestene, the Sontarans and all the others have come to the same conclusion- the Doctor will destroy the Universe and the only way to stop him is to imprison him for all eternity. the Roman soldiers, including Rory, are Nestene duplicates and as Rory and Amy tearfully reunite, his Auton body kills her. The Pandorica opens, the Pandorica closes. However, the TARDIS has already gone critical and as Rory cradles the body of his beloved, the stars explode as the Earth swims alone in emptiness. The plot for "The Big Bang" seems obvious- resurrect Amy and rescue the Doctor, which is indeed what we get- in the first ten minutes for, as we have come to expect, Moffat makes the second part start slightly askew. We are presented with a reality where the universe consists of the Earth and little else, where penguins lived on the Nile and the orb in the sky is the TARDIS exploding. The Doctor breaks all the rules in this diminished reality to save his friends and take the Pandorica into the TARDIS so that he can restart the Universe.

These are some of the things that happen in the story. It is not, however, what it is about. It is a story about the memories that form our personal pasts. It is about how events do not make history on their own, but rely on how those events are recorded and told. It is about an imaginary friend being as important as a real person. It is a story about stories. The stories that the episodes tell are what bind the narrative together- the Myth of the Pandorica, the Legend of the Centurion, the Rageddy Doctor. Moffat’s writing is sublime with wonderful dialogue- ‘We’re all stories in the end. Just make it a good one, eh?’ and even a cheeky steal from Robin of Sherwood. There are still good jokes, such as the Doctor’s brief fez-wearing phase, but the drama is there in a tale of friendship, love and self-sacrifice. The plot is complex, but fortified with emotion. Many people criticised RTD’s ways of ending his stories (wrongly, in my opinion) and I would like to think that this is the reason why the resolution of the story is via the biggest reset button the programme has ever done. However, as anyone who really understands fiction knows, there are no inherently bad plot devices, just bad uses of them, and Moffat shows that the reset button can make for great drama, if the story is good enough. The stories are all channelled by Amelia Pond to save reality as we know it, and it is a simple cliché which saves the universe- ‘something old, something new, something borrowed, something blue.’ In a joyous moment, Amy’s imaginary friend arrives at her wedding. It was probably inevitable- a cosmos without The Doctor scarcely bears thinking about- but the sheer wonder of the moment is overpowering. Moffat wanted to make Doctor Who as a dark fairy tale- he succeeds admirably.

Calling the shots immaculately is Toby Haynes who gives the story a suitably epic feel. There are almost too many memorable scenes to list, but special mention must be given to possibly the greatest scene involving a Cyberman, that channels Indiana Jones, The Thing and Evil Dead 2 to great effect. There are also the spectacular scenes of the spaceships over Stonehenge, the Dalek begging River for mercy, the beautiful unlocking of the Pandorica. The quieter moments are also expertly handled with the help of a fantastic cast. We have startling performances from Arthur Darvill (who makes a triumphant and very welcome return) and (as expected) Alex Kingston, as well as the return of the adorable Caitlin Blackwood, but it is the regulars who stand out most. Karen Gillan is front and centre for many scenes and she attacks them with relish. As for our leading man- wow. Whether running around with a fez and a mop or bellowing at several fleets of spacecraft, Matt commands our attention throughout. The quiet scenes show him at his best, investing them with great power- when he says to Amy that she will not need her imaginary friend when she had her family, I very nearly cried (but obviously, I didn’t. I am a man, after all). This is one of the greatest performances in the role to date and I hope that all the naysayers are silenced.

The Moffat era has started in fine form with an excellent season. Unexpectedly, although the cracks have closed, the mystery of the Silence- and who is responsible for taking over the TARDIS- are questions still unanswered, not to mention the truth about River. The next series can’t come fast enough.

NEXT: "A Christmas Carol"

"Victory of the Daleks"

Of all the stories broadcast under the Doctor Who banner this century, none have provoked such contradictory feelings within me as "Victory of the Daleks"- two feelings in particular. The first and most important one is that, more than any other, this is a story that should really have been a two parter. Mark Gatiss is too good a writer to produce a truly bad script and the story is brimming with great ideas and some great lines. The basic plot is very similar to The Power of the Daleks, but Gatiss manages to make this story work on its own terms. However, there is just so much crammed into 40 minutes that there is a danger of some of the plot not sticking. The most obvious example is the ‘Space Spitfire’- we are asked to believe that Professor Bracewell’s ‘musings’ could be turned into workable hardware in less than an hour. If you can keep up, this is an exciting ride, but it would have been more satisfying if the story had more time to breathe.

Another casualty of the pace is characterisation, but there are really only two characters, apart from the regulars. Despite the rush, Bracewell succeeds admirably as a character. This is due, in no small part, to the performance of Bill Paterson, an actor I’ve always admired. However, Gatiss manages to take a clichéd sci-fi situation- a man discovering he’s a robot- and manages to make it work- the simplicity of the scene where the Daleks simply state ‘No, we created you’ is very effective. We are given a situation that could be blandly generic- the Doctor and Amy talking to Bracewell to deactivate the Oblivion Continuum within him- but the fact that they use embarrassment as one of the human feelings that needs to be provoked is very refreshing. Then, we have the historical figure du jour- Winston Churchill. In truth, Ian McNeice doesn’t look that much like Churchill, but his studied performance is hugely effective, easily compensating for the fact that the pace of the script has to make him do a U-turn in his attitude to the ‘Ironsides’ without comment. The regulars are awesome- we Doctor’s attempts to goad the Daleks into revealing themselves by battering one with a giant spanner. We also see him hold them off with a Jammie Dodger- Matt Smith has total mastery of the role. Amy continues to be inventive, intuitive and just plain fantastic.

Andrew Gunn keeps up with the pace of the script with a very polished production. The ‘Space Spitfires’ might have been brought into being a bit too soon, but the sight of the most iconic aeroplane in British aviation history, dogfighting with a Dalek saucer is breathtakingly wonderful. The period detail is as wonderful as it was in Moffat’s own trip into the Blitz five years ago and the design is excellent- with one exception. I am afraid that I must join with the vocal minority who do not approve of the new Daleks. I am not against a revamp for the Daleks in principle- the original revamp for "Dalek" was absolutely perfect- keeping very close to the Raymond Cusick originals, yet adding little touches here and there. The Dalek Supreme in "The Stolen Earth"/ "Journey's End" was also a great piece of design. These new Daleks seem a bit too plastic, a bit too vacuum formed and the multi-coloured ‘paradigms’ do not help the look. The worst thing, however, is their backs- they look like Daleks who have gone to seed on port, cigars and Stilton. This is a great pity as the ‘Ironside’ Daleks look great. The scene where the Ironsides bring a new generation into being and willingly accept their own destruction by their offspring would have been a very powerful scene, were it not for the fact that what we see are some very cool Daleks being exterminated by a bunch of bootylicious wannabes. Some fans have been scathing about the design, calling it as bad as Colin Baker’s costume. This is clearly an overreaction, but the effect it has on the story and, indeed, on the Daleks as a whole, is great. Indeed, this is the only time this century that a piece of design work has ever been unsuccessful and I sincerely hope that Steven Moffat reconsiders.

There is much to enjoy in "Victory of the Daleks", but it has problems it cannot solve, despite the considerable talents of all involved. Spread out over two episodes, it could have been genuinely great good enough to counter the negative impact of a failed attempt to revamp one of the most iconic pieces of design of the modern era.

NEXT: "The Time of Angels"/"Flesh and Stone"

"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"

"Daleks in Manhattan" / "Evolution of the Daleks"

"Daleks in Manhattan" / "Evolution of the Daleks" brings the deranged dustbins into play rather earlier in the season than is expected. However, we get a sumptuous looking story set in 1930s New York; an odd idea on paper but a look at this story confirms that, stylistically, the Daleks actually fit in quite well, especially with that grandest example of Art Deco, the Empire State Building. The production is outstanding with excellent design work that makes the viewer feel the atmosphere of New York in the depression, despite the fact that only a few background plates were shot outside of Wales. The special effects are of an excellent standard and the cast is very impressive, ranging from experienced performers such as Hugh Quarshie to very talented newcomers such as Andrew Garfield. I say this at the start, because this story goes horrendously wrong in a way that the programme has not done since it returned and there is one reason- the script.

The set-up is sound enough, which is why "Daleks in Manhattan" is actually a very enjoyable episode. The juxtaposition between the brand-new splendour of the Empire State Building and the misery of Hooverville is used well and forms a strong basis for the initial mystery. However, characterisation is unusually basic- Solomon is the strong leader, Frank the smart youngster. Even the star-cross’d lovers Tallulah and Laszlo are not sufficiently well-written to form a ‘heart’ for the story. The dialogue is OK, but shows a degree of clunkiness that was not evident before. This is all forgiveable in "Daleks in Manhattan", but "Evolution of the Daleks" provides explanations and solutions; both of which are woefully inadequate. The Daleks are dying out, with only the Cult of Skaro remaining. Dalek Sec merges with Mr Diagoras to form a Dalek/human hybrid, but there are other humans kept in hibernation. The plan is to use a solar flare (or is it lightning?) to change their DNA to make them ‘human Daleks’. The DNA is transferred by use of a blue liquid (or is it the Dalekanium on the roof?) Never mind, the Doctor adds a big dose of free-will (that pesky free-will gene!) by getting in the way of the lightning and replacing one of the Dalekanium panels (Er…) which means that the human Daleks start to question and are destroyed.

This is all utter rubbish scientifically, but pseudo-science can be forgiven dramatically- if it is consistent. Helen Raynor’s own pseudo-definition of DNA changes from scene to scene, as does the application of the genetic engineering, which makes the plot hard to follow not because it is too clever, but because it is anything but. This leaves us with situations that are solved by barrages of technobabble, which hints at the atrocity that was the Arc of Infinity plot, and has a clumsiness of construction more reminiscent of the awful Pedler/Davis Cybermen stories than classic Dalek stories. However, plot isn’t everything is it? Unfortunately, as we have seen, the characterisation and dialogue is not at its best. This means that Solomon dies after giving a bizarre speech that is a) is in no way a realistic reaction that a character would make given the events and (b) full of clichés. Solomon conveniently ignores the Doctor’s warnings and the evidence of his own eyes to die in a totally unnecessary manner. The Dalek Sec hybrid is a thoroughly wasted character- any success that it has is due to the performer and special effects.

James Strong puts in a valiant show as director and makes it all look wonderful- the scene where Mr Diagoras is consumed by Dalek Sec is profoundly disturbing, looking both like a devourment and a mating. The revelation of the hybrid at the end of the episode is also masterful (despite being ruined by the Radio Times!) The stage-show scenes are also brilliantly shot and form a very welcome diversion in "Daleks in Manhattan". However, Strong is hamstrung by the limitations of the script- although the end, where the Doctor saves Laszlo’s life is wrecked due to silly decisions in realisation that may not be Raynor’s fault. As said before, the cast is very impressive and largely give good performances. Hugh Quarshie is fantastic as Solomon, in spite of the atrocious writing for the character. Miranda Raison is very memorable as Tallulah and Ryan Carnes effective as Laszlo. I cannot judge the effectiveness of the American accents, but they seem fine, if a little mannered to me. The regulars both emerge with their dignity intact- Martha is especially memorable in this. However, David Tennant has to work with some very generic writing for the Doctor- fortunately he is so good, he gets away with it.

"Daleks in Manhattan" / "Evolution of the Daleks" is a considerable disappointment- an entertaining first episode whose potential is squandered by "Evolution of the Daleks"- the worst episode Doctor Who has had since its revival and the only one I have no desire to revisit.

NEXT: "The Lazarus Experiment"

"Army of Ghosts"/"Doomsday"

"Army of Ghosts" immediately kicks off with a wonderful prologue, narrated by Rose that somehow manages to be both joyful and a lament- ‘the story of how I died’. Our interest has been piqued and is sustained by the intriguing scenario- ‘ghosts’ are appearing all over the world and they have thoroughly captured humanity’s attention. Of course, the Doctor realises that something more material and more sinister is behind the ‘ghosts’. The cause is, in fact, the covert organisation known as Torchwood, who have discovered a breach in space-time, through which has come a mysterious sphere which cannot touched, scanned or perceived in any way apart from sight. Torchwood have been waiting for the Doctor to come back for years but, as always, his arrival brings disaster. The ‘ghosts’ are the impressions of beings who have been trying to break through- the Cybermen from the parallel Earth. Millions of the creatures materialise worldwide- but worse is yet to come. The Sphere, which heralded their coming is not theirs. It cracks open- to reveal Daleks!

The ‘event finale’ is a very welcome development that the relaunched Doctor Who brought along with it. The previous series had the outstanding "Bad Wolf"/ "The Parting of the Ways" so expectations were high; to say they were met is something of an understatement. "Army of Ghosts"/ "Doomsday" is, first of all, tremendous, glorious fun from start to finish, so much so that it doesn’t strike one just how brilliantly written it is. The plot is full of intriguing concepts and ideas from the start, with the ‘ghosts’ and the idea of ‘The Void’ (which has a great deal in common with ‘brane theory’ in astro-physics). Torchwood is finally revealed in all its glory- a mysterious secret organisation that ruthlessly protects its airspace from the alien, yet maintain a ‘people-friendly’ working environment. However, there is one thing about this story that has occurred in the dreams of all Doctor Who fans for decades- Daleks v Cybermen. This is a basic ‘fan-fiction’ idea that has been elevated to something else entirely by a great writer. There is no fan-fulfilling contest to see which is best, as that is certain within a few minutes- the Daleks are a race with hugely advanced technology, capable of time travel, the destruction of entire planetary systems etc. The Cybermen are just bionic humans- they don’t stand a chance. The face-off between Dalek Sec and the Cyberleader shows that you can have memorable dialogue between ‘Stephen Hawking and the speaking clock’ in a scene that is funny, without belittling either of the two races. However, this is not merely an all-action shoot-out, but a story featuring real characters and a great understanding of human nature. The effect of the ‘ghosts’ on humanity is brilliantly observed- they have an instant effect on popular culture, but also appeal to a very basic yearning that all people have. Jackie imagines the shadowy figure that appears in her front room has the smell of her deceased father, but it is obvious that she is deluding herself. In the middle of a pitched battle, Jackie meets the alternative Pete in a scene that is funny, touching and, most importantly, does not make us want to fast-forward to the next bit of action. Davies plays with our preconceptions and confounds them with something simpler- and better. We see something called the ‘Genesis Ark’ which must, of course contain Davros. It is, instead, a dimensionally transcendental prison ship- with an army of Daleks inside.

Graeme Harper truly makes this an epic visual feast- the scene where a legion of Cybermen shoot up at a flotilla of dive-bombing Daleks is a sight which, were it to be taken back in time and shown to a 1980s Doctor Who fan, would probably kill them from pure ecstasy. The script has changes of mood and pace that require direction that is equally as sophisticated- and this is precisely what we get. From the nightmarish appearance of a Cyberman in a child’s bedroom to the beauty of the opening scene, Harper shows he is still, very much, at the top of his field. The cast is superb, with Tracy-Ann Oberman being phenomenal as Yvonne- ruthless and driven, but keen to know all of her underlings, and by no means evil. Raji James is also quietly effective as Dr Singh. One of the highlights is the reappearance of Mickey, brilliantly played, as always, by Noel Clarke.

It ends, of course, with the Doctor and Rose separated in different dimensions. These final scenes are beautiful and heartbreaking, a triumph for both Davies and Harper, but also a final showcase for the skills of Billie Piper. Rose was our identification figure for the relaunch of the most bonkers and brilliant idea in television history and Piper never put in a bad performance and this, her last one as a regular, is simply phenomenal. It is odd to remember how apprehensive some were about David Tennant- by the time this was broadcast, he was Doctor Who and he gives his best performance yet.

So it ends with a beautifully heartbreaking scene, very reminiscent of His Dark Materials (a comparison that Philip Pullman welcomes with his typical generosity) that caps a fantastic story and a great season.

NEXT: "The Runaway Bride"

"Bad Wolf"/"The Parting of the Ways"

When Doctor Who was relaunched, I was, make no mistake, very happy it was back- but I didn’t expect that it would grow on me to such an extent that the week between "Bad Wolf" and "The Parting of the Ways" would be one of the longest weeks of my life. This story confounds expectations at every turn, pulling you in all the way. It starts off in, what is recognisably the UK version with Big Brother- ironically, I write this in the year that Big Brother UK was cancelled. The bloodthirsty futuristic versions of programmes such as Big Brother, What Not to Wear and The Weakest Link are funny without losing the sense of unease and disorientation. Davies starts with the Doctor, Rose and Jack already in the games, which adds to this sense. It is revealed that this is Satellite 5 from "The Long Game" a century on. The Doctor’s actions in "The Long Game" have not solved the wrongness of that future. Indeed, the head-chip technology seem to have evolved into the disturbing figure of the Controller- a woman who has lived her entire life plugged into what is now called the GameStation. There is a reason for this- this world has been twisted by the last surviving Daleks and they’re ready to invade…

The ways in which these pieces are slotted into place are expertly managed by Russell T Davies but this is just the plot and, to be honest, plot is only the most important thing in a story if you are a child. This is also the story how, by making Rose a better person, she redeems him. It is about how Jack is improved as a person and how he craves the Doctor’s love without being jealous of Rose. And, of course, it is the Doctor coming to terms with committing genocide and paying the ultimate price. One thing has been made abundantly clear in this season- with the Daleks, it is not a game for the Doctor. He is uninterested in their demands, has no room for negotiation- he just tells them what he will do, in a scene that, even on the nth viewing, still sends shivers down my spine. The story also shows a new type of Dalek, twisted by the fact of their hybrid nature into religious mania. The characters Davies creates are all very real, from the programmers to Rodrick, a character who acts like a bastard, but is clearly human, evidenced in his helping of Rose to acclimatise. We have the lovely Linda (sorry, Lynda), whom we all want to become a companion. Yet, in the middle of this, we have the very ordinary conversations that Rose has with Mickey and Jackie in the chippy, which only add to the drama. I also love the implication that watching mindless TV junk can save us- the Daleks have no time for reality TV! Through all of this, Davies writes dialogue that is evocative, funny, heartbreaking- all that we have come to expect from one of the greatest television writers in the world.

Sadly, this would be Joe Ahearne’s final stint in the director’s chair for the programme and he certainly goes out on a high, with an embarrassment of beautifully shot, memorable scenes that span multiple moods and textures- the revelation of the Dalek fleet, the disorientating opening scenes in the TV shows, the wonderful rescue of Rose from the Dalek mothership, the subtle revelation of the Dalek in reflection, the scenes with the Controller and whole armies of Daleks. Then there is the astonishing sequence when the Doctor believes Rose has been exterminated, the heartbreaking hologram scene and the death of Lynda. Ahearne juggles varying moods, settings and characters with expert skill. He also makes sure that the performances are superlative. We have the fantastic Paterson Joseph as Rodrick (thankfully made before "Numberwang!") and Jo Joyner being eminently lovable as Lynda. Nisha K Nayar and Jo Stone-Fewings give real depth to the programmers. Meanwhile, back on Earth, Noel Clarke continues his excellent, heartfelt portrayal as Mickey and is ably supported by Camille Coduri. John Barrowman plays Jack’s relationship with the Doctor as being half devotion to a superior officer and half unrequited love- there is genuine hurt on his face at times. Billie Piper continues to amaze- Rose is everything from determined everywoman to godly being, which she carries off with aplomb.

The production is of a consistently superb standard, with a brilliantly rendered (and refreshingly retro!) Dalek fleet and the jaw-dropping scenes that feature the Dalek Emperor. Nick Briggs manages to make him sound exactly like he did in The Evil of the Daleks and there is the pleasant surprise of hearing the ‘Dalek Computer’ sound effect. This is also a good time to praise two regular contributors. Murray Gold’s music was superlative, albeit sometimes a bit high in the mix, which is not his fault. Then there is the cinematography by Ernest Vincze, who managed to make every shot look fantastic.

And now we come to the end. The quandary faced by the Doctor- destroy the Daleks and the human race or let the Daleks spread their tyranny across the universe- is solved by Rose’s return, rippling with the power from the TARDIS, to destroy the Daleks. People cry ‘deus ex machina’ as if the writer has never heard of the term. Rose is turned into a super being by the TARDIS- she literally is a god from the machine! Whatever the plot niggles of this (and, as I think I explained earlier, plot is not the most important thing) the writing is beautifully epic, the direction superb. However, Rose is being destroyed by the energy, so the Doctor kisses her, to remove it and heal her. However, the damage is permanent and his body explodes with energy- to reveal a different face.

Christopher Eccleston was never less than brilliant in the role and he rounds off the season and the era with, perhaps his best ever performance. From his defiance of the Daleks, to his speechless anguish at seeing Rose apparently die, to his moment of turmoil after closing the TARDIS doors on the Daleks, he constantly arrests our attention. Doctor Who’s return was an utter triumph, with, perhaps, the most consistently great season since season 18 and the only Doctor for whom I would wholeheartedly recommend every story of his entire era.

NEXT: "Born Again"- Children In Need

"Dalek"

As I pointed out before, if there is any doubt that the programme you are watching is indeed Doctor Who, there is one guaranteed solution, as the production team first decided with the arrival of Patrick Troughton. This episode was (next to "Rose") the one we were all waiting for. Rob Shearman's script is based on a base-under siege type plotline which has, in the past, led to some of the least interesting stories in Doctor Who's history. However, Shearman is out to do much more than tell a tale that adheres to tried and tested formulae. Doctor Who's most iconic monster is back and it has to be as frightening for the children of 2005 as the 1964 version was, so there are many scenes of the Dalek being awesome, using the very things that it has been mocked for- the plunger, apparent stair impairment- and turning them on their head. The Dalek is a nightmare in chrome, able to kill hundreds of people with little effort. There is a great piece of dialogue where Van Statten asks what the Dalek wants and the Doctor replies that it wants to kill any human that it sees:

- 'But why would it do that?'
- 'Because it honestly believes that they should die.'

"Dalek" also explores the character of the Doctor. It is revealed that the Time War which destroyed the Time Lords was fought against the Daleks. The Doctor acts in a way that we have never seen him act before, gleefully taunting the Dalek and even torturing it. In the end, he is actually pointing a gun at it. For the first time ever, we see the Doctor actually hate his enemy, the first time ever that the Doctor's motivation is primarily his own self-interest and desire and the skill of the writing is such that it doesn't seem like a betrayal of the character. As a contrast, Rose has no preconceptions of the Dalek, which contrasts well with the Doctor's hatred and, perhaps, helps in the healing of the Doctor. The story takes the contentious step of humanising the Dalek, which is done very well and the added twist that it is this humanisation which makes the Dalek want to commit suicide is excellent. There are a few clunky bits ('Thank you, Doctor, but I think I know how to handle one single tin robot') but they are very few and far between.

The writing of the other characters is not as complex, but this is compensated for by some witty dialogue and some excellent performances. Corey Johnson, a very talented American stage actor, plays Van Statten to perfection and is ably supported by Anna-Louise Plowman. Bruno Langley is quite effective as Adam and Nicholas Briggs is flawless as the Dalek voice- we finally hear what a Dalek sounds like when it isn't shouting. However, the regulars are absolutely phenomenal, especially Christopher Eccleston who fully conveys degrees of pain and rage that the Doctor has never shown before.

The episode also benefits from the fantastic direction of Joe Ahearne. Not only does he command a great cast, but he knows exactly what angles to choose, how the camera should move etc which, when one compares it with "Aliens of London"/ "World War Three" doesn't leave one with the best impression of Keith Boak. The production is flawless, with a special mention for the Dalek- instantly recognisable, but spruced up with subtle touches to make it more visually interesting. The scenes of the Dalek mutant opening its casing and reaching for the Sun are sublime, a triumph of effects and direction.

I watched this story three times in a row when it was broadcast and, watching it again, I realised that it is still a very strong story and well worth the time.

NEXT: "The Long Game"

Remembrance of the Daleks

For the first time in what seemed like ages, everyone was talking about last night’s Doctor Who in school, not just the few of us who still watched religiously (although this was, sadly, not reflected by the viewing habits of the British public in general). By the time the story had finished broadcasting, one thing was certain: Doctor Who had suddenly and miraculously got its act back together. On the face of it, the story was similar to some of the worst of mid-80s Doctor Who in that it had many fan-pleasing references to the series’ past, but the first thing that one notices about Ben Aaronovitch’s excellent script is that, despite references to Omega, Rassilon, Spiridon and the like, the story is not dependent on references to the past- it stands up on its own and can be enjoyed by a complete newcomer and the fact that a previous history is referred to actually adds verisimilitude and texture, rather than alienating the casual viewer- they’re there if you want to look, but are not essential to the story. Previous attempts at referring to the series’ past continuity tended to needlessly complicated the plots, but the plot here is easy to follow- two rival Dalek factions have arrived on Earth to gain control of a powerful Time Lord device left behind by the Doctor. Beyond this storyline, however, there is a good deal more to enjoy in the script. The characterisation is excellent- Group Captain Gilmore comes off as being far more than the flat authority figures that the Doctor usually deals with. Professor Rachel Jensen and her assistant Allison work together wonderfully and even Ratcliffe and his Association work well, even though it seems at times that the parallels between the Daleks and neo-fascists can come across as heavy handed.

The realisation of the story is equally expert, from the great pre-titles sequence to the excellent location filming and the almost flawless production design. Andrew Morgan doesn’t put a foot wrong and it is not surprising that there are many images that lodge in the mind, such as the Predator style heads up display, the new Dalek guns, the Special Weapons Dalek, the eerie child etc. Morgan knows how to manage moods from frenetic action scenes and moments of introspection, making the story flow very well. The Daleks themselves look better than they have ever done and the special effects are very good. It is pleasantly surprising how few allowances the present day viewer has to make for the story.

The story is also blessed with an outstanding supporting cast, with Simon Williams’s outstanding Gilmore, Pamela Salem’s Rachel and Dursley McLinden’s Mike Smith. George Sewell deserves special praise for managing to convey the wretchedly pathetic nature of people like Ratcliffe, while still making him despicable. It is clear that in Sophie Aldred and Sylvester McCoy, we have a new, instantly brilliant set of leads. Ace is unlike any other companion, beating up Daleks with a molecularly charged baseball bat, jumping through windows, yet feeling genuinely hurt and betrayed by Mike’s actions. This is the start of the Doctor as manipulator and him using that part of his nature in, basically, clearing up after himself. However, McCoy still has that wonderful scene with Joseph Marcell in the café, where he almost acts like someone who has genuinely come home after a long trip –‘It’ll be twins!’

Remembrance of the Daleks was the first story in the 25th Anniversary season and, from the start, it plays with the memories of generations of viewers- there is a shot of Coal Hill School at the beginning and we see Rachel walking past- I’m sure many older viewers instantly thought it was Barbara. The Daleks are portrayed as genuinely terrifying machines of menace, just as older viewers remembered them and they dominate the story in a way they hadn’t really done since The Evil of the Daleks. Davros appears, but only in the last episode and what we think was Davros is something else. And there is the moment that everyone was talking about- the Dalek following the Doctor up the stairs.

Remembrance of the Daleks is the best Dalek story since the Troughton Era and there is a strong case for it being the best Dalek story of the 20th Century. It is a wonderful story that can be appreciated by casual viewer and hardcore fan alike.

NEXT: The Happiness Patrol

Revelation of the Daleks

Eric Saward's last Dalek story boasted one of the worst scripts he ever wrote and, Revelation of the Daleks shares one of the main problems with its predecessor (and, indeed many other Saward scripts)- the Doctor is not the prime mover of the plot. However, if you ignore the fact that the Doctor (and, indeed, the Daleks) play lesser roles in the plot, it becomes evident that this is easily Saward's best script. Despite containing a few redundant sub-plots, it maintains a coherent narrative and has great dialogue and characterisation. Saward wrote this story after a very enjoyable holiday and his joy in writing it clearly shows. One oft-cited inspiration for this story is Evelyn Waugh's The Loved One, which pokes fun at the morbid tackiness of American funeral homes as only the brilliant, if odious, Waugh could. To this, Saward adds Soylent Green style cannibalism and intimations of necrophilia. Needless to say, this would never have made today!

The excellent script by Saward is more than matched by the very welcome return of Graeme Harper as director. Again, his understanding of using the camera to tell the story is obvious in every scene, creating unease and tension by composition or angle. He is backed up by excellent production values across the board- look at the nauseatingly realistic make-up on the mutant, the flawless matte work and excellent set and costume design, with the garish colour schemes that characterised the Colin Baker era actually being used to the story's advantage. A very underrated triumph of Harper's is to take several varying moods- black comedy, a portrayal of an alcoholic, some of the strongest violence of the season, Alexei Sayle- and make them fit together and work.

Harper is also a master of marshalling actors, and with a cast this impressive, the characters are a joy to watch. Saward seems to be doing his own take on Holmesian double-acts and they are realised very successfully- Eleanor Bron and Hugh Walters seem to anticipate Wilhelmina and Marc from Ugly Betty by 20 years (not that I watch it…ahem) and Trevor Cooper and Colin Spaull are excellent as Takis and Lilt. There is William Gaunt's dignified, yet knowing portrayal of Orcini which effortlessly shows both the man's morality and ruthlessness. Then there is the relationship between Tasambeker and Jobel. Clive Swift is excellent, but he could do this role in his sleep. Jenny Thomasin's performance is actually very skilled, making Tasambeker both sympathetic and unlikeable- a very tall order. A special mention must be given to Terry Molloy's best performance as Davros, making him seem, for the first time, as cunning and as dangerous as he was in Genesis of the Daleks.

The Doctor is not only a minor player in the story, but seems to have become a bit less likeable on paper. However, thanks to Colin Baker's complete understanding of the role and Harper's direction, this portrayal works excellently. Peri is again the object of lust, but this is a minor point and Nicola Bryant puts in a very effective performance.

Revelation of the Daleks has very little to do with Daleks or the Doctor and, it could be argued, that this raises the question of whether it works as a Doctor Who story at all- however, it is a great piece of television drama by any standard, easily the best Colin Baker story.

NEXT: The Trial of a Time Lord

Resurrection of the Daleks

Despite its success, the Peter Davison era needed a little something extra to fully validate it in viewers' eyes- an appearance by the show's most iconic adversaries. It had been five years since the last, somewhat disappointing Dalek story, which is probably why writer Eric Saward sees fit to cram as many plot points into it as possible. We have the Daleks losing a war to the Movellans, which prompts them to resurrect Davros. We have the Daleks also planning an attack on Gallifrey. We have Dalek agents, who are duplicates. We have Davros plotting secretly to gain control of the Daleks. This does read like it could be a Byzantine plot of power struggles and intrigue. Instead, what we are given is a series of set pieces that are so clumsily joined together it makes one wonder at Saward's appointment as script editor on a basic level- for example, the Doctor never meets Styles, a major character and only shares one scene with Lytton, in which they don't actually converse. The dialogue is generic and uninspired and the characterisation is so bad, that if this were a radio script, the listener would totally lose track of who was who. Most seriously, Saward gives the Doctor virtually no role in the resolution of the plot- he is carried along by events almost as much as the supporting characters.

What makes this story watchable is the realisation. Matthew Robinson creates many memorable scenes- the wonderfully shot opening sequence on the Shad Thames, the memorable first appearance of the Daleks (lovingly ripped off from Darth Vader's entrance in Star Wars), the horrific scenes of the faces of the space station crew dissolving. Even the special effects, which are not much better technically than with other stories of the era, seem better due to the direction. This, combined with effective production design make this story very nice to look at.

The guest performances contain a few standouts, most notably Maurice Colburne as Lytton, who is utterly compelling from the first moment he appears. Rula Lenska also does good work as Styles and Rodney Bewes manages to rescue his badly written, poorly thought out character. However, some of the other actors are not as successful. Jim Findley is not exactly bad as Mercer, but he is clearly out of his depth and Sneh Gupta, whilst being very good looking, lacks the chops to fully realise her character. Matthew Robinson marshals these variable talents to the best possible level, although he makes Chloe Ashcroft scream in a very feral way, for some reason and Del Henney's death scene is ridiculous. Terry Molloy makes a far better Davros than David Gooderson, although the subtlety of Michael Wisher's portrayal has largely been lost.

This is the final story for Janet Fielding. Tegan was often poorly characterised, but Fielding always managed to make Tegan interesting to watch and made her, in my opinion, one of the great companions. Her leaving scene is the only unqualified success of the story, beautifully written, acted and shot. Mark Strickson again makes Turlough shine, but it is Davison who takes the laurels again. As said before, the Doctor is treated worse in the script than any previous story, but Davison manages to make us believe that it is the character we know and love.

They say you can't polish a turd, but Resurrection of the Daleks proves that you can, at least, varnish one. It works as entertainment if you watch it once, but the more you watch it, the more the sheer incompetence of the script becomes evident.

NEXT: Planet of Fire