Doctor Who (2005)
So Doctor Who was back, but could it stay? Could it sustain itself in the television landscape of 2005?
It's tempting to take that as a given, but the show had already failed to properly restart itself in 1996 and television history is littered with attempts to restart series that failed. That said, television history also has a fair amount of restarts that succeeded too. Which would Doctor Who turn out to be?
Well, it's 2021 as I'm typing this (and it may be early 2022 when it gets posted) so it's safe to say that Doctor Who came through its return ok, better than ok, really.
But back when this episode aired, that was still very up in the air. Doctor Who had returned, but television was very different in 2005 than it had been in 1989 when the show departed the airwaves.
How would Doctor Who adapt to survive in this new landscape?
Summary
The Doctor takes Rose 5 Billion years into the future, where they are guests on Platform One, a space station where the wealthy of the galaxy are gathering to watch the final end of the Earth as the sun expands, destroying it.
As the guests arrive, they meet the blue-skinned Moxx of Balhoon, the giant head-in-a-jar that is the Face of Boe, the sentient humanoid tree Jabe, the cloaked Adherents of the Repeated Meme and the "last human" Lady Cassandra (basically just a flat piece of skin with a face due to countless cosmetic procedures.)
Rose is overwhelmed by the sheer "alien"-ness of these people and wanders off to be alone, eventually meeting and befriending a station-worker named Raffalo, who is, unfortunately, murdered shortly after Rose leaves her. The murderers are small, spider-like robots hidden in the spheres the Adherents have been distributing as "gifts of peace."
The Doctor finds Rose and they have an argument when he refuses to discuss who he is and where he comes from. They soon make up, however, but then the entire Platform shakes and the Doctor suspects trouble. He is correct and the spiders murder the Platform's Steward when he tries to investigate, by lowering the sun filter in his office and exposing him directly to the heat and solar radiation.
Jabe, who has scanned the Doctor and is curious about him, shows the Doctor to the maintenance corridors while Rose talks with Cassandra. Rose and Cassandra don't get along when Rose realizes how superficial and elitist Cassandra is. Not long after, Rose is knocked unconscious by the Adherents and locked in an observation deck with the sun filter descending. The Doctor and Jabe discover one of the spiders, which the Doctor recognizes as a saboteur. Returning, the Doctor finds Rose and manages to raise the sun filter before she is killed, but the door is stuck shut by the heat, trapping Rose on the deck.
The Doctor and Jabe return to the others, where the Doctor reprograms the spider to seek out its master. First it identifies the Adherents, but the Doctor easily sees that they are just mechanical scapegoats for Cassandra. She explains that she'd hoped to manufacture a hostage scenario for the money but has a backup plan, shares in the companies owned by her fellow guests that will triple in price upon their deaths, before teleporting off the Platform as her spiders explode, leaving the Platform without computer control to raise its shields when the Earth explodes.
The Doctor and Jabe make their way to the Platform's air conditioning chamber to reset the computer, but Jabe must hold the switch which slows the air conditioning fans for the Doctor to get through, which results in her death by incineration when the heat rises. The Doctor manages to reset the computer and raise the shields with just a second to spare before the planet blows up, saving Rose and the Platform but several guests have died when the heat penetrated the hull.
Angry over Jabe's death, the Doctor finds Cassandra's teleport feed and returns her to the Platform, but without her two assistants whose job is to moisturize her. The increased heat on the Platform causes her to dry out. Despite Rose's protests, the Doctor allows her to dry to the point where her skin-body stretches out and explodes.
Rose notes that, in all the panic, no one was really paying attention to the demise of the Earth itself. The Doctor then takes her back to the modern day. As they talk, on a crowded sidewalk, the Doctor explains that his own planet was destroyed in a war that they lost, leaving him as the Last of the Time Lords. Rose reminds him that he is no longer alone and they head off to get some chips.
Crew Credits
Writer: Russell T Davies
Director: Euros Lyn
Producer: Phil Collinson
Overview
This is something of a riskier episode than the first one. Rose was pretty grounded in reality. Yes, there were aliens and killer dummies, the TARDIS and the Doctor himself, but it was set in a world the audience would recognize, their own.
This is not. If anything, this is the show going out of its way to be alien, to show weirdness and oddity. Like Rose, the audience is bombarded with alien beings and alien concepts in rapid fire fashion. The few touchstones we have to the present day are warped and changed, like songs from Soft Cell and Britney Spears being presented as the work of "Earth's greatest composers." Familiar things are presented as not what they should be. Even the "last human" is just a piece of skin.
Indeed, the most recognizably unchanged bits of modern culture are the negative ones. Classism has clearly survived the past 5 billion years. If anything it's gotten worse, if the fact that Raffalo need's to be given permission to even speak is any indication. The Doctor's and Rose's conversations with Cassandra also make it clear that elitism and racism (now expanded to speciesism) remain as well.
That these unpleasant parts of modern society have survived into the future is in stark contrast to shows like Star Trek, which posit a future in which humankind has "evolved" beyond such things. Doctor Who is presenting a different sort of future, one in which the universal problems of today remain the universal problems of tomorrow, just as they were the universal problems of yesterday. As the Doctor accurately puts it, "5 billion years and it still all comes down to money." Because of course it does.
Russell T Davies, the showrunner and writer of this episode has a wonderfully dark streak of cynicism that runs through his work and it's rearing its head for the first time here. Doctor Who presents a future that is different, for sure, but not necessarily better.
He's also, in this episode, presenting the audience, particularly the audience from the classic series, with a lot more changes from what has come before than he did in Rose. When I say this, I don't really mean in terms of the places and times the Doctor and his companions will go. Classic Who was full of space stations and aliens and whodunnits and killer robots. Even villains whose motives were profit-driven weren't uncommon.
No, when I say changes, I'm talking about how Doctor Who is going to tell its stories now.
The pace is much faster. I've mentioned this before, of course, but this episode makes it clear that it wasn't just the first episode that was going to take this approach. Information is going to come flying at the audience quickly. The show trusts the audience to keep up and doesn't make allowances for people's inability to do so. (Although it's worth noting that this was the first iteration of Doctor Who to be made with the knowledge that the audience would have the option pausing and rewinding to catch things they missed, an option not available during any of Classic Who's long original run.)
In addition to pacing changes, there are some alterations to the tools being used to tell Doctor Who's stories. For a start, there's more presence of metafictional jokes. By that, I mean jokes that require knowledge beyond Who's fictional world to make them work. In order to get the joke about Britney Spears being one of humanity's greatest composers, one needs knowledge of how Britney Spears' music is regarded in 2005, as disposable pop. These jokes presume a familiarity with culture icons beyond Doctor Who itself. Such an approach was extremely rare in the classic series. (Although it's worth noting that, one of the few times it used that approach, it made the same joke using the Beatles.)
If that's something that got more emphasis than in the classic series, let's talk about something there's less emphasis on: the technical side of things. Before delving into what's changed, though, I do want to be clear about something. Doctor Who's science has always been nonsensical. Filling the dialogue with technical-sounding words is not the same thing as being hard science. Doctor Who has never, ever been a hard science program. (No, Season 18 is not an exception. If anything it's more fantastical than many other seasons. It's just more serious in its presentation.)
What this episode is doing, however, is setting aside those technical-sounding words almost entirely to focus on the characters and the plot. Yes, there are technical issues to be dealt with, like robot spiders, sun filters, teleports, platform shields, system resets and giant rotating fans but those are obstacles to be overcome and the narrative treats them as such. The emphasis is on the people doing the overcoming, not the obstacles themselves. It's why the Doctor deals with several of those things with relative ease. (And when he doesn't, it's because the scene is actually about something else. The scene with the fans, for instance, is about Jabe's death far more than the act of crossing the fans.)
For instance, there's no need for an extended sequence in which the Doctor deduces where Cassandra's teleport feed is, or one in which he painstakingly reverses it. (Both of which I'd have expected in the classic series.) He finds it and recalls Cassandra over a couple lines of dialogue because the meat of the scene is the Doctor's emotional state and what that state leads him to do.
I mentioned the huge, rotating fans above. They're ridiculous. But that's not an accident. They're one of those metafictional jokes. There are big, rotating fans of death in front of the switch the Doctor needs to get to because...well, because of course there are. That's a cliche of the genre and the audience, steeped in such cliches from years of watching science fiction (including Classic Who) expects something like that.
Now...let's talk about sex.
Well, let's talk about Doctor Who talking about sex, anyway. I mentioned, when talking about Rose, that the scene where the Doctor rejects Jackie feels like it's there for those old school Who fans who prefer the Doctor to remain asexual. There's no such acknowledgment in this episode. Jabe flirts with the Doctor and, perhaps more importantly, the Doctor flirts back.
Don't get me wrong. There's no real romance between them. It's just flirting. (In fact, one of the weirdest complaints I've ever heard about Doctor Who 2005+ is that it's turned the Doctor into "Kirk." I'm honestly a bit perplexed by this and left to wonder if people are accidentally or deliberately conflating flirting with actual romance/sex.)
Nevertheless, the significant change here is the acknowledgment that romance and sex are an actual part of Doctor Who's world and, potentially, part of the Doctor own life. It's not particularly subtle either, with Jabe assuming Rose to be, amongst other possibilities, a concubine or prostitute. In the Classic Who days, the acknowledgment of sex in the world was rare and subtle, with romance generally rearing it's head only as companions departed the series, or between serial-specific characters. It was a rarity...and that changed with this episode.
Why? Because the world changed. Sex and romance were no longer the verboten categories that they had been when the classic series ended. As with the pacing and the format, the series adapted to the times.
In all of this stuff that's changed, it's worth noting something that hasn't.
The aliens and sets still look a little cheap. It's all blue body paint, obvious looking prosthetics and deliberately casting people of specific stature. There's CGI in the mix too but when it's present, it's very distinct from the live action.
I don't mean they look bad, mind you. And, indeed, they look considerably better than anything the classic series ever produced. That was stunningly obvious at the time of broadcast. But in 2005, as before, Doctor Who was still trying to portray concepts a bit above what its budget would allow. The aliens (and Platform One itself) looked better than anything Classic Who had ever presented, but if one compared them to some other things on the air in 2005...?
None of that's meant as a complaint, by the way, just an observation. I have never been bothered by Doctor Who's special effects or aliens, not even some of more infamous ones like the Giant Rat, the Myrka or the Bandril Ambassador. I'm honestly not particularly bothered about special effects that much at all, really. As long as the effect makes it clear what its supposed to be representing, I'm generally onboard. That pie plate on a string is a Dalek saucer? Ok, got it.
Quite honestly, if a Who fan ever reaches the point where "the effects were bad" seems like a legitimate complaint about Doctor Who then they've taken a wrong turn somewhere. However they arrived there, they need to take a deep breath, sit back and re-examine their priorities.
Characters
This episode picks up right away from the events of Rose. We don't skip over Rose's initiation into the Doctor's lifestyle. That's a good thing. As with the previous episode, Rose is our conduit to understanding the Doctor and his universe. As she learns, we learn.
And she has to learn very quickly. The Doctor doesn't sit her down and explain how the TARDIS works or the kinds of things he does regularly. No, he just has her pick whether she wants to go backwards or forwards in time and, when she picks the latter, starts off. Rose isn't getting a tutorial. She's not even getting a crash course. She's being thrown right in to sink or swim.
Which does she do? Well, a little of both, really. As mentioned, Rose is the audience identification figure and much is made of the fact that she's a bit overwhelmed by all this. That grounded perspective of Rose's, so prevalent and useful in the previous episode, is actually a bit of a detriment here. Removed from her own life, Rose has nothing with which to ground herself with and the enormity of just how much she is now at the mercy of the Doctor's whims is only just beginning to dawn on her. It's no surprise that the most comfortable conversation she has in the episode is with Raffalo, someone whose existence and occupation (a plumber) provides at least a tenuous link to something Rose understands. Even that conversation includes casual references to things well outside Rose's knowledge, though.
All of this leaves Rose stuck much more in the traditional "damsel in distress" role of companion than she had been in the previous episode, with the Doctor having to rescue her. Thankfully this won't be a position Rose adopts permanently but it makes sense in this episode, given how out of her element she is.
With this change of Rose's position in the story, we get a corresponding change in the audience's perspective. Rose had been entirely seen from Rose's point of view. This episode changes that, allowing the audience to see things from the viewpoints of Rose, the Doctor himself and even a few other characters like Jabe, Raffalo and the Steward.
In the Doctor's case, though, it's worth noting that we're still only getting information out of him in drips and drabs, as he chooses to dispense it. Perhaps the central character scene of the episode is the one on the observation deck in which Rose confronts the Doctor, challenging him to tell her who he is and where he comes from. And he refuses. As in the first episode, the Doctor gets defensive, even angry, when the subject strays closer to himself, his faults and his identity. The Doctor clearly likes Rose, but he wants this relationship to be on his terms and that's all about "right here, right now," not the past. This is a Doctor who lives in the now because the past is something he desperately doesn't want to think about.
It's worth noting that, while Rose had included an element of the Doctor learning to value Rose's perspective, he makes little to no allowances for it here. No, this trip is all about introducing Rose to his perspective.
To start with, it never seems to occur to him that taking someone to visit the destruction of the planet they live on might actually be unpleasant. Why not? Perhaps because the essential time-malleable nature of the Doctor's lifestyle means that the end of something is rarely, if ever, its actual end. He even shares this element of his life with Rose at the very end, taking her from the destruction of her world back to when it was still alive and vibrant, showing her that, in this life, the end of something doesn't preclude the ability to interact with it.
The road to the Doctor's perspective is tough, though, and while Rose starts moving toward it in this episode, she still has a long way to go. Her initial inability to cope with how "alien" the aliens are makes perfect sense, given how fast all this has been coming at her. It's worth noting, though, that the Doctor does seem a bit disappointed by her reaction. He'd seen a great deal of potential in her during the previous episode and I get the impression that he's a bit sad to be reminded that she still has some "stupid ape" qualities.
Rose's reactions are, of course, perfectly reasonable whether the Doctor acknowledges that or not. She also actively attempts to adapt to her situation. When she wants to know who the Doctor is and where he comes from, it's not just a random demand. She's seeking the same kind of solace she got when talking to Raffalo, some small bit of common ground upon which to build a foundation of trust. The Doctor won't give her a bit of that (not until the end of the episode anyway.)
As with the previous episode, the Doctor's much more accommodating when Rose switches the conversation over to talk about things the Doctor is interested in. What's more, Rose has learned enough to recognize this. When she sees that she's getting nowhere pressing him about his identity, she switches subjects and, like flipping a switch, he becomes more cooperative. Rose might not have fully learned how to navigate in the Doctor's world yet, but she's learning fast.
The counterpoint to the observation deck scene is the final scene of the episode, when they've returned to modern Earth and are talking on the street. Here the Doctor does what Rose had wanted him to do in the earlier scene, explains who he is and where he comes from. In doing so, he also effectively explains why he hadn't wanted to share that information.
I'd suggest, however, that he did want to share all this, that he had, in fact, wanted to share it from the beginning of the episode, but just hadn't realized it. I don't think it's a coincidence that the Doctor took Rose to the destruction of her own world when his own had so recently been destroyed. He wanted her to understand that same feeling of loss, to understand how it feels for her home to be gone and for that to be an afterthought to everyone else. It's precisely when she expresses those thoughts that he takes her back to a living Earth and explains his own recent history, as if hearing her say it brings his previous unconscious desire to share to the surface.
And what of the villain of the piece?
Cassandra's a piece of work in addition to being a piece of skin. Quite honestly, she's less of a character than she is a full on caricature of the excesses of materialism, vanity and superficiality. Her jokes aren't very good, as evidenced by the fact that she's the only one who laughs at them. Indeed, a lot of Cassandra's dialogue, while ostensibly being spoken to others, has the feel of talking to herself. Cassandra is self-centeredness personified. When Rose tells her off, it's satisfying for the viewer because it's what we've all been thinking anyway. But when Cassandra responds with "What do you know?" we're not surprised. We've all met someone a bit like Cassandra. And when she turns out to be behind everything, I doubt many of us were surprised by that either.
Indeed, it's worth noting that the "whodunnit" aspect of the story is somewhat perfunctory. There are few viable suspects and not much time is devoted to fleshing them out. Like the technical explanations, the mystery is glossed over in favor of furthering character and plot. The big "Poirot" scene is over very quickly and with a minimum of detective work (even if watching the Doctor disable the Adherents of the Repeated Meme does look cool.)
In addition to being ridiculously vain, Cassandra's also massively prejudiced. Her line about being the last "pure" human and how the other humans "mingled" brings to mind uncomfortable conversations with people who think that people's value comes from purity of racial bloodlines. Again, Doctor Who is presenting us with a future in which the nasty parts of human nature have not been disposed of.
The other characters in the episode are, if I'm honest, fairly one note. The Steward is there to be the vaguely annoying administrative figure (thought that doesn't make his death any more deserved or any less horrific.) Raffalo is there to provide some small bit of comfort to Rose before dying herself in pseudo-horror movie fashion. The Moxx of Balhoon is just there until he dies as is Face of Boe though he gets to live to become more important in later episodes.
The most developed of these minor characters is Jabe and even she largely exists to take up the companion role in the scenes where the Doctor is separated from Rose. She's a fairly compelling character because of her curiosity, because of the sympathy she expresses for the Doctor and because Yasmin Bannerman plays her very well. Jabe's also there to drop some hints about the Doctor's past before the big reveal. Oh, and she dies too.
Lot of the characters die, eh? As Clive said in the previous episode. Death is the Doctor's constant companion.
Continuity Corner
This episode ends with the Doctor explaining that he is a Time Lord, the Last of the Time Lords in fact. The episode is quite clever about how it hints at this ahead of time.
I mentioned, when talking about Rose, that some of the elements of the 2005 series seem designed to have a bit of a dual effect, one effect on the audience who has seen the classic series and a different one on those who hadn't. For that latter audience what we get are a series of escalating hints that, whatever species the Doctor is, it's rare to the point that Jabe finds it hard to believe that he exists. Further there's clearly some tragedy associated with it. For those of us who'd seen the classic series, though, the Doctor's origins are not a surprise, yet the hints that something tragic has happened to the Time Lords allow the moment of the Doctor's revelation to surprise us as well. It's not just confirmation, it's something new.
And, for both audiences, this bit of a backstory is a tease for things to come. The Doctor explains that there was a war and that his people lost, but no more. Who they fought, what the war was about and its consequences beyond his current personal status as a wanderer are left open for future stories.
It's also worth noting that, in that same dual fashion, it's almost implied that the war is the source of the Doctor's wandering ways. After all, it's hard to stay on your home planet when it's been destroyed. Those of us who've been watching longer know that the Doctor's always been a wanderer, but I think that implication does lend a bit of pathos to the current storyline.
Little Tidbits
-The episode teases us, in the beginning, with several other possible eras the TARDIS briefly lands in, such as the New Roman Empire, amongst others. This is a bit of a tradition in Doctor Who, building worlds in just a few lines of dialogue and letting the readers' imaginations do the rest.
-Rose's choice to go to the future, rather than the past, is presented as something she did on a whim within the fiction but it's most assuredly not in terms of the show's production. Choosing to go into the future, with space stations, aliens and extensive special effects was unquestionably a deliberate choice to demonstrate how far the show's ability to realize such things had come since the classic days.
-I, like many, tend to reflexively refer to the original Doctor Who series as "Classic Who." This is a fairly common bit of parlance amongst fandom (albeit one that gets debated from time to time.) The episode contains a bit where the Doctor points out that a group called the National Trust had shifted the continents of the Earth back to their 20th century pattern to create a "Classic Earth." Earth has been altered to conform to people's nostalgia, rather than allowed to change. And then it dies. I can't help thinking there's a metaphor about the show itself in there, about how the new show couldn't have survived if it had slavishly copied the classic series formula for nostalgia's sake. The fact that the Earth's demise goes largely unnoticed by everyone reinforces that metaphor, since Classic Who's end happened quietly, unnoticed by all but the show's most die-hard fans.
-Davies' dialogue always has a wonderful casualness to it, even in the future. Things like religion being banned on the platform, "Earth Death" being followed by drinks, Jabe referring to the computer as "the metal mind," and Raffalo rattling off her stellar address to Rose as if the Earth girl should know what she's talking about all help to make this future world feel like a real, lived in, place. For us, this is a strange new setting. For most of these people, though, it's just normal. That casualness about things the audience finds unfamiliar adds to that impression. They even still have valet tickets.
-For a character who will go on to have some significance, the introduction of the Face of Boe is pretty low key, enough so that I find myself wondering if any of that significance was planned or if Davies got the idea for that later. (Not that making it up as you go is an illegitimate way to tell stories.)
-In addition to being a meta-joke about the changing tastes of music and what does and doesn't last over time, the two pop songs Davies chose for the episode also have lyrics that fit the events going on as they are playing. As is becoming very clear, Davies is extremely skilled in having the elements of his stories perform more than one function at a time
-Raffalo's complete lack of initial fear when she encounters the spiders indicates, to me, that encountering new robots is pretty common in this future and not generally something to be concerned about. (She even mentions that it's probably just an "upgrade" that she needs to register.) This lack of caution, of course, leads to Raffalo's death. As mentioned when talking about Rose, though, it's not a character flaw for someone not to think in horror-movie tropes.
-On the list of things the Doctor doesn't make allowances for, Rose's reaction to the TARDIS telepathically translating for him ranks high. He seems to regard the end result as full justification for the means in regards to telepathic alteration. Given some of the Doctor's later actions in regards to telepathic alteration of his companions' minds, this seems to be a lesson the Doctor has a really hard time learning. (And, given the things we eventually learn have been done to the Doctor's own mind, the irony is palpable.)
-Rose's phone call to Jackie, like the return to Earth at the end of the episode, is a demonstration that, in the Doctor's lifestyle, endings are often not real endings. Rose's mom is billions of years dead, yet she's also on the phone with her daughter. Jackie isn't alive or dead in that scene, she's both, with neither state negating the other.
-Speaking of that phone call, it's an early instance of the Doctor's inability to pinpoint an exact time period. Jackie's complete lack of concern over the Nestene attack from the previous episode makes it clear that he's overshot and Rose is actually talking to her mother from a few days before those events (note Jackie's mention of the lottery that came up in the beginning of Rose.) But I'm sure it was a rare, honest mistake and the Doctor will always be pinpoint accurate in the future. I mean, it could cause some problems if he's not, couldn't it?
-The Doctor's smile at the first tremor of the platform betrays something Rose and the new audience will come to know well: The Doctor thrives on trouble. Still, maybe it's just me, but it feels a little forced, like the Doctor's trying a bit to hard to embrace his pre-Time War lifestyle again but his hearts aren't yet in it. Same with the "Fantastic" when he finds out they're on their own to deal with the problem.
-I don't like to dwell on the negative, but I do think it would have helped if, in the Steward's death scene, he'd sought out and pressed whatever button was specifically supposed to raise the sun filter rather than just sort of mashing keyboard buttons with his hands. He'd still have died, obviously, but the random mashing seems perfunctory, rather than a genuine attempt to escape death.
-I know it's become a popular complaint but I don't hate the sonic screwdriver, nor am I bothered by how much it's used. It makes perfect sense to me that, after centuries of travel and conflict, the Doctor would make routine use of a tool that helps him dispatch minor obstacles with ease. In story terms, it's a shorthand for that focus away from the technical and towards character-driven drama I discussed above. Rare is the moment when the sonic screwdriver "solves the plot." Rare enough that I don't see what the fuss is all about, honestly.
-When watching Jabe's death scene, I note that there are several instants in which the realism of the scene is sacrificed for the emotion of the moment. The Doctor's progress through the fans is slow, with a lot of looks back that waste time which could have been better served moving forward. There is a definite directing choice in this scene to emphasize character connection and emotional resonance over the practical realism that the Doctor would likely be trying to move as fast as possible in the circumstances. Whether it works or not is going to vary from viewer to viewer, but I definitely think it's a question of story emphasis, more than character choice.
-We get the revived series' first instance of Time Lord powers as the Doctor clearly uses them to get past that last, fast-moving fan. What exactly he does isn't clear (and there are no other characters present so it makes sense that he wouldn't explain) but I suspect it has something to do with his unique relationship with time, moving himself slightly out of synch to perfectly move between the blades.
-I mentioned that the Doctor's attitude toward trouble seemed a bit forced above. On the flipside of that, his attitude toward Cassandra at the end seems pretty genuine. That anger, that desire to hurt her, even kill her for what she's done feels frighteningly real. One gets the impression that this is a bit of the Doctor's personality from the war leaking out and that, importantly, it's still pretty close to the surface, with his deliberate happy adventurer persona unable to contain it under duress.
So, we've been to the future.
How about the past...?
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