Series one #4: "Would you rather silent but deadly?"

Review: ALIENS OF LONDON/WORLD WAR THREE
Written by Russell T Davies, directed by Keith Boak, 2005

This story has always represented the elements of Davies’ writing which I really dislike (lack of logic, juvenile silliness, scatological elements, deus ex machina resolutions and general laziness), but, this time round, I actually really enjoyed it. I’m not sure it’s necessarily good, but it’s enjoyable (even if there isn’t much beyond that).

I’m done with anti-Davies rants, partly because enough time has elapsed to give me a bit of perspective, and, now The End of Time has come and gone, already none of it seems to matter any more. The Davies era is history now, it’s qualifiable, and I find that comforting. Also, part the problem I’ve had with new Who stems from the insufferably endless commentary and hyperbole that surrounds each new series. Stripped of that, it’s easier to put these stories in context with the past, and to accept them on their own terms.

On that basis I enjoy this story’s overblown-ness – now that it is separate from what it portends for the future; now, it just is. While I agree Davies’ reluctance to go ‘dark’ too often can come across as deliberate fan-baiting, I also agree it’d almost be too easy to go ‘edgy.’ It’s kind of brave to go in this direction (even if it’s really more motivated by keeping a mainstream audience, and fair enough I guess) – overblown and revelling in silliness is quite unfashionable, so it’s kind of laudable that Davies managed to make that approach accepted. I find that likeable, almost despite myself.

It’s fun. That’s good. There’s also a surprising level of gravitas and tension, while the emotional elements feel less bolted on here. (And, considering I often find fans’ dismissal of ‘silly’ stories like The Chase or Underwater Menace irritatingly po-faced, at least I’m practising what I preach!) Plus, I absolutely love Harriet Jones/Penelope Wilton, and seeing Rose as a missing person is a welcome nod toward the repercussions of the companion being whisked away.

As you’d hope from a two-parter, it feels more expansive than Rose, The End of the World, or The Unquiet Dead – and, more importantly, it feels unexpected; it doesn’t fit into a neatly predefined Doctor Who subgenre in the way those first three arguably do.

Series one #9: "You're pleading for mercy out of a dead woman’s lips"

Review: BOOM TOWN
Written by Russell T Davies, directed by Joe Ahearne, 2005

This story is often derided for its pieced-together format: the use of convenient, contemporary location filming; the TARDIS standing set; a monster from one earlier story and concepts from another – but it actually helps to tie the run together. This really is a coherent season, rather than an arbitrary collection of stories, and I appreciate seeing budgetary limitations being used to drive creativity.

In fact, I have quite a soft spot for this story; with its moral thorniness, it plays as the more adult flipside to Aliens of London/World War Three. These moral issues may be fudged at the end, but the Doctor’s ambiguities are fascinating exactly for their irresolvability, and I like that he doesn’t come out of Margaret’s cross-examination particularly well either (“Always moving because you dare not look back”).

In an entirely different way, it’s also lovely seeing the TARDIS crew being allowed to hang out and enjoy each other’s company – something which is all too rare, with previous notable examples being as far back as The Chase or The Romans. Mickey is surprisingly welcome for once though, undercutting the admittedly smug dynamic of their “funny little happy-go-lucky life”. (His emotional outburst to Rose, later on, is unexpectedly disarming, too, given how innocuous he’s been up to now.) As for Jack, it’s remarkable how easily he fits in, considering he didn’t really feel like a companion in only the preceding story – however, it is a shame we don’t get to see him settling in more. (What’s with his awful clothes though?)

By no means a perfect story – the comedy moments jar somewhat with the ethical concerns, the traveloguey music is particularly hideous, even for Murray Gold, and the diffuse film quality which makes all light sources glow looks particularly cheap and soft porn. Bu-ut… Overall, I can’t help but feel this is a far more decent story than fan reaction would suggest, much like The Long Game.

PS I wish they’d kept the exclamation mark in the title… Or, better still, actually used ‘What Shall We Do About Margaret?’.