Before you read any further, know that there are dissenting voices about the final two episodes. My friend James — a man whose opinions and skills as a writer I hold in exceptionally high regard — has given his own assessment of Army of Ghosts and Doomsday on his blog, which you can link to HERE. Suffice to say, I don’t agree with his analysis, but dissent is always a good thing. It’s what makes debate and discussion the rich, affirming act of intellect that it is. But I believe James is a bit too hard on the episodes. He takes a writer’s critical view, and I think he’s misjudged a few things based on that slightly narrow focus. But he’s definitely entitled to those opinions, and my review takes a different track.
Part 1 of 2
Written by Russell T. Davies
Directed by Graeme Harper
Part 2 of 2
Written by Russell T. Davies
Directed by Graeme Harper
“Planet Earth. This is where I was born…and this is where I died. The first nineteen years of my life, nothing happened. Nothing at all. Not ever. And then I met a man called the Doctor. A man that could change his face. He took me away from home in his magical machine. He showed me the whole of time and space. I thought it would never end. That’s what I though, but then came the Army of Ghosts. And came Torchwood and the war. That’s when it all ended. This is a story of how I died…”
Without further ado, here are MY observations on the closing episodes of series two, distilled down to six points…
(1) The initial set-up of the ghosts, and how deeply they’ve woven themselves into humanity, is simply genius. One of Russell T. Davies’ great strengths is the way he understands pop culture: all the showy, flashy, lowest-common-denominator qualities that make up the most superficial aspects of our lives — tabloids, trash television, soaps, cheesy frivolities. And yet, they go far deeper than most people are willing to admit. He showcased it magnificently last season with Bad Wolf, and he tops himself here. Of course mankind would deal with the arrival of ghosts by absorbing them into the popular culture of the time. Hence the glorious montage of talk shows, squealing Japanese girls wearing novelty t-shirts, ersatz episodes of Eastenders, and ridiculous ghost-polishing commercials. Davies knows, and is knowing of, pop culture. He knows the depths and subtleties, and what they mask: the fears, uncertainties, and depressing monotony of the real lives of so many people. When those fears turn into a tangible nightmare — in the burnished steel forms of millions of Cybermen — it certainly gives one pause for thought.
(2) Davies is also a master planner. How much of the story of Rose Tyler, Jackie, Pete, and Mickey did he plan out before hand? It would be interesting to speculate, because this is more than a simple story arc: it’s an honest-to-goodness, multi-layered journey-quest that can hold its head high in the company of its most sophisticated stable mates (whether it be the war-and-peace epic of Deep Space Nine, the growing-up saga of Buffy, or the sumptuous, quasi-biblical nature of the Lord of the Rings films). However, this was more than simply the journey of Rose Tyler…this was the journey of the Doctor’s rediscovery of who he is…and who he was. When presented to us in Rose (seems like such a long time ago…), the Doctor was a battle-scarred, guilt-ridden, emotionally-damaged man, trying hard to remain untouchable and unreachable. By the end of Doomsday, we have a final emotional release, and the Doctor of old has returned to us. Over the course of two years, and two incarnations, Rose’s journey complimented the Doctor’s own voyage of re-discovery: to accept the past, and move into the future. No more baggage, no more guilt…just contentment. A rediscovery of the joys of life, of travel, of righting wrongs, and having fun. The journey-within-the-journey…and we couldn’t have asked for anything better.
(3) Torchwood finally appears, and Queen Victoria would approve. The audience shares in the Doctor’s confusion as he tries to absorb a military-industrial complex of frightening sophistication…yet bound by a morality and naivete that remains cemented to 1879. Embodied by Yvonne (the bitch-queen-who-wasn’t…and a brilliant performance by Tracey-Ann Oberman), Torchwood turns on a dime, from force of darkness to victim of circumstances they SHOULD have foreseen. Broad strokes manage to swiftly paint a picture of this organization, with only the most basic exposition to back it up…and that’s a GOOD THING. Show, don’t tell — that’s how you tell a story on television. Here, Davies ensures that the script isn’t the entire story…it’s there to be enhanced by the visuals.
(4) Speaking of visuals…Graeme Harper continues to deliver the goods. Name one other director in the Doctor Who canon who, in the span of a single story, across two episodes, could give us the galactic smackdown of the millenia…and deliver some of the most touching, emotional scenes in Doctor Who history. This is a story where the camera swoops and moves like a James Cameron wet dream, counter-pointed by lingering, soft-focussed shots full of human drama that would make Stephen Spielberg’s heart sing. Harper should be directing box office-busting blockbusters and love stories…if we allow him to leave! What is even more astonishing is that he’s delivering such epics on a budget that remains a pale shadow compared to Hollywood films. Who’s getting more value for their money, hmm?
(5) More than Remembrance of the Daleks…more than Dalek…even more than The Parting of the Ways…it’s Doomsday that restores the Daleks to the peak of their power and success. These are Daleks that bubble with hatred & cunning, exhilarate in their lust for power & domination, and even posses distinct personalities. The Dalek Supreme (the first Black Dalek since 1988!) is positively pithy and scathing, with some of the best Dalek dialogue (and insults!) since Terry Nation, Donald Tosh & Dennis Spooner hammered out the scripts for The Daleks’ Masterplan, way back in 1965! The Cybermen are almost bystanders in comparison…but this isn’t their story. The Daleks are back. Not as war survivors, not as demi-god worshippers, not as depressed loners…these are the Daleks of old! The more things change, the more they stay the same…
(6) Finally, as the gut-wrenching finale on the beach takes its course ? as Rose and the Doctor bid their final goodbyes — we must realize the true legacy of Army of Ghosts & Doomsday. During the hottest summer on record in the UK, the show delivered over 8 million viewers & top 10 finishes, two weeks running…when the shows around it could barely muster 3 million. The Daleks and the Cybermen plastered the covers of magazines, newspapers, and the Radio Times…pushing even the World Cup to the side. For this first time since its golden age in the mid-1970s, Doctor Who was once more a phenomenon. The public lapped it up. It was water-cooler talk. Kids were in a frenzy of excitement. Families were once more sitting down to watch television TOGETHER on Saturday nights. It was even attracting more attention…even occasionally beating the ratings of…the massive soap operas that the UK sets its clocks by: Eastenders and Coronation Street.
This is a show that is, once more, part of the fabric of daily life. The best show on television — unparalleled in imagination, wit, creativity, writing, acting & direction. It’s ours to share again, with millions of others across the UK and across the world. That’s what episodes 12 and 13 represent: the distillation of all that is good and wonderful about Doctor Who. For that alone, aside from my love for the actual episodes, they both deserve a…
10
