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The strength of DOCTOR WHO, the current series and the recent, has always been change, and change it has. Over forty-years ago the expose began with one actor and now we have 10 actors who have portrayed the 900+ Timelord. The first season of the novel series ended by changing leads through regeneration, as the 2nd season ended with the “lost” of not only the companion / like interest, but the whole “point-of-view” for the recent series: Rose Tyler. Since the PILOT or “ROSE” episode the series has been through her eyes. The viewers could describe to the Human perspective more readily than the sometimes alien POV of the title character. In fact, the series gave up not only Rose, but her family, Mickey Smith, Jackie Tyler; Mum, Pete Tyler ( deceased, sort of) ,all of the anchor characters that added so noteworthy emotion to the unique series.
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Can the series, even one a clever and icy as Dr. Who, survive such change.
The reply is yes, definitely, yes. Although, there is a loss, infact the sense of loss that the viewer feels, is surely an undercurrent of the entire season, starting with the Christmas special or THE RUNAWAY BRIDE, the precursor to the upright first episode of the season. Opening honest after series two leaves off, the Bride a.k.a Donna Righteous played by U.K. comedian Catherine Tate appears in the TARDIS, the Doctor has miniature time to view his loss before he is literally running for his life again. Like the Christmas Invasion, the special is light-hearted, and introduces a “one-shot” temporary companion (although Donna will be a major-part of season 4) . One highlight of the “BRIDE” would be the shapely soundtrack provided by composer Murray Gold, a truly cinematic fully orchestral backdrop that sells some fanboy innovative moments like a CAR Go WITH THE TARDIS ( I kid u not, the iconic Call-box is zipping though traffic like something from a 70’s cop-show) . Donna sums up the subtle theme as she declines the role of companion, stating that the Doctor needs someone to “halt him from going to far” as he coldly sticks to his assertion of the previous Christmas: “No second chances” while dispatching the Empress and her brood.
In the second memoir in this dwelling, but the right season opener, fresh regular companion MARTHA JONES is introduced in a satisfying launch to 2007 in “SMITH and JONES” ( a goof reference to the Doctor’s sometimes alias of Dr. John Smith which shows up again in the season, too) . An all too different character than Rose, Martha is Medical Student, so she doesn’t need the Doctor to rescue her from her life as slacker Rose did, she’s intelligent in a less pop culture arrangement than Rose, more analytical like the Doctor. Like Rose, we meet her family in the episodes opening over several rapid-fire conversations via cellphone. Odd things are afoot at her hospital which eventually ends up on the Moon. More as window dressing, the Jadoon Stormtroopers, beautifully realized alien police are searching for an vampiric alien among the human patients and doctors. Martha and the Doctor immediately fabricate an palatable on camouflage chemistry, while storytellers carve to the slide and give us two instances of Doctor/Companion kisses, the throwaway nature establishes the preoccupied (with love-lost) tone that the Doctor will regard Martha (unfortunately more like a aged Dr. Who relationship) . The Doctor spells this out saying, “this doesn’t mean anything,” sadly for Martha, this feeling isn’t mutual and leads to choices made by the extinguish of the season. So the Doctor sacrifices himself to flush out the fugitive, while Martha literally breaths her final breath in an attempt to put the Doctor’s life, earning herself a non-committal invite to the TARDIS.
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The major allotment of the first half of the 13 demonstrate season, 14 with the “Bride” Special (#0) is traditional. Smith & Jones (#1) is strong, the Shakespeare Code (#2) is frankly Vivid!
GRIDLOCK (#3) is very well-behaved, but the Dalek 2 parter: “Daleks in Manhattan” and “Evolution of the Daleks (#4-5) “, NOT SO Shining, nor is “Lazarius Experiment (#6) ” or “42 (#7) ” But the final HALF of the season (#8-13) is GOLDEN, leading up to a 3 fragment finale re-introducing a classic character that will blow you away!!! Away!!!
“SHAKESPEARE CODE”, Martha’s first chase support in time, they meet the Bard himself and learn the secret of Shakespeare’s celebrated lost play. This was film partly in the accurate rebuild Globe Theater, so it looks spacious. As is Dean Kelly’s rock-n-roll performance as the renown playwright. This contains some of the best dialogue the series has EVER had, so distinguished so that you considerable recognize it repeatedly to truly indulge in this one ( I played this one to high-schoolers as a follow-up to Hamlet) .
“GRIDLOCK,” is a tall sci-fi myth, in which people are living their lives stuck decades and decades on a skyway traffic problem. The is the 3rd yarn in the unique series history to go to the far-future “Unique Earth” and the Doctor meets the Face of Boe for the prophesied 3rd and final time. A spruce idea with expansive effects and some genuinely engaging moments, like the music montage of the stranded freeway drivers connected by faith and song. The Face reveals a secret to the Doctor which tips us off to the season finale.
The DALEKS in MANHATTAN” and “EVOLUTION of the DALEKS” is the Doctor’s apology to Martha for showing off taking her to Novel Earth on the rebound as it were, but overall this 2 fragment doesn’t work. There is some immense integration of footage actually shot in unique NYC, reworked to contemplate like the 1920’s, but the premise that the sole surviving Daleks (the Cult of Skaro, seen escaping last season’s finale) are making not only PIG-Slaves, but the EMPIRE Station BUILDING itself as piece of a thought to recreate their hurry using humans for materials. There are some righteous performances all around, but the “Evolution” of the Human-Dalek (both costume and understanding), is disappointing and distracting. But, the Art Deco 1930s style Empire Space Gain does lend itself to that of the Daleks.
Episodes 6 and 7, “The LAZARIUS EXPERIMENT” and “42″ are both so derivative of Approved sci-fi that they are unsatisfying when compared to some of the really sizable shows of the season. LAZARIUS is very distinguished a variation on “the Cruise” while “42″ with its sincere time understanding (“24″ reversed) and spacecraft claustrophobia is like both Impossible Planet of last season and other movies of the genre. But, Dr. Lazarius himself is afforded an pleasant performance by Dr. Who writer Notice Gatiss ( of “League of Gentlemen” and “Jekyll”) .
Again proving that the producers are suitable fans themselves, episodes 8 and 9, Human Nature and The Family of Blood, are based on a fan accepted Dr. Who Unusual (with the 7th Doctor), translating seamlessly to TV. It is a classic anecdote opinion, the Doctor becomes Human!! In order to flee a family of aliens ( a conception already borrowed from the unique for season one’s Slitheens, an alien surname) the Doctor puts his Timelord identity into a peer, only Martha knows who he is and is save in charge of this secret as he really becomes John Smith, History teacher (of course) of a boys school impartial before WWI. I can’t say enough about the heart-wrenching excellence of this 2 parter. The Doctor falls in care for and must obtain some hard choices. This also sets up things to arrive in the finale.
Episode 10, “BLINK,” happens to be filler, like last seasons “Admire and Monsters” in which the regular cast is all but absent in order to shoot another episode simultaneously. Like “Admire and Monsters” this episode is a creative triumph, also execrable on a previously published fable. “BLINK” also happens to be the scariest point to of the modern series history!
In a nutshell, the Doctor is sending messages from the past to “the note” through DVD extras or easter eggs, warning about weeping angel statues that fade at you when no one is looking, so don’t even blink! Although, no one is killed on conceal, not in any passe sense, this one is unexcited keeping my kids up at night (especially in a city illustrious for its cemeteries) ! BLINK was written by Steven Moffat, two-time consequtive HUGO winner (both for DR.WHO, series 2 the “GIRL IN THE FIREPLACE” and series one’s “EMPTY CHILD.” Moffat has next year’s Hugo in the bag with BLINK, if his writing in JEKYLL doesn’t split the vote (peruse my review for more on JEKYLL) .
The final 3 parter, “UTOPIA”, “The SOUND of DRUMS” and “LAST of the TIMELORDS” are perfection. Really. I can say more without revealing too powerful (although the U.K. press already did that long before the shows aired), but the season is burly of clues leading up to this (even in TORCHWOODS final episodes there are clues) . Capt. Jack returns for all three of these and there are important guest appearances such as SIR DEREK JACOBI ( famed for I, Claudius), how colossal is that!! Also, John Sims (from Life on Mars) . The first of these 3 parts, UTOPIA, comes across as a Indignant Max deal, don’t give up on it, that is objective subterfuge! Construct plans to ogle the three of these back-to-back-to-back, you’re not gonna’ want to finish.
Third time’s a charm–that’s the inevitable cliche that pops to mind. If the first series (season) of Doctor Who was friendly with some hiccups and the second quite resplendent overall, the show’s creators seem to have really hit their promenade with the third series here and brought forth an pleasurable range of science fiction adventures at once arresting, inventive, and exciting–innovative and original but very suitable to the show’s spirit over the decades. Oh, and loads of fun, of course.
By now David Tennant has a totally surefire consume of the Doctor’s character and has contributed distinguished to its portrayal–and convincingly developed it in the bargain, especially in light of the events of series two. Eccentric as always, frenetic and off the wall but silently nursing a deep sad, begin and superb and yet with a definite emotional distance and brusqueness. The Doctor we all know and worship, but a itsy-bitsy more complex. You will never gather me to say that he’s better than Tom Baker as some have, but my sense is that Tennant may very well demolish up putting as definitive a mark on the renegade Time Lord for this generation as Baker did for us old-timers. As for the Doctor’s companion, it’s positive that the writers were wisely avoiding a command of Rose (whom we all miss, yes) and going instead for a somewhat more weak and shining foil in up-and-coming med student Martha (as played by Freema Agyeman) –a doctor in training, as it were, a bit of cleverness that the writers thankfully capitalize on in her first episode. The chemistry strains a bit to spark at first and the one-sided romance angle is brought in a bit too abruptly perhaps, but serene The Doctor and Martha perform a nice, believable team overall.
The storytelling for this series is excellence itself. Not perfection, mind you, which is humanly impossible anyway, but even the lesser episodes are better than most of what you’ll get on TV nowadays–especially when it comes to sci-fi. “The Runaway Bride” is agreeable if slightly crooked holiday fun in the method a Christmas special should be, “Smith and Jones” has a hint of Douglas Adams influence in its satirically-edged motifs of galactic bureaucracies and absurd situations, “The Shakespeare Code” is a highly memorable pseudo-historical starring the Bard himself in a manner totally cohesive with the state, and “Gridlock” is a claustrophobic return to Original Current York with an edgier angle. The “Daleks in Manhattan”/”Evolution of the Daleks” two-parter is kind of like comfort food for older Doctor Who fans–a very typical Dalek memoir of invasion and mutation, but with a few novel ingredients like the human/dalek hybrid and the 1930’s Modern York setting. “The Lazarus Experiment” and “42″ likewise conform to tried-and-true Doctor Who formulas but successfully so, “42″ being something of an cocktail mix of “Ark in Residence” and “Inferno” complete with a not overplayed ecological theme.
On the other hand, “Human Nature”/”The Family of Blood” and “Blink” are unlike anything ever before seen really in Doctor Who and really showcase the creativity and never-ending potential of the expose. And then finally the three-part myth series conclusion, “Utopia”/”The Sound of Drums”/”The Last of the Time Lords” first takes the Doctor to the Immense Crunch and then builds on countless clues scattered throughout all the season’s prior episodes to expertly spring quite a surprise on the unsuspecting viewer, the return of…well, if you don’t know I won’t give it away, but I haven’t seen this particular character so masterfully portrayed since the current in the early 1970’s. It must be admitted that the climax in allotment three is impartial a tad fanciful and will induce a sense of deja vu in anyone who in their childhood attested their thought in magic and clapped their hands accordingly so as to revive Tinkerbell, but this didn’t really bother me consciously till well afterwards, meaning that the writers succeeded in getting me to suspend my disbelief long enough for them to obtain away with their forgivable petite cheat.
All in all then, the show’s creators have struck a graceful balance throughout between the futuristic and the pseudo-historical, the cozily familiar and the out-on-a-limb modern, the thoughtfully speculative and the chills & thrills adventurous. Of course tastes will differ, but my impression anyway is that “Doctor Who” has now really near into its gain again as a wonderfully good science fiction TV program with this compelling variety of storylines in series three, all of which can be watched and enjoyed again and again (along with all the usual extras and behind-the-scenes programs) on this attractively packaged DVD set–a bit sturdier in manufacture than the last two, thankfully. Only beware, once you commence watching you won’t even want to blink!
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