I think this episode may be the most forgettable of the modern Doctor Who. Certainly not worst, in fact it isn't really bad, but one that barely dented my conciousness at the time.
Indeed, I've frequently been unable to recall the actual tite. The Empty Faces? The Hungry Televisions? In actuality The Idiot's Lantern is a great title.
And all of the parts are impressive but I don't think they gel - and the pacing is very leisurely for the first two thirds (and benefits as a result) but then everything is resolved in a flash, leaving the valedictory 'gay son gains self-esteem' epilogue.
It's less than the sum, but it's better than Gatiss' next two efforts. After The Unquiet Dead it seems not unreasonable to ask what went wrong.
Some excellent little flourishes from Euros Lyn, using unusual angles and close-ups to good effect.
The encounters with faceless people are all spooky and odd.
The conceit of the Wire is quite nice and sometimes well-realised
I quite like all the 50s nonsense that the Doctor and Rose do and their interactions feel rather more Whoish here, rather than the horrid mutual admiration codependence displayed elsewhere in series two.
All the performances are good, even if Maureen Lipman overdoes it somewhat.
The BBC shows how well it can do period dressing and ambiance again.
I can't make head nor tail of the way the plot is resolved. Admittedly I wasn't glued to the set while it was on, but the Doctor pushes some buttons and something happens and everything is OK? (See also: Daleks In Manhattan).
The whole abusive father / gay son subplot never feels anything less than awkward.
Tennant being angry. I remember reading with disbelief that Ian Briggs thought Sylvester McCoy played 'angry' very well. I wonder if the same thought occurred to virtually everyone who wrote for Tennant. They're about as right as Briggs was.
Well, what a year 2005 was. What a rollercoaster ride. A new series of Doctor Who taken immediately to the nation's bosom, a great new Doctor in Chris Eccleston, a revelation in Billie, some nice nods to the past and some old foes. Then the shock departure of the Ninth Doctor and Tennant and the decent Christmas Invasion.
I still remember the trailer for the second series that showed immediately after the Christmas Day special - and being very excited by it. Was that excitement warranted? Well, that's what we're here to find out.
Like last time, when we looked at Season One of the new Doctor Who series, I'll be asking the Geek Clique (a bunch of (largely) demographically-similar fans, you can probably guess which demographics) for their views and ratings of Tennant's first series.
If you missed it last time I asked them - in an investigation of whether my 33-33-33 good-bad-indifferent rule was about right - which episodes they liked. Just that. No marks out of ten or caveats. I also asked them for their comments on what they thought worked and why.
The Tenth Doctor, Rose, Mickey, Sarah-Jane, K9, Cybermen, the Absorbaloff. Alons-y!
For me this is probably the weakest of the series of NuWho, though Series Six is running it very close. I never really warmed to the Tenth Doctor, though I could appreciate Tennant's acting abilities. I found him rather self-satisfied, shouty and saddled with an awful accent. As one of the Geel Clique says, he's a twat. His relationship with Rose brought out the worst in them - they were hard to warm to and I was glad to see the back of the whingy, clingy, often cruel Rose by the end of the series.
I don't rate many of the stories either. It has one out-and-out classic in The Girl In The Fireplace, an episode that's funny, touching, clever, scary and weird by turn and an episode that really built up its emotional pay-off, rather than just having someone cry while Murray Gold wanks away in the background. Oh, it's 'drunk Doctor' scene is possibly the worst in the entire series, but we'll ignore that.
I also voted for School Reunion, an episode that I'd describe, favourably, as 'nice'. It's oh-so-slight and Anthony Head would have Graham Crowden frowning and thinking 'that's a bit much' but it has Sarah-Jane and K9 and some funny lines.
I really liked a lot of elements in The Impossible Planet and Satan Pit but it didn't feel like the sum of its parts. It came across as a bit jumbled, like it had been clumsily rewritten but I thought it genuinely chilling in parts - "Don't turn around" a classic moment - and boasted a strong cast. Best of all, Gabriel Woolf was in it.
NB. I forgot to vote for Girl In the Fireplace so bumped it up by one
And that was it for me. Tooth and Claw was a decent runaround, but that was it. The Idiot's Lantern seemed like a nice idea and looked a treat but was the first in a series of forgettable Gatiss scripts that just don't really come off.
I thought New Earth possibly the worst in the new series run and the Cybermen two-parter an absolute bodge of the brilliant Spare Parts audio play, with perhaps the worst single performance of the new series from Trigger off of Only Fools and Horses.
Fear Her is a complete waste of time and a bizarre fluff of the 'suburban horror' meme and the final two-parter a bemusing car crash of elements, characters, monsters and plot lines. I'm informed that half of the Geek Clique literally shit themselves with sadness when Rose went through the wall, though, so what do I know?
What else? Ah, yes. Love and Monsters. This is an intriguing little creation but it seems like it's wandered in from a different series. It's an episode about Doctor Who fans. Weird. But pretty good, on the whole.
The Geek Clique awarded this series just 35 votes. Assuming the same amount of people vote on each series that places Series 2 as last in the Clique's affections - with a series an average of just 3.5 to Series One's 58.
Anyway, as for my 33-33-33 (good, indifferent, bad) split, here goes:
-School Reunion, Girl in the Fireplace, The Impossible Planet/The Satan Pit
-Tooth and Claw, Love and Monsters
-New Earth, Rise of the Cybermen/Age of Steel, The Idiot's Lantern, Fear Her, Army of Ghosts/Doomsday
That's seven duffers out of 13, which is not a great hit rate and blows my mathematical wibbling out of the water.
Read what the Geek Clique made of the individual episodes, the Doctor-Rose-Mickey dynamic and the series as a whole below. And do let us know what you think about Series 2, both with comments and the poll at the bottom.
New Earth continues the nuWho tradition of dreadful opening nights. Like many of RTD's stories it has a grab bag of elements that sound exciting but have narrative reason to be together (nuns - who are cats, zombies, the Return of Cassandra, the Face of Boe again, etcetera). This one sounds like it was hindered by Davies rewriting the story in response to something Moffat said (Davies “invents interesting characters, then melts them”) and decided to give the story a happy ending. Instead of creating a scenario where Doctor has to kill the experimental subjects and the Face of Boe actually dies, tying in thematically with Cassandra's death, he grafted on a happy ending, which is bollocks. Cassandra's acceptance of her own mortality is completely out of keeping with everything the audience knows of the character, and the scenes in which the experimental subjects are cured by the application of the Sisters of Plenitude's medicines raising the question of why the Sisters were using the subjects for experimentation, if their diseases were so easily curable.
New Earth was an unforgiveably poor start to the season, squandering the goodwill engendered by the Christmas Invasion: after tCI, I was really excited to see the new Doctor and instead what I get is a whiny, arrogant manchild and his simpering girlfriend parading their dysfunctional codependency in front of a load of cats. And then you get Tooth and Claw...
Tooth and Claw
I'm not sure what the point of 'Tooth and Claw' was. Rose and the Doctor start to become smug and obnoxious with their cliquey jokes. The monks that Bic razors forgot are just bizarre (wouldn't pretending to be y'know normal monks be less conspicuous). And the idea of the telescope as a werewolf trap is just stupid - it's possibly the least useful weapon forever as it only works in one narrow scenario.
School Reunion is a funny one too. because Lis Sladen + K9 are in it it's quite enjoyable - but I feel that's skewing the balance in favour of this story, which is wholly forgettable shorn of its USP.
I quite like the Anthonystewartheadites. I'm not sure they'd be worth much without Anthony Stewart Head being smarmy and evil but their shtick of being obsessive self improvers has the basics for a classic Who baddy. And bat wings are cool. Also Mickey is good in this.
Looking back on all this, there are lots of episodes which have great elements which don't add up to a great episode. School reunion being the best case - I've not idea how a show could be shit with Anthony Head, Sarah Jane (this was the first time she came back and it was brilliant) K9 and scary aliens posing as teachers, but somehow it was.
Other than the bits with Sarah and K-9, 'School Reunion' is just a bit boring. It also cements how nasty the Doctor and Rose are when Mickey realises that he's relegated to the role of the tin dog. I'm also not entirely happy with the attempt to retrofit the type of relationship the Doctor has with Rose onto Sarah. And Rose is obnoxious to poor old Sarah Jane. It's a shame the monsters didn't eat her. Oh, and Anthony Head is in it! Yay! But he overacts terribly. Boo.
The Girl in the Fireplace
The Girl in the Fireplace is a story I enjoy, but which loses something whenever it's rewatched. The creepy ship and the clockwork men turn out to have the most banal rationale behing their actions imaginable, and we're supposed to think that's clever!
I've never quite understood the love for Girl in the Time Traveller's Wife, being more struck by the fact that Noel Clarke was going to get screwed over by bad planning again.
Rise of the Cybermen/The Age of Steel
The Rise of the Cybermen two-parter was weak plot-wise, and suffered from the inclusion of an unnecessary and boring alt-earth runaround, but there were some great set-pieces in it and the art deco look of the cybermen along with with their FX-assisted stomping brought to the fore their mechanical, soulless, and cold-hearted nature. Combine this with the conversion scenes at Battersea Power Station and there was a real sense that humanity was at risk there.
The Idiot's Lantern
I've never understood the antipathy to Idiot's Lantern - a smashing episode with a fun baddie, an entertaining plot and a drunken cameraman.
The Idiot's Lantern would be ok were it not for the nonsense about the gay son calling out his evil fifties reactionary father. Gattiss can't do emotional stuff at all and in this instance it drowned the plot. Oh and the Tenth Doctor was at his shouty-twat worst.
The Impossible Planet/The Satan Pit
I really liked the Impossible planet, dunno why there's the hate for that one. But I suspect it was mainly the supporting actors who were really damn good.
Love and Monsters
I really like Love and Monsters: it was brave and interesting, and about time to try something different. The biggest weakness, ironically, is the Doctor and Rose: they're absolute bastards: it's impossible to believe that people are so likely to worship the Doctor when he's simply not the Doctor we all grew up worshipping. He's a twat.
Love & Monsters is easily my favourite episode of the new series. It's not doing what Doctor Who should do at all, but it stands as the one place when RTD really let rip and brought the keen vision of Queer as Folk to bear on geek culture. It's dark, misanthropic and near the knuckle, but it's also honest.
Fear Her was a fine little story, completely inconsequential and daft, but well suited to 45 minutes and a welcome change from the universe being under threat again.
So many Nu Who stories have so utterly forgettable and lacking in effort you wonder if they wonder have been better off just going with 8 episodes a year.
Fear Her should have been a nice creepy little story about something horrible living on a quiet suburban street, and I thought that the tenth Doctor was more sympathetic than usual in that one, but the abusive parent stuff felt tacked on, the guff about the Olympics seemed fairly typical of RTD's inability to let stories with contemporary settings speak for themselves, and Huw Edwards is unbearable at the best of times and made an even bigger tit of himself than usual here.
Army of Goasts/Doomsday
The finale was magnificent, second only among New DW in the heartstring-tugging stakes to Eccleston's last story. It was a comic book story brought to life, completely believable and utterly enthralling. And the dramatic tone shift in the final 15 seconds give an impression of a show runner at the very top of his game - amazingly confident, wonderfully subversive and pitch perfect in judging cliffhangers.
The final two parter was great at the time, and the end of was fantastic, and I certainly got a lump in my throat. But the elegance of the end was spoiled by the fact that the relationship was soured for me earlier on in the year.
Bad Wolf Bay is the moment that cemented the show in the affections of the nation, if not ours. It sealed the deal for the gurls and wimmin, who were absolutely crucial to what RTD was trying to do with show. That moment with the wall is and will be the moment that gets replayed on The Greatest TV Moments Ever clip shows from now till doomsday.
Rose and the Doctor
As strange as it is to apply the concept to fictional characters the Tenth Doctor and Rose really brought out the worst in each other. Co-dependent, mutually admiring and callous about all the characters around them except for when called upon to demonstrate their "compassion" for our admiration.
I really didn't like the Ten n' Rose dynamic, which spoiled a lot of stories in S2. I never liked that while I felt there was a co-dependency between Nine and Rose that made it a-OK, there was just something deeply unpleasant about the dynamic between the two of them in Season Two.
It's a shame that I can hardly watch Tennant now. Watching him through the filter of the last few specials means that it's difficult not to shout "emo twat" at the screen whenever he's on and being moody.
[Rose} went from being a sweet, normal person to a clingy cypher. Watching them again, the shift in characterisation from seasons 1 to 2 is actually quite jarring. It spoils what could have been fun episodes and turns bad episodes into something awful. The fact the season has more of the latter than the former any way doesn't exactly help.
Aside from the werewolf one, the sarah jane one and the madam de pompadour one this is probably the second weakest series so far.
Season 2, for me, is a lot less coherent than Season 1. I know there's a lot of reasons for that - Rose's change in leaving dates, the replacement of Ecclestone - but, for me, the heart and soul of the issue seems to be the writing. I think RTD was caught out by the success of the s1 (as were we all) and rapidly fell into a trap of just writing for his life. The treadmill of actually getting the thing produced overtook the writing; this would become more and more noticeable throughout the rest of the new series and really underlines the importance of having either a seperate head writer and showrunner/producer or a larger writing staff.
Looking back it's really hard to miss how lazy a lot of the plot and characterisation choices were and the faint air of desperation that hung about it as RTD realised he had a hit on his hand but hadn't really thought about what to do next. After the Tooth and Claw through Girl in the Fireplace run which had some of the best action and best jokes in the new series it was all thrown away by a lot of badly plotted runabouts with cod emotion thrown in. Also I'm struggling to think of a genuine real scare in this series - I liked some of the stuff from the Ood two parter at the time but it was all rather thrown away by the creature in the pit turning out to be a heavy metal cover circa 1982. Still all that said it was phenomenally successful and Tennant has become "The Doctor" to a generation in a way that Eccleston and Smith (both of whom I vastly prefer) haven't so it must have been doing something right. Either that or the majority of Britain is thick and deluded.
There are some phenomenally weak stories in this season, looking at them again. I never watched New Earth, the Cyberman two-parter or Fear Her again they were so awful. But I've very little desire to see any of them again, bar the brilliant Girl in the Fireplace.
Doctor Who has never been better than it was in 2005-2006. And, sadly, I doubt it will be as good for years to come.
Vote for your favourite stories of Doctor Who - season two
I found myself watching The Waters of Mars the other day, the Tenth Doctor's penultimate adventure that was screened during 2009.
RTD had cleverly lowered expectations for the Autumn special with the pleasingly forgettable The Dangerous Planet. It wasn't actually called The Dangerous Planet but that's as much as I can remember about it, apart from the fact that it was utter shit.
Still, Waters of Mars had given us what was perhaps the best trailer of them all from the new series - a proper balls-out terrifying 30 seconds of H2O-based frights - alongside the knowledge that Tennant's run was coming to an end, and all the attendant myfficism.
Expectations were running high, but was RTD through the looking glass by this stage? Was it utter Underwater Menace or was it stupendously Curse of Fenric.
Scares - Only once or twice during its return - The Empty Child, Blink or Midnight, perhaps - has Doctor Who dared to be this terrifying. The Flood-infected members of Bowie Base are a triumph of make-up, SFX and acting. They are designed and played to be bloody frightening, and so they are.
Time Lord victorious - I never warned to Tennant's Doctor, truth be told. He was too shouty, too smug, too wacky. After three years of shouting and try-hard wackiness we finally see something interesting happen with the Tenth Doctor. A Time Lord gone rogue, shades of the Valeyard and the Master, is a fascinating development and an understandable one, given The Doctor's recent experiences in the TIme War and his possibly-unstable Ninth incarnation.
Lindsey Duncan - Playing a bit of an archetype, but brings a believability to a role that the series was crying out for after two halfwit lovelorn goons and a comedy grotesque.
The Doctor's moments with Adelaide at the end of the story are electrifying and quite wonderfully played by Tennant. WHen it is all taken away from him by Adelaide's death and the appearance of Ood Sigma it's equally riveting television.
Cast - Prett much all good, particularly the people playing the flood.
Dalek - An oddly dream-like moment that's probably pivotal to the story
Ice Warrior reference - Nice little throwaway lines that will mean little to 99.9 per cent of viewers, but so much to fans
Barry Letts tribute - Right and proper and lovely
Murray Gold. Sorry to sound predictable, but any action sequences are totally undermined by Gold's Bedknobs and Broomsticks via Scooby Doo music. A couple of sequences that aren't great in the first place - The Doctor and Adelaide riding the Gadget Gadget thing and the Doctor standing around looking solemn while everyone does 'busy' acting are made much worse by Gold's appalling audio.
Graeme Harper - Despite generally good stuff here, Harper is to blame for a few really duff moments. If there was such as thing as a Doctor Who auteur (there wasn't, but bear with me) it was Harper with his interesting angles and superb action sequences. In the new series he was just another hack - in the trust sense of the word.
Gadget Gadget - Is that what it's called? An odd, jarring note in a sombre, ominous story. Even (!) Doc Ten hates it.
Waters of Mars is one of the least typical NuWho stories of the run and, as such, it's a welcome relief. Not since Logopolis has been the slightest angst over a forthcoming regeneration and it shows us a side of the Doctor rarely seen.
That WoM is, in itself, a strong, scary story is also in its favour. Deservedly won RTD and Phil Ford a Hugo award and suggested an epic, groundbreaking climax.
Predictably it was business as usual, like a final, weary wank from Davies following a Queer as Folk box-set for End of Time. Ho hum.
So, Steven Moffat has been busy teasing the new series of Doctor Who with the claim that someone among the main cast will kark it bigstyle. Ooh! Who will it be?
Well, if the previous six years are anything to go by, it won't be anyone. So often has death been teased, both within the show and by production members, that it's turned into the boy who cried Bad Wolf.
I don't see this is the innocent bit of fun it might otherwise be portrayed as, because every time someone says 'X is definitely going to die' then gets out of it with a silly swerve or bit of magic fairy dust it rather damages the credibility of the show.
Which is why Iraise a bit of an eyebrow at Moffat's claims this time. What's it going to be? River Song regenerates? The Doctor dies but is brought back to life by Amy's lust monster? Rory dies but becomes a Yeti? Amy 'dies' because she's technically listed as 'dead' in some official sodding records?
I suspect this time one of the four main cast is about to shuffle off their mortal coil, with no cheats or comebacks. But even that will be reduced by the many, many 'dies and then comes back to life' or 'doesn't die in first place' tricks the show has pulled on us of late.
Think I'm overdoing it? Well have a butchers at the list below. You'll die laughing. Or not.
Doctor Who undead list
Jack gets exterminated
Result: Didn't die
"This is the story of how I died"
Result: Didn't die
Result: Doesn't die
Result: Doesn't die
Refuses to regenerate. Dies.
Result: Doesn't die
Falls down liftshaft, or something. Dies
Result: Doesn't die
Massive regeneration tease: "I'm regenerating!"
Result: Didn't regenerate
"There's something on your back" "I'm sorry, you're going to die"
Result: Didn't die
Zapped by old woman's breath. Dies.
Result: didn't die.
Shot by Silurians, dies
Result: Didn't die
Shot by Auton Rory, dies
Result: Didn't die
Gets exterminated. Dies. Dies in some sort of sun + end of universe + beginning of time cataclysm
Result: Didn't die
You can have The Daleks too, since the very last Dalek seems to die every single story they're in, although that always seemed to be true of the Master and the Daleks in the good old days too.
Showing RTD knocking one out for 90 minutes may have been slightly less indulgent than The Stolen Earth and the second parter, which is no doubt called the Impossible Everything Apocalypse or something (I checked, it's called Journey's End).
By this time the new series was feeling very tired, and a crying out for a new broom. But RTD had other ideas. One last big wank. Until The End of Time.
Cribbins - Brilliant as always, his webcam line is the highlight of the first episode
Julian Bleach - Davros is a real success in this. Lunatic, screaming mania – but done with real conviction
Jack - When not playing some sort of weary, ageless, lonely but stupidly horny demi-God, Jack is an enjoyable character played with evident relish by Barrowman.
Dalek invasion - A few of the invasion scenes were quite good, certainly considering how weak the New Series had previously done the Earth invasion stuff.
Donna - Tate surprised me by how good she was, when she's not being written as a complete shouty twat.
The Daleks - Totally neutered by now, the Daleks in the new series have been a case of diminishing returns. Every appearance seems to be bigger and more outlandish than before; with the result that the only feeling they inspire now is apathy.
Regeneration tease - Perhaps the fourth, fifth or sixth time someone was about to die in the series and then just... didn't. Talk about writing yourself into a corner; the worst thing was no-one in their right mind believed it in the first place. Also sets up the ridiculous two Doctors, then three Doctors, then Donna dies (but doesn't) drivel later on.
The gates of Elysium...the Nightmare Child... - Oh do fuck off. All of this drivel is genuinely hard to listen to, especially when it's always delivered with Tennant's tight-lipped spittle-drenched shouting.
Rose - Rose's long-suspected but little-desired return is a predictably tedious, self-absorbed affair, but it's really not helped by Piper's quite weird, lisping appearance.
Sarah-Jane - Seems out-of-place and quite annoying here. Lis Sladen's frightened acting is just awful. Only her very brief dialogue with Davros makes any sense.
Harriet Jones - Who gives a fuck?
Close up of man saying 'Ladies and gentlemen, we are at war - Utter shit
Dalek Caan - Embarrassing
Martha - Pains me to say as it, as she's rarely helped by scripts, but Freema has one of her weaker episodes, and it shows her up alongside the others.
Jackie - I'd've preferred it if Bruno Langley had come back.
Murray Gold - terrible, terrible, terrible
An absolute car crash. It's totally incoherent; at no stage does it make even the remotest sense; fan-wank is piled on in such proportions that even fan-fic authors would baulk.
There's some kind of weird 'you know it's wrong' pleasure to seeing such a hodge-podge play out on screen, with everything imaginable thrown at the wall. Jelly, cream, chocolate, jam, vodka, Red Bull and heroin – but mainly cheese.
A very few crumbs stick, but if this wasn't evidence that RTD had run out of juice by now, I don't know what was.
• Caves and Twins? What are you dribbling on about?
Go here: Caves and Twins
So, Moffatt's first two-parter as show-runner, Weeping Angels and all, comes to an end after last week's The Time of Angels.
Was it as satisfying as The Doctor Dances or as incomprehensible as, er, most of the other concluding episodes of two-parters?
The eeriness of the antagonists and the setting was superb, with Amy's counting down from ten ('for fun'); Octavian's imminent death; the Doctor getting literally collared; and the eventual moving Angels all wonderfully realised Who-ish moments.
The arc. I haven't worked out what the crack is all about, or what River Song has to do with it, or whether there were two separate Doctors roaming about on the Byzantium - but it's already shaping up to be fascinating, and I expect a typically rigourous conclusion by Moffatt.
Acting. All of the cast were superb, particularly the regulars. Gillan's 'countdown' scenes were played well and really gave the story a nasty, frightening edge. And Iain Glen made a role that could have been perfunctory a believable character
Direction. I'm reaching a bit here, but I found quite a few lines delivered in a really odd way, particularly by Alex Kingston, who is usually fine. And I never thought the threat of the Angels – that they move when not viewed - was communicated that well by the ultra-snappy editing. No howlers though.
Amy gets sexy. While I like the idea of Karen Gillan getting all hot and bothered, it seemed a bit off-kilter with her character and the dynamic between Amy and the Doctor so far. I've seen it argued that this scene was a massive two fingers up to the emo-ness of RTD and Ten and Rose and Martha, but I'd really enjoyed the lack of emotional wankery so far in this season. Their relationship seemed complicated, yet fairly believable - it now risks being reduced to another 'companion hot for the Doctor' thing.
That's about it, a fine two-parter that really stamped Moffatt and the leads and the new direction of the new series on Doctor Who
• Caves and Twins? What are you dribbling on about?
Go here: Caves and Twins
It was pretty refreshing to see the Eleventh Doctor punching some bloke's lights clean out on the new series trailer than showed back in January, following a few years of sanctimonious stuff from RTD and Ten about how 'violence is bad, m'kay?'.
So much so that it stirred my mind back to a simpler time when The Doctor would casually dispatch villains in a variety of ways, including blasting them with guns, pushing them into acid baths and gassing them with cyanide. The good old days, as I like to call them.
So, I've compiled a list of ten moments of shocking violence in Doctor Who - perpetrated by the Time Lord himself.
1. An Unearthly Child
The original and the best. The First Doctor is stopped by Ian, seconds before he stoves in the head of a wounded caveman with a rock.
2. The Dominators
The Second Doctor places a nuclear device on the Dominators' ship, blowing them out of the sky.
The Third Doctor smilingly explains to the Brigadier than the Venusian grip he has applied to Stahlman will soon paralyse him for life. Similar venusian chops, kicks and jabs pepper the Third Doctor's era.
4. Day of the Daleks
The Doctor casually blasts an approaching Ogron, blowing Ten's 'be the man who never would' speech out of the water.
5. The Brain of Morbius
The Fourth Doctor gasses Solon with cyanide, in a move that could easily have left him and Sarah sealed in a crypt forever.
6. The Seeds of Doom
Four punches out a henchman with a thinly-disguised relish. Later on he twists Scorby's neck, as if to break it, after punching him in the gut.
7. Arc of Infinity
The Fifth Doctor simply shoots Omega.
8. The Twin Dilemma
The Sixth Doctor tries to strangle Peri to death.
9. Vengeance on Varos
Take your pick. Doc Six maneuvers two guards into a BATH OF ACID and leaves two different booby traps involving stinging plants and a laser to kill two cannibals and a guard.
10. The Two Doctors
The Sixth Doctor chloroforms Shockeye to death.
I've got nothing on the rest, barring the Seventh Doctor's disabling of Patterson in Survival and the Ninth Doctor's knocking out a guard in the one where Rose turns into the Time Vortex, or whatever the hell it is that happens in that episode.
Have I missed any obvious ones? It wouldn't surprise me to discover that Hartnell stabbed someone in the neck in one of his less obvious stories.