New Series The Geek Clique

The Geek Clique on Doctor Who – Season 2

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!

Series 2

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

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

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

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.

Season 2

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

New Series

Caves and Twins: Aliens of London

Aliens of London

It’s seven years since this was made, which make it the difference between An Unearthly Child and Spearhead From Space – or Planet of the Spiders and Castrovalva. Or Survival and the TVM. Or… well, you get the idea.

It doesn’t seem that long ago, but Doctor Who has clearly changed enormously since then. As it was on telly I thought I’d watch it and makes some notes.

What’s extraordinary is just how much the last two seasons have cast off so many RTD-era tropes – it feels like a radically different series now; much more assured; much more certain about its own identity and tone.

Whether that’s a good thing is debatable, but Aliens of London seems extremely uneven. Its tone jumps about quite a lot – broad farce, almost pantomime, on minute and drama the next and sci-fi the next.

Ecclestone suffers the most here. His Doctor is not merely eccentric or weird or even childish. He actually seems simple. It undermines the character and just makes the whole seem bizarre.

Tennant and Smith seemed to nail their Doctor immediately, as did McGann. Only McCoy seemed as out of sort – in this first series as the Doctor – as Eccles does here.

Overall, this is a story that’s unrecognisable from the last two or three series of Who – certainly the Moffat/SMith era. There are a lot of things about the latest series that I didn’t like, but I’m grateful that the series moved away from how low rent the likes of Aliens of London is.

Eccleston seems to be spend most of this episode behaving as if the Doctor is actually a bit retarded. The collision of the script, the direction and Eccleston’s clear discomfort doing ‘whacky’ acting make for a grisly spectacle.

Mickey = Mickey is just a gibbering moron in this episode – and in the majority of the series. He falls over; he mugs; he squeals. And then we’re meant to feel sorry for him when he complains about Rose leaving. It doesn’t work because Mickey is less believable than a cartoon character.

Jackie – Jackie is worse drawn and less realistic than a Carry On film character. See above.

Murray Gold cannot do any action music whatsoever. Any scenes that involve running, guns, spaceships or fighting seem to conjure up music that would seem out of place in the pilot of The Sarah-Jane Adventures.

Chav culture – It’s incredible how rooted all of this is in a very mid-noughties idiom. It’s like Doctor Who set within Little Britain or Gavin & Stacey. It feels incredibly dated and also very cheap; Doctor Wo done on a BBC3 budget.

Farting aliens – Occasionally this is funny; occasionally it’s even a little sinister. Mainly it’s just annoying.

Stupid – It’s remarkable just how stupid the whole thing is. Downing Street has banks of computers that have RED ALERT flashing on them? The army follow The Doctor because he says ‘Defence Pattern Delta’ to them (which seems to involve running quite slowly down a corridor)? Harriet Jones is actually still banging on about her local hospital even after a UFO has crashed in the Thames.

The cliffhanger – it just seems to go on for ages. On and on and on with three separate scenes convening in almost exactly the same way. There’s almost a moment of dramatic tension here with the various reveals, but it drags on for long it doesn’t really work.