How to Fix – Revelation of the Daleks

Welcome to the next article in a series called ‘How to Fix’, in which I will be offering my opinion on how to improve on stories from various entries in different franchises. It must be noted that not all of the films, games or episodes that I will be talking about in this series have to necessarily be ‘broken’ in order to fix them, simply that these articles will offer alternate means of telling the same stories.

Since one of the very first posts on this blog was an opinion piece on how good Remembrance of the Daleks is, it seemed only fitting for me to attempt to write a similar piece on the previous Dalek episode from the 80s, the ‘prequel’ to Remembrance, the Sixth Doctor story Revelation of the Daleks. However, upon re-watching the episode after not having seen it since I was young, a few flaws become immediately apparent, particularly when comparing the story and execution of this episode with other 80s Dalek stories as well as Big Finish releases featuring Daleks. So, without further ado, let’s get right into how to fix Revelation of the Daleks.

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Totally rework the focus of the story

Before getting too far into criticism of Revelation‘s focus, it has to be said that the final product would be perfectly fine – if the show it was an installment of wasn’t called ‘Doctor Who’. Because of all the various colourful characters in the episode, the Doctor himself receives possibly the least screen time. In fact, the Doctor doesn’t even get involved in the main plot of the story until the second part (technically the third part, had Revelation used the standard classic series format) and this creates a strange feeling of disassociation for the audience. Whilst the denizens of Necros and the goings-on of the strangely technicolour funeral parlour are mildly interesting, and the in-depth look at Galactic politics and the activities of scheming assassins even more so, Revelation seems to put what should be the primary focus of any episode of Doctor Who – the Doctor and the companion – on the back seat, behind even the most minor of secondary characters.

Ironically, this creates an even bigger problem for this episode – the fact that the writers seemed obliged to insert scenes of the Doctor and Peri trudging around the exterior of Tranquil Repose makes these scenes seem like distractions from the main story, as if Doomsday had frequently cut to scenes of Canary Wharf janitorial workers, or if Blink had frequent scenes involving the man who owned the video store watching his crime films. Whilst Doctor-lite episodes have worked in the past, Revelation is not wholly committed to the idea, and so the first part ends up as a bit of a jumbled mess. The Doctor and Peri should have far more screen time in order to link the various plot elements together. Talking of which…

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Put more emphasis on the ‘Revelation’

Whilst Resurrection of the Daleks was named almost as a pun, reflecting the fact that the Daleks had not been used in the show for some time beforehand regardless of the fact that there was no ‘resurrection’ of any kind in the episode, Revelation of the Daleks does at least have some kind of ‘revelation’ involved – the idea that Davros has created a whole new faction of Daleks, an idea that would be critical in the setup for Remembrance. Unfortunately, this idea is somewhat buried in amongst the sheer mass of plot elements going on in this story. To briefly summarise, this episode devotes somewhat equal time to at least 3 different subplots – the activities in the funeral home surrounding Jobel and Tasambeker, the mission undertaken by Natasha and Grigory to find her father’s body (now metamorphosed into the Glass Dalek), and Davros’ plan to manipulate Kara and her company into distributing his cannibalised food in the guise of the ‘Great Healer’ with Kara’s subsequent plan to hire Orsini to assassinate Davros.

This is a lot of ongoing plot threads to be contained within one episode, and this isn’t even mentioning the smaller subplots of the Doctor and Peri wandering in the wilderness, the beginning of the Dalek Civil War, or the cringe-inducing broadcasts of the infamous DJ (more on him later). What makes this even worse is that most of these threads seemingly go nowhere – what exactly was the point of Jobel and Tasambeker’s significant screen time when they ultimately both end up dead, having contributed nothing to the main story? Why did Natasha and Grigory get so much focus after finding the Glass Dalek, when this is really all they were needed for in the narrative? Why wasn’t more focus placed on the Kara-Davros-Orsini dynamic, the only major plot thread that actually amounts to anything overall? The episode should have condensed the Jobel and Tasambeker story into the first episode, with the Doctor’s involvement being accelerated so that he meets Natasha by the end of the first act. Also, whilst they are excellent, Davros’ interactions with Kara should have fed into the cliffhangar of the first episode – perhaps have the ‘Great Healer’ persona be a more effective disguise for Davros instead of simply a rubber duplicate of his horribly deformed and instantly recognisable face – so that the reveal of Davros is more of a surprise. This would ultimately lead to the ‘revelation’ of the new faction of Daleks being a more critical plot development rather than simply being buried in the mix.

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Hang the DJ

We all knew this was coming. What on Exxilon were the writers thinking? Well, the character of the DJ was apparently designed to parody 80s DJs at the time, making this entire character tailor-made to lose his effectiveness as time goes on, but the problem of his inclusion runs deeper than this. Ultimately, despite the relatively signifcant amount of precious screen time dedicated to him, the DJ character goes nowhere other than as a means to distract Peri from the main story. Even if one ignores the fact that his entire reason for being in the facility is totally useless (quite literally playing music for the dead) things take a turn for the worst when he uses a ‘Rock ‘n’ Roll’ gun to destroy Daleks. If you thought Captain Jack destroying Daleks with a laser designed to get people naked was ridiculous, this is on a whole other level.

Ultimately, it is difficult to reconcile this character without a complete rewrite from the ground up, so the only realistic recommendation is to axe this character completely, and spend the time wasted on him to focus on more important plot points. However, for the half-dozen or so people out there who actually like this character, at the very least he should have two to three scenes maximum, and cut out the idea that Daleks can be destroyed by a gun that fires concentrated Rock ‘n’ Roll. Where did he even get that thing, anyway?

In Conclusion

Overall, Revelation of the Daleks is no masterpiece. Whilst the episode in its current state stands at a respectable 6 or 7 out of 10 according to the majority of fans, the concepts and ideas along with most of the characters and plot developments should have made this story a solid 8 or 9. Unfortunately, bad pacing, lack of clear focus and an abundance of irrelevant or poorly executed subplots drag this story down.  Hopefully this installment of How to Fix can give an idea of what could have been…

So that concludes the latest How to Fix, I hope you enjoyed and if you did be sure to leave a like. Check out the links below for more Doctor Who related content and other installments in the How to Fix series. Thanks for reading!

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Star Trek – Ranking the Opening Titles

Whether you sit through them every time or use them as an excuse to grab a snack, the Star Trek opening titles are a staple of the series, and rightly so. The main themes of each version of the show are all fantastic for the most part, and the opening usually comes with some nice visual effects, be it model shots of the setting (usually a ship) or CGI renderings of various iconography related to the show (as in Discovery, but we’ll get to that). But the question remains – which opening is the best? So for convenience, we’ve ranked them all (apart from the movies), starting with:

6 – Discovery

Whilst it is clear that the idea behind the Discovery title sequence was to distinguish it entirely from prior titles in the series, the fact of the matter is fans would probably have preferred a showcase of the modern day special effects to create Discovery’s take on the classic style of Star Trek intro – that is, the ship flying around through space. Think something like the titles of Star Trek: Voyager, but with updated effects to show off the new ship. Instead, what we got was a strange blueprint/technical specifications manual in 3-D showing the ship and various pieces of Star Trek iconography like Phasers, Communicators and even the Vulcan Salute, coupled with high-resolution pictures of people (or at least parts of people – like a chin and an eye) who are presumably the crew. Regardless of whether you like this or not, what is undeniably the greatest drawback of Discovery’s titles is the theme itself, which is both uninspired and forgettable.

5 – Enterprise

The other standout of Star Trek title sequences that radically diverge from the normal formula to the point of being almost incomparable is Enterprise, which does a great job of establishing this show as the first in the timeline with specific focus on the progress that mankind has made between the early days of sailing in which the name ‘Enterprise’ was born to the first in what will be a long line of interstellar exploration vessels bearing the same name. This is also the general idea behind the theme, which for many is the primary drawback of this title sequence – it is a bit cheesey, particularly since it has vocals, something which thankfully has never been done again in Star Trek. One thing that Star Trek: Enterprise did do right, however, was the awesome variation of the title sequence used for ‘In a Mirror, Darkly’ for the Mirror Universe.

4 – Deep Space Nine

The first on this list from the ‘standard’ formula of Star Trek openings, The problem with Deep Space Nine’s opening titles is the fact that instead of a nimble ship that can zip around the screen, the crew in this show inhabit a giant space station that is, for the most part, immobile. For the first few seasons Deep Space Nine used a title sequence that did a very poor job of showcasing the station’s actual size, but this was later improved in an updated title sequence that was introduced as the USS Defiant became a staple of the series, that had lower angled shots of the station and more ships. One particular change that did wonders to better showcase the vastness of the station was the addition of a Nebula-class ship docked on to one of the pylons at the start, which fans of TNG will know is almost as big as a Galaxy-class ship, and yet it is dwarfed by the station. Although the theme of Deep Space Nine is somewhat of a slow march, it does have some real feeling to it that begins to reflect the content of the show itself as the series progresses.

3 – The Original Series

The original Star Trek title sequence set the staple for opening titles to come, and is also the first of two entries on this list that include the iconic “Space… the final frontier…” speech. The visuals are dated but that won’t bother anyone who is fond of the original series, and the main theme is upbeat and great for a sing-along. The only true drawback to the original opening titles is that by far the shortest of them all, hardly even topping a minute in length. Still, these titles have gone on to be a pop culture staple and those first four notes of the opening theme inspires excitement and awe in fans even over half a century later.

2 – The Next Generation

To get the obvious out of the way first, the main theme for Star Trek: The Next Generation is brilliant. easily the most bombastic of the themes, it really sets the tone for the blend of sci-fi and politics in TNG, and the model shots of the Enterprise-D give the illusion that the ship is huge. Patrick Stewart’s opening monologue is arguably better than William Shatner’s, and also replaces “To boldly go where no man has gone before” with “To boldly go where no-one has gone before”, which genuinely rolls off the tongue better as well as updating the line to be more in-keeping with the spirit of the show. Also, it is worth mentioning that TNG actually had two variants of the title sequence, with the later incarnation having updated effects and an altered theme, both of which were well-received by fans.

1 – Voyager

Sporting the best visuals of the four best opening titles, the opening to Star Trek: Voyager gives a sense of the isolation that comes along with the running plot arc of the show by dwarfing the ship against planets, asteroid fields and nebulae, showcasing the epic scale of the Delta Quadrant. Unlike the TNG opening titles, the ship is a CGI render and not a physical model, and this allows for some great angled shots of the ship. The music is definitely one of the best Star Trek opening themes, and like DS9 it has a melancholy aspect to it that is quite unlike the bombastic fanfare of TNG, reflecting the more dire situation that the crew of Voyager have found themselves in. Overall, Star Trek: Voyager is the one incarnation of Star Trek that has a title sequence that I will never skip.

So that concludes this ranking of the Star Trek Opening Titles, if you enjoyed then be sure to leave a like and you can see more content related to this article below:

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Doctor Who – The Best of Big Finish, Part Five

In my last Best of Big Finish article I mentioned that I had finished most of the second series of Eighth Doctor audios, and I had only a handful of audios (including the infamous Zagreus) remaining in the Eighth Doctor’s first batch of stories. What makes these audios so fascinating is that, other than the less-than-stellar TV Movie from 1996 and the fantastic but brief Night of the Doctor from 2013, they are the only medium through which fans can experience the Eighth Doctor. Whilst we can all live in hope that one day the BBC will give Paul McGann a spinoff or mini-series of his own, in the meantime the stellar audios that he has been a part of can suffice for fans of McGann. All of these audios can be picked up on the Big Finish website for just £3 each, so they are definitely worth checking out.

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The Time of the Daleks

This audio is essentially a re-imagining of the lost Second Doctor episode The Evil of the Daleks, which is by no means a bad thing – since Evil can no longer be experienced, it makes sense to attempt a remake eventually – but the story is perhaps in places a little too close to Evil. Regardless, McGann and Fisher are brilliant as always, and the Daleks prove to be as menacing as ever.

What truly makes this audio worth the time is the fact that the Daleks quote Shakespeare throughout, something that is unnerving in context but hilarious to listen to, particularly since the plot revolves a fair amount around the Daleks attempting to remove all of Shakespeare from time, but in order to do that they have to learn Shakespeare themselves.

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Neverland

Neverland concludes the story arc involving Charley Pollard and the time-phenomenon that has pursued her and the Doctor since they met, and also leads into Zagreus, making it a fairly important audio in the Eighth Doctor’s early years. The audio features Lalla Ward as Romana II in her first encounter with the Eighth Doctor, and also features some interesting developments on Time Lord society, specifically their early methods of capitol punishment.

All in all, Neverland is essentially the ‘setup’ for the next audio, and given its successors infamous reputation it goes without saying that this audio is an important chapter in the Eighth Doctor’s adventures.

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Zagreus

As strange as it is, I actually quite liked Zagreus. I am aware of this audio’s controversial nature, and its placement as the ‘Marmite’ audio for most fans – they either love it or they hate it. To its credit, Zagreus attempts to do something radically different for a Doctor Who story, and it plays with some really interesting ideas. By far one of the best features of this story is the abundance of classic cast members, everyone from Louise Jameson to Jon Pertwee (the latter as a prerecording taken from a fan production). In a strange twist, however, the entire group of regular cast have been given totally random roles in this story, making it an interesting ride for those who are familiar with them all.

The first of two main weaknesses of Zagreus is the length – in fact, its length is its Achilles heel in many ways, as the second main weakness of Zagreus is the meandering plot – but the story could have been tightened up a lot more as the final product is a whopping four hours long – twice the length of a standard Big Finish production. True to Classic Who form, this means filler galore.

—- WARNING: SPOILERS FOR ZAGREUS TO FOLLOW —-

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Scherzo

This is a strange one. Scherzo is set directly after Zagreus and is the first in the ‘divergent universe’ arc that makes up the second major plot arc in the Eighth Doctor’s era after Charley. After the somewhat hectic and tragic conclusion to Zagreus, the Eighth Doctor and Charley end up in a totally new universe in which time no longer exists, and for most of the audio they cannot see or feel anything but each other – they are totally trapped in a universe in which the only thing that exists is sound.

This audio really showcases what the format of audio stories can do that the televised show could not, and really amps up the horror factor to the extent that this might be the scariest of the Big Finish audios that I have listened to so far, in a strange way. As the only two cast members, Paul McGann and India Fisher do a fantastic job here, and they are quickly becoming one of my favourite Doctor/Companion pairings.

So that concludes my thoughts on the next round of Eighth Doctor audios from Big Finish. If you enjoyed, be sure to leave a like and you can follow us either here or on Facebook for more content like this. Thanks for reading!

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Doctor Who – Ranking the NuWho Finales

Due to the change in the format of Doctor Who between the Classic Series and NuWho, a lot more emphasis is placed on the ‘Series Finale’, i.e. the final episode of a series, usually a two-parter, that often involves big shakeups or changes in the status quo for the show. These include, but are not limited to: regenerations, the death or departure of the current companion, big plot reveals or appearances by well-known recurring villains. Since these episodes are so important to their respective seasons, it seems only fair to rank these episodes against each other to see which is the best. It must be noted that I am ranking these episodes based on their quality but also their effectiveness at tying up the plot elements of the series they conclude, so it may not simply be the case of the better episodes being higher. So, to begin:

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10 – Hell Bent

Perhaps a predictable choice as there is no shortage of hate for this episode within the fandom, Hell Bent is a classic example of wasted potential. Regardless of any personal feelings towards the episode (which I actually feel is a lot better than many give it credit for) Hell Bent comes bottom of this list because it fails almost all of its tasks to round off Series 9. What was the Hybrid? Hell Bent tries to give us an answer – but ultimately it boils down to Moffat using the Hybrid as a buzzword throughout the series to make people think there was an arc, only for the curtain to be pulled back at the end to reveal… nothing. This episode is also hurt by its context – following on from the mighty Heaven Sent, Hell Bent just seems weak by comparison and lacks the emotional impact that the previous story had. Not only that, but Hell Bent also includes some highly questionable writing decisions – why bring the Doctor back to Gallifrey if by this point he doesn’t even seem to care about it? Why waste the amazing departure of Clara in Face the Raven only for her to come back to life here? Why have the Doctor shoot a man in cold blood, even if by this point he has gone insane? Clearly, Hell Bent raises more questions than it answers, which is never a good thing for a finale.

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9 – Journey’s End

Speaking of wasted potential, here is another classic example of a finale episode that is vastly inferior to its predecessor. Unlike Hell Bent, Journey’s End is actually praised by the majority of the fanbase (probably because it is a Tennant episode) but what most people fail to realise is that the episode didn’t deliver anywhere near what the fanbase deserved, and we know this because the previous episode, The Stolen Earth, was basically perfect. I mentioned in my How to Fix article on this finale that one of the main reasons why Journey’s End seems lackluster is that it takes what The Stolen Earth set up and throws it all away – All of the cliffhangers that were set up are resolved almost immediately with little effort, The Daleks were a real threat in The Stolen Earth but by Journey’s End they are reduced to being spun around like malfunctioning dodgems, and Davros lacks all the subtlety to his character that Russell had written in The Stolen Earth, instead appearing as a ranting raving lunatic who cackles like Emperor Palpatine. Another major thing that hurts this episode is all the stakes from the previous one are gone. Did anyone actually think the Doctor would regenerate, or that the TARDIS would be destroyed? Of course not. And to top it all off, the Tenth Doctor shows his true colours by using his mind powers to wipe Donna’s memory against her will, even though she had his intelligence and so should have been able to make the decision to live or die herself. Overall, Journey’s End disgraces the Daleks, Davros, the Doctor and the show all in one, but it definitely gains points for having the most returning companions in a single episode, including Sarah Jane Smith, Martha, Rose and Captain Jack, as well as crossing over into the spinoff shows The Sarah Jane Adventures and Torchwood.

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8 – The Wedding of River Song

It has to be said that, for all this episode’s faults, it does actually deliver a plot resolution that was satisfying and added to River’s arc. Since we had already found out in A Good Man Goes To War that River was Amy and Rory’s child, it was unexpected that we would get another big reveal about her character so soon, but the reveal that she is the Doctor’s wife rounded off an arc that had been started all the way back in Silence in the Library/Forest of the Dead. In typical fashion for Eleventh Doctor finales, the entire episode takes place in a strange alternate universe, but this doesn’t necessarily hurt the episode in any way as it allows for some really interesting and satisfying concepts to play out – for one, Amy brutally murders Madame Kovarian, a villain I despised, so that definitely works in this episode’s favor – also, the idea of Amy and Rory falling in love even when they have only just met seems strange at first but actually works really well in the episode. Overall, whilst not a particularly strong episode, The Wedding of River Song definitely delivers as a finale, although it is not among the best.

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7 – The Name of the Doctor

With the 50th Anniversary on the horizon, The Name of the Doctor had more to do than other NuWho finales – it had to not only conclude the Series in a way that was satisfying, but it also had the task of setting up The Day of the Doctor, which was no small feat. Overall, it succeeds at both tasks in some ways, as it does provide a conclusive answer to who Clara Oswald is an why she is important, whilst also giving us a great reveal of the War Doctor, which came as a huge surprise. Not only that, but it even manages to set up the Doctor’s regeneration in The Time of the Doctor by giving us a look at the planet ‘Trenzalore’, alleged to be the Doctor’s grave. The Name of the Doctor also brought back the Great Intelligence, a relatively minor Second Doctor enemy who (for some reason) got special attention as a returning villain in the Eleventh Doctor’s era despite Moffat claiming that ‘forgettable’ villains like the Rani don’t deserve a comeback. Seriously, Moffat? But I digress – The Name of the Doctor, like The Wedding of River Song, is definitely not one of my favourite episodes of NuWho, but as a finale it serves its purpose whilst also setting up the 50th Anniversary special effectively.

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6 – Last of the Time Lords

This episode can be summed up in one word – strange. Concluding the three-part ‘Master Trilogy’ containing Utopia and The Sound of Drums, Last of the Time Lords does a great job of showing just how much of a threat the Master can be when he puts his mind to conquering the world. For all the faults in the characterisation of the ‘Saxon’ Master that is not consistent with his appearance in the Classic Series, he is a formidable foe in this episode and the stakes are really high, and the twist at the end and how the Master achieves his ‘victory’ came as a genuine surprise to a lot of fans who expected the character to pull a classic ‘I’ll get you next time’ and somehow escape. Whilst the ‘time-reversal’ technique is about as sloppy as the writing gets on Doctor Who, in this episode it is somewhat justified and set up from the very beginning, making it forgivable – although the final scenes that cross Return of the Jedi with Flash Gordon have not aged well at all, particularly given the Master’s lackluster return in The End of Time. One of the best things about Last of the Time Lords is Martha, who really shines in this episode, proving her worth as a companion and essentially saving the Doctor, her family, the planet and all of human history, as well as being the only Tennant-era companion to depart the show with a shred of dignity.

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5 – Doomsday

Children of the nation were ecstatic at the prospect of an episode featuring a war between the Daleks and the Cybermen in the run-up to this episode, and generally on that front it didn’t disappoint – Doomsday delivers quite an action-packed episode considering the BBC budget, and the episode delivers a heavy-hitting emotional ending that keeps Tennant fans weeping to this very day. The only thing that brings Doomsday down is the sloppy focus – the episode had so much going on: Torchwood, the Cult of Skaro, Cybermen, Jackie and Pete’s relationship and Mickey and Jake coming back – all whilst trying to deliver the Doctor and Rose’s final adventure together. Overall, though, the stakes are high throughout, there are some great scenes with the Daleks and the Cybermen, and as finales go, Doomsday‘s ‘companion departure’ scene is both brutal and beautiful at once. Highlights of this episode are definitely the brief but intense battles between the various factions at play in the story, and the reveal of the Genesis Ark as a dimensionally transcendental prison that spews millions of Daleks across the nation definitely stands as one of the greatest Dalek moments of all time.

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4 – The Big Bang

The first finale of Steven Moffat’s run as showrunner gave the fanbase an insight into how his methods of conclude a series vastly differed from that of Russell T. Davies – who preferred to conclude his seasons with a bombastic action-packed finale – in that The Big Bang is a far more low-key and personal episode that any NuWho finale we had seen prior. In sharp contrast with the armies of Daleks, Toclafane and Cybermen we had seen in Russell’s tenure, this episode contains only one Dalek, and a classic runaround in a deserted museum that just so happens to be on the cusp of the end of the universe. The relationship between River and the Doctor is explored a little more (without giving too much away) and Rory gets to stay as an Auton for a day, giving him an awesome character-defining moment as he saves Amy and Amelia from the Stone Dalek with his hand-blaster. In keeping with the theme of the universe collapsing in on itself, The Bing Bang has some quite spooky moments in it to, and some that leave an eerie feeling that something is wrong – particularly the distinctive “You know there’s no such thing as stars”. This finale ties the arc of Series 5 together wonderfully, and the inclusion of the scene in which the Doctor speaks to Amy on the Byzantium (that had appeared in the episode Flesh and Stone, albeit out of context) proves that Moffat does understand the concept of a flowchart of events, who would have thought?

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3 – Death In Heaven

As far as episodes ending on both a reveal and a cliffhangar are concerned, few beat the conclusion to the Series 8 penultimate episode, Dark Water. Thankfully, the finale Death In Heaven follows up on the fantastic reveal that Missy is the Master with an action-packed finale that would have brought a tear to Russell’s eye. Moffat proves he can write a wonderful Doctor-Master dynamic as Twelve and Missy work wonderfully together, and this episode also provides a satisfying conclusion to the ‘Welcome to Heaven’ arc that had permeated throughout the series. Not only that, but the episode actually follows through with the death of Danny Pink in the previous episode, going so far as to convert him into a Cyberman and providing some really heavy-hitting emotional moments as he battles with his intense shock and horror of being dead while Clara desperately tries to save him. This episode proved quite controversial at the time due to the dark tone and horror themes threaded throughout, but in hindsight this only adds to the episode’s shock factor and emotional weight. Overall, Death In Heaven showcases some of the best that the Moffat era has to offer, and is certainly in the top 3 finales of NuWho.

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2 – The Parting of the Ways

The original NuWho finale, The Parting of the Ways established several important factors that would become staples of most NuWho finales in the future, and yet it still ranks higher than its immediate successors simply because of the masterful ways in which it depicts the final moments of the Ninth Doctor’s life. The final battle in the Game Station remains one of the best plot devices for a finale of all time – each scene builds the tension higher and higher as the Dalek army slowly crushes all resistance and closes in on the Doctor as he is forced to make some heartbreaking choices to save both the Earth and his companion Rose. One of the highlights of this episode is the Emperor Dalek, now completely insane and convinced that he is a God, as he rants and raves with his deep, guttural take on the standard Dalek voice (that makes it clear Nicholas Briggs had a blast recording), gloating at the horrendous acts he has committed. Christopher Eccleston’s time as the Doctor was short-lived but he manages to leave his mark on the show’s history here more than anywhere, as his defining character moment at the climax of the episode proves just how much the Doctor has learned since the Time War and shows that he is no longer the vicious warrior that the Time War forced him to become. Any doubt that the public had about a new series of Doctor Who were swept away once and for all after The Parting of the Ways, and Tennant’s cheeky grin as the closing theme’s howls drew the episode to a close left audiences wanting more. So the question remains – what NuWho finale could beat this?

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1 – The Doctor Falls

From the first NuWho finale to the most recent, the obvious choice for number one is The Doctor Falls. Jam-packed with just the right amounts of action, heart, fanservice, emotion, terror and hope, this finale had a tough job following on from the equally legendary World Enough and Time, and yet The Doctor Falls met expectations (and in some ways surpassed them) giving fans a finale that helped catapult Series 10 to the top of many ‘Best Series’ lists. For a start, this episode is the first televised Multi-Master story,  and although Big Finish had done a Multi-Master audio in 2016, the chemistry between Simm and Gomez gives this story the edge – the entire arc of Missy’s story as well as the Master’s arc in NuWho in general culminates in this episode, and it does not disappoint. Secondly, this episode is perhaps one of the most emotional yet – everything from Missy’s demise, Nardole’s departure, the Twelfth Doctor’s death and, of course, the aftereffects of Bill’s traumatic Cyber-conversion in the previous episode all coalesce to make this finale arguably the most heavy-hitting. The only factor in The Doctor Falls that brings it down is Heather’s seemingly random appearance at the end – many fans have compared Bill’s ultimate fate with that of Clara’s from Hell Bent, and although the circumstances are similar, Bill’s situation was set up in advance and seems far more warranted, as Bill was definitely a more likeable character and deserved a happy ending, at least in my opinion. The highlight of the episode, by far, is Capaldi’s speech on kindness – not only does this speech conclude his arc as the Doctor as he finally understands what kind of man he is and what his place in the universe is far, but it also links this finale all the way back to The Parting of the Ways whilst also defining the character of the Doctor overall in an impactful speech that will undoubtedly be remembered as one of the greatest Doctor Who moments of all time. Ultimately, The Doctor Falls concluded Series 10 on a high note, proving that Moffat can write a consistent two-part finale once again, has some of the best performances in Doctor Who, and delivers the fantastic finale that Series 10 deserved.

So that concludes our list ranking the NuWho finales. Do you agree with this list? What was your favourite NuWho finale? Leave your thoughts in the comments below, and if you enjoyed be sure to leave a like, or follow Sacred Icon either here or on Facebook for more content like this. Thanks for reading!

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Silver Nemesis: A Hidden Classic?

As far as ratings go, reception for 1988’s Silver Nemesis is generally quite poor. The Discontinuity Guide puts this episode down as lacking ‘pace and character involvement’, which could be saying more about the shortcomings of the three-part format than anything else. Regardless, Silver Nemesis does commit the cardinal sin that many post-1960s Cybermen stories are guilty of – including the Cybermen in the story, without doing anything interesting with them. But surely amidst all this negative criticism, there must be something worthwhile to talk about from this story. After all, for better or worse, it will forever remain Doctor Who’s 25th Anniversary episode.

So to begin my analysis of Silver Nemesis, let’s start with the obvious – Sylvester McCoy and Sophie Aldred are fantastic in this episode. The Seventh Doctor is regarded as unpopular, but in reality he is simply overlooked – for those who watch his episodes, a darker, more exciting and more serious side to the Seventh Doctor becomes clear. Once he drops his comic facade, the Seventh Doctor is cunning and devious, but never strays too far from his good nature. In this episode the Seventh Doctor pulls off a daring feat of strategy and manipulation to ensure that neither the Cybermen, the Neo-Nazis, or an insane lady from the past achieve their goals.

Speaking of an insane lady from the past, there is a strange subplot involving a certain Lady Peinforte, who has apparently at some point in the past encountered a Time Lord weapon and managed to bend it to her will (even making it take on her appearance) and has somehow discovered the secrets of alchemical time travel, all whilst being a cavalier from the 1500s. Whilst the character of Peinforte may seem like an odd addition, her presence in the story provides an interesting method by which Cybermen are destroyed – her arrows, which she believes are effective due to being laced with poison, are actually useful for killing Cybermen due to the fact that the tips are made of gold (for some reason.) Ultimately, Peinforte is mostly in the episode for comic relief, and her death is as anticlimactic as her role in the story turns out to be.

The Cybermen in this story are about as effective as they have been throughout the 80s – so make of that what you will. They do prove their effectiveness in combat by annihilating many of the Nazi soldiers, but seeing Cybermen being felled by arrows and tiny rocks of gold flung at them by Ace’s slingshot effectively completes their devaluation as villains that had been in process throughout the decade. After being destroyed by the spears of the Raston Warrior Robot in The Five Doctors it seems that arrows was the next logical step. Nonetheless, the Cybermen do present a threat in the parallels that are drawn between those and the Nazis. Hearing the Cyberleader and the Nazi commander negotiating the division of dominion over Earth in terms of labor camps is chilling.

Ultimately though, having recently read the novelisation of the unmade Season ’27’ episode Illegal Alien, it has to be said that the plot of that book is somewhat superior to this episode. Oddly, both involve Nazis, and one of the reasons why Illegal Alien didn’t make it to Season 26 is due to the fact that there was already a World War 2 episode planned. Silver Nemesis does have some big positives, particularly Sylvester McCoy and Sophie Aldred’s performances as the Seventh Doctor and Ace, who are always a great Doctor/Companion pairing. As with the rest of Season 25, Silver Nemesis is worth a watch for the novelty factor alone.

So there were my thoughts on Silver Nemesis, if you enjoyed be sure to leave a like and you can follow us either here or on Facebook for more content like this. Thanks for reading!

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Star Trek – First Impressions of Deep Space 9

I have been a lifelong fan of Star Trek, but often through watching the same episodes of the same series over and over again, primarily Star Trek: The Next Generation. I later went on to start watching Voyager, but after several Netflix marathons I had finished all the good episodes that I hadn’t already seen on SciFi, and so found that I had run out of new Star Trek to watch. So, after much deliberation, I finally concluded: I had to start watching Deep Space 9. Unlike practically all other Star Trek shows and films, DS9 was a show that had never interested me before due to it’s premise – rather than crewing a starship, the main cast instead man a space station guarding a wormhole, and I had always assumed – wrongly – that this would mean that the show was boring. But after watching some DS9 for myself, so far the highlights have been:

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The ‘friendship’ between Quark and Odo

Two surprise favorites of mine are Quark and Odo, who start as fairly bland characters but eventually gain a wealth of development in the first series. The two are initially rivals, having known each other already from the Cardassian occupation, but eventually learn to depend on each other for information and advice as the series continues. Interestingly, despite being framed as a potential antagonist, Quark does eventually come to care for the rest of the crew, particularly Odo.

Odo’s odd abilities and origins are also intriguing, and I am almost certain that what race Odo belongs to or what role he plays on Deep Space Nine will be an important factors in later seasons, and Quark gives us a unique insight into the Ferengi culture. Talking of which:

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The Ferengi

Throughout Star Trek: The Next Generation it is apparent that the writers never really knew what to do with the Ferengi as a species. Initially introduced as a replacement for the Klingons after they allied with the Fededation, the Ferengi were just not menacing enough to stick as effective villains and their role was reduced to mere comedy by the end, with the role of primary villain eventually falling to the Romulans and the Borg.

In DS9, however, the Ferengi become a direct focus as their presence on the station is benign – this gives us our first and foremost Ferengi recurring character, Quark, and so the Ferengi as a species are expanded upon a lot more, giving us better insight into their culture and how they operate.

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The Setting and the Politics of Bajor

DS9 deals heavily with the aftermath of the Cardassian occupation of Bajor, a planet that is not a member of the Federation but has the potential to be inducted, and how Starfleet has to deal with the subsequent political, religious and economic impact of the discovery of a stable wormhole near Bajor that leads to the lucrative Gamma Quadrant just as Bajor begins to reassert itself as an independent power. The character of Major Kira, a Bajoran ex-freedom fighter who takes on the role of First Officer aboard DS9 to aid in the reconstruction efforts, and how her relationship with Commander Sisko and the other Federation characters blossoms shows how the benevolence and honorable intentions of the Federation can go a long way in bringing trust, order and stability to a highly chaotic region, explaining how the Federation has expanded so rapidly despite its dedication to pacifism.

What is also interesting about DS9 is how it refuses to shy away from depicting very real interpretations of political and religious debates, particularly in the context of a sensitive, deeply religious and politically charged former occupied territory. Many of the ethical and moral questions brought up in the early episodes revolve around how Bajor is going to adapt to survive in the new political climate, and this mostly focuses on Major Kira learning to accept and eventually trust her Starfleet colleagues.

 

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Miles O’Brien

Fans of Star Trek: The Next Generation will know Miles O’Brien already, as he serves as the transporter chief and occasional bridge officer throughout the series. The first episode of DS9 depicts his transference from the USS Enterprise to DS9, alongside his faithful wife Keiko O’Brien who continues to be little more than a minor character throughout the series. By contrast, O’Brien takes on a ‘Scotty’ role, and fills the shoes of Chief Engineer more naturally than Geordi La Forge did in many ways.

Miles definitely plays a more prominent role in this show than he did in TNG, but the inclusion of Miles O’Brien in so many episodes of both TNG and DS9 gives him the honour of being the character with the second largest number of appearances – behind Warf who doesn’t feature in DS9 until later but featured in all of TNG as well as the movies – and the idea of bringing back a character who was less developed in the main series in one of the spinoffs is something that the newer Star Trek television shows should consider.

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Doctor Julian Bashir

In short – Bashir is hilarious. Intentionally or not, DS9 follows the Star Trek tradition of having Doctors with eclectic and quirky personalities, and Bashir’s many moments linking to a recurring subplot of his bizarre comedic obsession with Dax make him a distinct character among the rest of the Federation cast. I frequently found myself uttering the statement: “Oh Bashir, you idiot.” at various points throughout several episodes, although not all of his misfortunes and mishaps are his fault – occasionally he is possessed by evil entities or a victim of his obsessive fantasies of Dax made solid by a strange phenomenon in a strangely Red Dwarf-esque plot. Generally, episodes focusing on Bashir are great fun.

 

Overall Thoughts

Having finished the first series of DS9, I can conclude that DS9 is definitely worth the time and I am greatly looking forward to watching more. The characters are likeable, interesting and have good chemistry, and my personal favourites are definitely Bashir, Dax and Odo. For the rest of the casst, despite a few instances of hammy acting or underwhelming sub-plots, generally the first series has been consistently good, with perhaps a slight dip in quality roundabout the middle, although the quality goes back up towards the end of the series.

So those were my thoughts on Star Trek: Deep Space Nine, series one. Have you watched Deep Space Nine? If so, did you like it? Leave your answer in the comments below, and be sure to leave a like if you enjoyed. Thanks for Reading!

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Doctor Who Book Review – Illegal Alien

Illegal Alien was among the first of the BBC Past Doctor Who Adventures novels which ran from 1997-2005 and actually began life as a potential TV story for Season 26 and later the unmade ‘Season 27’ which would have aired had the BBC not cancelled the show in 1989. Written by Mike Tucker, a visual effects assistant on Classic Who and model unit supervisor for NuWho, and script editor Robert Perry, this book is essentially a direct novelisation of the script for the unmade TV story, and is therefore split into four parts. With the end of each part being equatable to the cliffhangers seen in the TV show, a nice addition.

The book features the Seventh Doctor and Ace facing off against the Cybermen in Britain in World War II, a concept that works really well and can draw off several Nazi-related themes in a similar fashion to the TV story Victory of the Daleks does with the Daleks and Churchill. But for the first few chapters, the book reads almost like a detective story – the first-person narration of detective Cody McBride makes this story read like a Noir in some places, making it even more of a shame that this was never adapted for television.

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The version of the Cybermen that are intended to be represented in this novel is unclear – the original cover depicts a Cybermen from The Wheel in Space, whereas the republished version from The Monster Collection in the 2010s features a Cybus-Industries Cyberman, as seen from 2006’s Rise of the Cybermen. However, the descriptions in the novel as well as the era it was set in would suggest that the Cybermen are a more upgraded version of the kind seen in Silver Nemesis. Interestingly, this book depicts Cybermats, the entire cyber-conversion process and the concept of a critically damaged Cyberman scavenging humans for parts long before NuWho did. If this episode had ever been produced, it would have required a monumental budget.

The setting of the Second World War also allows for some interesting character development for Ace, who encounters Nazis in the flesh having already fostered a growing hatred of them since her best friend from her childhood was murdered by Neo-Nazis, showing a continuation of her character arc from Season 26. Ace also spends the majority of this book separated from the Doctor, and figures out what is going on independently, showing a wealth of character development since Remembrance of the Daleks.

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As previously mentioned, this novel was recently made a part of The Monster Collection series, which also included re-releases of Tenth Doctor novels like String of the Zygons and Prisoner of the Daleks, and reviews of those novels will follow.

Overall, Illegal Alien is a great read with some truly memorable characters and a story that gives us a unique insight into what the unmade ‘Season 27’ would have been like. Undoubtedly, had this story been made, it would have been one of the most ambitious Doctor Who stories to date.