Contributor: John Keegan
Written by Steven Moffat
Directed by Nick Hurran
While there was quite a bit of disagreement, reaction to the complex story arc of Series 6 was somewhat less than anticipated. The split nature of the series didn’t help; it almost felt like two entirely different stories were being told. And when all was said and done, the explanation for The Doctor’s survival felt like a bit of a copout. Even so, the end result was intriguing: could The Doctor slip back into relative obscurity, and how exactly would he do it?
This series premiere might actually go a long way towards explaining that. Take away some of the overdone elements that have marked the Nu Who era, like the somewhat self-indulgent bombastic scenes here and there, and this is a story about how The Doctor could become far less prominent in the consciousness of the universe.
It does feel a bit out of place, though, given the stated intention of Series 7. How does showing the massive Parliament of the Daleks, and presenting him as “The Predator” in their mythos, equate to dialing back The Doctor’s role and playing into his supposed “dead” status? The end of the story brings it into perspective, but it is a puzzle, right out of the gate.
I was also a bit surprised by the notion of Dalek “puppets”. There are a few gaps in my Whovian memory banks, but was this the first appearance of this sort of thing? Whatever the case, it is a concept that echoes past Moffat efforts, such as “The Empty Child”. It also speaks to the good old “body horror” tradition of Doctor Who. The notion of something inside of you, changing you and transforming you from within, is always an uncomfortable one.
I’m mildly skeptical of the idea of a Dalek asylum planet, but it works well enough, especially as a threat to Amy and Rory. I thought this was an interesting way to use the situation to progress the character arc for the Ponds. The conflict between them would have been better if it had evolved on-screen, and it also would have been nice if the whole business of children and such could have included a mention of River and Amy’s past experience with motherhood.
On the other hand, I definitely missed Amy. I’ve made no secret of my adoration of Amy Pond in general, and I completely accepted the notion of Amy as a fashion model. (I’d watch a spinoff called “Amy Pond: Model Companion” any day!) Rory also had some banner moments in the story, not the least of which was a hilarious bit of banter with an insane Dalek.
The true highlight of the episode, however, had to be Oswyn. Played by Jenna-Louise Coleman, I was initially convinced that this was going to be her introduction. After all, disinformation is a standard ploy in the days of internet spoilers (many propagated by the media), so why couldn’t Moffat kill off Amy and replace the Ponds right away? Never mind that Oswyn was about as delicious a potential Companion as it gets: a clever, sarcastic, and utterly gorgeous genius. Who could ask for more?
The episode is full of hints and allegations regarding Oswyn’s true nature, but the moment of revelation still has an impact. One also wonders, given what is shown, if Oswyn was a human being, trapped within that Dalek battle shell. Could The Doctor have saved Oswyn, or restored her humanity? For that matter, since Jenna-Louise Coleman is still supposed to be the new Companion, starting with the 2012 Christmas special, will that character be Oswyn, or someone else? It’s a bit of a mystery, but like most on this show, one that is tantalizing more than frustrating.
For all that this is a huge series premiere, and a far better Dalek story than “Victory of the Daleks” (not that it would be particularly difficult). As an introduction to Jenna-Louise Coleman, it’s a near-perfect start. I’d love to see Oswyn return in some fashion. That final moment, with the refrain of “Doctor Who?!?”, is a wonderful callback to the end of “The Wedding of River Song” and this series’ mission statement. The only real weakness is the treatment of the Ponds’ marriage woes and the issues behind it, which kept this from being the home run it could have been.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Score: 8/10
