Since I’ve praised Shaun Dingwall so much in his previous appearances, I really needed to give him one last shot at the blog photo, front and center where he deserves. Dingwall does not steal the story this time like he did in “Father’s Day” and the “Age of Steel” story; between the Dalek-Cybermen trash-talk scene and Billie Piper’s amazingly sad goodbye, not even this great actor could walk away with the episode. But the first meeting between “our” Jackie and “the other” Pete is nevertheless a real highlight of the story. I love how Noel Clarke, David Tennant, and Billie Piper are positioned well behind Dingwall and Camille Coduri, looking for all the world like they’re just getting out of their way.
“Doomsday” is magnificent. All three of the two-parters in the second series do an amazing job with fulfilling all the promise of the setup in their conclusions. I absolutely love this adventure. I think that in retrospect it set a bad precedent for what I call “apocalyptic” companion departures, with too many characters yet to come that the Doctor can never, ever, ever meet again, but Rose got a great sendoff that’s rarely been equaled. And that little bitchfest between our two alien menaces is one of my all-time favorite Who moments. We paused the episode for a minute there for everybody to have a chance to quit laughing.
The kid absolutely loved it, of course. The revelation that there are millions more Daleks locked in that bigger-on-the-inside Time Lord prison ship had him on his feet with his jaw on the floor. I’ve been questioning him all day whether he’s absolutely sure the Daleks and the Cybermen wouldn’t get along. I noticed that his eyebrows raised when the Cybermen proposed an alliance. Of course the Daleks shoot that idea down. They don’t make friends and they’re not afraid to ask anybody to step outside.
“That was awesome, but ONLY because the Cybermen were totally destroyed in a totally awesome way.” That’s our son’s verdict, still loving to hate the Cybermen.
“The Age of Steel” is the all-action finale to the story, taking place in one evening with what must have been weeks of night filming in Cardiff. Graeme Harper was brought on to direct this adventure. He’d previously directed the stories “The Caves of Androzani” and “Revelation of the Daleks” in 1984-85, making him the only director from the original run to work on the revival. Harper had a reputation, then, as being one of the most dynamic and exciting directors working at the BBC. But since British television had moved away from videotape and the frequently static recorded-as-live productions, Harper’s work here, while still very thrilling and fun to watch, isn’t quite as thunderously different from the surrounding stories as it was in Colin Baker’s day. The difference between “Timelash” and “Revelation of the Daleks” is obvious even with the sound down. This story looks every bit as good as “The Girl in the Fireplace.”
The story ends with Mickey choosing to remain on the parallel world and help the authorities shut down any of Lumic’s remaining Cyber-factories. I like how the story wrong-foots the audience, because while it telegraphs Mickey’s unhappiness, there’s also a scene where they split up – “above, between, below” like “The Five Doctors” – and it practically screams “Mickey isn’t coming back.”
The only part of this story that raises a question with me is the quickie reference to Torchwood in part one. Why is there a Torchwood in this universe? Did a Doctor show up in 1879 and piss off this world’s Victoria, too?
I enjoyed this more than I remembered. The kid jumping up in mock frustration / annoyance when the word “Cybermen” appeared in the title helped. I still think they should have swapped episode titles with the next one. Obviously the BBC’s ongoing policy of spoiling as much as possible meant that everybody in 2006 knew that the Cybermen were coming back in this one. Might’ve been nice to see how he put all the pieces together before the big reveal at the end.
So this is the big parallel universe two-parter, with all the attendant silliness and coincidence that comes from parallel universe stories, and in this universe, the Cybermen evolved on Earth rather than Mondas. Their creator is portrayed by Roger Lloyd-Pack, whose lengthy career I almost entirely missed. I still think of him as that young fellow from Spyder’s Web in 1972 and his dad Charles was the old guy. Now they’re both gone. Shaun Dingwall is back as the Pete Tyler of the other Earth, and he’s once again magical. And there’s one of my favorite Rose scenes from her two seasons, when she decides to try patching up her parents’ marriage, forgetting that the Pete and Jackie of this world are not her parents, and doesn’t so much get put in her place as shoved there, hard.
But best of all is Noel Clarke who gets to play both Mickey and his gun-toting doppelganger, Ricky, and Mickey has the common sense not to try to explain to the much angrier fellow on this world who he actually is. Clarke is so often used as the comedy foil that it’s wonderful to see him get to do some different things, and do them so incredibly well. Again, you have to swallow the same silly coincidences that happen anytime a sci-fi show does a parallel world story – they couldn’t have landed in Sydney or Buenos Aires or someplace where there aren’t any Tylers or Smiths, of course – but it gives Clarke a real chance to shine.
And of course there are Cybermen. Our son has a wonderful love/hate relationship with the Cybermen and feigns exasperation with them. It’s the Daleks that he really likes, he insists, and loudly brags that it would only take five Daleks to destroy all these Cybermen. Stick around for another three weeks, won’t you, readers?
“Father’s Day” is the first of surprisingly few TV episodes of Doctor Who written by Paul Cornell. He’d written several incredibly entertaining Who novels for Virgin and the BBC, but he only contributed two stories to the television series. I wonder why.
Anyway, this is a really effective story that retains its power to leave otherwise hard-hearted grownups drying their eyes and choking back sobs. Our son, however, was so completely fascinated by what was happening with time in this story, including the driver caught in a time loop, eternally trying to run over Rose’s father one day in November 1987, and the strange beasts that entered reality as a result of history changing, that he didn’t have any tears to spare. He likened the monsters to “white blood cells,” which seems kind of right.
I think there are two really powerful reasons this story works so well and is so darn effective in making audiences bite their lips. First, I will occasionally grumble that Murray Gold’s music can get both bombastic and intrusive from time to time, but when he was on fire, he was perfect. “Father’s Day” might be his best score in ten series.
Second, Shaun Dingwall plays Rose’s father, and his is one of the best guest performances in the program’s history. He does more silently in this episode than everybody else does speaking. That’s not to dismiss anybody else’s performances – Camille Coduri darn near steals the whole episode when 1987-Jackie, hitting really close to home, chews out her no-good so-and-so “Del Boy” of a husband – but watching Dingwall as his character figures out what has happened, and that Rose is lying to him about his future, is just breathtaking.