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doctors revisited

Dear Santa: The Doctors Revisited (Matt Smith)

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You can tell that we’ve reached the present day quite early on, not least because Matt Smith suddenly shows up to have opinions on the show, having not been interviewed about any of his predecessors. But the real giveaway is the choices of episodes in the first segment, when introducing the character of the Eleventh Doctor. Every previous episode displayed a strong bias towards the earliest episodes for a Doctor. Whereas this pulls almost entirely from Season 7B, unabashedly positioning this as the present day of Doctor Who.

Yes, we eventually look back a few years and do the Ponds, which is somewhat historicized, but there’s no added insight to be had. These are the same talking points from Doctor Who Confidential and endless publicity interviews, dutifully trotted out again. Their context is only altered by the preceding ten episodes of this, which serve to make all of this look like the telos of Doctor Who itself.

With the historical perspective that a year allows us, this is not quite true. The focus on how Matt Smith, while the youngest actor ever to play the part, makes the Doctor seem old is a common talking point, and indeed was brought up in relation to the Capaldi casting, by this time long since announced. More interesting is the segment on Clara, which came at a point where she was widely viewed as a frightfully generic companion. There’s not a lot, but it’s acutely clear that Coleman in particular sees more depth in the character, and has ideas for what to do with her. The argument that Deep Breath doesn’t constitute a soft reboot of Clara but rather the moment when everybody started seeing what was always there has some solid support here.

Elsewhere, we can also see how this is quietly setting up the immediate future. There’s not much that directly tees up The Day of the Doctor, but the features on Madame Kovarian, the Silence, and the Weeping Angels quietly serve as a primer for Time of the Doctor. And, of course, there’s the fact that when this aired, Smith was a lame duck Doctor. His successor had been announced, and indeed, was either a week off from his debut or had debuted yesterday (depending on whether you watched this in the US or the UK – this was the only one to debut first in the UK).

And so there’s an odd dualism here. On the one hand, this does what one always suspected it would: presents the Moffat era as the ultimate in Doctor Who. Of course it does. The point of all of these sorts of specials is promotion of the show, and has been since Confidential. But on the other, it leads the show right up to the brink of a known transition. There’s a triumph as we reach the present, but also, and in some ways more importantly, a sort of “right, on to the next half-century” attitude. Which is a good place to be after fifty years.…

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Hey, Turn That Down: The Doctors Revisited (David Tennant)

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At last, we reach the end of history, with an episode that is set up to, basically, repeat the same talking points about the Tenth Doctor that were being used when he was still on screen. This is as straightforward as it is possible to be – an unabashed display case for an era of Doctor Who that everybody knows is a classic.

Which, fair enough. There’s really no getting around the fact that the Tennant era was wildly popular, and that Tennant is always going to be one of the iconic portrayals of the Doctor. There are no apologias to make, and as of 2013, at least, the Tennant era hadn’t slipped into history, not least because Tennant was going to be making a return in less than a month anyway, with no explanation of why he looked older or anything like that necessary. There was, really, no other way to do this.

That said, the selection of what to focus on is interesting. Noticeably absent is any standing in the rain. There’s a little bit of the Bad Wolf Bay scene from Doomsday, but for the most part the two iconic emotional scenes from Tennant’s era, the departures of Rose and Donna, are entirely skipped over. This is even more striking given that Martha’s departure is featured in detail. There’s no mention of Human Nature/Family of Blood either. In other words, all the moments of Tennant’s Doctor being pushed to extremes are skipped.

Instead we get a focus on Tennant in default mode. There are sizeable clips from The Sontaran Stratagem and The Idiot’s Lantern, both of which are fine scenes, but which would appear on almost nobody’s instinctive list of major David Tennant scenes. To some extent, this demonstrates the level of confidence that they clearly have in the material: nobody is trying to sell David Tennant. Indeed, it’s somewhat refreshing to look at him in these scenes. Tennant’s best scenes are indeed extraordinary, but it’s easy to forget that he was also extraordinarily good at just being a foundation for the show to build on.

This also gets at the closest thing to a problem with this episode, however. For all its confidence, it shares the Peter Davison episode’s strange failure to actually ever describe what this iteration of the Doctor is actually like. Loads of talking heads are ready to line up and, quite rightly, say how wonderful David Tennant is, but nobody can actually nail down what his Doctor was like and why he was so iconic. Perhaps it’s simply too soon, but either way, it’s a glaring omission.

The other strange thing is the story chosen. It’s not that it’s a poor choice – indeed, there may be no story quite so Tennanty as The Stolen Earth/Journey’s End. But the story notably, gets no coverage in the episode itself, unlike the previous few, which took pains to get the viewer up to speed on what they were going to watch. This works fine – really, who needs a substantial introduction to the most popular Doctor Who story ever?…

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Bye: The Doctors Revisited (Christopher Eccleston)

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It’s surprising how easily this era slips into history. On the one hand, there is nothing being said here that was not said in DVD commentaries and Doctor Who Confidential ten years ago, often by the same people. And yet there is none of the breathless self-promotion of Confidential, which is what this most obviously resembles. The imminent, thrilling need to celebrate the basic existence of Doctor Who is absent. Just as the tail end of the classic series was drained of all its conflict, this is drained of all its triumph.

For those who remember what the Eccleston series actually felt like as it happened – that is, classic series fans – this is slightly disorienting. Eccleston is basically explained as “he was a Doctor for the 21st century and not quite what anyone expected.” And yet the scenes shown are exactly the ones you’d expect, with no real oddities among them. In marked contrast to the McCoy era, where we spent bizarre amounts of time on Time and the Rani, here we get Eccleston’s Emmy reel.

The issue, one quickly realizes, is that this is essentially the first time these set pieces of the “Doctor Who Season One as vital text in television history” argument have been done without Russell T Davies, who continued his politely silent 2013. And, of course, Eccleston is absent as well. As with the McGann episode, there’s a hole in the middle of this narrative.

It is worth noting that there is actually some suspense at this point in time. This went out on September 29th, the day after it was announced that there would be a trailer soon for Day of the Doctor, but nearly two months after the announcement of Peter Capaldi. “What is Doctor Who these days” was an astonishingly relevant question, with, at that moment in time, essentially three Doctors besides the incumbent having some sort of active “what’s going on with” question, one who’d never appeared, and one who’d only had a minute of speaking time.

The result was a historical moment where there was a past/present line on what Doctor Who was that Eccleston was exactly on the wrong side of. Which was at the time useful. Doctor Who was not a young series – it was already into season numbers well higher than most shows get, and it was at the time highly visible that it was a half-century old. Finding ways to justify calling your “this is where you should start watching” point as recent as possible mattered. So declaring Eccleston to be history was an easy decision to make.

And he’s history by his own choosing, admittedly – we should remember that the entire landscape of Doctor Who would have looked different right now had Eccleston been in Day of the Doctor, or, at least, certainly this special would have. But no, right now the scale of Doctor Who is very much 2006-14. And all of this is bluntly literalized in the closing moments of Moffat’s introduction to Bad Wolf/Parting of the Ways, when he mentions the fleeting appearance of David Tennant as a highlight.…

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It Was On The Planet Skaro: The Doctors Revisited (Paul McGann)

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As a piece of television – as a historical artifact, say, to be observed at some future date, – this is bizarre. It can only be described as a nineteen-minute DVD featurette for the TV Movie. To some extent all of The Doctors Revisited are DVD extras, and this one is one of those ones in the rather weird tradition of trailers for a thing you’ve already decided to spend money on. “Here’s the interesting bits of what you just watched,” essentially. Except actually put before the TV Movie.

As a result, it inevitably comes off as an apologia, which, to be fair, it basically is. Moffat’s intro feels more selectively edited than usual. They have Marcus Wilson, who for a couple episodes now has seemed to be taking over for Caro Skinner in the job of being asked nicely to say something by the producer and then having the camera be turned on (I will be honest, I have no actual idea whether Skinner or Wilson were actually big Doctor Who fans who were expressing their genuine memories of the time or whether they are, like John Barrowman blatantly is, being briefed on Doctor Who lore and then put on camera), talking about how nice it is that they have Sylvester McCoy back. They have Sylvester McCoy footage on the TV Movie. The odds that they had McCoy on camera doing his party piece about how the biggest problem with the TV Movie was that he was in it are pretty high. They’re clearly doing their damndest to spin the TV Movie into a credible way to entertain yourself for ninety minutes, though I imagine they ran commercials so it was more like two and a half hours.

For what it’s worth, their defense is a good one. They set the TV Movie up to basically be read as the not entirely adequate pilot for a never-made American television series that could plausibly have evolved into something very much like the modern Doctor Who had it been allowed to run. This may or may not actually fit the reality of the production, but it works. They find enough little moments to show that are quite clever, at least. I’ll admit, I had completely forgotten the gag of the Master convincing Chang Lee that the Doctor was secretly Genghis Khan. That’s properly brilliant.

But in most regards, in hindsight, it’s what it’s not that’s significant. For one thing, it’s not a discussion of the Wilderness Years. Or, for that matter, an admission of them. This is in some ways genuinely sad, not least because they have Nicholas Briggs on there to praise Paul McGann’s performance, but Briggs never actually gets to talk about working with him and helping shape that performance, which he did for the overwhelming majority of McGann’s actual performance as the Doctor. And McGann is the only Doctor that Big Finish can say that about – most of the time Paul McGann has spent in his life performing the role of the Eighth Doctor has been for Big Finish.…

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Leave the Girl, It’s The Man I Want: The Doctors Revisited (Sylvester McCoy)

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It’s one of those days where, as I’m going to bed, I say “crap, I forgot to format and queue Last War in Albion, I’d better run a TARDIS Eruditorum in its place.” Whatever am I going to do in a month when I don’t have TARDIS Eruditorum for that? In any case, Last War in Albion is Friday this week.

I noted on Monday that it was an obvious mistake to ignore the fact that Moffat’s ex cathedra statements on the history of Doctor Who have always been performative, both in his cranky Internet fan days and in his “not allowed to have opinions anymore” days. Which makes the introduction to Remembrance of the Daleks at the end of this episode something to behold, in that Moffat both admits that he thought Season Twenty-Four was a disaster (which I disagree with, but recognize that Moffat is exactly the sort of Doctor Who fan for whom the panto aspects of Paradise Towers, for instance, are going to be disqualifying in considering any other merits it may have), and then frames his reaction to Remembrance of the Daleks in terms of the fact that his own television career had begun at this point. His description of cutting short a production meeting to watch Remembrance and being blown away by it is visibly Moffat speaking as an outright fan, and not as a particular performance of fan opinions that he’s putting on for a puff piece.

All three of the 80s-era episodes have felt like conscious decisions to build to the episodes they show, whether in a strangely subverting way, as with Earthshock, or as a concentrated and focused attempt to get an episode to shine, as with Vengeance on Varos. In this case, an odd weight is put on Remembrance to illustrate something that is claimed several times, but never actually displayed in any of the clips, which is that there’s a darkness to McCoy’s portrayal. The episodes used for clips here are tremendously revealing: there is not a frame from Season Twenty-Six. Everything from McCoy’s first two seasons is used save for Delta and the Bannermen, which gets photos. The emphasis is overwhelmingly on the clownish aspects of McCoy’s performance, at least in terms of what actually gets shown.

Nowhere is this clearer than the treatment of Remembrance, where the Doctor and Davros’s confrontation is shown, only it completely evades all discussion of blowing up Skaro. Instead, it focuses on McCoy’s performance of “mock the ranting bad guy,” which does lead to McCoy’s memorable description of Davros as “Hitler only rotting,” but is an approach to talking about that scene that I don’t think anyone had ever tried before. And yet the talking heads bring up the way that McCoy added mystery to the performance repeatedly, even as the clips ostentatiously lack all mention of it.

The shocking absence, of course, is the climax of The Curse of Fenric, which would have allowed them to press the fleeting claim that McCoy set up the modern Doctor in a real and sincere way.…

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Where’s Mother: The Doctor’s Revisited (Colin Baker)

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There are two observations about this special that strike me as getting to the heart of it. The first is that, more than ever, Steven Moffat is the most interesting thing on display here. I’ve been making snarky jokes here and there about it nearing the 20th anniversary of his great “slag off most of Doctor Who” drunken performance piece at a con, but it’s here we have to admit that Steven Moffat has, at the very least, played two different characters in his life when it comes to commenting on the classic series. Which one is the authentic Steven Moffat is of course a matter for debate, and if you think the answer is either of them you’re a fool, but nevertheless, we all know he’s capable of a devastating and scathing review of this era that outdoes any other.

So it’s fundamentally interesting to see him relied upon so heavily to offer a defense of this era. It is, to be sure, not hard to reconcile the positions. His praise is based on the daringness of the ideas in the Baker era, which has always been the thing you can praise about it. It would have been easy to keep Doctor Who around as wallpaper, and by god it didn’t. But it’s easy to imagine a lengthy amount of unused footage in which he points out that absolutely none of these lofty ideas play out. Nevertheless, those with a fondness for literary biography are spoiled for choice in arguing that the inspiration for the Capaldi era came from trying to redemptively read the Colin Baker era.

This brings us neatly to the second observation, which is that it gives a surprisingly thorough sense of the turmoil of this era without ever speaking the names “John Nathan-Turner,” “Eric Saward,” or “Ian Levine.” Colin Baker and Nicola Bryant are both visibly at the edge of saying that there were some major problems with the era. Baker, at times, seems at pains to be much more soft-spoken, and to highlight the degree to which his Doctor was a performance.

But more to the point, there’s no attempt to shy away from The Twin Dilemma. The strangling scene is there and acknowledged. Defended by Bryant, yes, and unfortunately, but there in all its upsetting glory. Nobody quite tries to defend the coat so much as explain it. You can tell this is a problematic era, even though the program is basically positive.

And it has to be said, it makes good points. Its acknowledgment of how Baker was allowed to improve his performance in his second season is a nice touch, but I was genuinely surprised to see them make the case that the nature of his improvement was set up in The Twin Dilemma. And Moffat’s end-of-episode plug of Vengeance on Varos is an enormously emphatic thing that’s based on a tremendous respect for it as a serious piece of television. The fact that he takes the time to highlight the presence of a serious writer on Doctor Who is enormously appealing, simply because it is such a Moffat thing to focus upon.…

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I. Oh.: The Doctors Revisited (Peter Davison)

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The entire Doctors Revisited series takes a fundamental turn here, and largely not for the better. Where the Tom Baker episode merely brought in the actor who played the Doctor as one of its primary talking heads, here the show has access to essentially all of the major stars of the era. Where the first four episodes were basically anchored by two Scottish fanboys, here Davison, Strickson, Fielding, Sutton, and Waterhouse are the stars, with Tennant and Moffat contributing only choice insights.

For this specific instance, at least, it is to the program’s detriment. The thing is, of course, that we know both Moffat and Tennant’s opinions of the Davison era, since they each, in their own ways, expressed it in “Time Crash.” Moffat, in particular, has been an outspoken defender of the Davison era for nearly twenty years now. There are hints of their impassioned defense of Davison throughout, but it’s easy to wish they’d spent a little less time spoiling all the twists of Earthshock right before they showed it and a little more time fleshing out the initial claim that Davison brought “believability” to the part.
And yet it’s equally worth noting what isn’t here. Nobody is being snarky. Davison and Fielding, in particular, have been positively withering about aspects of their time on the program elsewhere, but here both of them give thoroughly enthused performances. Nobody says anything nasty about Adric or the effects. The only thing anyone giggles at is the celery. As we turn the corner into 1980s Doctor Who, there’s not a hint that they’re entering a problem area. Indeed, people were generally more willing to laugh at the Troughton and Pertwee eras than they are this.
The result, though, is soulless. The era is presented as good, but without the clear case for what was good about it that the first four installments made. It feels like people mumbling bland platitudes and explaining the plots of thirty year old television episodes, which, of course, it is, just like the first four installments, but they did much better jobs of covering that. And we should, perhaps, wonder what bits of interview got left on the cutting room floor.
Which does rather bring us back to Earthshock. It was inevitable, of course, that we were going to get this or The Caves of Androzani, and while one might have hoped for the latter, you kind of knew it had to be this. And in some ways that’s good. We complained that Spearhead From Space made it too easy on the Pertwee era. The same could easily have been said about Caves of Androzani, and it really can’t of Earthshock, which strays into camp in more ways than just Beryl Reid. And while nobody introduces the episode that way, the fact that they hype its surprises while simultaneously spoiling both of them does, shall we say, set up a few other surprises for audiences for whom this is an introduction to history.
…

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Now Just a Moment: The Doctors Revisited (Tom Baker)

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That this should prove so difficult is in many ways revealing. First, we should start with what this isn’t, which is an account of Tom Baker as the definitive Doctor. Satisfyingly, this isn’t accomplished with some deconstruction. This is unabashed hagiography – just not to the exclusion of other eras. The result is on a basic level satisfying: the joy that is Tom Baker’s Doctor is celebrated, but without the distorting effect that the era sometimes has.

But it’s curious that there’s no real attention given to the sheer span of Baker’s tenure. Indeed, what really jumps out about this is that Baker’s tenure is reduced almost entirely to its first half. There’s some clips from City of Death, and K-9 makes the companion list, but for the most part there’s not a breath of acknowledgment of anything that wasn’t part of the Hinchcliffe era. Romana isn’t mentioned outside of the City of Death clips. Davros is talked about entirely in terms of Genesis of the Daleks. The other stories to get decent clips are Terror of the Zygons, Robot, Talons of Weng-Chiang, and The Ark in Space.

It’s not full-out erasure, and there’s certainly no overt misrepresentations, but it’s strange to see the Hinchcliffe-only take on Tom Baker, simply because it opens a weird gap in the chronology of this – there’s a chunk as long as the Hartnell or Troughton eras that’s all but cut from the official history.

Some of that is a product of the focus only on actors. The good old “gothic horror to comedy” transition that is part of the history of the program through this era is, fair enough, outside the remit of The Doctors Revisited. And the aspects of the Doctor’s character that are focused on are mainly the more comedic ones, so in a way, even if all the examples are Hinchcliffe-era, it’s the Williams-era version of the character that’s remembered. Which has kind of always been the case.

But another way of putting that is that this is account is almost completely uninterested in the stories. Tom Baker’s performance consumes everything around it, even today. The fact that this is the first installment of The Doctor’s Revisited to have the Doctor in question on hand to interview adds to that, although the actual use of Tom Baker tends to be as a slightly unreliable narrator of his own era. But the focus is very firmly on the character, which Tom Baker as good as says at the beginning, when he admits that the line between himself and his character got blurred.

None of this is helped by the choice of stories to show afterwards. The Pyramids of Mars is not a bad story, although its fourth episode is a bit of a mess. But it’s a tragically safe choice, and it’s telling that Moffat, in introducing it, finds himself mostly talking about Tom Baker’s performance once again before adding a few sentences about how the story’s pretty good.…

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Duty Officer, Please: The Doctors Revisited (Jon Pertwee)

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The Pertwee era, and I can vouch for this having written for it, presents a major challenge in providing a history of Doctor Who, simply because it doesn’t fit with any of it. For 60% of it, the premise of the series is out of place. The Doctor is portrayed, inevitably, as a reaction against the previous Doctor, but the previous Doctor is the template for every single Doctor after Pertwee. It’s got an awful lot of military action-hero stuff that’s kind of weird for the program. It’s an odd experiment that has really survived as a sort of limit case for what Doctor Who can be.

This is, ultimately, what The Doctors Revisited does. Pertwee is admitted up front as an oddity, and then studied and explained in half an hour. Moffat is on hand to explain why Jo Grant, Liz Shaw, the Brigadier, and the Master worked, and in three out of four cases it’s “the actor playing the part.” And an expanded field of celebrity guests are on hand to talk about the impact of it, reaffirming that this wasn’t just an odd era of Doctor Who, it was a major part of the popular consciousness.

It’s not particularly flashy – of the first three episodes, it’s the one making the simplest case. Both Hartnell and Troughton were defined in terms of how they anticipated the present. Pertwee is simply explained as it was. But it’s a persuasive case. Manning, Courtney, and Delgado really were fantastic actors. As was Pertwee, although he gets somewhat short shrift in his own special. The clips and sequences they pick are compelling early 70s television, or, perhaps more accurately, look reasonably like a modern sense of what compelling early 70s television would look like.

If there’s an objection to be had – and I’m not entirely convinced there is – it’s in the choice of stories to air after it, which is Spearhead From Space. But this objection is rather churlish. Unlike Tomb of the Cybermen, it’s not really that you wish they’d picked a better story, or that they’d had a better story available to pick. Spearhead From Space is absolutely brilliant. And as Moffat enthusiastically points out in his introduction to it, it’s gloriously weird in a very Doctor Who sort of way. It’s a fantastic choice of Pertwee stories to show in 2013.

No, the problem is that you almost wish they’d picked a crappier one. The realization that the Pertwee era doesn’t quite fit into any coherent narrative of Doctor Who’s history has led to a genuinely unfortunate squeamishness about it. And so we get a very weird sort and not entirely accurate message out of this program. Yes, the Pertwee era had some real strengths, and yes, it was massively popular television, but the stuff that was popular doesn’t much look like Spearhead From Space.

Am I saying they should have inflicted The Claws of Axos upon an unsuspecting population? Well, yes, because that’s some of the most fun you can have with a Doctor Who DVD there, since The Claws of Axos is wall-to-wall “what the fuck” in a way that very few things that aren’t The Web Planet are.…

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His Face, His Hair, Look at It: The Doctors Revisited (Patrick Troughton)

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It’s not surprising that the Troughton era is, in effect, reduced to a celebration of Troughton’s acting, and for the most part, this is a dramatic improvement over the standard narrative prior to this. It is, like the Hartnell era, still entirely about leading up to the present day – the main hook for Troughton is that Matt Smith based his performance on him. This is put up front and trumpeted. So celebrating Troughton for his acting is necessarily about glorifying the present.

All the same, it’s not wrong. And it’s worth contrasting with the previous official narrative of the Troughton era, in which Season Five was the high point of it because it had all the monsters. Sure, the Ice Warriors get center stage for a bit in what is, in hindsight, blatantly just a teaser for Cold War (with Moffat reflecting that we never see the actual Ice Warriors), but the previous take on the Troughton era where he was the clownish Doctor and it was good because it had Yeti isn’t even alluded to.

Instead we focus on Troughton’s acting, which is fitting, because it really is extraordinary, in a way that holds up today. He’s astonishingly subtle and meticulous. He always was. And Tennant’s statement that every Doctor is really just doing variations on Troughton now is absolutely true. And it’s a triumphant moment to see Troughton himself get the credit for that, because he genuinely deserves it. He invented the part of the Doctor as we know it today.

The problem, if you think it’s a problem, is that there’s nothing to replace the celebration of the monsters. The Troughton era becomes almost entirely about glorifying Troughton’s performance. Of course, this isn’t entirely unfair. The era played the base under siege card too many times, and didn’t do enough brilliant and weird stuff. It’s not that the bases under siege were bad, but the mix was off on the era. And, of course, there’s the problem of what survives in the archives (or possibly of what Phil Morris has turned over) that makes it tricky to valorize any particular part of the Troughton era except for Season Six, which is the toughest to glamorize in many ways.

Not that they don’t give it a good try with an impassioned defense of Zoe that, watching it, also feels overdue. Moffat speaks with genuine conviction of the way in which Zoe was a triumph for young female audiences because she was made so competent, and it’s true. She may have gotten gratuitous catsuit ass shots, but she was a bolder character than the show had tried with the female companion since Susan petered out.

(Also hilarious is John Barrowman’s account of being excited to see Jamie debut and enthusiastically telling his mother there was a Scotsman on Doctor Who, since he would have been doing that from inside the womb.)

But for all of this, there is something frustrating about where the narrative focus ends up. The selected story for showing after this special was Tomb of the Cybermen, because of course it was.…

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