Tony’s feeling under
the weather.
When it hit screens, New
Earth had a lot of jobs to do and a lot of pressure to do them well. While The
Christmas Invasion had laboured the point of regeneration, and David Tennant
had blown the doors off the new incarnation of the Doctor using more or less
just the last ten minutes, New Earth would be the actual proof of concept
for the 21st century – the Troughton Moment, if you like, when new
viewers would either take to the idea of the Doctor being entirely different
but yet the same, or they wouldn’t, and the revival would face diminishing
viewing figures and a slide into what would probably be the show’s final
on-screen demise.
For the Series 2 launch,
showrunner Russell T Davies served up a cocktail of old and new that he hoped
would bridge the gap while also giving enough of a flavour of the new Doctor’s
difference from what had come before.
The question of whether it
works seems academic more than ten years on – arguably if it hadn’t, we
wouldn’t have had any of the years that have followed. Watched again over a
decade after broadcast, it stands up better than at least some of us felt it
did on first viewing, probably because more of its intentions feel clear now
than they did then.
It opens with powerful
scenes of the new Doctor in his Tardis, operating controls with confidence, and
David Tennant’s trademark Ten smile growing, infectiously, on his face, while
the soap opera elements go on outside – Rose preparing properly this time for a
trip in time and space. One thing The Christmas Invasion had distinctly done
was to show this new Doctor’s comparative comfort with Rose’s family and her
life back home, altering the dynamic immediately, so this send-off was put front
and centre to remind us how things had changed.
After the credits, things
get just a little sickly pretty quickly – the new Doctor and Rose getting
almost snuggly, expressing love for…the life of travel, grinning and almost
mooning over each other. There’s a sense of being voyeurs on a date – a sense
exacerbated by Rose’s assertion that the end of the world had been their ‘first
date.’ Moving the story to the hospital via the handy fast-forward button of
the psychic paper helps break up the goo factor, but by then we already know
who’s skulking in the basement – Cassandra, somehow alive, and neatly
recognising Rose, rather than the Doctor in his new body.
The mystery in the
hospital is fairly standard Classic Who fare – something’s going on that’s too
good to be true, and the Doctor wants to find out how it works. The healing of
diseases for which there should be no cure is a great moral dilemma for a Who
story, and in itself it helps highlight another difference of the new show –
moral complexity. Davies had dabbled with that in the Eccleston era, in scripts
like Rob Shearman’s Dalek, and his own Boom Town especially, but this story had
the potential to be chilling. Petrifold Regression is one thing, made up to
soften the impact, but have a loved one with a real disease like cancer and a facility
promising to cure them, and the moral dilemma stands in sharp relief. How hard
would you look into how the cure was derived and delivered? That’s the point made
by the cat nuns in this story – they actually do good. It’s whether the cost
can be borne that’s the issue.
There are some gorgeous,
almost Ark-In-Space-How-It-Should-Have-Looked visuals when the Doctor and
Cassandra (hitching a lift in Rose’s body) uncover the secret at the core of
all the hospital’s curative powers, and we get a couple of what, looking back,
became classic Tennant notes – the very first ‘I’m sorry. I’m so sorry’ is
here, as is the explosion of furious, self-righteous anger. We hadn’t really
got that anger in The Christmas Invasion, but there it is, very different to
Eccleston’s desperate fury at the Daleks. This is more measured, more
considered, a Time Lord who keeps his anger at himself and the universe tightly
bottled, but who can still unleash it where it’s needed.
With the release of ‘the
flesh,’ the second act of New Earth becomes even more Classic Who in its
approach – with the quarantine in place, the patients and visitors are
potential victims in a base-under-siege story, with an added zombie chase, and
it gives the new Doctor a chance to establish himself as different to his
predecessor – while the Ninth Doctor was still scarred by the Time War, and
longed for days where just once, everybody lived, the Tenth Doctor determines,
almost perversely, with the stuck-out tongue of a toddler, that he’s going to
be better than that, that he’s going to take on the disease-touch of the flesh,
the righteous anger of the cat nuns and the classic, self-serving small-minded
panic of those who are trapped in the hospital and want nothing but to escape.
He will take on all that, plus Cassandra’s self-interest and the danger to
Rose, and he will win, because he’s the Doctor, and his way is to save people.
It’s a case of the Physician healing himself, by proving he can do what he used
to do, before the Time War and the tremendous guilt it left him with.
And so it unfolds – by the
rather ‘no time to explain’ expedient of mixing some curative chemicals
together and taking a shower in them, he becomes that thing that the Doctor has
always been: a beacon of improvement, which makes you better if you simply
touch it and pass it on. This is a Tenth Doctor smug and grinning, a Tenth
Doctor testing himself out and not taking no for an answer from even the
universe – in a very real sense it’s a Doctor who remembers the triumph of The
Doctor Dances and determines to live his life more in that way than he has, a
Doctor who finally feels fully healed after his part in the Time War (however
naïve a feeling that may be), prepared to really take up the mantle of ‘The
Doctor’ again, with everything it entails.
Of course, there are holes
in New Earth – as soon as the infectious zombie horde is clean, and declared a
brand new race of cloned humans, the cat nuns are all rounded up by New New
York police, having, it seems, no spirit for a fight based on the morality of
doing good they have cited to justify their actions. The whole reason for the
Doctor’s visit – a message from the Face of Boe – dissipates at the end after a
conversation the Doctor accurately describes as ‘textbook enigmatic.’ And the
final solution to the question of ‘what to do with Cassandra’ is rather
conveniently engineered through an old movie of ‘the last time anyone told me I
was beautiful’ and Chip, her cloned, half-life, worshipful slave. The loop that
allows her to engage in quite a selfish act of emotional onanism works well
enough, and delivers a yearning note on which to end a story that has been
mostly about renewal and redefinition, but it relies on a change of heart for
which there’s little evidence right up till the moment it takes place. The link
between Cassandra’s experience inside the head of the infected ‘flesh’ and her sudden
acceptance of the need to die is not made strongly enough, so it feels like
authorial convenience. Watching it again at more than a decade’s though, the
most jarring note is the comedy and wordplay – the ‘bit rich’ segue, the ‘Ask
not!’ imprecation from Cassandra (which considering her otherwise normal mode
of speech, is positively crowbarred in to be funny), the faux cockney from
Cassandra-Rose, and the reincarnation of Cassandra in both Rose and the Doctor
as camp to an almost ludicrous degree. In particular, the Cassandra-Doctor’s
words to Rose about her noticing the sexiness of the new Doctor come across as
cringe-making, rather than the invasive wold-shaking moments they could be.
Compare and contrast with Buffy The Vampire Slayer’s Once More With Feeling
episode, which did the same thing, speaking the unspoken, and the New Earth
version feels like Carry On Mind-Invading.
But if these things stop
New Earth ever being a classic, they never stop it being a breath of fresh air.
While Eccleston’s Ninth Doctor was brilliant, New Earth is all about announcing
that the new Doctor is ready for the wider universe – with a grin, a laugh, a
mouth that won’t stop, but still with the convictions of his previous selves
and with a touch of the Time Lord Victorious already about him, acting as the
highest authority. New Earth is never going to be the story you point to as
quintessential Tenth Doctor adventuring, But as a reboot after his
regeneration, it lays down quite a lot of the groundwork for the Time Lord the
Tenth Doctor would become.
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