Tony approves of
Junkyard Chic.
It’s a fan-based fallacy
that you don’t really become the Doctor until you face off against the Daleks.
Yes, the First Doctor faced them immediately, and if he hadn’t, the show is
unlikely to have survived. Yes, the Second Doctor too faced them immediately,
and the Fourth Doctor wandered about their creation myth in his first season.
But Jon Pertwee didn’t meet them till his third
season. Neither did Peter Davison, when he was en route to a Spectroxy fate
staring at Nicola Bryant’s cleavage. Sylvester McCoy, like Pertwee, had a first
season entirely Dalek-free – and his encounter with them at the start of his
second season marked a radical re-think of the show’s tone, as well as his
Doctor’s.
The thing about doing a
full series of Who using no returning villains (or in McCoy’s case, just the
one), is that it’s a gamble you have to nail. It can be a brilliant way to
create new villains that people want to see again and again, as in Season 7
with both the Nestenes/Autons and the Silurians becoming firm favourites, and
also delivering The Ambassadors of Death and Inferno into the bargain to drive
the show’s new direction home to viewers. Or it can be Season 24.
The number of people
clamouring for a return engagement with the Bannermen or the Tetraps probably
speaks for itself there.
Resolution has the feel of
Thirteen’s Remembrance of the Daleks – after a ropey first series in terms of
villainy and Doctoral definition, it’s an attempt to bring the new Doctor into
focus.
The initial voice-over
exposition is tedious and plodding, but then it actually starts to settle to
something – geeky couple discover odd thing, accidentally re-animate Dalek.
High-quality mutant visuals, all to the good. Perhaps better than both is the
treatment of the caseless Dalek trying to find its way to safety, and from
there to subjugation of the planet Earth. The way it’s written is intelligent,
and the combination performance from Charlotte Richie as Lin and Nicholas
Briggs as the Dalek voice makes the pepperpots of terror scary again in a way
they haven’t been for a while. What’s more, the Doctor’s actions in this story
feel inherently Doctorish again, as they have on too few occasions in Series
11, especially when she declares ‘Me and a Dalek – it’s personal,’ and ‘I
learned to think like a Dalek a long time ago.’
Where Resolution falters,
it falters in pacing. The whole
Dalek-trying-to-get-back-to-a-casing-and-kill-us-all thread is excellent, fast,
adrenaline-driven stuff. Having the mopey father-son discussion cut and pasted
into the middle of all that is like driving down the motorway at 80 miles per
hour and suddenly slamming on the handbrake.
And the humour. Oh dear
gods of ancient Skaro, the humour. The tired, torturous business with UNIT
being suspended and replaced by a call centre – no. The
who-the-hell-are-these-people, entirely under-introduced family who now have to
have a conversation with each other – no.
The Junkyard Chic Dalek? Yes, pretty cool for a one-off, and it made sense within the arc of the story. It’s by no means a re-useable redesign of the Dalek of course, but if you think of it as the ‘Special Weapons Dalek’ of the story, it’s a rather fun addition to the army of on-screen Daleks.
The Junkyard Chic Dalek? Yes, pretty cool for a one-off, and it made sense within the arc of the story. It’s by no means a re-useable redesign of the Dalek of course, but if you think of it as the ‘Special Weapons Dalek’ of the story, it’s a rather fun addition to the army of on-screen Daleks.
And the Doctor. Ohhh the
Doctor so very nearly works all the way through, only to be undermined by the
script at the very end, when, having Done Something Clever, and Done Something
Brave, Chris Chibnall can’t let the Doctor have her victory, but instead
transfers it to Ryan’s dad in a schmaltzy ‘love conquers all, I’m still here
for you son’ ending that presumably adds an extra layer of nose-tapping
relevance to the ‘Resolution’ title.
Resolution overall is one potentially
really good Dalek story cut-and-shunted with an episode of angsty British soap
in a way that absolutely shows every cutting-point and shunt-shock and tries to
sell itself to us on the basis that cut-and-shunts are a good thing. The pacing
therefore has the front legs of a cheetah and the back legs of a duck, leading
to a desperately uneven feel. But it’s a mark of the uneven nature of Series 11
that this still has the essence of a Remembrance of the Daleks moment – a
subtle redefining of this Doctor’s character, honed in the fire of meeting her
first Dalek, which, we can hope, will lead to bigger and better things in
Series 12, once the training wheels have come off and the Thirteenth Doctor is
allowed to encounter a more fundamentally dangerous universe.
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