Showing posts with label Reece Morris Jones. Show all posts
Showing posts with label Reece Morris Jones. Show all posts

Tuesday, 5 February 2019

Articles Welcome to Issue 66 WATNOW: Adam



Contents Guide

Who Reviews
It Takes You Away
Kerblam!
The Witchfinders
Tsuranga Conundrum
Marco Polo audio book
The Good Doctor
By Tony J Fyler

Beyond The TARDIS
SJA: The Eye of the Gorgon, part 2
by Andrew Allen

Big Finish Reviews+
Short Trips – The Last Days of Work
Master of Callous
The Syndicate Master Plan Vol 1
Muse of Fire
Survivors, series 8
The Crash of the UK-201
By Tony J Fyler

Connections
Ab Fab (Tribute to June Whitfield)

Fans Fiction
The New Adventures of Lady C
Chapter Two by Sarah Cambridge
Mitchell: Return to the Fold
Chapter One By DJ Forrest

Interviews
Matt Jago: Matt’s Custom Art
Nathan ‘Buster’ Sussex

Profiles
The Abzorbaloff

Articles
WATNOW: Adam Cast


Editor’s Note

So, we skipped January after such a busy Christmas, and it’s paid off handsomely. We’re bigger and better and my mojo has returned. For how long is questionable, but having completed Chapter One of Mitchell’s new story this morning, during breakfast, I’m happy at last. Happy that finally after many frustrating months, I’m writing again and that’s got to be worth little victory dances around the Office.

This month Tony has been busy reviewing tons of Big Finish and Who Reviews for us. Reece and I bring you a couple of Profiles to check out. Andrew brings us our first SJA of the year, and Sarah delights us with chapter two of her Lady C Adventures, which are always awesome to read.

We have interviews with Nathan Sussex – catching up on his Hollyoaks character and Matt Jago, for his awesome designs on Converse and Vans trainers which you may have seen on social media sites, especially John Barrowman’s Page, showing off a cool pair of Star Wars ones.

Content that my story is now taking off well, I’m off to make a start on Chapter 2.

Enjoy Issue 66, WATNOW: Adam

Djak




Profiles Abzorbaloff by Reece Morris-Jones



A one-off (so far) monster designed by the winner of a competition, The Abzorbaloff is a gag monster, reviled by many Doctor Who aficionados along with the episode he appears in, Love and Monsters. Regardless, as a character, the Abzorbaloff acts as a metaphor for a toxic part of the Doctor Who fandom and asks viewers to do some self-reflection.

The Abzorbaloff comes from the planet Clom, which was the twin planet of Raxacoricofallapatorius. Despite a passing resemblance to the Slitheen of Raxacoricofallapatorians, when confronted by the Doctor about the resemblance he seemed to treat them with contempt. Possessing of an ability to absorb the memories and experiences of anyone he touched, whose bodies were then absorbed into the creature as part of its digestion, it posed as a wealthy human businessman called Victor Kennedy.

The Abzorbaloff infiltrated and quickly took over the group called LINDA, a small group of people with an interest in the Doctor. ‘Victor’ then changed the purpose of the group to being one obsessed about finding the Doctor, to better allow him to absorb the Timelord’s memories and experiences.

Eventually defeated by the absorbed members of the group, who stretched the monster’s skin, allowing Elton Pope to break his cane, shattering his limitation field and allowing The Doctor to defeat him.

Though somewhat silly in appearance and manner, The Abzorbaloff asks the viewer to consider how they approach their fandom of the Doctor. Is it something healthy? A way to connect with others over a shared passion and enrich your life? Or is it an unhealthy obsession, one that focuses on detailing the Doctor and his experience, possessing them, just because you can?

The episode comes down firmly on one side of the question, but shows through the character of Elton, that it is possible to use such an obsession in a healthy way, perhaps even reaching catharsis.

Sunday, 1 March 2015

Big Finish Reviews+ The Chimes of Midnight by Reece Morris Jones



Released February 2002


Hallowe'en 1938. 'Twas the night before Christmas, and all through the house not a creature was stirring...

But something must be stirring. Something hidden in the shadows. Something which kills the servants of an old Edwardian mansion in the most brutal and macabre manner possible. Exactly on the chiming of the hour, every hour, as the grandfather clock ticks on towards midnight.

Trapped and afraid, the Doctor and Charley are forced to play detective to murders with no motive, where even the victims don't stay dead. Time is running out.

This story, that arrives just about half way into the 8th Doctor and Charley Pollard's adventures together, is unusual. Part detective story, part horror, part personal tragedy, its unconventional formula allows it to hit the story sweet spot of keeping you on your toes and wanting to listen to more. In fact the first time I listened to it, I was so engrossed I completely forgot I was meant to be going out for a meeting with someone!

The Doctor and Charley land in the servant’s part of an old Edwardian mansion, populated by the staff of the master upstairs. Drawn by a blood curdling scream they dash to help, only to find it's too late. As the hours move to midnight, one by one the staff all die. Then it all starts again...

As such, it's a break from the usual murder mystery fable – the Doctor and Charley are aware they are trapped in a story that re-writes itself on the fly to account for any interruptions, so they have to figure out the cause and the real culprit fast, before they become a part of the act.

The Chimes of Midnight keeps air fraught with tension at all times by being lean and mean. Nothing is wasted in the script and as soon as one part of the solution of the mystery is unearthed and threatens to turn things stale, it metamorphoses to catch the Doctor and Charley (and us, the listener) off guard.

Constantly on the back foot and forced to try and work within ill defined and every changing rules, things are kept unpredictable. It was one of those rare tales that kept me (a longtime Who fan) feeling like I didn't know what would happen next. Things are kept tense by a soundtrack that enforces how everything feels unstoppable, always containing a tick of a clock one way or another, as a reminder of that fateful countdown to midnight.

What's most surprising is the emotional core at the centre of the story, that not only plays into Charley and the Doctor's larger arc, but also covers the fate of those 'downstairs', revealing a life that isn't that great if you don't happen to fit into the working life of servitude and what happens when the only person who cares about you is snatched from your grasp.

All in all, it's a great story. Perhaps more low key than many would expect from Doctor Who, but it reaps the rewards of that. Complex, gripping and all over a superb production, it's one of the high points of the 8th Doctors travels with Charley. Perhaps one of the best of the 8th’s and, dare I say it, all time Doctor Who stories. If you have any interest in the show, you owe it to yourself to buy this.

Big Finish Reviews+ The Sword of Orion by Reece Morris Jones



Released February 2001

It’s hard to quite ‘get’ the 8th Doctor’s adventures without experiencing quite a few of them for yourself. The TV movie, whilst providing some of the groundwork for Paul McGann’s portrayal, is otherwise a bit of a distraction. The audio series themselves are too, because so many early adventures he had were experimenting, not only with a mostly unexplored incarnation of the Doctor, but the very format of how to present Doctor Who via sound alone.
Throw the fact that this and many of the monthly series were written and produced by people who were essentially fans and nothing more, it’s unsurprising that the early 8th Doctor adventures were a mixed quality. Thankfully, Sword of Orion is on the higher end of this, even if it’s sometimes rigid adherence to the traditional format does have downsides.

Picking up almost right after the events of the first 8th Doctor audio drama, it finds The Doctor and his companion Charlie Pollard, a woman the Doctor rescued even though she should have died, investigating an Alien bazaar. Before long, they stumble onto the events that form the majority of the audio drama, namely the crew of the old trash liner and their discovery of a lost ship, The Sword of Orion, and its sleeping passengers…

The first time I listened to this, it started playing on my phone at random and I had forgotten that the Cybermen were the antagonists of the piece. Not knowing who the villains of the piece were greatly enhanced the tension of the opening few episodes as a whole, before their eventual reveal. Not that this is likely to happen often due to how proudly Big Finish advertise it as a Cyberman story first and foremost, but if you get the chance to buy it for a friend or family member, I recommend letting them listen to the audio with limited knowledge of it.

Random aside out of the way, Sword of Orion is primarily a ‘base under siege’ story, where all the main characters spend much of the time trapped in one location, trying to repel a Cybermen attack. It’s also a story that follows the conventions of Doctor Who before its 2005 reboot almost to the letter. For fans of that era it’s a welcome blast from the past, as the whole story is lain out and set up, ready for a third, action packed, act. Like those older tales, it does flag a bit in the second act as various characters spend time being captured and escaping, or dicking around trying to understand things we the audience figured out last episode.
Still, the cast do an admirable job and managed to breathe life into what in some cases were pretty stock characters. Michelle Livingstone as Captain Jenson in particular, perhaps because she was doing most of the heavy lifting plot wise, was a multi-layered character and level headed character one who I enjoyed spending time with. Bruce Montague was an admirable baddie as Grask, even if he gets side lined early on by the Cybermen threat.

It’s also worth mentioning the score. The feel of it being a traditional episode is helped immensely by the score, which links scenes with short synth interludes. Only seconds long at most, they still manage to build tension or convey what mood the scene coming will be bringing.
Added to that is the more subtle things that we take for granted in an audiobook; the sound of running, laser guns firing, the death rattle of a Cyberman. All sound like they fit very much into the ‘old’ Doctor Who world, one of dodgy sets and slightly dodgier costumes. Your tolerance for these sound effects will obviously depend on your liking of the old series and older ways of presenting science fiction in general, but I found it positively delightful.
If you are a fan of Doctor Who in general I would say this is a must buy – we get to see how the Doctor and Charlie react in a very action orientated setting and the story just zips along, as each side plots and counter plots against one other to achieve their own goals. If you are a fan of the new format Doctor Who, but were always put off the old show by the fact that it looks like each episode had a budget of 12 pence, consider this a faithful adaption that retains all that was good about the old format, whilst missing out on the bad parts.
8/10

Doctor Who: Sword of Orion is available from Big Finish as a download only file.


Saturday, 29 March 2014

Who Reviews Rose by Reece Morris-Jones


Written by Russell T Davies

I should probably add a caveat before I get down to writing about this. I am hugely, massively biased when it comes to Christopher Eccleston's Doctor. Whilst he does tend to appear in roles that are pretty forgettable these days (Thor 2, G.I. Joe-anyone remember his parts?), there was a time that he was THAT actor, in part due to a series of well received roles through the 90's and early 2000's. So when it was announced he was to be the new Doctor...well I was over the moon.

There's one thing New Who does right and it’s that for the most part, the actors in it can act with something approaching nuance. The old series has its moments, but each week you were more likely to tune into someone emoting on the screen like it was their first big performance down at the amateur dramatics society. So when the first thing I saw was a show that was clearly about themes, with a new Doctor and a new approach, well I was ecstatic and completely stunned. Compared the two eras of the show in feel and scale and its phenomenal the difference.

But like all Doctor Who episodes, its defined by how good its Doctor is. My god, what a good Doctor Eccleston makes. Taking elements of the Doctor we recognise and know (his childlike wonder, his arrogance, his towering intelligence as we get to watch him piece things together) and adding a harsher but melancholic edge works. There's something not quite right about this Doctor, almost an enforced cheer and as the series goes on we get to find out more about that. But as I've spend a paragraph or two getting sidetracked already, for now, let’s turn our attention to the episode Rose.

God I love this episode. Though it’s not the strongest of Eccleston's run, it's an episode determined to set a new paradigm for the show and it does that rather successfully, whilst having to do the hard work of introducing a world, characters and a setup to a whole new generation, and more importantly, make us care about it. Rose does this rather brilliantly by making the episode an introduction to the world via Rose, the new companion, herself.

It's pretty rare to see this in an episode from Davies, but Rose as a construct is a well oiled machine. Everything rattles along at almost breakneck speed. Everything is there for a reason and there's barely any flab to the script. It’s all geared to introducing us to the world of Who again and making realise just what we had been missing. Davies usual indulgences are kept in check, or at least used to best effect.

Rose and the Doctor's role in the episode itself is pretty simple. Rose discovers the Doctor one day and slowly goes down the rabbit hole until she finds a new world that was under her nose all this time. Rose herself is the focus of the episode with the Doctor being a sort of mythical figure, only appearing in short bits until about 2/3rds of the way through the episode. What is apparent though, is wherever the Doctor goes, trouble soon follows.

This does mean the Autons get the short end of the stick when it comes to being involved in the plot though. Used more as a way to being immediate tension and hurry the story along whenever it’s in fear of slowing down too much. Case in point; Rose’s (literal) descent down into the fantastic world of the Doctors' that is just outside our everyday view, results in a scene that stands as a series highlight ("Run!") and manages to make the plastic dummies scary to kids of the 21st century.

There's no real plot to talk about. The Auton's menace people a bit and the Doctor (with help from Rose) defeat them after finding the Nestine Consciousness and being forced to destroy it. Sure, the 'anti-plastic' the Doctor has is a bit naff, but Davies wisely avoids too much scrutiny falling upon it by making its introduction and use over and dealt with rather quickly.
So what doesn't work? Well, the CG effects are poor even considering the time of broadcast (something Who is just getting a handle on nearly a decade later to be honest) so Mickey's' absorption by the Auton bin (which burps-urgh) and the Nestine Consciousness itself look pretty naff, along with Eccleston being added not so artfully into old photos, Forrest Gump style.

Noel Clarke isn't bad, but it did feel like he was just getting a handle on what the character was about. The script certainly doesn't help him in this regard, making him come across as needy, selfish and a hindrance to Rose, who clearly feels like she is being held back in life. Contrast this with the much more assured debut of Rory in the Eleventh Hour and you can see the difference.

In the end, Rose does what it sets out to do. By the end of the episode we have been introduced to the principal characters of the first season, had a bit of action and set up a few things that will make sense later via, what seemed at the time was, throwaway expository dialogue. Moreover though, we had finally gotten a sense of wonder back in the TV landscape, which at the time was dominated by talking head shows that sneered at pretty much everything in the name of 'comedy'. Nice for a bit, but it quickly erodes all sense of grandeur about things.

Rose is a tonic to that and is a must watch, considering its the first glimpse we get of what the revitalized show was aiming to do. Not only that, but its an example of a show leanly trimmed down to what works, so if you enjoy watching shows with a production mindset, there's plenty to enjoy.

Who knows, you may even come to realise the truth about new Who- that David Tennant is the weakest of the new Doctors.

After that controversial comment, I think I had best take the Doctors advice and RUN!


©BBC Doctor Who 1963

Tuesday, 24 December 2013

Articles The Misuse of Retcon: It's Nothing New by Reece Morris Jones


They Keep Killing Suzie demonstrated that what Torchwood do affects many others. But we shouldn't be surprised.

Introduction

When I talk about Torchwood, there comes a certain part in the conversation, once you have gotten past your favourite episodes and characters, that an awkward question arises. Have you seen Children of Earth? Did you see the bit where...? Or how about the end of Season 2? Or Miracle Day, where...hell even talking about the episode of this month, “They Keep Killing Suzie”.

Fact is, from the premier episode of the much beloved show, death and misfortune has been a big part of the show. To speak objectively, it’s also mostly the least they deserve, because Torchwood the team screw up. A lot. Massive amounts, from which the team never seem to learn from. Even when it affects those closest to them. At the same time, it’s part of what makes the show.



Happy Go Lucky?

Now you may think I'm being harsh and in a small way I am. But it stands to reason that when the first episode of the show establishes that everyone’s lack of honesty with each other has resulted in abuse of the alien tech and massive holes in their security, they would learn from that. Instead of doing that, well we get one bumbling mistake after another, to the point where someone who is dead managed to outwit the entire team.

Admittedly it is good that we get to see that the actions of the Torchwood team have consequences and that they have some way to go before they become a fully functioning team. Too many shows gloss over weekly screw-ups its protagonists make. It could be argued that it’s the core concept of Children of Earth, that the team’s carelessness in the past and during the event costs them dearly.

But that someone who has been dead for several month managed to pull of such a labyrinth plot shows just how little the Torchwood team think about things 1

C'mon? Really?

So let’s establish the logic of Suzie's 'I will come back to life and do it by killing Gwen Cooper' plan shall we? First off, she spent a few months dosing a random member of the public with retcon, which has been established before as probably not something you want to sprinkle on your breakfast cereal every day. She used the time to plant hypnotic suggestions for him to start killing people in the same way Suzie was in the first episode. Oh and also start chanting gibberish that would lock down the base when in a certain position. This is bearing in mind that such a violent man doesn't just get arrested by the Police first- it’s not as if he was subtle or anything when it came to killing people.

After that, she bargained on them using the resurrection glove and having someone capable of syncing with it in the same way she could. Which, considering everyone else on the team had no connection at all, was a hell of a hope.

So all of these things came to pass, yet after then Jack doesn't even begin to question Owen when he becomes withdrawn and moody after the events of “Out of Time”. Really?

A Long Potted History

At the same time though, perhaps I shouldn't be surprised. It’s been demonstrated in the past the Jack doesn't have much regard to his own safety nor the safety of others, relying instead upon his magical ability to not die. Anyone remembering the events of Miracle Day will remember how much he arsed up just a simple operation with Angelo, without any consideration as to what the trauma of a seeing a loved one would do to him.

Jack's history and style of leadership seems to have come from that both before being given eternal life by Rose Tyler and afterwards. After all, who else would park a spaceship in the air during The Blitz, or decide he can stop an entire alien master plan by himself? Only someone who has such supreme confidence in himself that he literally thinks he cannot fail. Yet he does repeatedly and people die because of it. It seems that just like James Kirk of the recently rebooted Star Trek films, he’s trapped on infinite repeat, happy to make the same mistakes over and over again, even if it is at the cost of other people’s lives.

He’s the ultimate fatalist and self pitying arse, so convinced that bad things will happen to him that he no longer makes the effort to stop them happening. All so he can spend a few decades moping about how bad things always happen to him.

What’s worse is the team sort of pick up from his example. With no real form of leadership from Jack, 2 they sort of just blunder about trying to pick things up as they go. Now whilst the job of weird stuff hunter is hardly likely to come with a company handbook and list of procedures, at least something would be nice, you know? It’s no wonder when the shit hits the fan they buzz about like flies.


Yet, there’s something appealing about the characters and I think despite the screw ups, they are better as a team for them. In the same way that most of the Marvel Comic Book Superheroes are massive screw-ups, the members of Torchwood making mistakes shows us how essentially human they are and just how fallible they are too.

Sure, they messed around with alien tech. But with the exception of Owen (who was pretty much presented as barely tolerable until halfway into season 2), none of them were using it for personal gain. No, it was all to expand humanities knowledge and perhaps benefit it one day, or else just to ease the stresses of working in an environment where your boss tells you day one that the second you start it’s as if you never existed at all.

Most of us have been in high stress environments. Eventually something snaps and you start making mistakes, or lapses, be they in the quality of your work or in the judgements you make. Those judgements can ruin lives, but you very rarely mean them and would do anything to reverse them. It’s all part and parcel of being human.

That’s what Torchwood is. Its human beings, trying to do a task they are poorly equipped for (in this case, protect Cardiff/the Earth) but doing it anyway because no-one else will. We all suffer setbacks in life, but your ability to overcome those obstacles is determined on if you can get back up again and carry on doing it anyway. Torchwood is a team that did that every single time.

Sure, they weren't the most efficient bunch and I can't pretend they weren't anything more than bumbling idiots playing at being heroes from time to time (as Miracle Day pretty aptly shows). But when we are from a nation where David Lister is a cultural icon, where Stephen Fry comes back from 15 years in TV wilderness to have a second wind, it seems apt.

In America, the heroes are the funny guys who are the centre of every party, yet can quite casually pick up a shotgun and blow a foreigners head off. We got a few Welsh people, the rejects no-one else wanted and a man with a fluctuating American accent.

Is there any way that the Torchwood team can be more perfectly suited to be our heroes?




1 Also just how 'TV' the first series was when it came to convoluted plots working.

2 Though many office workers would argue that 'hiding in your office staring at the computer screen' is a management style employed by a great many bosses.

All images used copyright of the BBC


Wednesday, 30 October 2013

The Mothership A new Doctor for a new era by Reece Morris-Jones


Why the 9th Doctor deserves some respect

Preamble



2005 was an important year for Doctor Who and it was an important year me too. Though no doubt many Whovians associate it with the start of a new glorious (to some hated) era of Doctor Who, to me it was more personal. It was when I found ‘My Doctor’ in Christopher Eccleston.
To those not in the know, due to the amount of changes (notably its casting of the titular Doctor) the show has gone through in its 50 years and the sheer time it’s been running, to stop pointless fan debates of which portrayal was the ‘best’, some fans have taken to calling their personal favourite regeneration ‘My Doctor’. It recognizes that it was the first time the show clicked with that particular fan and that, in a moment of self awareness far too rare in most fandom’s, nostalgia may blind that fan to that era’s particular weaknesses.
So whilst admittedly that Eccleston being ‘my Doctor’ means that I admit his run is far from perfect, this doesn’t mean the series has no merit. His era was a brand spanking new start for a show that had been mothballed for close to 16 years 1. As such it was full of a real sense of adventure, enthusiasm and a slightly rebellious attitude. Rose and The Doctor quipped back and forth like they were auditioning for a part in a Joss Whedon show. There was action and adventure on a grand scale. We had a companion, Jack, not afraid to get up in people’s faces and who fulfilled the long absent roles of the brawn and sex appeal all rolled into one, this time for both the gentlemen as well as the ladies.  You know what, there was even a hint of danger that had long departed the show, as companions and even main characters were offed left right and centre at a startling rate.

You can see a series trying to escape the boundaries of the old show, still pushing for the fringes of what could be done in the format, whilst still recognisably the same show old time fans could associate with (and which you could argue fell back on old habits in later seasons via a more traditional Doctor).

A new Doctor for a new era

At the heart of it all, was Christopher Eccleston. A Doctor of contrasts, he would be one moment likely to start a war, the next almost childlike and giddy with glee, all with a twinkle in his eye. Over everything else, your like and dislike of Eccleston’s portrayal of the Doctor will probably be the big decider as to if you like the series or not, with many people I know loathing his run based on just his portrayal alone.
His version was a cool, far more stripped down version of many past Doctors, lacking some of the eccentricities that had characterised past Doctors, a deliberate attempt on writers Russell T Davies and Julie Gardner's part 2.

His Doctor was ultimately one who lived for the moment, in an attempt to forget the past traumas he had gone through (which we now understand to be the Time War, but at the time was a vaguely hinted at thing with a name and not much else). More than that, whilst he was disdainful of humanity at times, it was only because those around him were failing to live up to their potential and what he knew what we were capable of.
Unlike the later series and the mopeyness of Tennant, he didn't dwell on it too much. His Doctor was very much of the present and a man of action. Sure, by other shows standards he was still a bit of a coward (and admitted as such in Parting of the Ways), but then thats always been the endearing thing about the Doctor. He's sees bravado as stupid and usually would rather out think his opponents instead.

Still, by even the old shows standards, he has more in common with the third Doctor than the sixth, rarely roused to anger but unstoppable when done so. I can think of no greater match of actor and role, to the point where if I didn’t know any better, I would say that the role was created so Eccleston could walk on set in the morning ready to go with minimum prep as he was already in character as a grumpy Time Lord with a chip on his shoulder3. But no matter how down the Doctor got, he was always seeking hope and trying to recapture that youthful glamour that evaded him after the events of Time War.

To do that, he knew he had to go back to basics.

 25th century companions

On the face of it, Billie Piper was an unusual choice for Doctor Who. A former pop star just starting a transition in an acting career, she had been mostly known for the tabloid furore surrounding her and Radio DJ Chris Evans marriage. Which made her appearance in the show even more of a revelation. To be sure, it’s not as if she was the greatest actor, but she brought to the part a real sense of a modern forward looking companion to a series with the same outlook.
It’s true that not all the scripts dealt with her character properly and reduced her to the Doctor Who staple of ‘eye candy that screams and needs rescuing by the Doctor.  But the most part she was not only capable, but by coming into the world of the Doctor and standing up to some of his greatest enemies, she proved herself his equal. Her arc from the beginning of the series showed how she became more capable, but by accepting the Doctor’s offer to travel with him and rescuing him in her first appearance, she showed that she had the seeds of that within her all along, they just needed to be nurtured.

Captain Jack...well if you are reading this blog, I’m sure you understand just what it’s like to have a crush on the hunk that is John Barrowman. Make no mistake; he made Billy Piper look like an Oscar winning actor. But what he lacked in acting chops, he more than made up in with sheer charisma and enthusiasm. This was also a glimpse of Jack as a scary mofo, a capable conman, time traveller and sexy spy all round, capable of rescuing worlds at a time if needed, all with a winning smile on his face.

Of the other companions, I think we can forget Adam, but he showed us, if nothing else, that when you join up with the Doctor, you don’t dick about on his watch. Thats something only the Doctor is allowed to do ;-). Mickey though, well I love Mickey. My god he could be a selfish prick at times and most of his development was left until season 2, but Noel Clark really captured the feel of someone completely out of his depth, but still trying to make the world a better place.
In the end what all of these companions had, and this is something Steven Moffat could learn from, was an arc. They were clearly different people by the end of the series. Rose, was a far more seasoned traveller and could no longer stand by and let events take their course. Jack had turned from a cowardly man living off other people’s misfortune to a man of action, willing to lay down his life to protect others. Mickey learnt that Rose really didn’t love him, but that he didn’t have to be defined that anymore. As for the Doctor, well...

An angry and broken man.

To me, the greatest achievement of Nu Who was creating a Doctor suffering from PTSD. There’s a fan theory that I see circling the net every now and then that each regeneration is a reaction to the prior incarnation. Where the first incarnation was a dour old man, the second was a jovial clown who hid a mind of steel that was always thinking. 
This theory makes more sense when applied to Doctors of Nu Who certainly, with each regeneration since the absence between the 8th and 9th becoming more and more jovial the further he gets from the events of the Time War (with the 11th and current regeneration being a determined response to put the angst of the 9th and 10th entirely behind him). Multiple theories even circulate to explain the so far unexplained absence between the 8th and 9th , some saying that the 9th Doctor is a new regeneration spawned at the end of the Time War in response to the 8th s actions, others that the 9th took part and ended it4.
Regardless of the truth, what is apparent is that during the 9th Doctor is haunted by something. You can see it in his eyes and his every moment. Almost too jovial at times, Eccleston’s eyes always betray him. His was a serious Doctor and one who was still on a war footing, concealing real anger at his loss to the point where he can barely even talk about it, only spilling details when forced to. To him, the trauma he went through5 in his actions was still fresh and it took him finally facing up to that in the Parting of the Ways to begin to get over those events. But here I am mentioning themes and missing out on the biggest of them all.

Nothing will ever be the same

The key theme of the new series was change and that with the passing of the Time Lords, nothing was truly safe anymore. Past series had always had a somewhat carefree attitude to them. The Doctor arrives on the scene, gets involved and leaves at the end of it with things, if not perfect, then better than before. There were few consequences for his actions and very little was a stake, as long as things wrapped up by the end of the story. That wasn’t the case anymore. If anything, the expansions in later series of the Doctor being a vengeful god were trialled here. The events of World War Three had consequences in Boom Town. The Long Game’s conclusion paved the way for the terrifying events of Bad Wolf. The message was clear: the Doctor could make mistakes now and as much as he could see the events of time, without the help of the Time Lords he was still just one person; unable to see the big picture anymore. Even events that would have been relatively safe, such as visiting ones past, was now dangerous and could potentially destroy all of time and space itself.

That element of danger, of consequences mattering now, helped suspend my disbelief over a concept that in the past hasn’t caught my attention too much. After all, where was the element of danger in the past? With the Time Lords ever present, any catastrophe could be averted if the Doctor was there or not. Now...well anything could happen. It frequently did.

Nowhere was this more apparent than the bringing back of the Daleks. Long derided through years of ever exposure to the point of being laughable tinpot dictators, the show pulled off the miracle of making them scary again. How was this feat achieved? A two pronged attack was how.

Bringing back the Daleks

First, Dalek showed us just how much carnage a single, damaged Dalek could do and how much it scared the Doctor who, until that point, had been unflappable in the face of ghosts, alien invasions and shop dummies capable of killing people. The slightly jokey, jovial Doctor we had grown used to was gone, replaced by the cold fury of a being who wished nothing but death and destruction upon the other sole survivor of the Time War, even if it damned him in the process. In a turn of phrase that summed up both his hated enemies position and his, the Doctor put it best
“Whats the point? Don’t you see? It’s all gone. Everything you were, everything you stood for”
 By exposing us to the last survivors, we got to see not only the fury that the 9th Doctor had to exercise to rid himself of the guilt of his actions, but we saw the real pain he had suffered from having to bottle all that emotion up, unleashed against a foe that, despite being deadly beyond belief, we sympathised with. We saw just how far the Doctor had gone to end the Time War and just what it had cost him.

By letting us see all of that, it left an audience hungry for more, until the reveal at the end of Bad Wolf. That moment when the Dalek fleet is revealed, you can see the Doctor’s eyes widen and he takes an involuntary step backwards. The slight quiver in his voice. The fear. If the Doctor had been furious in Dalek, he was now terrified at the sight of close to half a million of them. But the presence of Rose, of dredging up things he was ashamed of, had stirred something in him and started to make him a better person. He was no longer the same person who had consigned two species to death. He was the coward we always knew he was. And damn proud of it too, if being a coward meant that never had to commit genocide of such an unprecedented scale again.

He was finally someone at peace with who he was, because if all his actions saved the people he cared most about, that was all he could ask for, even if it meant his own death.
Christopher Eccleston’s time on the show may be clouded with controversy these days, but at the time he brought hope to many. A new generation fell in love with Doctor Who and old farts like me fell in love all over again. Sure, looking back on that series it has its faults. It was certainly a little rusty round the edges and twice as brassy.

But it wore its heart on its sleeve and introduced an audience to a more mature, grown up Who far removed from the dodgy sets and even dodgier monster stereotypes the show had been associated with in the past. It was, to quote the Doctor one last time

 “Fantastic. Absolutely fantastic”.



You can find the writer of this piece on Twitter. Reece likes comics, running and talking about his unfortunate obsession with a certain Michael Fassbender.  He’s dreamy.








All images copyright of the BBC
1 Yes, I’m aware that there were novels that ran in between the two eras of the show. But there are of questionable quality, so I discount them as they have never been acknowledged in a serious manner by anyone on the Dr Who team since the return of the show. Sorry fans, but it’s true.
2 http://www.bbc.co.uk/pressoffice/pressreleases/stories/2005/03_march/10/who_davies_ gardner.s html
3 There may be some truth to that. Eccleston was supposedly a hard person to be around on set http://www.digitalspy.co.uk/tv/s7/doctor-who/news/a93662/barrowman-criticises-grumpy-eccleston.html
5. Revealed to be having to not only destroy the entire Dalek race, but watch his own change into something he could no longer recognise, until he had to lock them away from time itself.