Published on April 18th, 2010 | by Neil Clarke
Victory of the Daleks
Letâ€™s not beat around the bush.
Yes, Victory of the Daleks features an entirely successful redesign of the Daleks. Unfortunately, itâ€™s the khaki versions which are so effective – and who ever thought green Daleks would work?!
Though unchanging in essence, the Daleks, like the series itself, have undergone numerous changes. Here though, they have undergone their most radical alteration.
These gay pride Daleks will undoubtedly have some fans squeeing until theyâ€™re blue in the face â€“ but equally, Marmite-like, theyâ€™re not going to appeal to everyone. The colours particularly may well prove contentious. However, it goes without saying an overhaul of such a classic design is certainly a brave move (certainly compared to previous cosmetic changes), and shows Steven Moffatâ€™s willingness to put his own stamp on every aspect of the series.
Where the previous twenty-first century incarnation was injected with a bulk and realism, thereâ€™s certainly something very sixties about these versions. These Daleks have a bulbous purity of form which sweeps away the detail added to the bare bones of the design in 2005, and suggests a nod to their TV Comic antecedents.
Moffat has talked about the magic of the show being its ability to appeal to our inner eight-year-old, and these Daleks seem unabashedly targeted at that mentality. Itâ€™s appropriate, then, that their clearest predecessor within the program is not one of the TV seriesâ€™ designs proper, but rather the Aaru movie version hijacked for a role as the Supreme in Planet of the Daleksâ€¦
At least we can say with some certainty that the production team isnâ€™t trying to make them look cool, as that is death to Doctor Who.
Used – as under Russell T Davies – to illustrate the showâ€™s potential and variety, Victory of the Daleksâ€™ unassuming slot makes for a surprisingly early excursion for the Daleks in this run. As the creation of the dodgem-Daleks is its entire raison dâ€™Ãªtre, amounting to an expository set-up for further encounters, itâ€™s perhaps unsurprising that this feels like a slightly hollow Victory â€“ and perhaps itâ€™s for the best that this was got out of the way early. It may be too slight to be an entirely satisfying story in its own right â€“ and manages to feel rather rushed, despite not a great deal actually happening – but letâ€™s reserve judgement for when these Daleks really come into their own.
The traditionalism of Mark Gatissâ€™ script also feels a little inadequate after Moffat got stuck into the format in the last two stories; by comparison this is very insubstantial â€“ do robots and averted countdowns cut it any more? Having said that, it is the riffs on Power of the Daleks, recasting the creatures as something insidious, with only the Doctor knowing the truth, which are arguably the most effective elements of this story. Itâ€™s a shame this, and their unlikely dialogue (â€œWOULD YOU CARE FOR SOME TEEEA?â€) couldnâ€™t have been taken further.
Trying to cram an epic resurrection and Star Wars dogfights into the runtime is perhaps less effective. Although, spitfires in space â€“ along with holding the Daleks at bay with a jammy dodger (â€œDonâ€™t mess with me, sweetheartâ€) – are quite wonderful, and memorably daft Doctor Who concepts.
Nevertheless, where The Eleventh Hour felt like every element had been lovingly oiled and put together meticulously, Victoryâ€™s combination of trad and new series styles is more uneasy. Also, notably, as the first non-Moffat-penned Eleventh Doctor adventure, it doesnâ€™t have the much-vaunted â€˜fairytaleâ€™ feel of the two series openers.
However, it is successful as a rollicking wartime adventure.
Where those previous two stories were hung around Amy getting to grips with the Doctor, this could almost be slotted anywhere in the run. Consequentially â€“ and slightly disappointingly â€“ she feels far less unique and Wendy Darling-like here. And, once again, despite her instrumental part in saving the day, Amy feels marginalised; we need a story which has space to breathe (perhaps a return to Leadworth?), where she â€“ and we â€“ can take stock of her still-new situation.
The Blitz is a surprisingly specific period to return to relatively soon after The Empty Child/The Doctor Dances, especially given how effectively it was used there. Nevertheless, it completes the set of contemporary, future, and past settings, and it is welcome to effectively get to see behind the scenes of the earlier storyâ€™s milieu. Some less tokenistic characters besides Churchill and Bracewell would have been welcome, but that just goes to show that the series can still struggle with the 45 minute format.
Obviously, the Doctorâ€™s ticket into the war rooms is the concept of his having had previous adventures with Churchill â€“ to the extent that the PM is blasÃ© about the Doctorâ€™s change of face. This is not only a brilliant twist on the Doctorâ€™s inveterate namedropping (the Doctor and Baroness Thatcher versus the Vervoids in series six, anyone?), but, only three stories in, also continues a trait for characters already knowing the Doctor. (Liz Ten and the inhabitants of Leadworth knew him by reputation, while perhaps the ultimate example of this, River Song, returns next week.)
As Gatiss rightly pointed out on Confidential, Churchill is a controversial, ambiguous figure, but, while some will be slightly uncomfortable with his being turned into a jolly caricature, itâ€™s appropriate that these issues arenâ€™t raised here, and that we are instead presented with a canny distillation of â€˜the Churchill of legendâ€™. Miraculous too that the series was allowed to show him smoking. How many years has it been since someone last lit up in Doctor Who?! Answers on a postcard.
In addition to the newfound prevalence of the Doctorâ€™s reputation preceding him, itâ€™s interesting that the Moffat administration have reacted to the ubiquity of large-scale alien activity over the last few years by seemingly resetting this knowledge to zero. As with the new Daleksâ€™ destruction of their predecessors, the willingness to take a sledgehammer to the past five years if necessary is startlingly apparent. If only a qualified success in other areas, in this at least, Victory of the Daleks is victorious.
Neil Clarke writes the Doctor Who reviews page â€˜Shall We Destroy?â€™