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Published on April 18th, 2010 | by Neil Clarke

Victory of the Daleks

Doctor Who - Victory of the Daleks

Let’s not beat around the bush.

Yes, Victory of the Daleks features an entirely successful redesign of the Daleks. Unfortunately, it’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 they’re blue in the face – but equally, Marmite-like, they’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 Moffat’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, there’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. It’s appropriate, then, that their clearest predecessor within the program is not one of the TV series’ designs proper, but rather the Aaru movie version hijacked for a role as the Supreme in Planet of the Daleks…

At least we can say with some certainty that the production team isn’t trying to make them look cool, as that is death to Doctor Who.

Used – as under Russell T Davies – to illustrate the show’s potential and variety, Victory of the Daleks’ 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 d’être, amounting to an expository set-up for further encounters, it’s perhaps unsurprising that this feels like a slightly hollow Victory – and perhaps it’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 – and manages to feel rather rushed, despite not a great deal actually happening – but let’s reserve judgement for when these Daleks really come into their own.

The traditionalism of Mark Gatiss’ script also feels a little inadequate after Moffat got stuck into the format in the last two stories; by comparison this is very insubstantial – 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. It’s a shame this, and their unlikely dialogue (“WOULD YOU CARE FOR SOME TEEEA?”) couldn’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 – along with holding the Daleks at bay with a jammy dodger (“Don’t mess with me, sweetheart”) – 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, Victory’s combination of trad and new series styles is more uneasy. Also, notably, as the first non-Moffat-penned Eleventh Doctor adventure, it doesn’t have the much-vaunted ‘fairytale’ 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 – and slightly disappointingly – 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 – and we – can take stock of her still-new situation.

A victory for the Daleks - Doctor Who

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 story’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 Doctor’s ticket into the war rooms is the concept of his having had previous adventures with Churchill – to the extent that the PM is blasé about the Doctor’s change of face. This is not only a brilliant twist on the Doctor’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, it’s appropriate that these issues aren’t raised here, and that we are instead presented with a canny distillation of ‘the Churchill of legend’. 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 Doctor’s reputation preceding him, it’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 Daleks’ 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 ‘Shall We Destroy?’


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5 Responses to Victory of the Daleks

  1. avatar Rick714 says:

    This was a surprisingly disappointing episode for me. It felt as if Smith and Gillan were unable to make the lines work, perhaps uncomfortable with Gatiss’ script— almost at a loss without Moffat’s words coming out of their mouths. A real shame because I don’t think Moffat will be able to write each and every episode, sadly. I wonder if this wasn’t the first ep they actually filmed in the block and they weren’t quite “into” the roles yet? Something similar to what Davison did in Four to Doomsday. And the multicolor Daleks…not sure what to think but the image of the first multi-colored iMacs came to mind. I do look forward to a Moffat script and River song next week though. :)

  2. avatar Anthony Dry says:

    Its the format that needs to be changed.

    Rather than have single episodes flanked with 3 two parter stories, all the stories should be in two part with the odd single episode.

    The show, like saturday, really suffers from the 45 minute format. Even if a story starts off well, it in most cases nearly always rushed towards a conclusion which leads to some sloppy narrative and roll eye moments.

    Saturday’s started off really well but as usual headed towards a rushed ending.

  3. avatar Leosw4 says:

    This would have made an awesome and potentially classic two parter-indeed had I been the series show runner (and I’m not!) I would have slotted this in towards the end of the series and have the Daleks escaping as a pivitol moment for the Doctor.
    The Doctor’s reaction to the re-birth and escape of the Daleks was almost non existant-odd given that in effect, it could be argued, certainly for the moment, the Daleks won the Time War and the Time Lords efforts where all a waste anyway.I would have thought the Doctor would be devestated. Instead it was almost like, hey there back lets have some fun.
    No problem with the Daleks, more solid looking and I suspect less rainbow colours next time they appear.

  4. avatar Laredo Lowtide says:

    It was terrible. There was no character to it, no one to invest in. Aside from the first 10 minutes, the Daleks were kept out of any character interaction beyond the Doctor and the Doctor lacked any real fear of the Daleks which was fine for a little less three dimensional show 30 years ago, but now it just felt unbelievable after two regenerations of anger and fear of the Daleks. Amy’s role seemed very contrived and the plot seemed to trip and stumble in its rush to the finish line. Terrible Doctor Who. If this is how the Daleks are going to be from here on, get rid of ‘em. It’s the not the design, it’s the implementation.

  5. avatar castellanspandrell says:

    This must be the first time I’ve agreed with just about everything in a review and the comments afterwards!

    The Dr, on his own, vs the Daleks on their ship – it just doesn’t work!

    The Dr felt more like a 26 year old in this story, rather than the old man in a younger man’s body from the previous 2 parts.

    It all felt like one of the more mediocre episodes from the previous producer’s era.

    “Its the format that needs to be changed.

    Rather than have single episodes flanked with 3 two parter stories, all the stories should be in two part with the odd single episode.”

    -Am in total agreement with this; it never bothered me too much before, but it does with this episode in particular. I like Gatiss a lot, but the basic story was like something a 7 year old would write, and I don’t mean that in a good way! And that was at least partly due to the 45-minute format.

    I would favour 2-parters at 45 minutes apiece, unless we can have more 1 parters at around 60-65 minutes. The Eleventh Hour felt less rushed to me, and the only rushed bits were as a result of them having to fit all the ‘new Dr and companion’ stuff in.

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