The End Of The World

The scenario: In the distant future, The Doctor (Christopher Eccleston) and Rose Tyler (Billie Piper) materialize on Platform One – an observation station, where motley and garish visitors congregate to observe a dying Earth’s final moments. Curiously, ‘people’ start getting murdered… What’s this show called again?

Like its predecessor, The End of the World is visually exhausting. In 45 minutes, various story elements and twists have been crammed together in an expensive special effects bonanza. The Doctor is firmly the hero, this time, with more emphasis placed on the arcane “Time War” back-plot. In a welcome touch, Rose is shown reacting to the appearance of particularly alien aliens. There are some quirky scenes. It’s generally surreal.

Aside from details like that, I don’t like it. Having witnessed ‘last week’s’ Next Time preview, I knew I was in for Disappointmentville. I’ve never cared for Star Trek-esque humanoid extraterrestrials. Especially the plural. Imagine my delight on being introduced to – in random order - “Cassandra O’Brien” (Zoe Wanamaker)…, “Trees”…, Jabe [The Tree, naturally] (Yasmin Bannerman), The [Pickled Rastafarian] Face of Boe, Raffalo (Beccy Armory), and The Duck-faced Squad, apparently. They look… terrifying (i.e., not scary). That may be the intention, but I don’t like it, damn it. I’ll let The Moxx of Balhoon (Jimmy Vee) off lightly, as he’s sweetly amusing, if underused. I appreciate the importance of treading new ground, and that classic characters like Daleks and Sea Devils only surface every few years/decades, but surely a little more imagination? Imagine my further joviality when Toxic was fittingly played on a jukebox in the year 5 billion. Embarrassing, methinks. And I like[d] that song. This ‘new’ series’ direction is evident.

Russell T. Davies’ first two script submissions seem like pre-first drafts. He may have reintroduced the series, but I’m concerned that another reintroduction may be required in a few years, to put it lightly. Ignoring the slightly camp tone, there are some amusing moments. The dialogue is an improvement on Rose. Eccleston slides into his role with relative ease – one of the finer aspects of this episode. His relationship with his ‘assistant’ (to the uninformed: a very vague and general term, referring to a companion – another label) is further developed. It appears an unsentimental one, particularly from Rose’s side. “Doctor Who” seems more interested in her than vice versa, most notably in the new pre-title sequence, where he attempts to impress her in a testosterone-fueled manner. Relatedly, the TARDIS is amusingly haphazard – it’s operated by a bicycle pump?!

Supporting cast quality is eclectic: Bannerman offers a shaky performance as The Doc’s dubious and not-at-all coy ‘love interest’. A tree with bosoms; what next? Wanamaker voices Cassandra admirably. Simon Day makes for a good war-painted Steward. Camille Coduri appears in a cameo, where we’re suddenly whizzed back to ‘normality’. Sara Stewart (Batman Begins) provides Platform One’s Computer Voice.

Although I dislike TEOTW, the basic premise is a good one. Contradictorily, I like Davies’ first two offerings, too. Although they’re ‘style’ over substance, I’ve enjoyed the superficial dialogue and gripping emotionality – which isn’t necessarily a bad thing. The technobabble is ludicrously plausible – if that makes sense. Unlike the Classic Series, the bipolar plot first; character second basis has been flipped. Grudgingly, I have to admit, they’ve been fun to sit through (before being critical), although I look forward to a refreshing new screenwriter Next Time, where I expect things to slow down. Closing call: End of the World’s fantastical, but could’ve been more fantastic. ***[/5]