New Earth

Interesting to note the tendency of some Who fans to contract Russell T. Davies' name to RTD, forging an unconscious connection with his somewhat inferior predecessor, arch-murderer of a once-great series. The comparison is extremely limited, in my opinion. Contrast series opener 'New Earth' with its amateurish counterparts 'The Leisure Hive' or 'Battlefield' and this instantly becomes apparent (imagine - people actually used to have to live like that!)

'New Earth', even the most ardent Davies acolyte must be forced to admit, has numerous unfortunate flaws, but it is still, at a rough estimate, about a million and three times better than anything ever written or conceived by Turner, Bidmead, Saward and Cartmel combined during the woeful 1980s. The script positively crackles with relentlessly clever wit, and strains throughout under the weight of an entire series' worth of highly original and inventive ideas.

Davies is a risk-taker, confining the Doctor to bed for much of 'The Christmas Invasion', then wilfully disrupting further development of his relationship with Rose by having both characters alternately possessed by returning villain Cassandra for most of 'New Earth'. This proves to be a very successful device, by and large, although Billie Piper's usually-spellbinding acting strains ever so slightly in her first scene as Cassandra, particularly when expected to declare, somewhat incongruously, "I'm a chav!" (references to popular culture are far from my favourite things).

This was a very demanding departure from Rose to foist upon Piper, and illustrates Davies' justified confidence in his cast, but she generally copes with it admirably. Her interplay with David Tennant once the plague carriers have been released from their cells is one of the most entertaining aspects of the episode, with both actors turning in fine comedy performances. Indeed, all four actors who play Cassandra are to be congratulated for sustaining the character throughout the episode - a considerable achievement, if you stop and think about it. Sean Gallagher, in particular, should be praised for his genuinely moving portrayal of her eventual acceptance of death at the episode's conclusion - another risky subversion of audience expectations which, happily, paid off.

If only the same could be said for all of them. The resolution of the main plot, for example, has the pungent whiff of deus ex machina about it. It's hard enough to swallow the fact that ten or so plague carriers can be cured by spraying them liberally with food colouring, let alone that they can then pass this cure on to their fellow-sufferers with their hands, assisted by a special effect bussed in from 'Indiana Jones and the Last Crusade'. The reason this is a ridiculous bit of pilfering on Davies' part is that the Holy Grail is, at least, holy, and therefore likely to be able to cure grievous illnesses at a stroke, whereas the cat-sisters' solutions are anything but, and should surely at the very least have had to be administered intravenously (although this would, admittedly, have taken considerably longer and been far less exciting).

Come to think of it, the sight of David Tennant at the heart of this, hugging awe-struck clones, grinning widely and shouting joyful platitudes such as "life will out!" was ever so slightly embarrassing. His inaugural performance proper as the Doctor is generally highly promising, but here he is more Messiah than Time Lord. This is a comparison that Davies seems to be making more and more as the series progresses: this is a Doctor who cures people by seemingly miraculous means; he is referred to in connection with the Face of Boe as "the lonely god"; the words Bad Wolf and their appearance through space and time are related by the Dalek Emperor to "the truth of God", and Rose's Time Vortex-charged alter-ego also seems to have something of the divine about her. It's an interesting theme to be exploring, however tentatively, although it is perhaps worryingly reminiscent of the fabled Cartmel Masterplan.

Any other complaints are comparatively trivial, although the CGI effect for the infection of various characters and extras by the plague carriers is poor enough to be worthy of mention. It has to be asked whether it was necessary to show this on screen, especially given that the actors quite obviously had to stand very still in the shot in order for the effect to be inserted. One lesson Davies should learn well from the legacy of the classic series is that genuinely unsettling effects can be created entirely through the power of suggestion.

After seeing 'New Earth' for the first time, I have to confess I felt slightly dejected, because it was just so different from what I was expecting, but repeated viewings have convinced me that this is actually a good thing! Risk-taking makes for exciting television, and all of the flaws evident in this episode can be generously forgiven on account of the fact that, as a non-Who fan I know put it to me over the weekend, it was still better than practically anything else broadcast on terrestrial television so far this year. And, to conclude somewhat triumphantly, and with a frisson of cliche, roll on 'Tooth and Claw'!