Doctor Who 50th Anniversary in Review

I apologise for how incredibly late this is (dashing to get it done before tomorrow’s Christmas special!).  I’d blame university, essays and so on but it really is, as ever, just due to my poor time management.  Working on it…

Anyhow, the landmark 50th anniversary of Doctor Who has come and gone, but did it live up to the intense hype surrounding the event?  I have to say that, up until November, I’d been very underwhelmed by efforts to commemorate the anniversary.  We had the second half of series 7 – I think* – earlier this year which, if I’m being honest, was not the best run the revived show has had.  That ended in May and since then there’s been radio silence of all things Doctor Who, apart from the passing announcement of Peter Capaldi being cast as the Twelfth Doctor.  So I was quite eager to see whether these November festivities (yes, it does count as a holiday) would be worth the wait.  Because we’ve had such a variety of audio-visual treats over the last month I’ll think I look at them separately before assessing the anniversary as a whole. (Warning: CONTAINS MULTIPLE SPOILERS)

The Night of the Doctor

This ‘minisode’ prequel certainly got the anniversary off to a dramatic start!  Who expected Paul McGann to make an appearance?  Fans have been clamouring for him to make a reappearance as the Eighth Doctor and, at last, he has returned, and we’ve finally found the answer to his regeneration.  This is a short piece, only seven minutes in length, but it covers so much in that time, racing from element to element.  It begins on a crashing spaceship where Cass (Emma Campbell-Jones) desperately calls for help.  Her computers starts havering about doctors – “Stop talking about Doctors!” she demands.  We hear a reply: “I’m a Doctor…” and, in typical Doctor Who fashion, the camera pans round for the big reveal.  “But probably not the one you expected,” says Paul McGann, in this instance speaking directly to the audience.  This brilliantly plays with the audience’s expectations and establishes so much within merely 25 seconds.

The story then follows a traditional format: the Doctor saves a young woman who wants to see the universe and is evidently perfect companion material.  However, yet again, our expectations are subverted and she ends up choosing death over trusting a Time Lord as a result of their role in the horrific Time War.  Previously in the series we’ve been introduced to countless species who lost their homes in the Time War, numerous extinctions, and even an episode partially set during it (‘The End of Time Part 2’, 2010), but I think this terror towards the Doctor is the most effectively I’ve seen the scale of suffering during the war expressed in writing.  “Who can tell the difference anymore?” she says, comparing Time Lords to Daleks.  This is absolutely chilling.

The remainder of the story takes place on Karn (last seen in ‘The Brain of Morbius’, 1976 – a nice throwback for the fans).  Somehow, it seems natural that Paul McGann’s regeneration was effectively an act of suicide, which again emphasises the severity of the war.  I think that “Physician, heal thyself…” are the greatest final words a Doctor has ever spoken.  This is a beautifully written short piece by Steven Moffat, proving once again that he writes best when handling self-contained stories rather than longer arcs.

The only real negatives I have for ‘The Night of the Doctor’ are related to its production.  Visually it’s perfect, but the general style of direction is just too restricted by its ‘minisode’ format.  This is a story which needs more time to be told; at barely under seven minutes it rushes through at breakneck speed.  It’s also choppily edited together with generic soundtrack pieces over the top, at times resembling a fan production (such as the sort of thing I’ve generally produced – ahem – ) than an official work.  I’m particularly alluding to the bombastic score playing during the final seconds as John Hurt, the ‘War Doctor’, picks up the ammunition belt.  It completely jars with the tone of the scene.

Overall, Night of the Doctor’ succeeds at everything it was intended to do but it can’t avoid coming across as such wasted potential.

8/10.

The Last Day

This is another short, eerie prequel leading up to ‘The Day of the Doctor’.  Shots taken from the perspective of a soldier, resurrected as an android to guard the city of Arcadia (referenced by the Doctor in Doomsday, 2006 – some nice continuity here!), give this a chilling tone, working effectively to bring to life just how hellish the Time War is.  Not an awful lot to say about this other than it succeeds tremendously at establishing the events surrounding the Fall of Arcadia.  Ending with a Dalek onslaught and the narrator exterminated, this leads directly into ‘The Day of the Doctor’ and promises much to come.

9/10

An Adventure in Space and Time

To me, An Adventure in Space and Time always was going to be the highlight of the anniversary festivities.  I remember watching Coronation Street do a similar origin story very successfully back in 2010, which no doubt must have helped inspire some aspects of this drama while also proving to be a hard act to follow.  Though in my opinion not the greatest writer Doctor Who has seen, I was very pleased to have Mark Gatiss writing it, this kind of thing seeming to be his area of expertise.  I went into this very excited indeed; and, generally, my expectations were met.

Although the drama’s intention to tell the story of Doctor Who‘s creation, it is at its core a character-driven piece.  On one hand we have the story of Verity Lambert (Jessica Raine) trying to break into the television business despite coming against the institutionalised sexism of the BBC, developing alongside the tale of William Hartnell (David Bradley) searching for fulfilment in his acting career.  The focus passes from Lambert to Hartnell as the drama proceeds but they’re both told beautifully well.  Doctor Who proves to be the salvation for both.  In his writing, Gatiss really captures the love and dedication which went into creating the show.

The acting was generally absolutely spot-on.  That opening moment when David Bradley walked onto the TARDIS set, amazingly recreated, wearing the First Doctor’s outfit… It was like watching William Hartnell return from the dead, his mannerisms were so perfect.  As Hartnell himself, he nailed that fine line between crotchety old man and lovable grandfather – the scenes with his real-life granddaughter and later with the kids in the park, where he completely relished getting into the role, were joyful to watch.  Likewise, his forced exit from the show as a result of poor health was heartbreaking.  Although I had no pre-conceptions, Brian Cox and Sacha Dhawan also managed to successfully capture how I imagined co-creator Sydney Newman and director Waris Hussein.  And although I didn’t notice it at the time, seeing original actors William Russell and Carol Ann Ford in cameo roles was a very nice touch.  Although I don’t believe there was a bad actor in the production, two actors whom I felt were miscast were Jamie Glover as William Russell** and Reece Shearesmith as Patrick Troughton.  Again, nothing against their acting – it is as superficial as them simply not looking like the people they were recreating.

The direction is definitely another stand-out feature which brought Adventure to life; Terry McDonough really took us back to 1963.  It’s such a fantastic period piece.  So many shots stick out in my memory as excellent, but I think my favourite has to be the moment when the Daleks were first unveiled.  That pan above the wobbly set was such an effective introduction.  I also loved seeing how colourful some of the sets were.  A couple of colour photos do exist from the 1960s and I’m always astonished by how bright they were.   The transitions between recreating moments from the show and moments offstage were absolutely seamless, making the drama seem even more vibrant.

If I have one criticism of the whole production, I feel much of it was rushed.  I think this is a flaw in both the writing and the editing, although not one I have a solution for – there is no easy way of representing three years in the course of 90 minutes.  Although this sometimes worked to the show’s benefit, such as the repetitive photo-shoots Hartnell had to endure with an increasingly alien cast rushing past, I think the focus did sometimes lapse as a result.  Nevertheless, the sheer amount Gatiss managed to cram into the script given such constraints is impressive.

Overall, An Adventure in Time and Space was a very laudable production indeed.  I’d even go as far to say that it’s the best anniversary celebration I’ve ever seen, oozing pure love for the show.

9/10

The Day of the Doctor

The long-awaited 50th anniversary special of Doctor Who has finally passed.  I remember back when I first became a fan of the programme, noting it as being 44 years old (so this must have been 2007, my 12-year-old self at the height of his Doctor Who fandom), and looking ahead to that far-off day when my favourite show would turn 50.  How would it be celebrated, I wondered?  I’d watched previous anniversaries: The Three Doctors (1973), The Five Doctors (1983) and Dimensions in Time (1993), all of which featured a return of past Doctors.  This did appear to be the conventional way of celebrating the show’s anniversary.  However, I recall Steven Moffat ruling out a multi-Doctor story so it’s perhaps surprising that’s what we ended up with***.  It was quite exciting to see David Tennant announced to return (Billie Piper less so).  Then the first trailers erupted across Facebook and Twitter, showing Dalek spacecraft engaged in warfare, a return to the Time War, and answers behind the enigmatic ‘War Doctor’, played by John Hurt and introduced in ‘The Name of the Doctor’ earlier this year.  The publicity behind the special certainly made it unmissable viewing.

I’m going to get the negatives out of the way first, partly because it’s neater and partly because, on first viewing, I must confess that I absolutely hated ‘The Day of the Doctor’.   Structurally, the episode is divided between two plots.  On one hand you have the War Doctor (or alternatively the Ninth Doctor; perhaps even Doctor 8.5) leaving Gallifrey with The Moment, the most destructive weapon in the Universe, and on the verge of using it to wipe out the Time Lords and Daleks when the Moment’s conscience, played by Billie Piper, sends him through time to meet the Tenth and Eleventh Doctors in a bid to alter his resolve.  At the same time UNIT summons the Eleventh Doctor to investigate monsters which broke out of a painting, which later turns out to be a Zygon invasion which the Tenth Doctor first investigated upon suspecting Elizabeth I had been impersonated.  I can see the reasoning for these dual plot strands, as the Zygon invasion forms the backdrop of the War Doctor’s inner turmoil as he discover’s how his momentous decision will change him in future incarnations, but I’m afraid it fell rather flat on me.  This is essentially a story about the Time War and the Doctor’s involvement in ending it.  Obviously I’m a critic and probably don’t represent the target audience, but with this expectation in mind I didn’t really want to watch a somewhat silly romp featuring the Tenth Doctor at his most annoying.  The tonal clash between these two stories just didn’t work for me.  Also, the Zygon story has to have had the least satisfying conclusion I’ve ever come across.

Furthermore, upon first viewing I wasn’t keen on where Moffat took the Time War story.  It was absolutely brilliant initially, with those scenes of absolute hell in Arcadia followed by the War Doctor’s retreat on that desert planet being some of the finest the show’s ever produced, but I really think the horrors of that moment were betrayed when the Tenth and Eleventh Doctors joined the War Doctor in pushing the button to end it all.  This is what bothers me about Steven Moffat’s writing: although he is sometimes an undeniable genius, when he gets something wrong it not only ruins his own episodes but also destroys your opinion of what’s come before.  To me, the destruction of the Time Lords was the absolute peak of the Doctor’s loneliness, despair and desperation.  To have company at this most important moment ruined it.  Then, there came that decision to trap Gallifrey inside a bubble of time?  Forgetting the multiple logical fallacies in this (surely the Daleks didn’t send every single individual Dalek on that one assault upon Gallifrey?  Surely they wouldn’t all be killed in the crossfire?  And what do you mean, ‘I suppose we’ll never know if it worked?’  If it didn’t work the whole of time would have been ripped apart by Rassilon in ‘The End of Time’ (2009)!), it again destroys most of the drama during the 2005 series focusing around the Ninth Doctor dealing with what he did.  The logic of not remembering doesn’t even work – how does the Doctor now have memories of something he didn’t even do?  And while we’re on logic, why did the War Doctor randomly regenerate at the end of the episode, other than for convenience of showing how Christopher Eccleston became the Doctor (which is now infinitely duller than we had all imagined – thanks Moffat).  I appreciate you couldn’t show anything as dark as this in what is essentially a family show, which is why I think Moffat would have been better to have just left the Time War alone.

My final niggle is with some of the characterisation.  Principally, I really don’t like how Clara has suddenly become the doctor’s BFF and now knows everything about him, making all these comments like, “I always know [when you need time alone,” and so on.  Logically, again, it makes sense – she probably has the most intimate connection a companion has ever had to him following her entry into his timestream at the end of series 7, but emotionally it falls flat.  We have never had chance to watch their relationship develop on screen – she was there as his friend simply by virtue of being ‘the impossible girl’.  This is a flaw of the writing, to be clear – Jenna Coleman does a brilliant job with what she’s given.  I also think better use could have been made of the Tenth Doctor, who was kind of relegated to the sidelines when alongside Matt Smith and John Hurt.

With these thoughts running through my head I was almost despairing at the 50th anniversary.  But then I watched it again and did manage to pick up on some more positives.  As I mentioned, the sequences involving the Time War in the first half are beautifully written and stunningly directed.  I think the assault of Arcadia is the best battle to have ever been visualised in Doctor Who, even if it was disappointingly conventional considering the grisly imagery we’ve been previously given about the Time War.  Likewise, the sequence where the War Doctor retreats to the desert planet is fantastically written (“Time Lords of Gallifrey, Daleks of Skaro… I serve notice on you all. Too long have I stayed my hand; no more, no more.  Today you leave me no choice: today, this war will end.  No more.  No more…”  Ooh, the shivers) and the cinematography is incredible.  I have few criticisms of Nick Hurran’s direction, who is establishing himself as one of Doctor Who’s very best.  Likewise, the ending scene where Tom Baker returns is well written, acted and directed by all.  This is perhaps one scene I can forgive for not totally making sense – it’s Tom Baker after all!

With the aforementioned characters notwithstanding, I think this episode also proved to be generally pretty strong on characterisation.  Particularly John Hurt who, despite my objections towards the impact it would have upon the canon, I want to have entire seasons of acting as the Doctor.  He played the role brilliantly, bringing an older and hardened portrayal to the character that is still essentially Doctorish at heart(s), and his exchanges with Matt Smith and David Tennant were a joy to watch. Easily the best thing in the episode. And although I wasn’t keen on her role in the story, Kate Stewart was played well by Jemma Redgrave, establishing a likeable recurring character.  It’s no secret that I’m not a fan of the character of Rose, which is why I was so annoyed to have Billie Piper returning, but it must be stressed this isn’t due to her acting ability.  With Piper playing the Moment’s Conscience, merely in the form of Rose, I don’t have any criticisms at all of her role in the episode.  The Zygons I wasn’t keen on at all – the cynic in me would say they were there solely to make the merchandise officials happy – while the character of Elizabeth I was superfluous at best and irritating at worst (that said, I enjoyed the conclusion to this running gag of the Doctor’s relationship to the Queen, but it really didn’t warrant this much screen time).

Over all, I have very mixed feelings towards this episode.  I certainly wouldn’t say it was a failure – it succeeds wholeheartedly at providing a spectacular anniversary special which celebrates the past while also looking to the future – but it definitely was brought down by quite a few failings.  But, because it’s Christmas tomorrow, I think I’ll be generous.  I can’t help but like the episode now I’ve rewatched it several times, despite the furious complaints of my science-fiction mired brain.

Final rating: 7/10

The Five Doctors(ish) Reboot

Anyone that knows me could testify that comedies are my least favourite genre of television – I tend to find them so boring.  So it’s perhaps a surprise that this low-budget comedy production, sneaked into the anniversary celebrations under everyone’s noses, would prove to be my favourite offering of the entire month.  There’s little I want to say about it other than you should watch it right now.  Even if you’ve seen it before, go find it right now and watch it again!

Essentially, it makes light of the fact that Peter Davison, Colin Baker and Sylvester McCoy weren’t asked to be a part of ‘Day of the Doctor’.  It features their attempts to get involved and, when Steven Moffat refuses them (in some absolutely hilarious scenes), they try to sneak onto the set.  Oh, the entire thing is brilliant beyond description.  So many people have made cameos in it – I lost count of the amount of times I wanted to shout in joy, “How did they get hold of that person?!”  The amount of cameos goes to show just how much love there is for this TV show.   It’s brilliant in that is doesn’t take itself at all seriously – whether by portraying Colin Baker as an egomaniac that subjects his family to regular viewings of his 1980s episodes, or showing Steven Moffat to be a heartless monster who plays with action figures all day long, I think this is one of the most hilariously self-aware things I’ve ever watched.

Just, go watch it now – you should have stopped reading after the first paragraph.

Final rating: 10/10

Overall, Doctor Who fans have been truly treated by the sheer amount of content we’ve had to feast on during the anniversary celebrations.  Sure, not all of it was brilliant, but I think this is definitely without doubt the best overall anniversary the show has ever had.  Compare it to the droughts experienced in 1993 and 2003 and the show seems to be very strong indeed.  I look forward to 2023, 2024 and so on, and perhaps even the 100th anniversary in 2063 if I’m still alive! (I’d only be 68 – it’s possible!).  Here’s to many more years of this utterly fantastic program.

*Took me a moment to remember when it actually aired – that’s how little an impression it made on me.
**It must have been surreal for Russell to see someone on set playing himself!
***Less so when you remember Rule 1: The Moff lies!

Advertisements

Doctor Who: The Crimson Horror (Review)

Contains spoilers.

 

Wow, series 7 of Doctor Who is going by fast!  Episode 12/14, now.  I really am starting to miss the two-parter episodes we have become accustomed to for the last 7 years.  It’s difficult to explain why, but I really think the series is suffering because of their absence; it’s like there’s no place to benchmark where we are on what’s happening, and instead there’s a random stream of sharp, rushed stories.  Generally good stories, sure, but… Hm.  I found out this morning that The Crimson Horror only got around 4.6 million overnight views which, while still promising over 6m views with the timeshift, is undeniably a decline.  I’ve never approved of head-writer Steven Moffat’s manic obsession for ratings, giving episodes, in his words, ‘slutty’ but irrelevant titles like Let’s Kill Hitler, or his admission that getting rid of two-parters is purely to increase views, rather than to increase the quality of the show.  So I suppose I’m gleaming some savage, “I told you so” pleasure in seeing this happen, though I dearly hope the show won’t lose too much popularity.

Rant aside, episode 12 by Mark Gatiss, The Crimson Horror, looked set to be an interesting but conventional addition to the series.  Gatiss is not known for his groundbreaking ambitionwhen writing scripts, but I should have learnt after Hide not to put an episode down as ‘dull’.  It’s directed by Saul Metzstein, who has proven his abilities by directing several well-made episodes of Doctor Who over the last year, including The Snowmen – so no worries there.  It also sees the return of the Doctor’s Victorian Gang, comprised of Silurian Madam Vastra, her wife Jenny and the Sontaran Strax, who are always entertaining.

I must admit, Gatiss surprised me with this one.  This has to be one of the scariest episodes I have watched in a long time.  So many terrors: the red, semi-frozen creaky people; people getting forcibly dipped into red goo; the grotesque ‘Mr Sweet’ attached to Mrs Gillyflower’s chest… The episode made my shudder so many times.  There’s an interesting contrast of horror and comedy which Doctor Who does so well, blown up to the extremes here.  For every moment of intense horror there’s a joke (“Horse!  You have failed in your mission!” … A satnav-boy called ‘Thomas Thomas’, etc) and it shouldn’t work as well as it does, but the two hardly contrast at all.  One aspect of the tone which may have let the episode down slightly was its tendency to go over the top at times – Mrs Gillyflower’s pantomime performance: “DIE!! DIE!!!” for instance.  Not a huge detractor, but was a little distracting.  It was also interesting to see a return to “human on human” violence.  There was nothing very graphic, but having Ada batter her mother with her cane or Mrs Gillyflower firing at the Doctor twice with a revolver felt very odd.  Not wrong, but odd.  Humans being nasty to each other was a common feature of the ‘Classic Series’, but it’s mostly been replaced by ‘fantasy violence’ in the newer series.  Mark Gatiss has said that out of all the episodes he’s written, this feels the most “him”, and you can tell.

Some people have criticised the decision to spend roughly the first half the episode centered around Madam Vastra, Jenny and Strax, but I don’t have a problem with it.  It was nice to see more of Jenny’s character, who has in the past been sidelined by her stranger friends.  Perhaps the Doctor and Clara got caught too easily in Mrs Gillyflower’s plans, but I like that he has a safety net of friends to help him out just in case.  The villain’s plot was a bit bizarre – wiping out humanity with an ancient parasite and then replacing them with biologically perfect “Adams and Eve.”  It’s a common idea in science fiction, but is written creatively.  I quite enjoyed hearing Mrs Gillyflower invent fascism 30 years early – even referring to a Golden Dawn.  And I liked the idea of the… Octogram, was it?  Having the corpses’ eyes recording images was a clever way to quickly advance the plot.  The setting in general works well, feeling the most authentic ‘Victorian episode’ we’ve had for a while.  I enjoyed hearing the grand variety of accents, from the Northerners who populated most of the episode, to Jenny’s London tones, Vastra’s Scots and Strax’s Welsh.  The plan was a bit easily defeated, which is kind of understandable when you consider that Mrs Gillyflower has simply become a mad old woman with an intelligent leach, though for all her earlier successes in planning I’d have thought the team might have found stopping her a bit more challenging once they had got going.  But these are really tiny niggles.

The mystery of Clara is continuing to be mentioned.  I do like the low-key way it gets brought up, although we’re getting very little development.  It’s hinted that the Doctor intended to take her to Victorian London to see how she reacts, which shows he is still unceasingly trying to figure out, but we’re not getting any more clues.  We don’t need more clues, but every time she gets brought up we’re getting the same “dunno who she is” response.  This is meant to infuriate the Doctor, so perhaps this irritation I’m feeling is also intentional?  Builds excitement for the finalé…

The characters were all very entertaining in The Crimson Horror.  Matt Smith and Jenna-Louise Coleman great as usual, and the trio of Neve McIntosh, Dan Starkey and Catrin Stewart were very entertaining.  I found some of Strax’s lines, although humorously performed, a bit repetitive, and I’m still waiting for an explanation regarding his lack of death.  Oh well.  Mother and daughter team Diana Rigg and Rachael Stirling were performed well in their roles.  Rigg sold the part of the “nuts” Gillyflower, and Stirling’s performance brought such a rawness of suffering which added to the moments of horror.  I can’t recall the last time a character has convincingly suffered so much in the show.  Honourable mention goes to the man in the morgue, whose nonplussed response to Freaky Red Corpses verging on amusement made for many laughable moments.

As expected, Metzstein’s direction was highly skilled.  I was awed in the first seconds alone by that shot rising up above the terraces, revealing Victorian Yorkshire into view.  He’s created a tense, atmospheric episode that gave me many genuine scares.  And other little touches, like the slow pan-out to huge industrial noises, only to subvert the viewer’s expectations by revealing a trio of huge gramophones.  There were many lovely surreal touches, including the ‘Adams and Eves’ inside glasses attached to pumps.  Oh, and that flashback scene!  The colours went sepia tone, grains appeared and the audio became muffled.  Made absolutely no sense but I loved it as a storytelling device; it really set the scene.

All in all, a surprisingly enjoyable episode, and by far the best piece of writing I have ever seen Mark Gatiss produce.  I’m looking forward to seeing the team back in the season finalé, The Name of the Doctor.  And Cybermen next week, written by Neil Gaiman… Hopefully this series will go out with a bang.

Final rating: 8.5/10

Doctor Who: Cold War (Review)

Contains spoilers.

 

It’s strange to think that Doctor Who’s 9th episode of series 7, Cold War, is a historical episode set in the year 1983, considering that the original series of the show was actually nearing its end during that time.  30 years ago.  Feels too near to count as a historical, yet, it also feels a long time ago.  Mark Gatiss has returned to write his fifth story for the show, and has again tackled a companion’s first trip into the past – as he previously did with The Unquiet Dead (2005) for Rose and Victory of the Daleks (2010) for Amy.  Gatiss has a reputation for writing consistently decent episodes, but never anything special or that impressive, so I was curious to see how he would tackle this episode.  Returning to direct is Douglas MacKinnon, who has previously directed the The Sontaran Stratagem/The Poison Sky (2008).

Firstly, I really love the concept of being trapped on a submarine with a deadly monster.  (In fact, I actually had a similar idea myself for a spin-off/fanfiction series I wrote a couple of years, though that was with a Dalek – so I feel slightly bitter towards Gatiss for stealing it!).  A sense of claustrophobia is successfully developed; when the TARDIS disappears; the submarine is stuck; there’s nowhere to run – it’s brilliant edge-of-the-seat viewing.  In many ways, this felt a very traditional episode.  Cold War has clearly taken notes from the 1960s’ ‘base under siege’ stories, and also has a lot of similarities with the 2005 episode Dalek.  Gatiss has been criticised for, again, writing a good episode but nothing revolutionary.  Which is fine, as long as we do get the more experimental pieces from time to time.  My only criticism of the writing was that the pacing felt a bit off, at times – almost as if the plot was being stretched out to fill the time slot (unusual for Doctor Who; generally the opposite is true), though for such a small-scale story, despite the global implications, this may have actually added to the tension.

I also enjoyed how the Cold War period was realised in this episode.  From the costumes the Soviet workers wore, the stars littering the submarine (even if historically inaccurate) and the stream of references to things like America and nuclear Armageddon, the setting immediately feels convincing – I particularly liked the line which went something like, “I know telling the truth might be a foreign concept to you, sir…”  Excellent dig at Communism, there.  One thing: the actual Russian soldiers didn’t feel entirely convincing.  The lines about “Oh, we’re speaking Russian” were a bit forced, and the crew felt more British than Russian.  Not sure how that could have been improved – the crew wouldn’t necessarily need to have had Russian accents, though that might have helped.

Of course, the true focus for Cold War was the return of an Ice Warrior, who were last featured in an episode as far back as 1974 in The Monster of Peladon.  After a 39 year hiatus they’re back and, unlike previous returns such as the Cybermen and the Silurians, have remained very loyal to the original designs.  The scales, the hissing voice – it’s all there!  I lament the loss of the clamp-like hands, but that’s a minor detail.  My first impression was how wonderfully well lit Skaldak, the Ice Warrior, was in every scene, particularly once he had crawled out of the suit.  Tiny flickers on the side of the screen as he ran down corridors were also very effective.  I wasn’t completely convinced by his final CGI appearance outside of the armour, however – the edges and proportions just didn’t feel that real.  But I appreciated seeing an Ice Warrior outside of his armour – a first for the show – nonetheless.  Gatiss did a good job of briefly explaining their history; in fact, he did a better job than most previous writers for them.  Though I don’t find the idea of a mighty Martian Empire existing 5,000 years ago all that realistic but, I suppose, who cares?

Matt Smith and Jenna-Louise Coleman were perfect as the Doctor and Clara, as I have come to expect.  Coleman is very nicely fitting into the role, now, and Matt Smith still surprises me three years into the role.  Most of the crew members were well acted; David Warner as the 80s pop fan Professor Grisenko particularly stood out to me.

Overall, this was a very decent episode.  The Cold War submarine setting was used to its maximum potential, and the return of an Ice Warrior was by no means underwhelming.  Perhaps Cold War was a rehash of successful Doctor Who ideas, but they are successful precisely because they work.  This may not be remembered in the future as the greatest episode, but for now it has achieved its aims rather well.

Final rating: 7.5/10