Story #165 - Boom Town (2005)

Sarah -
Dear Big Finish, when you eventually convince Christopher Eccleston to record audios, please make it your first priority to fill in the stories between "The Doctor Dances" and "Boom Town". I’m sure Billie and John will sign on, eager to recreate this TARDIS team. I know this era has been covered in New Series Adventures and comics, but I want to HEAR more from this crowded TARDIS.


Harry -
I treasure the few (very few) BBC New Series Adventures novels featuring this fabulous TARDIS trio, gone too soon.


Sarah -
So, on to "Boom Town", which, as we know, was a replacement story when the original script fell through. RTD decided to center the story on Annette Badland’s character from "Aliens of London/World War III", having enjoyed her previous performance. She’s even more spectacular in this story and brings amazing energy to a story that is really about the Doctor's role and the impact he has on his companions.


Harry -
Behind-the-scenes scrambling has always been a part of Doctor Who. Here, RTD filled the episode gap with a quiet, brilliant character study. It's a nice catch-your-breath pause before the two-part season finale.


Sarah -
We begin with a scientist expressing his concerns to the Lord Mayor of Cardiff about a nuclear power plant being built in the center of the city. It seems like an odd place to put a power plant, until we discover the Lord Mayor is none other than Margaret Blaine, otherwise known as Blon Fel-Fotch Passameer-Day Slitheen. I suspect things aren't going to go well for our scientist.


Harry -
It was a bit hard to swallow that Blon was able to establish herself as lord mayor within six months. But at the unveiling of the power plant model, when local reporter Cathy Salt rhymes off the suspiciously high number of deaths related to the project, it becomes evident that Blon has been very busy. That scientist was just the latest irritating impediment she swept aside with a swing of her Slitheen talons.


Sarah -
The Slitheen are nothing if not efficient.


Harry -
Badland steals the show in this episode, displaying incredible range from cold fury whenever Blon is challenged, to quiet sensitivity in the ladies' room scene when Cathy (her next intended victim) reveals that she is three months' pregnant, to mocking rage at her eventual captor. Plus all that tortuous running in heels -- somebody give the lady a BAFTA!


Sarah -
It really is Badland’s story. Before rewatching this story, my primary memory of it was her performance. 

Look, it’s Mickey! He’s just arrived in Cardiff to deliver Rose’s passport and knocks on the TARDIS door to find himself face to face with Jack Harkness -- and a pissing match ensues. Cue the snappy dialogue, but Mickey’s having none of it: “My God, have you seen yourselves? You all think you're so clever, don't you?”

They are a bit much, aren’t they?


Harry -
So much bickering among the lads. Mickey had the best zinger:

MICKEY: That old lady's staring. 
JACK: Probably wondering what four people could do inside a small wooden box. 
MICKEY: What are you captain of, the innuendo squad?

The TARDIS is there to recharge for a day, using pent-up energy below the Cardiff rift.


Sarah -
With a shout out to Gwyneth!


Harry -
With 24 hours to kill, the gang go for lunch and have a merry time of it. Until the Doctor spots a newspaper and discovers that Blon Slitheen is now Margaret Blaine, lord mayor.

Team TARDIS, to City Hall!


Sarah -
Rose in her Fourth Doctor cosplay. It know it’s not a proper Fourth Doctor scarf, but the color blocking has always felt like an homage to me.


Harry -
It's a nice scarf.


Sarah -
Meanwhile, Team TARDIS calls out the Lord Mayor on the Blaidd Drwg power station, which sounds a bit familiar: 

DOCTOR: Blaidd Drwg. 
ROSE: What's it mean? 
DOCTOR: Bad Wolf. 
ROSE: But I've heard that before. Bad Wolf. I've heard that lots of times. 
DOCTOR: Everywhere we go. Two words following us. Bad Wolf. 
ROSE: How can they be following us? 
DOCTOR: Nah, just a coincidence. Like hearing a word on the radio then hearing it all day. Never mind. Things to do.


Harry -
For any viewers who really hadn't noticed it by that point.


Sarah -
The things to do include taking Margaret back to Raxacoricofallapatorius to stand trial for her crimes. Turns out the Slitheen have already been tried and found guilty and Margaret will be put to death as soon as she returns.


Harry -
Quite the grisly description of their death penalty procedure, assuming Margaret wasn't lying. For a moment, she got everyone feeling squeamish about sending her to her death. None of them could even look her in the eye.


Sarah -
Despite Margaret’s heavy guilt trip, the Doctor decides it’s not his problem and promises to talk Margaret back home as soon as the TARDIS recharges. 

Margaret makes a final request to dine at her favorite restaurant and the Doctor, having some time to kill, agrees, which brings us to the centerpiece of the story. Margaret can’t escape, thanks to Jack’s handcuffs...


Harry -
"Dinner and bondage, works for me."


Sarah -
...but that doesn’t stop her from trying to kill the Doctor, who thwarts her at every turn. When that doesn’t work, she leans heavy on the guilt, calling the Doctor out as a fellow killer. 

MARGARET: Only a killer would know that. Is that right? From what I've seen, your funny little happy go lucky little life leaves devastation in its wake. Always moving on because you dare not look back. Playing with so many people's lives, you might as well be a god. And you're right, Doctor. You're absolutely right. Sometimes you let one go. Let me go.

Eccleston’s eyes show us that she’s hit a nerve. Margaret talks a good game, but it’s all a distraction until she spring her real trap.


Harry -
I liked the extreme close ups during this exchange, shutting everything else out of view. Finally some quality use of extreme close ups in Doctor Who.


Sarah -
It’s a master class in acting.


Harry -
Meanwhile, Mickey and Rose have a row. He informs her that he's been going out with Trisha Delaney in Rose's absence. Initially nonplussed, Rose rounds on him in astonishment but it's hard to tell if she's astonished that it's Trisha Delaney, or that he's been seeing someone else. Mickey lets it all out:

"You left me! We were nice, we were happy. And then what? You give me a kiss and you run off with him, and you make me feel like nothing, Rose. I was nothing. I can't even go out with a stupid girl from a shop because you pick up the phone and I comes running. I mean, is that what I am, Rose, standby? Am I just supposed to sit here for the rest of my life, waiting for you? Because I will."


Sarah -
Poor Mickey. It’s heartbreaking when he walks away from Rose at the end, but, as Rose says, he really does deserve better.


Harry -
Before they can resolve things, thunder booms in the sky. The rift is opening. The Doctor hears it too and everyone heads back to the TARDIS. There, Jack has been adapting some technology that Margaret was going to use to escape the planet. The tribophysical waveform macro-kinetic extrapolator enables one to literally surf away into space by standing on it and riding a cosmic-event explosion shielded within a bubble, as Margaret intended to do. Jack was wiring it up to charge the TARDIS quicker, but as a backup for Margaret's plans, it was programmed to feed off an alien energy source instead. Margaret demands the extrapolator and is about to ride it to freedom on the wave of the Earth's destruction, when the heart of the TARDIS suddenly opens.


Sarah -
Margaret looks into the heart of the TARDIS and regresses to an egg.


Harry -
She had just enough time to thank the Doctor, before she won a second chance at life.  I was glad she didn't meet a deathly fate in the end.


Sarah -
That solves everyone’s problems and guilt. Time to head back to Raxacoricofallapatorius, pop Maggs into the hatchery, and then toddle off for more fancy-free adventures across the universe. Or is it? I have a bad feeling about this.


Harry -
How could this fun bunch ever get into trouble?  Got to be more laffs ahead, surely.


Sarah -
Best Line: Margaret, as they leave the restaurant: “Some date this turned out to be.”

Favorite Moment: The restaurant scene

Lasting Image: The Doctor and Margaret face to face over dinner

6/10


Harry -
Best Line: the Doctor rips through Margaret's crocodile tears: "You're pleading for mercy out of a dead woman's lips."

Favourite moment: Margaret repeatedly running away, being spun around, and running away again

Lasting Image: the extreme close ups

7/10

Our marathon continues with Story #166: Bad Wolf/The Parting of the Ways...

Story #164 - The Empty Child / The Doctor Dances (2005)

Harry -
Our second two-parter of the Russell T. Davies era. Not only does "The Empty Child/The Doctor Dances" blow away the Slitheen caper, it may just have stolen the show on the entire first season up to this point. I like!


Sarah -
This two-parter is my hands-down favorite story of Series 1. When we started this project, I decided to avoid rewatching any future Doctor Who stories until it was time for us to cover them.


Harry -
Same here. This one felt so fresh again.


Sarah -
"The Empty Child/The Doctor Dances" is one of the stories I have most looked forward to watching and it is absolutely as good as my memory of it. 

Most significantly, this is Steven Moffat’s first story written for the series. It’s interesting to look back from this vantage point and see many of Moffat’s recurring themes presented for the first time.


Harry -
It begins with a wild ride in the TARDIS as the Doctor and Rose follow a mysterious space ship careening through the time vortex. Having left Earth following the events of "Father's Day", they head right back again as the object hurtles towards London.


Sarah -
The first scene reminded me how witty the script is. I laughed out loud when the Doctor explains to Rose that the universally recognized color for danger is mauve, not red:
“That's just humans. By everyone else's standards, red's camp. Oh, the misunderstandings. All those red alerts, all that dancing.”


Harry -
Landing in a quiet alley at night (another night time story, yay!), the Doctor and Rose take a look around. The Doctor enters a nightclub, while Rose hears a child that might be in distress, and they separate. She follows the child to a rooftop and takes hold of a rope -- only to be hauled straight up into the sky. The rope is attached to a barrage balloon. It's 1941, and the Luftwaffe is about to launch an air raid on the city.


Sarah -
The scene of the Doctor asking the nightclub patrons if anything has fallen from the sky lately is brilliant and sets the tone for the dark humor of the story.


Harry -
As the sound of sirens fills the air, the nightclub patrons scatter and the Doctor realizes when they have landed. Back outside, he discovers that Rose has wandered off -- and then another freaky moment happens. In the last episode, we saw the shocking image of the TARDIS hollowed out. This time, the exterior telephone starts ringing. I remember being freaked out when that happened -- as was the Doctor by his reaction.


Sarah -
It’s a frightening moment, which comes just after the Doctor discovering Rose has wandered off, “You know, one day, just one day, maybe, I'm going to meet someone who gets the whole don't wander off thing. Nine hundred years of phone box travel, it's the only thing left to surprise me.”

Cue the TARDIS phone. Just chilling.


Harry -
Upping the chill was the voice of the child coming through the phone. Amazing how a simple repeated line can be so effective.


Sarah -
Meanwhile, Rose is clinging to the barrage balloon rope, which filled me with a whole other level of horror -- and we’re only 10 minutes into the story!


Harry -
I love the aerial shots here. They captured the chaos and panic of an air raid and it holds up on repeat viewing today.


Sarah -
Right? The teenager scoffed at my reaction to the scene, stating it was obviously not real. I don’t know if that kid deserves proper Doctor Who.


Harry -
And hello John Barrowman!


Sarah -
Hello, Sexy!


Harry -
We get our first sight of him using some anachronistically powerful binoculars to spot Rose hanging for her life.


Sarah -
Speaking of anachronisms, I was really bothered that the RAF building was all lit up with its windows uncovered, while Jack stood on a balcony in the middle of a air raid. A small point, I know, but it’s irritating to history majors everywhere. (Or maybe just me.)


Harry -
He catches her with an even more anachronistic tractor beam and guides her down into, naturally, his invisible spaceship tethered to the clock tower at Westminster. Captain Jack Harkness, what an introduction! After having her hands healed by some on-board nanogenes, Rose joins Jack for a drink beside the face of Big Ben. From terror to romance in mere minutes (seconds?).


Sarah -
Jack is working it, but that’s just how he communicates.


Harry -
Interesting that this is the third male character who will follow the Doctor and Rose into the TARDIS this season. From Mickey to Adam to Jack, RTD stuck to the idea of having a "third wheel" present in the dynamic between the lead characters. While the Doctor usually refers to them as "boyfriends", Rose never really displays a strong bond to any of them. In fact, their main function seems to be to irk or downright infuriate the Doctor.


Sarah -
And Jack may be the most infuriating of all, having captured Rose’s interest at first sight. I don’t think we’ve seen her look at anyone the way she looks at Jack! 

The flirtation is on when he presents psychic paper, identifying him as introduces himself as Captain Jack Harkness, an American RAF volunteer: 

ROSE: Liar. This is psychic paper. It tells me whatever you want it to tell me. 
JACK: How do you know? 
ROSE: Two things. One, I have a friend who uses this all the time. 
JACK: Ah. 
ROSE: And two, you just handed me a piece of paper telling me you're single and you work out. 
JACK: Tricky thing, psychic paper. 
ROSE: Yeah. Can't let your mind wander when you're handing it over. 
JACK: Oh, you sort of have a boyfriend called Mickey Smith but you consider yourself to be footloose and fancy free. 
ROSE: What? 
JACK: Actually, the word you use is available. 
ROSE: No way. 
JACK: And another one, very. 
ROSE: Shall we try and get along without the psychic paper? 

SNAP! Rose brings out her seasoned time traveler persona and matches Jack flirt for flirt and bluff for bluff.


Harry -
Jack decides it's time to get down to business. He has possession of a Chula warship and is willing to sell it for the right price. Rose demurs and tells Jack that she delegates a lot of her business to her companion, the Doctor, and so they set off to find him.

During all of this, the Doctor has made the acquaintance of Nancy, a young woman who looks after a gaggle of children in the area. During air raids, she leads the children into houses where the residents have taken shelter, and they help themselves to dinner and provisions.


Sarah -
The scene of the children at the dining table is devastating. Nancy serves as the mother figure, reminding them of their manners and to share the food equally. But it isn’t long before a dark underside is revealed. Many of the children had been evacuated to the country, but returned to London because it felt safer than where they were. One boy recounts that he was sent to a farm, but “there was a man there.” It’s a heartbreaking moment, but I appreciate its inclusion, which counters the “Keep Calm and Carry On” mythology.


Harry -
The Doctor joins them for a meal, only to have the scene broken up by the arrival of the pleading child in the gas mask. The children flee while the Doctor stays to study what's happening. The "child" is able to project its voice through telephone and radio. It's all brilliantly creepy.


Sarah -
This is classic Steven Moffat, taking ordinary things and making them terrifying. 

The Doctor’s compassion towards Nancy is touching. He recognizes her as a fellow survivor who has also lost people, but he knows there’s more to the story than she’s telling.


Harry -
On Nancy's suggestion, the Doctor visits a hospital near where the alien ship had crash landed weeks before. There, he finds dozens of bedridden victims -- humans who are not dead, but no longer alive, with gas masks fused over their faces. They all come alive just as Rose and Jack arrive at the hospital.


Sarah -
Talk about body horror! The moment when Doctor Constantine, who has been tending the victims, succumbs to the contagion still terrifies me. We joke a lot about hiding behind the sofa, but this is one of the few stories that makes me want to do it!


Harry -
It was horrifying to watch, even when you know it's coming.

After a quick introduction, Jack once again attempts to sell the Chula warship, but the Doctor has already put two and two together. Some kind of contagion has leaked from the ship, and that's what has infected the people in the hospital.


Sarah -
In the middle of all this terror, I laughed out loud when Jack derided the Doctor’s U-Boat captain look.


Harry -
Definitely some tension beneath the repartée. Somewhat quickly, Jack backs down, admits he's a conman, and reveals that the warship is actually an ambulance that he intends to blow up. In attempting to set someone up for his con, he has inadvertently released something that could destroy humanity. The Doctor, he mad!


Sarah -
Meanwhile, the patients are awake and closing in on the trio of time travelers. Now that’s what I call a cliffhanger!


Harry -
Have to admit, the "Go to your room!" gambit was an unexpected resolution. Even the Doctor was surprised: "I'm really glad that worked. Those would have been terrible last words."


Sarah -
The hospital patients get back into bed and Jamie, who had been closing in on Nancy, turns and walks away. 

Meanwhile, the Lloyd’s, the family whose house they’re in, emerge from their shelter to discover Nancy in the house. Mr. Lloyd rants at Nancy about how hard he works to put food on the table until Nancy threatens to reveal his secret: “It's an awful lot of food, isn't it, Mister Lloyd? A lot more than on anyone else's table. Half this street thinks your missus must be messing about with Mister Haverstock, the butcher. But she's not, is she? You are.”

So many secrets and lies in those “good old days.”


Harry -
The arrival of the empty child at the hospital triggers another round of slow pursuits and escape scenes that made the second part of this story breeze along to its conclusion.


Sarah -
The scenes of the Doctor, Rose, and Jack escaping from Jamie and the infected patients are delightful. The budding Time Team have some of their snappiest exchanges while trying to get out of the hospital. The battle of the sonics is particularly wonderful: 

JACK: Who has a sonic screwdriver? 
DOCTOR: I do. 
JACK: Who looks at a screwdriver and thinks, ooo, this could be a little more sonic? 
DOCTOR: What, you've never been bored? Never had a long night? Never had a lot of cabinets to put up?


Harry -
Everyone converges on the site of the crashed ship. The Doctor, Rose and Jack, and Nancy, and the shuffling victims. We see that soldiers continue to succumb to the ship's effects. The Doctor finally has his moment as he discovers the nanogenes that have been "repairing" humans and inadvertently creating the gas-masked creatures in their place. It falls to Nancy to reveal the truth about her relationship with the empty child -- who is Jamie, her son, killed when the ship crashed and the template by which the nanogenes have been working. Nancy's admission that she is the boy's mummy is the final piece for the nanogenes to restore Jamie to full life again. 

Delighted, the Doctor directs the nanogenes towards the other victims, and they are restored too. Just this once, everybody lives! I love that line not because it's exuberantly delivered in a fashion that begs to be mimicked, or even that it might be a bit cheesy, but because we see Christopher Eccleston's Doctor so utterly happy. He's had this lasting image among fandom as the surly, haunted Doctor, so it's the moments where he breaks that type that I find extra enjoyable.


Sarah -
I love that moment. You’re right, it could have easily been cheesy, but Eccleston sells it. When the Doctor says, “Give me a day like this. Give me this one.” you can feel all he’s been through. This moment is the emotional highpoint of series one and we should savor it. There aren’t many truly happy endings in Doctor Who. 

Also, I love the woman who’s confused that her leg grew back!


Harry -
That was hilarious.  And how better to wrap it up than with a TARDIS Dance Party!

I don't know if the whole dancing thing was a metaphor on the part of Moffat or RTD, but it did make for some more brilliant lines back at the hospital:

ROSE: Doesn't the universe implode or something if you dance? 
DOCTOR: Well, I've got the moves but I wouldn't want to boast. 
ROSE: You've got the moves? Show me your moves. 
DOCTOR: Rose, I'm trying to resonate concrete.


Sarah -
“Dancing” is pretty much the least-subtle metaphor in Doctor Who history. 

DOCTOR: We were talking about dancing. 
JACK: It didn't look like talking. 
ROSE: It didn't feel like dancing.

And so we have our first TARDIS love triangle -- the Time Lord, the Earth Woman, and the Omnisexual Con Man. What could go wrong?


Harry -
We know Jack is special because the Doctor didn't let his fury get the better of him, unlike with Adam. Jack took responsibility for his screw-up with the Chulu ambulance, and used his ship's tractor beam to stop the bomb landing on it. Unfortunately, the bomb will detonate the moment he tries to jettison it -- leaving Jack trapped on his ship with no escape.

Until... the TARDIS doors open and Jack is permitted on board. You know the Doctor is in a good mood. As he and Rose trip the light fantastic, Jack looks on and we've got another new companion for Team TARDIS.


Sarah -
I was delighted all over again when Jack was invited into the TARDIS.


Harry -
This story put Steven Moffat front and centre among writers of new Who. For the rest of the RTD era, Moffat's stories would be looked forward to as sure-thing season highlights and he never disappointed. "The Empty Child/The Doctor Dances" is right up there with "Dalek" as one of the highlights of the Eccleston era.


Sarah -
I still love this story so much. I can’t believe we only have three episodes before we close the books on the Eccleston era. Are you ready?

Bad Wolf tracker: "Schlechter Wolf” is written on the side of the Nazi bomb.


Harry -
It's going by so quickly.  It's a shame that we only got one season with this Doctor.

Best Line: I have to go with Captain Jack's "Who looks at a screwdriver and thinks, ooo, this could be a little more sonic?"

Favourite Moment: the Doctor's unbridled joy that everybody lived.

Lasting Image: Rose hangs on for her life over London

9/10


Sarah -
Best Line: The Doctor’s conversation with Dr. Constantine.

CONSTANTINE: Before this war began, I was a father and a grandfather. Now I am neither. But I'm still a doctor. 
DOCTOR: Yeah. I know the feeling. 

Favorite Moment: Rose telling Nancy that the Allies will win the war. We now tend to think of WWII as inevitably ending in the Nazis' defeat, but it sure didn’t feel that way to the people living through it. 

Lasting Image: Jamie in his gas mask. “Are you my mummy?”

10/10

Our marathon continues with Story #165: Boom Town...

Story #163 - Father's Day (2005)

Harry -
Pass the tissues, Sarah. That was an absolute sobfest -- even more than I remembered.


Sarah -
I’ve always liked "Father’s Day" but I have to admit it’s never made me cry. Maybe I’m too busy admiring its construction.


Harry -
While I go on blubbing let me say this is peak RTD right here. Companion backstory with huge emotional crescendos. We meet Pete Tyler and little Mickey, we see baby Rose, and there's chaos in the timestream as the monstrous Reapers appear through a wound in time. All because Rose wanted to see her dad.


Sarah -
One of the big differences for me this time around is that having just rewatched all of Doctor Who, "The Aztecs" was front and center in my mind. “You can't rewrite history! Not one line!”


Harry -
The Doctor's reaction here is much different. No stern admonishments, instead he seems OK with standing back and letting Rose see her Dad on the day he died.


Sarah -
He definitely has concerns about her request and warns her to be careful what she wishes for. Initially, she asked to just see Pete, so the Doctor takes her to Pete and Jackie’s wedding -- where he messes up her middle name during the vows. (Poor Jackie.) After that, Rose ups the ante and asks to be there for Pete on the day he dies.


Harry -
Perhaps the Doctor wasn't expecting her to dash out into the street to rescue Pete. Just when he started taking a liking to us stupid, emotional apes again.


Sarah -
Much like the situation with Adam, the Doctor should have known better. He’s clearly forgotten how humans can be, showing off with his “I can do anything.” The fact that you can doesn’t mean that you should.


Harry -
Indeed.

It's the seventh of November 1987, and the Tylers are going to a wedding. Pete has just picked up a vase to give as a gift. As he steps out of his vehicle, another car speeds around a corner headed straight for him. This was how he died, alone, after a hit and run. Initially, Rose's intention was to be there to comfort him as he died. She freezes up at the first opportunity and asks the Doctor if she can try again. The Doctor agrees, even though that now places two versions of themselves in the same place. The second time around, Rose can't bear to see her father get mowed down again. She rushes past the earlier Doctor and Rose (who subsequently vanish), and pushes Pete out of harm’s way. His life has been saved. Time has been altered. The Doctor is angered.


Sarah -
I love the time paradox of Rose and the Doctor watching themselves watching Pete the second time around. I don’t think Rose planned to save him, but it’s easy to understand her instincts kicking in.


Harry -
The Doctor and Rose get into a fight over what just happened, and it ends with him storming back to the TARDIS. Only, the TARDIS is not the TARDIS any longer. It's just an empty shell. I remember being freaked out when he opened those doors and nothing was there.


Sarah -
The empty police box is one of my favorite moments in the story. This has never happened before -- and it can’t be good.

The scene leading up to this shocking moment is focused on the Doctor-Rose argument, which plays out way too uncomfortably (for me, anyway) as a lover’s spat. He admonishes her selfishness, “My entire planet died. My whole family. Do you think it never occurred to me to go back and save them?” But Rose doesn’t understand why he’s so upset, focusing only on having her father back. He demands the TARDIS key back and says goodbye. She tells him that he’ll be waiting a long time for her to come back. Meanwhile, something is attacking random neighbors and making them disappear. 

Rose and Pete head out to the wedding, where they encounter a not-very-happy Jackie. This is such an important story for Jackie, who has not been treated kindly up until this point. The moment when she asks Pete if Rose is “another one of yours” is heartbreaking. The story began with Jackie telling young Rose about her wonderful father and little by little we discover that he’s definitely not the man Rose was led to believe.


Harry -
This is a very different kind of Doctor Who story. Even though we just watched it and I know it's not the case, it felt like the Doctor was barely in this one. Rose and her family are front and centre the entire time.


Sarah -
Making "Father’s Day" perhaps the most revolutionary story in Doctor Who history!


Harry -
As everyone starts to gather for the wedding, the Reapers break through the rift in time and start attacking people. They are entirely CGI creations, and to be honest, not that convincing. As well, they don't seem concerned with who might have caused the disruptions in time, they just randomly attack anyone.


Sarah -
I find the janky effects reassuring. How else will I know I’m watching proper Doctor Who?


Harry -
Good point.  After the Doctor herds everyone inside the church (claiming the older something is, the stronger it is), he declares that the Reapers are there to sterilize the wound in time and they have to eliminate everyone present. He takes his TARDIS key and attempts to materialize his ship around it.


Sarah -
I was surprised all over again when the Doctor says that in the past, his people would have taken care of the situation. It’s feels a bit disingenuous, because we all know they’d just send the Doctor to do their work.


Harry -
During these "church under siege" scenes, we see young Mickey make a cameo and Rose encounter herself as a baby.


Sarah -
Were you surprised to learn that Mickey is at least three years older than Rose? I’d forgotten about that and was taken aback.


Harry -
It never occurred to me until you mentioned it.

Rose's appearance beside Pete sets of a new round of misunderstanding and argument between him and Jackie, who assumes that adult Rose is Pete's daughter by another woman. In the brief scuffle that follows, Rose comes into contact with her infant self. Instead of the dimension-blowing explosion that happened when two Brigadiers made contact in "Mawdryn Undead", the rift in time widens and allows one of the Reapers inside.


Sarah - 
The Blinovitch Limitation Effect strikes again!


Harry -
The Doctor draws the Reaper's attention, and it swoops down and consumes him. He is gone, and the TARDIS key falls to the ground.

Worst wedding ever!


Sarah -
And that’s counting all of Donna’s weddings!

The Doctor is taken out of the story and it’s up to those left in the church to save themselves. This is Pete’s moment. During the siege, he’s come to the realization that Rose is his grown-up daughter. She’s very careful about discussing the future with him, but he’s smart enough to realize that it doesn’t include him. Pete has been watching the car that was supposed to hit him spin around the corner of the church and disappear over and over and realizes what he has to do.


Harry -
After so many get-rich-quick schemes and disappointments, Pete in his final moments makes the toughest decision of his life -- but the right one, as his action will save the lives of everyone besieged by the Reapers.  Counter to what the bride said earlier -- "I know we're not important" -- Pete proved that even an everyman can be vitally important in the grand scheme of things.


Sarah -
Before he leaves the church, Pete helps Jackie understand that Rose is their daughter and they all embrace. Then, vase in hand, he dashes into the road to be hit by the speeding car. Rose runs to Pete and holds him as he dies. The Reapers vanish and everyone who was taken by them is returned. 

The Doctor and Rose return to the TARDIS, having rewritten one small line of history. The end took me back to "The Aztecs", when the Doctor told Barbara, “You failed to save a civilisation, but at least you helped one man.” 

The story opened with Jackie telling Rose about her wonderful father, who died alone after being struck by a hit-and-run driver. It ends with a new version of the story, where Pete ran in front of the car and the driver stayed until the police arrived, while a mysterious young woman comforted Pete as he died. Just one line.


Harry -
Just a few months ago, we were watching the McCoy era.  What a leap between then and now, not just in the production quality, but in the attention to detail RTD gives his supporting characters.  Granted, there probably isn't another story that will go this deep into a companion's family life, but to learn so much about them like this was groundbreaking.  For the rest of this season, the Doctor will reclaim most of the spotlight and there will be more companions and their relatives in seasons to come, but "Father's Day" stands out as a very unique piece in the new series.


Sarah -
I recall having read that Simon Pegg was originally going to play Pete Tyler, but was moved to "The Long Game" due to scheduling conflicts. At this point, I can’t imagine anyone other than Shaun Dingwall as Pete. The entire story rests on his shoulders and he’s fantastic.


Harry -
We'll even get to see him again, but for now I'm eager to be introduced to a certain Captain for the first time, all over again.  Shall we?


Sarah -
Before we go, I'll continue our Bad Wolf tracking. Bad Wolf was scrawled across one of the posters for ENERGIZE, which is on a wall near where the Doctor and Rose are watching Pete get hit by the car. I had to look this one up, because I didn't catch it during the episode. 

Best Line: Jackie leaves baby Rose with the Doctor - “Jackie gave her to me to look after. How times change.”

Favorite Moment: Pete realizing what he has to do. 

Lasting Image: Pete watching the car spin around the corner and disappear.

8/10


Harry -
Best Line: "Who said you're not important? I've travelled to all sorts of places, done things you couldn't even imagine, but you two. Street corner, two in the morning, getting a taxi home. I've never had a life like that. Yes. I'll try and save you."

Favourite Moment: the TARDIS is empty!

Lasting Image: the TARDIS is empty!

7/10

Our marathon continues with Story #164: The Empty Child/The Doctor Dances...