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Russell T Davies

The Long Game: A Doctor Who Episode That Keeps Us Guessing (S1E7)

by hutchm March 1, 2025

written by hutchm

Ah, “The Long Game” . Not exactly a fan favorite, is it? Some folks find it a bit… meh. But you know what? I think it deserves a closer look. Because beneath the surface of this seemingly straightforward episode lies a whole lot of juicy stuff. We’ve got media manipulation, corporate greed, questionable companions, and even a hint of what’s to come in the season finale. So, buckle up, fellow Whovians, and let’s dive deep into the world of Satellite Five!

Welcome to the Year 200,000! (Where Everything’s a Bit Rubbish)

The TARDIS lands on Satellite Five, a massive space station orbiting Earth in the year 200,000. Humanity has supposedly reached its peak, with a glorious empire spanning the stars. But something feels off. The Doctor, ever perceptive, notices the lack of alien life and the strangely subdued atmosphere. And then there’s the food court. Beef-flavored soda? Seriously?

Rose, bless her cotton socks, is still buzzing from her previous adventures. She’s eager to show off her time-traveling expertise to Adam, the new kid on the block (and potential love interest – more on that later). But the Doctor, ever the cynic, is already sensing something sinister lurking beneath the shiny facade of Satellite Five.

The Doctor quickly realizes that the station is being used to feed misinformation to humanity, keeping them stagnant and controlled. The real puppet master? The Jagrafess, a monstrous alien who needs the station’s cold environment to survive. It’s a layered plot, weaving together the thrills of a space adventure with biting criticism of media manipulation and passive consumption of information.

Meet the Editor (He’s a Bit of a Git)

Enter the Editor, played with smarmy perfection by Simon Pegg. He’s the head honcho of this media empire, controlling the flow of information to the masses. And let’s just say, he’s not exactly a beacon of journalistic integrity. He’s more interested in ratings and control than truth and accuracy.

The Doctor, naturally, sees right through him. Their interactions are a highlight of the episode, with Eccleston’s Ninth Doctor delivering some brilliantly deadpan responses to the Editor’s increasingly desperate attempts to impress him.

Adam’s Folly

This episode also gives us a rare look at what happens when a companion can’t hack it. Adam, a young man who joined the TARDIS crew in the previous episode, quickly shows he’s not up for the moral challenges that come with time travel. Instead of helping the Doctor, he tries to download future knowledge into his brain, hoping to exploit it for personal gain when he returns home. It’s a classic case of human greed and short-sightedness, and the Doctor’s swift banishment of Adam is a sobering reminder that traveling with a Time Lord is a privilege, not a right.

The Jagrafess: A Big Bad with a Silly Name

The real villain of the piece is the Jagrafess, a giant slug-like creature who controls the Editor and, by extension, the entire human empire. It’s a bit of a goofy concept, I’ll admit, but it serves its purpose. The Jagrafess represents the ultimate in corporate greed and media manipulation, feeding on the ignorance of the masses to maintain its power.

Social Commentary in Space

Russell T Davies, the writer and showrunner, deftly uses “The Long Game” to critique how media can be used to manipulate public opinion. Satellite 5’s control over what information reaches the masses is a not-so-subtle jab at real-world issues of censorship and media bias. It’s especially prescient in our current age, where information (and disinformation) is a tool wielded with often devastating consequences.

The episode also explores the theme of complacency—how easy it is for people to fall into routines, accepting the status quo without question. The humans on Satellite 5 never question the heat waves or the news they’re fed; they’ve been numbed into submission. It’s a nudge for us, as viewers, to stay curious, to question the narratives presented to us, and to recognize when we’re being fed a story rather than the truth.

The Ninth Doctor Shines

Christopher Eccleston’s Doctor is known for his gruff exterior masking a deep well of compassion, and “The Long Game” showcases that balance beautifully. He’s stern with Adam, disappointed but resolute in cutting him loose. Yet, he’s also caring towards Rose, protective of the people on Satellite 5, and determined to right the wrongs he uncovers. His righteous anger at the abuse of power feels incredibly earned and underscores his deep-seated belief in freedom and truth.

Why This Episode Matters

“The Long Game” might not have the emotional heft of episodes like “Father’s Day” or the sheer terror of “The Empty Child,” but it plays a crucial role in setting up the finale of Series 1. It’s a key piece of the puzzle that leads to the explosive events of “Bad Wolf” and “The Parting of the Ways.” Plus, it introduces concepts and characters that resonate throughout the rest of the Doctor Who reboot—like the dangers of unchecked technological advancements and the consequences of abusing power.

A Few Fun Tidbits

Simon Pegg as the Editor is such a treat! His icy performance adds a layer of sophistication to the villainous role.
The Jagrafess (or the Mighty Jagrafess of the Holy Hadrojassic Maxarodenfoe, if you prefer!) is one of those delightfully grotesque alien designs that Doctor Who does so well.
Adam’s downfall is one of the few times we see the Doctor truly lose faith in a companion, setting a precedent for just how high the stakes are when traveling with him.

Conclusion: The Lesson of “The Long Game”

What makes “The Long Game” stick with us is its core message—question everything. Don’t take the world at face value, and be wary of those who control the flow of information. It’s a lesson as relevant today as it was when the episode first aired, and it’s one that Doctor Who fans (and anyone, really) would do well to remember.

March 1, 2025 0 comments

Doctor Who

Bad Wolf: Where Reality Bites and the Series Arc Tightens (S1E12)

by hutchm February 12, 2025

written by hutchm

“Bad Wolf” isn’t just another monster-of-the-week episode; it’s a pivotal turning point in the revived Doctor Who series. While the surface level presents a darkly comedic satire of reality television, the episode’s true power lies in its masterful weaving of the season-long “Bad Wolf” arc and its chilling reveal of the Daleks’ return. This potent combination elevates “Bad Wolf” from entertaining diversion to a crucial stepping stone towards the Ninth Doctor’s dramatic exit.

The episode strands the Ninth Doctor, Rose, and Captain Jack on Satellite Five, a seemingly familiar location from “The Long Game.” However, this time, it’s a grotesque distortion of its former self, transformed into the Game Station – a 200,100 AD monument to humanity’s obsession with reality TV. The satire is sharp, if a bit heavy-handed at times, as our heroes are thrown into lethal versions of Big Brother, The Weakest Link, and What Not to Wear. While the social commentary might not be as subtle as classic Who critiques like “Vengeance on Varos,” the sheer absurdity of the scenarios provides a darkly humorous backdrop for the unfolding drama.

But “Bad Wolf” is far more than just a critique of reality TV. It’s about the insidious nature of control, the erosion of free will, and the manipulation of fear. The Bad Wolf Corporation, the omnipresent entity behind the Game Station, represents a faceless, insidious power that has subtly enslaved humanity through the very entertainment they crave. This theme resonates with the show’s long history of battling against oppressive forces, from the Daleks to the Time Lords themselves.

The episode’s brilliance lies in its gradual unveiling of the true threat. The “Bad Wolf” meme, scattered throughout the season like breadcrumbs, finally takes center stage. It’s no longer just a graffiti tag or a whispered phrase; it’s a desperate cry for help, a message woven through time by a force beyond comprehension. As the Doctor unravels the mystery, the chilling realization dawns: the Bad Wolf is not the enemy, but a warning sign pointing towards a far greater danger.

And then, the reveal. The Daleks. The iconic foes of the Doctor, thought to be extinct after the Time War, emerge from the shadows, their chilling cries of “Exterminate!” echoing through the Game Station. This moment is pure Doctor Who gold, a masterful blend of shock, nostalgia, and dread. The Daleks are back, and they’re more menacing than ever.

The episode culminates in a heart-wrenching climax. Rose, seemingly disintegrated by the Daleks, becomes the catalyst for the Doctor’s rage and despair. Christopher Eccleston delivers a powerhouse performance, showcasing the Ninth Doctor’s vulnerability and his unwavering determination to protect those he loves. The final shot, with the Doctor facing down a seemingly endless army of Daleks, is an iconic image that perfectly encapsulates the episode’s themes of defiance in the face of overwhelming odds.

“Bad Wolf” is a crucial episode for several reasons. It solidifies the “Bad Wolf” arc as a driving force in the narrative, culminating in Rose’s pivotal role in the season finale. It reintroduces the Daleks to a new generation of viewers, establishing them as a formidable threat in the revived series. And it sets the stage for the Ninth Doctor’s regeneration, leaving the audience on a cliffhanger that perfectly blends emotional turmoil with high-stakes action.

While the episode’s satirical elements might not have aged perfectly, its exploration of deeper themes and its masterful connection to the overarching narrative make “Bad Wolf” a must-watch for any Doctor Who fan. It’s a thrilling, chilling, and ultimately unforgettable chapter in the Doctor’s ongoing adventures.

February 12, 2025 0 comments

Doctor Who

DOCTOR WHO – INTO THE DALEK (S8E02)

by hutchm August 16, 2015

written by hutchm

While getting coffee for Clara, The Doctor uses the TARDIS to rescue Journey Blue, a soldier fighting the Daleks, from her exploding spaceship. Returning her to command ship Aristotle, he avoids being executed as a Dalek spy by agreeing to treat a Dalek that has malfunctioned and ‘turned good’. The Doctor retrieves Clara from Coal Hill School, where she has just set a date with maths teacher and former soldier Danny Pink, and they set off in the TARDIS for the Aristotle. On the way, The Doctor asks Clara if he is ‘a good man’ but she does not know.

The Doctor, Clara, Journey and soldiers Ross and Gretchen are miniaturised to go inside the Dalek whom The Doctor has nicknamed ‘Rusty’. They are attacked by Dalek antibodies and Ross is killed. The Doctor seals the radiation leak causing the Dalek’s damage, which provokes Rusty to lead an attack on the Aristotle. Gretchen sacrifices herself so The Doctor and Clara can recover the memories that made Rusty ‘good’. Linked in to The Doctor’s mind, Rusty destroys all his fellow Daleks. The Doctor refuses Journey as a companion because she is a soldier. Clara tells Danny she is not so prejudiced.

The script for ‘Into the Dalek’ is much tighter and more coherent than ‘Deep Breath’ though there is far too much time wasted on talking about The Twelfth Doctor’s moral ambiguity. The sparse storyline and reduced number of characters helps enormously, and even the extraneous cut-away to Missy in the ‘Promised Land’ season arc is kept to an absolute minimum. The miniaturisation idea, liberally borrowed from the movie Fantastic Voyage and previously used in the Tom Baker serial ‘The Invisible Enemy’, works well although the unique jeopardy of the situation is occasionally forgotten about and it becomes just another labyrinth.

As with other Dalek episodes in the Moffat era, the use of The Doctor’s most iconic adversaries is fairly incidental. There’s no longer any continuity between the Dalek stories and often it feels like they are metal MacGuffins moving the plot along on castors. Though The Doctor talks about his first run-in with The Daleks, there’s a very fractured sense of the Dalek mythology. They seem more like abstract philosophical concepts of good and evil than fully-realised antagonists. The captured and conflicted Dalek storyline is perhaps a little too close to 2005’s Dalek and was arguably done far better then.

The Radio Times for 30 April–6 May 2005 covered both the return of the Daleks to Doctor Who and the forthcoming general election. (Photo credit: Wikipedia)

‘Deep Breath’ was a bridge between the Matt Smith and Peter Capaldi eras but ‘Into the Dalek’ gives us a much better idea of how the series will progress. We see that The Doctor will be dropping by Coal Hill School to whisk Clara away to the universe rather than her being a permanent resident of the TARDIS. With the introduction of Danny Pink, we get a link with contemporary earth and possibly a new companion. It looks like we’re only going to get glimpses of Missy and ‘The Promised Land’ in each episode, until at least the season finale.

This is also the first time we’ve seen The Twelfth Doctor outside of his post-regeneration haze, and he shapes up to be a deeply pessimistic and cynical incarnation of the character. The Doctor seems terribly fatalistic about the inevitability of Ross’s death and the impossibility of a ‘good’ Dalek, also notably less certain of his own moral authority. Consequently, Clara has to become more confrontational with The Doctor, which hits the viewer hard when she roughly slaps him across the face in a moment of callous disinterest. She also starts to function as the antidote to The Doctor’s increasingly judgmental attitudes.

The second story featuring a new Doctor is usually where we see what we’re going to get from the character but Peter Capaldi came in so strongly with his abrasive and strange portrayal that there’s not much work left to do, and The Doctor’s sinister side seems to have peaked in this episode. Rather ‘Into the Dalek’ is a chance to get back to more rugged storytelling and pure action after a ponderous and arty season opener. I’m not angling for a return of the Russell T Davies-era where Daleks were overused and all-consuming, but I do think that the stories they feature in could be more quintessential to the Daleks and their history in the series, rather than having them as a piece of metal to hang a premise on. Overall, ‘Into the Dalek’ is very satisfying sci-fi but doesn’t do much for The Doctor or The Daleks.

August 16, 2015 1 comment