It’s heartening to see Doctor Who featured in the NY Times: The Man Behind the New Doctor Who, Changing British TV
It is hard to overstate “Doctor Who’s” significance for Britons of a certain age.
Too damn right. One of my earliest memories is of watching Doctor Who with my family on a Saturday night, usually in Dundee while visiting my grandparents. I don’t remember many specifics, but when I recently purchased the very first season of Doctor Who, from 1963, when I was two years old, I could remember having watched parts of it. There was only one scene that I could specifically remember (the Doctor using a cape to cut a Dalek off from its power supply (a metal floor), but the general shape of the Dalek city was also vaguely familiar. It’s pretty impressive that a show can make that lasting an impression in a two-year-old’s mind.
Doctor Who has come a long way since then — or rather it’s arced around and made a steep ascent. That first season was intended as “serious drama” — but it was also Science Fiction on a shoestring budget, with scenery that wobbled to the touch. That feature became a constant (falling rocks would bounce off of the main characters without leaving so much as a bruise) but unfortunately the quality of the drama became laughable over the years, until I was too embarrassed to be seen watching it.
But what a thing it’s become in its rebirth, under the brilliant direction of Russell T. Davies! The scripts are excellent, the acting is frequently top-notch, and the special effects are glorious. And the iconic title music has been only minorly retouched, in a way that preserves its eeriness while also making it even more visceral than it already was.
I’ve never missed an episode of the new show. ( I still don’t have a TV — can I confess to using Bittorrent? Does that make me a bad person? I promise to buy the DVDs!)
The spin-off, Torchwood, is Angel to Doctor Who’s Buffy — in more way than one. Like Angel, Torchwood is meant for adults and deals with more serious themes. Both are darker than their parent shows (although Buffy its long dark night of the soul in the form of season six). Both Torchwood and Angel have handsome leading men who wear long overcoats. Both leading men are immortal. Both shows feature ensembles of diverse characters with various skills, dealing with alien/supernatural forces. Both series use high, swooping shots of a city (LA and Cardiff) to break up scenes and to create atmosphere. Both make use of the team walking, in wedge formation, towards the camera in slow motion. The parallels are a bit uncanny at times, and definitely deliberate.
Like Angel, Torchwood started off shaky. The first half of season one of Angel was mostly dull, and it wasn’t until the arrival of Wesley Windham-Pryce (”rogue vampire hunter”) and the departure of the Irish guy whose name I can no longer recall that the ensemble really started to gel. The whole first season of Torchwood, it must be said, lacked flair, and was only sporadically interesting. The second season, however, became gripping, and it ended by taking a huge risk in killing off two of the ensemble. This left me rather stunned, and longing for season three to see how the show continues.