One of the curiosities of Doctor Who is that the series is an ongoing continuum, and despite an almost two decade gap, has been so since 1963.
Characters, even Doctor’s, come and go. Unlike most other science-fiction shows such as Star Trek, which rotates casts and time periods within different stylistic eras, Doctor Who is a constant. The concept has not changed, in essence, for almost sixty years. Yet the show does not always consider the journey as opposed to the destination, given how it careers from one universe bending, shattering narrative to the next. Revolution of the Daleks chooses, amidst a traditional world-threatening story, to take that breath and wonder. To consider quite what the journey with the Doctor means, and how to appreciate it.
Chris Chibnall’s era has rightly been castigated for a lack of significant character depth or development, with rather flimsy storytelling that avoided, certainly in his first series as showrunner, long-form Steven Moffat-style narrative construction. His second year saw him try and fuse Moffat’s plotting with Russell T. Davies’ earthy bombast, with mixed success. In both cases, the show has lacked a key element that made the previous eras distinct in their own way. Davies’ managed to take Who’s dated, kitsch concept and inject a modern, American-influenced level of production, and Moffat built on those foundations to deconstruct the show as a sci-fi fairytale. Chibnall’s era, to date, has lacked that signature difference.
Until, perhaps, now. Revolution of the Daleks suggests that, possibly, Chibnall might at last be finding in Doctor Who what he wants to say.
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