From the start of this episode, it appeared that we were going to be in for a real treat - the return (or in this case, rise) of the Cybermen.
However, this story had Russell T Davies' script edits oozing out at every opportunity. The writer of the episode, Tom Macrae, actually had a fantastic idea. It certainly isn't unWho-like for the TARDIS to accidentally or intentionally transverse between two of the 5th dimensions. Despite receiving alot of negative criticism from diehard classic fans, the creation of the Cybermen in this story is very similar to what Doctor Who lore tells us about the Cybermen from Mondas. The humanoids inhabiting Mondas had developed technologically so much that they eventually became the Cybermen we met in "The Tenth Planet." In "Rise of the Cybermen," the creation is set on a parallel Earth, where zeppelins fill the skies. John Lumic is a dying man with an extreme desire for immortality, which he hopes to obtain through the creation of the Cybermen. The TARDIS losing power due to it no longer being in the "right" dimension was also an good plot twist.
The biggest killer for this episode was Davies' never-ending attempt to drown science fiction out of the show so that even the thickest of viewers can watch it. Over the past decade, entertainment on TV has become more and more about the same thing - overacting, excessive drama, domestic issues, violence and sex. Viewers have become so accustomed to seeing this on TV, that they EXPECT to see it when something new comes along, sci-fi or not. In the case of this episode of Doctor Who, Davies opts to have then entire plot and story revolve around the Tyler family (again), or more specifically, Rose.
Everything about this episode was set so that we would be forced to see Rose's parents (again), see nameless panicky people running and screaming (again), and personal one on one chats between Rose and Pete or Rose and Jackie (again). What utterly pissed me off the most about this was the fact that Rose (who at this time was no more than the Doctor's companion) directly disobeyed TARDIS travel rules by using her phone to search for information on Pete Tyler, and then later disobeyed the Doctor's warning NOT to seek out or get involved with the Tyler family of this dimension. Under normal TARDIS houserules, that kind of bad behavior would get you booted off the TARDIS the instant the Doctor was able to leave the alternate dimension and return to his own.
There was such a transition between the tone of certain scenes, that you could almost tell which ones were chiefly Macrae's handywork and which ones were mostly Davies' changes or additions. For example, once it is established that Pete is alive in the alternate dimension, the plot then goes forward with a subplot running parallel to it - the subplot follows Rose while the main plotline follows the Cybermen element. The events and scenes of the Rose subplot are almost completely irrelevant to the Cybermen plotline, and thus become obvious that they are there simply to give the fangirls a reason to tune in. A good example would be two scenes near the end of the episode, where Rose first has a family chit-chat with Pete, and then moments later joins Jackie outside for an attempt at marriage counseling. At the risk of ticking off all of the Rose worshippers, she had be the most annoying character in this episode - and that's saying alot when you consider that it also had the bitchy, bossy, big-boobed diva Jackie Tyler in it, too.
I can't say for certain if it was Macrae's idea to set this episode in London (again), but if it weren't, you can bet it was Davies who changed the setting to metropolitan London. Davies had a knack for always somehow directly tying the Doctor's companion's family in with plots set on Earth, so that drama would get a substantial boost and opportunities for soap scenes could be created.
I feel like this episode would have been fantastic if say, Steven Moffat had been the Executive Producer - based on what I've seen in Series 5. When I get to my reviews of Series 5, I'll explain in more detail.
Once again, I'll sound like a broke record and point out the over-use of background music in this episode. The haunting theme accompanying Lumic's scenes wasn't too bad, but the thundering orchestral pieces as the Cybermen marched was a bit much.
One last thing I wanted to point out about this episode, which makes no sense at all from a LOGICAL perspective, but makes perfect sense from a DRAMA perspective. The scene in which the President of Great Britain is "deleted" by a Cyberman sparks panic among the guests who start running and screaming. Here's what doesn't make sense - the President was killed because he was deemed "incompatible" due to his refusal to be converted. However, the logic-minded Cybermen did NOT hear any of the other guests refuse, so why was their running and screaming grounds to start killing everyone? Doesn't make sense logically, but if consider that Davies wanted to maximize DRAMA and not SCI-FI, it makes perfect sense.
This episode ofcourse ends in a cliffhanger, with the Doctor and company attempting to surrender to a circle of Cybermen. The .5 on the Whoscale was given specifically for the ending, because to this day I think it is one of the best "cliffhanger endings" to a Doctor Who episode since the series was revived in 2005.
However, this story had Russell T Davies' script edits oozing out at every opportunity. The writer of the episode, Tom Macrae, actually had a fantastic idea. It certainly isn't unWho-like for the TARDIS to accidentally or intentionally transverse between two of the 5th dimensions. Despite receiving alot of negative criticism from diehard classic fans, the creation of the Cybermen in this story is very similar to what Doctor Who lore tells us about the Cybermen from Mondas. The humanoids inhabiting Mondas had developed technologically so much that they eventually became the Cybermen we met in "The Tenth Planet." In "Rise of the Cybermen," the creation is set on a parallel Earth, where zeppelins fill the skies. John Lumic is a dying man with an extreme desire for immortality, which he hopes to obtain through the creation of the Cybermen. The TARDIS losing power due to it no longer being in the "right" dimension was also an good plot twist.
The biggest killer for this episode was Davies' never-ending attempt to drown science fiction out of the show so that even the thickest of viewers can watch it. Over the past decade, entertainment on TV has become more and more about the same thing - overacting, excessive drama, domestic issues, violence and sex. Viewers have become so accustomed to seeing this on TV, that they EXPECT to see it when something new comes along, sci-fi or not. In the case of this episode of Doctor Who, Davies opts to have then entire plot and story revolve around the Tyler family (again), or more specifically, Rose.
Everything about this episode was set so that we would be forced to see Rose's parents (again), see nameless panicky people running and screaming (again), and personal one on one chats between Rose and Pete or Rose and Jackie (again). What utterly pissed me off the most about this was the fact that Rose (who at this time was no more than the Doctor's companion) directly disobeyed TARDIS travel rules by using her phone to search for information on Pete Tyler, and then later disobeyed the Doctor's warning NOT to seek out or get involved with the Tyler family of this dimension. Under normal TARDIS houserules, that kind of bad behavior would get you booted off the TARDIS the instant the Doctor was able to leave the alternate dimension and return to his own.
There was such a transition between the tone of certain scenes, that you could almost tell which ones were chiefly Macrae's handywork and which ones were mostly Davies' changes or additions. For example, once it is established that Pete is alive in the alternate dimension, the plot then goes forward with a subplot running parallel to it - the subplot follows Rose while the main plotline follows the Cybermen element. The events and scenes of the Rose subplot are almost completely irrelevant to the Cybermen plotline, and thus become obvious that they are there simply to give the fangirls a reason to tune in. A good example would be two scenes near the end of the episode, where Rose first has a family chit-chat with Pete, and then moments later joins Jackie outside for an attempt at marriage counseling. At the risk of ticking off all of the Rose worshippers, she had be the most annoying character in this episode - and that's saying alot when you consider that it also had the bitchy, bossy, big-boobed diva Jackie Tyler in it, too.
I can't say for certain if it was Macrae's idea to set this episode in London (again), but if it weren't, you can bet it was Davies who changed the setting to metropolitan London. Davies had a knack for always somehow directly tying the Doctor's companion's family in with plots set on Earth, so that drama would get a substantial boost and opportunities for soap scenes could be created.
I feel like this episode would have been fantastic if say, Steven Moffat had been the Executive Producer - based on what I've seen in Series 5. When I get to my reviews of Series 5, I'll explain in more detail.
Once again, I'll sound like a broke record and point out the over-use of background music in this episode. The haunting theme accompanying Lumic's scenes wasn't too bad, but the thundering orchestral pieces as the Cybermen marched was a bit much.
One last thing I wanted to point out about this episode, which makes no sense at all from a LOGICAL perspective, but makes perfect sense from a DRAMA perspective. The scene in which the President of Great Britain is "deleted" by a Cyberman sparks panic among the guests who start running and screaming. Here's what doesn't make sense - the President was killed because he was deemed "incompatible" due to his refusal to be converted. However, the logic-minded Cybermen did NOT hear any of the other guests refuse, so why was their running and screaming grounds to start killing everyone? Doesn't make sense logically, but if consider that Davies wanted to maximize DRAMA and not SCI-FI, it makes perfect sense.
This episode ofcourse ends in a cliffhanger, with the Doctor and company attempting to surrender to a circle of Cybermen. The .5 on the Whoscale was given specifically for the ending, because to this day I think it is one of the best "cliffhanger endings" to a Doctor Who episode since the series was revived in 2005.
A very realistic review that shouts a "2" to be honest! There's so much in this that just doesn't make for Sci-Fi, let alone great Sci-Fi that it once again it has me thinking "How is this Dr Who?" There's the TARDIS, & er.. Thats it!
ReplyDeleteThe Pretend Doctor acts more human than any of the cast. The Companion has more of the (I Can't say Plot can I?) Sub-Plot than any one else. The Music is only Rivalled by the Over-Dramatic acting. The Cybermen are now Robots that march 'Tin-men Style! The Setting couldn't give a clearer sense of Eastenders!
And although unlike the original concept, the Script is uninspired.
This is a typical example of how the new series is just a mess of badly put together cliches that are designed to appeal to everyone ACCEPT Classic who fans!
So this gets a nice big fat ZER0 from me!
Even if the designer's (if you can call them that) had put a Chest Unit on the Cybermen, I would have had to give it a 0.1 for vague resemblances!
Nope! Not even the Theme & Opening! Because lets admit it.. Even THEY Look & Sound awful! An Orchestrated theme with Ripped sections of Delia's Masterpiece, & a Stargate Wormholm intro? Who employed these idiots? This is the World's Longest Running Science Fiction TV Series. Not the Sarah Jane Adventures.
It Deserves more than these stories of utter unoriginality, check list cliches, & totally uncreative Sound, Music, & Special FX.
This is a Poor man's Sci-Fi!