MeisterPlanet

The Times:

“Tonight’s episode may not have the zany, off-the-wall humour associated with the ones written by Russell T. Davies, but Robert Shearman’s script -and I can’t believe that I’m about to say this -is strangely moving. It concerns the last surviving Dalek, which is being held in chains in an underground museum in Utah. Daleks, as we know from the lessons of history, are programmed to hate. But, amid all the excitement, tonight’s episode manages to sneak in a message about the redemptive power of human kindness and the way in which victims can turn into oppressors. This new Doctor Who is an unqualified triumph.”

The Guardian:

“Robert Shearman’s script bamboozles expectations, offering a fresh take on the famous metal drama queens, here both more formidable and sympathetic than we’ve ever seen them in the past. Claustrophobic and suitably melodramatic, this should hopefully show 2005’s kids what was always so wonderful about the iconic tin-rotters.”

The London Evening Standard:

“This week’s episode title- Dalek- may crush the surprise the script clearly hoped to generate around the return of the killer pepperpot, but that’s the only disappointment here. … At its best, science fiction is supposed to be a metaphor. It’s not a theory that always pans out, but here, in the conflict between a murderous intergalactic dustbin and a double-hearted time traveller, we get a powerful look at the way war- whether it’s in the Balkans, Iraq or outer space- twists even the best of people. ‘If you can’t kill, then what are you good for?’ the Doctor hisses at the imprisioned Dalek. But by the end, you’re left wondering whether it is the Dalek or the Doctor who has been damaged most by the conflict. It’s heady, surprising, spiky and occasionally pretentious stuff, but I’ll take this over ITV’s spandex celeb-grappling any Saturday night.”

According to Outpost Gallifrey, the overnight ratings gave the sixth episode of the new Doctor Who an average viewership of 7.83 million viewers, which means that 42.73% of total viewers watching television at that time were tuned in. The episode had a high point of 8.73 million viewers (45.9% share) as the episode progressed, soundly beating its time slot competition on ITV, “Celebrity Wrestling,” which only received 3.05 million viewers for a 17.73% viewer share.

“Casualty,” the Saturday night program that usually wins the entire day’s rating race received 7.3 million viewers, leaving it in second place for the evening and making Doctor Who the most watched program in the UK for all of Saturday.

During the week, the BARB will release its final viewing numbers for the night, which are often higher due to the number of people who “time shift” episodes by recording to their Tivos and VCRs on Saturday, but don’t watch until later.

Written by Robert Shearman
Directed by Joe Ahearne

The broadcast of “Dalek” marks some milestones in the new run of the long-running science fiction series. Firstly, it’s the sixth episode, making it the mid-point in the 2005 season’s thirteen episode run. More importantly, however, it’s the first return of the popular iconic metal villains who last appeared fully nearly seventeen years ago in the 1988 episode “Remembrance of the Daleks“.

This 45-minute episode goes a long way toward making the Daleks a viable villain again by showing the danger even one of the metal pepperpots can pose. The effects crew managed to create a really substantial model that looks very solid on-screen and updated radio control movements really help complete the illusion. Many of the previously perceived flaws and weaknesses of the Dalek frame, such as the often mocked plunger manipulator, have been addressed in a manner that improves upon the creatures, yet remains true to the iconic image of the Daleks.

Christopher Eccelston is given a much more substantial run at the more serious Doctor he’s better able to portray and he feels much more in tune with the darker aspects of this plot compared to the lighter fare of previous episodes. Billie Piper continues to impress as companion Rose Tyler with her ability to handle any scenes given to her. The rest of the actors are something of a mixed bag, most likely due to their being American actors (or British actors playing with American accents) in a British production.

There are some problems with the story, such as comically bad lines about the Dalek having “downloaded the Internet” and the rather confusing plot point about energy from the DNA of a time-traveler being used to rejuvenate the Dalek, but long-time fans of the series have probably learned to ignore these “reverse the polarity of the neutron flow” moments.

Overall, “Dalek” is an improvement over the last two episodes, and my particular favorite with “The Unquiet Dead” coming in closely behind. It will be interesting to see how the final half of the first year’s run plays out in comparison, but this episode will certainly be remembered as one of the strongest.