Dalek [TV/2005.4.30]

★★★★☆

  It would be unfair of me to judge Dalek not on its own merits, but instead on how it compares to its inspiration, Jubilee -- so I'll just leave all my thoughts about the two's similarities and differences right here in the first paragraph, in as succinct a way as possible. Jubilee's still the superior adventure in my eyes (and ears, in this case), with its much longer runtime allowing for deeper examinations, more vivid characters, blacker comedy and whatnot. Here's me, eighteen years after its broadcast, wishing that Russell T Davies would've said yes to Robert Shearman retaining some of the more eccentric, disturbing humour that the earlier drafts of this episode had. 

  Anyway! Dalek's an absolutely fantastic slice of television, directed to near perfection by Joe Ahearne (no wonder Christopher Eccleston liked him); the POV shots are incredibly effective, the rising tension and dread, not to mention the slaughter, are palpable through his directorial eye, capturing where the money is with the perfect angle, the perfect composition and blocking. With Shearman (still one of Dr. Who's best ever writers) at the helm crafting the story that Ahearne brings to life, this is a terrifying fight for survival with a bloodthirsty, fascistic being that will stop at nothing to exterminate everything that's different from it, and one which cannot be stopped (in this regard, dialogue plays such a great role -- just note how the Doctor informs van Statten that Salt Lake City is going to be wiped out, how his small inflections and lack of hesitation sell this notion so well). Many stories over the years, since these pepperpots' inception in The Daleks, have portrayed certain different aspects of the alien race, sometimes with multiple at once. I don't think anyone can really deny that Dalek at least attempts (and in my mind, succeeds with much aplomb) to be the quintessential Dalek story, with practically every aspect of theirs represented. Fascism, their hatred towards the unlike, their streak of violence and murder... check. Previous quirks and limitations of their original props which gradually turned them into a laughingstock, all addressed to suddenly make them the scariest creatures around again... check. Their new role in the new series as a reminder for the Doctor of everything they've lost in the Last Great Time War, an enemy incapable of empathy... check. That lack of empathy turning back on itself in this episode as the Dalek is "infected" with Rose's human DNA, opting to commit suicide rather than become something capable of feeling remorse and sympathy... check. This episode is an incredible representation of the Daleks, and it's becoming more and more clear that RTD made the right choice in using this episode to introduce the Doctor's greatest foes to a new audience.

  The Doctor also gets a fantastic showcase, riddled with fear, unbridled anger and hatred, and you can see through Eccleston's eyes (there are plenty of close-up shots anyway) flashes of this mysterious Time War, of the horrors he has witnessed. He can be charming when he wants to be, but this is one episode where whether he can charm someone's socks off is the least of his worries -- he's an object here, a specimen, and he has to make his voice heard and save the life of Rose as he faces his greatest enemy. Ask anyone which episode of Series 1 they think showed Eccleston at his most versatile, vulnerable and explosive, and I bet my hat they'll say Dalek. Without a doubt, this pushes the actor's abilities to the limit, and he rises to the challenge like a pro. Billie Piper's maginficent right alongside him, and what's more, I think this is Nicholas Briggs' best performance as the Daleks full stop. I don't think there's any performance of his in the various Big Finish audios he did and the TV episodes he did as well that trumps this one. Briggs has to emote so many different emotions as this single-minded, fascistic shell and it's a fascinating process to witness. If you're interested in learning performance and/or acting, watch Dalek and see how these seasoned actors bring the material to life. The Doctor cares for Rose so much that you begin to really see the possibility of romance, and it's pretty much confirmed with the intentional way the Dalek calls Rose the "woman he loves". Real subtle there, you lot.

  I don't think anyone could've asked for a better introduction of the Daleks to the new series; Dalek hits pretty much all the marks it sets itself out to, and it maintains an incredible sense of confidence and polish. It's a remarkable production, a fantastically directed slice of television, and a great vehicle to show the world just how brilliant Christopher Eccleston is at acting. It's a shame Rob Shearman never came back to televised Dr. Who (or, to an extent, to Dr. Who in general for that matter...), because his only contribution to the new series remains one of its most foundational. Here's hoping he comes back one day, with an opportunity to truly show the world how messed up his stories can be.