In 1996, years after the cancellation of the beloved original Doctor Who series, Fox network in the United States embarked on an ambitious project: to reboot the iconic British show for American audiences. This endeavor resulted in the Doctor Who TV movie, a production that sharply divided critics and fans. While the BBC’s successful revival in 2005 garnered widespread acclaim, the 1996 attempt remains a point of contention. Detractors often point to the audacity of an American network tackling a quintessential British institution, a sentiment underscored by the hypothetical of British-made Star Trek remakes. However, despite its acknowledged flaws, this 1996 iteration of Doctor Who, officially recognized within the series’ canon, possesses redeeming qualities that warrant a viewing, particularly for a casual weekend watch.
The TV movie picks up where the original series left off, with Sylvester McCoy, the Seventh Doctor, reprising his role in a guest appearance. The story commences on December 31st, 1999, as the Doctor is tasked with transporting the ashes of his nemesis, the Master, to Gallifrey. Disaster strikes when the TARDIS malfunctions, crash-landing in San Francisco. The Doctor seemingly perishes during regeneration, while the Master’s malevolent spirit escapes and possesses a paramedic named Bruce (Eric Roberts). The Master’s sinister plot involves exploiting a temporal rift to steal the Doctor’s remaining regenerations. Meanwhile, the Doctor regenerates into his Eighth incarnation, portrayed by Paul McGann, and must thwart the Master’s schemes.
Alt text: Paul McGann as the Eighth Doctor, smiling slightly, in a promotional image for the 1996 Doctor Who TV movie.
One of the primary criticisms leveled against the 1996 Doctor Who movie is its narrative approach. Unlike the 2005 revival, which thoughtfully reintroduced the Doctor to a new generation, the TV movie plunges directly into the action, assuming pre-existing knowledge of the Doctor Who universe. This approach risked alienating American viewers unfamiliar with the Time Lord’s history, a challenge exacerbated by McGann’s initial voice-over which arguably did little to clarify the backstory for newcomers. Furthermore, the introduction of new American companions, Grace Holloway and Chang Lee, felt somewhat contrived, particularly given the implication that they wouldn’t feature in subsequent episodes had the series been greenlit by Fox. The perplexing alliance between Daleks and Time Lords in the pre-credit sequence also raised eyebrows among seasoned fans, creating logical inconsistencies within established Doctor Who lore.
Alt text: Eric Roberts as The Master, looking menacing with glowing eyes, in a promotional still from the 1996 Doctor Who movie.
Despite these narrative shortcomings, the performances of Paul McGann and Eric Roberts are widely regarded as high points of the production. McGann successfully captures the Doctor’s quintessential eccentric charm, infusing the Time Lord with a distinctly British sensibility. Roberts, on the other hand, delivers a memorably over-the-top and menacing portrayal of the Master, injecting a vibrant energy into this classic villain. Moreover, the TV movie boasted impressive special effects for its time, representing a significant upgrade from the visual style of the original series. The updated rendition of Ron Grainer’s iconic Doctor Who theme music also received praise, adding a contemporary edge to the familiar tune.
In conclusion, the Doctor Who 1996 TV movie stands as a flawed yet fascinating experiment in reviving a beloved franchise for a new audience. While it may not have achieved widespread critical acclaim, and is often considered a guilty pleasure, it holds a unique place in Doctor Who history. Ultimately, Fox’s decision to relinquish control back to the BBC proved to be a wise one, paving the way for the triumphant return of Doctor Who in 2005 under British stewardship. For dedicated fans and curious viewers alike, the 1996 movie offers a glimpse into a road not taken and showcases the enduring appeal of the Doctor and his universe, even when filtered through an American lens.
