Daleks, be warned. You have declared war upon the Cybermen.
This is not war. This is pest control.
We have five million Cybermen. How many are you?
Four.
You would destroy the Cybermen with four Daleks?
We would destroy the Cybermen with one Dalek. You are superior in only one respect.
What is that?
You are better at dying.
– The Cyberleader and Dalek Sec in a masterclass of villainous banter during Doctor Who: Doomsday.
“Doomsday,” the finale of Doctor Who’s second season in 2006, is an episode that sparks mixed feelings. While celebrating fifty years of Doctor Who, it’s essential to revisit pivotal episodes like “Doomsday,” a story that aimed for epic but occasionally stumbled. Similar to other episodes from the season, such as “Fear Her” or “Rise of the Cybermen,” “Doomsday” sometimes feels like it lacks the ambition to truly reach its potential. There’s a sense of complacency, as if simply pitting the Daleks against the Cybermen and orchestrating a tearful goodbye between the Doctor and Rose Tyler was enough to guarantee success. However, beneath the surface of explosive confrontations and emotional farewells, “Doomsday” reveals itself to be a somewhat flawed, yet undeniably iconic, episode in the Doctor Who canon.
The tears of a Time Lord…
A poignant moment as the Time Lord Doctor sheds tears, a rare display of emotion highlighting the gravity of the situation in “Doctor Doomsday.”
The emotional core of “Doomsday” revolves around the separation of the Doctor and Rose. As explored in the review of “Army of Ghosts,” this parting of ways carries significant weight. However, the impact is somewhat lessened by the subsequent returns of Rose in later episodes. The departure of a companion is an inevitable part of Doctor Who’s narrative cycle, much like the regeneration of the Doctor himself. Billie Piper’s Rose, despite her popularity, was always destined to leave. “Doomsday” attempts to portray this departure as tragic, even while granting Rose a seemingly desirable outcome.
The Doctor’s quip, labeling Rose as “Rose Tyler, defender of the Earth” when she’s found running Torchwood in the alternate Earth, hints at a different narrative. The BBC’s consideration of a spin-off series centered on Rose further complicates the intended sadness of her ending. Rose’s desire for a “better life,” expressed in “The Parting of the Ways,” appears to be fulfilled in this parallel universe. She finds a meaningful purpose, suggesting that companions can have fulfilling lives beyond their travels with the Doctor. In fact, Rose’s fate seems considerably more appealing than those of previous companions like Sarah Jane Smith or the Brigadier, whose post-Doctor lives were less explicitly explored at the time.
A man alone…
The Doctor stands alone, a solitary figure amidst the aftermath, reflecting the profound sense of loss and isolation in “Doctor Doomsday.”
Adding to Rose’s improved circumstances, she is reunited with both her parents in this alternate reality, despite her father’s death in her original timeline. Given the profound impact of her father’s death, which nearly caused a universe-altering event in “Father’s Day,” this reunion represents an almost utopian resolution for Rose. Even discounting her eventual reunion with a human Tenth Doctor in “Journey’s End,” it’s difficult to perceive Rose’s ending in “Doomsday” as truly tragic. Many companions have faced far more definitive and less comforting farewells to the Doctor.
Russell T. Davies, the writer of “Doomsday,” excels at character-driven narratives. The final scene between the Doctor and Rose is undeniably poignant, despite its manipulative nature. The decision to cut the transmission just after Rose’s declaration of “I love you,” before the Doctor can respond, is a masterstroke of dramatic timing. The ambiguity surrounding the Tenth Doctor’s romantic feelings for Rose remains a captivating and debated topic among fans, enhanced by this unresolved moment.
London
London under siege, a city ablaze with conflict as Daleks and Cybermen clash, creating a scene of urban devastation in “Doctor Doomsday.”
The Doctor’s sexuality, or lack thereof, has been a long-standing topic of discussion among Doctor Who enthusiasts. While some incarnations might lean towards asexuality, the Tenth Doctor, portrayed by David Tennant, is arguably the most overtly romantic and flirtatious iteration to date, even surpassing the Eighth and Ninth Doctors in this aspect. “The Doctor Dances” subtly challenges the asexual interpretation of the character. However, whether the Doctor’s connection with Rose is genuinely romantic from his perspective remains open to interpretation.
Evidence supporting a romantic interpretation exists. The human Doctor, created in “Journey’s End,” readily embraces a life with Rose in the alternate Earth. Furthermore, the Doctor acknowledges “we were… together” in “Smith & Jones.” Yet, Davies might be employing romance as a metaphor, especially considering Martha Jones’s portrayal as a rebound companion. The Doctor’s hesitation to verbally reciprocate “I love you” adds another layer of complexity.
It’s plausible that the Doctor, in characteristically evasive fashion, was waiting for the signal to cut out to avoid the awkwardness of denying romantic feelings for Rose. Perhaps leaving her with hope is deemed a kinder outcome. Davies’ skillful portrayal of both the Doctor and Rose makes it easier to overlook the contrived plot leading up to this emotional climax.
For Pete
Pete Tyler, Rose’s father from a parallel world, becomes a key figure in the unfolding drama of “Doctor Doomsday,” offering a chance at family reconciliation.
Another touching moment is the reunion of Pete and Jackie Tyler. Despite its brevity, the scene is perfectly written. Jackie’s ambivalence about Pete’s newfound wealth, and the Doctor and Mickey’s muted reactions to Jackie’s assertion of faithfulness, are subtly humorous and humanizing. Again, the emotional resonance almost overshadows the convenient circumstances that bring widowed Jackie and widower Pete together, initially established in a less memorable two-part story earlier in the season.
Plotting, however, is not Davies’s strongest suit. The separation of Rose and the Doctor hinges on the activation of a “reverse” switch, a device convenient enough to escalate the danger and then resolve it just as abruptly. This switch inexplicably absorbs all Daleks and Cybermen from London and beyond, yet conveniently spares the TARDIS, which logically should also be affected by “void stuff,” and manages not to disintegrate the Doctor and Rose in the process.
Hold on, you might get sucked into a plot hole…
A visual metaphor for the plot contrivances in “Doctor Doomsday,” suggesting viewers might need to suspend disbelief to avoid being “sucked into a plot hole.”
It strains credulity that neither Daleks nor Cybermen can resist the void’s pull while the Doctor and Rose survive by simply holding on tightly. Even if they could maintain their grip, the force required to pull Cybermen across London would likely tear their arms from their sockets. The “void switch” solution feels too facile, an overly convenient resolution to the episode’s escalating threats.
Despite these plot weaknesses, “Doomsday” is built upon strong concepts. The invasion of contemporary London by both Daleks and Cybermen is inherently compelling. The iconic image of a Dalek emerging from the Thames in “The Dalek Invasion of Earth” and Cybermen marching down St. Paul’s steps in “The Invasion” are powerful for a reason. Bringing these classic monsters to modern London sets the stage for an unforgettable narrative.
Now the Daleks are screwed…
Daleks facing an unexpected and perhaps insurmountable challenge, hinting at the dramatic confrontation in “Doctor Doomsday.”
A meticulously crafted plan isn’t even necessary for such a story to resonate. The Daleks’ motivations in “The Dalek Invasion of Earth”—to move Earth through space—were somewhat outlandish. The power lies in the spectacle of these iconic villains in a familiar setting. “The Dalek Invasion of Earth” evoked Nazi occupation imagery, complete with resistance fighters and forced labor camps on British soil. “The Invasion” tapped into anxieties about hidden alien menaces lurking beneath the surface of everyday life.
However, “Doomsday” struggles to fully exploit this iconic potential. By positioning the Cyberman invasion and the Dalek reveal as the cliffhanger of “Army of Ghosts,” “Doomsday” becomes burdened with resolving too much in a single episode. Consequently, the portrayal of both Daleks and Cybermen feels somewhat superficial.
Clash of the titans…
The epic clash between Daleks and Cybermen, two iconic Doctor Who adversaries, becomes a central spectacle in “Doctor Doomsday.”
The episode’s appeal lies in the spectacle of bringing these “toys” together, much like the initial excitement surrounding ensemble superhero films like “The Avengers.” Davies excels at writing both sets of monsters with wonderfully cutting dialogue. The Daleks’ disdain for the Cybermen’s “lack of elegance” and the Cybermen’s dismissive response exemplify this witty antagonism. Even the Daleks’ initial assessment of the Cybermen as “crude cybernetic constructs” is delivered with biting condescension.
Davies attempts to give both factions their due. He arguably provides the Cybermen with a clearer mission statement here than in “The Age of Steel.” Their goal to “remove fear,” “sex,” “class,” “colour,” and “creed,” promising a homogenized, Cyber-converted humanity, is chillingly articulated.
Life
Rose Tyler finds herself in an alternate world, a new beginning that softens the blow of separation in “Doctor Doomsday.”
This mission statement is arguably more compelling than Lumic’s motivations in “The Age of Steel,” even if “Doomsday” doesn’t deeply explore the Cybermen’s underlying nature. The Cybermen seem primarily included for their iconic status, rather than for any fresh narrative purpose. They are essentially portrayed as inferior Daleks, relegated to the second tier of classic Doctor Who monsters. This treatment, while consistent with much of the revived series’ approach to the Cybermen, is not ideal. They are often included for recognition value rather than for substantive storytelling.
That glint in their eye stalk…
The menacing glint in a Dalek’s eye stalk, capturing the cold, calculating nature of these iconic villains in “Doctor Doomsday.”
The Daleks fare slightly better. While lacking the complexity of the Dalek Emperor from previous stories, the Cult of Skaro attempts to introduce novelty. Despite moments of camp humor, Davies generally maintains a good balance. The humor doesn’t diminish the Daleks’ threat as it sometimes did in episodes like “Daleks in Manhattan.”
A particularly chilling moment occurs after the Daleks exterminate Raj, a named supporting character whose death carries some weight. Rose’s protest, “You didn’t need to kill him!” is met with the Daleks’ terrifyingly logical response: “Neither did we need him alive.” This line succinctly captures the Daleks’ ruthless philosophy: life has value only if it serves their purpose.
Lining it all up…
Cybermen and Daleks, lined up for confrontation, symbolizing the unprecedented monster team-up at the heart of “Doctor Doomsday.”
“Doomsday” marks the first televised encounter between Daleks and Cybermen. While both appeared in “The Five Doctors,” they were kept separate. This episode signifies the revived series’ increasing embrace of its classic heritage. While the first season cautiously avoided deep dives into Doctor Who history, “Doomsday” boldly incorporates Daleks, Cybermen, and references to the Time Lords.
Although Gallifrey isn’t explicitly named, the Daleks refer to the sphere as “all that survives of their home world.” Dalek Sec’s cryptic response to Rose’s question about its contents—”The future”—is multifaceted. It alludes to the Dalek army within, but also to the show’s future direction. Post-“Doomsday,” Davies became more comfortable referencing and incorporating elements from classic Doctor Who, including cameos from the Macra in “Gridlock,” the faces of past Doctors in “Human Nature,” and the return of the Master in “Utopia.”
Hitting the wall…
Rose and the Doctor facing a seemingly insurmountable barrier, representing the emotional and physical divides in “Doctor Doomsday.”
Yet, “Doomsday” feels somewhat underwhelming in its central premise: the confrontation of Daleks and Cybermen. It presents an opportunity to compare and contrast these iconic adversaries, highlighting their distinct ideologies. However, the episode largely reduces this conflict to a simple hierarchy, with Daleks decisively outclassing Cybermen. While this power dynamic is momentarily entertaining, it lacks depth.
A significant weakness of “Doomsday” is its reliance on a contemporary, relatable setting. This grounding in reality has been a key factor in Doctor Who’s revived success, making it accessible to a broad audience. However, problems arise when concepts too fantastical for our world are introduced.
The Doctor looks unwell…
The Doctor’s weary expression, hinting at the immense emotional and physical toll of the events in “Doctor Doomsday.”
“Rise of the Cybermen” suffered from similar issues, attempting to establish a Cyberman origin story in a world too similar to our own. A society capable of producing Cybermen would be fundamentally different. In “Doomsday,” the scale is amplified as London is overrun by Cybermen, followed by millions of Daleks.
The classic series often disregarded continuity. Invasions were localized, or the Doctor’s visits were sufficiently spaced to avoid lasting consequences. However, Davies set the subsequent stories, “The Runaway Bride” and “Smith & Jones,” in contemporary London shortly after “Doomsday.” This necessitates a choice: acknowledge the massive Dalek/Cybermen invasion’s impact, or ignore it.
Not a stellar finish?
A question mark hangs over “Doctor Doomsday,” prompting viewers to consider if the episode fully delivers on its epic promises.
Predictably, Davies chooses to ignore it. Despite the Daleks’ brief but widespread presence in London, which logically should have resulted in mass casualties and infrastructure damage, the consequences are conveniently erased. The void switch acts as a magical reset button, sucking away the invaders without any lasting ramifications. This lack of consequence diminishes the episode’s weight.
“The Parting of the Ways” cleverly circumvented this problem by featuring a future Earth, allowing for significant destruction without disrupting the show’s present-day setting. “Doomsday” feels less sophisticated in its resolution. There’s a limit to how far a fictional world can mirror our own when faced with events of this magnitude. A Dalek invasion of London, even briefly, surpasses that limit.
He tried to a-void this outcome…
The Doctor’s efforts to avert disaster, a visual pun referencing the “void” and the episode’s central conflict in “Doctor Doomsday.”
“The Runaway Bride” even humorously suggests that Donna Noble could miss such an event while on holiday, downplaying the invasion to a comedic aside. While this lighthearted approach works in “The Runaway Bride,” it underscores the cheapness of the resolution in “Doomsday.” Much like the somewhat underutilized Cybermen, the Dalek invasion of London feels more like a superficial spectacle than a deeply considered narrative element.
Despite these shortcomings, Davies’s writing shines in moments of dialogue. His twist on the sci-fi trope of “global surrender” is clever. The Cyberleader’s demand for global surrender is met with Yvonne Hartman’s pragmatic reply: “Oh, do some research. We haven’t got a central world authority.” Such moments showcase Davies’s ability to inject wit and contemporary realism into familiar sci-fi concepts. Ultimately, the Cybermen do broadcast to humanity anyway, central authority or not.
A clean sheet…
A visual representation of a fresh start, perhaps hinting at the new paths and possibilities emerging from the events of “Doctor Doomsday.”
“Doomsday” also continues the theme of portraying a fallible Doctor. Davies frequently challenges the Doctor’s infallibility, questioning his methods and assumptions. Like “Army of Ghosts,” “Doomsday” features moments where the Doctor declares something impossible, only to be proven wrong. Jake’s inter-dimensional travel prompts the Doctor’s disbelief: “You can’t just, just, just hop from one world to another. You can’t.” Jake’s simple retort, “We just did,” highlights the Doctor’s occasional overconfidence.
Similarly, Pete Tyler’s willingness to challenge the Doctor’s authority is significant. “No, you’re not in charge here. This is our world, not yours. And you’re going to listen for once,” Pete asserts, marking a rare instance of a heroic character questioning the Doctor’s moral dominance. Davies excels at these nuanced portrayals, chipping away at the idealized image of the Doctor as a flawless hero. While “Doomsday” doesn’t explore this fallibility as deeply as “Bad Wolf” or “The Sound of Drums,” it remains a noteworthy recurring motif.
Keeping doomsday at bay…
A hopeful image, suggesting the Doctor’s ongoing battle to prevent “doomsday” scenarios, a constant theme in his adventures.
Ultimately, “Doomsday” is a mixed bag. While it avoids the significant plotting issues of “The Last of the Time Lords,” the third season’s finale arguably possessed greater ambition and thematic depth. “The Last of the Time Lords” offered a more thorough exploration of the Master’s character, and Martha Jones’s departure, despite less screen time devoted to it, felt more genuinely tragic than Rose’s.
Of course, “The Last of the Time Lords” relies on an even more egregious reset button, and Davies’s plotting is arguably at its clumsiest in that episode. Therefore, “Doomsday,” relatively speaking, is a tighter piece of storytelling. However, despite its iconic moments and emotional resonance, it remains a less favored episode, ultimately falling short of its full potential.
The Doctor, in the TARDIS… with nobody…
The Doctor alone in the TARDIS, a poignant final image emphasizing the solitude and loss that conclude “Doctor Doomsday.”
