Oh, that’s rude. That’s the sort of man I am now, am I? Rude. Rude and not ginger.
– The Doctor
“The Christmas Invasion,” which first graced our screens in 2005, isn’t just another episode of Doctor Who; it’s a pivotal moment in the show’s revitalized era. Marking the 50th anniversary of this iconic science-fiction series, this episode is significant for several reasons. Firstly, it inaugurated the now-beloved tradition of the Doctor Who Christmas Special, a cornerstone of the BBC’s festive programming. Secondly, and perhaps more crucially, it served as the full debut of David Tennant as the Tenth Doctor, stepping into the shoes of Christopher Eccleston and carrying the weight of audience expectations. Unlike many of Russell T Davies’ later Christmas specials, which often leaned towards lighter, more accessible narratives aimed at casual viewers, “The Christmas Invasion” is a substantial episode, brimming with significance for the overarching narrative of the series.
This episode is not simply a standalone festive romp; it’s a vital chapter in Davies’ vision for Doctor Who, laying the groundwork for storylines and character arcs that would unfold over the following seasons. Remarkably, many elements introduced in “The Christmas Invasion” resonate deeply with the concluding story of Davies’ tenure, The End of Time, creating a compelling sense of foreshadowing and cyclical narrative when viewed in retrospect.
David Tennant as the Tenth Doctor in Doctor Who The Christmas Invasion
Setting the Stage: The Significance of a Christmas Special
Securing a Christmas Day slot on the BBC schedule is a powerful indicator of a show’s cultural impact and popularity. For Doctor Who in 2005, less than a year after its triumphant return with “Rose,” being granted a Christmas Special was a resounding vote of confidence from the BBC. While the revived series had already garnered critical acclaim, strong ratings, and featured prominent actors, dedicating prime Christmas Day airtime solidified its status as a genuine success and a fixture in British television.
Today, a Doctor Who Christmas Special feels almost inseparable from the holiday season in the UK. However, back in 2005, it was a bold move, a festive gamble. Christmas television viewing is a unique phenomenon, a subgenre in itself. It’s about creating themed, joyful entertainment suitable for a broad family audience. The BBC, known for reviving beloved classics like Only Fools and Horses for Christmas, recognized the potential of Doctor Who to become a similar festive staple. Even competitive shows like Strictly Come Dancing offer special holiday editions to cater to this unique viewing occasion.
Doctor Who interrupting Eastenders on TV in The Christmas Invasion
The premise of Christmas Day viewing is communal. Families spend the day together, sharing gifts, meals, and quality time. Relaxing in front of the television in the evening becomes a natural extension of this togetherness. It’s an opportunity for shared viewing, where adults might enjoy a drink and children are allowed special treats. The audience is diverse, encompassing all ages and levels of Doctor Who fandom, from dedicated weekly viewers to those who might only tune in for special occasions. This “special” aspect of the Christmas Special is therefore truly apt, demanding a specific approach to storytelling.
Davies’ Christmas Special Philosophy
Russell T. Davies’ Christmas Specials have sometimes faced criticism for being overly grandiose and simplistic. However, this critique often misses the point of these episodes. They are not designed for intense scrutiny by dedicated fans or repeated viewing in box sets. Instead, they are crafted for a broader audience, including family members who may not be regular Doctor Who viewers – the elderly aunt with hearing difficulties, the grandfather struggling to stay awake, or the cousin who dismisses “that show with the flying phone box.”
Rose asks the Doctor if someone called for a doctor in The Christmas Invasion
It’s not that Davies writes Christmas Specials for people who dislike Doctor Who, but rather that he aims to create episodes inclusive enough for extended family members who are not weekly viewers. This approach dictates the structure and tone of these specials, both under Davies and later showrunner Steven Moffat. While Moffat often integrates the Doctor into traditional Christmas narratives, Davies prefers to directly intertwine Doctor Who with the very essence of Christmas. The visual motifs introduced in “The Christmas Invasion,” such as robot Santas, killer Christmas trees, and deceptive snow, proved so effective that they were revisited and expanded upon in subsequent specials like The Runaway Bride.
Christmas tree robots and ratings through the roof in The Christmas Invasion
The Christmas Invasion: Breaking the Mold?
“The Christmas Invasion” stands out as somewhat atypical within the canon of Doctor Who Christmas Specials, particularly because it was the first. Davies had not yet fully solidified the template for these festive episodes, and you can sense the episode pushing against the nascent conventions. One might argue that Davies’ Christmas Specials would have been even more broadly appreciated if “The Christmas Invasion” wasn’t so heavily burdened with the narrative aftermath of “The Parting of the Ways,” the preceding season finale which saw the regeneration of the Ninth Doctor. “The Christmas Invasion” isn’t just a lighthearted piece of holiday entertainment; it’s a crucial link in the ongoing narrative arc of Davies’ Doctor Who.
Later Christmas Specials like The Runaway Bride, Voyage of the Damned, and The Next Doctor are largely self-contained adventures. They don’t demand deep familiarity with Doctor Who lore beyond basic concepts like the Doctor and the TARDIS. These episodes assume a general awareness of iconic monsters like Daleks or Cybermen, and sprinkle in in-jokes and hints at future storylines. However, they are designed to be accessible even to first-time viewers.
Rose and Mickey looking up at the Sycorax ship in The Christmas Invasion
“The Christmas Invasion” feels distinct because its primary task is to introduce David Tennant’s Tenth Doctor to the audience. It also retains Rose’s supporting cast from the Powell Estate and features a significant role for Penelope Wilton as Harriet Jones, continuing a character arc established in the revival’s opening two-parter. The Doctor’s frustration with Harriet Jones in this episode hinges on promises and potential hinted at earlier in World War III, adding a layer of continuity that later Christmas Specials often avoided.
Invasion from Above: Independence Day Homage and British Nationalism
Despite its narrative weight, “The Christmas Invasion” still delivers the “popcorn television” thrills expected of a Christmas Special. While The Runaway Bride leans into action-thriller territory and Voyage of the Damned evokes Doctor Who meets The Poseidon Adventure, “The Christmas Invasion” offers a classic alien invasion scenario.
The visual imagery is striking. The overhead shot of the Sycorax ship looming over London is a deliberate echo of the title sequence of EastEnders, another staple of the BBC Christmas schedule. The episode presents a full-blown alien invasion movie, complete with a massive spaceship, a seemingly helpless human race, and the terrifying realization that humanity’s reach for the stars has attracted unwanted attention. The Sycorax plan to conquer Earth and enslave its population.
Harriet Jones looking at the Sycorax ship in The Christmas Invasion
The episode incorporates familiar alien invasion tropes: the spaceship positioned to cast a dramatic shadow over a major city, news snippets lending a sense of realism, and world leaders convening in bunkers equipped with advanced technology to manage the crisis. Davies seems to be consciously referencing Independence Day, the quintessential 90s alien invasion film. This influence might explain the subtly jingoistic undertones of “The Christmas Invasion,” with its emphasis on “Britain’s mission to Mars” and the Sycorax addressing the British Prime Minister as the “leader of the planet.” Davies’ political commentary is evident in Harriet Jones’ refusal to involve the United States, asserting, “You can tell the President, and please use these exact words, he’s not my boss, and he’s certainly not turning this into a war.”
The Doctor with a cup of tea in The Christmas Invasion
Contact with the Sycorax and the unfolding crisis are managed primarily by the British, on British terms. Even when the Sycorax make contact at midnight GMT on Christmas Day, American news networks report the date of contact in British time: “On the 25th of December, the human race has been shown absolute proof that alien life exists,” we are told, even though in US time zones, it would still be December 24th. This Anglo-centric portrayal of the invasion can be interpreted as a playful response to the often overwhelmingly American-centric nature of alien invasion narratives in popular culture.
Themes of Hubris and National Pride
However, “The Christmas Invasion” doesn’t fully commit to a straightforward celebration of British nationalism. The concept of a British space program, while rooted in the Pertwee era of Doctor Who, is presented with a degree of irony. Beyond these overt nods, there’s a more understated Britishness woven into the episode. The Doctor even references Arthur Dent, the protagonist of The Hitchhiker’s Guide to the Galaxy, as a role model. In the midst of global crisis, a simple cup of tea becomes “the solution to everything,” as Mickey observes, “Very British.”
Everything is askew in the TARDIS in The Christmas Invasion
This subtly leads to one of the central themes of the Tennant era, prominently introduced in his debut episode: arrogance and hubris. Llewellyn’s ambition to elevate Britain’s role in space exploration leads to reckless actions, granting the Sycorax control over a third of the Earth’s population. Harriet Jones, empowered by her position, overestimates her judgment in dealing with alien threats. And in retrospect, the Doctor himself, in his condemnation of Harriet Jones, displays a degree of arrogance in assuming his moral superiority.
This theme of national pride intersects with the narrative. The Doctor previously lauded the dawn of a “Golden Age” in World War III, endorsing Harriet Jones’s rise to power. However, the reality of this “Golden Age” is complex. It’s not just about improved living standards for ordinary citizens like Jackie Tyler; it’s about Britain’s resurgence as a major global power. This newfound strength brings with it the temptation to assert dominance and control. Davies subtly suggests that any “Golden Age” for Britain inevitably evokes echoes of the British Empire.
News to the Doctor about Earth politics in The Christmas Invasion
The British Empire represented the zenith of British global power and influence. National pride often resurfaces with a desire to reassert this power. Davies explicitly draws parallels between Harriet Jones’s “Golden Age” and Margaret Thatcher’s defense of the Falkland Islands, a vestige of empire. The destruction of the retreating Sycorax ship mirrors the controversial sinking of the Argentinian ship Belgrano during the Falklands War. Harriet Jones’s subsequent downfall and disgrace subtly echo the later political fate of Margaret Thatcher.
Introducing the Tenth Doctor: Fully Formed?
In a broader context, Davies explores the theme of hubris and arrogance within the character of the Tenth Doctor himself, reflecting the show’s own ambitious trajectory. The first season of revived Doctor Who successfully re-established the series as a vital part of British popular culture. The very existence of “The Christmas Invasion” is testament to this achievement.
From the second season onward, Davies seemed determined to elevate Doctor Who into a television phenomenon. While Christopher Eccleston’s contribution was significant, David Tennant became the face of this ambition, achieving greater mainstream recognition. Davies launched successful spin-offs, attracted high-profile guest stars, garnered rave reviews, and achieved massive ratings. He transformed Doctor Who into event television. This shift in scale and ambition arguably began with Tennant’s arrival.
The Doctor regenerating in The Christmas Invasion
Even within “The Christmas Invasion,” this ambition is evident. The episode features its own original song, “Song for Ten,” playing during the iconic scene where the Doctor chooses his new wardrobe. While not a chart-topping single, it highlights the show’s growing cultural footprint. The Doctor Who soundtrack albums, featuring music by Murray Gold, achieved significant commercial success, even outselling high-profile film soundtracks.
Davies embeds this internal conflict—between ego and reality—into the Tenth Doctor from the outset. This Doctor becomes a character defined by extremes, unpredictable in his reactions and moral compass. This duality persists throughout his tenure, culminating in The End of Time, where the conflicting interpretations of the Tenth Doctor reach their peak.
Comparing Doctors in The Christmas Invasion
On one hand, Davies seems to embrace the hype, portraying the Doctor as an almost god-like figure, the “best thing ever.” This is reflected in the Doctor’s tendency to deploy convenient “reset buttons” at the end of seasons. On the other hand, there’s a sense of underlying anxiety, a fear that the show’s ambition might be overreaching, that the Doctor’s pronouncements are mere bluster. Episodes like Midnight or Voyage of the Damned explore this vulnerability.
At times, the Tenth Doctor’s actions become morally ambiguous and difficult to interpret. In The End of Time, his prolonged self-pity and reluctance to sacrifice himself, even for a deserving companion like Wilf, raises questions about his heroism. Similarly, his abrupt and decisive overthrow of Harriet Jones in “The Christmas Invasion” leaves room for moral debate.
The Sycorax performing voodoo in The Christmas Invasion
Davies allows Harriet Jones to articulate a compelling justification for her actions. “I’m sorry, Doctor, but you’re not here all the time,” she argues. “You come and go. It happened today. Mister Llewellyn and the Major, they were murdered. They died right in front of me while you were sleeping. In which case we have to defend ourselves.” Given the Doctor’s recent experiences in Bad Wolf, one might expect more empathy for this argument. Instead, in a moment of apparent pique, he destabilizes her government.
However, Davies’ heavy-handed Thatcher comparisons cast a critical light on Harriet Jones’s actions. Given the show’s generally critical stance on Thatcherism, this implies a negative judgment. The script also emphasizes that the Sycorax were already defeated and retreating when Harriet Jones ordered their destruction. Most tellingly, Harriet Jones herself apologizes for her actions after the Doctor departs, suggesting even she questions the justification for her choices.
The Doctor in his new suit in The Christmas Invasion
Davies later retroactively reframes these events, further complicating the Doctor’s actions. In The Stolen Earth, Harriet Jones defends her decision. In The Sound of Drums, it’s revealed that the Doctor’s actions in “The Christmas Invasion” inadvertently paved the way for the Master’s rise to power in Great Britain. Given that the Master’s reign ultimately leads to the Tenth Doctor’s regeneration in The End of Time, the events of “The Christmas Invasion” become a crucial link in a chain of causality leading to the Doctor’s demise. The Tenth Doctor’s fate, in a sense, is sealed from his very first story.
Rose Tyler Steps Up: The Companion’s Role
Despite only featuring a brief appearance of the fully realized Tenth Doctor, “The Christmas Invasion” efficiently establishes key aspects of his character. Many actors gradually evolve into their roles, but Tennant arrives seemingly fully formed, embodying the Doctor with immediate confidence. This is perhaps unsurprising, given Tennant’s lifelong ambition to play the part.
The writing, while strong, feels slightly less refined in this introductory episode. The line “No second chances” attributed to the Tenth Doctor seems particularly ironic and uncharacteristic. The Tenth Doctor’s typical modus operandi is to repeatedly plead with adversaries to avoid violence, only resorting to extreme measures when forced.
Rose and the Doctor in the snow in The Christmas Invasion
The Tenth Doctor is not defined by immediate, brutal reactions. Instead, he is characterized by a visible struggle to avoid drastic action. Human Nature effectively critiques this aspect of his character, highlighting how his reluctance to act decisively can sometimes lead to greater suffering.
However, “The Christmas Invasion” also offers glimpses of the Doctor he would become. “I mean, judging by the evidence, I’ve certainly got a gob,” he quips, showcasing his characteristic wit and self-awareness. Threatening the Sycorax, he declares, “Because I really don’t know who I am. I don’t know when to stop. So if I see a great big threatening button which should never, ever, ever be pressed, then I just want to do this.” This line captures the essence of the Tenth Doctor’s impulsive, sometimes reckless, nature.
Mickey and Rose looking at the Doctor in The Christmas Invasion
The Tenth Doctor’s tendency to not know when to stop becomes a defining trait, explored further in episodes like The Runaway Bride and Turn Left. It also hints at his underlying self-destructive tendencies, subtly suggested in episodes like The Satan Pit, Evolution of the Daleks, The Poison Sky, The Waters of Mars, and ultimately, his final words in The End of Time. Davies, even at this early stage, seems to have a broad vision for the trajectory of this particular incarnation.
Strategically, the Doctor’s extended period of incapacitation in “The Christmas Invasion” is a clever narrative choice. It builds anticipation for the unveiling of the new Doctor’s personality, allowing David Tennant to burst onto the scene and resolve the Sycorax invasion in a dramatic climax within the final act. It also postpones the full character definition to the subsequent thirteen-episode season, allowing Tennant to fully inhabit the role and the writers to explore his nuances.
The Sycorax leader in The Christmas Invasion
More significantly, the Doctor’s unconsciousness shifts the narrative focus to Rose. In a way, Davies revisits a neglected idea from The Twin Dilemma, a much-maligned 80s Doctor Who episode. The Twin Dilemma featured a newly regenerated, incapacitated Doctor, leaving his companion to manage the situation. However, that episode largely missed the narrative potential of this dynamic, instead focusing on the Doctor’s erratic and violent behavior.
“The Christmas Invasion,” in typical Davies fashion, rehabilitates this concept. It highlights the compelling story potential in exploring the companion’s experience during the Doctor’s regeneration. Rose is forced to protect the vulnerable Doctor, inverting their usual dynamic. She succeeds, and more importantly, “The Christmas Invasion” emphasizes the companion’s crucial role in validating the Doctor’s identity.
Rose asking the Doctor if he looks like he can pull it off in The Christmas Invasion
When a new actor assumes the role of the Doctor, a mechanism is needed to assure the audience of their legitimacy. Traditionally, encounters with iconic villains like the Daleks have served this purpose. Patrick Troughton’s Second Doctor was legitimized by defeating the Daleks in Power of the Daleks. Steven Moffat and Mark Gatiss cleverly inverted this in Victory of the Daleks, where the Daleks sought the Doctor’s validation.
While classic adversaries can confer legitimacy, Davies argues that the Doctor’s validation ultimately comes from his companion. David Tennant’s Doctor doesn’t encounter the Daleks until Doomsday, much later than his predecessors. Instead, it is Rose’s acceptance that confirms his identity. “Oh, so I’m still the Doctor, then?” he asks. “No arguments from me!” Rose affirms.
The Doctor looking good in his suit in The Christmas Invasion
Rose is also compelled to step into the narrative void left by the incapacitated Doctor. “Someone’s gotta be the Doctor,” she declares. However, she is less successful in this endeavor. The Sycorax dismiss her attempts to intimidate them, accusing her of using “stolen words.” Davies seems to suggest that there are limits to how far a companion can emulate or replace the Doctor. While Davies’ Doctor Who often empowers companions to become heroic figures, emulating the Doctor in various ways, “The Christmas Invasion” establishes a clear boundary. A companion can protect and validate the Doctor, but they can never truly take his place.
Rose and the Doctor looking at each other in The Christmas Invasion
This distinction is significant, particularly as Billie Piper’s departure from the show was approaching. Davies firmly establishes the Doctor’s irreplaceable centrality to Doctor Who. While companions play a vital and unique role, the Doctor remains the indispensable core of the series. “The Christmas Invasion” effectively defines the boundaries of the companion’s role, setting the stage for the show’s second season and beyond.
