The TARDIS takes The Doctor and Amy to war-torn Britain in the middle of World War Two. Not only do they meet Winston Churchill himself, but the Doctor comes face to face once again with his greatest enemy of all.
The Doctor and Amy travel back in time at the request of Prime Minister Winston Churchill who needs the doctor's help. It's the early years of World War II and London is under constant aerial attack from Nazi Germany. Churchill is proud of his new weapon and wants to show it off but the Doctor is shocked when he realizes that it's actually a Dalek. There are three of them and Dr. Bracewell claims to be the sole inventor. It's not all that simple however and the Doctor uncovers a plot to re-create the Dalek race. He races to stop them before they can escape and once again become the scourge of the universe.Written by
The term for the Daleks, "Bracewell's Ironsides," is likely derived from the actual "Hobart's Funnies" of the 79th Armoured Division of the British Army in World War II. They were Sherman and Churchill tanks modified with various unusual devices such as mine-clearing flails, flamethrowers, and bulldozers. These were named after the division's commander, Major General Percy Hobart, and were used in the Normandy campaign. See more »
The Spitfires attacking the Dalek ship are the Mk IX version with twin radiators and mixed cannon/machine gun armament, which did not enter service until 1942. Though these particular Spitfires are fitted with type E wings, which did not come until early 1944 - Spitfires used at the time of the Blitz in 1940/41 were Mark I/II versions, with a single radiator under the starboard wing and a narrow oil cooler under the port wing, together with full machine gun armament. See more »
A victory of the nonsensical over careful plotting
Already Nuwho is in to It's five year run and It seems that I am sad to say that if one thing that Steven Moffat hasn't seem to have learn-ed from RTD and the numerous misplaced errors he made is this: You can often have too much of a good thing. And none has arguably been more the case than the now tiresome overuse of one of the shows most iconic and lauded over creations. "Victory of the Daleks" penned by the talented and versatile actor, comedian and writer Mark Gatiss, a long time devoted fan of the series who delivered the sublimely eerie "The Unquiet Dead" and the less satisfying yet entertaining "The Idiots Lantern" back in 2006. VOTD attempts to achieve something contradictory to what we've seen with the mythological menace a la 2005's "Dalek". To Gatiss's credit the overriding plot to VOTD and the motivation behind what the monstrosities conspire to achieve Isn't too bad and isn't without some imaginative merit. But with a running time of just over forty minutes to cram as much narrative detail we're left with clankingly constructed story that veers in to the profoundly ludicrous to forward proceedings. The presence of the Time Lord protagonist as seen in the closing moments of the previous weeks "The Beast Below" is strongly requested by a certain Winston Churchhill(A suitably portly Ian McNeice)in blitz torn Britain. Relying on the contrived notion that the pair have already been acquainted in the past, Churchill wants the Doctor witness the new weapon the British forces are utilising in their fight against the Nazi's. A weapon which bares an uncanny resemblance to one of the ancient time travellers eldest and malignant of foes. If you can get past the awkward and bizarre notion of the Daleks supposed subservience there is of course a some what feasible rationale to it given how the story develops. But even then it leads the core audience to ask more questions which are basically left unanswered and no doubt might have been had it not been for the episodes now customarily imposed running time.
And once the true nature of the Dalek stratagem is unveiled the story takes further twists with any undue care or consideration to logic or sound reason. An error made all the more frequently by former executive producer and writer Russell T. Davies. Which given that not only Mark Gatiss wrote the script but new executive producer and renowned writer Steven Moffat allowed to grant it his stamp of approval. If you can swallow some of the inane tawdry revelation of a key character and the true nature of who that person is and their involvement with the Daleks, you won't be able to stomach where Gatiss exploits said character to further the stories sublime but clumsily handled narrative i.e. WWII spitfires dogfighting in outer space?! Visually given the cutbacks made to the show's budget Moffat is able to incorporate some eye popping visuals to some of the episodes ludicrous scenarios. And as for some of the insipid cheesiness that was a cornerstone of Moffat's predecessor, it is ever the more evident and reduced me to moments where I felt I had to baulk. And the addition of new Uber-Daleks seem to have been designed by the very same man or woman who invented the Teletubbies.
As for the general performances they're basically of the decent quality you might expect from a BBC production. Matt Smith is proving to be pretty dependable although it might be noted that his emotional acting when he is forced to convey fury of frustration needs to be fine tuned and less showy. Karen Gillan who is forced a little more in to the foreground is still never the less excellent but what of the guest cast? Ian McNiece, one of Britains oldest if not necessarily famous names gives a inoffensive if merely adequate performance as Churchill. He seems to attempt to imitate the iconic, historical figure and his unmistakable vocal tones but feel too forced and not completely convincing while Bill Pattison fares better in a thankless job as walking talking plot device. Although he does really give it his all and delivers a thoroughly emotional performance which is never the less laughable within it's context.
The result is that VOTD is a disappointing if not utterly awful run-around which all in all had the potential to be so much more than it was but is instead a bit of a tawdry bore with the odd moment of the brilliantly sublime to elevate it above being a complete disaster. But admirers of Steven Moffat need to take some note here. He maybe a gifted writer but he has yet to totally prove that he has the chops to be a magnificent executive producer. But with the preview signalling the return of the ominous Weeping Angels and the feisty, Prof. River Song in the "Time of the Angels" which heralds the first part of a two part story. I can only hope things once again elevate to a higher trajectory of standard.
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