Tenth Doctor

Do I Still Agree With Myself?


Since creating this website in 2013, my writing and analytical ability have developed past that displayed in many early posts, and my views and understanding of the world and many of the works I’ve covered have changed. This often niggles me, and I’ve considered deleting some posts, leaving what I consider my best, but as they’re still popular and serve as a testament to how much I’ve accomplished over the years, I’ve instead decided to create this post. I’ll be reviewing my past posts, seeing what I still agree with and what I don’t, and clarifying my current views. Who knows, maybe this will turn into an ongoing series as my perspectives are constantly evolving, and there may be other posts I discover I have issue with!


The motivation behind this post was to praise economical writing and the song’s use of it. However, due to the lyrical content I’m examining, it could come across like I’m critical of the armed forces. I’m not, but at the time, I probably wouldn’t have thought twice about going along with someone who was. I have no great knowledge or strong opinions about the military, but I’m greatly admiring of anyone willing to make a sacrifice in aid of others.


I don’t believe now the creators of Alien (dir. Scott, 1979) intended to criticise female empowerment, and I don’t think I believed it at the time. There’s actually a stronger argument for exactly the opposite, and aspects of the film I focus on can all be reinterpreted to support this. We do indeed see a future society without gender divides, and it works out pretty well as the strong female character, Ripley, ends up saving the day; it’s only because the male crew ignored her quarantine command that they got into trouble in the first place. The alien, symbolic of man’s bestial sexual nature, turns the male crew into victims of sexual violence, in ways previously beyond their comprehension; one even experiencing a painful childbirth as a result. The porno mag scene is clearly designed to be critical of female exploitation and sexual violence; the rabid Ash, spewing white goo, forcing the phallic magazine down Ripley’s throat. And although we do see Ripley strip to her skimpy undies for the climax, it’s revealed it’s shot from the perspective of the alien, forcing the male audience ogling Ripley to realise their connection with the beast.

As mentioned in the post, this analysis was inspired by my recent discovery of viewing films through the lens of feminism, and I believe I was motivated more by my desire to explore this exciting new way of looking at films than I was with making a genuine exposé. This is also a symptom of university essay writing, which encourages analysis based on interpretation rather than fact. If you can justify it via your own interpretation of the screen language, it’s acceptable, whether you believe it was the filmmakers’ true intention or not. I don’t have a problem with this, in fact, I’m all for it! Finding connections and meanings in films that weren’t necessarily the filmmakers’ intention is half the fun of analysis. You can get into trouble, though, if you’re stringently critical of filmmakers for meanings in their films you’ve created yourself. I’d like to avoid ever coming across like this in future.

Aliens (dir. Cameron, 1986) does indeed reward Ripley with a family, symbolically returning her to the role of loving wife and mother. I don’t believe now, though, that this has to be viewed negatively. She’s never once depicted as weak in comparison to her male counterparts or shown she doesn’t belong in the heat of the action; quite the opposite. She draws strength from her maternal instincts, as male action heroes often have from their paternal ones (protecting family, being rewarded with one; common action movie tropes: see Mad Max), and this is to be commended. You maybe wouldn’t want ‘independent woman becomes wife and mother’ to be the plot of every action movie, but I don’t think there’s anything sexist about it here.

I think I make some good points in my analysis of Alien 3 (dir. Fincher, 1992) – an underrated film – in particular, recognising its depiction of a patriarchal society and rape culture; there’s depth to this film that’s often overlooked. There are a few points that were maybe just my own interpretation, tying together the overall point of the post, and not the director’s intention (the symbolism of Ripley’s sacrifice for example), but as I said earlier, that’s half the fun of analysis!


My analysis of how Love & Monsters criticises fans who have a very inflexible view of what Doctor Who should be comes across a bit hypocritically intolerant. That was not my intent. I would never want to suggest people aren’t entitled to an opinion, more that people who are unwilling to accept the greater possibilities of what Doctor Who (and life) can be are missing out on a lot of strangeness, darkness, and madness!


In the first of my Mad Max 2 (dir. Miller, 1981) posts, I posited that, despite their misleading appearance, the Marauders have more in common with traditional society, and the Settlers have more in common with the counterculture, but it is their more traditional beliefs that are their weakness. I think now, rather than representing any particular group, more simply, the Marauders represent what Miller considers the evil of humanity, and the Settlers, the good. The Marauders rape, war, pillage, they operate via a dictatorship, and they’re stuck in a cycle of selfish consumption. They lack a higher purpose and a desire to better themselves, which the Settlers have, along with democracy and a sense of community, family, and loyalty. The Settlers’ connection to self-sufficiency ties them with the counterculture (Pappagallo is a bit of an old hippie) but that’s more to do with the film’s criticism of fossil fuels (such an ironic theme) than an attempt to connect them with a particular group, and they possess many traditional qualities. Max is tempted over to their side and away from the marauding lifestyle once he’s given a purpose and a chance to better himself. The fact he’s betrayed – although he doesn’t seem too bothered about this – does add some ambiguity to the Settlers, but I don’t believe it’s their traditional beliefs that are being called into question. Perhaps, instead, it acts as a warning that although we require purpose in life, devotion to a cause can sometimes cloud one’s morality. I posited that the Settlers’ traditional community values give them a distrust of outsiders that prevents them from truly accepting the marauder-like Max and that their religious conviction leads to their act of betrayal. I no longer believe this. Their initial distrust of Max is just a logical reaction, and their belief in paradise and Max’s martyrdom does not act as a criticism of religion, rather an endorsement of purpose and sacrifice and the spiritual power of storytelling.

GEORGE MILLER: there’s something that compels us collectively as human beings to find meaning in the universe. I mean, we can’t exist without that. And we do it through stories and narratives in order to explain the universe to ourselves. Or life to ourselves. And in all cultures across all time and space as humankind, we do that. We do that spontaneously. And I think that’s the function of storytelling, and some stories are so compelling, they become mythologies and indeed religions.”


In my Mad Max Beyond Thunderdome (dir. Miller & Ogilvie, 1985) post, I posited that it ‘also’ acts as a criticism of traditional (Western) society. I was closer to the truth in this case as it does offer a blatant critique of capitalism and seemingly supports a Marxist philosophy. However, knowing little of economics or politics at the time (I’m still far from an expert), but having done a little research into Marxism, I was quick to side with this critique without pinpointing any possible flaws. For example, we see those at the bottom of the hierarchy offered no payment for their services and no opportunity to climb the ladder. Not really reflective of capitalism. This lack of opportunity for social mobility, and the fact Pig Killer and his ilk are working solely in service of the state, arguably aligns Bartertown more closely with communism. Either way, as I’ve mentioned, economics and politics are not my expertise, so I’ll keep away from siding with political ideologies, as I did here and in other posts, in future (certainly not before doing more research). The film also offers a more pointed criticism of religion, suggesting it can halt social progress. However, Savannah’s final monologue, again, endorses the spiritual power of storytelling, and the fact the Lost Tribe reach ‘paradise’ by plane, hints that there may have been some truth in their prophecies.


This was a piece of coursework written in the final year of my degree that I later posted on my website. It again suffers from the university essay ‘interpretation over fact’ philosophy. It’s unquestionable that Strangers on a Train (dir. Hitchcock, 1951) and Psycho (dir. Hitchcock, 1960) used homosexuality and transvestism to enhance their killers’ perversion, that Strangers’ protagonist, Guy, was a prototype final girl, and that these films, as well as real-life killers, had a huge influence on the slasher genre and its continuing characterisation of homosexuals and transvestites as deranged deviants. However, I don’t believe for one second and didn’t at the time that every final girl is symbolically a male in the midst of a sexual crisis. The concept just allowed for a new spin on the material that would make an interesting essay; much like my Alien analysis.


As they were based on interpretations of the earlier movies that I now disagree with, my hopes for Mad Max: Fury Road (dir. Miller, 2015) now, on the whole, don’t reflect what I’d be hoping for from a new Mad Max movie. I’m not particularly interested in the series giving direct criticisms of capitalism (or the rock industry. Where did that one come from?), more human ills in general. I’m not sure why I was hoping for a clearer critique of the military, having no strong opinions about it (see Eat the Gun). I suspect I’d just foreseen the possibility of this happening and felt I should include it. I was hoping for feminist themes (my obsession at the time), criticising female oppression, and again I unfairly criticise heroines with maternal instincts (see Alien Equality). Again, a more rounded view of humanity’s ills would be appreciated today. I enjoy the religious symbolism of the series and its contemplations on the spiritual power of storytelling and would always hope for their inclusion. However, while criticism of religious extremism and manipulation are alright with me, I would not hope for a negative depiction of religion in general. Ponderings on the afterlife are, again, alright with me, but I’m not sure why I was seeking a definitive statement on Miller’s belief in the existence of Heaven or Hell; I’d prefer a little more ambiguity these days. Today I’d give a big ‘no’ to the possibility of any romantic relationship for Max. Giving him a partner or a family would undermine the self-sacrificing nature of his character; unless they were planning on ending the series. Lastly, I’m still in total agreement with myself that CGI and an overly talky Max have no place in the franchise!


In my Mad Max (dir. Miller, 1979) post, I describe it as my least favourite of the original trilogy due to its morally questionable material. I suggest its depiction of Toecutter’s gang vilifies the counterculture, while Max’s job as a cop suggests support for the establishment. I now disagree with this. The gang, like the Marauders, more likely represent the evils of humanity, with their lawlessness and purposeless self-indulgence. While Max and his job represent moral duty, and law and order; hardly things to be criticised. The gang’s homosexual characterisation is questionable as it bears similarities to the previously mentioned slasher killers, being used to heighten their perversion. However, there is the argument that the use of gay characters is meant to represent a sexually liberated future, with Max’s commanding officer, Fifi, also characterised as gay. I label Fifi’s characterisation as stereotypical, but he is a unique and memorable character, in a respected position, traditionally held by straight, masculine males, so that was perhaps a little unfair. I also cite Max’s traditional family life being presented as the ideal in comparison to the homosexual gang as being problematic. This argument is weakened when we consider the defence of the gang’s homosexual characterisation and the true themes of the trilogy, purpose and betterment. Max’s family are representative of this as are the surrogate families in the sequels he’s given the chance to help and protect (as he failed to do with his), showing the series is rightly supportive of families and the protective nature of the parental figure (see Alien Equality). I was also critical of the film’s grim ending, but as this is clearly presented as a tragedy, it is in no way morally corrupt, and actually makes the message harder hitting, as seeing our hero (and identification figure) losing his purpose in life, and giving into the gang culture and survival of the fittest philosophy, makes it easier for us to empathise with the film’s themes. Far from being morally bankrupt, Mad Max contains many admirable moral messages and has gone up in my estimations to become my second favourite of the series (nothing can top Mad Max 2).

A further note on the fridging of Max’s wife, Jessie, and fridging in general. I referred to Jessie’s death as an example of fridging at odds with the feminism of the sequels. Fridging is used to describe instances in which a female character close to a male one is killed to further his arc. I now believe to describe Jessie’s death and every instance of this trope as sexist is a little ridiculous. Characters (male and female) close to protagonists are killed off all the time to symbolise themes and further the protagonist’s arc; Goose, Max’s dog, Mufasa, Newt, Uncle Owen and Aunt Beru. It doesn’t automatically make it sexist every time it happens to a female one. After all, it’s not their story, it’s the protagonist’s, and good economical writing dictates it’s they who should be the main focus. Not every support character can have agency, be a hero, and have a happy ending; that would just be a mess. It may be the case that more female characters are fridged than males (but thinking off the top of my head, I mostly came up with males), but rather than being a symptom of inherently sexist writing, that’s probably more to do with the majority of writers being male and creating male heroes, which I don’t think they should be criticised for (good writers write what they know). More female filmmakers and writers would probably reverse this trend (if indeed it exists; I haven’t seen the stats). Jessie, and Max’s love for her, are symbolic of purpose and betterment, and the lose of the positive influence of a woman in Max’s life is presented as a complete tragedy. Male writers should be praised for viewing women in such a way, not criticised.


Much I disagree with here. My central argument is that Furiosa should have been the only wife of Immortan Joe as the Five Wives are superfluous, lacking character and agency, which reduces them to figures of objectification; contradicting the feminist themes of the film. This thinking is based on the rules of economical writing – don’t use any more characters than you need to – but I now see why the Wives are needed and where their agency lies. While Furiosa possesses a lot of agency, if she were the only wife, she’d resemble little more than your stereotypical rape-revenge heroine, and while the Wives don’t do any of the kick-ass fighting, their agency is that of endurance. They have survived abuse through endurance and had the bravery to decide to seek help and flee their captor; it is they who set the whole plot in motion, not Furiosa. The implication being, abused women shouldn’t have to be kick-ass fighters to be seen as heroes; there’s bravery in endurance and having the will to escape oppression. It’s true they wear skimpy clothing, opening them up for objectification, but the scene I cite where they’re washing each other with the hose is shot from Max’s perspective, inviting the male audience to ogle them, connecting them with the oppressive male characters of the film (it’s the same trick from Alien), and arguably this is done for the whole film. I still think as characters they’re underdeveloped and doing more than just giving one of them a weak love story would probably have been a good idea. Speaking of which, I still totally agree that Nux’s sacrifice is uninteresting and we would have connected with it more if it were given to Max. I’m not sure about cutting Max altogether and making this a Furiosa film, it probably could have worked, but having male and female characters learn to work together is a more positive way to go.

My statement that the film doesn’t expand much on what we learnt from interviews and trailers is utterly vacant. There’s a great deal going on in the film under the surface, but I think my overall disappointment with it on first viewing meant I just wasn’t looking. Everything we need to know about the world and the characters is shown to us, instead of repeatedly told, which is how it should be. I’ll give a brief summary, but it’d take a whole new post to get everything. It’s another amplification of humanity’s ills. It depicts society as a perpetual war machine, kept going by a power-hungry man (that’s who killed the world) just so he can cling onto power. Women are employed as baby making machines, while the men don’t fare much better, being bred and brainwashed solely for war; willing to die for the glory of their divine leader. Like the Marauders, they’re stuck in a cycle, with no higher purpose or chance for betterment, which is what they’re given via the altruistic actions of our heroes. It’s not on the whole how I view society, but it’s a credible exaggeration of the worst of humanity and certainly a layered depiction. I still prefer the original trilogy with its zero use of CGI and better use of Max, but I’ll gladly admit I was unfairly critical of this first time around.


Never thought this actually could or should’ve happened – I wasn’t campaigning for it – but it would’ve made a cool (possibly better) movie, and if they got the go-ahead ten years earlier, this could be quite close to how it would’ve turned out. As it is, I still think it’s a nice bit of fanwank.


This post continued the assumptions (I now believe to be incorrect) made in my first Mad Max 2 post about the film’s themes and what Max, the Settlers, and the Marauders represent. I also suggest the Gyro Captain’s ownership of a snake connects him with Satan and reveals him as the true villain of the piece. An interesting but far-fetched analysis, his snake more likely representing his cunning nature, and his minor deceptions hardly paint him as the ultimate evil.


I cited its subversion of the ‘women as reward’ trope as something I like about Star Wars (dir. Lucas, 1977), and I still very much like this. However, it’s probably its subversion of the damsel in distress character that’s more appealing. No one likes the whiny damsel in distress, always stumbling into trouble, which makes Leia’s feisty, pistol-packing princess a really enjoyable innovation. The fact she’s not given to one of the male characters as a reward for their heroism is a bonus as it allows for a more unconventional story. It also showed excellent foresight as placing her in a relationship would have dulled the character for the sequel, which is eventually what happened (Leia doesn’t act like Leia in Jedi). I would like to point out, though, that, like fridging (see Mad Max), describing every instance of this trope as sexist would be ridiculous (not that I was doing that). Of course you want strong female characters, but the guy getting the girl doesn’t always equate to sexism. A female love interest may not always be as developed as a male protagonist but, again, it’s not their story, and she may be symbolic of very positive views of women (see Mad Max). Furthermore, female protagonists are given men as reward just as often. Some might consider this sexist, though, as it places them in a traditional gender role (you can’t win sometimes). Viewing films through the lens of feminism can be interesting and is definitely worthwhile, pushing writers to consider subversions of stereotypical characterisations and worn out old tropes. However, it can also be very restrictive, to both creativity and enjoyment, if you are too extreme in your readings.

I offered Han and Leia’s relationship as something I don’t like about The Empire Strikes Back (dir. Kershner, 1980). I asked why does she fall for him as all he seems to do is act in a sexist manner and she seems quite adamant she’s not interested in him? I rewatched Empire before starting this post in a deliberate attempt to find material to counteract this argument but sadly didn’t find much. The first time we see Leia, she’s staring across the room at Han, suggesting feelings for him, but it’s subtle and easily missed or interpreted differently. Han expresses his feelings more openly, being rather sweet and sincere when he goes to say goodbye to her. Leia is very harsh in her response, and in subsequent arguments, Han suggests she is concealing her feelings. However, not much is done to suggest this is true, as she constantly refutes his claims. It also begs the question, why would she do this? Fear of undermining her position, or of falling in love in such difficult times? Possibly, but again, it’s not suggested, as she’s constantly depicted as resistant to Han’s advances. When Han shows concern for her, she pushes him away, and when they finally kiss, he comes across like a real sleaze, forcing himself on her, and she escapes the situation as quick as she can. It’s true she is a bit stuck up and rude and could maybe learn to relax a bit, like Han, but this suggests the theme of the love story is ‘she really wants it, she just needs to loosen up a bit’, and I can’t really defend that. I also criticise Han not telling her he loves her, but more because it shows he hasn’t really changed or done anything to deserve her. The line is definitely better than the alternative, suggesting character and avoiding being mawkish, and the feelings are all expressed visually anyway.

I still don’t like Leia being revealed as Luke’s sister in Return of the Jedi (dir. Marquand, 1983). It’s a ridiculous coincidence, mainly done for shock value, and doesn’t fit with what we’ve seen and been told so far. However, my criticism that she doesn’t react to the fact Darth Vader is also revealed as her father could be argued against. Her emotional interaction with Han after the revelation suggests distress, and her inability to divulge the truth suggests fear it could endanger her friends. I also state it doesn’t affect the story. This is a major oversight, as it sets up the most crucial moment of the climax; Vader using it against Luke, inciting him to embrace his anger and the dark side. It’s still a very silly twist, though. It would have been better if the other hope for the Jedi that Yoda refers to in Empire was Vader. It is, after all, Vader who kills the Emperor and destroys the dark side. This would show Yoda’s wisdom and strong connection to the Force, knowing there is still hope for Vader, and reveal he was training Luke to turn his father back to good all along (like all his teachings suggest). This is even suggested in the mise-en-scene in Empire as Yoda is surrounded by black and bathed in red (the colours of Vader) just as he delivers the line, “No, there is another.”


Well, that, along with finally putting The Darning Needle behind me, was a satisfying purging experience. Now I can get on with bringing you brand new analyses, films, scripts, and other projects in the coming year!


Stranger, Darker, Madder… (Love & Monsters)

Love & Monsters, in my opinion, is one of, if not the single best, episode of Doctor Who since its triumphant revival in 2005. A lot of readers will stop there and not bother with the rest of this post, for that statement will undoubtedly elicit a plethora of angered derision from outraged fans. Love & Monsters, to put it mildly, is not popular. It was ranked 220th out of 241 in the latest official Doctor Who Magazine poll; the fifth lowest ranked episode of the revived series. Positioned, as it is, at the end of David Tennant’s hugely popular second season, in an era when the show had reached new heights of popularity, with almost every episode receiving unconditional praise from fandom, its low esteem is decidedly anomalous. This post will analyse the episode, probing into why it’s so unpopular with fandom, and providing evidence to support my claim that it is one of the greatest scripts ever presented under the banner of Doctor Who.


Love & Monsters is what the production team titled a ‘Doctor-lite episode’: episodes that featured only a limited appearance from the Doctor (David Tennant) due to overlapping filming schedules. The uninitiated may immediately latch onto this as an explanation for the episode’s unpopularity, but the answer is not that easy, as the other two Doctor-lite episodes, Blink and Turn Left, are two of the show’s most popular. With the Doctor only being able to take a small part in the action, the episode instead invents a new protagonist, Elton (Marc Warren). Elton is an average guy, apart from the fact that as a child he briefly encountered the Doctor one late night in his family home, and ever since he’s been driven to discover what purpose the mysterious time traveller had for being there. One of the episode’s greatest innovations is that the story is being retold by Elton via a video blog. Immediately, we see that Elton is an ‘untrustworthy narrator’, as he tells the story from his perspective, in his zany, childlike manner. Examples of this include him witnessing the Doctor and Rose (Billie Piper) chase a monster back and forth down the same corridor (a reference to an often mocked budgetary restraint of the series) and his computer exploding as the Internet goes into meltdown with rumours about the Doctor. This over the top manner of storytelling is one of the main targets of criticism from fans, who don’t seem to understand that we’re viewing Elton’s personalised version of events. 


The fact that narrow-minded fans are unable to appreciate Elton’s individual take on the Doctor’s adventures is not surprising, as it is exactly these fans that the episode sets out to expose and criticise. In his search to discover the identity of the Doctor, Elton encounters others on a similar journey, and together they form LINDA; a group dedicated to this cause. LINDA’s fascination with the Doctor draws a clear comparison with Doctor Who fandom and their devotion to the show. Elton’s Doctor Who fan club has a hugely positive effect, bringing a selection of diverse characters together to share their individual opinions of the Doctor without fear of malicious criticism. It encourages their talents – Bliss’ (Kathryn Drysdale) sculpture and songwriting, Mr Skinner’s (Simon Greenall) novel, Bridget’s (Moya Brady) cooking – and the whole group play as a band together. As they bond, they are also able to support each other during emotional ordeals, such as when Bridget confides in the group about her drug-addicted daughter, who is missing in London. LINDA is a beautiful representation of what a shared love of Doctor Who can inspire, and an ideal example of what fandom can achieve if it is respectful of individual opinions and just allows itself to celebrate its mutual love of the show. Elton’s preferred style of Doctor Who and his democratic version of fandom would not be tolerated by some who’re unable to accept anything that doesn’t conform to their strict outlook. Sadly, in this case, life has imitated art, as it is exactly this sort of fan the episode goes on to criticise, and exactly this sort of fan who has been unable to understand and appreciate its deeper complexities. 


It is with the arrival of Victor Kennedy (Peter Kay) that everything starts to go wrong for LINDA. Victor embodies the kind of cruel, opinionated, overbearing personality that is prevalent throughout Doctor Who fandom. He quickly takes charge of LINDA, enforcing his views and his law upon the group. The group meetings become no longer about sharing individual opinions, talents and troubles, and having fun, and are transformed into strict, regimented classes, dedicated solely to fulfilling Victor’s vision and seeking out the Doctor. This criticism of conformity is not only directed at overbearing Doctor Who fans but other forms of conformity. There are clear comparisons made between Victor’s running of LINDA and the strict conformity of school life. Victor reshapes LINDA’s headquarters into a regimented classroom, with each member sitting at a school desk littered with maps, calculators and books, while he acts as teacher, sitting behind a large desk at the head of the class, surrounded by filing cabinets, atlases, and shelves covered with folders. He assigns the class homework, they are made to raise their hand and ask his permission before voicing an opinion, and when Ursula (Shirley Henderson) rebels against him, he labels her, “most likely to fight back”. Once set their assignments by Victor, Elton declares, “Better get to work. Lots to do” and Ursula responds, “I never thought of it as work”. What was once a fun, educational environment, a place to develop talents and interests, that promoted equality and individuality, is transformed into a cruel dictatorship, where one law is taught, and no form of dissent is tolerated. Also, at this point, members of the group begin to mysteriously disappear, including Bliss, and also Bridget, despite her previously developing a romantic relationship with Mr Skinner.


Comparisons are also drawn between Victor’s takeover of the previously independent LINDA and the tyranny of greedy organisations and corrupt governments. Victor’s attire, including pinstriped suit and suitcase, resembles that of a high-class businessman or politician, and he is heard to yell slogans at the group, such as, “complete your targets”. With Victor in charge, the group is pushed to exploit the poor and vulnerable, lying to and manipulating them for their own selfish gain. Elton is sent undercover to gather information from Jackie Tyler (Camille Coduri). Jackie is characterised as lonely, emotional and vulnerable. Left behind by her daughter, Rose, she utters dialogue such as, “(I) can’t bear it silent”, “It’s just me these days, rattling about” and “She’s so far away. I get left here sometimes and I don’t know where she is. Anything could be happening to her, anything. And I just go a bit mad.” Elton, witnessing Jackie’s distress after receiving a ‘phone call from Rose, has an epiphany and realises, as he puts it, what’s “really important”. He puts a stop to his exploitation of Jackie, realising where LINDA has gone wrong with its selfish pursuits, and also his love for Ursula. This leads to what I believe is one of the most emotionally affecting scenes Doctor Who has ever produced. Discovering Elton has been using her, Jackie professes the lengths she will go to to protect her daughter and the Doctor, and her disgust at being exploited by Elton. The revived series is often lauded for its emotional content, but I feel often the wrong instances are given credit. Girls falling for mysterious heroes, such as depicted in the popular relationship between Rose and the Tenth Doctor, are standard fare on the big and small screen, but Jackie’s emotional outburst offers something altogether different. Jackie represents the oppressed and underprivileged fighting back against the selfish tyrants who seek to exploit them. Jackie displaying her selfless loyalty and devotion to protecting others’ well-being, which she maintains despite the selfish cruelty she’s been victim to, is truly inspiring, life-affirming stuff, and it hits hard on a real emotional level. 


An angered Elton returns to LINDA headquarters and simultaneously declares his love for Ursula and leads the group in rebellion against Victor. As the group walk out in anger, Mr Skinner is persuaded to stay, as Victor offers to help him track down Bridget. At this point, the cause of the mysterious disappearances is revealed. Ursula realises she has left her phone behind, and she and Elton return to discover the true identity of Victor Kennedy. He is, in fact, an alien creature known as an Abzorbaloff. The Abzorbaloff is a personification of conformism; a creature that absorbs individuals into himself, feeding off them and forcing them to be one with him. He has been absorbing the members of LINDA: their faces still visible on the surface of his slimy green flesh. His ultimate goal, to track down the Doctor and absorb him; stealing all his knowledge of space and time. The Abzorbaloff is one of the best representations of evil that Doctor Who has ever presented; far superior to the clichéd representation of Satan, seen in the preceding, far more popular episodes, The Impossible Planet/The Satan Pit. Here we see a truer and more disturbing representation of evil as the Abzorbaloff manipulates people into obeying his will by exploiting their good nature, and provides them with a fate far worse than death, as they are robbed of their free will and identity. He absorbs Mr Skinner by using his love for Bridget against him, and when Ursula attacks him, declaring, “Let those people go!” (echoing Moses’ declaration to the Pharaoh to let the Jewish slaves free; again connecting Victor’s regime to a corrupt government), he plays on her caring nature, acting weak and defenceless, and when she lowers her guard, he absorbs her too.


With Ursula absorbed, Elton confesses that he has lost everything he ever wanted. Ursula pleads with him not to say that, but the Abzorbaloff coaxes him into sacrificing himself, tempting him with everlasting peace, and he submits. It is at this point that the Doctor finally appears. Although all seems lost, he cajoles LINDA into fighting back! The absorbed members start working together as a team, pulling the Abzorbaloff apart from the inside, giving Elton the opportunity to smash his cane, which it is revealed holds him together, and he is absorbed into the earth. The Doctor reveals why he was in Elton’s house all those years ago and what motivated Elton’s obsession with him. It was on that night that Elton’s mother died: killed by one of the Doctor’s foes. The Doctor defeated the monster but was unable to save Elton’s mother. As well as finally giving him peace and allowing him to move on from his mother’s death, the Doctor has a final gift for Elton. Using his sonic screwdriver, he is able to extract biodata from the earth so that Ursula’s face and conscious are preserved on a paving stone. This is revealed in Elton’s final vlog and is another source of criticism for the episode. Many fans protest that living a life without the use of a body would be no sort of life at all for Ursula, and they’re disgusted by Elton’s confession that they still have a love life. It has been suggested by some, that as we’re seeing Elton’s version of events, perhaps Ursula was not saved, and it is all in Elton’s mind: his way of coping with the trauma. This ambiguity adds another dimension to the episode, but I prefer to believe she did survive. Many people have been through traumatic events like Ursula, losing the use of their bodies, but do not see it as a reason to give up, and it doesn’t mean they shouldn’t be entitled to a love life. Ursula’s survival, LINDA not giving up and battling against the odds, and the heroic actions of Jackie, support the episode’s theme of staying strong in the face of adversity and fighting for what you know is right. It is with Elton’s final speech to camera that much of the episode’s other themes are summed up.

ELTON: “when you’re a kid, they tell you that it’s all grow up, get a job, get married, get a house, have a kid and that’s it. But the truth is, the world is so much stranger than that. It’s so much darker and so much madder. And so much better.”

Elton explains that in life we must not conform to what is expected of us or pushed on us by other people. There is so much more to the world than one single vision, and although we will face bad times and uncertainty, this is part of life, and we must rise above it, take pride in our achievements, and find happiness with others and with ourselves. I hope that I have given people who have dismissed this episode a new perspective, and shown that a script can be multilayered without being overcrowded or resorting to the plot puzzles of popular Doctor Who episodes such as Blink. This isn’t disposable television; this is a scriptwriting masterclass, filled with important life lessons and technical innovations. An engaging, moving, witty, alarming, enjoyable story, which in comparison to more popular episodes is so much stranger, so much darker, so much madder. And so much better.