The Natural History of Evil: Necessary Evils

If the complete history of Doctor Who is written – something which I sincerely doubt will ever happen – then the astonishing renaissance of the series’ fortunes in the middle 2000s will surely receive much attention. The programme went from being an ex-TV series (albeit one with a strong grasp on the public’s affection), continuing in at least three different media (each the subject of its own fierce cult following), to something vibrant and focussed and vastly successful in the mainstream. And this seemed to happen virtually overnight.

While some commentators at the time praised Russell T Davies for his bold new 21^st Century take on the series, as time has gone by it’s become clear that Davies’s real genius was not how much he changed but how much he didn’t. Davies’s prominent inclusion of minority sexual politics and incorporation of a wider supporting cast (the ‘soap opera’ element which is so widely reviled) are relatively small potatoes compared to the fact that the revived programme basically has the same format, the same values, and takes place in the same continuity as the original.

Tellingly, it’s the series of the Seventies that the makers of the most recent seasons seem to have taken as their template – and an era which, incidentally, was unafraid to include surprising political themes of its own, and had a larger regular cast than at any other time in the original run. When 21^st century Who pays a homage to the old show, it’s most commonly to an episode first broadcast in the Seventies.

However, in one area the revived programme is strikingly different from the pattern that had evolved in the original series by that point. As I’ve argued in the earlier parts of this series, by the Seventies the stories Doctor Who told revolved around villainous antagonists, with monsters a key but secondary feature of the programme. One thing you can’t say about the Russell T Davies years is that they are particularly abundant in villains.

Instead there are many stories where the antagonists are basically just monsters – sometimes with a spokesperson, such as the Gelth, or with basic personalities of their own, such as the Slitheen. The BBC stipulated that the new series contain as many monsters as possible, but it seems they had no such requirements in terms of villainous characters. There are still villains, but in smaller numbers than for years.

Davies has spoken of his uneasiness when it comes to the inclusion of out-and-out, wholly malevolent villains in his scripts, feeling it to be simplistic and unsatisfying to a modern audience. When villains do appear, the story is careful to give them a plausible motivation – usually financial, in the case of the Eccleston season’s bad guys. Particularly interesting in this context is the episode Boom Town, which (in addition to being cheap to make) exists solely to explore the motivation of a pre-existing villain and the ethics of the Doctor’s relationship with her. In the end Margaret Slitheen never quite gains the audience’s sympathy, and the episode is more about the light it sheds on the Doctor’s character (he’s unequivocally in favour of the death penalty, which I personally find startling), but it’s still a thoughtful piece almost inconceivable in the original run of the show.

As the crowd shrieked, Margaret Slitheen proceeded to take it all off.

Given this relative paucity of villains, there’s a new trend towards a type of story where the circumstance in which the Doctor finds himself is an antagonist of sorts (said circumstance usually involving some kind of monster, admittedly). Thus the nature of time is largely responsible for the (somewhat incomprehensible) predicament central to Father’s Day, while technology running out of control causes the problems of The Empty Child/The Doctor Dances and The Girl in the Fireplace.

As the series goes on more traditional villains do start to appear more regularly, some more successful than others. Mr Finch is arguably the revived show’s first power-hungry megalomaniac, but his success is mostly a matter of performance, not writing. From the same season, Lumic is basically just a karaoke version of a certain rather better known wheelchair-bound creator. Later on, though, the Doctor has such effective foils as Professor Lazarus and Son-of-Mine (even if Lazarus spends much of his time as a CGI scorpion and Son-of-Mine likes to keep his family around him).

One key element of the new series, which manages to be essentially new and wholly backward-looking at the same time – a neat trick – is its attitude to recurring monsters. It’s interesting to jump a time-track and consider how the new series would have developed had the BBC been unable to secure the use of the Daleks, as seemed likely until mid-2004. Davies has already admitted that in this event the Eccleston series would probably have concluded with Cybermen besieging the Game Station, but beyond the issue of individual stories, there is the fact that the return of a different classic enemy was a core element of all the seasons the writer oversaw.

This is possibly a result of the way each season is now conceived, with an overall plot building to a dramatic finale. Every such finale to date has featured a returning opponent – on four occasions out of five, the Daleks have been central – and it’s starting to look as if, in the case of the really big name monsters, they are being used not as a shorthand for evil but as a shorthand for significance.

Overall, the big name enemies have been revived successfully. As time goes by the Daleks possibly suffer from overexposure and the demands of the ongoing storyline, but at least none of their stories are actually boring. The Cybermen probably come off worst of the big three, with a shiny new look not really compensating for their origin and nature being fundamentally reconceived, and their generally being pushed into the background of their stories by other monsters and villains. On the other hand, the Sontarans are spectacularly updated in a way which opens up exciting new areas for them, while still being wholly faithful to their original stories. (Admittedly, much of this is undermined by the events of The Poison Sky, wherein it is revealed that the Sontarans’ reputation as the greatest warriors in the universe appears to be founded on them taking on enemies who can’t shoot back.)

When the Master makes his inevitable return it is very much in line with the way the character was presented in other media in the missing years – most obviously in the way Davies attempts to give him at least some kind of coherent motivation. Prior attempts had varied from the dubiously personal – embittered, after the Doctor mucked up one of his experiments (Flashback, in DWM) – to the somewhat clichéd – corrupted by his own desire for power, that he might do more to improve the universe (The Dark Path novel) – to the broodingly cosmic – the youthful Master was betrayed by the youthful Doctor and forced to become a disciple of Death incarnate (the Big Finish audio Master) – possibly that should be ‘broodingly cosmic and slightly convoluted’.

As usual, Davies opts to paint with a broad brush and has the Master as a general-purpose nutter, driven insane by his exposure to the Time Vortex as a boy. Fan metaphysicists can have a lot of fun trying to work out, given that ‘the drums’ plaguing the character were retroactively placed there via time travel at a point quite late in his life, whether this origin still holds true for the character in the older stories. It’s a moot point, anyway. I would argue that the success of the character upon his initial return is at least as much due to the performers involved as to the script – while Utopia is one of the best episodes the revived series has produced, and The Sound of Drums has its moments, Last of the Time Lords is a bit creaky in all sorts of places. Davies makes up for all this when he revives the character in The End of Time – I would argue that the presentation of the Master here is the most satisfying element of the story, as the character has a depth and presence almost never previously seen. The climactic sequence of the Doctor and the Master, each unable to see the other be killed, uniting to repel the Time Lords is a summation of both characters and their relationship that has seldom been equalled at any point in the series.

One more reason to use a digital watch…

Beyond the big names, the revived series has also shown a willingness to revive other successful monsters – and even unsuccessful ones on occasion. Davies has said that the decision to launch the series with the Autons was based solely on their appropriateness for that particular story, but – in addition to increasing the sense of the series returning to its Seventies roots – it also reaffirms the programme’s commitment to its history. The return of the Macra smacks of ‘oh well, why not?’ Return visits by the Ood and Cassandra are in the classic tradition of successful opponents making a swift reappearance (although the Ood are rapidly building up an impressive list of appearances which shows no sign of stopping).

The presence of the revived show’s spin-offs presents some odd new avenues for monsters to recur in: the Cyberwoman episode of Torchwood isn’t quite as much fun as it sounds, while the Slitheen have carved out a rather successful niche for themselves as the ‘house monsters’ on The Sarah Jane Adventures. (Other aliens have crossed over between Torchwood and SJA without appearing in the parent show.) What we’ve yet to see is a classic series enemy returning directly to one of the spin-offs, though we’ve come close: the Trickster – a regular villain on SJA, and mentioned in Turn Left – is suspiciously similar in agenda and dialogue to the Black Guardian, while Mandragora  was all set to return directly to SJA until the script demanded too many divergences from the original concept.

This is a little disappointing for old-school fans, but at least it proves that the programme-makers are putting the stories first, rather than simply wheeling out old enemies for nostalgia value (the recent episode The Lodger was for some time going to be a sequel to Meglos). New show-runner Steven Moffat has always been ambivalent at best when it comes to discussing the return of old enemies, mainly due to the fact this usually involved revisiting old ground.

That said, the most recent season has stuck quite closely to the formula established by the Davies era, with an overarching narrative and returns from classic enemies and successful recent creations. (It’s exceedingly doubtful that things will continue in this vein: the first season after a major change of personnel has never been very indicative of what will follow.) Moffat continues to be a little villain-averse: The Beast Below revolves around a basic misunderstanding between human and alien, and while The Pandorica Opens presents a pleasing panoply of old enemies working in concert, all but the Daleks are banished from the concluding episode of the story.

Interestingly, the latest revamps of both the Daleks and the Silurians have been unpopular, both being a little too iconoclastic for the tastes of many fans. And while the Silurian two-parter is virtually a smaller-scale remake of the original story, Victory of the Daleks really just appears to be an exercise in housekeeping, rebooting the Daleks back to being a ubiquitous and ongoing menace as they were in the mid-Seventies.

The production team were infuriated when yet another Dalek redesign proved unpopular.

How soon the next appearance of the Daleks will be is another matter. It has been announced that the 2011 series will feature no returning monsters or villains whatsoever – the first time this has happened since 1978, and only the fourth time in the history of the series it has been done. (That said, the presence in the trailer for the upcoming series features yet another Ood, suggesting the definitions of what constitutes a monster have been surreptitiously rewritten.)

One shouldn’t get too hung up on things like this, as it seems likely that reappearances by classic foes will continue to be part of the fabric of the series, just as the kind of stories the series tells are utterly dependent on monsters and villains to work. New enemies and old are part of the grammar of the series – in a very real sense they are necessary evils.

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