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"DALEK: A TERRIFYING REINVENTION OF A CLASSIC FOE"

Robert Shearman’s Dalek is a gripping reintroduction of the Doctor’s most iconic foes, drawing inspiration from his earlier Big Finish audio play Jubilee. A classic base-under-siege tale at heart, the episode modernises the format, injecting it with relentless tension, psychological depth, and a haunting exploration of trauma. Set against the backdrop of the Time War, this is not just another Dalek story—it’s a meditation on survival, vengeance, and what it truly means to be a monster.

A DOCTOR PUSHED TO HIS LIMITS

From the moment the lone Dalek is revealed, the episode makes a powerful statement. The Ninth Doctor’s reaction—shock, fear, and then unfiltered rage—is electric. Christopher Eccleston delivers one of his strongest performances, his Doctor oscillating between fury and anguish as he confronts the creature. The episode draws unsettling parallels between the Doctor and the Dalek, framing them both as war-torn survivors. The more the Doctor succumbs to his anger, the more he mirrors the enemy he despises, creating a compelling moral dilemma.

Billie Piper’s Rose serves as the emotional counterpoint, her compassion driving the Dalek’s transformation. Though her role is more limited than in other episodes, her act of kindness is pivotal, leading to the Dalek’s existential crisis and eventual self-destruction. The DNA-feeding concept may stretch believability, but it remains essential to the episode’s emotional weight.

A SINGLE DALEK MORE TERRIFYING THAN AN ARMY

In a franchise known for overwhelming Dalek invasions, Dalek does something extraordinary: it makes a single Dalek utterly terrifying. Stripped of its fleet and support, the creature still wipes out entire squads with ruthless efficiency. The reveal of its ability to levitate up a staircase—a long-running joke among fans—is a triumphant moment that cements the Dalek’s unstoppable nature.

Yet Shearman subverts expectations, making the Dalek not just a killing machine but a tragic figure. Tortured and alone, it is as much a victim of the Time War as the Doctor himself. By the end, it is no longer seeking conquest, but purpose. Its inability to reconcile its newfound emotions leads to the haunting realisation that the most dangerous thing in the universe is a Dalek with no orders to follow.

A SATIRE OF POWER AND GREED

Beyond the Dalek, the episode takes aim at the human capacity for cruelty. Corey Johnson’s Henry van Statten is the epitome of the arrogant billionaire—collecting alien artefacts with no regard for ethics or consequences. He serves as a cautionary figure, a man so obsessed with power that he fails to see the real danger lurking in his basement. His comeuppance, while satisfying, is almost too easy—Harriet Jones would have sorted him out in seconds!

Meanwhile, Bruno Langley’s Adam is introduced as a prospective companion, but his self-serving nature is already evident. Unlike Rose, who sees wonder in the universe, Adam only sees opportunity—setting up his inevitable downfall in The Long Game.

STRONG DIRECTION AND ATMOSPHERE

Visually, Dalek makes the most of its confined setting. The underground bunker’s claustrophobic design amplifies the tension, trapping the characters in an escalating nightmare. The Dalek itself has never looked more menacing—sleek, polished, and utterly lethal.

Murray Gold’s score enhances the drama without overpowering it. The episode’s best moments, however, are often defined by silence—the eerie hum of the Dalek’s eyestalk, the Doctor’s trembling breath as he faces his old enemy, and the quiet devastation of the Dalek’s final moments.

📝VERDICT: 9/10

A masterclass in reinvention, Dalek takes the show’s most famous monster and makes it scarier—and sadder—than ever before. Eccleston delivers a powerhouse performance, the tension is relentless, and the themes of trauma and identity elevate the episode beyond a simple action thriller. While some elements—like the Dalek’s emotional awakening—may divide purists, there’s no denying the impact of this story. This is Doctor Who at its most intense, intelligent, and unforgettable.

RANDOM OBSERVATIONS:

• When the first season of a series takes place in a future that has long since passed in real life, you know it has been going on for a while. Here it is the wonderful year of 2012.
• A nice bit of fan service here: the Utah museum has the head of a Mondasian Cyberman on display. That remains the only onscreen encounter between the Ninth Doctor and a Cyberman.
• Davros is indirectly mentioned here by the Doctor.
• Following their latest appearance in Remembrance of the Daleks (1988), the Dalek is capable of levitating up a staircase, effectively ripping off the famous cliffhanger from the previously mentioned story.